There are several bridges around the world that bear the name “Devil’s Bridge.” The name usually stems from local folklore, in which it is claimed that the devil himself was involved in the bridge’s construction.
Which specific Devil’s Bridge appears on the cover of Lvthn’s new album remained unclear even after an intensive Google search. Visually, it most closely resembles a bridge from Tuscany.
Still, the band’s origins are not in sunny Tuscany, but in rainy Belgium. Formed in 2013, Lvthn last made themselves heard in 2016 with their split release alongside Häxenzijrkell. Now, six years later, the
Belgians return with their second full-length album. Musically, they offer a merciless strain of black metal: raw, harsh, and above all fast, yet varied enough to keep the listener fully engaged.
What I can currently discover about the band members is that ZD of Zwarte Dood is involved in this project. Beyond that, however, the identities remain shrouded in mystery. Our old and familiar source of information, the Metal Archives, offers only minimal details about the rest of the line-up.
The known connection with ZD of Zwarte Dood hints at a network within the Belgian underground, a scene where projects often overlap and musicians assume multiple identities across different bands. This interwoven network gives the music a raw, authentic energy—one born not of commercial ambition, but of uncompromising dedication.
The remaining members may remain faceless for now, but their presence is undeniable in the intensity and precision of the album.
“This is a work of devotion. A weapon of Will. A hymn to Lucifer, as light-bearer and destroyer alike…. It is music as weapon. Music as curse. Music as rite.” reads the accompanying info sheet—and this is by no means an exaggeration.
What resounds here is no casual sound, but a storm of intent: music as a weapon that strikes without mercy, as a curse that burrows into your mind and keeps you awake at night. It is music that not only touches the listener, but also brands them, leaving scars behind.
At the same time, a ritual unfolds, a trance pulling you ever deeper, as though you are taking part in a rite performed in darkness for centuries. Every note is an offering, every riff a blade that cuts deep, every drumbeat a hammer strike upon the anvil of will.
It is devotion, but equally destruction: a hymn that conjures both light and darkness, holding the listener captive between exaltation and damnation.
With this Devil’s Bridge, Lvthn not only strike with force but also surprise. It is as though they open a passage to another dimension, where light and darkness devour and empower each other.
This approach lends the music an added depth: on the one hand uncompromising and annihilating, on the other hypnotic and incantatory. A ritual tour de force that is undoubtedly worth experiencing—or rather, undergoing.
85/100
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