For more than a decade, Volahn has stood at the center of the Black Twilight Circle, a loose collective of Chicano and Indigenous artists using black metal as a vessel for cultural reclamation. Where so much of the genre still fixates on Nordic or Teutonic mythology, Volahn turns his gaze southward — to Palenque, Tikal, and Xibalba — resurrecting Mayan cosmology through raw guitars, ritual drumming, and hallucinatory melody. Popol Vuh feels less like a traditional metal record and more like an act of invocation, an offering to ancestral memory conducted through distortion and spiritual noise.