Did you know that black metal could be fun? Southern Florida’s The Noctambulant believe so, and on their third EP, Revival, they mix black metal, rockabilly, and southern gothic to create a potent mix that takes black metal and turns it into something more digestible but not too accessible. Searing speed, catchy choruses, and inspired solos bring to life a record that is as much black metal worship as it is an ode to the band’s southern roots. This mix seems like oil and water, so does The Noctambulant stick the landing or fall flat on their faces?

The Noctambulant come from the depths of what may be the most metal place in the world: Florida. Sweaty swamps, sticky shorts, and an endless stream of prehistoric beasts prowl the ancient subtropical forests. If 102 degrees and 100 percent humidity isn’t metal, I don’t know what is. Even as someone who makes a point of avoiding the southern parts of the US, I can’t help but respect their dedication to living in a perpetual hell. Now take all of that and start a black metal band that works to take down the biggest institutions in the South: organized religion. Despite the anachronistic intro, featuring samples and trap drumming, the rest of the record is a blazing-fast, straightforward piece of what can only be described as blackened-billy. E. Helvete’s vocals are perfectly pitched, from their raspy highs to the roaring lows, and the dual guitar dance of Helvete and Rev. Beaumont leads the record like a two-headed, twisted preacher. Lars G. offers a hellishly thick low end, and in a surprising turn for something so black metal-adjacent, the album is chock full of bass wankery and ripping guitar solos.

Revival bucks trends in other surprising ways, especially with its production. Eschewing the typically raw, borderline unlistenable nature of many smaller blackened acts, The Noctambulant sits somewhere in between. While the production is generally a step above their peers, the treble is too high at times, making the vocals sound ear-splitting in the mix, while the guitars fall by the wayside. Oddly enough, the low end thrums brightly throughout the record, establishing itself as a real highlight across the album. Thanks to a focus on southern roots and rockabilly inspiration, Revival is catchy and bouncing. “Skeleton Key,” “Killing Tree,” and “San Martino” are great examples of The Noctambulant at their best.

The Noctambulant describe their music as inspired by rockabilly, blues, goth rock, and American country. The final product says otherwise to my (albeit amateur) ears. Most of the album plays out as blackened thrash with some slight rockabilly elements; maybe those with a sharper sense for the genre can pick out rhythm and riffs that are truly inspired, but it wasn’t nearly the genre-mashup I was hoping for. As it stands, Revival is fun, if a bit samey, but for those who don’t typically enjoy black metal, The Noctambulant might be the solution. The finale, a cover of Nick Cave & The Bad Seeds’ “Red Right Hand,” feels like the best representation of Revival’s mission statement, although it immediately reminded me of the soundtrack to 1994’s Dumb & Dumber.

Revival might be a crossover killer for those left wanting by typical black metal, but for us looking for something truly inspired, The Noctambulant keep it surprisingly safe. In a genre so open to experimentation and wild left turns, Revival could have been a real standout record in a crowded year of incredible music. The Noctambulant still bring the southern heat, but they fail to burn the world down. Hopefully their next record will cross that threshold into something truly special; for now, I will definitely be keeping an eye out for what comes next from this interesting, if a little safe, group of blackened-billy adherents.

Rating: Good
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Terminus Hate City
Websites: Bandcamp | Instagram
Releases Worldwide: September 18th, 2026