Unaussprechlichen kulten people of the monolith

To call this album cinematic would be an understatement, as projecting images of perilous struggles on the road to destroy Smaug in one’s imagination while hearing this is inevitable. The onset a heavily orchestrated instrumental prelude in “Distant Battlefields” that offers the visual of a great open plain with war drums large enough to be carried by giants thumping in the distance, which launches immediately into a galloping charge of folksy heroism in “Dance Of Fire”, which is arguably the most pronounced power metal assault of the entire album, yet also a highly nuanced collection of peaks and valleys in terms of structure. It wheels effortlessly through a set of high speed cruises, mid-paced grooves and camp fire acoustic interludes/folk dance sections, culminating in a near seven minute epic that functions as a manifesto for the rest of the album. Indeed, what primarily separates one song from the next is the degrees of high octane power metal with a Turisas edge to it versus acoustic or atmospheric breaks, all of them laced with melodic fragments in either the orchestra, a lone flute/pipe or a series of vocal chants.

The Necronomicon originated as a fictional book in the works of . Lovecraft, and grew into an extended literary in-joke as other horror writers organically added ...

The Necronomicon was not the only book which Lovecraft dreamed up, it is just the most famous. There is a whole list of others cited in his works, such as the Book of Eibon, the Pnakotic Manuscripts, "the Cultes des Goules of Comte d'Erlette, the Unaussprechlichen Kulten of von Junzt, and old Ludvig Prinn's hellish De Vermis Mysteriis" ( Haunter of the Dark ). He also threw in references to actual books and authors to blur the distinction between reality and fiction, some of which are available at this site:

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