Album Review: Diabolus Mecum Semperterne! – Diabolus Mecum Semperterne!
Band: Diabolus Mecum Semperterne!
Album: Diabolus Mecum Semperterne!
Label: Terratur Possessions
Release date: February 20th, 2026
Country: Norway
Format reviewed: High-Quality digital recording
Album Review: Diabolus Mecum Semperterne! – Diabolus Mecum Semperterne! via Terratur Possessions by Ioana
The second of the two plagues that were unleashed by Terratur Possessions on February 20th 2026 is none other than the self titled debut full length of Diabolus, Mecum Semperterne! Formed as a union of several key figures of the Nidrosian Black Metal circle, including, but not limited to K.R. of Whoredom Rife and Bloodthorn, and Cernunnus of bands such as Manes and Manii, Diabolus, Mecum Semperterne! is a project meant to embody the true spirit of orthodox black metal and what it represents. That, of course, materialized into the shape of this particular album, a dense, deeply ritualistic work with an atmosphere so dense that you can’t help but get lost into right off of the debut track. And all this given I listened to the digital version of this album… Imagine what it sounds like on a CD… (and here goes another reason for me to buy CDs – at least it’s not cigarettes).
The album is comprised out of “full-fledged” songs and various ambient tracks placed inbetween one another. One may consider this an overuse of “filler” material, but anyone who has actually listened to Diabolus, Mecum Semperterne!should be able to tell that the ritualistic ambient tracks are an essential reason as to why this album even functions as well as it does. But what are these “interludes” even comprised of? Surely an album such as the one in question won’t limit itself to acoustic passages or spooky synths. Fortunately, one is bound to find none of that here. The intro and outro track (“Praeludium” and “Postludium”), as well as the interludes inbetween the songs, all feature multilayered ritualistic chanting, as well as multiple layers of faint ambiance. This all serves both the atmosphere of the album, as well as it allows the otherwise dense music to breathe and fully settle in the listener’s mind. They are also a landmark of orthodox black metal, which comes in handy considering that this is exactly the aim of this project. That being said, I found great enjoyment in observing the dynamics between these tracks.
Now, onto the second “part” of the album, which includes the full out black metal tracks… Something that I found particularly interesting in the way that these songs are written is the fact that the ritual ambiance never really stops at any point in the album. It is an ever present musical element, which serves as a starting point for the rest of the music to develop. The riffs, drums and vocals are essentially joined together through this layer of music, in a way that makes the album feel more like a living organism rather than a mere piece of music. Each and every element seems to be in symbiosis with the rest, which allows for a great degree of unity and overall musical coherence throughout the entirety of the album. The drumming may seem a tad faded upon a first listen, but after repeated exposure and close analysis, one is bound to soon discover the true intricacies of the way this instrument is used on the album. A perfect example of this is the track “Ab Illo Benedicaris, in Cujus Honore Cremaberis”. One can find rapid changes in between patterns and rhythms, exemplified by sudden alternation between blast beats and slow passages which can be described as nothing short of doomy, drum fills and a respectable degree of experimentation, and much more. This dynamism of the drumming serves, of course, the point of emphasizing the flow of the album, as well as supporting the density of the music.
A huge contributing factor to this feeling of density in the music is, of course, the riffing. The album is built around multiple layers of guitars, all being simultaneously in sync while also developing on their own, not tempo wise, but melody and mood wise. This creates for a hypnotic effect, which, when paired with the ritual ambient layer, turns the music into a full on immersive experience, as I have stated a few paragraphs ago (and perhaps will end up mentioning again by the end of this review… Apologies to everyone, but this is simply the dominant sensation this record gives me). That being said, some of the melodies, such as the ones that can be found in the first half of “Diabolus Sit in Corde Tuo, et in Labiis Tuis, ut Digne et Competenter Annunties Evangelium Suum” never cease to leave me marveling over the musicianship of this record.
Onto the vocal performance, there isn’t much that I can say about it, except that it is a great example of K.R. being a master of his craft. Having been familiar with his vocal approach on Whoredom Rife’s albums, I was happy, albeit not surprised, that his contributions to Diabolus, Mecum Semperterne!are equally impressive, and dare I say at times even moodier than his other works, which is, of course, always a welcome touch.
That being said, Diabolus, Mecum Semperterne! have succeeded in creating one of those records that simply grows more and more on me with every listen. Contender for album of the year? At this point, yes. 9.5/10
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