In 1999, Shade made a strong impact with ISA, an album that would become a cult release in Québec black metal. Shortly after, the band disappeared, leaving behind a rare record and an aura of mystery.
Nearly twenty-five years later, Shade rises from the grave with Temple for the End of Days. And make no mistake: this is not some recent “nostalgic comeback” patched together, but an album written and performed back in the day, left unreleased until now.
From the very first notes, the continuity with ISA is undeniable. The riffs still carry that old-school essence of 90s Scandinavian black metal — raw yet inhabited. The same dark, forest-like atmosphere, both glacial and organic, is present once again, echoing what made their debut so striking. The production is clearer than before, putting the guitars forward, but without erasing the raw spirit that breathes through the songs.
What stands out most is the consistency: despite all the years that have passed, Temple for the End of Days sits naturally alongside ISA. It feels almost as if the band simply picked up where they left off. These songs, frozen in time, preserve the rage and misanthropic spirit of the late 90s scene intact.
To me, Shade absolutely deserves their place in the pantheon of Québec black metal. With this new album, they remind us why they were already counted among the pioneers. Temple for the End of Days is both a testimony of an era and a still-burning offering that proves the flame never truly died.
We had the pleasure of speaking with Holokausto for an exclusive interview — read the full feature here: INTERVIEW
➡️➡️ Temple for the End of Days on Bandcamp ⬅️⬅️
