Cover art by Julius von Klever
Legendary atmospheric metal band AQUILUS stream their orchestral and instrumental version of “The Fawn”, initially released on their debut full-length record, Griseus. The re-release of their debut album will be available alongside new album, Bellum I, due 3rd December via Blood Music.
Listen to the instrumental track “The Fawn”, premiered by Revolver, here:
The re-release of Griseus will be available in a two CD format featuring all instrumental versions of tracks. On the idea to re-release the previous material, Horace Rosenqvist states:
“There were lots of requests for an instrumental, neoclassical version of Griseus over the years. I’m glad to find the opportunity to release it alongside the new record, and the new remaster from Cutting Room Studios came out great.”
“Bellum I is an atmospheric metal album with a fusion of classical film, folk, and black metal influences, continuing in the tradition of the work started on the first album, Griseus, and evolving to new levels,” says Rosenqvist.
“Into Wooded Hollows” and “Lucille’s Gate” are the first tastes of new music from the enigmatic band since the release of Griseus, which slowly amassed a following of devoted fans, climbing its way to being voted one of the top albums of the decade on
MetalStorm.
For eight years, a follow-up masterpiece was in the making. The opus grew so furiously, the decision was ultimately made to split the work into two parts, culminating with the release of the first album, Bellum I.
Bellum I showcases the band’s rare amalgam of authentic classical, European folk and black metal influences, alongside AQUILUS’ unique multi-instrumentation and compositional complexity.
Metal influences, ranging from early Metallica to the early works of Solefald, Opeth and Katatonia, combined with the classical romanticism of Rachmaninov and Chopin. Bellum I also continues AQUILUS’ signature blend of acoustic elements, with an assortment of acoustic guitars and pianos to violins, mandolas, fipple flutes, balalaika, gusli and bowed psaltery, recalling the aura and dexterity of emotive film composers Bernard Herrmann (Psycho, The Twilight Zone) and Thomas Newman (Shawshank Redemption, Six Feet Under) .
