Year of release: 2020
Label: Purity Through Fire
Rating: 7,7 / 10
Before us is the third album from ... one hundred and ninety-fifth, or something, project of the super-productive Swede Swartadauþuz, who also plays in AZELISASSATH, BEKËTH NEXËHMÜ, URKAOS, etc. I have not heard even a tenth of this man’s work, but after studying the available information, it seemed that the musical and aesthetic side of his albums practically did not differ from project to project. In 90% of cases, it is archaic and mystical metal with natural, occult and dark heathen themes. Somewhere thinner, somewhere denser, but on the whole the same thing. The black and white forest, covered with fog, which you see on the cover above, provides a comprehensive description of the atmosphere of the album. This, of course, is very good. You can’t imagine how tired I am of these hordes of idiots with booklets full of photo of pine trees (because “bleck metal is about forests, rofl lmao"), whereas their music is a clumsy parody of MARDUK or BATHORY. Such aesthetic dissonance and bad taste deserves a good kick in the face. Fortunately, this has nothing to do with Swartadauþuz at all: the musician understands what’s what, and in his work he is always consistent. “Evighetens cirkel ...” sounds like it looks: measured, detached, as if from behind a wall of cold haze. 80% of the duties are divided between atmospheric riffs and ghostly keyboard parts. The vocals are illegible, with the exception of extremely old-fashioned recitations (always adored them).
Although there are a lot of repeating fragments, the album cannot be called monotonous. It has high dynamics, but everything is kept in the right mood, without turning into satanic bashing or, forgive me, suicidal depressions. “Evighetens cirkel ...” is undoubtedly beautiful from the point of view of aesthetics and atmosphere, but it’s still obvious that the author’s forces are sprayed on too many projects. Music as such is not the most prominent side of the album. The author’s ability to juggle elements helps: insert acoustic guitar parts for contrast, bring to the fore the keyboard part to hide the boring riff. But there is still a couple of unconditionally excellent songs: these are “De viskande vindarna” and “I nattsvart dunkel”.
With all confidence, I recommend “Evighetens cirkel ...” to lonely souls who were lounging for monochrome forest mysticism. Although the album did not make a stunning impression on me, I must admit that I had not heard such a coherent work, devoided of unpleasant surprises, for a long time.
English (UK) 
Крыўская