Album Review: Serpentes – Desert Psalms for #MetalChronicles
Band: Serpentes
Album: Desert Psalms
Label: Norma Evangelium Diaboli
Release date: April 05th, 2025
Country: Portugal
Format reviewed: High-quality digital recording
Album Review: Serpentes – Desert Psalms via Norma Evangelium Diaboli for #MetalChronicles by Ioana
And here we are facing another case of me being late to the party, as I tend to be most of the time. Imagine missing an album by over eight months. Or, maybe not that much, this is when I actually got the chance to sit down and write about it the way it deserves. Because, yes, this is the kind of album that is worth special treatment and multiple listens over an extended period of time. Even though it is very much impressive from the first audition, one is bound to discover its true artistry later, after several rounds of immersion within the music. But I suppose that can apply to every album that was ever put out by NoEvDia, or, at least those that I have managed to listen to thus far. In my book, this is a label that never misses, even when new bands and debut albums are involved, as is the case for Desert Psalms.
Now, something that I feel is incredibly important to note is how spot on the album title is with the atmosphere and sound of the record. This should not be a surprise, given that is exactly what an album title is supposed to do, but far too often do they end up being hit-and-miss. Any instance of audible dissonance between music and title and the whole listening experience may end up suffering as a whole. This is not, however, the case of Serpentes’ debut full length. I recall, upon my first listen, being in awe at how much the music evoked that sensation of mysticism-tinged isolation that has been associated with deserts ever since the dawn of humanity. This album is the soundtrack to an exiled pilgrim’s journey through the unforgiving sands underneath the star laden night sky.
Onto the music itself…
Perhaps what I came to find most fascinating about Desert Psalms is that it’s an avant-garde black metal album that feels like an atmospheric black metal album. All the complexity of the riffing, the song structures that otherwise would feel claustrophobic and the low, echo tinged vocal performance come together to create an expansive, otherworldly soundscape that, as I mentioned in my previous comparison, is more akin to staring at the endless night sky on the horizon than at the ceiling of a dark, flame lit temple. Equally drenched in mysticism as its more oppressive counterparts such as “Serpens Abyssi” by Nahasheol or even genre titans Deathspell Omega, but much more contemplative and with a much more graceful flow of the music, it is a truly one of a kind listening experience. And this is noticeable right from the first track, “Desert Psalms I”, which opens with a haunting, yet crystal clear in its sensibilities clean vocals intro, courtesy of Ólöf Rún Benediktsdóttir. Her delicate, yet undoubtedly powerful voice which echoes traditional Icelandic techniques, offers a perfectly fitting beginning to the musical journey that is Desert Psalms. It almost feels like a prologue to the album, which makes all the more sense given that the first line performed by project main-man Ainvar Ara is “I accept my fate to initiate this journey”. That being said, it is clear that this is an album hell-bent on carrying the listener along every note that is played, deeper and deeper into its soundscape. Fortunately, that is far from a struggle, or at least that was the case for me, as I found myself leaning into the atmosphere as soon as that intro started playing.
Another matter that I find to be worthy of mentioning is the specific reason why I said that Desert Psalms is an album that requires repeated listening despite it facilitating immersion really easily and more notably, almost immediately. And that reason is because this album relies heavily on the interplay between the various layers of the music, which may go unnoticed to the untrained ear or those listening from a weaker sound system. And these dynamics are best observed in the guitar work, and the way it interacts with the drumming and even more so, the vocals. It consists of layer upon layer of carefully crafted riffs that simultaneously manage to create the wall of sound effect, while also leaving room for each musical idea to breathe and do its part for the composition in the most impactful way. One interesting exercise that I could recommend in this case is trying to trace musical motifs throughout the songs. It is surprisingly difficult, but fascinating nevertheless. It is also worth noting that the feeling of airiness is further emphasized by the simple, yet impactful layers of synth, ambient, and of course, the samples.
The drumming and the vocals are placed a bit further back into the mix, thus the guitar work takes center stage. That being said, the impact of neither element is diminished. The drumming is powerful, diverse in its patterns and rhythm shifts, and acts both as the metaphorical pulse of the music while also highlighting the more violent, chaotic moments within the music. In a similar manner, the vocals soar above the music, the prolonged phrasing and almost cavernous quality of Ara’s timbre being contrasted by the faint layer of reverb they are paired with, creating a truly unique effect which adds a great deal to the already well established mood of the album.
Truth being told, I’d say Serpentes created one of those albums that slowly sank under my skin and stayed there. It often led me to states of deep thought, meditation, but also great inspiration. There’s something oddly comforting to it that I cannot quite put my finger on, but I know for certain is there every time I re-listen to it. Nevertheless, my words without a doubt fail to do it justice, as is the case for any description of an album that complex. So, my advice is, as always, go listen to it and see for yourselves. Go get lost among the dunes and the winds of the night. 10/10
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10/10 Immortal Classic
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