Welcome back my fellow black metalheads! Sean here at the Black Metal Archives, and today we’re looking at Poland’s Zørza, who arrived on the scene with a clear intent to carve their own niche in the black metal landscape, and their debut full-length Hellven—released in June 2024—which delivers on that promise with a chilling, expansive sound that both honors tradition and pushes beyond it. Formed in 2022 by Kacper Bartkowiak (bass, lyrics, backing vocals) and Eryk Lange (guitars), this Grodzisk Wielkopolski outfit has quickly evolved from their raw 2023 EP IEI into a force capable of weaving atmospheric tapestries and unrelenting aggression. Hellven is a nine-track journey that balances melodic grandeur with the genre’s inherent darkness, proving that Zørza is more than just another name in the crowded black metal roster.
The album kicks off with “Western Forest Rites,” a brief but effective intro that sets the tone with storm-like soundscapes—thunder cracks, distant ravens, and subtle percussion evoking a ritualistic summoning. It’s a moody prelude that transitions seamlessly into “Night of the Werewolf,” the first proper track and a standout moment. Here, Zørza unleashes a barrage of tremolo-picked riffs courtesy of Lange, underpinned by Bartkowiak’s pulsing basslines and the session drumming of M. Wróbel, whose blast beats drive the song’s ferocious momentum. Vocalist Refur enters with a raw, acidic delivery—his shrieks drenched in reverb yet cutting through the mix with visceral intensity. The track’s midsection slows briefly, introducing howling wolves and a haunting piano outro that adds an unexpected layer of melancholy. It’s a bold statement: Zørza can wield both orthodox black metal fury and atmospheric nuance.
The instrumentation throughout Hellven is a key strength. Lange’s guitar work is the backbone, alternating between icy, melodic leads and dissonant walls of sound that recall the Scandinavian second wave—think early Burzum or Emperor—while avoiding mere imitation. Tracks like “Death II” showcase this duality, opening with a haunting riff that builds into a relentless assault of blast beats and snarling vocals, only to ebb into a reflective passage that lets the guitars breathe. Bartkowiak’s bass isn’t just a supporting player; it’s a thick, ominous presence that anchors the chaos, particularly in “The Crown with Silver Thorns,” where a guest guitar solo by M. Wrzesiński adds a fiery flourish to an already epic composition. The production, mixed by Lange and mastered at Cross Street Studio, strikes a balance between clarity and rawness—slightly blurred at the edges, it enhances the album’s dense, otherworldly vibe without sacrificing impact.
Zørza’s sound on Hellven fits snugly within black metal’s broader spectrum, yet it’s their willingness to flirt with unconventional elements that sets them apart. “Zorza II,” a keyboard-led instrumental, departs from the aggression entirely, offering an eerie, ambient respite that feels like a descent into a fog-choked abyss. It’s a risky move, and at over three minutes, it might linger too long for some, but it underscores their ambition to stretch beyond the genre’s rigid confines. Similarly, “Danse Macabre,” another instrumental, builds from a somber intro into waves of blackened riffs, ebbing and flowing with a hypnotic pull that’s both meditative and menacing. These moments have sparked debates about whether Zørza qualifies as “post-black metal,” but such labels feel reductive—Hellven is black metal at its core, steeped in misanthropy and icy despair, even if it occasionally softens its edges.
The album peaks with “Under the Reign of the Black Moon,” a slow-burning beast that creeps forward with a ritualistic crawl before erupting into a storm of raw riffing and Refur’s most ferocious vocal performance. The track oscillates between dread and aggression, its undulating tempo mirroring the torment of a soul trapped in some godforsaken realm—a theme echoed in the band’s own description of Hellven as “an oneiric journey to a forgotten realm where you can only count on yourself.” The closing cover of Windir’s “Journey to the End (1184)” is a fitting tribute, staying true to the original’s folk-infused black metal majesty while showcasing Zørza’s ability to channel their influences into something cohesive with their own vision.
If there’s a flaw, it’s minor: the ambient detour of “Zorza II” disrupts the album’s momentum slightly, and the heavy reverb on Refur’s vocals might not suit every listener’s taste. But these are quibbles in an otherwise compelling debut. Hellven isn’t reinventing black metal, nor does it need to—it’s a confident, well-crafted plunge into the genre’s depths, blending tradition with a distinct personality. Zørza wield their instruments like weapons, crafting songs that are as atmospheric as they are punishing. For fans of melodic yet apocalyptic black metal, this is a release that demands attention. Dive into this incredible album over on Bandcamp, and let the shadows of Hellven envelop you.
Until next time, embrace the shadows of the underground!
