And just like that, after another four year interval we have a new Sargeist album, especially if you don’t count Death Veneration EP as a standalone release but more as a continuation of Unbound, which signaled almost a new era to Sargeist sound and existence. But … wait Transcendental Black Magic isn’t a full Sargeist album :( It is a split with the Greeks Serpent Noir, of whom I heard nothing at all. Will it be worth it? Will I constantly spin Sargeist tracks while skipping Serpent Noir? A week spent with Transcendental Black Magic brought in unequivocal answers to these questions: a resounding yes and definitive no, and I have a feeling many black metal fans will share similar sentiments.

Sargeist, a pillar of Finnish black metal, needs now introduction, whereas Serpent Noir was a new entity for me, although I am familiar with vocalist Kostas’ other bands Embrace of Thorns and Necrovorous. Serpent Noir leader is guitarist Yiannis who apparently penned the lyrics for the whole of Transcendental Black Magic and who probably is familiar with Shatraug of Sargeist through their common World Terror Committee label.

Serpent Noir leads off and after a short longing guitar intro a predatory riff emerges in Throne of Satanas. In that composition, and probably throughout their part of the split, Serpent Noir combine harsher black metal, in your face crust punkish attitude with an obvious deep inner vulnerability. They are like hard shell candy with a softer inside. There is rugged veneer, grinding riffs and slicing cymbal sound, yet there are cleaner moments, pronounced black’n’roll melodicism and even cleaner vocals, coming from cavernous chants. Serpent Noir are like a hardened warrior, wearing leather armor with razor sharp blades attached on the arms, but with a hidden hurt and sensitivity flowing deep from the heart of this wounded animal. Just check out Endless Night of Lilith, probably the most accessible track on the split, sounding like the Sargeist of old.

Epiklisis Tou Eosforou starts off with some stretchy gooiness, but then devolves into its dual rebellious yet suffering character, reminiscent of Sargeist and another Greek entity Dodsferd albeit with less disgust and some cleaner effective shouts. From minor gamut notes, to burly, apocalyptic and punky reality, Serpent Noir turned out to be an excellent fitting companion to Sargeist who continues in the vein of the recent Unbound and Death Veneration, trying to push their black metal brand to another level. While being its own old reliable, God of the Darkest Dawn does exactly that, and if it is not a masterpiece track, then it certainly delivers some black metal melodic miracle moments. With compositions like God of the Darkest Dawn Sargeist keeps their roots yet raises the bar. This is burly, full bodied violent grief and profound emotion. There are tears, blood, sweat, jubilation, all swimming in guitars driven cesspool, made especially devastating when double bass kicks in. Spirit Nox Famuli is darker, more disturbing and chaotic, with some blasting sections, and the track which connects with Serpent Noir punky attitude the most, but its middle portion is a tad too long while the ending kicks it back in higher gear again in terms melodic sharpness.

Denser and driftier Sargeist, more vulnerable and deferential junior Serpent Noir complement each other perfectly, and make the split’s ends connect with a common fabric. These are not two bands just sharing a space on the release for the purposes of funds saving, but two collectives sharing similar ideology and approach to their black metal ideals as they see them today.