UK Black Metal force Sidious return with their latest offering, Malefic Necropolis, a follow-up to 2022’s Blackest Insurrection. To my mind, this was a particularly difficult task because, as much as I love the two predecessors to that, 2014’s Revealed In Profane Splendour and Temporal in 2019, that previous offering, Blackest Insurrection, really stood head and shoulders above its predecessors. So it will take some beating for me.
Sidious – Malefic Necropolis
Release Date: 30 January 2026
Words: Jools Green
My first thoughts were not to make any judgment and give Malefic Necropolis several listens before passing any verdict, given how deeply ingrained into my cold, dark heart Blackest Insurrection is.
But four tracks in, it was clear to me that Malefic Necropolis could stand alone with no special concessions needed. Sidious have taken on board the aspects that made Blackest Insurrection such a blisteringly good release and run with them whilst building on that previous achievement with this latest release.
Malefic Necropolis is immediately impactful from the opening piece Shears Of Atropos, the haunting intro building cinematic atmosphere and developing in layers with the drum rhythms building and becoming more complex, hypnotic and almost tribal. Then, about a minute and a half in, Sidious hit you with a searing wall of driving riffs and scathing searing vocals.
I love the burst of deep vocal chants that pop through before the riffs develop, along with the defined ebb and build of the piece. The track continues to intensify and build, bolstered by the intensity and complexity of Valdr’s drum work. This is a piece packed with so much power and darkness that it utterly engulfs and smothers you at the same time, and engages so strongly that it holds your attention in a vice-like grip.
The next piece, Rotborn Terror, features guest vocals by Tubal-Qayin of Völniir, adding an extra layer of depth to the piece. A dark driving and undulating assault on the senses from the offset, the vocal layering is superb on this piece, adding so much dark intent and atmosphere, as does the repeating riff that undulates and dominates throughout.
The first of two dark and atmospheric interludes, Inversion And Collapse brings eerie otherworldly atmosphere with its drum beat pulse and spoken element flowing smoothly into Cosmossuary. This is a blistering offering from the offset, where the riffs drive, and the vocals carve with acidic intent as the drum rhythms pound unrelentingly.
The sharp lead work pops through, then when the pace drops back, it develops a catchy as hell, black but subtle groove-rich melody. It is that format repeating that makes it such a superb piece. It is brutal, icy and catchy in equal measures.
The second atmospheric interlude, Grave, is even darker and more unworldly as stormy soundbites. The faint echo of crows and tormented voices courses beneath ominous riffs, making it the perfect prelude for the next offering, Crows Atop the Gallows.
I absolutely love Crows Atop the Gallows. It might just be my favourite track. To my mind, it harbours a subtle nod to Satyricon whilst still being very much its own master. It is rhythmically powerful and packs a punch. It is also vocally acerbic, and the phrasing and punctuation of both the lyrics and riffs are powerfully on point.
But the piece still delivers a blackened melodic undercurrent, making it hugely engaging, and I love the spoken element that is overlaid in places, as it really develops the atmosphere of the piece. A superb track.
After an eerie build, Vortex Of Boundless Unlight develops into a driving, well-versed beast of a track with a superbly scathing lyrical delivery that engulfs everything in its wake, then fades back into the void.
Penultimate piece Sanguineous Art is once again a glorious assault on your senses. The dark driving riffs ebb back just long enough to tantalise you briefly with a subtly melodic plodding undercurrent. I do love the acerbic vocals and backing chants, which add unnerving depth and texture, and Valdr’s drum work is once again a thing of brutal beauty.
If that is not enough, the midpoint soaring burst of lead work just stops you in your tracks, elevating the piece beautifully. It is a stunningly good listen.
I love the final offering, Bloodlust Command Infinite, because the first listen through it kept me guessing as to just which route it would take. Would it be a brutal final assault or a more brooding black plod? Turns out you get a bit of everything.
First, a head-spinning opening drive packed with spiralling riffs and drum assault, then dropping back to a black plodding pace, but with brief brutal bursts that pop through. This is garnished with caustic vocals that cut through, along with backing vocals that echo more deeply that caustic delivery. There are brief drops with distant otherworldly spoken elements enhancing the atmosphere of the piece, eventually closing on bass lines and echoing drum beats that fade gradually and ominously. A hugely impactful and imposing final piece.
Malefic Necropolis is an infernally good listen end to end, and I am filled with excitement as to just how imposingly awesome this will be when performed live. Released on 30 January 2026 via Immortal Frost Productions, it will be available as CD, Vinyl or digital download. Pre-orders are now live from Sidious or Malefic Necropolis | Sidious | Immortal Frost Productions.
