Illwind - The Unfolding at the End of Light

Illwind is a doom metal band from Peru, who formed in 2022; “The Unfolding at the End of Light,” is their full-length debut album.

Although the members of Illwind are in other such acts like Argul, Arcada, and Death Invoker, the band itself has stunned me with the dropping of this full-length.  No demos, no EPs; they just hit the scene, dropped this sledgehammer of an album down and said, “Here.  Deal with this.” 

I love traditional doom as much as the next doomer, but rarely have I heard it so abrasive and dark.  The vocals may be clean, but the music is hellish and matches the cover.  Speaking of those vocals:  absolutely stunning.  Loud and emotional but with a deeper tone to them rather than a total falsetto.  If anything, they are more operatic and theatrical but without the corny texture. 

The bass is fantastic—a punishing low end that is dynamic enough to bring the pain when needed but also doesn’t have any issues going a more melodic route when needed.  The guitars are much the same and the drums are a powerful machine that steer the song with uncanny flow.  All the instruments have great synergy together, presenting a strong confident approach.  

Speaking of confidence and knowing exactly what to do and how to do it:  the band chose to open the song with the nearly 11-minute-long behemoth “Crimson Skies.”  Goddam, what a song, what an opener!  The guitars/bass feel like a suffocating heat that just moves over like a miasma of death, stealing the life of anyone caught in its wake.  It’s slow, perpetual grinding away until nothing is left but a husk.  When the vocals kick in, the song is pushed to another level.   Despite how intense this song can get, the band understands how to place melody, using to subtly enhance the atmosphere without taking away from it.  The band also embraces a faster tempo around the 4:40 mark, allowing the song to throw in a riff fest and killer guitar solo before sliding back into the gloom. 

The album isn’t always about epic dirges, however.  They throw in a couple of “short” songs and my favorite of those is “Portal.”  The riffs are just as thick and brimstone filled as the other songs, but the vocals add a melancholic texture that’s surprisingly catchy.  This song is one of those that flows so well that it’s over before you know it—better slam that repeat button!    The middle passage is profanely beautiful, a sort of darkness that you don’t want to look at but something is pulling you towards it.  The bass drop is fantastic and it’s very cool to hear the bass lead the song into the next passage which is a cacophony of riffs, solos, and energetic drumming.    The final set of solos is mind blowing and whenever I listen, I ALWAYS find myself rewinding it.  Mesmerizing. 

The last original song is “Lucifer’s Mule.”  (the true final song is a Stooge’s cover but that band gargles my balls, and I don’t want to give them the time of day even though the cover is good).  This song is 13 minutes of pure, evil doom with a seething atmosphere that’s almost horrific. A lot of the lead guitar passages are mournful and without light—this is some crazy stuff.  The vocals and drums often lend the song an occult-like tribal beat that feels like the band is trying to enthrall me.  The uptick in tempo after the 7-minute mark is great, adding a bit of chaotic energy before entering a passage of woe and worry with yet another example of just how much the lead guitar means to these songs.  

Illwin’s “The Unfolding at the End of Light,” is an impressive debut album and one that embraces a full dark and eerie sound that creates an atmosphere that a lot of extreme metal bands can’t reach.  Any fan of traditional doom needs to hear this now but if those who shy away from the genre because it isn’t dark enough ... .well, this will give you what you need though you might not be able to face the things that will surely come for you.  

Rating: Excellent