When I see the title of Yoth Iria’s third full-length, Gone with the Devil, I can’t help but think of the Spanish farewell, “vaya con Dios,” or “go with God.” Originally—and still, in some circles—the phrase was an earnest blessing and wish for safety; however, centuries have stained it with a negative connotation. The phrase can now showcase a speaker’s disapproval for the recipient’s intended actions, implying that whatever they’re going to do is dumb enough that only God will be able to get them through it. After two enjoyable-to-impressive albums, is Yoth Iria’s cheeky inversion of the phrase a genuine wish for guidance from the Son of the Morning, or is Gone with the Devil a hot mess only Satan can save?
On 2021 debut As the Flame Withers and 2024 follow-up Blazing Inferno, Yoth Iria’s sound was focused—Hellenic black metal injected with a mix of 70s-80s metal and Middle Eastern atmospherics. Gone with the Devil sees the Athens-based five-piece employ a more exploratory, instinctual, and unrestricted approach to composition…or so the promo material says. In actuality, Yoth Iria leans into accessibility. Elements of their original Hellenic sound remain (“The Blind Eye of Antichrist,” “Woven Spells of a Demon”), infusing the album with a warmth typically absent in black metal. But with tracks that wouldn’t be out of place on an Equilibrium record (“Dare to Rebel”), the newest Arch Enemy (“I Totem,” “Blessed Be He Who Enters”), or a metalized Imagine Dragons (“3AM,” “Once in a Blue Moon”), Gone with the Devil feels fundamentally different from previous releases.
Gone with the Devil by Yoth_Iria
In pursuing wider appeal, Yoth Iria dilutes much of what made them unique, and Gone with the Devil is less engaging for it. The markers of heavy music are all still present—blast beats, harsh vocals, distorted guitars, etc.—but the soul that gives an album weight is totally absent. “3AM” is as forgettable as elevator muzak, and much of the back half of Gone with the Devil1 shares a similar mid/slow-paced rhythm that barely gets my eyes open, let alone my heart pumping. Predictable song structures and played-out tropes, like whispers preceding a heavier passage (“I Totem”) or synths/folk instrumentals returning to bolster a final chorus (“Give ‘Em My Beautiful Hell”), give the impression that Yoth Iria is just going through the motions or following someone else’s recipe.
This isn’t to say Gone with the Devil is bad. Yoth Iria, as a band, is obviously wildly talented, and what they do play, they play well. There are some songwriting bungles, like the end of “I Totem,” the pacing of “Harut-Government-Fallen,” and the choral chanting of “The Blind Eye of Antichrist,” but the album flows well and sounds great. Guitarists Nikolas Perlepe and Naberius weave a lush tapestry of blackened trem-picked riffs and retro leads (“I Totem,” “Give ‘Em My Beautiful Hell”), while bassist Jim Mutilator’s (ex-Rotting Christ, ex-Varathron) presence and influence infuse every second of Gone with the Devil. Vocalist HE and drummer Bill “Vongaar” Stavrianidis have excellent synergy, driving the album’s atmosphere and the ebb and flow of its tension. These performances shine thanks to Gone with the Devil’s production. The vocals might be a smidge forward and the rhythm guitars a touch back, but the mix is both intimate and spacious, offering warmth and clarity on an open soundstage.
Sound and performance can’t save an album, though. Where once Yoth Iria demanded my attention with a unique sound, Gone with the Devil seems geared toward maximum radio engagement or being inoffensive corporate playlist fodder. During my time with the album, I often felt like I was listening to a Temu version of Havukruunu. A seemingly intentional forfeiture of individuality, vapid filler track energy,2 and uninteresting—though adeptly played—instrumental performances make Yoth Iria’s latest a far cry from their previous work. Again, Gone with the Devil isn’t a bad album per se. It’s just milquetoast and unremarkable.
Rating: 2.0/5.0
DR: 6 | Format Reviewed: PCM
Label: Metal Blade Records
Websites:Official | Bandcamp | Facebook | Instagram
Releases Worldwide: May 8th, 2026
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