Review by J.C. on January 21, 2026.

The Russian band of Slavic folk melodic death metal, Стожар (Stozhar), formerly released albums through a record company called Stygian Crypt Productions, under which they released several very good albums, evolving from the raw but sincere sound of their first album while becoming more and more mature and professional. Some albums leaned more towards aggressive melodic death metal, while others were softer with a stronger folk rock flavor. After signing with Soundage Productions, a label specializing in symphonic black metal, keyboards became a more prominent feature. Metal bands from Russia or some other Eastern European countries often have a talent for composing with beautiful and complex keyboards and for this album, this became a natural element.

One Friday in autumn 2023, after returning home, I learned that this band had released a new album. I immediately put aside plans to listen to other albums and started listening to it. As a long-time fan, I was pleasantly surprised, and I couldn't wait to share it with other metal enthusiasts I know, while remembering the emotions this album brought me. Many old bands release new works, but the quality is mediocre or below half of their peak level, which usually leaves "persistence" and "comebacks" unimpressive to me, but out of respect, I did not give harsh critiques. But after listening to this album, I can sincerely say, "I like it," without any false courtesy.

As mentioned, the keyboards on this album are very prominent, giving it a strong symphonic sense. Some songs are long, featuring keyboards in longer intros and interludes, enhancing the epic feel, sometimes reminiscent of Summoning's grandeur. In shorter, faster tracks, the keyboards are still complex enough to intensify the music's strong passion. Lead guitar melodies are passionate and thrilling; solos are rare but excellent. Rhythm guitar mostly harmonizes with the keyboards and melodies, but some sections play innovative riffs and form dense walls of sound during climactic parts. Evgenia Vitlugina's solemn and elegant female vocals run almost throughout the album, while Yarosvet's harsh vocals appear in the climactic sections of a few songs. The bass isn't particularly prominent but adds a rich grounding to the music. The drums are fairly conventional but competently fulfill their role, lightly striking in softer sections and utilizing rapid double kicks in climaxes.

In songwriting, most songs sound similar, but details set them apart. Some tracks are fast and intense with almost no prelude, such as the second song 'Лесная рать' and the sixth song 'Битва,' the latter containing a short atmospheric black metal section. Other tracks are longer with complex structures, gradually building from intro to climax with more atmospheric keyboards, such as the fifth song 'Вересень' and the final track 'Горевала ли ночь'. The melodies are full of the freedom, passion, and liveliness characteristic of Slavic folk metal, reminiscent of Alkonost. The epic symphonic atmosphere, intense sections, and some innovative riffs resemble Butterfly Temple's later albums, especially their two albums of 2012 and 2015.

In any case, this is an outstanding symphonic Slavic folk melodic death metal album. If you are interested in Eastern European Slavic pagan metal, you will definitely enjoy it.

Rating: 8.5 out of 10