Thy Dying Light

Judas Iscariot. One of the most prolific and infamous names in the United States black metal scene (abbreviated as USBM), this band needs no introduction. Understanding the legacy this one-man band carved across the landscape of the scene in the 90s all the way until the band's demise in the mid-aughts requires a thorough understanding of not only black metal, but the bands and artists that were active during black metal's heyday, as well. Fortunately, there shan't be a history lesson today. There shall only be an appreciation of a legendary band within the perverse, moribund vortex of one of metal's most extreme corners and the scurrilous and repulsive 1996 album said band spawned.

Every album, regardless of the musical lane its creators chose to maneuver themselves into, has to have a tone. Such a tone is almost always established, nine tines out of ten, with the opening song. That could be in the form of a catchy hook, a riff or set of riffs, a drum passage, a movie or music sample, or some ambient noise that starts off quiet before swelling into the main body of the song that'll follow. Whatever is chosen as a musician, it's up to them to set the mood for the listener. In the case of Thy Dying Light, the tone established by the opening song is one of sadistic, oppressive, suffocatingly malignant and cruel evil. The riffs that make up "But Eternals Beheld His Vast Forest..." from beginning to its eight minute end reek with destructive hatred, dripping like blood made cold by the dagger that, just moments ago, plumbed the depths of the unfortunate victim caught within its pitch black whirlwind of hatred, spite, misanthropy and intolerance. Hell, the entire album is like this. Right until the final song which is appropriately titled, "Arise, My Lord of Infernal Wisdom...", it is swamped in such wretched malevolence, utterly cocooned from crown to couture in a squirming, quivering, trembling bouquet of thorns, hellfire, acid and barbed wire that's wrapped so tightly around itself, anyone not already acclimated to this type of music will be instantly turned away within mere seconds of the opening track boring a hole straight through their eardrums.

Speaking of the music being uncomfortable, let's talk about it. As I mentioned, every song has a pronounced and thick aura of hate seeping through it. The opening track, like I said, does an unquestionably great job of establishing the atmosphere from the get-to. The tone of the guitars makes one think of a razor blade running across glass during a blizzard while the riffs emanating from Akhenaten's guitars are like a knife pressed to your throat. With every song that followed beyond that first track, I couldn't stop listening. The opening track along with the malignant dirge of "His Eternal Life, like a Dream, Was Obliterated..." and the rapacious peaks and valleys of "Helpless It Lay, like a Worm in Its Frozen Tracks..." is the perfect threesome of tracks for this album.

It's hard to explain precisely why Akhenaten's terrible playing throughout is so hypnotic. I recognize the aforementioned out of time drumming, the out-of-time guitar playing, the (at times) out-of-tune guitar sound, the extremely loud snare drums, the characteristically simple, by-the-numbers second-wave black metal playing that would seem amateur, pedestrian and, in many spots, even funny on the surface. Indeed, it makes one confused and kind of flabbergasted how this band got such a passionate fanbase in the first place. It was a nut that seemed, at first, unable to be cracked.

Then I listened to this album. Many times.

That's when it dawned on me. The main appeal that this album has (as is the case with, from what I can tell, every Judas Iscariot album) is how real it all sounds. I read one interview from the owner of a zine had with Akhenaten, the sole founder and instrumentalist of the band. I can't remember exactly which album was being promoted at the time, but it was very telling of the type of man Akhenaten was. His answers to almost every question to his writing process of the album to the philosophy of Judas Iscariot and his band's relationship within USBM all revolved around one answer: HATRED. Hatred of humanity. Hatred of religion. Hatred of society. Hatred of posers and trends. Hatred of the "capitalist scum trying to destroy black metal." Hatred of just about everything opposed to the spirit of black metal. That entire interview was rank with the pungent stench of unbroachable nihilism so intense that I struggle to think of a black metal band more viciously hateful and evil than Judas Iscariot was, especially around this album was released in 1996. Yes, there were no shortage of black metal bands in the States vomiting forth blasphemies against God and worshiping the darkness. Krieg; Von; Acheron; Demoncy; Black Funeral, to name a few. Even though I don't doubt the authenticity of any of these other bands and their sincerity outside of the theatricality of the musical lane they've chosen to travel, something about the former gives the impression that his conviction in the pure, unending hatred he feels for everyone pulsing through every black vein of his is something he believes down to the bone.

That conviction fuels his performances on this album. They are meant to be sloppy. They are meant to be raw. The vocals are meant to be the ugliest sounds you've ever heard. There's no overdubbing here. There's no clean production. There's no meticulous tweaking and pulling of knobs and levers. This album is hatred and evil personified and it's loud and unapproachable and repulsive. I promise that it'll take multiple listens to get a feel for this band's sound. This is not - I repeat, NOT - an album for people wanting to get into black metal. Anybody going into this album with that mindset will find nothing to like here. That's because it's meant for the diehards, the passionate "trve kvlt" fanbase who look at bands like Dimmu Borgir and Watain and spit on them because they're "not evil enough."

Speaking of that, Akhenaten's vocal style is definitely one of the most unique I've heard in black metal. They're not your standard shrieks and howls that follow the rhythm and tempo of the rest of the instruments. They tend to vary from album to album, but, on this album, I think they're my favorite. The tone and timbre of his voice fluctuates from high roar to mid growl, but they all project the same continuous In each song: seeping vehement repulsion and disgust. His lyrical delivery is unique, too. They're short stanzas that start, then stop almost suddenly, like Akhenaten chose to deliberately end that verse and move on to the next, placing them whenever he felt it was best or necessary. I almost want to liken to black metal spoken word. I know it sounds real dumb putting it that way, but that's the only way I can bring myself to describe it. There's seemingly no consistent, recognizable, familiar or traditional structure in his vocals or his vocal and lyrical delivery. They're the farthest thing from traditional. They're so unique that, to this day, I haven't heard another vocal style match this tone of abject hatred within black metal.

One thing I feel is kind of important to mention is how much this album takes a hefty mountain of inspiration from Burzum. The similarities to the early work Varg's band created really shows on this album, I feel. The album artwork is reminiscent of the artwork from Hvis Lyset Tar Oss, such that it almost feels like a spiritual prequel to that of some sort. The heavy atmosphere, as I mentioned before, while very malevolent, has that raw and unfiltered charm that made Burzum's old albums so special. Sure, both have a burning hatred for contemporary black metal and express extreme isolationist views, but it's clear they expressed them somewhat differently in their music (Judas was way more musically overt in this way). I was going to mention how both Varg and Akhenaten have both been accused of associations with the NSBM movement and the coincidence of both of them being creators of infamous one-man bands, but it seems pointless to bring up as it has nothing to do with the music of the record instead, so there's no need to mention it beyond this point.

I can't think of much more to say about this album. It's Judas Iscariot's magnum opus. Distant in Solitary Night is technically a much better album in terms of speed and performance, as is Heaven in Flames. Yet as good as both of those albums are (the only other JI albums I own), both of them tend to test my patience more than this album does, even though they're far less polished than this thing. If you can withstand the torrential force of negativistic hatred, this album will stick with you forever. I promise.

American black metal band Judas Iscariot is, nowadays, the most famous act in the U.S.A., even though they split-up on 2002. They have released various demo tapes and EPs, a Live Album and six full lenghts. The one I'm reviewing is their second effort, released in 1996, which is the same year they released the debut album: a very prolific beginning. Akhenaten, the leader of this one man band, has composed the music and has written all the lyrics during the first half of 1996. He is a great fan of Darkthrone, at least until Panzerfaust album. He plays a similar kind of music, very simple to play yet hard to understand.


Thy Dying Light has a unique atmosphere coming from the music: it's not dark and haunting as albums like Heaven in Flames, it's more destructive and cruel. While hearing this album you can almost smell the death, thus see dead bodies on a desolate road. The artwork is not as good as the one of Distant in Solitary Night, it's simpler and less good. It is a more Burzum-like painting, with dead trees and a dark shadow walking, with a distant shape of a church in the Distance. Musically, Thy Dying Light is composed of 9 tracks and ends after 52 minutes, an almost 6 minutes average per song. It's a quite long average in the black metal scene to be honest I'd say, showing one of the most impressive quality of Akhenaten: the songwriting. He uses a few riffs for each song, but each riff is good and never seem ripetitive.


The first three songs are the longest on the album, with a growing lenght: the first song clocks after 8 minutes, the second one after 9 minutes and the third one has a 11 minutes lenght. Impressive. Those songs are mostly composed by mid-paced riffs, simple drum patterns and evil vocals. This is another strong quality of Judas Iscariot: the vocals. Akhenaten roars, growls, screams and howls to fit perfectly the lyrics and the atmosphere of the songs. It's not a vocal-based music, but the vocal part has a major role in the album. Still, there are killer riffs in this album, such as track seven, They Saw His Pale Visage Emerge from the Darkness. This is one of my favourite songs of the album. A Darkthrone anthem, with awesome vocals and fast drumming. The tracks 4-7 are pretty similar in the form and structure, with 2 riffs alternated with some slow-downs. Track eight (the title track) is very reminescent from Burzum's early work: a melody repeated on and on, on and on with some guitar addictions and keyboard layers on the background. Very relaxing after the black metal fury of the previous tracks. The album ends with a strange track, short and spoken. Probably it's a summon, and in my opinion it is spoken backwards.


This is a very important album in the U.S. black metal history and one of the most precious gems of the second wave of black metal. I suggest to hear it if you like black metal, and buy it, if you manage to find it.

Judas Iscariot was and is the cornerstone of the USBM scene and this early release by Akhenaten is essential to his legacy. Sure, the produtction sucks even by "true" standards, homeboy's drum work is sub-par and unless your a fan of "VON" style minimilistic black metal you will be lost and scared. Those of us on the level will be treated to an album of truly suicidal proportions. What the drums lack the guitars certainly make up for and though there is only a few riffs per song they are each crafted to produce their own unique trance.

The album kicks off with ...But Eternals Beheld His Vast Forest a track heavily influenced by Darkthrone but there is a bluesy-rock riff in the middle that breaks up the blasts nicely. ...His Eternal Life, Like a Dream, Was Obliterated is the best track on the album evoking a sence of total failure and loneliness. Its plodding repetion is reminiscent of Pornography era Cure if it was played by Varg Vickerness. The other tracks on the album are far from filler but don't quite pack the punch of the first two tracks. The 4th track ...Behold, Our Race of Unstoppable Genius has a ripping old school punk vibe.

The talent of this man tracends the primitive nature of the recording Akhenaten's knack for layering depressive melodies was obvious from the beginning. I would recomend starting with the early work as to appreciate Judas Iscariot's masterful later work like Dethroned, Conquered and Forgotten even more.

Judas Iscariot's onslaught continues with the release of the second full-length album out of seven in total, including the live album "Under The Black Sun". This is by far my favourite Judas Iscariot album as it combines all the greatest elements about the genre and throws them together to come up with this brilliant masterpiece. "Thy Dying Light" consists of nine tracks in all and is just over 51 minutes long. Just enough time for it to grab you by its claw, chew you up and then spit you back out. This is an utter onslaught.

Influences are quite clear here. Both early Immortal and Darkthrone are obviously held in high esteem by Judas Iscariot. Despite easily noticeable influences, Judas Iscariot's music is unique in it's own way. Songs are usually quite repetitive and raw. The choppy and crunchy riffs are perfect for this style of Black Metal. They are generally quite slow and highly influenced by early workings of Darkthrone. The vocals are grim and project utter bleakness. They're somewhat different to most Black Metal vocals though, they sound significantly deeper than most, but it works well with the sound this album portrays. As with all Black Metal, this is no different when it comes to atmosphere ... From the very beginning it sets a certain type of mood and feeling throughout. A mood which will certainly project desolation, bleakness and destruction. Latter Judas Iscariot albums tend to focus more on atmosphere, especially "Heaven In Flames". The latter albums tend to be much darker, but on "Thy Dying Light" the atmosphere is more unique, and with that, probably grimmer and misanthropic. The raw and harsh vocals, along with the choppy riffs and pounding drums offer the perfect backdrop to the atmosphere. Vocals occasionally do shift into a more spoken theme, rather than singing, this is usually done with a harsh tone which adds to the already in place atmosphere. You could say it enhances it somewhat. Despite all this, the release isn't that aggressive. It's far more rhythmic than anything, but do not let that deter you from purchasing it.

Highlight tracks for me include; "His Eternal Life, Like A Dream Was Obliterated" and "Behold, Our Race Of Unstoppable Genius".

From the first second of the first track, But Eternals Beheld His Vast Forests, you know you are about to hear one of the best black metal albums of all time. This album sounds much different than the debut. More melodic, better drumming, better riffs, more atmosphere and the production sounds better but still maintains it's rawness. Akhenaten simply put released a masterpiece with Thy Dying Light. This album is epic!

But Eternals Beheld His Vast Forests starts the album off and is one of the many highlights. Some very grim riffs and amazing atmosphere. Behold, Our Race of Unstoppable Genius is another track with amazing atmosphere and the best drum work on the album. The drumming on this album can be very sloppy and all over the place but I think it fits perfectly. Helpless it Lay, Like a Worm in His Frozen Track is my favorite song on the album. It starts off slow and melodic and just blasts away after a minute or so. One of Judas Iscariot's best songs. The album ends with the instrumental Thy Dying Light, and Desolate Darkness. This song starts with the best riff on the album and after 10 seconds a second guitar comes in and plays the same riff. The instrumental is repetitive but that riff is fucking amazing, it makes for a near perfect way to end a near perfect album.

Akhenaten recorded some of the best black metal with Thy Dying Light. If you are a fan of black metal and don't own this album then there's a problem somewhere. A masterpiece like Thy Dying Light does not come around all that often. Truly amazing!

Thy Dying Light is Judas Iscariots second full length release and has some interesting things to consider about it. Usually in a bands first few releases you can clearly see their influences. Akhenaten‘s inspirations and influences clearly manifest themselves in this release. What’s also interesting about Thy Dying Light is that not only are Akhenaten’s inspirations shown, but what he does with them, and to see how he changes them. You can also see Akhenaten developing more and more his unique sound which most fully manifests on his later work Heaven In Flames and the last full length release of new material To Embrace The Corpses Bleeding. Aside from this album being interesting it also produces some grim, relentless, at times emotional, and purposeful black metal.

It’s clear that Akhenaten’s inspirations for this album were Pure Holocaust / Battles In The North era Immortal, and early 90’s Darkthrone. In Thy Dying Light’s songs show examples of Immortals icy raw riffs like in the song They Saw His Pale Visage Emerge from Darkness and Behold Our Race Of Unstoppable Genius . Both songs start off with a familiar Immortal like riff like that in Pure Holocaust. Its raw, at times choppy, and grim. Once you notice this you can even see the similarities in vocals to. Although when Akhenaten’s vocals are over more of his original creations on the album the resemblance disappears for the most part since his vocals are significantly deeper, usually a turn off for black metal, but its works well on this release. On Thy Dying Light And Desolate Darkness and Writhing Upon the Wind of Mystic Philosophy

, some slow moving raw Darkthrone inspired riffs manifest themselves. The Darkthrone Inspirations are not quite as clearly for Akhenaten has added some of his classic Judas Iscariot elements to them.

Atmosphere is a big element of all black metal, it visually sets a mood and feeling through sound. Many black metal fans will describe it as actions happening, such as destruction, death, insanity etc, whether it is coming or already has arrived. Thy Dying Light doesn’t quite set the atmosphere in the same way as the other Judas Iscariot albums Heaven In Flames and Of Great Eternity. That is not saying its doesn’t produce a weaker atmosphere, but a different one. On Heaven In Flames the atmosphere is much darker and shattering, the songs progress in a way that omens destruction and disaster coming. On Thy Dying Light Judas Iscariot has a more unique atmosphere, one that is much more grim and straight forward than the albums mentioned before. As with Heaven In Flames the atmosphere is that of coming disaster, apocalypse, destruction, and plague. On They Dying Light the listener gets the feeling they are in the mist of this destruction and plague of death. The riffs at times are choppy and raw with pounding drums making them seem like they are tearing down walls. At times they are slow and grim, as if the song is displaying the effects of its atmosphere, the damage done. Other vocal moments that help the atmosphere is when Akhenaten is more speaking in a grim and harsh tone rather than singing, as if delivering his message of current death and destruction for mankind. Quite an amazing atmosphere and original for this black metal band.

The only downside to this album is that it focuses on being raw and grim. This of course helps the album in a huge way making the atmosphere of it dominating. This album also has moments where it is aggressive, like on the first track But Eternals Beheld His Vast Forests. This is wear the album being mostly dark, grim, and atmospheric clash with the aggressive moments. The aggressive moments are of course very well done, but they take away from the atmosphere set previously or currently beginning. The transitions are done well, but during the aggressive moments and bridges, the atmosphere seems to become lost (not hopelessly lost though). Since the atmosphere on this album is such a huge part of it, every moment should be devoted to keeping the consistency of it. Over all this album is not very aggressive, although relentless. So to listen to this album for other reason, like aggression, or pure darkness, would void the listeners enjoyment.

Another interesting aspect of this album is that Akhenaten develops a riff that is in a style found on many of his later works, like Heaven in Flames. It is the style of guitar work found on the beginning of Helpless it Lay, Like A Worm Frozen In His Tracks. It is a slower more Americanized black metal riff, not very aggressive, heavy, or grim, but more rhythmic. This style shows up much more in later works.

Thy Dying Light produces a relentless atmospheric experience full of death, destruction, and current mayhem that keeps on being pounded into the listener. There are better Judas Iscariot releases for I believe this is weaker in atmosphere and aggression than the bands later works. Although this comparison is unfair since the later works of Judas Iscariot are amazing. Listen to this album to see how Judas Iscariot developed into what it is before the band stopped making records. A worthy listen to all black metal fans alike.