Noctule – Extinguish Thy Flame
Noctule – Extinguish Thy Flame
Self Released
Release date: 25/09/26
Review by: Oli Gonzalez
8/10
As a door closes, a window opens. A lesson we can apply to music and life in general. This applies to British post-hardcore act Svalbard who sadly said goodbye to the world not so long ago, with their final performance being at Arctangent 2026. Now this means former vocalist and guitarist for the band (saying ‘former’ still feels weird) has more time to pour into her side project, Noctule, merging her love of melodic death metal, black metal, and the Elder Ring video game franchise in the process. In fact, she notes that every song on this, Noctule’s second album, is dedicated to a boss in the series (though I’m not clever enough to get any of the video game references). How can she transition from Svalbard’s hardcore roots to the world of extreme metal?
Well, very easily it would seem! See, the deeper I got into the album, the more it made sense that Serena’s core attributes transfer to the world of black metal. With her signature glass like guitar tones shimmering away elegantly through the mixes, it’s clear that they possess the atmospheric qualities required in black metal. Also, her voice. Whilst not the fully fledged high pitch KVLT shrieks you often hear in the genre, her own trademark growls hold just as much venom as any. In fact, sitting in a slightly lower register gives her a unique twist, backing up her claim that Noctule ‘doesn’t sound like anything else in the metal world right now’. Using cleaner vocals to provide a different melodic focal point – something rarely seen in black metal – further reinforces this.
Let’s return to the point about guitar tones. Whilst she takes things that worked in Svalbard, she’s fully expanded on this repertoire and deployed a full new range of tones and effects. It’s almost as if there’s a never ending battle between being opulent and aesthetic, and dissonant and abrasive! The blend of melo-death and black metal Serena set out to achieve; all it takes is one note to change moods and the relevant guitar scale change for this to take full effect. ‘Lord Of Blood’ is perhaps the best example of this, giving shades of Emperor and demonstrating what the Norwegian masters may sound like if they chose to record in the modern era. Especially with the advanced studio recording gear available.
Though if you’re looking for a fully fledged testosterone sandwich, ‘Godrick’ is one of the more potent hits on the album. Whereas ‘Malenia’ being one of the more melodic and cathartic songs on the album, particularly when her cleaner vocals make their way into the mix. Yes, this is one that remains firmly in the brighter major scale, with the overall tone being indulgent and opulent! This suggests superior versatility and depth on each song, refusing to be pigeonholed into the traditional confines of black metal. No, each song has meaning and a distinct identity.
Production. Let’s talk about production. Genuinely, this is like night and day compared to her debut “Wretched Abyss” which felt rushed, rough, and like a bedroom demo. This in comparison to the sharp and crisp production values of “Extinguish Thy Flame”, the difference is uncanny with this feeling like a genuine pleasure to listen to rather than struggling your way through the debut album. No, this is evolution pure and simple. How the immense cavernous depth and complex atmospheric aura is captured in each and every song should be studied!
So, what can we expect on album 3, with Serena fully locked in without the obligations of Svalbard?
TRACKLISTING:
01. Welcome to Limgrave
02. Devour The Gods
03. Lord of Blood
04. Grafted
05. Goddess of Rot
06. Lament of The Omen king
07. O’ death
08. Become My Blade Once More
09. Age of the Stars
10. Hallowhorn Grounds
LINKS:
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