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mercoledì 9 agosto 2023

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)


venerdì 21 aprile 2023

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

sabato 14 gennaio 2023

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

giovedì 24 novembre 2022

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

lunedì 15 agosto 2022

Prometheus - Aornos

#FOR FANS OF: Atmospheric Black/Death
The Greek trio Prometheus returns two years after its crushing 'Resonant Echoes from Cosmos of Old' with a new opus, hopefully destinated to confirm the strengths found in the aforementioned album. The line-up has suffered only a change, although a quite important one, as the vocalist Aggelos was replaced in 2021 by Meleager, who is part of the also interesting project Archemoron.

Prometheus mixes black and death metal influences with certain atmospheric touches. If in the previous album, I noticed there was a great contrast between the first part, which was more brutal and sinister, and the second, where the atmospheric touch has a more prominent role, I can definitely say that Prometheus new opus continues to have this clear contrast between compositions. 'Aornos', the name of the new beast, begins with a short and nice intro, despite the real beginning is the second and brutal track "The Devouring Chasm", where Prometheus effortlessly mixes black and death metal influenced riffs. The mentioned contrast is clear as certain riffs are truly heavy, while the black metal ones have a classic tremolo style. Furthermore, the track also has some atmospheric keys, which enrich the composition and highlight the difference between the most melodic and smashing sides of Prometheus music. The new vocalist Meleager does sound a bit different, being his growls not as deep as the former singer’s ones, although they are quite competent. Apart from this, I appreciate his effort to add more nuances to his vocal performance, with black metal influenced shrieks and also some cleaner voices, which sound quite phantasmagorical. The subsequent tracks "Slithering Tongue and Lethe" and "Mnemosyne", leaving behind the fact that the later one has an atmospheric/folk intro and an ambient outro, sound closer to the most brutal side of Prometheus music. The death metal tendence is quite clear, as both the demolishing drums and the heavy riffage follow the patterns of this genre. In any case, the track also includes some typical black metal riffing which is adequately included in both compositions. As it happened in 'Resonant Echoes from Cosmos of Old', the second half of the album brings back some of the atmosphere we enjoyed in the album opener. The track "Vessel of Empiricism" is clearly the slowest track of the whole album, with a strong atmospheric flavour, a quite peculiar vocal approach, and an interesting guitar work, which includes some captivating melodies. The album comes to its end with an epic composition divided in two parts, "The Alpha and the Omega Revealed". The fast pace returns in the first part in a composition that breaks the usual balance between death and black metal, which a sound clearly tending to the later one. The guitar work is again quite interesting and enjoyable, as it adapts to the changing pace of the composition, even though it always sounds quite melodic. The second half still has a strong black metal approach, but also includes some riffs which sound closer to the death metal genre and they even have some dissonance at moments. Thanks to its remarkable length the song has many ups and downs in its pace and a quite varied vocal performance and structure. Moreover, it also includes some atmospheric keys again which makes me happy, as I have already mentioned in the previous album, that Prometheus always includes simple yet quality key sections.

'Aornos' is definitively a solid continuation to the excellent 'Resonant Echoes from Cosmos of Old' despite the fact that it doesn’t sound as inspired as the previous album. Stylistically it is perhaps a better-balanced effort, but I feel, and this is totally subjective, that the strongest moments of that album might be greater that the ones we find here. In any case, this is a very good album of black/death metal with excellent compositions and great work behind it. (Alain González Artola)

(I, Voidhanger Records - 2022)
Score: 80

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

lunedì 6 giugno 2022

Esoctrilihum - Consecration of the Spiritüs Flesh

#PER CHI AMA: Experimental Black
France’s Esoctrilihum doesn´t seem to have any intention of slowing down its pace of releases. Since the project’s inception in 2016, its mastermind Asthâghul has been releasing albums every year since 2017. That fact would be something to praise when the quality is good, even if the stuff would be an easy one to digest. But every listener who has ever checked out this project’s music knows the level of complexity, experimentation, and uniqueness that Esoctrilihum always delivers. The bar was even higher with its two last masterpieces, that successfully mixed its most experimental side with some memorable melodies and a strong atmospheric touch. But Asthâghul is by no means a conformist artist, as he has tried to push the project’s boundaries once more with the new release.

'Consecration of the Spiritüs Flesh' is the name of the new beast, and by far the shortest of all albums that Esoctrilihum has released so far. This may give you an idea of one of the most essential characteristics of the new album. Yes, this album is undoubtedly its most brutal album to date. It’s a furious monster that crushes every bone from the beginning to end and makes me remember the most brutal songs of the previous album 'Dy'th Requiem for the Serpent Telepath'. The final part of that album showed some quite extreme tunes that have been an anticipation of the new opus. What It happens is that 'Consecration of the Spiritüs Flesh' goes even further in terms of ferociousness. Initially, I thought that this could be a problem as I am an absolutely fan of Esoctrilihum’s most atmospheric and hypnotic side. Fortunately, this album is not a unidimensional depiction of brutality, as it still has some room for atmosphere and the band’s trademark unique melodies. In any case, the traditional occult atmosphere remains in the background as this is essentially a suffocating and chaotic collection of songs that captures the listener and throws him into a dark abyss. The album opener "Spiritüs Flesh" is a perfect portrait of how the album sounds, with its super intense and crushing pace, full of incredibly fast drums, ferocious riffs, and grim vocals. The song, as the rest of the album, pushes you to the limit, but never beyond as there is always a little room for the beloved captivating melodies, which remind us Esoctrilihum’s core sound. The subsequent track, the amazing "Therth", continues on a similar path with another fine example of chaotic brutality enriched by some interesting arrangements which are a welcome addition to the track. The addition of an always inspired moment of melody in the middle of a devastating sonic storm is what makes this album still special. The vocals are as brutal as the rest of the musical elements contained in this album. From the generally used high-pitched agonic vocals to the not so prominent death metal influenced growls, or the slightly more melodic, yet ghostly, vocals, Asthâghul’s vocal performance is on par with the level of brutality and inspiration that this album requires. All the mentioned range of voices are contained in several tracks, being one of the most recommendable ones the song "Shohih", which perfectly sums up how this album sounds. "Tharseîdhon" is the shortest track and one of the most crushing ones, which is difficult to highlight in such a heavy album. This is probably the composition that mixes more clearly the death and black metal influences in an unsurprisingly chaotic, yet inspired, way. It must be mentioned how devastating the drums are in this song, and being sincere, in the whole album. Still, as a trademark of this album, this short song has some hypnotic and atmospheric arrangements and melodies that make it special. The album ends with that was probably my favourite track, "Aath". This long piece of music is maybe the most atmospheric one and also the one that reminds me more the previous albums. Still, the brutality is again a key element, and logically it won’t be seen as a outsider in this album.

In conclusion, Esoctrilihum has once again made it. 'Consecration of the Spiritüs Flesh' is another great release and yet another reason to pay some attention to this project. Honestly, I clearly prefer the two previous albums as they have a much stronger atmospheric and hypnotic touch, which is the perfect sound to represent Esoctrilihum’s musical concept. In any case, this album, although it shows a more virulent face of this project, still maintains the essential experimental and mesmerizing spirit and ambience of Esoctrilihum, which is obviously great. This loyalty gives sense to the new album and stablishes a bridge between this new opus and the previous ones. (Alain González Artola)


sabato 15 gennaio 2022

Mystras - Empires Vanquished and Dismantled

#FOR FANS OF: Medieval Black
During the last two years the Greek scene has given so many great albums that it is quite difficult to highlight which ones have been the best. In any case, one solo-project has caught my attention already after its excellent debut. This project is called as Mystras and it was founded in 2019 by Ayloss, an artist involved in many different bands, being the most well-known, at least for me, Spectral Lore. Mystras debut album 'Castles Conquered and Reclaimed' received quite good reviews as it was an excellent example of black metal with a raw yet melodic nature. It also had a quite particular concept, as the project could be defined as medieval black metal, but focused on the point of view of the working class people of that time and with an anti-imperialistic approach, due to its underlying left-wing ideas.

The debut album left the fans waiting for the next step as it seems that Ayloss has many ideas as he only needed one year to release it sophomore effort entitled 'Empires Vanquished and Dismantled'. Although it was difficult to improve the surprising debut, I can safely say that this new effort is, at least, on the same level with its predecessor. Again, what we can find here is a medieval black metal which musically can be defined as raw black metal, with a combination of straightforward fury, pure rawness, an unquestionable melodic touch, and some delicate and tasteful folk touches here and there which make us travel to ancient times. It is not easy at all to combine all these elements which, at first glance, would have difficulties to cohabit, but Mystras has the talent and ideas to merge them appropriately. The production seems to have made a step forward in terms of balance. The sound is still raw, particularly in the line of the guitars, but they sound a bit cleaner and not so distorted and fuzzy as they sounded in the debut album. I think this is an adequate change, though some may prefer the previous production, even though I am pretty sure that no one will accuse this album of sounding too polished, that’s for sure. As it happened in the debut, 'Empires...' has again a superb work in the guitars, being the shining instrument through the whole album. Just check out the impressive first single of this album, "The Fall Of The Kingdom of Jerusalem", where the listener can appreciate a torrent of riffs through this monumental piece of fourteen minutes, where there is room for brutality, speed, slower sections and lots of melody behind the crude production. The album, as this track, is full of ups and downs in terms of intensity, combining furious pieces as "On the Promises Of Angels" or "To The Builders!", where it is literally impossible not to break your neck headbanging in certain moments, with atmospheric folkish pieces like the delicate and beautiful "Ah Ya Zein", or the more tribal and mysterious "Cheragheh Zolmezalem". The remarkable point here, is that these pieces are excellent and keep the listener in the correct mood to stay interested in the music, something that doesn´t happen many times as I have personally considered the albums that contain many instrumentals, a bit unbalanced and unfocused. Thankfully, this is not the case. 'Empires Vanquished and Dismantled' has a top-class ending with two great tracks, which maintain the extraordinary equilibrium between the fury and the aforementioned melodic touch. I personally highlight the album closer "In The Company of Heretics" which summarizes all the characteristics of the Mystras sound. The initial impetus, with the relentless blast-beats accompanied by the sharp riffing, progresses to a more mid-tempo section which sounds truly epic, thanks to the inclusion of a clean vocal choir in the background and, again, a tasteful guitar work, whose melodies are, once again, superb. The song and the album beautifully end with some very nice acoustic chords, what a great way to close this second chapter in Mystras existence.

For the second time in only one year Mystras has created an impressive piece of black metal, full of interesting elements and great compositions. The combination of rawness and melody is again original and top-notch, making 'Empires Vanquished and Dismantled' an excellent record. (Alain González Artola)

domenica 28 novembre 2021

Ars Magna Umbrae - Throne Between Worlds

#FOR FANS OF: Dissonant Black Metal
Poland has undoubtedly an impressive extreme metal scene in terms of quantity and quality. There is no need to mention all the notorious bands that almost every fan knows, but yes to spend a few minutes to carve below the surface and discover more obscure projects which may be quite interesting. The solo-project Ars Magna Umbrae is one of those musical efforts which may require our attention. This project was founded in 2017 by Petros Xolaiathyos, who had a previous experience in the scene with a black/death metal band called Cultum Interitum. In Ars Magna Umbrae Petros (aka K.M.) focuses his interest on the black metal genre and more particularly in a form of a atmospheric black metal with a certain degree of dissonance. The project has been quite active, having released three albums in the last four years.

'Throne Between Worlds' is the third one and continues, in terms of music and lyric concept, a similar patterns of the previous ones, as this album still keeps strong ties with esoterism and occultism as it happened also in the previous efforts. The atmosphere of 'Throne Between Worlds' is particularly dark and melancholic, feelings which are maintained strong through the whole record. Pace-wise, it’s not a particularly fast album as it focuses more on developing mid-tempo structures. There are ups and downs in the pace with certain moments of relentless fury, but they never last a lot. A quite clear example of it is the opener "Into Waters of the Underworld", a mainly mid-tempo track where the faster section of the middle shows a particularly dissonant touch. As we can appreciate, the main role is shared by the rasped vocals of K.M. and the distinctive riffs that will be a trademark of this album. As said, the guitar work is quite relevant in this opus with a good dose of work behind it. The riffing is multi-layered and with an important dose of dissonance, but thankfully not as predominant as it can be found in certain experimental albums. There is also a room for more delicate chords, which try to create a mysterious ambience in the most quite sections, as it happens for example in "Consecrating the Shrine of Undoing". This attempt to always create a cryptic essence in the music is the logic consequence of the conceptual background behind the music and it is a key element to create an honest album. The contrast between the most dissonant parts and the calmest and most atmospheric sections is particularly well-done and prominent in the track "Treader on the Dreamless Path" which is actually one of my favourite songs, if not the favourite one, as the combination of elements is quite inspired and somehow works better for me than in any other song. "Metempsychosis (Transmigration of the Soul)", the longest track, closes the album and it servers as a summary of the whole record as it contains all the aforementioned characteristics. It contains mid-tempo sections, an elaborated guitar work and that touch of dissonance through the entire track. We can also hear abrupted tempo-changes with furious rages and captivating calmer sections, all mixed to create a hypnotic track that fades out in the form of a gloomy ambient outro. I believe this is the perfect example of what Ars Magna Umbra wants to offer.

All in all, this is a quite interesting album with many elements on which to put some attention and an interesting lyrical concept behind it. It’s not an outstanding piece of work, but a quite interesting and enjoyable one. (Alain González Artola)


venerdì 4 giugno 2021

Mare Cognitum - Solar Paroxysm

#FOR FANS OF: Atmospheric Black
In few subgenres there are as many cases of solo projects as atmospheric black metal, and most of the times, these solo projects are better than actual bands. This can happen, maybe because the artistic vision of its creator is presented in its purest form, which is a key element to create music that touches our soul, even if technically it could be more complex or enriched by different points of view. The feeling is strong in these projects and black metal is a genre, where the feeling is particularly important. Ten years ago, it was created one of those projects in California, under the moniker Mare Cognitum. Its creator, Jacob Buczarski, has been quite active as he released splits and five full lengths, always with a solid level of performance which has given to this project a certain respect in the underground.

'Solar Paroxysm' is the newest offer by Mare Cognitum and it presents five long tracks, clocking each one of them around ten minutes. Stylistically, this album is a perfect example of black metal with an atmospheric touch, where the guitars play a key role. You won´t find here predominant keys as the guitars are responsible of creating both the most brutal and fastest sections of Mare Cognitum’s music, and also the most atmospheric sections. The album opener "Antaresian" shows a nice work with the guitars. They sound absolutely sharpy, yet with an intense emotional touch, creating a very addictive song, although the pace is quite intense in its eleven minutes of existence. The album gets more brutal with the subsequent track "Frozen Star Divinization", where the riffs lose the emotional touch in favour of extremer and biting touch. This initial part shows compositions with a relentless pace, predominantly furious and with a fast pace, that maybe would welcome a greater variety in terms of speed. A nice example of this expected diversity its exemplified in the third composition, entitled "Terra Requiem". This song has clearly a greater atmospheric touch with some excellent riffs, the tremolo guitars sound in this track beautiful as they create a hypnotic atmosphere. It also helps the fact that the song has in a great part of its structure, a much slower pace, where this type of riffs can shine more. It is also interesting to listen to how the song abruptly changes its pace as it has a very intense and fast final section, which I especially enjoy. The contrast between slow atmospheric parts and the furious black metal trademark, yet atmospheric, speed is always great ingredient when it is done right, like in this occasion. The final part of the album brings back the blast-beats and the furious guitars. In any case, the riffing is quite good and though the songs can lack some variety in terms of pace in certain moments, the guitars compensate this weaker aspect of the compositions, with an excellent performance. The riffing is very well elaborated and executed with plenty of intense melodies, which make the songs captivating. Just give a listen to the last song "Ataraxia Tunnels", which has excellent melodies and a very intense final part, where different layers of guitars create a brilliant ending.

'Solar Paroxysm' is, in conclusion, not a game-changer, but a quite solid album of black metal with an intense atmospheric touch, where the strongest aspect is the excellent guitar work which always leads the compositions, reining above any other instrument. (Alain González Artola)


sabato 22 maggio 2021

Esoctrilihum - Dy'th Requiem for the Serpent Telepath

#FOR FANS OF: Experimental Black
It is quite clear that the obscure French project Esoctrilihum is as its best moment. The solo-project leaded by Asthâghul, released only one year ago a vast release untitled 'Eternity of Shaog', which made feel again very interested in this project. This album tastefully mixed the atmospheric nature of its debut CD with the greater experimentation of its later opuses. The album was a long piece of one hour, so I felt surprised when I saw that Esoctrilihum returned with another album, which is even longer, as it lasts around 77 minutes.

Could Asthâghul keep with the great level of inspiration and particularity of its predecessor? Well, the short answer is yes, and this is very impressive. The new opus is entitled ‘'Dy'th Requiem for the Serpent Telepath', and it is without any doubt a beast of an album in terms of quality. The album contains tons of excellent melodies and a healthy degree of experimentation, reaching the same balance and the previous album, but maybe with a greater atmospheric touch. For this reason, I consider the new album as the logic successor of 'Eternity of Shaog', but it has nevertheless its own distinctive touch. Aside futile discussion of how different or similar these albums are, this is a demanding piece work due to its details, complexity, and length. On average each song lasts seven minutes and this album has twelve, so you can imagine the amount of work behind it. 'Dy'th Requiem for the Serpent Telepath' is by no means a relentless piece of nonsensical fury or a hyper repetitive BSDM album. This is black metal with tons of details, pace variations, excellent arrangements and a perfect equilibrium between relentless fury and slower sections. This album has plenty of details to dig in, but I have to highlight the arrangements as they are simply superb. Songs like "Sahln" or "Agakuh" have astonishingly beautiful violins, which are tremendously touching. It is pure beauty uniquely mixed with excellent riffing, ferocious vocals, and song structures, which flow naturally from slower to mid-temp and to faster sections. The ups and downs in terms of intensity and melodic pulchritude is simply perfect. A song like "Eginbaal" shows that Esoctrilihum can be as heavy as any other band with a smashing rhythmic base, whose smashing double bass makes this song a particularly impressive one. As it happened with the album opener "Ezkihur", this track also has a remarkable work with the keys, which sound absolutely epic and absorbing. As you will appreciate in many moments the experimentation can appear anywhere, and the quite personal guitar melodies in the slowest part of this song shows that Esoctriliihum can mix both aspects of its sound in a natural way. These more bizarre melodies don´t sound out of place, but perfectly integrated in the song. "Dy`th" goes up the level of brutality as it has, again, a smashing work in the drumming part and the most brutal vocals of the album. In any case, it also has a very nice final part with another unique guitar melodies, that give to the song a necessary point of uniqueness, avoiding it to sound out of place. As the album advances, we will notice that each song has its own personality, and it is tastefully composed. You will find more or less brutality depending on it is needed or not, as it happens with the degree of experimentation. In any case, there no weak songs and as it has been, the arrangements are authentically masterful. The violins, the keys, or the organs like the ones we find in "Baal Duthr" are excellent, and you will enjoy each one. Vocally, Asthâghul has a rasped voice but not a high pitched one. His voice sounds rough, like a mid-point between the usual deep growls of death metal and the hight pitched screams of black metal. Anyway, he adapts his performance depending on the song as we hear him including some deeper growls in certain moments, or even clean vocals like it happens in "Baal Duthr", for example. Each instrument, and this includes the vocals, are used in its full potential to create complex and rich compositions, that must be tasted with time and attention.

My logic conclusion is that 'Dy'th Requiem for the Serpent Telepath' is an impressive album. There is little chance to complain about this work, maybe the fussy ones would complain about its length, and it is true that this album lasts much more than what I usually want. But believe me, the level inspiration and richness are worth of your time. Give it a chance and enjoy what is an album that shows how to be extreme, beautiful, and experimental at the same time. (Alain González Artola)


lunedì 12 ottobre 2020

Prometheus - Resonant Echoes from Cosmos of Old

#FOR FANS OF: Black/Death, Disembowelment
The amount of fine releases coming from the ancient lands of Greece in this tricky year has been one of the best surprises, if we can define as a surprise the high quality of releases coming from a scene, which is highly respected by fans of the black metal genre around the World. Regardless of the time of existence, both new and classic bands seem to have found a moment of inspiration to release tasteful albums in 2020. The Greek trio Prometheus, coming from central Macedonia, a place well-known in Europe´s history, does not want to be the exception and has released its sophomore album entitled ‘Resonant Echoes from Cosmos of Old’. Prometheus was founded some years ago and it took nearly a decade from its early demos to be finally able to release a first effort, entitled ‘Consumed in Flames’. Even though the quality of that album made the wait worthwhile. That was a defining moment from which the trio became more active, releasing three years later an EP and a new full album.

‘Resonant Echoes from Cosmos of Old’ is the name of the new beast, whose style is firmly rooted in the black metal genre. In contrast to other Greek acts, which have a greater melodic component, Prometheus delivers a truly crushing and sinister sound in this album, though its compositions don´t lack completely of a melodic touch. The initial part of the album contains truly heavy and dark tracks like "Astrophobos" or the impressive album opener "Gravitons Passing Through Yog-Sothoth". In these songs we can appreciate that sonically the riffs are deep, cavernous and truly shadowy. The style reminds me bands like the Portuguese The Ominous Circle, with this demolishing heaviness, which is maybe more common in the death metal genre. The pace follows the same patterns, with a combination of fast sections and super heavy slower parts, as said which are maybe more prominent in the death metal genre. Still, the genre can be tagged as black metal because of its atmosphere and also tough the vocals are as cavernous as the riffs are. When you think that ‘Resonant Echoes from Cosmos of Old’ is a furious and well-composed album, yet with a predictable development, the album changes in its second half, bringing some interesting surprises. The tastefully melodic end of the third track "Astrophobos" serves as little introduction of what we will find in this later section. The traditional structure of voice-guitars-drums, which have had the main role during the first part of this album is suddenly accompanied by some atmospheric keys in songs like the homonymous one and the excellent album closer "The Crimson Tower of the Headless God". Stylistically the compositions don´t change so much, as the vocals continue to be deep and aggressive and the riffs remarkably heavy. But Prometheus rightly adds a greater degree of melody in certain riffs of these songs and the aforementioned keys play a major role in order to give a new epic touch to these compositions. Suddenly, the album acquires new characteristics, while it evolves to its end making this effort surprising and fresh in its later stage. The epic final song of this album sums up the different angles of this album, combining the fast and slower parts, the monstrous riffs and a majestic atmospheric side, which enriches this song and makes it a glorious way to end this excellent album.

The talent that Prometheus shows in the later part makes me wonder how a full album with songs like "The Crimson Tower of the Headless God" could sound. Anyway, the contrasting two sides of this sophomore album make it a truly interesting work, because this unexpected evolution sounds refreshing and exciting. At any rate, both sides of this album have a high degree of quality and will please any fan of extreme metal. (Alain González Artola)