Album Review: Tsar Stangra – Химните на разрушените светове
 (Hymns of the Broken Worlds) (GlobMetal Promotions)

Bulgarian folk/black metal band Tsar Stangra return with their second full-length album, Химните на разрушените светове (Hymns of the Broken Worlds), due for release on July 1st, 2026, through GlobMetal Promotions.

Founded by vocalist and tambura player Stanislav Stefanovski as a solo project in 2007 before evolving into a full band in 2016, Tsar Stangra was created with the aim of preserving and promoting Bulgarian history, mythology, language, and tradition through extreme metal. Based in Québec City, Canada, the band has spent nearly two decades developing a distinctive sound that fuses the atmosphere and aggression of black metal with the rhythms, melodies, and spiritual identity of Bulgarian folk music. Their journey has included the release of their debut album, Celestial Forger, in 2017, a live album in 2024, festival appearances alongside respected names from the underground extreme metal scene, and growing recognition within both North American and Eastern European black metal circles.

Now, Tsar Stangra unveil Hymns of the Broken Worlds, an album written over the course of almost a decade that further explores the band’s fascination with Bulgarian history, folklore, pagan ritual, poetry, exile, and cultural identity. Created largely in Québec, the record reflects the collision of different worlds and traditions, combining Bulgarian folk structures with Western black metal while drawing inspiration from themes of memory, displacement, and the preservation of heritage far from home. Complemented by artwork from Paolo Girardi, the album presents a journey shaped by cultural contrast, ancestral memory, and the enduring connection between past and present.

Tsar Stangra is Stanislav Stefanovski on vocals and tambura, Olivier Vaillancourt-Girard and Samuel Paré on guitars, Wayne Barr on bass, Cindy Tecca on keyboards and Simon Vaillancourt-Girard on drums.

The opening track is Trakiytsi – Cherni himni za izgubenite (Thracians – Black Hymns for the Lost Ones) and it’s my first introduction to Tsar Stangra as well. I’m instantly grabbed by the catchy drum beat and traditional instruments combining. It has a very prominent folk vibe, though the black metal arrives hard when the riffs and vocals join in. Two different vocal tones are snarled and barked at us over a bed of impressive beats and riffs, all backed by keys and tambura. It’s full and layered with plenty happening, but it all feels tied together by the superb drums. There really is a bit of everything here; blackened folk, black metal, symphonic tints, and an air of authenticity as Tsar Stangra tell stories of the enduring presence of the Thracians within Bulgarian historical consciousness.

Han Asparuh (Khan Asparuh) tells the story of the man credited with the establishment of the First Bulgarian Empire in 681 AD. The intro of catchy drums and folk melodies is really cool and hooks you in, ready to launch a black metal assault as the riffs and drums rain down. Harsh vocals join the attack, creating a cold but energetic black metal sound. In brief moments of respite, the traditional sounds peer through the darkness, but it is a much more direct and heavy song for the most part. There is a slightly odd and chaotic guitar solo in here too, which throws things off-kilter a bit before the song changes direction massively, bringing in the tambura, which sounds great, and some spoken word that the press release says has historical references. I can’t understand it unfortunately, but you do feel its power.

It’s a very good song with lots going on, but I did find the sudden solo and sudden change of direction a little distracting rather than flowing.

Cherna pesen (Black Song) is up next and is based on the poetry of Dimcho Debelyanov. I love this song. It has some really interesting contrasting ideas. It’s superbly heavy and harsh, but sporadically broken up by what I assume is the keyboards, though it sounds more like an accordion. Tsar Stangra really balance all of their many different elements here to create a song that oozes authenticity and culture while maintaining harsh black metal realities.

Posledniyat pohod (The Final March) then really stretches the cultural references and creativity with a reimagining of a traditional Bulgarian folklore song, but done through the lens of paganism. It’s a little shorter than the songs that came before, bringing in tons of layered and harmonising vocals over an energetic bed of folk instrumentation.

Taga za Yug (Longing for the South) brings a strong melodic vibe in the intro, weaving folk melodies alongside powerful drums and riffs. A song that draws inspiration from Konstantin Miladinov’s famous poem about longing for the homeland, it really combines a lot of traditional sounds from across the Balkans. Vocals come in at around the halfway point, starting with a scream and then turning into the familiar black metal bark. There is a lot going on, maybe too much at times, but it’s a very interesting song with many layers and a continuing feel of authenticity, something felt across the whole of Hymns of the Broken Worlds.

Zemni strazhi (Guardians of the Earth) gets further into the symphonic side of black metal with some great keyboard melodies and a chanting style of layered vocal that is insanely appealing. The guitars blaze, the rhythm section pounds; it’s a banger. The energy is high and the orchestration impresses. Ideas and creativity keep flowing as we hit passages of throat singing, wicked guitar melodies and more on probably my favourite track on Hymns of the Broken Worlds so far.

Tsar Stangra continue to deliver with Balgarskiyat ezik (Bulgarian Language). Melody leads as we slow down for a gorgeous intro that feels traditional and, once again, authentic. As the softened sounds fade, the black metal arrives with power and aplomb. The lead guitar lines over the pounding bass, drums and vocals give off a post-black metal vibe and, as keys start to drop melody over the verses, it picks up a notably ethereal and mystical atmosphere. I really enjoy contrast in music and the beautiful melodies fighting with the harsh black metal sounds is something I really enjoy. Tsar Stangra are excelling at it.

Hymns of the Broken Worlds comes to a close with Zavrashtaneto na rodniya bog (The Return of the Native God). The high bar set across the album is maintained with another inventive track. It’s high-octane and feels a bit ritualistic, with multiple vocals, male and female, all firing off at the same time. The repetition adds to that ritualistic feel while, musically, all the instruments seem to be operating at 100mph. On an album with such a clear identity, it closes things out perfectly.

Hymns of the Broken Worlds is an impressive album and one that feels deeply authentic from start to finish. Tsar Stangra’s commitment to weaving Bulgarian history, culture, and tradition into their sound never feels forced, instead giving the record a clear identity. Creativity flows throughout, with the band constantly introducing new ideas, melodies, and textures to keep the listener engaged. Admittedly, it can feel a little busy at times, with so much happening that not every transition lands perfectly, but that ambition is also one of the album’s strengths. Rich in atmosphere, culture, and character, Hymns of the Broken Worlds is a thoroughly enjoyable and memorable listen.

Track List:

1 – Trakiytsi – Cherni himni za izgubenite (Thracians – Black Hymns for the Lost Ones)
2 – Han Asparuh (Khan Asparuh)
3 – Cherna pesen (Black Song)
4 – Posledniyat pohod (The Final March)
5 – Taga za Yug (Longing for the South)
6 – Zemni strazhi (Guardians of the Earth)
7 – Balgarskiyat ezik (Bulgarian Language)
8 – Zavrashtaneto na rodniya bog (The Return of the Native God)

Tsar Stangra Links

Bandcamp | Facebook | YouTube