Fäust – Crypts of Eternity
Release Date: 7th November 2025
Label: Black Lion Records
Bandcamp
Genre: Melodic Black Metal, Black Metal, Atmospheric Black Metal.
FFO: Kvaen, Dissection, Tsjuder, Bathory, Immortal, Naglfar, Blackbraid.
Review By: Rick Farley
French multi-instrumentalist Michaël Hellström is the sole member of the fiercely melodic black metal band, Fäust. Releasing November 7th via Black Lion Records, Crypts of Eternity is the bands second full length album and brings the bands songwriting to a whole new level. Heavy metal infused riffs with dark blackened atmosphere and memorable catchiness, Fäust very easily could be a great starting point for anyone on the fence about black metal or someone trying to ease their way in yet still being a great record for those wanting the old school sound.
Before we get fully started, one criticism that I have to get out before the rest of the review is that while the drums are executed flawlessly whether real or programmed, they do feel slightly flat. Don’t get me wrong they are precise, and impressive, but they lack in the organic life department. The guitars and vocals both are nasty and full of vigour, which makes the drums feel like just an afterthought. That’s not to say they aren’t well-thought-out, they are. I just would have loved a looser performance with some added fire. On to the good stuff.
With that said, Crypts of Eternity is still a damn good record and should be treated as such. Night Terror erupts in with a menacing intent. Its classic black metal soundscape is chock-full of infectious, razor sharp riffs. Ones that champion wickedness over precision and searing over bleakness. The riffs and leads are easily the high points of this record, Dissection, meets Judas Priest meets Bathory. Vocally, Michaël screams with growly yet high-pitched tones. His harshness naturally fit with the stormy music and always seamlessly flows with the songs. Every track is beautifully written from top to bottom.
Closing track And Then Blows the Funeral Winds provides a hellish soundscape with strands of jagged guitars as well as tremolo picked intensity. Potent blast beats meld into fast double bass hookiness when the guitars shift patterns. There’s an underlying gallop to the track that brings heavy metal, thrash, and black metal all to the same crossroads, perfectly blending element of each one into a darkly atmospheric, ferocious entity. NWOBHM melodies and leads soar over the raging tremolo pace of the final minutes, ending in furious yet traditional sounding fashion. Excellent close to a satisfying record.
The record was recorded and mixed by Michaël Hellström in Soulreaper Studio, with mastering being done by Ronnie Bjornström at Bjornström Sound Studio. Production wise the guitars are the shining point, crisp, trebly, and full of aggressive biting tone. The vocals have a reverb effect to them which is typical of black metal, while they are harsh, they are nearly intelligible and mixed well within the music. The other letdown for me again is the drums, unless you’re on really good headphones they get buried in the mix and sound washed out. Even then they get lost in busier sections. I did read that the drum mix being lower was a conscious decision by the band on a previous record as to not take away anything from the sound but rather just to augment it. So, this could be a conscious decision here as well. A shout-out also goes to Gragoth for the wicked artwork.
Crypts of Eternity despite me having some issues with the drums is still an excellent listen. It’s engaging, catchy and fiercely listenable black metal that hits all the right spots. Horns triumphantly up.
(3.5 / 5)
