Review by Felix on January 16, 2026.

Maybe I'm a little stingy. Less than one percent of my reviews are rated “10”. When I take a closer look, every one of “my” perfect albums is less than 48 minutes long. I think I'm seeing a pattern here. Either my attention span isn't sufficient for a longer album, or artistic perfection is limited, per se. Or both. But regardless of the reason, this is where the problem begins. “I Am the Void” boasts a playtime of 76:26, and this is simply too much. After 55, 60 minutes, I have the feeling that the story is completely told. That’s not fair, I know, because the songs in the late positions are anything but negligible. On the other hand, I am not responsible for an over-ambitious band that wants to prove its newly gained creativity after 25 years of silence. The fact is that the mass of material is at the expense of the individuality of the songs, and that’s a pity. Once again, Eucharist do not deliver weak tracks. Of course, little mistakes happen. For example, the narrative part at the beginning of 'Nexion' does not add any value to the album, and the entire song remains somewhat misty and slightly ill-defined. But this is just the exception that confirms the rule. “I Am the Void” is definitely a strong output.

It begins with three tracks that leave no questions unanswered. Perhaps it was not the best idea to introduce the album with the spookiest intro and the most accurate riffing, but the surgical precision of the guitar work of “Shadows” is impressive. After this promising start, “A Vast Land of Eternal Night” reveals almost hypnotic guitar lines, and “Goddess of Filth” (which is not about a guy called Dani) shows its power above all in the grandiose main riff. After these 17 minutes of splendor, the band pays tribute to the self-imposed mammoth task. “In the Blaze of the Blood Red Moon” is not immune to some feeble guitar tones, and for the first time, it feels as if the Swedes are running out of breath. Fortunately, they do not and return to form with the double bass hailstorm called “Mistress of Nightmares”. But “In the Blaze of the Red Moon” confirms my assumption that with 76 minutes of material, it is not possible to give every part the same attention as in a 40-minute performance. The comparatively powerless “Darkness Divine” is another track that could have done with more care in order to get a better result.

Anyway, Eucharist has a talent for the creation of genre-typical melodies, and they are able to write songs that fall in the spectrum of old Dissection without copying them in any way. The vocals do not focus on innovation as well. They deliver the usual mix of grimness, aggression, and wickedness, and they are contributed by Markus Johnsson, who also plays bass and guitar. By the way, he has written ten of the twelve songs alone, the last two together with Daniel Erlandsson, the former drummer of the band. Perhaps Markus should have delegated one or two duties, just to avoid the lack of compactness and to have more people who might have recognized things that remained hidden from him. Anyway, rebellious pieces like “Lilith” find a good balance between melody and aggression. They make an impact, not only because of the professional production. Mixed and mastered by Magnus Devo Andersson – this says enough, doesn’t it? A guy who has been involved in Marduk and Allegiance cannot go musically wrong, if I am not mistaken. It is just a pity that he did not give Markus the good advice to stop after 60 minutes. The 60+ minute trap is a very dangerous tool for metal musicians. Markus knows that by now, too.

Rating: 7.5 out of 10