Review by Dominik on July 30, 2026.

In one of my previous reviews, I wrote about the pros and cons of “incest” in black metal. Not the kind that requires a police report and a therapist, but the musical version. Band members who are circulating between different projects, carrying their musical DNA with them and, over time, creating a situation where the different bands start to resemble each other. Totenwache (literal: death watch; however, usually used in the context of wake or vigil) are firmly located inside the Mavorim ecosystem, with two members still active there, alongside connections to other names orbiting the same dark little planet, such as Eisenkult and Atronos. It is a fascinating scene, but like every closed ecosystem, there is always the danger that eventually everything starts cross-pollinating until the family tree becomes less of a tree and more of a tangled root system nobody wants to investigate too closely. Totenwache´s latest release, “Der Thron Der Uralten” (“The Throne of the Ancients”), therefore raises an important question: has the band managed to keep their own identity, or should we simply rename them Mavotronoskult and move on?

The first striking observation is the length of the release, which clocks in at nearly 73 minutes. That is a confident move. Either you have a lot to say, or you took a bold editorial decision not to stop recording and show an inspiring lack of restraint. Fortunately, Totenwache avoids the worst-case scenario. The album does not feel like a hostage situation where the listener is waiting for the final track to release them back into society. The guys mostly stay away from influences of the above-mentioned bands and remain loyal to a very traditional form of black metal: riff-oriented, fast, melodic, and supported by vocals that explore the long-established black metal emotional spectrum of “furious forest creature” to “furious forest creature having a particularly bad day”.

I agree; that sounds like a recipe for boredom. However, despite sticking to one formula, Totenwache manages to keep me engaged. The album passes by much faster than expected and quicker than certain politicians’ promises disappear once the election banners have been taken down. The band mostly maintains a consistent approach throughout the album. The one notable exception is 'Empathika', which moves at a considerably slower pace. My first thought was that this is exactly the kind of variation a long album needs. However, here its slower gait makes it feel like an outlier and a bit disconnected from the rest of the album. But stay calm. The release has plenty to offer. Four songs stand out as absolute highlights, while the remaining tracks are never far behind.

The first major triumph comes with 'Der Bleiche Bastard' (“The pale Bastard”), which not only wins the award for the coolest song title on the album but also represents Totenwache operating at full strength. The song begins slowly and creates tension before the gates are opened. The tremolo-picked riffs rush forward, supported by a foundation of aggressive but controlled blast beats. The main melody repeats itself and emanates almost hypnotic vibes. In my opinion, it is this repetition that creates the necessary cohesion. A subtle shift halfway through introduces some mid-tempo heaviness before the song charges toward its inevitable conclusion. There is never any uncertainty that the pale bastard is in control. The riffs carry the feeling of desperation, as if the miserable scoundrel mentioned in the title has already won and everyone else is simply filling out the paperwork.

'Lichtkult' (“Cult of Light”) is even better. It comes rushing through your door, never leaving any doubt that the light being celebrated here is pitch black. The track slows down slightly during the chorus, which creates a welcome contrast, and the melodic break in the middle fits perfectly. It never feels like an obligatory attempt to show emotional depth. The vocals deserve special mention as well. The singer sounds like an extremely angry crow that has spent years developing a personal hatred toward mankind. And this is exactly what the music here requires.

My absolute winner sits on position eight and is, intro excluded, the shortest and most direct song on “Der Thron Der Uralten”. 'Monolith Der Finsternis' (“Monolith of Darkness”) serves up the most memorable riff, and everything sounds angrier, harsher, and more imploring than before. The band shows its knack for creating a few excellent riffs again, looping them into eternity without losing the listener on the way. That the introductory motif of the song repeats itself halfway through creates a nice sense of return and purpose. Atmospherically, there are moments where Totenwache remind me of fellow German acts such as Shores Of Ladon or Kôr. Not because they sound like copies (they do not!), but because they share a similar ability to create a cold, oppressive atmosphere where melody and darkness coexist naturally.

Before the curtain finally falls, Totenwache delivers one more highlight with 'Schattenmeer' (“Sea of Shadows”). The song begins with an acoustic introduction, immediately creating expectations of a long, melancholic outro. I was almost prepared for the classic black metal ending, where you´re staring into the distance, contemplating mortality, while a raven flies across the screen in slow motion. But no. The band is determined to shove you out of your house with blast beats and tremolo picking. This is nothing groundbreaking here, but once again the band delivers a memorable melodic idea and another reminder that black metal will probably never become suitable wedding music. Unless, of course, the bride arrives in corpse paint, and the wedding cake is shaped like a tombstone. But that is a discussion for another day.

“Der Thron Der Uralten” manages to sound both modern and “ancient” at the same time, which is somehow reflected in the production as well, which hovers just in the right place. It is clear enough to appreciate the melodies, but still raw enough to preserve the music´s impact. The lengthy runtime is handled surprisingly well, and anyone worried about the German lyrics can relax. The vocalist does everything possible to ensure that even native speakers like me will only occasionally understand what is being screamed at them.

Rating: 8.2 out of 10, because Totenwache have not created an innovative black metal masterpiece. They have not discovered a forgotten musical dimension hidden beneath a Norwegian glacier. But they have created a strong, atmospheric, and convincing album that understands the strengths of the genre and executes them with confidence. The ancient throne is not newly built. But it is still occupied.

Review by SzejkElRopa on May 31, 2026.

Totenwache is a band I've been hearing a lot about recently, a lot of good things to be precise. At first glance, it looks as though it were a normal German black metal band: members in corpse paint, evil-looking cover, something with "Tot" in the name of the band and/or the album, and, obviously, lyrics in their native language. I expected sharp, aggressive music, and the impression proved accurate. However, this is not an average album.

The intro sets an eerie feeling, followed by a melancholic riff, which might indicate the atmospheric nature of the record. Well, the opening of the first 'real' song quickly proves otherwise. This album is a non-stop, fast-paced riff attack. For example, take a look at "Stahl & Schwefel", which bursts with energy and aggression, throwing one riff after another. Especially memorable is the chorus section, which is accompanied by a rapid, furious melody. This pattern is repeated further in other tracks, such as "Lichtkult", which I consider the highlight of the album, as it reaches its peak of aggression, remarkability, and, surprisingly, melodicity. Although Totenwache never ventures into the territory known to bands such as Vinterland. The song stands out immensely, notably with the middle section, which builds tension in a great way, and with the following quite melancholic riff. Speaking of melancholy, "Empathika" evokes such a feeling - it is a surprisingly slow-paced song. It is also very atmospheric due to the desolate howls which can be heard alongside the normal vocals. Despite its slow start, around the sixth-minute mark, it suddenly speeds up, and a very melodic, tremolo-picked riff (for this album) appears. Although the songs mostly repeat a similar pattern from the aforementioned "Stahl & Schwefel", they do not lack substance, and it is easy to tell them apart. "Der Bleiche Bastard" is yet another killer, striking a brutal note, aggressively carving itself into the listener's memory. "Das Schattenmeer" repeats the melancholic riff known from the intro and elegantly leads the album to the end, given the repetitive tremolo riffing.

What might immediately catch your attention upon listening to "Der Thron Der Uralten" first is the length of the album. It lasts almost 73 minutes, which is a rare occurrence, and if something like this happens, you'd find it in far more atmospheric, slower records. And given all that, a question arises - isn't this album overloaded? In my opinion, no, but I'd totally get why someone complained about that. This isn't an album telling a complex story about a wandering ghost in the forest or anything of that sort, which needs 16-minute songs with bagpipes, whistles, three instrumentals, and nobody knows what else. I treat this album like a great, big portion of riffs that I'd enjoy one after another; however, upon listening to this album in full, the last songs become slightly less entertaining. This obviously doesn't mean that the songs are bad; rather, I became overwhelmed with what I had already been given.

Totenwache doesn't play any new, experimental variation of black metal and prefers to stick to the well-known patterns. You won't find anything that sounds completely fresh and undoubtedly original, but something you've heard before, but insanely well-crafted and enjoyable. The riffs aren't anything technical, and usually are razor-blade sharp and half-melodic, with obvious exceptions. An example of this can be pointed out in "Unter Dem Banner Des Scharlachroten Königs" (crazy title), which excels at vehemence, especially combined with vocals. Although these are unfortunately only one-dimensional, except for those howls in "Empathika", they serve their role well, despite them being standard for the genre. The drummer almost always alternates between mid and fast tempo, leading the album well, enriching the experience with cymbals and fills. The substance is also added thanks to the slightly rawer production, which strikes a good balance between being clean and coherent and not being overly sterile. Lastly, the bass guitar can be heard in many places, and although this isn't the best audibility I've heard, it definitely enriches the sound.

To summarise, "Der Thron Der Uralten" is an experience filled with riffs, riffs, and once again, riffs. And some atmosphere, filled with aggression, vehemence, hostility, and the list goes on. Jokes aside, the album also shows its melancholic side. While the album's length may feel as though it were overloaded, it doesn't necessarily have to be the case here. Maybe the correct way to uncover all the secrets it has to offer is to divide it into two parts? That's a conclusion left for potential listeners. I give this album 8.8/10, because it gave me a lot of enjoyment, and potential flaws, such as no variety in vocals or the length, can be rather easily forgiven. Recommended for every fan of riff-driven, classic black metal who is not scared of having their head cut through by 73 minutes of relentlessly sharp music created by these Germans.

Rating: 8.8 out of 10