Well, The Black Coming spends a good amount of time building up a submersive environment thanks to the looming bass building start one would expect Sunn O)) to unleash. Gradually it takes on some eighties horror score aspects like bells and synths that can feel a bit astral at times. It best suits a cooler terrain or winter’s night with the lights off until it drops everything, returning to the bass rumble and some muffled dialogue in the background from time to time, leading to over-distorted vocals in a truly isolated realm that eventually pulls you deep into the ground to the deepest depths of hell before casting you off into the night’s sky to float among the many planets and stars that gazed upon your mortal flesh.
Honestly, while that all sounds like an interesting dark piece of ambience, The Black Coming just isn’t all that gripping a composition. The tone just changes too frequently to keep you immersed, as if designed initially to be a group of songs separated into one conceptual astral projection. But, as a near twenty-two minute offering loosely tied with a simple bass roar that thins out towards the end as your spirit is cast off into the cosmos, you are left unsatisfied, and lack of a desire to return. Even if you do resubmit to the journey, there really isn’t much left to discover on the second round through if anything at all. It’s good for what it is, but definitely not one of the better representations of the power Jumalhämärä brings to the table.