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: 26 April 2026

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Scimitar (noun): a saber having a curved blade with the edge on the convex side and used chiefly by Arab, Turks, and Redguards. Scimitar has undergone a series of improvements over the years, culminating in the most recent model (Scimitarium II), but remains crafted of three foundational components:

BLADE:
Scimitar’s blade consists of tempered, layered damascus riffs. Early prototypes of the weapon—referred to as Scimitarium I—utilized riffs that were melodically focused, often taking on the role of the ‘singing voice’, while the actual voice of Shaam A mainly provided unique, lilting textural support. The roles of voice and guitar have been largely reversed on the updated models of Scimitarium II: the guitar performance is aggresive, faster and more texturally focused, scraping through colorful chord changes, harmonic backdrops, and searing solos just as much as providing hooks and countermelodies. Inversely, Shaam’s vocal performance is more tonally focused on this iteration of Scimitar than before. The result is twofold: riffs and melodies swirl around chord structures like sand kicked up by gusts of wind, buffeting the listener with coarse performances and compositional details (“Lunacy Jewels”). Other times, they’re (curved) blades, slicing through songs with sharply precise melody, coated in glistening venom by Shaam A, whose voice outlines the afterimage of each swing’s arc like shimmering mirages hanging in the air (“Magnetic Venom”).

HILT:
The design of Scimitar’s hilt is arguably as important as that of the blade itself, often featuring a slight curve opposite that of the blade to improve overall handling of the weapon. Most recent models of Scimitarium II’s hilt make use of particularly aggressive drumming to match the keen curve of the blade. Such a design allows for more powerful swings from the wielder: riffs are propelled forward by liberal use of blast beats and double bass—as opposed to the busy but relatively less forceful drumming of Scimitarium I prototypes—while still providing rhythmic balance for each slice. The pommel is attached to the butt of the weapon, providing further counterbalance in the form of rumbling bass, which fills out the spectrum of sound while outlining particularly important harmonies and providing countermelody of its own. The updated design of Scimitar’s hilt allows the weapon to provide more power than ever, while preserving its instantly recognizable melodic bent.

SCABBARD:
While not technically part of the weapon itself, a well made scabbard will extend the life of any Scimitar. Scimitarium II blueprints include their own custom scabbard design, aiming to provide an ideal atmosphere for the weapon, ultimately improving replayability. What makes the atmosphere provided by Scimitarium II scabbards so unique lies in the method of delivery: performance and composition. Scimitar’s performance is much fiercer this time around, leaning more heavily into the black metal inspired aspect of the weapon, as opposed to the mainly heavy metal conceit of Scimitarium I prototypes. Of particular import is the ever idiosyncratic vocal delivery of Shaam A. While more tonally focused than on Scimitarium I prototypes, Shaam’s voice retains a ghastly quality, still providing moments of textural voice painting. At times, she moans and wails like a bound spectre—ethereal and foreboding—as if her bandmate’s performances are less music and more seance, conjuring sounds that come out of Shaam, but not from her. 

Compositionally, masterful pacing and structuring fit Scimitar perfectly. Opener “Scimitarium II” holds the tip of the blade, easing into the shape of the design before exploding into three tracks of powerful performances, hosting the sharpest length of steel. Finally, the penultimate track into the thirteen minute epic “Mobula Mobular” straightens the edge, the former focusing on softer, more dynamic performances, and the latter on slower, elegant longform composition and pacing. Ending on such a note allows the wielder to more easily regain balance between swings, enabling increased stamina and consistency during more drawn out skirmishes. 

CONCLUSION:
On first glance, Scimitarium I prototypes may seem similar to the updated design of more recent Scimitarium II models. In reality, a host of subtle, clever differences result in a more streamlined version of Scimitar’s overall design. Some wielders may still prefer the slightly more weighted version of Scimitarium I, finding the melodic heft makes up for the relatively duller blade of riffs, while others will find the violent architecture of Scimitarium II’s updates more to their liking. Each version of Scimitar has its own advantages, and both are more than capable of slicing clean through whatever their wielder sees fit. What I find most exciting about the trajectory of Scimitar, though, is the seemingly methodical intent behind each iteration. The differences in design between Scimitarium II models and early Scimitarium I prototypes mirror each other, each focusing on different aspects of Scimitar while maintaining the instantly recognizable shape. Prospective Scimitarium III blueprints have an opportunity to fully integrate the focus of every Scimitar iteration thus far into its design, the result of which would be a beautiful synthesis of sound, and the most lethal version yet of what is already one of the finest weapons ever produced.

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Recommended tracks: A Reverence Warning, Lunacy Jewels, Mobula Mobular
You may also like: Slægt, Molten Chains, Funereal Presence, Predatory Light, Ponte del Diavolo
Final verdict: 9/10

Related links: Bandcamp | Instagram

Label: Crypt of the Wizard

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