Nope, this time SECRETS OF THE MOON did not really hurry to get a new album out. I do not wonder. The stunning predecessor Sun still continues to have its effect, and, the band went again through significant changes, musically as well as personally, which surely needed its time to develop. Almost ten years after his departure, the only active founding member and bassist Daevas returns to a band that meanwhile could not be farer away from the musical roots he once has built. That must be a strange feeling for him, I think.  

On their seventh full-length, Black House, SECRETS OF THE MOON completely leave the (Black) Metal behind, also the occult Rock from the predecessor and turn towards timeless and dark Gothic Rock. Much more, the border to the singer’s other band Crone blur here. Black House could be very much the legitimate successor to Crone’s 2018 debut Godspeed. Black House is just livelier and more ass-kicking.
As in Crone, Post Rock guitars as well as Wave and Post Punk notes wave through the songs on Black House. But, much more, SECRETS OF THE MOON pay homage to bands such as Fields Of The Nephilim and The Cult. The album is hook-ladden and shines with epic refrains, which make almost every song to a catchy tune. Songs are smartly built, change dynamically, and set accents in one or another direction. There are many surprising details and instrumental finesses, which make Black House a highly varied and thrilling album from the first up to the last song. The sound is earthy, retro, yet sharp and cold, appealing to the concept and dark atmosphere of the record.

To me, the most outstanding track on Black House is He Is Here. This track unites mentioned stylistic variety and musicianship. He Is Here starts bass-driven and with discordant tones, followed by dazzling Post Rock guitars with a certain Slowdive vibe, and then opens up to an epic refrain with the stunning guest vocals by Jules Näveri (which sound a little bit like Mike Patton on here). Guitars appear to be gruff while the past echoes from afar with decent black metal trademarks. The track’s end might come a little abrupt. Preceding Veronica’s Room is a pure and zippy Gothic hymn, while succeeding Cotard reminds me a bit of Les Discrets Prédateurs at first and later opens up again to mesmerizing guitar and drum patterns and Post Rock-tinged epicness. What a triple of songs! Got stuck. Cannot get them out of my head anymore. Mentioning those three of course does not mean that the others fall any short. Such listen to menacing Don't Look Now or the great Mute God, which are likewise mesmerizing. At Heart again I can hear hints of Alcest.
Also new on this record is an extended collaboration. Almost every song features contributions by guest musicians such as legendary Jarboe, Thomas Helm of Empyrium, Jules Näveri of Enemy Of The Sun and members of (Dolch). I just wish the voices of Jarboe and Thomas Helm would be a bit more in the foreground.

Black House is a record that does not sound like SECRETS OF THE MOON at all anymore. It is indeed difficult to make music and band name fit. It feels odd, uncomfortable. The first listen left an ambivalent impression. It needed a few spins until Black House strongly got stuck.
Old(er) fans of the band and black metal fans in general will not like this record or might be heavily challenged for open-mindedness. Nonetheless, the Black House will open its magic door, pull you in and hold you inside. The album grows and develops with every spin, and so did the rating ;)
Black House might be challenging, yes, but is worth every effort to deal with it. Once more, SECRETS OF THE MOON have released a stunning album, a statement of musical innovation, open-mindedness, and creative changeableness, no matter if you like it or not. SECRETS OF THE MOON are sorcerers. Vulnerable sorcerers, indeed.