While it is still unclear whether CEREMONIAL CASTINGS have officially returned from the grave, this new re-recording of Salem 1692 sounds exceptionally fresh, richly detailed, and fully conveys the mysticism so crucial to their aesthetic. It’s as immersive as ever, if not more so due to the richly kaleidoscopic sound – organic, analog, but not once sacrificing any of the otherworldliness which endeared CEREMONIAL CASTINGS to so many. And now, in 2020, as more ancient and classicist styles of black metal take hold with a new generation, “symphonic black metal” need no longer be a dirty word: this re-recording of Salem 1692 is poignant proof of the subgenre’s inherent power to transport the listener to forgotten realms and dimensions far, far away from modernity.
“If you are a fan of old-school symphonic black metal and never got into this band, you better drop everything you are doing and pick up a copy of this release” – InfernalMasquerade.net [9.5/10 rating]
“Elements such as keys, melody, female vocals (‘Stones Upon The Warlock’) and operatic vocals (‘Beneath the Sabbath Moon’ and ‘The Crucible and the Cross’) immerse the album in theatrical mysticism... the guitar style and vocals straddle the fence between black and death metal. Salem 1692 is the most wicked and numinous rendition of the infamous witchcraft trails” – HeavyMusicHQ.com [4.5/5 rating]
“It succeeds in combining sensations of witchery and dread, of menace and fear, of monstrous cruelty and shattering grief. ” – NoCleanSinging.com
“the mere mention of story-driven black metal concept albums will make the most necro fan sweat off his corpsepaint – it is still a milestone in USBM history and one worth re-celebrating. Plus, the fundamental concept of witch hunts, distrust, and isolation make this one of the aptest records for the year that’s passed – not to mention the interesting times that still lie ahead” – V13.net