Band: MagnaCult
Genre: Death/Groove Metal
Album: (Lucis)
Year: 2025
(Reviewed by Raaf Atasi for MetalfromNL)
MagnaCult is a 5 piece Groove/Death Metal band from Amsterdam, the Netherlands. The band started out in the mid 2000s and has 3 albums under its belt; ‘Synoré’ in 2007, ‘Insua EnVenom’ in 2012 and ‘Infinitum’ in 2017. Now, in 2025, and after 9 years, the band graces us with their 4th full-length effort; ‘Lucis’. Interestingly, the band members have been consistent since the band’s inception, except for bassist (Robert de Gast) who is the newest member in the fold, with ‘Lucis’ being his first appearance on a MagnaCult album. I, for one, respect a band’s consistency and preservation of their lineup for as long as humanly possible. So, with that being said, how does this new MagnaCut offering sound like? And was it worth the long wait?
Composition
This album is a masterclass in groove. But it’s not just shallow groove. There is so much thought implemented in the music composition and the uniqueness of the groovy riffs. Both axemen (Tom Kurpershoek) and (David Berghoef), accompanied with the fantastic drumming style of (Patrick Oehlers) are a force to be reckoned with.
First example of those addictive riffs would be on the opening track ‘Eternity’s Gate’ minute 1:57. You will NOT be able to listen to this riff without banging your head left and right until it falls off! Especially in the context of the whole song and the death metal insanity that permeates it. This riff comes as medicine for the mind after the brutality and madness that precedes it. Great placement, great note choices and fantastic execution. The whole song is a barn burner of an opener and has some cool varieties that set the tone of diversity for the entire album. Additionally, the licks and melodic mid-section are absolutely magnificent. Moreover, vocalist (Sebastiaan Lefèvre) is crushing it with his pissed off aggressive delivery. And the low gutturals he spews at the end of the song are pure devastation.
Another example of brilliant grooves is the opening riff to ‘Darkest Truth’. Right off the bat, they hit you with a sledgehammer of a groove. This song was a grower for me. At first, it felt like it might be one of my least favourite songs on the record. However, and after I dove deeper into details, I realized that this song is an absolute beast! There is everything in it. Devastating groove, tasteful technicality, a nice clean Iron Maiden-esque mid-section, and just sheer brutality with carefully crafted dissonant chords and progressive elements. One more standout groove examples would be minute 2:29 of the song ‘The Red Circle’. Everything about this part screams TASTE. The eerie build up, the drum tom accents that end with a single ride hit before the guitar presents the riff on a golden plate for the drums to join in, with the persistent crash leading the “infectious groove”.
The ominous intro to ‘Heartless’ is brilliant. From the clean guitar to the distortion transition, building up to the vicious blast beat that follows. The whole vibe of this song is very dark and gloomy. It has speed, groove and straight up menace! The mid-section of the song is pure tension and the chorus is catchy as all hell, and you can easily picture the crowd screaming “for the heartless” with the band. Absolutely contagious. Additionally, I love the guitar effects and volume manipulation they applied to create this tension, and pave the way to the explosive riff that follows. A definite compositional (and production) stand-out.
I thoroughly enjoyed the clean guitar passages that can be heard across the album. One obvious and crucial one being the track ‘Lucia I’. A short emotional instrumental that you wouldn’t want to end. Magnacult know how to incorporate eerie and melancholic atmospheres in those clean guitar sections. The subtle synth work in ‘Lucis I’ elevates the song’s atmosphere to another level and gives it a very impactful colour of despair and sadness. Brilliant piece. Furthermore, what makes it more perfect is the transition to the next banger of a track ‘Deceived from Day One’, which is probably my favourite song on the album. The first 90 seconds of the song are predominantly melodic death (in the vein of bands like The Haunted and The Black Dahlia Murder) which ties in perfectly with the preceding emotional instrumental, and makes the transition between the 2 songs seamless. Midway through ‘Deceived from Day One’ comes another outstanding, emotion-ridden clean guitar part. Another standout piece of composition right there. Moreover, I love the solo on this song and how the band decided to end with it. Epic wrap-up.
The drum work on this album is simply outstanding. The grooves mentioned above are super addictive. The pummeling maniacal blast beats are face melting, and the tasty polyrhythmic interplays are absolutely masterful. Examples of these brilliant polyrhythms can be heard on songs such as ‘Deceived from Day One’, ‘Final Decision II’ and that stellar little part on ‘The Red Circle’ at the 3:12 minute mark.
Worth mentioning is that I absolutely loved the sporadic melodic sections found in different songs. They’re not overdone and certainly not cheesy nor repetitive. They add a very welcome flavour to the prevalent brutality and aggression on the record, and provide a different colour and emotion to each song. These can be found on songs such as ‘Deceived from Day One’, ‘Blackened Crystal’ and ‘Final Decision II’, to name a few.
Another aspect I enjoyed about this album is the odd time signatures that are spread across the whole record. A song like ‘Winds of Creation’ has a lot of unexpected odd time signatures and prolongation of measures in a very calculated manner and carefully considered placements. This song has a very strong Pantera vibe in some sections, which to me is a definite positive. Moreover, The pinch harmonics in the opening riff (which repeats again later in the song) give shivers and goosebumps due to the eerie atmosphere they create with all the other guitar layers that accompany. Absolutely haunting. Furthermore, the bass line played by (Robert de Gast) in the middle of the 2nd minute when things slow down, accompanied with the hauntingly melodic guitar harmonies and the marching snare drum beat, is fantastic. This track is another standout number on this album. So much emotion, atmosphere and groove throughout, and the lead work on it, though a bit low in the mix for my taste, is incredible.
I have to talk about the closing track ‘Final Decision II’. The opening riff to this song reminded me straight away of the intro riffs to Sepultura’s ‘Roots Bloody Roots’ and Slayer’s ‘Stain of Mind’. Groove-ridden, headbang-inducing sledgehammer. And it was a great “final decision” from the band to end with such a banger like this. I love the vocal pitch diversity on this song. From spoken words (sometimes almost whispering) to pure mid range assault. The song has so many details that encapsulate how much thought the band has put into this album. Killer guitar work throughout, the tasty audible bass line both when it’s heavy/groovy, and when it slows down to the spoken word section, and the amazing drumming that incorporates lots of polyrhythms and nasty grooves. All of these elements make for a complete and satisfying finale that ends with a bluesy, Pantera inspired riff and blazing licks.
Performance
Singer (Sebastiaan Lefèvre) is really impressive. Most of his vocal delivery is in that mid range screamy pitch, reminiscent of bands like Dying Fetus and Misery Index. Angry, aggressive and threatening to the core. However, he doesn’t stay in that lane forever. He adds a lot of texture and dynamic to his delivery and uses high pitched shrieks and really horror-inducing low gutturals. Both of these pitches can be heard on tracks like ‘Eternity’s Gate’, ‘The Red Circle’ and ‘Blackened Crystal’. This shows tremendous thought and dedication invested into the vocal composition and performance. A very much appreciated diversity that lifts the record to a higher, more enjoyable level. Moreover, the vocal placements are very entertaining and engaging. He knows how to dodge monotony and repetition and lets the vocal lines flow seamlessly in a very enjoyable and groovy manner.
The riffage on this album is immense. One killer riff after another. I’m not sure which of the 2 guitarists is the main composer or lead guitarist, but it doesn’t really matter. They are both so in synch with one another that you can literally feel their chemistry and tightness penetrate your ear hole mercilessly. A ton of tasty guitar harmonies, a good number of solos across the album, tight rhythm sections and technical proficiency. Could not ask for a better duo in this musical context.
One of my favourite aspects on this record is the drum work by the incredible (Patrick Oehlers). His drumming style never bores you. Never monotonous, Never even predictable! Pure taste and mastery of thoughtful drumming placed in every beat. Additionally, the polyrhythms are mind blowing and strategically implemented, making the songs that much more enjoyable and dynamic. Moreover, his speed and accuracy are impeccable. Sometimes you can hear the controlled chaotic insanity simply because of his drumming that puts you on the edge of destroying everything in your apartment!
Finally, bassist (Robert de Gast) has done a great job harmonizing his low end with everything else. There are moments where the bass shines and really drives the rhythm section as a whole and makes it groovier and denser. One example being in the amazing chorus of the track ‘Winds of Creation’. Such catchy part with open chords and a killer vocal line, leaving space for Robert to lay some killer licks and add a delicious dimension to this epic chorus.
Production
The album sounds massive. Very dense and aggressive and appropriately raw. You can hear every instrument clearly and they all have a punchy vibe to them. As mentioned earlier, my only comment would be a higher lead volume because the lead work itself is brilliant and I personally would have loved to hear it louder in the mix. The rhythm, however, sounds punishing and kicks you in the gut. The drums are sharp and organic. The vocals are devastating and you can feel the anger and rage in Sebastian’s diction. And finally, the bass is balanced and, at points, has its shiny moments where you can hear Robert do his tasteful fills. Overall, the production matches the assaulting aesthetic which the band clearly intended.
Critique
I really do not have much to criticize on this album. If a gun was put to my head I would say, louder lead work in the mix. And maybe also the fact that there are 3 intro/interlude songs on the album. Maybe 2 (Lucis I and II) would have been sufficient enough as they represent the album title, so it may have been a nice twist to make them stand out as interludes. But we also got ‘Final Decision I’ as an interlude for ‘Final Decision II’, which may seem a bit redundant. But nothing really major that ruins the album by any means, just splitting hairs here because I genuinely loved this record from start to finish.
Conclusion
MagnaCult’s new release ‘Lucis’ is a fantastic offering. The album is a dense and dynamic journey. Many peaks and valleys and a bit of everything from killer catchy grooves, riffs and harmonies, emotional and eerie melodic sections, technical mastery and just sheer ferocity and aggression (guitar AND vocal wise). They apply a ton of polyrhythms, haunting atmosphere, vicious blast beats and controlled insanity. Vocals are brilliant with a ton of clever placements and groove. Furthermore, the bass is proficient, audible and properly provides that low end pulsation with maximum efficiency. The production is dense and pummeling as hell, and delivers the message effectively. Overall, one of my favourite Dutch releases in 2025. Needless to say, these songs will annihilate everything in their way when performed live. I can’t wait to have that experience.
Rating
9.5/10
Want to hear more from Mangacult? You can find them on their website.
