After the explosion of the Norwegian black metal the wave flew round the world. It should be clear for everyone that in states of the former Union of Soviet Socialist Republics this wave is moving slower. Nowadays in Ukraine, Romania and Bulgaria there are circles of few musicians who form different black metal projects according to the waft of their inspiration, and they release 2 or 3 albums with each project.

Lately more frequently the foundation of the black metal music is a lonely pursuit. Roman Sayenko (known for his other work in HATE FOREST, DRUDKH, and DARK AGES) has several black metal projects in which he works mostly alone, although in the new one BLOOD OF KINGU he has invited his mates. (BLOOD OF KINGU hails from Ukraine, not to be mistaken with the American or the Colombian band with the same name).

In the Babylon mythology Kingu is a god-monster, whose blood served as a divine spark for humankind creation. An intro of mystic-shaman percussion leads us into a black metal whirligig where we can easily perceive the influence from the early BATHORY and IMMORTAL. The sound is upheld by bells and horns and it seems that the vocals are coming from the underworld – a low singing with lots of reverberations. There is no melody in the vocal lines, but the Slavonic sorrow is implemented in the music! All these peculiarities overflow in the 10-minutes long epic “Incantation of He Who Sleeps” (the fourth track) where the woven intro rustles to its end...

The next songs are in the style of DARK FUNERAL and EMPEROR, but they contain so standard riffs that they could be compared almost to everything from this stage. The seventh track is just percussion without any exquisiteness or virtuosity. The album ends with the cover song of BEHERIT. “Gate of Nanna” is sufficiently exploited track (HELLFUCKED, REVEREND BIZARRE). From easy program track BLOOD OF KINGU have made shaman roaring with a mystic tint.

The combination between abnegation of the contemporary civilization, wide spreading of the black metal scene and some lyrics inspired from the early Middle East mythology with concealed right-wing political messages, is not supposed to raise wide interest amongst the already satiated audience.

Definitely there are original decisions in “Sun in the House of the Scorpion” but too much conventional sounding does not look like treasure house of ideas. The 35-minutes long production is on the edge of being EP, but if it was longer it should probably be boring.