Esoctrilihum - Döth-Derniálh

#FOR FANS OF: Experimental Black

The French project Esoctrilihum has been, since its inception back in 2016, a relentless force of creativity, pushing the boundaries of extreme metal with a vast palette of influences. Asthâghul’s musical vision has navigated between the frontiers of black and metal, combining both genres with experimental and atmospheric arrangements. This combination varies with each album, achieving a very singular career full of monumental albums which obviously are not for everyone. The length, complexity, and brutality of some albums, may take some time to digest, but the reward is always worth your time. It is important to highlight how active Esoctrilihum has been during these years, releasing albums each year, which is quite impressive taking into account the intricate nature of its music.

 

I was curious to listen to what this French project could offer after the particularly lengthy and complex 'Astral Constellations of the Majickal Zodiac', which was like a musical summary of the previous albums. It was an appropriate moment to push once again the boundaries of its music and unsurprisingly Esoctrilium has made it with the new opus 'Döth-Derniálh'. Don’t get me wrong, there is not a radical change here, as most of the well-known elements used by Asthâghul can be found here. Nevertheless, there is a very interesting and generous use of acoustic guitars, which helps to create some kind of folk horror atmosphere throughout this album. The widespread use of clean vocals, alongside the aforementioned acoustic guitars, make this album a more intimate, mysterious, and dark piece of work. It is also less extreme in comparison to other previous albums, although the rage erupts when you least expect it. The keys also play an interesting role in enhancing the occult-like atmosphere of the album. The first track, entitled "Atüs Liberüs (Black Realms of Prisymiush’tarlh)" is a clear example of it, with these great keys, whose melodies are really hypnotic. The already mentioned acoustic guitars make their first appearance, accompanied by some kind of violin or similar instrument, creating an interesting mixture of sounds. The clean vocals have a great role here, as you will notice throughout the album, although in this track they are particularly omnipresent. As said, there is room for some fierceness in this album although to a far less degree, this track being also a clear portrayal of it. Moments of brutality with some great shrieks and relentless double bass can be found here and there, like for example in the second track, being that section one of my favorites as it masterfully combines the fury with some captivating melodies. The third and fourth tracks explore this heavier side, but still keeping a relevant space for the acoustic sections that define this album. The unique approach of this album diminishes the immediate impact of the compositions and requires more time from the listener to become accustomed to it. However, if you allow yourself to be enveloped by the atmosphere, this album can be an intriguing musical journey.

 

Esoctrilihum continues its highly personal musical exploration with the new opus 'Döth-Dernyálh'. The French project has delved into new territories with a more acoustic approach, while still maintaining its dedication to extreme metal. This album may not be the first one I would recommend from this project, as I personally feel that some moments lack brutality, which could have helped achieve a better balance. Nevertheless, the unfathomable and esoteric atmosphere of 'Döth-Dernyálh' makes it a captivating experience. (Alain González Artola)

 

(I, Voidhanger - 2024)

Score: 80

 

https://i-voidhangerrecords.bandcamp.com/album/do-th-derni-lh 

Midnight Odyssey - Closer to The Sky

#FOR FANS OF: Atmospheric Black

The Australian project Midnight Odyssey is, for sure, one of the most respected projects in the atmospheric black metal scene. Dis Pater’s solo project has a unique approach to the genre, achieving an admirable masterfulness when we talk about creating captivating atmospheres. The project was founded back in 2007 and since then, Midnight Odyssey has released a good number of albums, showing that Dis Pater has never run out of ideas. Apart from the strong atmospheric approach, another characteristic of this project, has been that the compositions, and as a result, the albums themselves, are very long. This aspect has delighted some of his fans, while other fans of the genre complained that some albums could sound more focused if the length of the tracks would be shorter. Although I personally prefer shorter albums, I can’t deny the fact that I have enjoyed vastly lengthy albums like 'Shards of Silver Fade', for example. In any case, when Dis Pater has reduced a bit the length and has gone straight to the point, the result has been absolutely phenomenal. 'Biolume Part 1- In Tartarean Chains' was a clear example of it. Don’t get me wrong, the songs continue to be long, and the album lasts an hour, but in contrast to other lengthier albums, that opus can more easily be enjoyed if you are not a die-hard fan.

 

Taking into account the issue of the length, I was very curious to check out Midnight Odyssey’s latest output, an EP entitled 'Closer to the Sky'. This new opus contains four tracks and lasts less than 35 minutes. I can safely say that any fan of the project will be exultant with the result. These four tracks contain all the characteristics that have made this project so loved. Each song has its own personality and specific details. The EP opener, "Souls Left Wandering", is the heaviest track of the EP. The composition sounds powerful as it combines some tempo changes in a masterful way. The keys play an important role as always, but they share the job with the guitars and the always present powerful vocals of Dis Pater. If someone is a newcomer to the project’s music, this piece would be a nice one to discover what it can offer. The solemn ambience, a characteristic of Midnight Odyssey, becomes even more magnificent in the following track, entitled "Lightning Fall". Just listen to the intro, and you will immediately feel mesmerized by the grandeur of Dis Pater’s talent with the keyboards. As majesty domains the full track, the pace is slower, but I can assure that you won’t get bored if you like this kind of music. "Closer to The Sky" is another beautiful composition which includes the already known clean vocals of Dis Pater, which I personally enjoy quite a lot. The work behind to create delicate and beautiful melodies is excellent as always. If I should complain about something, I would maybe mention that a heavier track would have been a good idea, based on the fact that the last track, entitled "Awakening", is a pure ambient one. If you want to achieve a perfect balance between the more aggressive compositions and the most atmospheric ones, it would have been a good idea to include a track with a more vivid pace.

 

All in all, and even taking into consideration this minor complaint, 'Closer to the Sky' is an excellent work by Midnight Odyssey. The achieved quality creating captivating atmospheres is top-notch again, and I am sure that it will please the fans of the genre. (Alain González Artola)

 

(I, Voidhanger - 2024)

Score: 85

 

https://i-voidhangerrecords.bandcamp.com/album/closer-to-the-sky

Venomous Echoes - Split Formations and Infinite Mania

#PER CHI AMA: Black/Death Sperimentale

Ascoltando quest'album, posso dire con certezza assoluta che le strade del metal estremo sono infinite e assai variegate. Ho scoperto di recente questa creatura estrema, e fin dal primo approccio, ne sono rimasto affascinato. La one-man-band del polistrumentista americano, Ben Vanweelden, torna in pista dopo l'ottimo debutto 'Writhing Tomb Amongst the Stars', con un nuovo album, uscito per I, Voidhanger Records, che continua sulle orme del suo predecessore e ne consolida la prolifica vena compositiva. Diciamo subito una cosa, 'Split Formations and Infinite Mania' non è per niente un album metal convenzionale. Al suo interno ci troviamo influenze di varia natura, dal black al suicide metal, dal death al metal d'avanguardia, e il noise, che è una componente molto importante per definire il concetto contorto, rumoroso e inquieto, di questa proposta musicale. Il disco nasconde sicuramente una forte vena oscura di avantgarde black metal ma l'interpretazione vocale e i testi rivolti alla dismorfia corporale e alle sue implicazioni psicologiche, virate tra il cosmico e all'horror, donano un landscape concettuale completamente diverso dalle classiche atmosfere maligne tipiche del black e death metal e, seppur usufruendo dei vari stilemi e crismi artistici, Venomous Echoes, crea un universo personale parallelo, dove certi canoni del genere vengono in parte sovvertiti. Di fronte a un impatto sonoro vicino alla devastazione propinata dai Portal, dove vi si può assaporare anche la vecchia scuola dei Morbid Angel, l'uso esagerato della voce in mille sfumature diverse, con conseguente utilizzo della migliore effettistica di scuola grindcore, fanno la differenza qualitativa di questo album. Penso anche che la quantità enorme di cantato, sempre con connotati drammatico / teatrali esasperati, che occupano un buon 70% delle composizioni, lasci nell'ascoltatore qualcosa di appetibile e facile da apprezzare, un contraltare che sopprime almeno in parte, alla poca presenza di veri e propri assoli di chitarra in stile classico, e alla natura del disco stesso propenso al rumore, cosi come inteso dall'artista americano, come mezzo d'espressione musicale, che qui, trova la sua massima espressione nel devastante brano "Abhoth Multiplied to Thy Millennium". Troviamo anche sparse qua e là, chitarre malate, malatissime, ed è il caso del pezzo che chiude il disco e che gli dona il titolo, "Split Formations and Infinite Mania", una vera e propria (s)tortura sonora con aspetti melodici multipli, degni di un vero film horror. Non mancano poi momenti oscuri e molto dark-oriented, come in "Miscreated Pustules", dove dopo appena un minuto circa di infuocato death/black, ci si imbatte in un jingle psicologicamente pericoloso, guidato da un basso spettrale, per poi tornare sulla via maestra. "For Thy Avant-void ha una cadenza rarefatta e i suoi suoni futuristi, stravolgono e spiazzano l'ascoltatore, trasportandolo nel finale verso le desolate terre del doom più decadente. Il metal estremo visto con gli occhi di un visionario cosmico, con una propensione all'horror psicologico, che non lascia nulla per scontato, dalla tipologia dei suoni usati, alla cura maniacale della voce, una splendida voce distorta. Un disco di sostanza che non punta mai sulla tecnica fine a se stessa, ma semmai gioca sulle atmosfere e sul piacere che porta una buona composizione nel suo insieme. La ricerca dell'impatto emotivo come fondamenta sonoro su cui orchestrare il resto, scalza il concetto del solo impatto ritmico/sonoro tipico del metal. Come se parlassimo di un'opera teatrale o cinematografica con effetti paralizzanti, focalizzati ad ammaliare la persona con una vena psicotica e oscura. Un disco che prosegue il cammino di un artista-sperimentatore, un disco che lo evolve ulteriormente, senza mai cadere nel calderone della banalità. Un album insano, terribilmente bello, straripante nella sua capacità espressiva. (Bob Stoner)

(I, Voidhanger Records - 2024)
Voto: 84

https://i-voidhangerrecords.bandcamp.com/album/split-formations-and-infinite-mania

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

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