It's rather a surprise to realise that this is the first Primordial album since the Pandemic and all that has happened since; the Irish firebrands' previous album being received well here but divisively overall with its more straightforwardly pummelling sound. And indeed, How It Ends does follow on from that album in terms that some would say is downright self-masturbatory, with long repetitive songs opening and barely letting up until the album is more than done - most pieces are well over five minutes, with three seven-minuters one after the other that yes, probably could have shaved off at least two minutes each. Normally, brevity is best.

And yet, there's something about Primordial and their undoubted passion for their country, culture, and music, that more than carries How It Ends through all the bloat. The opening title track, for example, is an emotional paean to singing the song of our people, one of a deep and unyielding pain, and although repetitive in technical terms of riffs and melodies more than holds your attention thanks to the hypnotic quality of the music, not to mention Nemtheanga's impassioned vocals. The band's frontman is one of the strongest aspects to Primordial's music, his yearning vocals always both epic and human, primordial and esoteric at once. He's the listener's guide across this long album, the stirring music a fantastic backdrop to his sermons.

Not to denigrate the rest of the band, of course; the rhythm section of Simon O'Laoghaire on drums and Pól MacAmlaigh on bass are more than solid, and the use of folk and doomy melodies by guitarist Ciáran MacUiliam is as impressive as ever. Even instrumental interlude Traidisiúnta is fascinating and unskippable thanks to them. Where things suffer a little is that there's not really anything new to the band's sound beyond perhaps a refinement in places audible in, say, the folksier turn on Ploughs to Rust, Swords to Dust, soon turning blackened thanks to a greater tempo and snarlier vocals from Nemtheanga. Primordial have certainly written songs like We Shall Not Serve before, the mix of pagan melodies and strident vocals galloping atop as formulaic as the band can be if you want to be negative about it.

Yet it's still gripping thanks to the excellence of execution, the ear-hooking quality of the riffs, and of course Nemtheanga's performance. Primordial always have and still do play a compelling style of metal that more than bends the ear even at this late stage in their career, and none of the tracks present are lesser or worthy of being cut wholly out. This is especially true once you've reached the later tracklisting, where the more unusual tracks are to be found, starting with the longest piece present, the eight minute plus All Against All. It's the heaviest song on the album too, a bass-driven, snarled atmospheric piece where the melodic riffs provide release beneath the constant tension from the rhythm section, not to mention the later wordless humming vocals - and it's unusual for the band too, feeling like some otherworldly Killing Joke piece rather than anything.

Death Holy Death follows, taking a much more doomier and more mournful tone, contrasting well with the preceding songs and making a mark on your mind despite coming immediately before the most upbeat song on the album. Said closing piece Victory Has 1000 Fathers, Defeat Is an Orphan is a culmination of all that went before, a triumphant and melodic heavy metal anthem with a galloping, virtually NWOBHM riff at its backbone and one of the band's signature acoustic breaks for extra epic flair. It ends the album with style and more than makes up for the repetitious feel that may have crept in across the past hour or so. If this truly is the final Primordial album rather than a general theme of finality, then they've gone out well - a lengthy listen, sure, but a quality one.