Fantasy is escapism.
Like dirt and rot below our feet, metal and fantasy are symbiotic. Works of fiction, imaginary realms, allow us to detach ourselves from the often-discouraging sites of reality. Whether it’s the dark realm of Mordor, the valleys of Hyrule, or the far-far-away floating rock of Tatooine, creativity remains imperative in showcasing what it means to be…human. That’s what separates us from robots…sincere imagination.
Valdrin frontman Carter Hicks did an interview with From the Bowels of Perdition a few years ago about the main protagonist known as Valdrin Ausadjur. Valdrin’s character is a warrior from a spiritual race known as the Ausadjur. He is sent to Earth and into the underworld, Orcus, to defeat a growing insurrection of demonic gods. Valdrin eventually meets the story’s antagonist, Nex Animus, overseer of the underworld…
… Valdrin’s poor soul is tainted by his mortality and failures…
…The first album, ‘Beyond the Forest,’ is the introduction and explains basically what I just told you. The second album, ‘Two Carrion Talismans,’ is a prequel to the events on the first album and is told from the POV of Nex Animus. The third full-length ‘Effigy of Nightmares,‘ is a prequel that centers on Nex Animus but mainly focuses on his extraordinary evil power.
Their prior release, Throne of the Lunar Soul, is more than an hour long, so it’s quite the serving to digest. Most of it is a culmination of the events I just provided. While long, the journey is very much worth embarking on.
Earlier this year, Valdrin signed on with Italy’s Avantgarde Music for their fifth album, Apex Violator, a direct follow-up to the events on Throne of the Lunar Soul. Again, without giving too much away regarding the latest opus, Valdrin—the character—returns home to the celestial kingdom of Ausadjur, while Nex Animus returns to the underworld.
Apex Violator is more than half the runtime of its predecessor but still captures the melodic black metal atmosphere they’ve carved out over the last few years. Much of it is in the vein of something off In the Nightside Eclipse or The Somberlain, but acts like the legendary King Diamond inspire authentic theatrical moments. Not in the most sonic sense, of course, but the lore that contributes to a captivating listen. The character voicing dynamics are incredible, for lack of a better word. You’ll hear the demonic screeches of Nex Animus a few times on the opener, “Poison Soul Vents,” in addition to the ominous atmosphere sparked by arpeggios sitting behind the blast beats and tremolo riffs at the forefront. While the opener starts a bit more subdued, the tempo takes a significant turn rather quickly. If you’ve followed the band since the get-go, they’ve perfected softening the flesh before sinking their teeth in.
You could also take the subsequent track, “Black Imperial Smoke,” as an example of how Valdrin focuses on the pacing to carve out the more melodramatic moments. Blazing from the start, the track throws shameless nods to their influences, much of which wouldn’t be too out of place on Dimmu Borgir’s Enthrone Darkness Triumphant, before ending with a doomy conclusion. I’d be remiss if I didn’t mention just how impressive it is that they find these beautiful melodies within the chaos. The album picks right back up with “Ignite the Murder Shrine.” Again, these arpeggios build tension before one of the most grotesque, blood-curdling screams I’ve heard on an album all year. Not to mention, the dissonance here is horrifically unsettling in the best way possible. To my ears, at least, what’s evident is the passion behind the project. Not just because of the impassioned vocal yelp I mentioned but because delicate handling comes across in the songwriting that bleeds into my ears. The fantasy world of Valdrin isn’t just some hokey world conjured up by a bunch of dudes from the Midwest; it’s escapism within escapism—music within literature and literature within music. The solo at the end of “Ignite the Murder Shrine” is the equivalent of the buildup to the Battle of the Five Armies from The Hobbit as we descend into the strongest run of the record.
The main riff from “The Muttering Derelict” is the toast of the album, featuring the best use of symphonic black metal. The drumming here is top-notch, too, bouncing back and forth between breakneck rolls to heated blasts. Vocally, Hicks is at his best, switching between the malevolent tone of Animus to the triumphant screams of the hero Valdrin. You’ll find more of the same on the closer, “Veins of Akasha.” However, it’s one of, if not the, most powerful conclusions they’ve offered up yet. And while perhaps there isn’t much in the body of the song to cement that, the final moments of respite and ambiance captured the cinematic experience’s mission, which is precisely what I’m craving when I pull a Valdrin record off the shelf.
If you’re a fan of Valdrin, you won’t find much here that surprises you, and that’s because they’ve carved out their A-tier signature blend of theatrical, melodic, dark, and heavy. At this point, they’re one of the most consistent USBM bands out today, leaving no traces of a lackluster release. Apex Violator is another stellar effort and chapter in the Ausadjur saga. Now, if you’re new to the band, dive into this one…immediately. Then, take a stroll through the backlog for a holistic experience.
So, go forth, friends. Become an escapist and lose yourself in the world of Valdrin. It’s your duty, after all. 
