Azamoth — Bellum Nostrum Review
Azamoth, an unholy black metal force from the scorched sanctuaries of Israel, was founded in 2004. On May 31st, 2025, they unleashed their second full-length ritual, “Bellum Nostrum,” through Satanath Records’ sub-label, Symbol of Domination Prod.
The First Three Sins, The Summary
The Fourth Sin, Overall Discussion
The Opening Hymn: Fiends of the Unlight
The initial press of the play button unleashes Fiends of the Unlight. This opening hymn acts as a war horn from the abyss — an aggressive surge of instrumentation and vocals that immediately sets the tone. The sonic pilgrimage is about to begin.
They speak of ritual violence. The revelation of hidden, esoteric truth.
Chaotic Devotion: Sardonic Allegiance’s Wall of Sound
Sardonic Allegiance seems to push the boundaries of black metal’s raw energy. The band captures the true and raw spirit of old-school black metal with relentless chaotic energy, speed, and a dark, gritty sound typical of underground scenes. The music feels chaotic yet controlled, with each instrumental piece standing out—guitars roar with tremolo-picked riffs, bass lines rumble with dark intensity, and drums blitz with relentless blast beats that let up. Despite the chaos, each part fits perfectly within the overall sound, creating a wall of sound that shouts with power and energy.
Devilmanship and Sonic Clarity: The Blade and the Flame
Azamoth’s production and recording are remarkably crisp and clean. Modern techniques are evident, yet the clarity never compromises the raw energy. The sound avoids low fidelity, instead retaining the sharp, cold edge of classic black metal.
Azamoth’s instrumental composition and arrangement are executed with razor-sharp precision—a devilmanship that slices through the music like a ceremonial blade. It evokes the sensation of wind carving through the scorched sands of the Holy Land. Each track varies in length—some stretch to five minutes, others settle at six, three, or four—yet every piece unveils a distinct sonic landscape. The compositions shift, the arrangements evolve, and this dynamic interplay keeps the listener fully immersed.
They are captivated from the first moment. This lasts until the final note fades into the darkness.
Strings and Bass: Ritual Undercurrents
Azamoth’s twin guitars shift between sharp, tremolo-picked riffs and clean, bleak tones. Mid-song, whirling lead passages emerge—emotional outbursts rather than showy solos. Rhythmic shifts burn with desperation, then slow into cold, cruel phrases. The pacing feels ceremonial, not merely aggressive. The bass riffs provide the foundation—not always upfront, but ever-present, supporting the chaos with a grim, steady pulse. This reinforces the ritualistic weight, especially in the slow sections.
Percussion: War Drums and Dirges
Azamoth’s drums seem to serve multiple purposes. First, they introduce ritualistic elements—tracks often begin with booming, death rite drums, like war drums echoing in a tomb. Then, blast beats and variations dominate once the intensity begins. Changes in tempo and pattern help to keep the momentum erratic. Finally, the emotional impact: the drums don’t just drive aggression—they enhance despair, especially when paired with slower, dirge-like guitar sections.
Vocals: Invocation and Exorcism
Azamoth’s vocals echo as if summoned from Norway’s frigid shores and the scorched sanctuaries of the Holy Land—haunting, elemental, and raw. They tear through the music and lyrics with haughty howls, burning screams, and unhinged shrieks. These are the album’s most emotionally exposed offerings. The voice becomes both invocation and exorcism, rising above the mix like a possessed preacher channelling derangement and despondency in equal measure.
Lineage and Influence: From Marduk to Arallu
This is a bellicose manifestation of Scandinavian second-wave black metal. It carries the influential feeling of blast beat-driven aggression and relentless war themes of Marduk, the scathing tremolo riffs of Dark Funeral, the feral vocal style of Behexan—alongside their spiritual brethren, Arallu. The presence of Arallu is particularly palpable in the middle of the second hymn, where their ritualistic fury surges forth. Yet Azamoth carves its own ceremonial path, winding through despair and fury like a procession through scorched sanctuaries.
Final Benediction: Bellum Nostrum as Ritual Art
Overall, Bellum Nostrum is a fruit of art—powerful, heavy, dark and brutal from start to finish. It keeps you on the edge of your seat, immersed in a ritual of sound and fury.
This is more than just music. It is a powerful invocation. The journey unfolds across nine hymns, each filled with wild ecstasy and ritualistic fervour.
The Last Invocation: Echoes from the Scorched Sanctuaries
As Bellum Nostrum reaches its final, war-torn breaths—its hymns fading like smoke over a battlefield—we extend our gratitude to Satanath Records for granting us passage into Azamoth’s unholy domain. Now, we cross the final threshold and confront the last three sins. With these closing invocations, we seal this review in ash and reverence.
The Fifth Sin, The Memorabilia
The Sixth Sin, The Artwork
The Seventh Sin, Disrelish
Azamoth
Scorch — Vocals
Lord Grief — Guitars
Draugr — Guitars
Ratimus — Bass
RoCo — Drums