Arallu — DMoon – From the Ancient World Review
Arallu, an unholy and extreme Middle-Eastern Black Metal force from Israel, prepares to rebirth their third full-length October 31st, 2025. Originally released as The Demon from the Ancient World, this ritual has now been reimagined and retitled as “DMoon — From the Ancient World.” The album will be co-released through Satanath Records and More Hate Productions.
The First Three Sins, The Summary
The Fourth Sin, Overall Discussion
Ritual Reawakening: The Demon Reborn
This is a rebirth of Arallu’s 2005 cult classic The Demon From the Ancient World, now reimagined as DMoon – From the Ancient World—a ceremonial reworking with new production, lineup, and mythic vision. It’s not a remaster; it’s a full re-recording—a re-birth—a ritual cleansing of the original’s raw chaos.
The Gateway Hymn: Dingit Xul and the Sonic Descent
The journey begins the moment the play button is struck. A primal howl erupts. The opening hymn, Dingit Xul, conjures an immersive sonic environment. This is not mere music; it is an evocation. Sumerian deities of chaos stir with the sound. This hymn serves as a gateway, a portal to the album’s mythical descent.
It transports the listener across the hallowed grounds of Arallu’s birthplace—a realm where atmosphere and instrumentation fuse to foreshadow sonic cataclysm.
At the minute mark, the auditory assault commences. Your ears are subjected to an aggressive instrumental onslaught.
It is a sonic battering that defines the listening experience.
Pilgrimage Through Chaos: Nine Hymns of Terror
As the listener navigates through nine more hymns, an unholy pilgrimage unfolds. Expect atmospheric folk instrumentation interwoven with raw extreme metal. Forty-six minutes of sound unfurl, channelling primordial terror and imperial hauntings. Ancient imperial hauntings echo throughout. The album draws from Mesopotamian demons and current geopolitical turmoil. It weaves these disparate elements into a rich sonic tapestry. This tapestry features rapid blast beats, hypnotic ritual chants, and raw, desert-born distortion.
Sound as Spirit: Production, Atmosphere, and War-Torn Immersion
The spirit of Arallu resides within the sound itself. This is true for both the original recordings and the meticulous rebirth. The rebirth achieves sonic perfection. Unlike the raw, lo-fi chaos of the original, this new iteration boasts pristine production. The mix is clearer, the layering deeper, and the dynamic range significantly expanded. Every element is allowed to escape your speakers—like a Jinn freed from its lamp.
Every note is captured. Each subtle nuance is preserved. Arallu’s distinctive sound and atmosphere are locked in. They are presented within a context of war-torn landscapes, sand-scorched terrains, a spiritually defiant atmosphere.
This is a sonic battlefield. Here, Mesopotamian demons clash with the anxieties of modern despair. The atmosphere is dense and heavy. It is laden with ritualistic chants, the whisper of desert winds, and the lingering echoes of ancient empires.
Folk instruments and ambient textures are seamlessly woven into the black metal fabric—enhancing, not competing with, the aggression.
Devilmanship and Narrative Rekindling
This is not a reissue or a standard remaster. It is a true rebirth! As these words are written, “this is not my first encounter with Arallu’s music.” This release transcend more than a rebirth—it’s a rekindling, a vibrant retelling of ancient narrative across ten compelling hymns. These ten tracks are meticulously composed and perfectly arranged. They are delivered with forceful devilmanship—a devilish fruit of true artistry.
Guitar Invocation: Sandstorm Fury and Ritual Riffing
The dual guitar attack, handled by Gal Pixel and Haim Death Nakav, frequently mirrors ancient melodies, creating a trance-like immersion. The guitar tone evokes a sandstorm’s fury, meeting the raw intensity of Bathory-esque tremolo picking, and Mayhem’s ritual aggression. Hymns like Battleground, showcases powerful, militant riffing; Dingir Xul offers dissonant ritual drones; Kill Kill Kill gallops with thrash inflection.
Ceremonial Layers: Folk, Percussion, and Cello Lamentation
Middle Eastern folk instrumentals are not mere sonic decorations—they are fundamental to the songwriting, typically providing the emotional core of each hymn.
Traditional percussion forms a vital layer. Frame drums and darbuka rhythms pulse beneath the frantic blast beats, anchoring the sonic chaos within a framework of ancient ceremony. Chants and Incantations add another dimension. Cello sections, performed by Dr. Joe the Metal Cellist, are not embellishments—they are ritual laments, woven into the sonic tapestry like blood into parchment. The Seven Chosen Genii, the cello acts as a ceremonial veil—draping the track in sorrow and mythic gravity. Ishtar Will Rise (The Sumerian Words), a hymn… the cello becomes a vessel of divine mourning. It doesn’t just underscore the melody—it summons it.
Chants and incantations add another dimension. Sumerian and Hebrew phrases are employed as lyrical motifs, enhancing the mythic immersion.
Organic Pulse: Drums, Bass, and Vocal Possession
Nir Death Naka’s drum setup is now entirely organic. There are no drum machines involved, ensuring a human and vital performance. The drumming encompasses everything from frantic black metal blasting to tribal interludes and aggressive thrash breakdowns. The drum production is sharp, dry, and impactful—each strike resonates like a war drum.
Butchered handles both bass and vocals. His vocal performance is more controlled than before, yet still feral. The raw shrieks are replaced by a more commanding, ritualistic delivery. Dor Levin contributes layered chants and spoken-word invocations.
Butchered’s bass lines serve as the crucial anchor, grounding the chaos—especially on hymns where the guitars spiral into dissonance. The bass tone is both alluring and menacing, like a serpent coiling around its victim. It often mimics the hypnotic quality of ritual drones. The Dead Will Rise Again unfurls bass-driven transitions that evoke subterranean movement, for smoother flow.
The lyrical content draws from multiple linguistic sources—English, Hebrew, and ancient Sumerian. This deliberate choice enhances the mythic immersion.
Final Invocation: DMoon as Manifesto and Mythic Anthem
DMoon From the Ancient Worlds represents a profound rebirth. It feels like the dawn of a new chapter. Call it what you will—this album demands to be heard from beginning to end. No hymns should be skipped. Play it at maximum volume. Let the music transport you to ancient wonders, forgotten tales, and formidable demons.
DMoon is not just an album—it’s a manifesto. An anthem of war against evil in the deserts of the Middle East. A relentless battle cry. The dance of mystic Genii and a soundscape of endless struggle.
The Final Seal — DMoon Descends
As DMoon — From the Ancient World, descends into its closing passages, the ritual nears completion. Before we unveil the final three sins, we offer our gratitude to Butchered for granting us the honour of reviewing this reborn fruit of art. Their devilmanship and mythic vision have helped summon this sonic invocation into the light.
Now, with the last hymns fading and the crypt doors creaking shut, we conclude this review by exploring the final triad: Memorabilia, Artwork, and Disrelish.
The Fifth Sin, The Memorabilia
The Sixth Sin, The Artwork
The Seventh Sin, Disrelish
Before sealing the crypt, we invite readers to step beyond the music and into the mind behind Arallu‘s DMoon — From the Ancient World. Arallu’s vision is ancient, defiant, and deeply personal—and their words reveal the forces that shaped this rebirth. Read the full interview and descend deeper into the ritual.
Arallu
Butchered (Genieking Arallu) — Bass & Vox
Gal Pixel — Guitars
Haim Death Nakav — Guitars
Nir Death Nakav — Drums and percussion
Dr. Joe the Metal Cellist — Contributed Cello passages
Dor Levin — Provided layered chants and spoken-word invocations