CRYPT SERMON has just revealed specifics about their captivating upcoming album, The Stygian Rose, set for release on June 14 via Dark Descent. Today, they debut the album’s opening track, “Glimmers in the Underworld,” a composition that truly embodies the band’s musical and conceptual excellence.
Vocalist Brooks Wilson comments, “‘Glimmers in the Underworld’ gives both a broad overview of the musical palette contained in the album beyond, while also introducing the lengths to which our unnamed protagonist will go in order to find spiritual fulfillment as they engage in a fictionalized Abremelin ritual.”
The Stygian Rose follows a character inspired by Paschal Beverly Randolf, an early American spiritualist and sex magician. In The Stygian Rose, the unnamed character seeks to reconnect with his now maybe dead, definitely lost (though intentionally left vague) idealized female, embodying the Sophia/Shakti/Persephone divine wisdom/feminine concept. This lost love is believed to be waiting for him, calling for him from ‘the hollow.’ Conceived by Wilson, the protagonist’s harrowing jaunt starts with “Glimmers in the Underworld” and ends naturally with the title track. The story, as unfurled in the lyrics, is directly connected to the album’s artwork and booklet, painstakingly painted and illustrated by Wilson. Clearly, The Stygian Rose and its lyrical and artistic regalia were thought through from the onset.
BLACK SABBATH changed the world we know and love with Paranoid. CANDLEMASS defined their career with Ancient Dreams. PANTERA were four albums in before they heavily shifted paradigms on Cowboys from Hell. And MAYHEM weren’t even a band when De Mysteriis Dom Sathanas slithered into metaldom’s cellar. Now, CRYPT SERMON stand at their crossroads with The Stygian Rose.
Featuring guitarist Steve Jansson (DAEVA, UNREST), vocalist Brooks Wilson (UNREST), drummer Enrique Sagarnaga (DAEVA, THE SILVER), guitarist Frank Chin (DAEVA), bassist Matt Knox (HORRENDOUS, THE SILVER), and keyboardist Tanner Anderson (OBSEQUIAE, MAJESTIES), the Philadelphia-based sextet parlayed their time away into a grander, more mysterious CRYPT SERMON. The interflow of doom and heavy metals underpins The Stygian Rose, but these boundaries are effortlessly transcended. “We feel unrestrained now,” Wilson says. “We thought, if the word ‘epic’ in doom metal means anything, it’s without constraint. What’s more vast than being unconstrained?” Sagarnaga continues, “There’s a lot of variety on the album, and I think that’s not just because we get bored easily—which we do, actually—but rather this is who we are.”
The songwriting for The Stygian Rose started in late 2022. Sagarnaga says, “This is the most prepared our band has been, especially going into the studio. It’s about respect for each other’s time. We were more patient with one another regarding how we expressed musical ideas. We committed to practicing on a regular schedule—that was important. And as we get older, we hopefully have become better musicians. ‘The Stygian Rose‘ is also the longest time we’ve had with Arthur Rizk in the studio. Every little detail you hear in the final result of the record is very deliberate.”
CRYPT SERMON tracked The Stygian Rose at Redwoods in Philadelphia. Arthur Rizk produced, mixed, and mastered, and Aidan Elias (BLOOD INCANTATION, Wayfarer) engineered. Since the band and Rizk had previous history, they dialed in sounds quickly and got to work. In contrast to the sporadic two-month process of their last album, The Ruins of Fading Light, CRYPT SERMON had just over a week to capture The Stygian Rose. “We knew we wanted an aggressive sound,” says Wilson. “The Stygian Rose has way more depth than anything we’ve done before.”
The Stygian Rose showcases CRYPT SERMON‘s mastery of dark and heavy metal— dive in and experience its rich rewards.
Reeder, the visionary behind Metal Addicts, has transformed his lifelong passion for metal into a thriving online community for metal aficionados. As a fervent devotee of black metal, Reeder is captivated by its dark, atmospheric, and often unorthodox soundscapes.