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PRESS RELEASE:
Annihilus Mundi
The Dead Sea Scrolls
Independent
6 November 2026
Genre-fusing progressive project ANNIHILUS MUNDI is preparing to unleash the forthcoming sophomore full-length The Dead Sea Scrolls on November 6, 2026. The 77-minute long concept album explores the personal lived experiences of composer and lyricist Daniel Saillant. In a fusion of genres and artforms, ANNIHILUS MUNDI reconceptualizes the album's central ideas through Hideaki Anno’s notorious 1995 anime series Neon Genesis Evangelion and its subsequent 1997 film The End of Evangelion.
The sound of cicadas introduces "Second Impact (Overture)". Mirroring a soundscape familiar to fans of anime and Evangelion in particular, the core instrumental motifs found across the album subsequently emerge. It is a display of complex and textural layers including metal instruments, full orchestra, harpsichord, piano and electronics - elements that are central to ANNIHILUS MUNDI's characteristic sound. Narratively, the song covers the 'Second Impact', a cataclysm caused by the interactions of scientists from an expedition into Antarctica with a primordial being called Adam, the First Angel, along with the death of Gendo’s wife and Shinji’s mother, Yui Ikari.
"Absolute Terror" captures ANNIHILUS MUNDI's core sonic identity while pushing deeper into the band’s progressive roots. Featuring fierce vocals by Noah Magnelli and guitar solo performance by Chris Jones of (ÆTHER REALM), the track's chaotic death metal riffing and an expansive melodic atmosphere is dynamic yet accessible. It draws inspiration from the metaphysical Absolute Terror Field (AT Field) concept from Neon Genesis Evangelion.
"A Hedgehog’s Dilemma" takes its name from the metaphor coined by German philosopher Arthur Schopenhauer and shares the title with an episode of Neon Genesis Evangelion. "A Hedgehog’s Dilemma" is centered around the protagonist from Neon Genesis Evangelion, Shinji, and the impacts of his social masking that is used as a defensive mechanism. Across the track, ferocious death metal rhythms contrast against the uplifting melodies in the orchestral arrangements and vocal lines.
"The Dead Sea Scrolls, Mvt. I - 'Reminiscence'" and the following "Mvt. II" combine to form an epic 13-minute opus with this first offering exploring Saillant's personal experiences with social anxiety. This track draws on the characters of the anime and the harm caused by repressed trauma, such as to Gendo’s unwillingness to process the death of his wife. Notably, the music includes a melody and verse that manifest in multiple tracks over The Dead Sea Scrolls.
Featuring a guitar solo by Andrew Matarazzo (PERENNIAL QUEST), "The Dead Sea Scrolls, Mvt. II - 'Incursion'" opens with a serene, somber mood led by clean tones and melodies before erupting into intense heavy instrumentation. Drawing inspiration from the Katsuragi expedition, the song describes a society who has constructed their goals based on face-value interpretations of the words of ancient civilizations, leading to their mutual destruction.
With "Black Moon", the goal of this song is to explore the religious imagery found throughout Evangelion which generally has very few themes explicitly related to faith. Musically, it deviates from progressive realms to deliver a shorter piece situated firmly in death metal. The track's chorus features Olive Gallop (ICE GIANT) and is designed to be chanted by a crowd, and contains a fun two-step friendly hook. "Black Moon" also features a guitar solo by Chris Ramusiewicz (GRAVEBORN).
A discordant combination of dial-up modem tones, folk melodies and mournful vocal performances by Saillant and Magnelli form an uncanny soundscape in "King of Thorns". Journeying through the track melancholic guitar leads segue into progressive, jazz-led realms in a chaotic yet dreamy fusion of styles before concluding with heavy chugs. "King of Thorns" reflects Saillant's anxieties for the future amidst the global uncertainty experienced in April 2020.
"Terminal Dogma, Mvt. I - 'Do you love me?'", the first of an 18-minute offering divided into four songs, emerges with woodwind accompaniment to bright guitar melodies. A dark mood prevails across the intricate textural arrangements, with the song's pre-chorus building with a sense of urgency. "Mvt. I" culminates into an explosive display of thunderous rhythms and intense vocals. This song follows the sequence of events in The End of Evangelion that eventually lead to the death of Asuka Langley Soryu, Shinji’s friend and romantic interest.
Blasting into "Terminal Dogma, Mvt. II - 'Take care of yourself'", the second part builds on the momentum of "Mvt. I" bringing a heightened power and fierce aggression channeled through Noah Magnelli's monstrous gutturals and unrelenting abrasive instrumental layers. The track features Sarah Hartman of AVERSED and is positioned from the perspective of Asuka’s as she takes on the Mass Production Series Evas. An insight into Asuka’s psyche is revealed showing the repression of her trauma and refusal to process it.
Ethereal orchestral strings seep through the shadows of "Mvt. II", leading into "Terminal Dogma, Mvt. III - 'Love is destructive'". This song is an arrangement of the 1899 orchestral composition titled "Enigma Variations IX. Nimrod", by English composer Edward Elgar. This song is a tribute to several sequences from Evangelion, including Asuka’s torture at the hands of the Angel Arael in Episode 22 of Neon Genesis Evangelion, the clip show style of Episodes 25 and 26 of the original show, and Shinji’s Third Impact sequence in End of Evangelion. It is designed to simulate the feeling of self-depreciation and anxieties of what other people really think of you.
In the final instalment, "Terminal Dogma, Mvt. IV - 'I need you'" descends into a ferocious onslaught of dissonance, Magnelli's gritty harsh vocals and dominating rhythms. In the track's breakdown, obliterating gutturals unleash a decimating impact before returning to a soaring and anthemic final chorus. It concludes Asuka’s storyline as she finally succumbs to the Mass Productions Evas and dies. In a deviation from the source material, Asuka is forced to truly confront her trauma relating to her mother’s suicide and her decision to die peacefully. "Mvt. IV" ends with a reprise of the main riff from "Mvt.I - 'Do you love me?'" but in a different key, symbolizing the full circle nature of mental illness like Asuka’s and Shinji’s.
In "Silent Planet", wave of white noise groans into life as vocals become audible through the wall of sound. Contrapuntal layers of contrasting melodies and textures rise and fall, as if reaching out from the void. Lyrically, "Silent Planet" is a reprise of The Dead Sea Scrolls, Mvt.I - “Reminiscence.” In this version of the refrain, there is basically no melody. Continuing the album's narrative, Shinji explores the idea that people can grow beyond the mistakes they’ve made in life but is saddened that this concept has been denied to him in life.
The Dead Sea Scrolls conclude with "Human Instrumentality". The untamable force of the instrumentation brings forth a fury of aggression. ANNIHILUS MUNDI's distinctive vocal harmonies and uplifting progressions disrupt the heaviness momentarily, before an epic collation of these styles is reached. Comprised of three parts, this composition explores how religious propaganda has been used by ruling classes throughout history to incite fear and control the general populace. Part one, "Mother Machine", is primarily a criticism of organized religion’s weaponization of religious texts by those in positions of power to harm marginalized groups. The second part titled "Superior Species" is situated in the aftermath of centuries of religious indoctrination from the perspective of a member of the billionaire class who now has to deal with the consequences. Finally, "Human Instrumentality", imagines a world where there is no longer a fear-based or class-based divide between people.
The Dead Sea Scrolls was produced, mixed and mastered, and engineered by Daniel Saillant at Wailing Pines Productions.
About ANNIHILUS MUNDI:
Formed in 2018, ANNIHILUS MUNDI is the creation of Daniel Saillant, blending elements of death metal, shoegaze, and progressive rock. His 2019 debut album Grief and subsequent releases have positioned him as a distinctive voice in the underground metal scene. Inspired by bands such as CYNIC, DEAFHEAVEN, and DREAM THEATER, Saillant continues to push musical boundaries, combining harsh and clean vocals, complex guitar arrangements, and introspective lyrics.
ANNIHILUS MUNDI is:
Daniel Saillant (Vocals, Guitar, Bass, Keyboards, Programming)
Live Line-up:
Noah Magnelli - Vocals
Chris Ramusiewicz - Guitar
Davy Allen - Guitar
Daniel Saillant - Bass, Vocals
Rick Lowell - Drums
Special Guests on The Dead Sea Scrolls:
Noah Magnelli - harsh & clean vocals
Chris Jones (Æther Realm) - Guest Solo on "Absolute Terror"
Andrew Matarazzo (Perennial Quest) - Guest Solo on "The Dead Sea Scrolls"
Chris Ramusciwicz (Graveborn) - Guest Solo on "Black Moon"
Sam Mooradian (Sam Mooradian, Fallujah) - Guest Solo on "King of Thorns"
Alex Haddad (Dessiderium, Atheist) - Guest Solo on "Terminal Dogma, Mvt. II"
Michael Laurendeau Jr. - Guest Solo on "Human Instrumentality"
Olive Gallop (Ice Giant) - Guest Voice on "Black Moon"
Sarah Hartman (Aversed) - Guest Voice on "Terminal Dogma, Mvts. II & IV"
Anthony Harter (d r 0 n 3) - Guest Noise and Atmospheres on "Silent Planet"
The Dead Sea Scrolls Track List:
1. Second Impact (Overture)
2. Absolute Terror
3. A Hedgehog’s Dilemma
4. The Dead Sea Scrolls, Mvt. I - “Reminiscence”
5. The Dead Sea Scrolls, Mvt. II - “Incursion”
6. Black Moon
7. King of Thorns
8. Terminal Dogma, Mvt. I - “Do you love me?”
9. Terminal Dogma, Mvt. II - “Take care of yourself.”
10. Terminal Dogma, Mvt. III - “Love is destructive.”
11. Terminal Dogma, Mvt. IV - “I need you.”
12. Silent Planet
13. Human Instrumentality
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