Release Details

LABEL Century Media
RELEASED ON 3/18/2014
GENRES Black,Noise
  • III: Beneath Trident’s Tomb will take time to sink in. How many listeners are going to give it that time?


III: Beneath Trident's Tomb

posted on 3/2014   By: Dave Schalek

Not much is made of “supergroups” these days; rather, the fan base is more interested in just hearing good music come from the collaboration of good musicians. Side collaborations and projects amongst various musicians these days are so common that we barely notice when anyone tosses around the term. Not so with Twilight, though.

Twilight began when its members still had an air of mystery about them. Hildof, Azentrius, Imperial, Wrest, and Malefic were furtive, oft whispered about figures in the USBM scene, but not much was known about them beyond the high quality of the musical output of their respective bands and projects. The self titled debut emerged in 2005 with Azentrius’ guitar style leaping to the forefront with riffing echoing early Nachtmystium albums. A suffocating sense of darkness was evoked by Wrest’s percussion, and Hildof’s murky vocals added the necessary atmosphere, so prevalent in the USBM scene at the time.

The second album, Monument To Time End, saw the departure of Malefic and Hildof with Aaron Turner, Stavros Giannopoulos, and Sanford Parker entering the picture. The addition of these three led Twilight to largely abandon the typical black metal of the early USBM scene in favor of a more cavernous, melodic post black metal coupled with a beefed up production.

A shift in style occurs on what is destined to be Twilight’s swansong, III: Beneath Trident’s Tomb (originally written and recorded in 2012 but only now seeing the light of day). The supergroup tag also gets an update that almost seems designed to titillate. Prior to the album’s writing and recording, the first tidbit of interesting news was the sacking of Blake Judd, a move that now seems even more justified given Judd’s legal and ethical troubles and the howls of derision that followed; and, second, the addition of Sonic Youth founding member Thurston Moore, a musician well known to the alternative rock world, but an unknown in metal.

Regardless of Moore’s musical past (with which I’m not familiar), his inclusion may or may not be profound, depending on your own familiarity with Sonic Youth. III: Beneath Trident’s Tomb does herald a change as melody takes a back seat and the early days of the USBM scene are now as far in the rearview mirror as one can get. Songs are composed of a deep seated doom, post-modern black metal with rasped, screamed vocals and a few blastbeats, and, most notably, jangly, experimental noise that segues towards alt rock.

Also noticeably different is the atypical approach to songwriting, a departure from what were largely “by the numbers”, if well done, songs from the first two albums. III: Beneath Trident’s Tomb largely keeps you guessing with catchiness and melody given less emphasis. The result is a challenging listening experience pulled off by a cadre of musicians that knows its way around various subgenres, but, III: Beneath Trident’s Tomb will take time to sink in. How many listeners are going to give it that time?


Monument To Time End
Self Titled