Country: U.S.A.
Genre: Progressive Black / Death Metal
Release: May 8, 2026 (Black Lion Records)
For fans of: Enslaved, Thy Catafalque, Ne Obliviscaris, Opeth.
Having left their early metalcore roots firmly in the past, the American IATT return with their fourth full-length, “Etheric Realms of the Night”. This is their most experimental and ambitious work to date. The album deals with that strange, borderline state of mind between full consciousness and deep sleep. Musically, the band builds a labyrinthine setting where the rawness of death/black metal meets unexpected prog orchestrations, incorporating brass, piano and violins, with the participation of choice guests such as Jørgen Munkeby (Shining) on saxophone.
Selected Tracks :
- 1.Drift Away 06:39
- 2.To Lie Beneath 09:12
- 3.Somniphobia 06:03
- 4.Pavor Nocturnus 07:22
- 5.Quietus 07:17
- 6.Walk Amongst 08:05
- 7.Hypnos 03:38
REVIEW : Have you ever felt that strange, almost frightening sensation right before sleep takes you? Where the mind balances between reality and dreams and you don’t fully control what you’re thinking? That exact “grey” space of the subconscious is what IATT set out to set to music. And to achieve it, they dive deep into an extreme, progressive black/death ocean, creating a work that doesn’t easily fit into labels.
“Etheric Realms of the Night” is a grandiose sonic puzzle. The band throws everything onto the table, building a mathematically calculated chaos. Just when you’re taking the relentless, harsh vocals of Jay Briscoe to the face and the guitars are changing meters at dizzying rates (as on the sweeping “Drift Away” with its fantastic Alan Watts sample), elements suddenly land that leave you speechless. Here the guests don’t simply make an appearance, they define the sound: Jørgen Munkeby of the mighty Shining gives it his all with his saxophone, especially on “Walk Amongst” where jazz jams with death metal, while the flute of Didier Malherbe and the haunting violin of Benjamin Karas (listen to the climax on “Quietus”) create incredible, “dreamlike” contrasts with the Americans’ rawness.
But there is a price to all this spectacle. The record is so unbearably “dense” in information, ideas and orchestrations that at times you feel it’s suffocating you. There certainly are more atmospheric, calm passages with piano to let you catch your breath, but they’re fleeting. If you don’t give it your 100% undivided attention, this bulky blend of sounds will wear you out. We’re talking about an album made exclusively for those who can withstand the experimental, relentless hammering and enjoy getting lost inside musical labyrinths. A difficult listen, but undoubtedly a bold one.
