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Eshtadur – In Darkness All Shadows Gone Review
You probably know the story of Batman by now: by day a wealthy entrepreneur and philanthropist, by night a warrior for justice. Well, Eshtadur live a similar dual life. By day, recording heavy metal music at RockStar Studios in Colombia and, well, other days recording with the Caldas Symphonic Orchestra at Batula’s Theater, also in Colombia. Just like Septicflesh, these guys are the real deal, using an actual orchestra instead of synthesizers or digital workstations to add symphonics to their music. While I’m not sure how long they’ve collaborated with an orchestra, Eshtadur’s first piece of music, a demo, landed nearly two decades ago. Their early stuff, like 2011’s Dominated by Dummies, was a full-on black metal assault full of rough edges, but they’ve honed their style across another five albums into a more polished melodeath mixed with all the orchestral trappings. Four years in the making, In Darkness All Shadows Gone is an ambitious undertaking, but is it worth your while?
In Darkness All Shadows Gone mixes some Fleshgod Apocalypse (minus the pomp) with the darker undertones of Septicflesh for a high energy, sometimes brutal melodeath journey. Their death metal borrows heavily from the Septicflesh school, with plenty of melodic flourishes in the vein of At the Gates and Dark Tranquillity. Eshtadur make tasteful use of the symphonic elements—they don’t drown the music in it, but it does add meaningful nuances to the songs. “Old Shaman Blind” probably best marries the orchestral arrangements with the death metal. It opens with some dramatic strings, then throws in some At the Gates riffs, topping things off with folky Tuvan throat singing for the coolest track on the record.1 “Umbra” takes a more atmospheric approach, anchored by some sweet ukulele/mandolin playing to bookend the track. The tight “Thunderground” shows off Eshtadur’s melodic prowess with minimal symphonic bits. Elaborate solos pop up on most songs, adding a power metal character to the likes of “August’s Burden” as well as some neoclassical flourishes on “Soy Real.”
Eshtadur describe the thematic content of In Darkness All Shadows Gone as a narrative following The Crow, who guides listeners on a redemptive arc about how darkness shapes one’s identity. That theme of darkness also shapes Eshtadur’s musical approach. Jorg August’s deep, throaty growls contribute mightily to the music’s brutality. The guitars and drums don’t quite reach Brodequin levels of brutality, but August’s growls have a guttural character that serve as a contrast to the lighter touches from some of the solos and melodies. Eshtadur’s symphonic choices also contribute to the darkness, with ominous bellowing horns being most common (“Omen of Millenia,” “Fire Above Mountain Below”), as well as strings that sound more suspenseful than lighthearted. Dark as it can get, the record is still plenty of fun.
When artists take an ambitious approach to their work, one concern is that they may develop a fear of killing their darlings, and Eshtadur is no different. At 12 songs and one hour in length, In Darkness All Shadows Gone is a beast, but it’s only in the second half that things begin to sag. Sure, some of the early tunes run a minute or so too long, but those first seven songs feature the album’s best melodies and go by fairly quickly. It’s the final five tracks, during what I assume is the “self-discovery and spiritual awakening” arc, where the record loses steam. There’s a little more focus on atmosphere on these tracks, and the hooks just don’t sink in as deep. The nine-minute “A Black Winged Waltz” doesn’t work, as it bounces all over the place and lacks cohesion. These songs still have plenty of cool stuff, but as a whole just don’t land on the same level as the earlier stuff.
I admire Eshtadur’s desire to deliver an authentic musical experience through collaboration with a symphony orchestra instead of going the digital route. Not that I fault artists who do go that route. The logistics of enlisting an orchestra—the time, money, and planning—certainly make it more prohibitive than not. For Eshtadur, the symphonic arrangements serve as more than just window dressing, and their melodeath shows some depth and precision in riffs. In Darkness All Shadows Gone is well worth an hour or two of your time, and Eshtadur proves to be a band to keep on your radar just to see what they manage to do next.
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Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Rockshots Records
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: October 2nd, 2026
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