A Dualistic Tale of Heaven and Hell...

THE ORACLE hailing from Massachusetts, takes the listener on a mesmerising odyssey through a sonic landscape that marries the hypnotic allure of ritual electronics with a raw intensity reminiscent of Nine Inch Nails, Tangerine Dream or Vangelis all wrapped in an atmospheric shroud of dark ambient. With a blend of synthesisers, guitars, and drums. THE ORACLE crafts an immersive experience that is as enigmatic as it is haunting, inviting audiences to delve into uncharted territories of sound. Oh, and it’s fucking HEAVY.

These tracks provide a deep musical exploration of the three days Jesus spent in his tomb before his resurrection. Inspired by "The Last Temptation of Christ", they imagine a hypothetical scenario where Jesus questions his messianic role, delving into the emotional and spiritual turmoil he might have faced during those critical days.

The trinity of songs also venture into uncharted territory by considering the mysterious events within the tomb. THE ORACLE use this canvas to offer a fresh perspective on this pivotal moment in history, blurring the boundaries between the sacred and speculative. Through their music, THE ORACLE invites listeners to reflect on themes of faith, doubt, and the mysteries of existence.

THE ORACLE's tracks were meticulously recorded in collaboration with producer Alan Day, of the band Four Year Strong.

On the other side of this sonic divide, we have REIGN A.D., a London-based black metal project that ventures boldly into new musical realms. Opting for a more progressive sound with lots of modulation, dynamics and a focus on layering, REIGN A.D. seamlessly melds new tonalities with their signature intense black metal style, akin to the likes of Opeth and Deathspell Omega.

A striking departure from their previous work, REIGN A.D. introduces several new elements to their music in the form of Hammond organ, synthesisers, trumpets, brass bells and even clean vocals for the first time (alongside the harsh), adding a fresh layer of depth and intrigue to their sonic tapestry.

"Passing Through the River" unfolds a poignant narrative of separation between two souls, as Gladiolus, consumed by grief, wields a vengeful sword aimed at the heavens. His desperate quest to resurrect his beloved wife, Aethelia, gradually ushers in the looming darkness of oblivion.

Gladiolus' journey is loosely inspired by the 17th-century occult ritual known as 'Transitus Fluvii' or "Passing Through the River," as outlined in the writings of St. Cyprian of Antioch (who later converted to Christianity). This ritual beckons upon four demon kings, offering them access to the keys of both heaven and hell.

Each track represents an encounter with one of these demon kings—Amaymon, the king of the skies; Urieus, the serpent king of fire; Paimon, the king of riches and water; and Egyn, king of the North, representing the element of earth. Each interaction grants Gladiolus a portion of their elemental power, propelling him closer to the river's shores and the transcendence beyond the physical realm.

The final track, 'Passing Through The River', is the boldest and most dynamic of the REIGN A.D. catalogue to-date. It features clean vocals and sits upon a bedrock of swelling synthesisers and heavily modulated guitars. The main motif in this track mirrors Day I by THE ORACLE and is an inversion of the opening synth line on that track.

What sets this album apart is the unique interplay between THE ORACLE & REIGN A.D., both sides of the album share underlying motifs, creating a cohesive and immersive listening experience that carries the audience from start to finish.

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The artworks for 'The Mountain Peaks of Prophecy' draw inspiration from the visions and prophecies narrated by various figures throughout the Bible, ranging from Moses and Isaiah in the Old Testament to John in Revelation.

While most of these prophecies focus on the events related to the first and second coming of the Messiah, they are often presented from a single perspective, making it challenging to account for specific groupings of events or lull periods within the prophetic timeline. These unforeseen gaps include extended periods between prophecies, such as the interval between the death of Christ and the emergence of the Anti-Christ or the 500-year gap between the last book of the Old Testament, Malachi, and the birth of Jesus Christ.

Key prophecies from the New Testament, such as the birth of Christ, his crucifixion, and Pentecost, are prominently depicted in the central artwork titled 'The Sun Returned,' which features depictions of both artiststs. THE ORACLE holds the lamb as the Three Kings journey toward Bethlehem, while REIGN A.D. stands between the Crucifixion and Pentecost, with a hand raised toward the sun, symbolising the return of the Son's spirit to the heavens.

The cover art features the most important image of all, The Crucified Christ. This painting is titled Golgotha. Named after the mount he was crucified on. The reason this piece is so central to the themes of ‘The Mountain Peaks of Prophecy’ (Other than being one of the most famously depicted events in the bible) is because it fulfils all the requirements of prophecy. The he would be betrayed by a friend, forsaken by his disciples, die with malefactors and that the cost of his betrayal would be used to purchase a potter's field