Following on from their dual Moksha and Nirvana albums in 2020, these Czech cultists are back with another concept piece based around Hindu mysticism - this time apparently a goddess called Dhumavati, cursed by Lord Shiva to take the form of a widow and experience loss and ostracism as part of a spiritual journey. As with most of the recent output of this band, it probably means far more to them than to us; especially here, as founding member Vlad visited a temple to Dhumavati in India and asked for her blessing. That's a far more personal journey than those of us interpreting the story from the music and song titles alone, particularly difficult given tracks such as opener Loss consisting just of initial sampled wails and cries atop a repetitive melody, forming an unsatisfactory three-minute intro piece.

Much better are the likes of Anger, beginning with female howls of rage and progressing into hypnotic blackened melodic pieces with chanted vocals - feeling like genuine songs and coherent pieces of music rather than ritualistic expressions of emotion. For although this album is very much just that and is surely to be experienced as that, it also makes it a tougher listen for those of us outside of the religion and as such The One, Who is Made of Smoke is a hard recommendation unless you're a longstanding fan of Cult of Fire and willing to step wholly into their world. Frequent site visitors will know that your reviewer loves the band but finds them a little frustrating at points, and this is no different. At their best, in some of the longer pieces here and on past releases, Cult of Fire tap into something truly transcendental that makes their religious awakening all the more potent and impressive, the fire of belief gripping...

Yet other moments can leave you cold, and it can be impossible to know which you'll feel until listening for yourself - whether Mourning here comes across as profound and gripping or like a knockoff Drudkh, for example. Even if you fall into the latter group it's undeniable that Cult of Fire's music can be very effective, such as Dhoom's hand percussion and sitar-backed melodies, wailing vocals from guest Natalie Koskinen (Shape of Despair among others) providing atmospheric meat to the blackened broth that underpins it. Some of the melodies here such as on Blessing are genuinely uplifting in a way that defies even the talents of the Deafheavens of the world, and the songs are just as well-constructed, building and falling in a way that heightens the hypnotic effect the band are searching for. This is an excellent album to put on and space out to, as ever with Cult of Fire, particularly in the latter half of the album with gems like Blessing and Joy. The latter especially is a highlight with its oriental melodies and chanted vocals like a slower, more ponderous Melechesh, the able drumming of recent addition Peter Heteš more than enhancing the music.

And this is all before we reach the finale and album highlight There is More to Lose, much more intense and potent with the backing screaming atop that strange, almost Meshuggah-esque dissonant melody that opens the track, quickly turning into galloping wrath with pauses for more cryptic ambient moments. This is a much creepier, more evocative piece even than the best of those that went before in the tracklisting, ending the album on a slightly unsatisfying note rather than a crescendo but definitely leaving you wanting more from the band. Over multiple listens The One, Who is Made of Smoke is definitely a grower, the hypnotic qualities becoming more apparent each time yet it still can be something of a disappointment on initial listens. This is still not up to the best that we hope to hear from Cult of Fire but remains a solid enough listen in its own right, and for those of you who match the band's intensity and focus, a compelling experience. Religious fanatics (of the band and religion!) should seek this out, and add at least ten to the score given.