Review by SzejkElRopa on January 16, 2026.

The Internet is something some people wouldn't live without, but for others, it is like a curse. For me, someone who didn't live when CDs and cassettes were the only sources of music, it is my main source of discovering bands. That's how I discovered Cistvaen - through an algorithm on YouTube suggesting this album to me.

The whole album pretty much follows one specific pattern: there are big tempo changes. This can be observed in 'Cessation Of Hope', for example, where after three and a half minutes, the song suddenly stops, and a calming melody with acoustic and electric guitar can be heard for two minutes. Then, the song comes back to its fast tempo. That's the thing I very much enjoyed on this album because, on these almost 58 minutes, I wasn't tortured with aggressive tremolo picking and blast beats all the time. These acoustic "inserts" create most of the atmosphere on this album, in my opinion. They transfer the most emotions, which are sadness and mourning, to the listener.

I would like to point out the vocals. Guy Taylor manages to not only shriek but also growl. This can make someone think that this band has two vocalists, but in fact, it is the same guy. This can be heard all over the album, which makes it much more compelling. The vocals fit the depressive atmosphere perfectly and are certainly one of the strongest points on this album. The guitars, played by Chris Finch and Lee Meade, are very intriguing. This is not standard tremolo picking for the whole time, but also melodies between the songs and even some traditional metal riffs on 'Bleak House'. Guitars don't get boring and fill the album in the way they should. Of these, I liked 'Silver Birch', 'Bleak House', and 'The Blind Observer'. Speaking of bass, played by James Mardon, I am content that I could hear it. It is a small thing, but it added flavour to this album. I liked the small bass solo on 'The Blind Observer' very much - it swept me off my feet the first time I heard it. Drums, played by Ed Wilcox, also work well with the rhythm and the atmosphere. As guitars, they don't become tedious over time; there are blast beats and slower parts, and cymbals are used quite often. If I had to be picky, I think that this album lasts a bit too long, but maybe my attention span is too short (as it is in my generation). Also, somewhere between 'The Epitaph' and 'Time The Mournful,' the album becomes a bit boring, but once 'Bleak House' starts, everything goes back to its place.

As for the first full-length, the British quintet did a fantastic job creating a haunting, atmospheric black metal album. I will definitely follow the band in the future, and I am curious to see what happens next. I will say no more.

Rating: 9.6 out of 10

Review by TheOneNeverSeen on March 30, 2024.

Taking that important step between one’s first EP and debut full-length is somewhat challenging, as the songwriting style used in a shorter release may not work in a longer one. A band can fall in the trap of self-repetition, rendering the album boring and predictable. Thankfully, that has not happened to Cistvaen, as At Light’s Demise is, same as its predecessor, a highly atmospheric release any fan of the genre is likely to enjoy.

Without any intro the title track instantly kicks in with a powerful riff and crunchy bass I loved so much on 'The Voice of an Old God'. Aside from the calm interlude similar to that of 'Under the Silent Meadow Skies', the most notable part of the track is the brilliant harmonies at 01:44 and 06:32. The second single and my personal favorite, 'Cessation of Hope' has a great immersive melody the exciting feeling of which reminds me again of 'Under the Silent Meadow Skies' and another calm acoustic interlude. The rest of At Light’s Demise is also pretty consistent with the main source of inspiration being hard to identify (unlike, say, the melody of 'The Voice of an Old God' which reminded me of Woods of Desolation).

In spite of the album’s bleak song titles, I’d say it’s more pensive than dark (although it is not devoid of ominous elements such as the riff at 01:01 of 'Time the Mournful'). The sound is cleaner than before with the drums standing out more from the rest of the mix, at times resulting in a Moonlight Drowns-like feeling that the band already had on the single 'Kistvaen'. Guy Taylor’s vocals are as strong as on Under the Silent Meadow Skies, contributing greatly to the atmosphere. As with 'Waiting', Cistvaen manage to write long repetitive tracks without making them boring (and, same as that song’s intro, create quite a few epic melodies such as the intro of 'The Epitaph', 04:11 of 'Bleak House' or the outro of the last track). The main ways in which they achieve this are the aforementioned tranquil interludes ('Silver Birch' and the interlude by the end of 'The Blind Observer' may not be 'Feathers Fell', but are nice nonetheless), uneven drums (it’s nice to see the progression since the imperfect drums of 'The Voice of an Old God') and the powerful melodies ensuring the album’s engrossing flow is not interrupted by any conventional riffing.

At Light’s Demise is a great atmospheric/post black metal record that I would definitely recommend to all thoughtful wandering enjoyers. It’s not a game-changer, but still a remarkable release that will send you to the foggy woods you see on the cover the same way Cistvaen’s first EP uplifted me with its melodies and its Night Spirit- and Cagghenvinna-like cover.

Rating: 9.5 out of 10