So here we have the third studio full length from the mighty CIRITH UNGOL since their reunion. An album that brings to the forefront a bet that has already been won, one that has to do both with the longevity and the true significance of the band’s return:
The band returned in 2015 and within a decade has given us one single, one EP, three full-lengths and one live album, along with countless live appearances. In no way, then, are we talking about a one-night reunion, something that in itself carries a special weight, especially if we consider that the UNGOL story began back in 1971 and that, after their first split in 1992, they eventually managed not only to return, but to return and stay. In this new era of their existence, they have more than adequately proven themselves on the recording front. The listener has the luxury of comparing the albums released so far during the reunion period and, within that process, I can confidently say that “All the Shadows” is the most stunning of the three albums the band has given us since 2020.
As is well known, the guitar duo of Jim Barraza and Greg Lindstrom, which undoubtedly sealed the band’s return and provided a strong link to its glorious past, is no longer part of the lineup. The esteemed Armand John Anthony (NIGHT DEMON) is now called upon to step into their shoes and carry the CIRITH UNGOL edifice on his shoulders as the band’s sole guitarist. And while all these changes naturally raise a number of questions and possible doubts regarding the new material, a single, solitary first listen to the album eliminates every grey area and puts things clearly into perspective, not only when it comes to the unparalleled quality of the material, but also when it comes to the band’s wise decision to focus on a specific stylistic direction which, above all, highlights the new and absolutely functional lineup, proving that the music of CIRITH UNGOL is a living organism in its own right.
The band returns, to a great extent, to its 70s roots, which lay the foundation for that dystopian, chaotic and pitch-black atmosphere that the band itself developed throughout the 80s, following its own heretical path:
Slow-burning compositions, massive riffing and perhaps the most breathtaking leads and solos we have heard from the band in the last decade.
I want to make a special point of the twin-guitar passages, which bring out that unmistakable CIRITH UNGOL character that made us fall in love with this band in the first place. The melodies of futility are once again present, and the listener once again finds himself on familiar paths… leading into the unknown chaos.
A special mention must also be made of the decisive role played by Robert Garven’s drumming on the material of this particular album. Carefully crafted patterns, precise hits and accents on every drum, along with perfectly measured dynamics, give every track an absolutely solid character.
I will openly admit it: I am genuinely having a hard time picking individual tracks from this album. It plays as a whole every time, and the result is always the same: an unknown journey into the world of dark chaos, a world that only this band knows how to create and build.
Based on everything above, let me repeat that I believe the decision to build most of the songs around slow-burning riffing was by no means accidental. The foundation of the compositions creates the necessary space for the new guitarist to fill with melodies, and I am of course referring to those shadowy melodies that have always been the trademark of UNGOL.
The CIRITH 70s universe as the foundation — was the recent vinyl reissue of the ’78 demo (The Orange Album) a coincidence? Maybe not. And from there, the “King of The Dead” / “One Foot In Hell” legacy becomes the main point of reference throughout every song. This is “All the Shadows.”
Oh, and yes, Tim Baker sings as if there is no tomorrow. What did you expect?
Chris Papadakis
The seventh studio album by the iconic pioneers of dark, epic heavy metal, the ONE AND ONLY, true metal legends, CIRITH UNGOL.
The album is titled “All The Shadows”, and in my opinion, it is the heavy metal album of the year so far – and it will be VERY hard for any release to come along and dethrone it from the top spot.
Allow me to quote a few words from the promo material to justify this statement:
“‘All The Shadows’ is a classic CIRITH UNGOL album in every sense of the word. Furthermore, it is not an exaggeration that this album is one of the band’s strongest efforts ever! Few bands can claim that they recorded a record equal to their older, established and classic albums, and even fewer can support a solid statement that a new album after decades can look in the eyes, or even top, their classic albums. CIRITH UNGOL actually did it. This album was the culmination of their desire to keep forging their unique brand of true metal.”
I wouldn’t change a single word of the above.
“All The Shadows” arrives in harsh, difficult and dystopian times for humanity, and with rare musical grandeur, it lays bare their ugliness as well as the great dream of their chaotic undoing.
Within this eternal turning of the wheel of time, what is missing from the new CIRITH UNGOL album?
Let’s not hide from the truth.
Jim Barraza and Greg Lindstrom are no longer in the band’s ranks, and we are talking about guitarists who defined the sound of CIRITH UNGOL, particularly since their reunion around ten years ago and throughout this later chapter of their career, after the “Witch’s Game” single in ’18 and the amazing live album “I’m Alive”, where we first heard them alongside Robert Garven (drums), Jarvis Leatherby (bass) and Tim Baker (vocals).
If there is something I miss about their guitars, it is the wise, expansive weight of their rhythm playing and that sweet, old-school, deeply expressive tone that stood out in the lead parts.
What, however, manages to make the absence of Barraza and Lindstrom less noticeable, almost imperceptible? None other than the magic touch of Armand John Anthony (NIGHT DEMON), who, from “Forever Black” onwards, gave real substance to the sonic character of CIRITH UNGOL, taking on engineering and mixing, and later mastering as well. The fact that he is now their replacement as the band’s guitarist is no coincidence at all, and I consider it an exceptionally sound choice – anyone can judge by the result, which fully vindicated the decision to bring him into the line-up.
So, what remains unwaveringly faithful and unchanged on this new CIRITH UNGOL album?
First and foremost, their identity. Their compositional expression. Their own expression of metal – the kind they know how to create and deliver in THEIR OWN, UNIQUE way. “All The Shadows” is an album that not only has absolutely nothing to envy in the catalogue of this historic band but, yes, it is indeed yet another very special jewel in the crown of their select discography.
And, of course, the AMAZING cover artwork was – once again – painted by the great Michael Whelan, whose works have continuously adorned CIRITH UNGOL albums since the very beginning of the band and their 1981 debut “Frost And Fire”.
The album begins with the title track, “All The Shadows”, which was chosen as the record’s first single. There are no cheap tricks or gimmicks here – the taste we got on September 4th with the song’s official lyric video was genuine and could be felt right down to the marrow!
Pure, unadulterated, old-school steel with a sound that is utterly alive!
It made me impatient to hear the rest and, thankfully, I am one of the lucky ones to have the album’s songs in my hands before its official release, because the shock of “All The Shadows” was keeping me awake at night!
Next on the tracklist comes “This Mortal Stain”, slow-burning, heavy, bittersweet in melody, with an excellent solo and a satisfying running time of over five and a half minutes.
The relentless pounding of dark heaviness in the inimitable CIRITH UNGOL style continues with “Turning Blind”, a song with understated yet captivating virtuosity in its composition, filled with raw power, with a sense of menace you can feel vibrating through every scream of the ASTOUNDING Tim Baker, while Armand John Anthony delivers a masterclass in expression both in the rhythm and lead guitar parts.
Robert Garven and Jarvis Leatherby introduce us in fantastic fashion to “Shallow Reflection”, where the riffs that follow carry a distinct doom flavour, yet another of the incomparable manifestations of CIRITH UNGOL’s heavy metal, a track that is a trademark of their sound – theirs and THEIRS ALONE! Shattering, dramatic, running for more than six minutes, with a wonderful unfolding and a beautiful, dynamic outburst before the finale.
Anyone who would buy one of the many vinyl editions will, somewhere around here, lift the needle and flip the record over before continuing their adventure through the breathtaking, misty and murky soundscapes of “All the Shadows” with the incredible “Empty Tomb”. Exquisite in its development, particularly in the interplay of rhythm and speed, with relentless guitars, magnificent riffs and a formidable rhythmic backbone working together in harmonious and exemplary fashion, declaring here in 2026 that the flames of the old, good, true sound of metal will never be extinguished as long as there are bands out there like CIRITH UNGOL.
Next comes the EPIC, slow, melancholic and majestic “On Broken Wings”, where Anthony’s moving guitar playing sent shivers down my spine, Baker’s voice, literally haunting, reached deep into my very soul, and that SABBATH-esque gallop around the fifth minute, with the solo pouring forth in glorious melody, transported me somewhere else once again –I found myself caught in a whirlwind of memories of that wild, adolescent warmth of the ’80s, when I first heard CIRITH UNGOL and was enchanted by their sound, forever.
What an INCREDIBLE feeling this journey through time is!
During “Hollow Nimbus”, I got to my feet with my headphones on and started headbanging! A 70s-style elegiac track, quite prog in conception, with clever passages and beautiful shifts, and the band in tremendous form as performers! A wonderful track, yet another trademark of CIRITH UNGOL’s compositional mindset.
The album closes with “Venus In Thirds”, in a heavy, intensely rhythmic style, with Leatherby’s bass cleverly flirting with Anthony’s guitar, Baker unleashing chaos from his throat, a spectacular metal pandemonium, ideal for bringing down the curtain.
“This is the bands next chapter, describing mankind’s descent into darkness and despair! Tim Baker is the Nostradamus of our time,” says Robert Garven.
And who am I to disagree?
As for Tim Baker himself, he states:
“‘All the Shadows’ is the latest step along the twisted journey that defines CIRITH UNGOL*. Tales of blackened hearts and broken dreams. Echoes of madness, corruption, sin, demented visions and unspeakable horror. Man’s dystopian future laid bare… The continued saga of our never-ending descent into the dark parade.”
I’ll give that a big, emphatic YES!
And I’ll close, just as I did when I was called upon to write a few words about the previous CIRITH UNGOL album, “Dark Parade”, three years ago:
If you’re one of the devoted, answer the call, arise, and follow the Chaos Star once again; and if you’re somehow a stranger to CIRITH UNGOL’s music, this is your shot at glory: JOIN THE LEGION!
“All The Shadows” will be released by No Remorse Records, in various CD and LP editions, a limited CD Box Set and a hand-numbered, deluxe 3D cover Box Set containing all physical formats, on October 30th.
CIRITH UNGOL is a very special case of a heavy metal band. In 2026, it will be almost 55 years, since their initial formation in 1971. Their moniker carries a long and heavy history, especially in the realm of epic heavy metal.
The band had a hiatus from 1992 till 2015, when they reformed again in order to live a very strong and glorious second era, which brought great joy to their loyal fans who never forgot them. The new album is their 7th one.
The new album carries all the distinct characteristics of their unique sound. It will be no exaggeration to say that when a listener listens to one of their songs, will instantly understand that this is definitely a CIRITH UNGOL song. Of course, this is also due to the exceptional and inimitable style of vocals from Tim Baker.
So, in 2026, what new or different CIRITH UNGOL bring with their album?
Well, first of all, they offer 8 new songs that are added magnificently to their music legacy. But this is not the most exciting about their new one.
‘’All The Shadows’’ takes a deep dive in to their long history and combines new ideas with features from their first era, from their second and all-time favorite album ‘’King of the Dead’’ until to their fourth and last album from this era, titled ‘’Paradise Lost’’.
The new album can look straight in the eyes their classic ‘80s albums. Don’t get me wrong, the 2020 ‘’Forever Black’’ album was a great come back album with iconic songs and the 2023 ‘’Dark Parade’’ album another great chapter in their heritage.
In comparison to their previous 2023 album, I would say that the new one, while lurking in the usual beautiful chaotic shadows and being ominous and eccentric, has a different kind of darkness that makes it more straightforward for the listener to comprehend, absorb or digest.
‘’All The Shadows’’ is a more direct, riff driven album, with memorable hooks and black melodies. The careful listener will listen a lot of BLACK SABBATH influences and riffs that bring in mind Tony Iommi’s way of writing memorable riffs. Listen to ‘’Shallow Reflection’’ and you will instantly understand what I’m talking about.
The team of CIRITH UNGOL presents themselves today very tight, with the veteran and original member from day one, drummer Robert Garven as well as the most recent members like the bassist Jarvis Leatherby and their newest addition, the guitarist Armand John Anthony.
To make a long story short, this is a classic CIRITH UNGOL album. I believe, the album in its entirety is the best so far in their second era and will be hailed and appreciated as one of the top-notch albums in their long history. I have real confidence that the test of time will justify my certainty about it.
Last but not least, I have to mention something about the great cover work from the acclaimed fantasy artist Michael Whelan. The title of the painting is ‘’Return of the King of the Dead’’ and this all about what we have with the new album from CIRITH UNGOL.
We have the mighty return of the Kings of the Dead!
Bersekeros
One does not simply review a new CIRITH UNGOL album…
CIRITH UNGOL, has always been a particular kind of band: they dwelled in the eighties both into epic and doom metal, alongside with legends like MANILLA ROAD, TROUBLE, SAINT VITUS, LORDS OF THE CRIMSON ALLIANCE, far from the madding crowd of 80’s classic metal, always alone, yet with a solemn dignity that could rarely be found during that time. Just like King Fowley (I think and correct me if I am wrong) said, many people despised them since there was no other band to compare them with.
With the resurrection of the band seven years ago, a new breed of albums arose from the darkness. This one, is the third album of the new age of CIRITH UNGOL, three years after the magnificent “Dark Parade”. And as someone could predict, “The King” continues the road that was curved a long time ago.
“All the Shadows” kicks off with the title track a typical UNGOL “fast and raw” tune a throwback to the band’s early days and this is only the beginning:
The “side Metal”* is a homage to the band’s “One foot in Hell” songwriting with slow, mockingly cruelsome doomy tracks, that spout despair and nocturnity. Riffing of “This Mortal Stain” dates back to the very first “Frost and Fire” days (don’t forget CIRITH UNGOL are not children of the 80’s), while “Turning Blind” and “Shallow Reflection” depict a more aggressive heavy doom side of the band.
“Side Doom”* begins with “Empty tomb” witch apparently is my favorite track of the album. A mid-tempo, doomy yet straight metal song with a twist, that clocks less than four minutes, exactly what I needed. “On Broken Wings” is the true highlight of the album: lengthy, doomy with an acoustic intro that slowly progresses into a nightmarish hymn of despair, similar to the ones in the “King of the Dead” album. “Hollow Nimbus” is another doom metal, guitar driven song, witch actually reminded me of “Fallen Idol” and “Distant Shadows” from the previous album.
Last but not least “Venus in Thirds” a different take on CIRITH UNGOL’s doom sound. With a twisty intro that reminded me of MERCYFUL FATE / KING DIAMOND aesthetic (yes you read correctly) yet with the typical “heavy/doom” sound that CIRITH UNGOL have developed during the last years. Needless to say that this one has the catchier chorus, somehow making it a more “commercial” song if one could say that.
So what’s left? I don’t now, frankly I am in loss of words. Me spending my afternoon enjoying the new CIRITH UNGOL album was a dream, back in the 90’s when I bought the CD re-release of “One Foot in Hell”. I believe that its a privilege for us to enjoy such music in this dismal times, where everything is done for the “hype”. I sure hope that this one keeps up for a long, long time.
*vinyl side titles are a figure of my own.
Zippo
Check the discussion about the album in our forum pages.
You can pre-order the CD, the LP, and the Box Sets here.
