Mnajdra is an Anonymous Dark Black Metal act from the United States. On August 9th, 2024, Mnajdra released their second studio album, “In The Name of the Goddess,” which was co-released through Snow Wolf Records and Fladh Productions.
Mnajdra, In The Name of the Goddess: This review will evaluate every aspect of the album, from its intricate musical composition to its production. Our analysis will provide valuable insights to help you determine if this album is worth adding to your collection.
The First Three Sins of In The Name of the Goddess
Let’s start by discussing the first three sins of Mnajdra and their album, In The Name of the Goddess
The First Sin, The Strings/Keys: Features dark haunting/mesmerizing chord playing, paired with fierce riffage paired with distortion, fuzz, and a menacing atmosphere. The Second Sin, The Vocals: Involves malevolent and tormenting screams/cries, that freeze your soul. At times, there are haunting choir sections pushed in the background, which adds to the menacing atmosphere. The Third Sin—The Percussions: Explores a vast realm of relentless beats and darkly intense drum work.
The Fourth Sin: Overall Discussion: Severs your sanity and soul, dragging you to the utmost reaches of the nine circles of hell.
Before listening to this dark black metal, be careful if you’re new to Mnajdra. This is not a walk in the park, nor does this band and their music hold your hand, you are on your own. Please chain up your sanity and soul, —again, this is not a walk in the park.
When the listener presses the play button, the opening piece, Mouth of the Wind, greets them with this heavy and dense atmosphere-instrumental opening, luring them into the music—followed by a welcoming onslaught of black metal in a few seconds and the continuation of the remaining seven pieces.
As the listeners continue to transcend deeper into the music, the listener will quickly realize that this is not your typical black metal. Mnajdra‘s music is a unique blend of modernity and tradition, a refreshing departure from the norm. And for me, this is not my first encounter with Mnajdra, as I did an article on their self-titled debut.
In The Name of the Goddess, it feels heavier and more atmospheric and constructed than the band’s self-titled debut release. This is a clear sign of their growth and evolution. In The Name of the Goddess oozes the menacing atmosphere from the listener’s speakers, bringing a multitude of grim horrors to the world in sheets of oppressive darkness. It’s a journey that the audience has been a part of, from the band’s early days to this powerful release.
The production within the walls of In The Name of the Goddess is modern, but the weight of the music crushes you; as you continue to listen and delve deeper into the music, the weight of the music gets heavier and darker. This dark, forbidden fruit of art makes your gut turn inside out and crush every part of you, while you lose your sanity and soul.
Nevertheless, they serve as a sign of optimism. Upon reaching the fifth song, Oracle Chamber, the composition transitions into a two-minute instrumental… There is no prospect of relinquishing the listener; Mnajdra will engulf you and sever your sanity and soul, dragging you to the utmost reaches of the nine circles of hell.
The devilmanship that provides the instruments not only provides the listener’s ears with instrumentation that’s well executed with perfection, but it’s how every composition part slithers through the darkness of the music. The album features very dark, heavy, dense, raw, unsetting, and atmospheric instrumental and musical compositions from the moment of play.
Before driving into this release, take a moment to listen to their debut release, then step into the music of In The Name of the Goddess. However, if you have already sacrificed yourself for their debut, then In the Name of the Goddess will please you. Dark black metal enthusiasts will also appreciate the work and music of Mnajdra.
The album ends with the last song, For the Son of Bat, The King. We thank Mnajdra for letting us review their album, In The Name of the Goddess. In conclusion, we will discuss the final three sins.
The Last Three Sins
Let’s discuss the last three sins of Mnajdra and their album, In The Name of the Goddess.
The Fifth Sin, The Memorabilia:
For me, I must say I enjoyed Mnajdra, and In The Name of the Goddess, as much as I did with their self-debut release. When a black metal act goes beyond the darkness and abyss of the unknown, I am more than satisfied to listen to it over and over again.
The Sixth Sin, The Artwork:
The artwork is as dark as the music. The goddess depicted in the artwork evokes the sacrificial goodness of bygone pagan eras. And, similar to the music, it conveys the impression that one will be subjected to sacrifice.
The Seventh Sin, Disrelish:
Nothing to disrelish within the musical spectrum of Mnajdra, and this album In The Name of the Goddess.
This concludes the Mnajdra, In The Name of the Goddess, review.
Track-listing:
- Mouth of the Wind
- Bastion
- Anna Perenna
- The Maymūna Stone
- Oracle Chamber
- At Earliest Dawn
- Calypso
- For The Son Of Bat, the King
Mnajdra Is:
- Anonymous
Band/Artist Links:
