Review: Scimitar – Scimitarium I

Logo and illustration by Jack Sabbat, Ornaments by Joos Melander

Style: Heavy Metal, Black Metal, Progressive Metal (mixed vocals, mostly clean)
Recommended for fans of: Hammers of Misfortune, Negative Plane, Malokarpatan
Country: Denmark
Release date: 28 February, 2025

Have you ever thought to yourself: “Man, swords sure are cool. I just wish they came in a larger variety of shapes and sizes”. If so, why do you talk like that? Also, the year is 2025, and I think I may have an answer to your prayers.

Enter Copenhagen based quintet Scimitar, whose debut album Scimitarium I features an illustration I think you may be veeeery interested in. Oh, they also play music I guess… And it is quite good! Extremely good in fact. Scimitar plays an arcane form of heavy metal with a serious black metal bent not entirely unlike Negative Plane and their ilk. Winding guitar riffs weave through a swarming drum performance as Shaam Larein’s unique lilting vocal performance glides like an apparition over it all. The lead guitar often takes on the role of conveying the primary melody while the vocals support it with their own secondary melody; it is not quite contrapuntal, but the result is faintly similar. The formula on display on Scimitarium I instantly caught my attention, shining like the glint of sharpened steel that comprises the blade of a certain shape of sword.

Scimitarium I opens with its title track, starting with a dissonant riff that is deceptively catchy and works as a great tag to set expectations and the mood for the entire album. The track ends as this riff simultaneously implodes in on itself and explodes into “Aconitum”, wasting no time to flex Scimitar’s sharp structuring and songwriting skills. Long-winded serpentine riff phrases create space for plenty of variation and smart use of harmonic interplay during repeated sections. Each and every idea is taken to its logical conclusion, then taken there again down a different contextual path within the song. The result is that Scimitar can rely on only a few of their strongest ideas, streamlining the listening experience without losing the esoteric nature at the heart of their sound. “Aconitum” is perhaps the strongest and most straightforward example of this; the chorus has a great lead guitar melody that can be superimposed over the entire rest of the track, fitting in perfectly the entire time, and showcasing just how deeply Scimitar understands their strengths and the skill with which they are able to utilize them.

Besides general songwriting prowess, Shaam Larein’s vocal performance is the primary highlight of Scimitarium I for my tastes; she’s great at crafting arcane melodies that are equal parts catchy and esoteric, able to get stuck in your head without taking away from the occult atmosphere. Larein often uses her voice more texturally than as a vehicle for delivering melody, but very rarely does she flip fully into screaming. Particularly effective is how she regularly switches into her falsetto at the end of phrases, giving her performance a feeling of spectral uneasiness. Even while Larein is singing, her syllable placement and the pacing of her phrases are more in line with a harsh vocal performance, further bridging the gap and muddying the waters between Scimitar’s sharp black metal edge and heavy metal spirit. 

Those who are familiar with Slægt’s particular mix of black and heavy metal will mostly know what to expect from the instrumental side of Scimitar’s performance, given that the two groups share three members between them. For those who aren’t, Slægt play a heavy metal infused form of melodic black metal with plenty of goth tendencies in the vein of Tribulation. While Slægt is mainly concerned with exploring the black metal side of these guys’ particular sound, Scimitar ventures further into heavy metal territory, infusing the performance with a scrappy DIY aesthetic. There are still plenty of the black metal performance techniques, but they are used in the context of and in service to a heavy metal conceit. The bass guitar heavily utilizes chromaticism and relies on leading tones that anchor the ripping melodic black metal based guitar riffing. The drumming is very busy, constantly filling space with fills and short blasts, but never distracting from the rest of the performances. This is not to say that Scimitar never fully unsheathes their black metal side—they do so quite a few times, and always to great effect. Take “Red Ruins” for example: around 1:20 there is a chilling ghostly vocal harmony that leads into Scimitarium I’s first fully mask off black metal section. Harsh vocals accompany a vicious tremolo attack, followed by a harmonically disorienting arpeggiated riff that winds around itself like a whirling drain. Scimitar’s sound is malleable and can be stretched into so many different directions, from black and heavy metal to goth and pop (“Hungry Hallucinations”), but always retains its core sound and never diverges from the almighty riff. 

Scimitar has stumbled upon a nearly perfect blend of sound for my tastes, a paradoxical fog which repels direct comparison through an inviting familiarity. Each performance is grippingly authentic, each riff thrillingly engaging, and each moment ridiculously addictive. We’re only about a third of the way through 2025, and Scimitarium I is already a strong contender for ending up as my favorite album of the year, and it is not particularly close either. Even in an early year full of strong underground releases, Scimitar cuts through the chaff, sharpening its uniquely shaped edge with a calculated efficiency. Perhaps those warriors from Hammerfell were onto something after all.

Recommended tracks: Aconitum, Hungry Hallucinations, Ophidia
You may also like: Slægt, Molten Chains, Funereal Presence, Predatory Light, Ponte del Diavolo
Final verdict: 9/10

Related links: Bandcamp | Spotify | Instagram | Metal-Archives page

Label: Crypt of the Wizard – Bandcamp | Facebook | Official Website

Scimitar is:
– Shaam Larein (vocals)
-Johan L. Ekstrand (unknown)
-Anders M. Jorgensen (unknown)
-Olle Bergholz (unknown)
-Adam CCsquele (unknown)