The Lightbringer – From The Void To Existence

Rating: 3.5/5
Distributor/label: Self-Released
Released: 2020
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Band line-up:

Auraeon – Guitars, drums, music, lyrics and artworks
Archan – Bass, mixing and mastering
Sol-Orcus – Abyssal Voice
Celestheia – Celestial Voic


1. From The Void
2. The First Flickers Of Thought
3. Sparks Of Will
4. The Awakening
5. Desecration Of The Void
6. The Seal Of Annihilation
7. 07 Enchantment
8. Crystallization
9. To Existence
10. Caravansary Kitaro cover


The strangely named The Lightbringer are an atmospheric melodic black metal band from Canada who will be releasing their third effort ‘From the Void to Existence’ on July 17th, 2020. It follows 2017’s majestic and complex album ‘Heptanity’, which honoured seven primordial deities. This time around, a far darker and profound dimension is explored. FtVtE tells the story of a time where spirits awaken from the eternal abyss making it ideal for fans of fantasy. It sounds like the first Tristania albums, mixed with some Edge of Sanity. 

This may be black metal, but the atmospheres are a little creepier than most fans of the genre may be expecting. Rather than it sounding plain evil or aggressive, it sounds more disturbing and a little on the emotionally wrong side. It’s not as hard to listen to as atonal black metal, but if you’re looking for a more adrenaline pumping experience, you might want to look elsewhere. This album is pretty good, however. The chord progressions are adventurous (maybe a little too adventurous for some) and the merging of the expected instruments with orchestral ones and even female opera singing is well done. It’s not Septic Flesh level in terms of writing ambition, but it doesn’t have to be. TL are doing there own thing. 

For an album based on fantasy, it isn’t too much of adventure. The first seven tracks are rather consistent in tone. ‘Crystallization’ does have a more positive vibe in places (but that’s not saying it sounds happy – far from it) as does the following track ‘To Existence’, but by that time some listeners may have given up on the album. It does end with another atmosphere – that of darkness mixed with triumph, but if you’re looking for a huge climactic ending, you may be disappointed, if not extremely frustrated. That’s because the song doesn’t end on a tonic chord! Very annoying. I’m assuming the composers wanted the finale to be ambiguous and left to the listener’s interpretation. 

In conclusion, this is a strong and daring album in some areas, but it does get predictable in places. Fortunately, the furious tempos up the excitement, (well excitement is maybe the wrong word to use) but still, the blast beats in particular are not exactly inventive. But many love them, don’t they? Perhaps most importantly of all, there is intelligence in the writing, in particular the way the two opera singers interact with each other independently at times, and if you’re not looking for something TOO heavy in sophistication, this release could be for you. 

Review by Simon Wiedemann