If, like me, you played a lot of the original Elder Scrolls IV: Oblivion (2006), then you might agree that the game has a nigh unbeatable vibe. The densely forested hills rolling into the distance, the subtle call of a nearby Nirnroot, the grossly overconfident mudcrabs, the endearing jank of two townspeople conversing like they’ve only just discovered human language; it’s a distinctly cozy high fantasy setting that feels like home in a way few modern games could hope to replicate. Thus, I was excited to learn that Velothian, the epic post-black metal act that was previously featured on the 2024 EP Roundup for their Elder Scrolls III: Morrowind-themed EP Path of the Incarnate, now draws from Oblivion as inspiration for their debut full-length, Mythic Dawn. Path of the Incarnate enraptured me with its intimate riff-work and imaginative atmospheres, so with Mythic Dawn, has Velothian survived their first jump from EP to full-length?

Velothian play a folk-tinged, somber kind of epic/ethereal post-black metal that strikes a good balance between distant tranquility and gritty textures. While there’s a great deal of woodsy ambiance and dreamy chants, the metal enjoys a satisfying, weighty presence whether it’s airy, open-note chords à la Alcest (“The Great Forest,” “Forgotten Ruins,” “Mania”) or direct, blasting riffs (“The One From My Dreams,” “Dragonfires”). Mythic Dawn uses its inspiration tastefully to create something all its own, never feeling schlocky or gimmicky like “video-game metal” often does. Speaking of, I was elated to discover some references to the original Oblivion OST throughout Mythic Dawn. For example, the soft piano melody of Oblivion’s “Auriel’s Ascension” translates beautifully into acoustic guitars and serves as a jumping-off point for the sunlit harmonies of “Mania,” and the game’s main theme makes an understated appearance in “The One From My Dreams.”¹ I appreciate that Mythic Dawn never feels like a direct 1:1 of Oblivion’s music or aesthetic, maintaining its own identity and imagery even as it incorporates melodies from the game’s OST such that those unfamiliar with Oblivion won’t feel like they’re missing something.

In Mythic Dawn, Velothian have preserved that expansive yet grounded quality I loved about Path of the Incarnate and even improved on it through tighter songwriting and a more verdant soundscape. One ought look to “The Great Forest” for how Velothian construct atmospheres with intelligence and restraint: softly striking guitars ring between rich arboreal sounds and sparse chanting, blooming into a simple but textured, evocative riff in the verse. “Mania” is another atmospherically decadent track, sustaining nearly every note played to create a dreamy haze above gorgeous chord progressions. Velothian understand the benefit of brevity, never bogging a song down with an excess of mindless riffing or languid ambiance, which keeps a slower song like “Forgotten Ruins” or a more varied track like “Night Mother” engaging throughout. Whereas the textures and melodies paint the vivid imagery, it’s largely the guitar’s mixing that gives the music its tactile, grounded feeling. It’s felt especially strongly in the galloping “The One From My Dreams” where the riffs have a gripping, full-bodied crunch to them that draws you in and directly places you into the world Velothian are evoking.

It’s clear that Velothian have grown a lot in the time leading up to this debut, but that does serve to highlight the few areas that stand to further improve. While the mix is overall an improvement over Path of the Incarnate’s, the cymbals can be a little distracting in the heavier tracks, namely “The One From My Dreams.” Though both “Mania” and “Dragonfires” are well-written, each song ends with non-sequiturs that don’t feel properly fleshed out. “Deadlands” is the only track that actually loses me; the riff-work is solid, and I enjoy how the drums resolve into the chorus, but it lacks the quiet, moving majesty of the other songs that keep me returning to them. But ultimately, these finer details of Mythic Dawn do little to diminish its charm or impact. When Mythic Dawn ends (after a tasteful 40-minute runtime, might I add), the good always shines much brighter than the not-as-good.

I’ve long been excited for what Velothian would do after Path of the Incarnate, and Mythic Dawn has rewarded my patience. This album is an improvement on their previous work in many ways: the songwriting is tighter, the sound is crisper, and the atmospheres more vivid. Velothian are still a little rough around the edges, but Mythic Dawn nevertheless well establishes Velothian’s unique voice and songcraft. This is maturely written, and imaginative ethereal post-black metal that has cemented Velothian as one of the better video-game-based metal bands out there, and I shall be enjoying Mythic Dawn for a long time yet.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: PCM
Label: Self-Release
Websites: facebook | bandcamp
Releases Worldwide: February 1st, 2026

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