Review: “Blood in the Sky” by Mythologik

September 2023 saw the arrival of Mythologik as a new project with a well received self titled debut EP build to a masterplan born of the mind of the ever prolific Bryan Eckermann (Solo Artist, Scars of the Flesh, ex-Wings of Abaddon). Taking the multi-instrumentalist and studio guru’s love of Melodic Blackened Death Metal sonic creations and combining it with the kind of aggressive and soaring vocals heard early/Mid 80’s Thrash Metal from Joe Gregory (Valkyrie TX) the duo created alchemy of the highest order over four tracks. While that seemed like the tip of the iceberg, no one expected anything from the duo so soon afterwards but nine months on recorded, engineered, produced, mixed and mastered by Eckermann at Bonespill Studios a debut album has crawled out from the catacombs…

Picking up where the aforementioned EP left off as if the duo never left the studio “Blood in the Sky” opens the record with a rampaging demonstration of what the partnership of capable of. A juxtaposition between the worlds of the heavy and the melodic, thunderous percussive battery drives the perpetual forward motion as Eckermann offers up vibrant leads and tasteful soloing. Gregory’s vocal range is a curiosity, at times the spitting snarling Thrash stylings are spot on alongside his story telling abilities but their are times when he demonstrates the kind of warbling usually reserved for Power Metal. While the record isn’t declared officially as such there is an over arching theme of an eternal battle between Angels and Demons wrapped into the lyrical narrative, something which works incredibly well. The King of those demons is named “Lord Death“, a role which Gregory plays in the first person, roaring his way through the subterrania like a beast from the black depths. Longer instrumental passages are a hallmark of Eckermann’s work and here those have laser focus with tight rhythmic displays, there is no time for the kind of mindless meandering you might get from more progressive bands. Completing an unholy trinity of belters “Scorched Earth” lays down the gauntlet for any and all opposition with blast beats and even a death metal growl sending a shiver down the spine. A face melting virtuoso solo is majestic; the crushing rhythms a hammer blow to the skull from which there is no escape.

Injecting melody in melancholia “Fallen Empire” finds Gregory playing the role of a fallen angel from heaven, promising vengeance against humanity. The clean sung parts are delicate before the soundscape rises up, the sonic abrasions hitting in waves as heavier parts permeate the chilling tale. Surpassing the eight minute mark, this magnum opus of a track is masterfully done and makes for a powerful statement piece of a mid album cut. Everything is well balanced so you get something to savour that’s as heavier as the earlier cuts in places but offers a moment of respite and clarity with the rich melody, depth and texture. It’s almost as if there is a tale of a broken relationship underneath the surface, such is the emotive quality of the vocal performance. Stepping out of the shadows “Satanael” continues the lyrical narrative with something heavier sonically as Eckermann fires a solid collection of riffs in all directions. As a cut it has a certain nostalgic quality to it but the production is clearly modern with a clean and crisp drum sound and that is what gives it a real edge. Repeating the sentiment of the previous couple of tracks “Disease of the Soul” finds the wrathful fallen angel once again lamenting the situation he finds himself in and determined to destroy all that his former master has created in vengeance. The leads are once again majestic giving this one sound that is truly epic as well as tinging it with a melancholic quality often found in and perhaps inspired by the Scandinavian scene.

Staccato riff breaks and guitar squeals inject venom into “Dark Waters“, a cut with arguably the best drum patterns as it has some impressive and inventive fills from Eckermann’s roots in Death Metal. The addition of some delicate piano which is buried in the sound to accompany it rather than overpower it is a nice touch which bleeds into the orchestrated “Purgatorium“. Perhaps a more Progressive leaning finale, this one feels like it belongs to the soundtrack of something on the big screen or has been at least written with that in mind. Jackhammer footwork in double kicks cuts against melodic meandering leads as the protagonist sheds a tear, Gregory clenching his fist in rage and drawing blood from the palm. The emotive quality of the vocal performance on this one is incredible, the greater involvement of the piano giving it an entirely new dimension to explore. A return to the heavier riffs for the grand finale is something welcomed with open arms and “Epilogue” feels like a tornado of souls that would start circle pits if performed live. Transcending into a spoken word of pure evil intensions before tearing out if it with a face melting extended solo makes for a mesmerising passage, the Thrash attack of the main riff providing the backbone for it all. As a collection these songs have style, substance, verve and swagger as well as a story to tell, all of which makes it very hard to fault. Where they go from here is going to be intriguing because death is only the beginning… [8/10]

Track Listing

1. Blood in the Sky
2. Lord Death
3. Scorched Earth
4. Fallen Empire
5. Satanael
6. Disease of the Soul
7. Dark Waters
8. Purgatorium
9. Epilogue

“Blood in the Sky” by Mythologik is out 14th June 2024 with pre-orders available over at bandcamp