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██▌ Artist...: Black Crucifixion ░▐██▌
░▐██ Album....: Triginta ░██▌░
▓▐██ Year.....: 2021 ▓▐██▓
▓▐██ Rel. Date: 2025-07-14 ░▐██▓
▐██ Genre....: Black Metal ██▌░
░ ██▌ Label....: Seance Records ██▌
▐██ Source...: CD ▐██
░▐██▌ Type.....: Compilation ▐██▌░
▓▄████ Quality..: VBR, 44.1kHz, Joint Stereo ████▌░
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1. Night Birds Fall Upon You 5:05
2. Beyond Linkola 3:11
3. Throneburner 3:34
4. Bitten by the Long Frosts of Life (Live) 4:46
5. Frailest 3:16
6. As Black as the Roses (as Weak as my Smile) (Live) 3:18
7. Wrath without Hate (Live) 3:47
8. Retaliation (Live) 4:23
9. Black Crucifixion (Live) 3:48
35:08
ôBeing the odd one out. ThatÆs Black CrucifixionÆs existence in a
nutshell. TheyÆve been around since the very birth of Finnish black
metal, yet they never released a classic Finnish black metal album.
ThereÆs no Ugra-Karma or Drawing Down the Moon in the bandÆs
discography.ö
Those are the first three sentences of the intro paragraph of the
interview article I conducted with Forn and wrote in early 2013 right on
the heels of the release of Coronation of King Darkness. I believe I had
strung those words together already before even having the discussion
with him, because when it came to Black Crucifixion I, too, was consumed
by toying with the big question if Black Crucifixion deserve to be
mentioned alongside with Beherit, Impaled Nazarene and Archgoat or not.
Well, if it was good enough for an intro back thenà
However, I do feel that it still very nicely describes the place that is
forever reserved for Black Crucifixion ôin the grand scheme of thingsö
as I wrote back in 2013 and apparently still do, as if there wasnÆt a
more hackneyed expression for an ontological structure. Yet something
has changed. The meaning those words create when they are placed one
after another in that very exact way has changed. ItÆs still the same
words, so, then, during the past eight years it must be the band that
has changed. Or developed rather.
IÆm very glad that 2013 interview captured Black Crucifixion in what
now, in hindsight, seems almost like a defining moment for the band. I
walked into FornÆs ôrelatively fancy office roomö (still gotta love
that) to interview a band I thought was interesting from a historical
perspective and a band that had always had potential and good songs but
also a band that, perhaps, had something to prove. Now, listening to
that roughly one-hour interview recording for the purpose of this
writeup I realize even better that which I already realized a couple of
months after the interview and after spending enough time with the
monumental record that is Coronation of King Darkness. Black Crucifixion
had developed into a band whose music was even more engaging than it was
ôinterestingö. They had developed into a band whose music had become
timeless in the sense that its worth as a historical artefact started
feeling secondary to its quality and listenability, if even that, and
its position in some order of precedence or some other hierarchical
collective they were never even part of as irrelevant as it fucking
rightfully should be anyway, again, ôin the grand scheme of thingsö.
What that defining moment did is that it also changed all of Black
CrucifixionÆs music. It made ôSerpent of Your Holy Gardenö sound û not
like the BC anthem it used to be û but, even better, a brilliant song
that still only had half of the brilliance they would later exhibit. In
2013 Forn said Hope of Retaliation was a promise of things to come, but
now in 2021 itÆs easy, perhaps somewhat anachronistically, to hear that
promise already on The Fallen One of Flames, as if everything they had
done before had prepared for the big Coronation. When Lightless Violent
Chaos was released, I was fairly unmoved. Not because I didnÆt like the
album. On the contrary. It was fucking great, as expected after what
happened in 2013, so nothing surprising there.
We like to look back to find and retrace every path weÆve ever walked
for the sole purpose of walking them again and again. ThatÆs our
pathetic existence in a nutshell. Running in circles. Intuitively that
feels like how most bands and artists û also the good ones û exist and,
if theyÆre lucky, prosper. Knowing that makes me respect the individuals
and artists who make their way out of those mental cages and do it
successfully even more. However, for Black Crucifixion to reach their
musical potential breaking the molds was imperative. As Forn told back
in 2013 they spent most of the first 20 years of Black Crucifixion
trying to find the right path while ôcarrying ideas and riffs from the
day the band started writing musicö. In this way the band Promethean or
the album Faustian Dream donÆt feel like sidesteps, because they
fulfilled their purpose in Black CrucifixionÆs quest for finding a way
to where they are right now with all the stuff they think has been worth
holding onto for 30 years. And if Forn is to be believed it might be the
end of the trail they found on Hope of Retaliation. This milestone,
together with the end of their third decade as a band, is aptly
celebrated with the release of Triginta, a companion piece to that
aforementioned magnificent little album that, too, has changed over the
years. The trail has led Black Crucifixion to an edge of a cliff. And by
now we should have learned theyÆre not the type of a band who turn back.
But the question still lingers: Does Black Crucifixion deserve the right
to be mentioned alongside Beherit, Impaled Nazarene and Archgoat? I
firmly believe they donÆt. Instead, Black Crucifixion has developed into
the caliber of a band that deserves to be mentioned next to no one.
Juho Mikkonen
(Helsinki, 2021)
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