Baelfyr — Empowered by Hatred Review
Rising Blackened British heavyweights, Baelfyr unleashed their colossal new EP, “Empowered by Hatred,” on August 8th, 2025, and promoted by SaN PR. A dynamic and unflinching EP—rich in atmosphere, heavy in tone, and packed with lyrical weight.
The First Three Sins, The Summary
The Fourth Sin, Overall Discussion
The Processional Curse Begins
The moment the play button is engaged, the initial hymn, At the Mercy of a Vain God, immediately ushers the listener into a solemn procession—slow, deliberate, and drenched in contempt. The guitars chant, the drums toll, and vocals summon the void.
As this foundational opening hymn transitions, a composition of formidable, intricate weight emerges, a progressive onslaught designed to confront and engulf the listener. The subsequent six hymns maintain this unwavering intensity. It possesses the listener’s soul with its dark devilmanship and instrumental composition—arranged to perfection—without fault—utterly flawless. At the same time, taking the listener on a lyrical journey, steeped in mental health, abuse, and humanity’s treatment of the world.
Sonic Alchemy: Raw Power and Clarity
Baelfyr’s audio production strikes a balance between raw power and clarity. It avoids the muddiness of lo-fi recording but shuns the sterile polish of overt gloss. Each sonic element is afforded space to breathe. The guitars command the forefront, their presence undeniable. Vocals reside in a cavernous sonic space, while the drums possess an earthy, grounded quality. There’s no artifice, no studio veneer; instead the listener experiences an authentic tone.
Twin Guitars as Ceremonial Weapons
The instrumental approach eschews the excess of modern metal, shredded solos or hyper-fast double-bass drumming. Baelfyr opts for a weighty, rhythmically driven sound that feels both ancient and inexorable. Imagine the deliberate pace of early death-doom infused with a chilling metal atmosphere.
Central to the instrumental composition are the twin guitars, functioning like ceremonial weapons of doom. Harry Mills
and Tom Mawbey riffs are chunky, their pace moderate, and their primary purpose is to build an oppressive atmosphere. Melodic elements are employed with great economy, serving to deepen the pervasive sense of gloom rather than brighten it. The guitar tone is dense, almost palpable, and the shifts between riffs feel ceremonial rather than overtly technical. Zak Banson-Noond’s bass work is subtle but essential. It forms a bedrock for the guitar riffs, providing a low-end pulse that adds weight without clutter.
Together, they establish the ceremonial twin-guitar assault—one conjuring oppressive atmosphere, the other completing the doom-laden structure with deliberate, hammering riffs. Zak bass provides the low-end pulse.
The Ritual Heartbeat and Vocal Invocation
Lorraine Staves’ drumming prioritizes ritualistic rhythm over ostentatious display. Her performance is precise, groove-infused, and emotionally paced. She builds tension through restraint, allowing the guitars and vocals to guide the narrative while she orchestrates the ceremonial cadence. Allan Thomson’s vocals stand as a significant fruit of art. His performance transcends mere guttural exclamations; he artfully manipulates pitch and tone, imbuing each utterance with profound emotional depth.
Staves’ ritual heartbeat of the band—precise, groove-infused, tension-building. Allan’s delivery is fierce yet remarkably varied, a voice that speaks not only of rage but of profound spiritual devastation.
The Fruit of Art: A Statement of Sonic Consecration
Empowered by Hatred by Baelfyr is a fruit of art statement. Its powerful, substantial sound guarantees an immediate visceral reaction, compelling headbanging from the very first moment. This is blackened death metal distilled to its potent essence, stripped of extraneous elements, steeped in a compelling groove, and consecrated in an all-encompassing atmosphere and doom.
Closing
As Empowered by Hatred reaches its final moment, we offer sincere thanks to SaN PR for granting us the privilege to witness and review Baelfyr’s sonic ritual. Now, we descend into the final three sins—closing this ceremony with symbolic reflection and editorial reverence.
The Fifth Sin, The Memorabilia
The Sixth Sin, The Artwork
The Seventh Sin, Disrelish
Baelfyr
Harry Mills — Guitar
Tom Mawbey — Guitars
Zak Banson-Noond — Bass
Allan Thomson — Vocals
Lorraine Staves — Drums