Some albums take me by surprise, and I find myself deeply invested in them.  The new Iterum Nata album has so much going for it, so many things that appeal to me directly.  It is called From the Infinite Light, and it released on March 15^th.

Iterum Nata comes to us from Finland.  This is a project from Jesse Heikkinen, whom you may know from (ex)Hexvessel, The Abbey, and Henget.  Guests include Matron Thorn (Ævangelist, Benighted in Sodom), Rob Coffinshaker (The Coffinshakers), and author and occultist Richard Kaczynski.

The music here is an interesting mix of various genres.  You will immediately notice the psychedelic and mystic tendencies of Dead Can Dance, but you will also hear hints of doom, black metal, folk, and progressive rock.  All of that is brought together with vocals full of bourbon and grit, but with honey poured on top; think a doomy Dead Can Dance with Johnny Cash on vocals.

Through that description, one thing that might not be obvious is how wonderful that keys are on this album.  Especially in the last half of the record, Jesse brings subtle and sometimes surprising keyboard melodies into play that add a sense of mystery, of glints in the darkness, of sinister serenity.   It is a beautiful album, one that is wreathed with shadows and that celebrates light both infinite and buried deeply in the forests of this world.  There is a certain sense of animalistic tranquility and grey, misty mornings that weaves its way through the music and lyrics and overall feelings.

The second half is head and shoulders above the first half, in my opinion.  There are eight tracks, but starting with track 4 “Ambrosia”, the album soars.  I like the eerie and jangling “Overture: Infinite Light” that opens the album; it has luscious mellotron and dark mutterings, and that whole piece sets well the stage for the album.  “This Gleaming Eternity” and “A Manifested Nightmare” are two singles, and I like them well enough.  The former has a driving black metal gait to most of it, and it has hardened edges; it reminds me of Lake of Tears at times.  The latter has an amazing music video, and has plenty of spacious personality.  Both are great.

With “Ambrosia”, I fell for the album, though.  This piece sounds like Dead Can Dance, but with hints of cinema, stronger keyboards, and abstractions that will take your mind to deeper and waterless places.  “The Drifter” follows with acoustic grit and a wonderful chorus—one of the most straightforward choruses on the record.  “A Darkness Within” is interesting in how it feels almost like chanting or strong declaration, but the chorus is wordless keyboard melody.  It’s beautiful.

The last two songs are my favorites overall.  “Something Truly Almighty” is a dimly light piece with picturesque melodies, revelatory feelings, and a growing light that will drag you deeper and deeper into its darkness.  The closer track “The Crown of All” begins with black metal speed, but soon drifts away into acoustic reverence and spoken word profundity before exploding again near the end.  The last couple minutes are well-balanced between chaos and careful keyboard melody, the latter slicing through the fray like a hot knife through cold butter.

Iterum Nata has my attention.  This is my first experience with the project, though I know of Jesse’s other work.  This is something truly special, though, not just in how it fuses genres, but it how it communicates mystery and hidden depths.  I can’t get enough.

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Find Iterum Nata online:

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Nordvis Records

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