The Devilmanship and the Anvil

Tales of Ruin is a dark, heavy, and grandiose release — composed and arranged with devilmanship, forged to perfection. Every instrumental piece shines flawlessly, full of life. The hymns breathe with instruments and vocals alike.

Wolf and Malus Grande’s guitars lead the charge in the mix, like striking twin blades. Rhythm riffs distort thick, tuned low for crushing weight. Tremolo picking whips storms of chaos, chugs march like armies, leads add melody, solos flash brief. Erroris’bass rumbles beneath, anchoring the storm with a subterranean growl.

Todesstein drums drive it home with blast beats that hammer fast, double-kicks pound without mercy, cymbals crash like temple bells. The mix sharpens the kick drum, piercing the heavy stack. Hymns shift gears — relentless blasts give way to slow builds, tension coiling tight before release.

Flesh Remains’symphonic and orchestral features — strings, brass, choirs — are integrated into the mix. Functioning as a ritual backdrop, elevating the death metal foundation into something grander. Eisenring’s vocals double and layer into a choral effect, echoing the symphonic backdrop. Deep gutturals embody ruin and mythic darkness, shrieks cut through with contrast. Strings, brass, and choirs elevate the foundation, functioning as ritual backdrops. Balanced carefully, orchestration never overwhelms guitars or drums. Vocals, recorded close-mic, strike with raw immediacy.

The symphonic and orchestral elements are not overpowering — blended carefully so the guitars and drums remain central. The vocal recording feels close-mic, delivering raw immediacy. Strings harmonize, building a mythic film-score feel — visions of epic battles etched in sound.Drums cut clear, holding balance between raw hits and moody air.

Orchestral parts serve as rite backdrops. Like chants in a dark hall. Raw edges ground it in death metal’s bite. Ritual meets gut punch. It lines up with the band’s myth spins. Perfect fit.

The Liturgy of Ruin

Each hymn is a ceremonial act: drums as war marches, guitars as steel clashes, vocals as mythic narrators, orchestration as divine backdrop. Together, they form a liturgy of ruin — a sonic ritual where myth and chaos entwine. Flesh Remains invite listeners into shadowed depths where ancient civilizations breathe again through sound.

Closing: The Final Invocation

The album closes with the final hymn, Herr Mannelig, a 17th‑century Swedish ballad where a mountain troll proposes marriage to Sir Mannelig, offering gifts if he accepts. He refuses, condemning her to remain in the wild. We extend our deepest thanks to GlobMetal Promotions for granting us the honour of reviewing Tales Of Ruin.