Here’s a bold statement: Gruta’s Hymnus Ad Atram Mortem is not just another black metal album—it’s a chaotic, genre-bending rollercoaster that dares to challenge expectations. But here’s where it gets controversial: does their ambitious blend of styles elevate the album, or does it leave it feeling unfocused? Let’s dive in.
When Steel, the notorious arbiter of musical terror, offered me the choice between reviewing Gruta or being voluntold into something far less appealing, I reluctantly chose the former. And so, I found myself exploring Hymnus Ad Atram Mortem, the sophomore release from Bogotá’s Gruta. Labeling their sound as ‘Chaos Black,’ the band promises a twisted fusion of black metal’s most ferocious elements. With antifascist messaging and a Sauron-sampled opener, my curiosity was piqued. But does this album live up to the hype, or is Gruta just another band searching for its identity?
At its core, Gruta’s sound straddles the first and second waves of black metal, blending raw aggression with atmospheric depth. The album opens with a bright, almost playful riff reminiscent of Slaegt, but quickly shifts into darker, more traditional territory with ‘Niebla.’ Drummer Flama alternates between blistering blast beats and D-beat assaults, while guitarists Agnen and Garmr oscillate between Bathory-inspired punkiness and Immortal-esque tremolo picking. The result? A sound that feels like a distant cousin to Darkthrone, anchored by vocalist Dagnir’s eerily Mayhem-like rasp. Whether inciting a riot or channeling Saruman’s windswept incantations, Dagnir’s range is undeniably impressive. Gruta doesn’t choose between black metal’s punk roots and its icy evolution—they use both as a launching pad for their unique vision.
And this is the part most people miss: ‘Chaos Black’ doesn’t mean unrelenting war metal or dissonance. Instead, Gruta weaves in DSBM atmospherics, heavy metal grooves, Slayer-inspired thrash, punk attitude, and even emotive atmoblack passages. The result is less caustic and more akin to Kvelertak’s energetic fusion. Bassist Ataecina steals the show with a surprisingly forward-mixed performance, adding warmth and vibrancy reminiscent of early Iron Maiden. Their nimble interplay with the guitars elevates tracks like ‘Oda a la Ruina’ and ‘Ramas de Araña,’ proving Gruta’s black metal roots are just the beginning of their sonic exploration.
However, the album’s momentum falters at times. Tracks like ‘Niebla’ and ‘Stygos Tou Kosmos’ suffer from pacing issues, with atmospheric interludes that feel more like placeholders than purposeful additions. Even the politically charged ‘M.A.F.M.’ loses steam halfway through, leaving me wishing for tighter editing or rearrangement. These moments make me want to skip about a third of the album, which is a shame given its highs.
That said, Hymnus Ad Atram Mortem is far from a harrowing listen. It’s a nostalgic, old-school ride with retro guitars, iconic vocals, and a bassline that demands attention. Gruta’s kitchen-sink approach to influences is both their strength and their weakness—while it makes for a fun and engaging listen, it occasionally lacks focus. I’d love to see them refine their holistic composition in future releases. But flaws aside, this is a solid sophomore effort from a passionate band. I’m eager to see where Gruta goes next.
Controversial question for you: Does Gruta’s ambitious genre-blending enhance their music, or does it dilute their identity? Let me know in the comments!
Rating: 3.0/5.0
DR: 5 | Format Reviewed: WAV
Label: Liminal Dread Productions (http://liminaldreadproductions.com/)
Websites: Bandcamp (https://grutacaosblack.bandcamp.com/music) | Facebook (https://www.facebook.com/gruta.kaosblack/) | Instagram (https://www.instagram.com/gruta.kaosblack)
Releases Worldwide: November 7th, 2025
