In Magna Sila

In Magna Sila, an Avant‑garde Depressive Black metal solo project, has unleashed its latest EP, “Worthless.” Released through The Triad Rec, this work plunges deep into bleak soundscapes and spectral emotion.

In Magna Sila, Worthless Review: This review will evaluate every aspect of the album, from its intricate musical composition to its production. Our analysis will provide valuable insights to help you determine if this album is worth adding to your collection.

The First Three Sins, The Summary

The First Sin, The Strings/Keys: The guitar work is the lifeblood of the horror—tremolo lines, brittle and frostbitten, drenched in reverb and decay. Bass lines, thick and shadow‑like, mirror the guitars to add weight without clarity. Synths and ambient textures are buried deep. The Second Sin, The Vocals: The voice emerges like a ghost in the fog—torturous, spectral, and hollow. The Third Sin—The Percussions: Sparse, ritualistic beats echo like a fading heartbeat in a frozen cathedral. Long pauses stretch between each strike, creating tension through absence. No blast beats, no flourish—just skeletal percussion that serves the atmosphere, not the ego.

The Fourth Sin, Overall Discussion

Invocation: Descent into Decay

Pressing play invites seventeen minutes of profound immersion. This is no background noise—it’s a carefully crafted descent. The music plunges into an abyss of emotional decay. Rooted in atmospheric and depressive black metal. Expect long, winding compositions. They bleed slowly, unflaring across the expanse of time.

Each note is a deliberate step further into darkness.

Opening Hymn: Worthless

The journey begins with the opening hymn Worthless. This is an opening hymn, a slow burn into utter despair. A sorrow-drenched, ten-minute invocation. Melancholic tremolo picking drenched in reverb creates expansive emptiness. No crescendo—just immediate despair. Suffocating atmosphere and torturous vocals.

There is no gradual buildup here, no crescendo. Instead, you are plunged immediately into despair. It settles in. It lingers in the listener mind. The atmosphere is suffocating. The vocals are torturous, raw, This is not for the faint of heart nor listened to alone in the dark.

Guitar Fog, Emotional Paralysis, & Tremolo as Ritual

In Magna Sila‘s guitar tone in Worthless is raw, almost brittle—evocative of early Burzum, but with deeper introspective decay. The sound feels suffocating and static—a sonic fog. This hymn is emotional paralysis rendered in sound, the mix is lo-fi and pervasive distortion blur the edges.

Clarity is swallowed whole…

Tremolo variations are minimal, becoming a ritualistic device. Monotony serves as a meditation. It allows the despair to truly sink in. The guitars are key. Tremolo–picked melodies dominate. (again) drenched in reverb and decay. No riffs — just mournful tone. Layering creates depth, like multiple voices weeping in unison.

Ambient Scaffolding and Percussive Silence

Synths are used sparingly. Ambient textures are buried deep— felt more than heard. They serve as emotional scaffolding, not melodic content. Drums are sparse and ritualistic. Slow, deliberate beats punctuate the silence, long pauses follow each hit. No blast beats—just fading heartbeat echoing through a vast void. The bass lines add weight, often mirrors guitar lines, occasionally diverging into its own mournful groove.

Furthermore, it does not add clarity, typically mirrors the guitar lines. Occasionally, it diverges into its own mournful groove.

Spectral Vocals and Textural Lament

Vocals are torturous, distant, and spectral. Buried deep in the mix, like a ghost screaming from beneath the floorboards. Lyrics are indecipherable—texture over narrative. The delivery is raw and unfiltered, more emotional discharge than performance.

In Magna Sila‘s vocals emerge not as screams but as distant laments-buried in the mix. They are spectral and hollow. They don’t demand attention; they haunt. The delivery is more presence than performance, a ghost in the sonic fog.

Closing Hymn: Emotional Blunting

The closing hymn, Emotional Blunting. Opens even slower, feels more numb. The title is embodied in every sonic choice. Bleaker than Worthless. The soundscape is hollow, like walking through a ruined cathedral — distortion is thicker here, the pacing more glacial.

This is a descent into emotional erosion. Less active pain, more about a pervasive emptiness. Guitars remain tremolo-driven and repetitive—like a mantra of despair. Dissonant chords break the monotony, like cracks in a frozen lake. Ambient drones may be present, but they’re ghostlike—never foregrounded. If used, they mimic emotional numbness rather than melody.

Erosion and Dissociation

Drums are even sparser than Worthless. Long stretches of silence between hits. Fills are nearly absent—just skeletal percussion. Bass is submerged, adding gravity, not groove. It feels like a shadow trailing the guitar rather than a separate voice. Vocals are more subdued, more buried. The screams are distant, almost whispered. The emotional intensity is replaced by resignation.

The track’s structure mirrors the psychological experience of dissociation: drifting, disconnected, yet still present.

Final Benediction: Frostbitten Fruit of Art

Overall, his depressive black metal EP is a solitary creation, recorded and mixed entirely by the anonymous artist himself. A haunting devilmanship that delivers a composition is floored to perfection. The recording and mix; Worthless, feels entirely DIY, lo-fi, raw, and emotionally honest. No polish, no studio sheen. Emotional Blunting, with the same DIY ethos, the mix is slightly more ambient, but still raw. No mastering gloss—just emotional truth.

These two hymns are a forbidden fruit of art—a frostbitten decay and numbness. Not for the faint of heart, nor for listening at night. Certainly not for a stroll in the park.

Closing Rite — The Last Words Before the Silence

As the album draws to its final, haunting moments, we extend our sincere gratitude to The Triad Rec for granting us the honour of reviewing In Magna Sila. This journey through bleak soundscapes and spectral emotion has been as immersive as it has been unrelenting—a work that lingers long after the last note fades.

The Fifth Sin, The Memorabilia

For me, In Magna Sila‘s Worthless was beautiful and dark—echoing the spirit of early Norwegian and depressive black metal. It’s the kind of sound that wraps around you like fog on a forgotten forest trail. Lights out, eyes closed, letting the chill seep into your bones—this is music that doesn’t just play, it possesses. Honestly, it’s my ideal hot bubble bath meditation: a paradox of comfort and torment, where the bleakness becomes strangely soothing.

In the opening song, (depends on the listener) when the vocals slow down and drop deep, they tap into something primal—an old-school Gothic rock essence that’s impossible to ignore. For me, it’s not just a stylistic nod; it’s a descent. That slow, brooding delivery adds a layer of fear and darkness that transforms the hymn into something ritualistic.

The Sixth Sin, The Artwork

The cover art mirrors the music’s suffocating atmosphere — stark, frostbitten. There’s no comfort here, only the cold embrace of emptiness. Much like the hymns themselves, the imagery doesn’t just set the mood — it pulls you into it, making the visual and sonic experience inseparable.

The Seventh Sin, Disrelish

There is nothing to disrelish in the musical offerings of In Magna Sila—each note, each breath of distortion, feels deliberate and steeped in purpose. Thus, we conclude our review of In Magna Sila. We encourage you to explore the work of The Triad Rec and In Magna Sila—creators of art that lingers long after the final note fades.

In Magna Sila — Worthless Review