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| #FOR FANS OF: Experimental Black Metal |
Esoctrilihum is one of those obscure solo-projects where it is hard to find any information. We even don´t know when it was created, though the debut album was released only in 2017, so we can assume that it is a rather new project. Anyway, these last three years have been more than enough for this interesting solo project, created by Asthâghul, to release the impressive amount of five albums. Some may think that this amount isn´t that outstanding speaking about a one man band, especially if we take into account that the musician behind this project, seems to be sorely focused on this band, but Esoctrilihum’s has nothing to do with those simplistic and quite repetitive black metal projects. Moreover, I can safely say that this project´s music has a respectable amount of complexity and hours of work as the songs are long, varied and contain full of different details. In the debut album entitled ‘Mystic Echo from a Funeral Dimension’, Esoctrilihum played an occult black metal with strong atmospheric influences, where the compositions were convoluted and demanding. I personally enjoyed that album quite a lot and I tried to follow his next works. The subsequent albums showed a more experimental and even more complex side of this project, though this interest to experiment was already present in its first release. At any rate, the following works sounded more and more bizarre at times. Because of this and though I always respected Asthâghul`s very personal musical vision, I found the following albums as quite difficult works to enjoy.
When I read that Esoctrilihum was back with a new album entitled ‘Eternity of Shaog’, I was obviously curious to see what this new project could offer this time. As expected, this band´s music is not the easiest one to be digested and requires some adequate listenings to be fully understood. In any case, ‘Eternity of Shaog’ shows an interesting mixture of this already trademark experimentation and bizarre instinct, with some atmospheric and even epic touches, which irremediably remind me the debut album. For example, the second track entitled "Exh-Enî Söph (1st Passage: Exiled from Sanity)", successfully mixes those guitar riffs, which have a slight tendency to be experimental and the bizarre vocals, with some majestic keys and acoustic guitars. The mastermind manages to do it in a way, that it lets the song sounds majestic, yet unique in its nature. As it has been traditional with Esoctrilihum, the song is rich and varied in its structure, it continuously changes its pace and textures as it progresses during its almost nine minutes length. The subsequent track "Thritônh (2nd Passage: The Colour of Death)", shows a more aggressive face of the project and also a more prominent experimentation. It includes some intricated riffs and again the acoustic-esque guitars, which this time sound more experimental and tenebrous. As an addition, it includes a violin, a classic instrument that in Asthâghul’s hands even increases this feeling of experimentation and chaotic outlandishness. What I particularly found interesting in these tracks, and in general in the whole album listening experience, is how Esoctrilihum combines the complexity and extravagance with the atmospheric and even beauteous melodies, without breaking this basic nexus which every composition should have. As I already mentioned, Asthâghul integrates in a very interesting way the keys and the classic instruments like the piano or the violin, with the former one giving the stronger atmospheric touch, and the classic one playing in a more experimental way. The interesting use of these instruments fits perfectly well with the occult and chaotic spirit of Escotrilihum’s songs. Another highlight of the album is the track "Namhera (7th Passage: Blasphemy of Ephereàs)", with a super powerful pace and excellent guitars. But the strongest aspects of this song are the vocals performance and the key arrangements. The vocals have an interesting combination of aggressive vocals and enigmatic cleans voices, which sound in the background. On the other hand, the keys are even bombastic this time, making this song be the most epic one of this album.
In conclusion, Esoctrilihum managed a particularly interesting balance between its black metal roots and its experimental and bizarre tendency, forging an album which navigates between both sides and successfully reaches an equilibrium. This is by no means an easy album and it requires patience and careful listenings in order to enjoy this weird musical proposal. If the listener can do it, the album will be a very interesting musical experience for the most demanding fans of this occult and extreme form of metal. (Alain González Artola)
When I read that Esoctrilihum was back with a new album entitled ‘Eternity of Shaog’, I was obviously curious to see what this new project could offer this time. As expected, this band´s music is not the easiest one to be digested and requires some adequate listenings to be fully understood. In any case, ‘Eternity of Shaog’ shows an interesting mixture of this already trademark experimentation and bizarre instinct, with some atmospheric and even epic touches, which irremediably remind me the debut album. For example, the second track entitled "Exh-Enî Söph (1st Passage: Exiled from Sanity)", successfully mixes those guitar riffs, which have a slight tendency to be experimental and the bizarre vocals, with some majestic keys and acoustic guitars. The mastermind manages to do it in a way, that it lets the song sounds majestic, yet unique in its nature. As it has been traditional with Esoctrilihum, the song is rich and varied in its structure, it continuously changes its pace and textures as it progresses during its almost nine minutes length. The subsequent track "Thritônh (2nd Passage: The Colour of Death)", shows a more aggressive face of the project and also a more prominent experimentation. It includes some intricated riffs and again the acoustic-esque guitars, which this time sound more experimental and tenebrous. As an addition, it includes a violin, a classic instrument that in Asthâghul’s hands even increases this feeling of experimentation and chaotic outlandishness. What I particularly found interesting in these tracks, and in general in the whole album listening experience, is how Esoctrilihum combines the complexity and extravagance with the atmospheric and even beauteous melodies, without breaking this basic nexus which every composition should have. As I already mentioned, Asthâghul integrates in a very interesting way the keys and the classic instruments like the piano or the violin, with the former one giving the stronger atmospheric touch, and the classic one playing in a more experimental way. The interesting use of these instruments fits perfectly well with the occult and chaotic spirit of Escotrilihum’s songs. Another highlight of the album is the track "Namhera (7th Passage: Blasphemy of Ephereàs)", with a super powerful pace and excellent guitars. But the strongest aspects of this song are the vocals performance and the key arrangements. The vocals have an interesting combination of aggressive vocals and enigmatic cleans voices, which sound in the background. On the other hand, the keys are even bombastic this time, making this song be the most epic one of this album.
In conclusion, Esoctrilihum managed a particularly interesting balance between its black metal roots and its experimental and bizarre tendency, forging an album which navigates between both sides and successfully reaches an equilibrium. This is by no means an easy album and it requires patience and careful listenings in order to enjoy this weird musical proposal. If the listener can do it, the album will be a very interesting musical experience for the most demanding fans of this occult and extreme form of metal. (Alain González Artola)
(I, Voidhanger - 2020)
Score: 83
https://i-voidhangerrecords.bandcamp.com/album/eternity-of-shaog
Score: 83
https://i-voidhangerrecords.bandcamp.com/album/eternity-of-shaog