Ashtar - Wandering Through Time

#FOR FANS OF: Black/Doom

During its over a decade of existence, the Swiss project Ashtar hasn’t been particularly active, as it has only released two albums until 2023. But as it usually happens, the quality has more importance than the quantity, and this formerly duo released two interesting albums which were worth of our time. And I say formerly, as since 2022 Ashtar has been reduced to a solo project as the Finnish musician Lehtinen is out of the band. As a consequence of this, Nadine Lehtinen, as known as ‘Witch N’ will take the duties of composing and releasing the upcoming albums, while the last offer, entitled 'Wandering Through Time', has yet been composed by the original duo. 

 

As it happened with this predecessor 'Kaikuja', the new opus is released by the well-known label Eisenwald. Ahstar’s musical formula is an interesting combination of black and doom metal. Nadine’s vocals have a distinctive black metal touch, as they are raspy and high-pitched. Pace-wise the music is undoubtedly influenced by the slower rhythm so common in the doom metal genre, while the guitar riffs have a mix of both genres, tending to a sound closer to one or another genre depending on each moment. When we talk about the pace, a song like "Deep Space and High Waters" clearly tends to a sound more doomish as it has a more mid-paced structure, although Ashtar tries to vary the pace of the track as it advances just to avoid sounding predictable and too monotonous. In any case, as the album goes on, the tracks are more heavily influenced by doom metal as their pace is slower and the riffs sound even more crushing. A clear example of it, is the long album closer "I Want to Die", which is actually a cover by Post Mortem, but it perfectly reflects how the album sounds. The first half of this effort, on the other side, is a bit more diverse in terms of structure and pace, as the black metal influence here is a bit stronger. This successfully adds some energy in the compositions, as in the aforementioned third track, but especially in the first two songs. The second track, entitled "The Submerged Empire", is my favorite one. The guitar work is excellent with some addictive melodies and the second half of this track contains some interesting surprises. For example, a remarkably beautiful violin interlude which is totally unexpected. This calmer and more delicate section is followed by a heavier one, which suddenly gains a lot of speed and fury. This ferocious final section is ended by a second and equally beautiful apparition of the violin which ends the song in style. 

In conclusion, 'Wandering Through Time' is a solid effort which would be a more inspired and interesting album, if the second half of the album would contain more diversity in its pace and a stronger black metal influence, as it can be heard in the first tracks. I honestly think that Ashtar’s music benefits itself from this more balanced mixture as it sounds more captivating. (Alain González Artola)

 

(Eisenwald - 2023)

Score: 70

 

https://ashtarofficial.bandcamp.com/album/wandering-through-time

Grift - Dolt Land

#FOR FANS OF: Neofolk

The Swedish solo-project Grift was founded by Erik Gärdefors more than a decade ago. Erik has been a quite active member of the extreme metal scene in Sweden. His previous and also current projects are closely tied to the black and death metal subgenres, where he has shown his talent. With Grift, we can appreciate a further vision of Erik’s musical interest as he brings a strong folk influence on the ‘creation table’, where Grift was crafted. Since its inception, Grift’s music has been a quite palatable mixture of black metal and neo folk influences. As it usually happens the first opus entitled 'Syner' already had a very solid mixture of both genres, although the black metal elements sounded a bit harsher than in the subsequent releases. With albums like 'Arvet' or 'Budet', the intrinsically melancholic influence of the neo folk music impregnated the full compositions of Grift and even the blackest metal elements had a strong influence of the aforementioned subgenre. That led to the creation of something unique and, therefore, forged Grift’s own musical vision.

With the new opus entitled 'Dolt Land', Grift leaves behind all the black metal elements, at least for this release, as it seems that the artist contemplates the beauty of its land’s nature and consequently, tries to create an appropriate musical experience for the listeners.  So, 'Dolt Land' is logically a folk/neo-folk album with a strong melancholic touch, which is so present in the purely folk albums that metal projects release in Scandinavia. The album is an immersive experience and a very pleasant listen if you like this kind of slightly gloomy form of folk music. The nature-related ambience of the album opener "Silverne Sitg" is a fine example of what you can listen to here. The nature sounds are elegantly missed with folk instruments, which slowly gain the main role, creating a nice bridge from the wild sounds to the man created ones. Erik’s voice sounds great as he has a deep and emotional tone which is very appropriate for this type of music. Even though an album like this may not have greater variations in the tone and pace, this composition shows that some variations are possible in order to enrich the composition and make the song more interesting. Another aspect where Erik tries to add some different touches in his own voice, as he adds a raspier tone in several compositions, for example in "Nattens Pilgrim". This addition, alongside the use of different folk instruments and variation in the intensity of the structures, help to create folk songs which are not so monotonous. Another song which I enjoy quite a lot is "En Hemskog", that is an acoustic guitar-driver composition, maybe with less variation than other compositions, but with  a very nice work with this instrument that makes me appreciate it a lot.

In conclusion, 'Dolt Land' is a temporary departure from Grift’s fusion of neo-folk and black elements, and although this may disappoint some of its fans, I personally urge all of them to give a chance to this album, as it is a very tasteful and enjoyable listen. (Alain González Artola)

(Nordvis Produktion - 2023)

Score: 75

 

https://grift-nordvis.bandcamp.com/album/dolt-land 

Iskandr - Spiritus Sylvestris

#FOR FANS OF: Dark/Post Punk

Evolving so much from the seminal sound until the music is remarkably different from what we knew, it’s not something uncommon in the black metal genre. The legendary Norwegian project Ulver is an extreme example of it, so its not a complete surprise to see how the Dutch duo Iskandr has changed with its new opus 'Spiritus Sylvestris'. In any case, I wasn’t expecting such a step forward in its evolution, as its previous albums, from the debut album 'Heiling Land' to the latest one ‘Vergezicht’ showed an evolution, yet the black metal elements were still a core of its sound.

With ‘Spiritus Sylvestris’ any of the aforementioned black metal elements, as the shrieks, raspy guitars or speedy drums are completely gone. The new opus has a strong influence from genres such as darkwave, post-punk, just to mention a few. The vocals remind me especially these genres as they are clean voices with a strong melancholic touch (and chanting/ndr) as we can appreciate in a song like "Waterwolf", for example. This track has a more percussive and lively rhythm mixed with an ethereal atmosphere, especially when some cool old school synthesizers are added to the composition. This right blend of elements makes this track my favorite one. The low tuned/baritone subtle guitars have a quite monotonous pace in general terms, and although the mentioned track has a slightly greater variation, other tracks like "Hoor het Smeken" or the lengthy "Hof der Valken" contain little variation in their pace. It is the album closer "Nachtvorst" which saves the day, having again the more upbeat and energetic pace that "Waterwolf" has, which sincerely works very will with this music style.

Although ‘Spiritus Sylvestris’ might be a pleasant listen for those who enjoy genres like darkwave and post-punk, my honest opinion is that this album lacks some strength and variation in its structures. There are some nice moments and melodies here and there, but at least for me, if this was the direction they wanted to follow, some more power would be a welcome addition. Some will disagree, but my feeling is that this album lacks the strength of a powerful post-punk album and at the same time the more present ambience of a pure darkwave album. So, it falls in the middle of both approaches, lacking something from both. (Alain González Artola)

(Eisenwald - 2023)
Score: 62

https://iskandr.bandcamp.com/album/spiritus-sylvestris

Runespell - Shores of Náströnd

#FOR FANS OF: Atmospheric Black

Hailing from Australia, Runespell has forged a quite solid career thanks to a very good collection of five albums, all of them very enjoyable. Which is surprising is that, although this project is quite new, as it was just founded back in 2017, Runespell has had time and inspiration to release almost one album per year. The stability of its line-up, consisting of the same three musicians who created Runespell, has obviously been very helpful. It is also noteworthy to highlight that the three members are also involved in other different projects, which makes clear the level of commitment with the music and the scene that these guys have.

Its previous album, entitled 'Verses in Regicide' caught my attention and it was a release that I personally enjoyed quite a lot. So, I was quite curious to see what Runespell could offer us this time, with its newest opus 'Shores of Náströnd', released again under the Iron Bonehead Records' flag. The Australian project plays a sort of black metal with a strong melodic and atmospheric touch. Their compositions have a quite solemn nature, providing an epic feeling that defines Runespell’s sound. Those characteristics are easily found in this newest album which consists of six pieces that will surely make happy the fans who already know this band. The album opener "Mirrors of the Dead" is a fine example of the band’s strongest points. Here, we will find a tasteful work with the guitars along the whole song, which have plenty of great and catchy melodies. After an introduction where the guitars and drums build an increasing feeling of something epic to come, the composition gains in speed and intensity, where the guitars play the main role, although we can hear some keys in the background which increase the majestic atmosphere of the song. The pace is far from being monotonous as it has its ups and downs in the speed and in the overall intensity of the track. The vocals are the classic black metal shrieks which are quite solid. This is actually a great way to open the album and it is probably my favorite track of the whole album. The first half of "Shores of Náströnd" is undoubtedly the finest one as the first three songs show the most memorable melodies and well-accomplished structures. Both "Elemental Fires" and "Spectres of War" have great melodies, excellent tempo-changes which include slow, mid, and fast sections and the aforementioned solemn touch. It is remarkable the nice use of the acoustic guitars here and there than can be enjoyed in "Spectres of War", which is a resource used again in the later part of the album. The longest and homonymous composition also uses the acoustic guitars, for example, as an introduction to the song. Even tough it is the longest track, it is rhythmically less varied than other songs as it generally has a mid-tempo pace during a great part of its length. The riffing uses this tempo to create a sort of hypnotic feeling to captivate the listener. In any case, the band introduces some variations in the intensity close to the end, which I think, it is a right move that enriches the song and makes it less predictable.

All in all, 'Shores of Náströnd' is another remarkably solid effort by the Australian trio Runespell. It doesn’t reach the level of magnificence to be defined as a stellar album. Nevertheless, its melodic black has some moments of greatness, and in general, a very good level which should satisfy the listener who wants to enjoy some black metal full of great melodies and a majestic touch. (Alain González Artola)

(Iron Bonehead Records - 2023)
Score: 80

https://ironboneheadproductions.bandcamp.com/album/runespell-shores-of-nastrond

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