With Eugenika, Triumph, Genus continues its march through the shadowed corridors of black metal, refining its sound while embracing a rawer, more unrelenting approach. From the opening moments, the album grips the listener with icy tremolo riffs, hammering percussion, and the commanding, almost declamatory vocal delivery of Jaroslav. While past releases drew clear inspiration from the Norwegian greats, Eugenika forges its own identity—colder, more introspective, yet no less ferocious.
Svar’s instrumentation is a driving force, balancing intensity with haunting melody. The riffs are razor-sharp, alternating between blistering aggression and moments of eerie, folk-tinged atmosphere. The bass lines, given ample breathing room, lend weight to the compositions, grounding the whirlwind of tremolo-picked guitars. The drumming, though less overtly chaotic than on past works, remains dynamic, with sudden shifts in tempo and rhythm that add depth to the album’s sonic landscape.
Lyrically, Triumph, Genus continues its philosophical and nihilistic themes, diving into thought-provoking and, at times, controversial subject matter. While the Czech language may obscure the full impact of the words for non-native speakers, Jaroslav’s expressive vocal phrasing ensures that the weight of the album’s themes is felt as much as it is heard. The album’s title, referencing eugenics, hints at a conceptual depth that invites reflection, whether in agreement or opposition.
Clocking in at just over half an hour, Eugenika is a concise yet immersive experience. Its stripped-down production amplifies the album’s bleakness, favoring a raw, unpolished sound that complements its thematic undertones. While it may not be as rhythmically playful as past efforts, its sheer force and chilling atmosphere make it one of the band’s most uncompromising releases to date.
For those who revel in black metal’s colder, more severe side, Eugenika is an essential listen—an album that respects its influences while confidently carving its own path into the abyss.
