Review by Jeger on October 8, 2026.

Vlad Țepeș - Vlad III - Vlad the Impaler… Legends of his cruelty precede him: impalement, skinning, genital mutilations, boiling, burning and olde fashioned hangings - all implemented with fervor at the hands of one of History's greatest monsters. But what of the golden chalice? The one that stood at town centre, the one that no one would steal. Vlad had become so renowned for his savagery, particularly towards thieves that the chalice stood each day untouched out of simple fear. Many argued that Vlad's methods, though barbaric, were highly effective. Other ghastly tales involve the luring in of poor folks from town into a multi-coursed feast where they were allowed to eat just before they were surrounded by guards and burned alive. Vlad viewed these acts as mercy killings that freed the poor from their impoverished lives on Earth into Heaven. Unfaithful Women were met with the worst treatment: various sexual organ mutilations and removals along with posthumous mutilations of unborn babies. And of course all bodies put on display throughout the Ville.

Throughout history, the life, Military campaigns and ruling methods of Vlad III have been detailed widely. Some have been exaggerated by those who feared him such as the Turks and the Saxons, but for the most part, the stories are true. And what a concept for a Black Metal record…

Enter Finland's Days Ov Yore - something a bit, or a lot different than the bands you've become accustomed to who call Suomi home: no Occult mumbo-jumbo or misanthropy/nihilism, only a journey through the annals of time into places never forlorn - legendary tales to come, but first, it's into Segesvár, Hungary - now Romania where twilight Eves were rung in by the Rack and the Gallows where we venture as we prepare to take in Days Ov Yore's debut LP, 2026's "The Tale Of Vlad Țepeș Part I". And let the executions commence!

Right out of the gate with cinematic drama to set the tone - a message? A soliloquy? A proclamation… Pensive mutterings to draw you in before the momentum of the experience exerts itself; propulsory riffs and rolling rhythms drive the tale onward into great battles! Grisly fates and History in the making during the statement-making title-track. The following track, "Born To War", places us in the warmth of Suomi familiarity, of Black Metal appreciation while you're reminded of fellow Finns, Bloody Valkyria, by every epic composition and Sargeist by the fundamental melody of the music. A true Finnish Black Metal record, a criminally overlooked one. Just a beautiful album from outside in: the classic cover art, the true Suomi sound and the story of a true Legend of brutality. Each track continues the story with clarity and resolve whilst it captivates your attention the whole way through and not much effort will be exuded in trying to understand the lyrics. Lyrics are in English and vocalized clearly in comparison to most BM albums; creating a free falling experience; effortless and memorable.

Enter the filthy Mehmed the Conquerer! A dirty Muslim with visions of Ottoman victories and conquests over the likes of Vlad. "Rise Of Mehmed The Conquerer" - a formidable adversary indeed. A foe earned through childhood conflict that spilled over onto the fields of battle. Vlad attempted to assassinate Mehmed but to no avail. Mehmed outlived Vlad by five years and died of natural causes. Musically, expect a highly visual piece that invokes imagery of Ancient horizons backing a foreground of great battles taking place or of Soldiers galloping toward the scourge. Variations in tempo allow for the guitarist to explore different techniques but the overall vibe here is classicism as it should be. Such a worthy subject deserves nothing less than the lavish treatment. Sitars create a very immersive environment where one can imagine scantily clad mistresses swaying to their sound or of great feasts or sacrifices taking place.

There is a bit of Emperor worship, particularly during the above-mentioned "Rise Of Mehmed The Conquerer", but outside of that, "The Tale Of Vlad Țepeș Part I" is pure Finnish gold. The ever-fertile Finnish Underground proving once more to be the most thriving school of BM. "The Tale Of Vlad Țepeș Part I" closes with "Return To Wallachia" - a slathering on of every element of greatness that has formed the record thus far: soaring melodies, a myriad of percussive techniques and an atmosphere of enthrallment. Vlad the III met his demise on the battlefield against the Ottoman Empire in January of 1477. His body was decapitated and his head was sent to Constantinople as a trophy and put on display… A warrior's death? Perhaps not, as some Historians believe he was accidentally or purposefully killed by his own Men.

Days Ov Yore continues the story with their following LP, "The Tale Of Vlad Țepeș Part II" and so long as evil thrives, so long as there are Tyrants, Dark Overseers or any other form of dastardly Man, BM will have a voice. A History lesson packaged in Black Metal - the most alluring, versatile and deep Genre of Extreme Metal… Take up your swords! Jump on a horse and go conquer something. Just don't get arrested…

Rating: 9 out of 10

Review by Greg on March 23, 2023.

Alex Nunziati, maybe better known as Lord Vampyr from Theatres Des Vampires in black metal circles, is a pretty busy man. His main band Malamorte and his namesake project have all seen a lot of releases in recent years. It must not have been enough, since he's now founded a solo project under his birth name, distancing a bit from the more extreme end of the metal spectrum. After an attempt to a theatrical heavy album with debut Il Mangiatore Di Peccati last year, he's already delivering his sophomore Black Space Void, by all means and intentions focused on a more old-school thrash sound – which has arguably been for the better, since he didn't exactly showcase an incredible, versatile voice back then...

Not very surprisingly, his style works better here. He has a sort of unrefined yell that betrays an obvious hardcore influence, something that wouldn't have sounded too out of place on a Black Flag album, to name one. His drum programming is often credible, even if not incredibly complex, except for a couple of more mechanical fills, and his ample background is reflected the most in the leadwork, with a certain melodic gusto displayed in the all too rare solos (featured only on half of the songs), as well as some sparse clean lines. Unfortunately, the meat and potatoes of the album is what left me a bit on the lukewarm side. The blackened portfolio of the guy, along with the country, immediately brought Bulldozer to my mind, and some moments like the ominous chord progressions of the opener surely point in that way, but for the most part Alex settles on a slower, groovier territory, not too dissimilar to other compatriots Extrema, for example.

That also means that, for the most part, Black Space Void isn't very exciting, or really does a lot to catch you off guard. Refrains often only consist of the respective song title, and the supposed sci-fi/outer space album concept is rather hampered by the slick, but not particularly immersive production, save for maybe the neat clean detours of 'Stardust'. 'The Day The World Died Again' or 'Possessed By Astral Entity' are quite run-of-the-mill at the end of the day, but still cut a fine figure when compared to the goofy chorus of 'The Universe Doesn't Need Us' or the general disorientation of 'The Prophet'. The riffwork never shows signs of incompetence, but never really grabs you by the balls, either.

Despite all this though, there are a couple of songs that I'd go as far as to define 'cool'. Bulldozer-like moments aside, the aforementioned opener 'The Revenge Of Humans' features a honestly great solo in the middle that's unexpected as much as it's remarkable, kicking up the pace a good bit, although its muscular mid-tempo wasn't half bad either. The title-track is the obvious outlier, showing some vague black metal leanings (the sudden tremolo at around 2:00) and testing the drum machine's blast-beat mode. Shame for its abrupt ending, and the ineluctable title-repeating chorus, I guess, but by all means interesting, and I'd have sincerely appreciated more songs in this vein. A fair step below, 'Vulnerable' makes up an energetic finale, countering at least some of Black Space Void's dullest moments.

Summing up, ideas are mostly in the right place, and I'm left moderately curious to see where Alex will go from here. Black Space Void is a decent foundation for a possible future black-tinged thrash album, but he'll have to play more to his strengths, next time. That is, unless he decides to pursue another road once again...

Rating: 7.1 out of 10