The dark and twisted history of the True Mayhem, Norway’s longest-writhing sons of Black Metal, has been told and retold. Here in 2026, so far removed from the murders, arsons, and mischief of yore, we see the band continuing to bend their will to solid creativity. Once more, and for the first time since 2019, they churn forth from the depths a new studio album. Liturgy of Death emerges on February 6, 2026, via Century Media Records. Their fifth studio album was born in their fourth decade. Mayhem is far from finished, as their excellent live performances consistently demonstrate.
Attila Csihar’s vocal prowess remains integral to Mayhem’s sound. On opener “Ephemeral Eternity,” his sarcophagus bellows, ripped from below, over the precise blasting of Hellhammer on drums. Guitarists Teloch and Ghul produce the stygian racket along with founding member and bassist Necrobutcher. The second song, “Despair,” is where the sociopathic personality of the album emerges. The tortured guitar riffs leap out clearly from the din, some of the best the band has created in years. With a bombastic orchestral feel, this one delivers the crystalline Norsk Black Metal sound, as if the glorious ’90s were still afoot. Some booming clean vocals to augment the screams are interwoven with harmonies from hell underneath – this is pure viciousness.
Lead single “Weep For Nothing” has had time to sink beneath your skin. There is a very typical Mayhem guitar line opening things up, the alarming riffs seemingly ripping into existence over Hellhammer’s pristine timing. On past albums, particularly 2000s Declarations of War and 2004’s Chimera, Mayhem always sounds extremely cold. There is a warmth to the sound on this one, an enveloping murk that is not meant to be a modern, security-blanket, safe production. The transition at 3:00 is beautiful in its sword-sharp meanness.
Something in the delivery of “Aeon’s End” is reminiscent of Zyklon, Myrkskog, or Keep of Kalessin. It has a Death Metal feel, with well-constructed riffs and a demanding vocal attack from the Hungarian master of song himself. It winds up sounding like a straightforward early 2000s song that was popular as Black Metal had its dalliance with Death Metal. The breakdown and tempo shift around the 2:45 mark are guaranteed to cause pandemonium in a live setting. A rare guitar solo emits a bit of light into the song’s rotting corpse.
Mayhem offers speed and frenetic riffing on “Realm of Endless Misery,” with a martial break in the middle that would not have been out of place on Grand Declaration of War. “Propitious Death” has a similar vibe, and the subtleties here lie in the smaller details, the vocal effects and tempo shifts, which keep the proceedings interesting. The conclusion of the album is manifested in the form of the longest song on the album. At just over seven minutes in length, “The Sentence of Absolution” comes in with a bit of that arch, cold drum roll Hellhammer is known for – the song does indeed bear a similarity to that song; the immortal “Freezing Moon” off of 1994’s De Mysteriis Dom Sathanas. The otherworldly guitar strumming over the mid-paced roll and stomp creates a compelling atmosphere. Creepy vibes, including some guitar lead work, help inflate the grandeur on hand. Csihar’s vocals take on the hypnotic quality he is so good at conjuring.
All told, Mayhem has created some riveting moments amid the backdrop of a workmanlike, competent demonstration of their enthusiasm and obvious talents. For these reasons, Cryptic Rock gives Liturgy of Death 3.5 out of 5 stars.
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