Eunoe — Evigheden Review
Eunoe, a Colombian Black Metal band that blends most of the metrics of modern and elderly Black Metal. On 2nd August 2025, Eunoe will unleash their independent debut full length, “Evigheden,” and promoted by GlobMetal Promotions. Eunoe is a feature of Dante’s Divine Comedy, created by Dante as the fifth river of the dead. It’s described as the river that strengthens the memories of the good deeds a person performed during their life.
The First Three Sins, The Summary
The Fourth Sin, Overall Discussion
The Portal Opens: Naus as Sonic Descent
The sonic journey begins the moment the play button is pressed. The initial hymn, aptly named Evigheden I – Naus, immediately plunges the listener into a carefully crafted audio soundscape. This instrumental opening is sharp and aggressive, punctuated by harsh, guttural vocals.
Awakening Through Hymns: A Journey of Freedom and Authenticity
As the listener continues their journey with eight remaining hymns, Evigheden embraces an atmosphere of consciousness awakening with a profound invitation of freedom and authenticity in both involved parts (music and listener). This blending between melody, despair, aggressiveness, and atmospheric passages can take you into a region of self-exploration and the reigns of unexplored sensations.
Take a chance and dive into the depths of a vast universe of obscure realization. The tones of melodious-dark guitars, technical drums, heavy and blurry bass, and desperate chants filled up with philosophical, historical, and pyschological messages guide you across this world.
Three Acts of Transcendence: Descensum, Inferno, Ascensum
The album is split up into Acts (Descensum, Inferno, and Ascensum) which compress the three moments of the long journey to get into the overwhelming realms of your own heaven. Each Act explores a different concept of what humans are made of and the importance of embracing freedom. Awake and enjoy this everlasting voyage!
The Forbidden Fruit: Production as Ritual and Collapse
Evigheden is the forbidden fruit of art—ripe with chaos, drenched in despair, and captured in its sonic architecture. The production preserves the raw emotional grit that defines black metal, yet allows melodic and atmospheric elements to breathe like incense in a ruined temple. Take, for example, the hymn Ekphora, which dramatically collapses and then re-emerges. This production choice mirrors the album’s philosophical themes of collapse and rebirth.
Evigheden skillfully combines elements of both modern and older black metal, weaving in nuances from Death Metal, Thrash, and Crust. The entire recording possesses a unique quality—it sounds as though it were captured within a long-forgotten temple, imbued with ancient resonance.
Philosophical Descent: Symbolism, Duality, and Emotional Precision
The album’s atmosphere evokes a sense of philosophical descent. Each Act, divided into “Descensum,” “Inferno,” and “Ascensum,” mirrors a journey. It depicts stages of suffering, rebellion, and ultimate transcendence. It functions like a black metal psychodrama, a compelling narrative of the soul. The lyrical content is rich with symbolic density. References to figures like Icarus and Prometheus, alongside Blake‘s vision of Jerusalem, infuse the album with mythic depth and resonance. This creates a powerful emotional duality.
The album skillfully balances chaos with moments of deep contemplation. Fury sits alongside profound fragility, often leaving the listener suspended between catharsis and quiet reflection.
The recording embraces a DIY ethos, yet it is executed with a ceremonial precision. This suggests a deliberate focus on emotional authenticity over sterile polish. Layered tracking creates multidimensional guitar and vocal performances. These often overlap, generating symbolic tension. Effects and reverb are employed with restraint. They are used sparingly but effectively to conjure spatial depth and foster psychological immersion.
Strings of Ceremony: Guitar and Bass as Emotional Architecture
The twin guitar work is a standout feature. S.O.N. handles lead guitar duties. He carves out tremolo-driven hostility that is typically laced with melodic undercurrents. His playing frequently shifts between dissonant fury and moments of brooding suspension. Stvn handles rhythm guitar duties. Providing a solid anchor to the album’s descent. His jagged riffs and ritualistic repetition are particularly prominent in tracks like Naus and Ekphora.
The bass riffs, delivered by R.A.G., create a heavy, obscured presence. They are more felt than explicitly heard. Imagine serpents coiling in the roots of ancient trees. R.A.G.’s function transcends mere rhythmic support. He provides essential emotional ballast. This is particularly evident in Saudade, where the bass line drags the listener into a profound sense of solitude and identity fracture.
The guitars themselves are melodious yet dark. Tremolo-picked riffs cut through dogma and alienation. They fluidly transition between outright hostility and a more introspective, brooding suspension. Beneath this, a heavy, blurry bass line operates as a subterranean presence. It coils beneath the mix, adding significant weight and obscurity to the emotional terrain.
Percussive Unrest and Vocal Catharsis: Drums and Chants as Mythic Struggle
N.B.’s drumming is a force of its own. Fractured rhythms, sudden tempo shifts, and intelligent pacing mirror perfectly the album’s philosophical unrest. The hymn Ekphora exemplifies this, collapsing and then rising again. The drums echo the mythic struggles of figures like Prometheus and Icarus. Stvn‘s vocals are raw, anguished delivery—sometimes ranging from guttural screams to more introspective spoken-word passages. They are consistently steeped in psychological and historical motifs. While primarily in English, the inclusion of Spanish passages in Saudade enhances the evocation of solitude and existential despair.
Technical drums: Rhythmic fractures and sudden tempo shifts echo philosophical unrest—restless, intelligent, and never settling into predictability. Vocals: Desperate chants, anguished howls, and spoken-word passages channel psychological and historical motifs.
Ceremonial Whispers: Synths and Atmosphere as Transitional Veil
If any synths are presented, they’re ceremonial whispers rather than dominant voices. They serve as a subtle veil, not a blinding beacon. Atmospheric passages suggest the careful use of ambient textures or reverb layering. This is especially noticeable during transitional moments between the album’s Acts.
Evigheden’s Legacy: A Ritual for the Thinking Soul
In its entirety, Eunoe‘s “Evigheden” stands as a powerful release that should not be overlooked. This is not simply a fruit of art; it is a thinking person’s creation. It is drenched in a heavy, blackened atmosphere and filled with an overwhelming sense of dread.
If Eunoe speaks to your soul, then you’ll find kindred spirits in the masked catharsis of Gaerea, the theological chaos of Dødsengel, the dissonant collapse of Serpent Column, and the hypnagogic horror of Akhlys. These bands, like Eunoe, summon black metal not as genre but as ritual—where anonymity becomes altar, despair becomes doctrine, and sound becomes a vessel for philosophical exorcism. Each offers a different facet of the void: Gaerea cloaked in existential mourning, Dødsengel invoking metaphysical fire, Serpent Column spiralling through post-human wreckage, and Akhlys whispering from the dream realm’s edge.
Together, they form a ceremonial constellation for those who drink from Eunoe.
Closing the Circle: The Terminal Sins of Evigheden
With the final echoes of Evigheden fading into ritual silence, we offer deep gratitude to GlobMetal Promotions for entrusting us with this descent. Their support allowed us to witness Eunoe’s sonic invocation in full. Now, as we prepare to close the ceremonial circle, we descend into the final triad—the last three sins that complete this blackened rite
The Fifth Sin, The Memorabilia
The Sixth Sin, The Artwork
The Seventh Sin, Disrelish
Eunoe
R.A.G — Bass, Backing Vocals
N.B — Drums
S.O.N — Lead Guitars, Backing Vocals
Stvn — Rhythm Guitars, Vocals
Hear The Music
Reviewed by Kristian — editorial architect and ceremonial crafted. © Athenaeum of Sin Reviews.