There are times when an album completely surprises you. And this is one of those times. Ukrainian quartet Ignea caught my attention at Bloodstock a few years ago when I was shooting the festival for MetalTalk. I don’t recall much about them, except that they were good value and singer Helle Bohdanova rightly waved their flag in defiance. They had crossed my path before, a solid set supporting Butcher Babies in Bristol in late 2023, no less.
Ignea – Monumental
Release Date: 23 October 2026
Words: Paul Hutchings
But I will confess, I have never sat down and listened to them. Until now. Modern Metal often sends shivers down my spine. It is all a bit generic for my liking, but it’s a badge that many can wear, and of course, it is much wider than my old man’s prejudices.
Monumental is well named. This is an album that may well explore nostalgia, but there is something wider about this release. With all lyrics written by Bohdanova, and music composed by keyboardist Yevhenii Zhytniuk, with some help from Bohdanova, it is very much a burning, internal affair.
The melodic side of the band is very much in evidence on the opener, Darkness, its emotional tone grabbing the attention alongside some melancholic delivery from Bohdanova. To then switch to her gravel-throated roars amidst electronic techno elements on the title track of the last album, Dreams Of Lands Unseen, is impressive. As is the track, that sways from progressive keyboard passages to blunt blast beat delivery, from raging roars to angelic cleans. It is all passionate and moving in every aspect.
There is something grandiose about this album. Presence Of The Past, with its pop-like intro that gives way to blistering drumming (programmed, I assume, given the absence of a drummer in the current line-up) whilst the vocals switch with an underlying aggression, is an ode to urban decadence, the experience of living in a city that is constantly evolving.
Race forward to Prefab, a rave soundtrack that features Andy LaPlegua of Combichrist. Another swift left turn, this is an industrial brute, leaving nothing to chance. It is here that I thought Bohdanova and Ignea shared some parallels with Italians Lacuna Coil. Maybe you can hear it. Maybe not.
But surprises are not over yet. After that chaotic crushing, the last thing you would expect is a track that drops like a ’60s TV advert. Echoes of Karen Carpenter, I kid you not, appear on I Am In Hell, a gently crafted piece that bridges the thunderous industrial blast of Prefab and the Eastern flavours of Between No Longer and Not Yet.
This is the longest song on the album, at over seven minutes, but it weaves its way with another schizophrenic vocal performance that keeps you on your toes throughout. I’m not 100% sure about parts of it, but the flowing mix of Doom, jazz and orchestral parts works well overall.
And to wash that all away comes a powerhouse track that features the visceral vocals of Britta Görtz of Hiraes. This adds some real steel to the album but maintains the melodic features of all Ignea’s songs. It really is an eclectic and brave mix.
To close, Nadir. A reflective orchestral couple of moments, it seems appropriate given all that has gone before it.
Monumental is an album of many layers. It may take a little time to explore, but beneath the exterior sits some excellent music from a band who have taken their creativity to the max.
Ignea release Monumental on 23 October 2026 via Napalm Records. Pre-orders are available from lnk.to/Ignea-Monumental/napalmrecords. Ignea are on tour with Evergrey on their Architects Of A New Weave European Tour 2026 along with Stellar Circuits.
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