Review by SzejkElRopa on June 26, 2026.

Polish black metal band Ashes is one of my discoveries this year. To this day, I find myself returning to both "Gloom, Ash And Emptiness To The Horizon", as well as "Into The Woodlands". This project caught my attention not only because it is Polish, but also because its music is thoughtful, deep, and emotional. Haunting synths from their latest album and trance-like riffs on their previous one (especially the one at the end of 'III') are prime examples of their high-quality material. As the old saying goes - appetite comes with eating - therefore, I decided to check out their self-titled debut album from 2019.

As was the case with their next albums, no one is granted any happy things here. The atmosphere created by repetitive riffs slowly draws the listener into the quite unsettling world. The closest comparison I can think of is the cover art, because it depicts a well in the forest. Its imagery is so eerie that one can ask themselves - is it even real, or is it a nightmare? I think that's it - Ashes presents nightmarish music, taking the listener to the place they don't want to be in. Mostly, the album is played in mid-tempo, with tremolo riffing clearly leading the songs. At times, it speeds up, as in the fourth minute of 'Dissolve To Oblivion', which features a fast-paced, yet mesmerising moment due to the drums creating a wall of sound. Later in the same song, the repeating riff is accompanied by subtle, though easily heard, keyboards, which evoke the feeling of desolation. Without doubt, vocals make a great contribution to the atmosphere, deepening the feelings of depression and desolation. His shouts fit the music very well, and he never overpowers the guitars. Although I found Lazarus' vocals the most appealing during my journey with Ashes, Vann doesn't disappoint. Returning to the aspect of atmosphere, 'Beloved Dust' is an especially depressive song with yet another repetitive riff and the vocalist sounding as though he were in despair. Although there are some more or less furious outbursts, such as at the beginning of 'Dies Ultima', they don't overshadow the overall atmosphere. In this particular moment, there is more hopelessness than aggression, per se. Lastly, I'd like to point out the audibility of the bass guitar, because first of all, it adds another layer to the atmosphere, and secondly, in this type of music, it tends to be buried in the mix.

I have seen several comparisons of Ashes to Burzum, and I can see a similarity between 'Majesty' and the title track of 'Hvis Lyset Tar Oss', especially in the heavier riff that leads the chorus in the former song. Although Ashes didn't take a daring step forward to revolutionise black metal, this album cannot be labeled as simply some band's worship. Speaking of other similarities, the opening riff to 'Dies Ultima' reminded me of the "Age Of Excuse" era Mgła for some reason, and the funny part is that this album was released after "Age Of Excuse". Other riffs are played in the standard manner of atmospheric/old-school black metal, and, as stated, are repetitive and rather simple. The same doesn't go for the drums, because what The Fall plays isn't by any means repetitive, obviously, aside from intentionally repetitive passages.

Although it is rather apparent that I enjoyed this album, I think Ashes' later works surpass the debut. I think the simplest explanation for that is that all members became more knowledgeable and experienced, which led to other great works, which stole my heart. Nevertheless, I give this "Ashes" 8.4/10, because it, and the whole band, deserve far more recognition within the underground scene. Recommended for the fans of old-school black metal.

Rating: 8 out of 10