Review by Dominik on July 19, 2025.

They say anticipation is half the pleasure. If that's true, then "Death's Soliloquy" was practically orgasmic before it even dropped—at least if you believed the flaming promo campaigns that lit up social media like the Vatican on fire. And so, in the spirit of manufactured urgency, I guess this makes this review equally "highly anticipated", with legions of fans undoubtedly refreshing their devices like souls in purgatory waiting for judgment. And now that it's finally here, the rest of us can collectively exhale and begin the important work of nodding thoughtfully in black hoodies while pretending we didn't already form our opinion two weeks ago.

Now, I don't know if Ante-Inferno—which literally means "Before the Inferno"—is a direct reference to the first part of Dante's Inferno, where the author Dante himself, accompanied by the Roman poet Virgil is guided through the nine circles of hell. On this journey the two adventurers encounter souls who are neither damned nor saved which reside in the Vestibule of Hell, the "antechamber" to Hell proper. So, when in Dante's work the "Ante-Inferno" is the place for the lukewarm, those who didn't pick a team in the great cosmic soccer match between Heaven FC and Hell United, for a black metal band claiming this specific moniker, "Ante-Inferno" might be a form of ironic defiance. A challenge to the idea that morality, heaven or hell in today's modern society even matter anymore, as we seem to live in a post-religious, post-truth world, no longer guided by strict values. A fitting prelude, then, to an album titled "Death's Soliloquy"—because what better time for a dramatic monologue than right before the lights go out?

Musically, "Death's Soliloquy" is a solid slab of modern black metal. It's raw without being undercooked, atmospheric without drowning in its own fog, and aggressive without descending into pure noise. The production avoids the trend of sounding "trve" like it was recorded inside a cathedral and a microwave simultaneously, which is a mercy. There are three standout tracks, while the rest hover in a safe zone—not bad, but not exactly dragging you into the abyss either. So, which are my issues with the album, because what is black metal without a little suffering?

The first sin is the interlude. "Into The Eternity Of Death" is exactly the kind of title that promises transcendence but delivers... an interlude. It sounds grand, but so does "infinite lettuce", and that wouldn't make for a satisfying snack either. You could cut this track entirely and nothing would change, except your attention span might thank you. It adds nothing, and worse, it breaks the album's momentum. You're mid-descent into hell, and suddenly you're on hold, listening to ambient scratching.

Second: some songs are simply too long. Case in point: "An Axe. A Broadsword. A Bullet", which undeniably boasts one of the coolest song titles I came across recently, but clocking in at over 14 minutes, it falls into the trap of having not enough gripping ideas to fill a song of such length. Yes, there are captivating sections that claw at your throat, but they're spaced out between stretches that wander aimlessly like a cursed NPC.

And finally, three: the vocals. Our frontman sticks to an over-the-top shriek that, while effective in short bursts, gradually begins to wear down the nerves. It's less "demonic possession" and more "haunted tea kettle" the longer it goes on. When he does stretch out into deeper growls or more varied phrasing, the songs immediately feel more alive. He's got range (as proven elsewhere), but he doesn't always use it. But let's not pretend this is a total descent into mediocrity.

Because, when this album hits, it hits. "Cold. Tenebrous. Evil" is a compact, vicious offering that benefits from exactly what some of the longer tracks lack: tight songwriting, tonal variation, and an actual sense of dynamics. The vocals here explore a wider emotional range—from guttural growls to classic black metal shrieks, all the way to haunting, nearly desperate outbursts—and the instrumental work drives it forward with alternating between controlled blasting and a cold, double bass driven groove.

My absolute. highlight, though, is "Towards Asphyxiating Darkness". It does everything the longer tracks try to do, but with purpose and precision. Despite its nine-minute runtime, it avoids dragging. Built around a relentless, hypnotic riff, the track drowns the listener in its atmosphere. It's suffocating—in a good way. There's a strong kinship with older Funeral Fog material (particularly "Curse of the Immortal Tyrants"), but Ante-Inferno make their own brew. The mostly relentless pacing, repetition, and tonal weight all work together to slowly crush the light out of the room. Lastly, "No Light till Life's End" is another tightly honed track. Trimmed of all fat, the song keeps you engaged for four minutes. Desperate vocals battling with harsher shrieks, driven by blasts and the grooving mid-tempo parts which we encountered before, make for a focused and satisfying last standout song.

"Death's Soliloquy" isn't a flawless work, but it's ambitious, thoughtful, and self-aware enough to leave an impression. It shows that Ante-Inferno are capable of greatness when they resist the temptation to overindulge. If they tighten their approach and let their strongest instincts lead, their next album could be a real scorcher.

Rating: 7.9 out of 10, because three brilliant songs, one Viking shopping list, and an unnecessary interlude equal an album that just barely misses greatness—but still burns bright in the grey.