Gråande - S/t

#FOR FANS OF: Atmospheric Black

Coming from Sweden, Gråande is a new project recently created by two musicians, Nichil and Nachtzeit. The later one needs no presentation as he is the creator and only member of the well-stablished and respected project Lustre, among many other projects, all of them the quite enjoyable. Backed by the label Nordvis Produktion, the project has released a self-titled debut EP, consisting of only two tracks, but making it clear that Gråande has a quite interesting potential.

The EP 'Gråande' unsurprisingly confirms that the new project is firmly rooted in the black metal genre and, more precisely, in the niche of atmospheric black metal, as it happens with Lustre. However, contrary to his most famous project, Nachtzeit and his colleague Nichil, have forged two tracks with a slightly less trance inducing touch than what we can see in Lustre. The guitars, the rhythmic base and the vocals sound more powerful and powerfully rhythmic, and the music is definitively more intense here. But don’t get me wrong, the similarities are there and both projects don’t differ that much. The hypnotic keys are definitively present, and the general ambience also has its trance inducing touch, but with Gråande, the music definitively sounds a bit heavier. The second and shorter track, "Evighetens Kvarn", is the clearest example with its faster drums, quite unusual in Lustre, its cold-biting riffs and Nichil’s excellent shrieks, that sound quite powerful and desperate. The track is definitively a fine example of a crossover between atmospheric black metal and DSBM. The EP opener "Sjöar Ovan" sounds closer to what we have heard in Lustre or the always present influence of Burzum. This influence is stronger in two thirds of the song, where the evocative keys along with the mid-tempo guitars and the drums represent the trademark of the aforementioned projects. Nevertheless, as it happens in the second song, and as a characteristic aspect of this project, we can enjoy more energetic sections, where the drums have a more vivid pace and the guitars sound quite raspy, creating an excellent song of pure atmospheric black metal. In both tracks, shine the powerful vocals of Nichil, which is definitively a successful inclusion in Gråande.

This self-titled debut EP is without any doubt, a very solid beginning for Gråande, it brings the classic influences of Nachtzeit, but with a refreshing touch and, more important, a quality work in the creation of both tracks. Personally, I can’t wait to listen to a full-length of this project, as I am quite sure that many fans of the genre will rejoice. (Alain González Artola)

(Nordvis Produktion - 2023)
Score: 80

https://lustre.bandcamp.com/album/gr-ande

Esoctrilihum - Astraal Constellations of the Majickal Zodiac

#FOR FANS OF: Atmospheric Black Metal

France’s unique project Esoctrilihum is back again with a new release, only a few months after the remarkably solid and intensely atmospheric album 'Funeral'. That opus, along with the previous album 'Saopth’s', have not been released physically yet, that is a pity, as they were both excellent in their own character. In any case, let’s focus on the newest album, a mammoth release entitled 'Astraal Constellations of the Majickal Zodiac', where Asthâghul pushes his own boundaries, particularly in terms of productivity and richness of ideas. It is admirable to see how he is able of releasing albums each year, which are far from being simple or repetitive. Esoctrilihum’s music is demanding and requires a certain degree of attention to fully appreciate it, and this album, clocking around two hours is indeed a challenging, yet worthily task.

'Astraal Constellations of the Majickal Zodiac' doesn’t deviate too much from its predecessors, something which maybe could disappoint a few fans, particularly those who expect a revolutionary step forward. However, it will satisfy most people who enjoy Esoctrilihum’s particular musical vision. This new opus offers a complete palette of Esoctrilihum has done so far. Those who enjoyed masterpieces like 'Eternity of Shaog' or 'Dy’th Requiem for the Serpent Telepath', will surely appreciate this album as it perfectly reflects what we could hear in those previous ones. The more straightforward aggressiveness of 'Consecration of the Spiritüs Flesh' is also portrayed, at least in certain moments. This is due as this album is like a complete musical depiction of what Esoctrilihum did in the last years and a clear example of Asthâghul’s talent. The length of the album may discourage some of you, but I can assure that the quality is worth of your time. The album opener "Arcane Majestrix Noir" is a perfect example of the project’s trademark sound, with a combination of relentless drums, chaotic riffs, and a strong atmospheric touch, thanks to a huge and interesting use of the keys and of other arrangements. Asthâghul’s vocal approach is aggressive as ever, with a combination of vicious high-pitched screams with deep growls. The whole composition is a crazy combination of all these elements, where aggressiveness and experimentation cohabit in a very natural way. The atmospheric touch is even stronger in "Atlas Eeïm", where keyboards play a prominent role with some majestic melodies able to captivate the listener. The slower pace is some sections of this song also help to provide a greater room for this side of Esoctrilihum’s sound. Keyboard lovers will for sure enjoy a track like "Shadow Lupus of Saemons-Tuhr" as it has an absolutely majestic main melody that sticks in your head. This album offers to the listener tons of great key melodies, regardless of how brutal or experimental sounds the song, which is something I truly appreciate.

Nevertheless, if you prefer compositions more inclined to Esoctrilihum’s most visceral way, you won’t find songs raw as the ones you can find in 'Consecration of the Spiritüs Flesh', but don’t worry, as there are plenty of brutal double bass and blast-beasts through the whole work. A song like "AlŭBḁḁlisme" is a nice example of it, with an insanely speedy drum alongside the crazy riffing that Esoctrilihum always delivers. Pace wise, the songs fluctuate in a very natural way between super-fast, mid-tempo and slow parts, a fact that shows how smoothly the songs have been crafted by the French mastermind. Apart from the guitar-bass-drums-keys combo, Esoctrilihum has always used successfully something like a violin (I don’t know if it’s actually the real instrument or something more artificial), and this album is not an exception with some very nice parts, as the ones you can find in "Säth-Oxd, Stellar Basilisk". This song is also another clear example of how a song of this release can change from some melodic and even nice parts to a truly chaotic one in just a second. As soon as you reach the end of this colossal album, it seems that Asthâghul honours the popular expression "hold my beer" with the two gigantic final songs, each one twenty minutes length. Everything you can expect from this project can be found here and it’s a testimony of what Esoctrilihum can offer, what a conclusion for an album.

With 'Astraal Constellations of the Majickal Zodiac' Esoctrilihum shows that the project isn’t running out of ideas and inspiration. This mammoth release is an excellent sonic depiction of experimentation, brutality and atmosphere done with taste and passion. (Alain González Artola)

(I, Voidhanger - 2023)
Score: 88

https://i-voidhangerrecords.bandcamp.com/album/astraal-constellations-of-the-majickal-zodiac

Saturnus - The Storm Within

#FOR FANS OF: Death/Doom

Saturnus is undoubtedly one of the biggest names in the doom/death scene. Formed in Denmark, back in 1993, the band has built a flawless career full of top-notch albums. The band’s opus, entitled 'Paradise Belongs to You', remains as one of most iconic masterpieces of the genre, and was the first of the exclusively five albums which have been released during its 30 years of existence. This clearly shows the amount of time that Saturnus has taken to create each of these albums, which I think it explains the high level of each of them. From the inception of the project, only the bass player Brian and the singer Thomas remain, as numerous line-up changes have affected the band’s pace to release new works. In any case, the passion and commitment of both members have thankfully made possible to still enjoy Saturnus easily distinguishable music until these days.

As the doom/death metal genre itself, Saturnus musical approach has remained quite stable during its existence. There have indeed been some little evolutions in these three decades of existence, but no one will deny the fact that from that first album to the newest opus 'The Storm Within' Saturnus trademark sound is still there. The new album is a clear proof that when passion and quality coexist, there is no need to make great changes in a band’s style. In the hands of this band, doom/death metal sounds particularly melodic and captivating, mainly thanks to the superlative guitars' work, which are the shining stars of this opus. All the seven compositions of this album have many inspired harmonic riffs which are simply delightful. Pace-wise the album hasn’t great changes, but it is undeniable that some tracks have a remarkably slow pace, very distinctive of this genre, and even a stronger sombre tone. The album opener duo "The Storm Within" and "Chasing Ghosts" are fine perfectly examples of this. The longest tracks of the album give the necessary room to display all the slowness and atmospheric beauty that Saturnus can offer. The melancholic, yet beauteous, guitar melodies are accompanied by the profound and guttural voice of Thomas, being this duo, the iconic portrait of what Saturnus has offered during its career. Clean vocals are minority in this album, but some spoken lines appear, for example, in "Chasing Ghosts", which give a theatrical point to the composition that fits perfectly well with this genre. I have already said that tempo changes are not very common and strong in this album, but this doesn´t mean that we won’t find them. "The Calling" can be defined as a slightly faster track with a tremendously catchy main melody that immediately sticks to your head. This one is for sure one of the highlights of the album and a clear proof that you can add some variety in a doom/death metal album, at least if you want. Another nice example of composition with a livelier pace, if this term can be used in this genre, is "Breathe New Life" which follows a very similar pattern. It’s a shorter track with a very additive main melody, even though I personally consider "The Calling" a superior track. The rest of the tracks are more similar to the gloomier first tacks of "The Storm Within". However, there is song which stands out because it is quite distinctive, and it is "Even Tide", as it could be defined the ballad of the album. It’s a very melancholic track with a delicate and beautiful piano playing the main role. It is accompanied by clean vocals in the form of spoken lines, but also sung parts in a very sweet and sorrowful way. It is indeed a composition that evokes the profound sadness for a forgotten beloved one.

'The Storm Within' is definitively another inspired moment of Saturnus perfect career. Any fan who listens to this album will immediately feel this warm sensation of being in a well-known and appreciated place. The tasteful guitar melodies are our guide through this melancholic journey, and I honestly consider that fans will be eager to embark themselves in this sea crossing more than once. (Alain González Artola)

(Prophecy Productions - 2023)
Score: 85

https://saturnus-official.bandcamp.com/album/the-storm-within

Austere - Corrosion of Hearts

#FOR FANS OF: Depressive Black

Founded back in 2005, the Australian duo Austere, conformed by Desolate and Sorrow, achieved a cult status inside the depressive black metal scene. This was due to a quite solid debut album and particularly to a sophomore effort, entitled 'To Lay Like Old Ashed', which successfully caught the attention of the fans of this subgenre. The album became a classic and received excellent reviews. Sadly, the project eventually split up in 2011, which put its career on hold just when Austere was becoming one of the bastions of the genre. During this time, both Desolate and Sorrow have been really active in the metal scene, as they have been involved in many different projects. Fortunately, the band returned to life in 2021 and Austere has even began to play on stage, which is great, as many depressive black metal projects tend to be only studio projects.

As it happens when a project is inactive for such a long time, I was very curious to see if both members could bring back the magic of the old albums with the new beast 'Corrosion of Hearts'. The short answer is simply yes, which is obviously great news. After fourteen years, you could expect some changes, or an evolution as it is obvious that Austere has had time to bring some fresh ideas on this album. Happily, the album retains the main characteristics that made Austere such an especial band. The new opus consists of four long compositions and as soon as the album opener "Sullen" begins, all the pieces are just there to create a great song. The absolutely hypnotic guitar work captivates you since the very first moment. The song has a medium tempo during its length which helps to crease its absorbing nature thanks the exquisite tremolo riffing. The vocals sound as desperate as you may imagine. I particularly enjoy the most high-pitched shrieks which are an absolutely trademark of this genre. Anyway, Austere tried to add some variation in the vocal approach with the addition of clean vocals here and there, which sound particularly melancholic and a bit mellow in my opinion. I clearly prefer the classic screaming, but I respect the fact that the duo tried to broaden the usually narrow limits of the genre. The following track entitled "A Ravenous Oblivion", is probably the highlight of the album. Just take the best parts of the album opener, increase that sense of desperation with even more inspired riffs, add more desperate shrieks and a slightly more varied pace, and you will just get a perfect piece and a manifestation of what the genre can offer. As the album goes forward, the atmosphere becomes even more dense reaching its darkest point with "The Poisoned Core". Its irremediable end comes with the not so extremely bleak but equally inspired track "Pale", as it maintains the hypnotic nature of the rest of the album and the remarkably excellent riffs. It is undeniable that Austere doesn’t introduce great variations in terms of pace, but its songs do not sound boring and simple at all. Slight changes are introduced and even the drums try to be creative, actively avoiding the sense of sounding dull an uninspired. So, if you combine the little but tasteful changes, the effective work of the drums and the already mentioned great guitar work, you will barely find any reason to complain, but a lot to enjoy in this memorable album.

Austere’s return can therefore be defined as successful. All the ingredients that made this project a classic one in the scene are there. Because of this, old fans will find many reasons to rejoice, while the new ones will find this album as a perfect gateway to Austere’s music. (Alain González Artola)

(Prophecy Productions - 2023)
Score: 85

https://austere-official.bandcamp.com/album/corrosion-of-hearts

Lustre - Reverence

#FOR FANS OF: Ambient Black

The Swedish one-man project Lustre has become, since its inception, a primordial reference when we speak about atmospheric black metal. Henrik Sunding, better known as Nachtzeit, is undoubtedly a fanatic of black metal, particularly of the most atmospheric oriented one. He has been involved in several projects, each one having its own character, although the devotion to this genre is out of any discussion. I strongly recommend you to check out Ered Wethrin and Nachtzeit, which are my favourite ones. 

 

Going back to Lustre, the particular vision of Henrik for this project was quite clear since the debut album 'Night Spirit' that was released in 2009. Lustre’s music is trance inducing ambient black metal, strongly influenced by classic projects like Burzum, which obviously is a pivotal influence in the genre when we speak about introducing ambience into the black metal scene. What Lustre does is to create quite simple and repetitive structures. Don’t loose your time trying to find complex riffs or tempo changes, this is all about hypnotic sonic creations which transport you out of this reality. And this is what makes Lustre so special. Repetitiveness and simplicity can always be problem, and many would consider that this music lacks of interest after listening to a couple of songs. But somehow, Nachtzeit achieves the unquestionable merit of keeping releasing songs that captivate you, and this is something admirable.

So, after these years and a good amount of albums and EPs, Lustre continues to be quite active and its last offering is the EP entitled 'Reverence', which consists of one song with the same name. Those who don´t like this project won’t find any reason to like it now, but many others, and I include myself in this latest group, can enjoy this new release a lot. Although Lustre’s music hasn’t changed a lot since its creation, it is also unquestionable that Nachtzeit has perfected the formula during the project’s existence. 'Reverence', being a long song, gives a greater room to introduce little tweaks and more arrangements which make the track a great musical experience. Vocally, this song shows a more varied approach. The voices are classic black metal shrieks, but their tone and strength vary through the song, with moments where they sound louder and more intense, as it happens in the mid-second half of the song, in contrast to the initial part. About the arrangements, the simple yet beautiful keys play their usual major role leading the song, but we can also find some tiny touches here and there, especially in the background which enrich the composition. The electronic interlude in the middle of the composition is a nice one, and I find it quite interesting. As you can imagine, they are tiny adds or changes as the music needs to be trance inducing and nothing can distract you from this purpose. But this effort is very welcome for me, as a composition always needs to sound a bit fresh, regardless off its innovative nature of lack of it.

All in all, the new 'Reverence' is a quite inspired one. Lustre has managed to compose a long track which has everything we know and like from this project. The hypnotic atmosphere and marvellous melodies are there, recognizable but still being capable of absorbing our attention and getting our love, and because of this, Lustre is a so unique project. (Alain González Artola)

(Nordvis Produktion - 2023)

Score: 82

https://lustre.bandcamp.com/album/reverence

At the Altar of the Horned God - Heart of Silence

#FOR FANS OF: Experimental Ritualistic Black

Founded only three years ago, the Spanish solo project At the Altar of the Horned God, whose leader Heolstor is a quite active musician in the Spanish underground scene, has managed to release two rather interesting efforts. Heolstor has been involved in excellent projects like Nazgul or Cyhriaeth, whose only full lengths are strongly recommendable. I guess that this background alongside the inherent quality of his first album was more than enough for a well-stablished label like I, Voidhanger Records to sign a contract with him. The first effort, entitled 'Through Doors of Moonlight' was a good starting point, so it was interesting to see what this project could offer with the always crucial sophomore album.

At the Altar of the Horned God’s music is a quite personal approach to a combination of black metal and ritual music. This later influence is a remarkably defining one of how this project sounds, and the new effort 'Heart of Silence' is well-achieved example of this mixture. The rawness and atmosphere are very nicely combined and Heolstor’s vocal approach also adapts itself to the difference influences, intensities and how each composition works. The album contains eight songs, and the listener will be able to appreciate the different nuances and touches that enrich this project’s music. The album opener "Listen" differs from the typically opening for a black metal album, with these whispering vocals and ritualistic drums. The vocals remind me for sure some goth and dark metal bands, which I think it is a quite appropriate inspirational source. The song gains in intensity with the guitars and some more aggressive vocals, but always accompanied with certain atmospheric arrangements that enhance the mysterious atmosphere that every ritual-influenced band should have. The introduction of "Closing Circle" follows similar patters with this captivating atmosphere and the use of clean vocals, that differ from the classic black metal bands. This project is for sure none of them, and I personally consider that this sort of voices is very necessary to create the aforementioned occult ambience. In any case, aggressiveness has its room in tracks like "Heart of Silence" or "Anointed With Fire", among others, where the guitar riffing is more powerful and some faster sections are included. Typically, black metal screams are also used, but never left completely behind the cleaner vocals which are always introduced at the appropriate time and with a good taste. The ups and downs in the intensity are well distributed throughout the album, as you usually find a more aggressive song like the mentioned "Anointed With Fire", followed by a more atmospheric track like "God is in the Rain", which is a nice contract to make the album sound diverse and interesting.

In conclusion, 'Heart of Silence' is a very enjoyable and personal album. The combination of black metal with a strong occult essence is very well accomplished. The songs sound diverse, but coherent, and the contrast between the expected aggression and much more atmospheric parts is really good. It indeed requires some mind openness to enjoy the generous use of clean vocals, but I am quite confident that the way they sound will convince the reluctant listener. (Alain González Artola)

(I, Voidhanger Records - 2023)

Score: 80

https://i-voidhangerrecords.bandcamp.com/album/heart-of-silence

Morcaint - Elessar

#FOR FANS OF: Atmospheric Black

Sweden’s obscure project Morcaint was created in 2008 and it seems that Ulvtyr and Heruhim, the two founding members, composed a debut full-length, which sadly never saw the light of the day. The project was put on hold during a long of time, but fortunately it came to live some time ago and managed to catch the attention of the respected Swedish label Nordvis Produktion, which always gives you a hint of the project’s quality.

The aforementioned unreleased debut album doesn’t seem to be recorded in this new era, but Morcaint has released its debut EP which consists of only two new songs, although the quality of both compositions makes me feel a reasonable hype for an, hopefully, upcoming debut album. 'Elessar' is the title of the EP, and as you probably guessed, it is a direct mention to the world of Tolkien. Personally, I am never fed up with bands taking inspiration from Middle Earth, so I was more than happy to check out what this project can offer. Morcaint’s music is firmly rooted in the atmospheric black metal sub-genre, which I consider quite appropriate for Tolkien’s fantastic universe. Musically, Morcaint achieves an excellent balance between the expected atmosphere, and the heaviness you could expect from an extreme metal band. The first track "Elessar" immediately shows that with a captivating atmospheric intro followed by a great tremolo riffing, which is a perfect example of how atmospheric black metal should sound. The combination of mid-tempo and headbanging inducing riffs, and the always welcomed blast-beats make the song very entertaining. Both the vocals, with the classic distant sound in its production, and the drums, sound clear and powerful. The production has a raw touch, but it is enough clear and well-balanced which gives an organic touch to the songs, a characteristic that I consider a correct approach for this music. The keys have a reasonable presence, as you can hear them through the song, which includes certain moments of a bigger prominence, where they truly shine. The second "O Lórien" is a bit longer, which gives a greater room to introduce more variations and, in this case, longer mid-tempo sections where the atmosphere is absolutely captivating. The simple yet atmospheric hypnotic keys enhance the ambience and gives a truly solemn touch to the song. The classic riffing is solid, and it is a great example that there is no need for experimentation where things are done with great taste. The intensity of the song is increased towards its final section, with a marvellous combination of relentless fury and beautiful atmospheric arrangements, that remain in loneliness to close this great track.

In conclusion, Morcaint’s debut EP 'Elessar' is an excellent debut and a fine example of how atmospheric black must sound. As it only has two songs it leaves the listener wanting more, much more, so I do hope that this time the project will remain active and will release in a near future its debut full-length. (Alain González Artola)

 

(Nordvis Produktion - 2023)

Score: 82

 

https://morcaint.bandcamp.com/album/elessar

Frozen Dawn - The Decline of the Enlightened Gods

#FOR FANS OF: Swedish Black, Dissection

The Spanish trio Frozen Dawn, founded in Madrid in 2006, hasn’t been tremendously prolific in releasing new albums, although we can’t complain as every single opus met our expectations. Since its first album, 'The Old Prophecy of Winterland', the band showed some serious talent and clear ideas. The evolution of this project has been as solid as its music and managed to catch the attention of an increasing number of fans, and finally a deal with an international and respected label as Transcending Obscurity Records. Releasing a new album with a such active label can always be the milestone of a project, in its seek for success and a higher attention. After six long years and, I guess, a remarkable amount of work and dedication, the trio finally released the new opus, 'The Decline of the Enlightened Gods'.

The first thing I would like to remark is the eye-catching artwork, a captivating painting created by the Polish artist Mariusz Lewandowski. I have always said that a good artwork is the first key element to draw the attention of the fans, especially in these times where a ton of new albums overwhelm us. But let’s focus on the most important thing, the music. Frozen Dawn’s music is unmistakably and firmly rooted in the black metal, and more particularly in the melodic black subgenre. The production isn’t particularly clean, or at least it isn’t too polished, something I am quite sure that many fans will approve. Both the vocals and the guitars have a slightly dirty touch, like a particular raw touch that I find quite adequate as it makes them sound heavier and darker, something that the genre should never lose. Musically, the album is an authentic beast. The pace is quite fast and the songs sound truly heavy and relentless. From its very beginning to its end, 'The Decline of the Enlightened Gods' is a real punch in the face. We obviously will find some exceptions, as the title track for example, where the pace is slower in its greater part. The guitars truly shine in these slower sections, even though it must be mentioned that their work is faultless in every single song. The riffing is pure melodic black as legendary bands like Necrophobic (of which you will enjoy an excellent version), Dissection, or early Watain can come to your mind. The aforementioned influences are quite clear in the album opener "Mystic Fires of Dark Allegiance". These raging vocals, the tasteful melodic yet heavy riffs, which lead the song in every moment, and the super solid rhythmic base create an addictive song, which brings us back the best of the genre. Things go even heavier with the second track "Spellbound". A devastating composition with a faster pace yet keeping the omnipresent melodic yet biting guitars. Albeit the pace is generally fast, there are small ups and downs in the pace, which are very precisely and wisely placed small changes through the song. The variations make the composition interesting, as it never becomes a succession of monorhythmic sections that would make it sound too predictable. "Frozen Kings" is probably one of my favourite tracks of the whole album. A particularly catchy melody accompanied by a very headbanging inducing pace, makes it a truly highlight, as this track will remain in your brain from the very first time you listen to it. "Oath of Forgotten Past" contains a great solo guitar, which proves that apart from a relentless dose of incredible riffs, the band also knows to introduce solid solos without making it sound out of place. As you may imagine from this description, each song has something that makes it unique, even though the ingredients are the same in all the album. This proves that a band which has inspiration and works hard, can mix the same elements, and still create compositions with its own personality, although they apparently sound quite similar. The level is very high in the whole album and even the already mentioned cover doesn’t disappoint, as it is a devote homage to the band and the genre itself.

All in all, 'The Decline of the Enlightened Gods' is an awesome work by the Spanish band Frozen Dawn. The full thing sounds inspired, focused, and full of greatness in all its elements. Every single fan of the genre should check out this opus and I wouldn’t be surprised if it appears in may top lists of this year. (Alain González Artola)

(Transcending Obscurity Records - 2023)
Score: 88

https://frozendawnbm.bandcamp.com/album/the-decline-of-the-enlightened-gods-black-metal 

Sarcoptes - Prayers to Oblivion

#FOR FANS OF: Symph Death/Black

Founded in 2008 by Sean Zimmerman and Garrett Garvey, the Californian duo Sarcoptes has always taken its time to release new stuff, as we have enjoyed only two Eps and two full lengths in its 15 years of existence. Luckily, both the EP, and especially, the impressive debut album 'Songs and Dances of Death', were worth of our time. Not being a great fan of thrash metal influenced black metal, the debut effort took me by surprise with its absolutely tasteful mixture of purely black and thrash metal riffs, achieving an excellent merge of both genres. If this wouldn’t be enough, the band introduced symphonic elements through the whole album, not in an astonishing quantity, but very tastefully used and placed, creating a truly majestic album which definitively made me love it.

So, seven years after the aforementioned great debut, and after the quite interesting EP 'Plague Hymns', Sarcoptes returns with its sophomore album 'Prayers to Oblivion'. The second opus is always a crucial moment for every band. It might be the project’s milestone or should start questioning if the project was only a one-day success band. Thankfully, 'Prayers to Oblivion' proves to be the first case and confirms that Sarcoptes is definitely to stay with us, hopefully, for a long time. The previously mentioned EP gave us some clues about Sarcoptes evolution with this new album. If 'Plague Hymns' showed more ferocious and also intricated compositions with an amazing guitar work, 'Prayers to Oblivion' confirms this evolution with a collection of five songs, where there isn’t a single second which could be considered a filler. The more aggressive approach could let me think that the symphonic and epic touches of the first work could be gone or severely decreased, but fortunately this is not the case. Sarcoptes has managed to create and album full of blast-beasts, but without lacking the symphonic and atmospheric arrangements, and seriously elaborated compositions. There is room for straightforward aggression, and as well for truly majestic moments. In that sense, there is a great differentiation between the shorter tracks, "Spanish Flu" and "Tet", and the rest which are way longer. Nevertheless, this doesn’t mean that both short tracks lack of total variety and grandeur. But logically, a track like for example, "Spanish Flu", shows no mercy in terms of speed and pure brutality, where I would like to highlight the drums, which are absolutely smashing, remarkably with the hammering double-bass. As said, the shorter tracks show the most brutal face of Sarcoptes, although they keep the symphonic elements which is something I really appreciate. On the other hand, we have the longer compositions, and seriously, this is where Sarcoptes delivers the goods. As I always say, longer compositions can be risk because you need a certain degree of inspiration if you don’t want to create an unfinishable boresfest. But we don’t have to be worried about it in this magnificent album. From the extraordinary album opener, "The Trenches", Sarcoptes proves the amount of work they have put on this album. The production has been improved, everything sounds cleaner and especially more powerful. The debut’s sound was already very good in my opinion, but 'Prayers to Oblivion' proves that experience is always a key element. The song sounds crushing, and it is especially fast, with the mentioned devastating drums. The riffing is top-notch, excellently executed and varied. Pace wise, this composition reflects what the rest the album will give, relentless speed but never lacking variety in terms of tempo changes where it is needed. Don't expect boring monorhythmic compositions, but severely fast songs with enough changes to keep you absolutely hypnotized. As they did in their debut album, the key arrangements are very tastefully placed, never overshadowing the other instruments, but sounding equally loud, so you can appreciate and enjoy them. The arrangements add the majestic touch I love from this band and also have experienced an evolution or better said, an enrichment, as they sound more varied. Brutality meets epicness, and believe me, it really works. The third track "Dead Silence" follows similar patterns, being equally intense, majestic, and varied with a wonderful final part with all the epic feeling you could imagine. The album closer "Massacre at My Lai", has probably the longest section of all the album with a mid-tempo pace, which gives you some time to breath, but the intensity is increased till the song becomes a total apocalypse. Then, the song reaches its inevitable ending with a much more atmospheric and calmer final act. It’s like the pace you will find in a land devastated land by a hurricane. What an ending.

'Prayers to Oblivion' by Sarcoptes is definitively a tremendous sophomore album, an effort that should place them in the first line of the scene. Its incredibly well achieved mixture of speed, insane brutality, exquisite melodies, and excellent symphonic arrangements, deserves all the praise they should receive. (Alain González Artola)

(Transcending Obscurity Records - 2023)

Score: 90

https://sarcoptesblack.bandcamp.com/album/prayers-to-oblivion-black-metal

Skythala - Boreal Despair

#FOR FANS OF: Experimental Black Metal

The US-based trio Skythala appeared in the scene with a debut album ready to conquer the listener who wants to escape from a standardized black metal sound, at least in its spirit and how the songs are composed. There is not much information about the origin of this project, although Ryan Clackner, known as ‘R’ in this project, is known to participate in several projects (e.g. Primeval Well, Coffin Hunter), some of them tied to extreme metal. Unsurprisingly, taking into account Skythala’s sound, some of them also have certain tendence to integrate experimentation in their sound.

Going back to Skythala, the band was able to catch the attention of the reputed label I, Voidhanger Records, to release its first opus entitled 'Boreal Despair'. If you want to listen to traditional black metal, I warn that you will be disappointed, but if you are thirsty of some experimentalisms and weirdness, 'Boreal Despair' may be something of your interest. In any case, this album is firmly rooted in the black metal genre, as you will notice in the continuous blast-beasts that songs like the album opener "Eternal Nuclear Dawn" has. Moreover, the sharpened guitars and raspy vocals will inevitably remind you the very own foundations of the genre. But leaving aside these core elements, the riffing and the eclectic arrangements give to the compositions an undeniable avantgarde touch and the usual complexity and unexpectedness that this subgenre usually offers. The orchestrations are as experimental and strange as you may imagine, creating like a chaotic atmosphere that complements the also ‘bizarre’ riffing work. The second track, "Variegated Stances of Self Mockery", combines in an interesting way, the chaotic brutality with atmospheric arrangements and a slightly more varied pace, although the speed is also quite present here. The composition abruptly stops with long and equally bizarre atmospheric interlude, which as intriguing as you could imagine. The second half of the song brings back the metal elements, but with a more hypnotic and slow-paced final section. As aforementioned, Skythala doesn’t disown of the expected brutality and speed, as their compositions are mainly remarkably fast and sharp. The arrangements play a major role in the forge of experimental sound of this album, as they are numerous, varied, and well-placed in each song. They can sound just atmospheric as a counterbalance to the chaos of the guitars or even increase this sense of madness and experimentation depending on the moment, which happens many times. "Boreal Phrenological Despair" is probably my favorite track as it shows how diverse the orchestrations can be, sounding both beautiful and weird in the same composition. Pace-wise the rest on the songs follow similar patterns with the exception of "Rotted Wooden Castles", whose rhythm is much slower until its final section, where the already known velocity comes back.

All in all, 'Boreal Despair' is not an easy album to digest. It can be a bit too experimental and weird for the classic fans, and perhaps too brutal for those who want pure experimentation. But if you like the merge of both worlds, this album can be a demanding, yet satisfactory listen. (Alain González Artola)

(I, Voidhanger Records - 2022)
Score: 72

https://skythala.bandcamp.com/album/boreal-despair

Incantvm - Strigae

#FOR FANS OF: Black/Doom

From Italy a quite special project comes under the leadership of the clarinetist Vittorio Sabelli, a former member of the band Dawn of A Dark Age, who has recruited some very talented musicians to help him in his new musical voyage. More than 10 musicians have taken part to record ‘Strigae’, the first effort of this interesting and undeniably original project.

The concept behind the music is also something worthy, as the album is based on witch hunt and summary trials that took place during the past centuries, and that which sadly led to the sentence of hundreds of innocent women. Musically speaking, it is quite hard to define Incantvm’s music, although the term theatrical might be a good definition for that, as the different arrangements and expressive nature of the music itself has a lot in common with a theatrical performance. 'Strigae' is, in any case, strongly tied to the extreme metal scene, as its obvious metal influences come from the black and doom metal genres, but also has a clear progressive nature if you pay attention on how the compositions are structured. The generous length of the three actual songs (as the first and last ones are the intro/outro of the album) gives the necessary room to introduce quite varied influences and changing structures. "Il Cerchio e il Fuoco" opens the album with its ever-changing structure and pace, where we can enjoy Tenebra’s super high-pitched shrieks, which for sure could remind us of the scream of an actual witch. The pace has its ups and downs with a great combination of raspy guitars and plenty of arrangements which enrich the music a lot. There is also a room for calm sections where the progressive and most non-metal influences reign, with the tasteful pianos, clarinets and several other classic instruments which mark an abrupt contrast with the heaviest sections of the song. As aforementioned, this album is like a baroque and theatrical act and the music is the perfect portrayal of this concept. The narrative voice of Nequam serves as the director of the most experimental sections as reinforces the feeling of experiencing an actual performance in its broadest sense. "Lamie" has a clear progressive evolution in its structure as it begins with a doomish pace, and it gains some intensity with the track progression, even though it always has a changeable pace and unexpected changes in the style and intensity, which are a tangible proof of the great work behind this album. The always relevant and tasteful arrangements done by the mastermind Vittorio, shows how he has tried to introduce several non-metal influences in an actual metal album, trying to forge and album free of stylistic restrictions. The narrative voices and introduction of several instruments may not appeal every metal fan but it makes 'Strigae' a compelling work that requires an open mind and several listens.

In conclusion, 'Strigae' is a remarkably interesting and enjoyable album. Its very personal mixture of black and doom metal influences, and the generous use of classic instruments make it a complex, demanding yet a very satisfactory album. From my point of view, this effort should please every music fan who demands both originally and quality. (Alain González Artola)

(I, Voidhanger Records - 2022)
Score: 80

https://i-voidhangerrecords.bandcamp.com/album/strigae

Mysteria Mystica Aeterna - The Temple of Eosphoros

#FOR FANS OF: Black Old School

Formed in 2020, the German Mysteria Mystica Aeterna (what a cool band name), is a duo formed by a couple of quite experienced musicians, Frather Noxathra, who takes the duties for the vocals, strings and keys and Frater Odium Aeternum, who plays the drums. Both have several interesting projects closely tied to the realms of black and death metal, where they demonstrate their unquestionable devotion to extreme metal and talent to explore the different niches of this musical expression. Considering this background, it is not a surprise that only a year after the project’s inception, they released a quite interesting debut entitled 'Into the Kingdom of Shadows'. Both musicians seem to be on a high and only a year later they have forged a new opus that have caught the attention of the always reliable label Iron Bonehead Productions.

'The Temple of Eosphoros' is the name of the beast, and it is an excellent incarnation of how black metal should sound, reaching a perfect equilibrium between rawness, fury and atmosphere. Even though, the album cannot be tagged as atmospheric black metal, the ambience is a very strong and an essential aspect of Mysteria Mystica Aeterna’s musical proposal. The generous use of the keys never overshadows the most metal side of the band’s sound, but it complements and enriches it. Production wise, the work done is excellent, the instruments and vocals can be heard perfectly well, and they are distinguishable, never creating a sound ball where the music can not be appreciated. The guitar sound is really sharp, but clear and this is something I appreciate in this short of bands. The album itself is quite short, which is maybe my only complaint, but on the other hand, this means that it comes to the point with no fillers and forgettable moments. After a short and intriguing dark intro, the album begins with the excellent "The Holy Heaven of Will", where all the core elements of Mysteria Mystica Aeterna appear, rasped vocals accompanied by sharp-edged guitars and sumptuous keys, that create a spellbinding atmosphere. The song gains intensity as it progresses, with some quite fast sections mixed with some mid-tempos, or even slow ones. These ups and downs in the pace are adequately used through the whole album, which makes the songs sound varied and interesting, as it always helps to catch the attention of the listeners. The slowest parts are a highlight because here the atmosphere is particularly hypnotizing. The song "Thou, Whose Mouth is a Flame" combines the same aforementioned elements in a very enjoyable and inspired way. Here again, the keys play a prominent role enhancing the atmospheric side of this composition, as they give a grandiloquent touch to the song. The tempo changes are abrupt and mark a great contrast between the different sections, but they are well-done, and I think, as previously mentioned, this helps to make the songs particularly captivating. The calm and beautiful piano interlude in the second half of the song is probably one of the top moments of the album, it is so effective and beautiful. The song that closes an album is always a key moment as it can leave you with a good or bittersweet taste in your mouth. I can assure you that the band has put some effort to close the album with style, as the long and excellent self-titled track agglutinates all the strong points and characteristics of this opus. The riffing here is top-notch, and it is again excellently combined with the tasteful keys. Once again, the tempo and intensity changes are perfectly executed. This composition has been crafted with dedication and time and the result is just wonderful.

In conclusion, the German duo Mysteria Mystica Aeterna’s sophomore album should be a milestone in their career and the confirmation that this band has a lot to offer. Perfectly balanced black metal with a strong atmosphere, that any fan of the genre should listen to. (Alain González Artola)

(Iron Bonehead Productions - 2022)
Score: 84

https://ironboneheadproductions.bandcamp.com/album/mysteria-mystica-aeterna-the-temple-of-eosphoros