Review by Felix on April 29, 2020.

Hexenbrett is back! Following hot on the heels of the vinyl release of "Erste Beschwörung", the first full-length of the new force of occult metal takes the same line as its predecessor. Josto Feratu and Scarlettina Bolétte, the duo behind Hexenbrett, capture the atmosphere of horror and combine it with a many-sided musical formula, including unorthodox black metal, deathrock and a massive dose of pathological insanity. The artists don't shy away from opulent, almost bombastic moments, they connect solemn parts with the cruel voice of the charismatic lead vocalist, and they like to give full speed whenever it suits the material. The result is another highly original album, even though the sixth track seems to originate from the dusty archive of the Danish King where "two little girls" wait for salvation. In addition, 'The Spider Song' is a cover and one can discuss whether the borrowing of other people's ideas expresses a high degree of originality. However, these details cannot hide the fact that "Zweite Beschwörung" spreads a very individual flair. The album sounds heavy yet pretty melodic, atmospheric yet powerful, adventurous yet clearly defined and quite innovative yet musty.

"Zweite Beschwörung" works as a whole, but it also scores with absolutely outstanding tracks. If we neglect the intro, the cover version and the horror interlude 'Ein Kind Zu Töten II' (by the way, pretty stupid title), then we have a hit rate of 50 percent. Three of the remaining six tracks (this is 50%, right? I wasn't that good in maths) possess larger-than-life elements that maybe / probably / surely will make them to classics of the duo. The first one is the heavy, riff driven 'Spalovac Mtrvol'. It creeps cumbersomely out of its nightmarish dungeon; a flickering guitar sets in and is supported by a heavy and merciless sound frame. The dynamic chorus is anything but cheesy, nevertheless, it keeps sticking in the ear in a matter of seconds. And the best is yet to come: an absolutely stirring outburst of velocity follows the chorus. Slightly unexpected is that a rockstar-like guitar solo has also found a place in this song, but even this narcissistic trip works. Everything fits perfectly together – and isn't it a great gift that both 'La Tumba De Las Muertos Vivientes' and 'Blutige Seide' also invite to a perfect listening experience while distancing by far the solid compositions of thousands of amazed competitors. I don't want to describe these songs as detailed as 'Spalovac Mtrvol' in order to maintain the tension. However, expect a gloomy atmosphere, excellent flows, gargantuan choruses and a lead singer who sovereignly commutes between all dark and mentally disturbed emotions mankind knows. Moreover, rest assured that the further tracks also have – apart from marginal weaknesses – many fascinating moments.

A very expressive element in the sound of "Zweite Beschwörung" is generated by the background vocals, or, to be more precise, the back vocals-like synths. They create a lot of atmosphere. Without being totally different to those that appear constantly (and slightly tiring) on each and every Graveland release, they are livelier and less pregnant with meaning. However, the lead vocals also must be mentioned one more time. In German fairy tales, it's always the devious stepmother that nearly compulsively tortures the helpless, innocent children with perfidious cruelty. Since my childhood, I asked myself where the equally evil stepfather dwells. Now, finally, I have met him. The vocals express exactly this insidious abnormality the Teutonic stepmothers are obviously well known for. Unfortunately, the voice has to struggle in order to be heard, the balance between them and the instruments leaves room for optimization. Either way, the vocals fit the music excellently and create a strong feeling of morbidity.

I know, roughly 35 years ago, Martin Eric Ain was still living (R.I.P.) and Tom G. Warrior was asking "are you morbid?", but don't confuse the Hellhammerian morbidity with that of Hexenbrett. The Swiss cult sent greetings from the sulphurous pits of hell, while here the protagonists emerge as true kings of subtle horror. You sit comfortably in your wing chair, the best place of your cleared living room? Well, this status will change quickly, because the feeling of fear will come crawling in and will take possession of you. The output's relatively warm sound was just produced to keep the listener in a false sense of security. Thus, it's better to leave your living room. Don't listen alone to this work, do it together with someone else. The best partners for this listening session are the grim reaper, the corona virus or a sadistic mother-in-law with a stable frying pan she likes to shatter on your head. Anyway, what really counts is that this formation is back and therefore I generously turn a blind eye on the blatantly attention-grabbing album title. Violence against children sucks completely, but this pitch-black, abysmal material is fantastic. Just inhale the four and a half minutes called 'Blutige Seide' and you will be infected by the sound of this goose bumps causing entity called Hexenbrett.

Rating: 8.9 out of 10

Review by Felix on March 8, 2022.

This is my first review in a time of war and the horrible pictures we see on TV make it hard to put the focus on a metal review. But we need a certain degree of normality and so I want to turn the spotlight on this split album. The first thing that comes to my mind is that both Serpent Noir and Sargeist represent their countries in a pretty typical form. The dudes from Greece follow a more or less mild, sometimes occult approach with sometimes clear, sometimes lamenting vocals. By contrast, Suomi’s unit dishes up an icecold, hateful piece of raw emotions. I admit that I prefer the Finnish style in general and this applies for the result of this cooperation as well.

Serpent Noir present songs with almost rocking rhythms. They emanate the spirit of black metal, not permanently, but predominantly. However, I miss the intensity of the more fanatic form of the sub-genre. From the transcendental beginning of 'Throne Of Satanas' until the relatively sharp guitar line at the end of 'Daemon Behind The Bars', Serpent Noir avoid severe mistakes, but there are not many sequences that whet my appetite for more. Whenever they accelerate the tempo, they come closer to the core of the total blackness, but the high number of mildly flowing parts prevents a greater listening pleasure. No doubt, there are some really good moments. The first up-tempo part of 'Endless Night Of Lilith' arouses my interest in the song, but the number cannot keep what this part promises. Generally speaking, the songs should be a bit more compact and less repetitive. I miss some rough edges and corners, but people who accept a slightly weaker edition of Yoth Iria will enjoy these songs and, as said before, some parts have its charm.

The info of W.T.C. productions speaks of “seven tracks in total dealing with life-changing events”, but the only thing that changed while I was listening to Serpent Noir was that I got 23 minutes older. Sargeist do not open my eyes for new dimensions, too, but they are responsible for the more impressive half of the release. It’s the Finnish way to say hello: you open the door and immediately a blizzard comes in. Without warning, of course. The sound is so dense that nearly everything blurs together. Where the Greeks focus on fine transparency, Sargeist tend to be simply massive and ruthless. Their endless streams of pitch-black guitar lines form the highlight of the output. 'Spirit Nox Famuli' behaves like a rabid dog. It bares its teeth, it hisses and cannot hold still for a second. Especially its straightest reveal the full glory of the ever-fascinating genre. Maybe Serpent Noir’s songs can claim a higher degree of individuality for themselves, because the tracks of Sargeist would not be no foreign objects on albums of Malum, Azaghal or Aegrus. But in my humble opinion, these bands and the further five million units from Finland have defined the modern, still cruel face of black metal and that’s a good reason to enjoy their art.

On the whole, Sargeist (80%) defeats Serpent Noir (62%) and it is no bad idea to check this split. Nevertheless, in these days the true winners are all people who follow the command of their conscience – without becoming a criminal aggressor, as is evident.

Rating: 8 out of 10