In October of the same year, the band appeared at the Black Waves Fest festival, sharing the stage with, among others, Banisher, Corruption and Furia. In the following months, the band also supported bands such as Czort, Occultum, Rienaus, Jarun and Valkenrag.
In 2021, there was a change in the lineup - Sharghall was replaced by Setrial.
A year later, on January 6, 2022, the band unveiled their second studio album "Wpiekłowstąpienie" (CD, MC). The album was very well received both in Poland and abroad, and its premiere took place simultaneously in few countries by More Hate Productions (RU), Misantropia Records (FI), Old Metal Rites (BR), Entropy Records (COL) and Manifestum Productions (MEX).
The album achieved very good results on streaming and sales platforms. To promote the album, Sothoris played a number of live shows, mainly in Poland. In July 2022, the band performed at the Frozen Sun Fest, sharing the stage with such bands as Decapitated and Illusion. A year later, they appeared at one of the leading metal events in Poland - Metal Mine Festival - where they performed alongside bands such as Rotting Christ, Gaerea, Taake, Hate [PL].
ABOUT THE ALBUM - LYRICAL THEME
This album uses a certain artistic game. We go back in time to the 19th century, using various literary motifs or elements of culture and history from there, to refer to them and tell about us, both as a society and the life of a person, each one individually TODAY.
The starting point for this idea, the inspiration is the monument of Karl Robert Lachmann, the only son of a German, aristocratic family, who died in the Franco-Prussian War (1870-1871), vandalized by cemetery robbers, located in the mausoleum in Jałowiec. His slightly modified image is on the cover. (The song Pro Memoria also refers to his story and other young people killed in the war, which also vividly refers to what is happening in the world today) Based on what is on the cover, such a sketchy, very loosely outlined "plot" was created. It comes down primarily to what is in Wieczornica and the sound of slamming doors (gates) at the end of the album after Pietno. Generally: at night, a group of cemetery hyenas smash coffins, and the spirits of the dead suddenly start to get out of them, but not to punish them, but to show the tragedy of their lives and the world in which they existed. All the pieces after Wieczornica are de facto the voices of these spirits and our "today's" commentaries on the visions or stories they presented before these thieves. So we as performers are a bit narrators, a bit actors, we interject a bit with our own words of commentary. Due to the fact that the cemetery is old, from the 19th century - hence the references to e.g. Faust, the Great Improvisation from the third part of Dziady, the motif of national messianism. The idea to even attempt such a concept came from the reflection that the reality in which we live is beginning to resemble the old one, both on the level of society and the common blacksmith. That is why we decided that it would be an interesting game and very inspiring. Generally, despite everything, it is quite delicate, not intrusive, because we wanted it not to be a historical reconstruction group or a thematic album, but invariably a voice that reaches the ear of today's people, with whom they could identify - on this album, expressed through the mouths of a bygone era. The whole album is connected by the closing of the gate (sound), symbolically referring to the earlier opening of the coffins, but also to the end of that "séance" with the spirits, as well as the closing of the doors of their house, which is a reference to the title of the album "House of all the dead". This is the symbolic name of the cemetery on this album, where the action takes place, the cemetery that in our story is the home of all the souls who, tormented, forgotten, want to break out to the living, to pass on their suffering to them, thereby finding peace.
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