Ahead of the new Noctule album Extinguish Thy Flame, I found myself returning to my review of Wretched Abyss, the first album by Svalbard guitarist and singer Serena Cherry. Released during the bleak lockdown times, Serena put her creativity to good use with a debut that split opinion.
Noctule – Extinguish Thy Flame
Release Date: 25 September 2026
Words: Paul Hutchings
Some of the elitist folk were scathing in their comments. Yet reviews were generally positive, and many were effusive about the quality of a project totally delivered by one person.
I know nothing about Skyrim, the game upon which Cherry based the themes of Wretched Abyss. However, my final paragraph said, “With an ability to be more than just an aural experience, Black Metal at times is bleak, dark and uncompromising, yet as displayed here it can be warm, enlightening and emotionally gripping.”
Time has travelled, and although the dust is still settling on that final incredible Svalbard set at Arctangent mere weeks ago, Serena’s main musical vehicle for much of the past two decades, the follow-up to Wretched Abyss is here.
And it is Elden Ring which is the basis for Extinguish Thy Flame. According to Wikipedia, it is a 2022 action role-playing game directed by Hidetaka Miyazaki, with worldbuilding provided by the American fantasy writer George R. R. Martin. Now, I do know that Martin is the author of Game Of Thrones so there are no doubt dragons hidden somewhere here.
All the music is written and performed by Cherry and each song is about a different boss in the game. Credited as the game that saved her life, it is no wonder that Serena has thrown everything into this release, crafted over a two-year period.
Ten tracks over 38 minutes blend crushing Black Metal with Serena’s rasping rawness in a manner which is possibly too polished for the purist. But I think this provides an accessible avenue to those put off by the most Extreme. The use of synths, whether they be samples or otherwise, gives the album a rich, layered texture that merges Meldodeath with the bitter clutches of the Black Metal style.
There is certainly more to it than tremolo riffs and blast beats. Lord Of Blood, the first single, has an undeniably folky edge to it. It may be a little overpowering, with an overdose on the senses potentially overwhelming you at times, but Serena pulls it back and it turns into one of the most memorable tracks here.
“This song represents the joy and freedom of being in full control of the music you create, without having to make any compromises with bandmates or managers,” she explains. “I love creating music by myself and in Lord Of Blood I think that shows.
“This song is a celebration of pure musical independence as well as an ode to the towering, horned demigod Mogh: Lord of Blood from Elden Ring. I’m proud that it doesn’t sound like anything else in the Metal world right now.
“Honestly, Lord of Blood has some of my favourite guitar leads I’ve ever written. When it comes to making Metal music, I just can’t resist adding layer upon layer of guitar harmonies.”
Whilst Serena is clear that the link between the game and Metal is fitting, “Metal is intense, relentless and uncompromising – so is Elden Ring as a game”, there is enough here to push the album past those whose interest may well lie merely in the characters and the story.
I often let lyrics bypass me and absorb the music as it flows and envelopes. Goddess Of Rot is one such track. A sonically atmospheric soundscape that has various components contained within it.
There is plenty to appreciate and enjoy. I found this one a particularly impressive piece, majestically crafted and choreographed, with Serena’s emotionally filled vocals and an eerie, almost background accompaniment.
It is similar on the next track, Lament Of The Omen King, which has another huge-sounding, semi-orchestral element which soars above the powerhouse programming and visceral vocals. It is a song crying out for some choral accompaniment and has the potential for massive reworkings should the funding ever be in place.
Scurry forward to the final song, Hallowhorn Grounds, and there is almost a triumphant, joyous vibe. It is certainly a release that needs to be listened to through headphones, for there are many layers to explore and absorb.
For Serena, this is a welcome next step and for a non-gamer like me, Extinguish Thy Flame still has plenty to offer.
Noctule self-release Extinguish Thy Flame on 25 September 2026. Find out more at Bandcamp.
