Bearing in mind the image encapsulating this album, a slightly gothic looking skeletal (?) butterfly against a wintery tree backdrop, one could easily pass it by. Though the merest sliver of curiosity might remain. It was this modicum of interest which resulted in me hitting play. Dropping any preconceived notions, I mentally prepared for what was to follow.

"Cruel Words" commences on a post-rock note with "Mine to Break"; a cavalcade of dreamy high chords. However, if there's any track which begs to be ‘stuck with’, it's this one. The rhythm unhurriedly builds in pace accompanied by a passionate voice and an unhurried guitar. And then, abruptly, it's as if the sky falls. The passionate voice amps up in emotion and the aura is that of palpable frustration, anger, grief (draped in pitch black). In short, a fantastic opening which heightens the senses leaving one crushed though especially eager for more. I wasn’t prepared in the slightest.

The second track, "Pain is a Wasteland", smothers the still quivering psyche with a loving caress. Though there's an unmistakable menace lurking beneath the surface, a feeling that at any moment a storm will break the sun's warmth. It does, though not with the same fury the first track exhibited. This is more a slow-burn with a structure much like a nagging migraine which builds to staggering intensity. Fans of Neurosis (and the like) should have their interest perked at this juncture.

The album continues to batter the senses with the utilization (and excellent manipulation) of synth, piano, guitars and a voice overflowing with emotion and range, a combination resulting in an exquisite and definite delicate balance of calm, melancholy and the transition to its direct opposite; a heaviness, a dirge/sludge presence akin to trudging through molten lava.

Staggeringly the quality of this album remains extremely high throughout even though a few tracks dip into double digit lengths it somehow still manages to hold the listener in thrall. Standouts include the opener as well "Dead Butterflies". With a haunting aura which brings to mind Danny Boyle epics such as "Sunshine" and "28 Days Later" there's little doubt that Déha (it is at this point that I should mention this is the artists name, the genius solely responsible for this) could well place cinematic audiences on the edges of their seats if he had such the desire. The album also contains a cover; a re-envisioning of "Saturnine" by The Gathering. However, for the ultimate Déha (goosebump) experience the acoustic reprise of "Mine to Break" is a must listen.

In conclusion, if you've never heard of, or even seen, a Déha album, now is your chance. Understandably, one may have reservations upon audio bursting at the seams with synth attributes, post-rock and sludge sensibilities with an atmosphere as thick as heard here. Drop them and dive in! For the mastery contained herein is perilously close to a religious experience. (9.8/10) 

Cult

Band info: https://www.facebook.com/burningworldrecords
Label info: https://www.facebook.com/dehamusic

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Not to be confused with Canada's Soothsayer, or even the long since disbanded Phoenix act, this Irish quintet compose audio far removed from thrash, or so the accompanying PR materials would have us believe. The art certainly points to such; a blazing inferno, engulfing a construct of sorts, casts shadows, a lone figure walks away from the carnage as if he carries not a care in the world. Naturally thoughts race to past black-metal controversy though with the way this image is captured (on canvas) depicting zero atrocity, there’s little indication that the audio will veer into either a death or black-metal direction.

"Fringe" is the introduction to both the album and the band's style. Perilously close to six minutes this track evokes vintage Akercocke antics, of incorporating ponderously long introductions. The gothic aura shrouded in baying wolves poses quite the gamble based on the minimalistic nature (chanting, ambient nature and a dusty background narration) it boasts. As the track climaxes however, the atmosphere has built to a palpable crescendo, patience has proven to be a virtue and the second track takes the baton. For those not accustomed to such, "Outer Fringe" is more easily accessible and bears abrupt and, blazingly obvious, definitive oomph following a traditional build, naturally. A furious passion seething with frustration amidst a slew of other emotions in the vocal department, complemented by rhythms straddling the funeral and death/doom fence widen the eyes whilst the haunting nature of the finale showcases the acts apparent hypnotic prowess.

"War of the Doves", next up, literally shatters the listeners assumptions with its unpredictable arrangement. Fading dissonant rhythms are usurped by a passage of bass noodling and a voice (courtesy of Eugene S. Robinson of Oxbow) boasting the power to evoke a stunning grasp of manifested grief and anguish. The aura of the album has suddenly transformed, a driving melodious dirge reigns to whet the audience’s appetite for stomping around in a style similar to an iconic robed Candlemass front man.

Akercocke sensibilities (this time in the arrangement department) are conjured again as the album passes the midway point; infrequent black metal rhythms nestle amidst a landscape dotted with progressive themes, whispered and bellowed vocals and a surprisingly tranquil classical interlude. Although "Cities of Smoke" sports the shortest length it stands triumphant sporting galloping movement and unbridled ferocity.

The album comes to a close with a pair of tracks which easily hurdle the ten-minute mark, a fact (like a hammer to the face) which bluntly portrays the genre this album is nearest. A trio of guest vocalists (sponsoring Benediction, Poltergeist, Murder One, and Medulla Nocte) complement the last half of the album propelling its captivation to stratospheric heights.

Unpredictable and showcasing a manhandling of the juxtaposition of melody versus unrestrained passion this album demands exploration and several listens to fully grasp and completely embrace. When that point is reached however be prepared for this is likely to be all-consuming. (8.4/10)

Cult

Band info: https://facebook.com/soothsayerdoom
Label info: http://tometal.com


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Before I start, I'd like to tackle the obvious (the elephant in the room), Ildaruni are from Armenia. Now, not knowing another single act from the same geographical location (I'm sure they exist) this makes me curious indeed only more so as the accompanying art is rather nondescript, in as far as it could work for a release belonging to any number of genres.

In regards to the audio. The opener/introduction oozes with atmosphere; Gregorian chants overlaid by synth which conjures any number of fantasy RPGs. As the track progresses spoken word passages are added to the track's gratification to bring about an aura which conjures a strong likelihood that this will veer into atmospheric black-metal waters.

"Treading the Path of Cryptic Wisdom" tears from the gate with slight power-metal leanings. This feel transforms to accommodate a passage dominated by instruments one would find on any Skyclad release. Moments later rhythms encroach to replace all these thoughts in favor of uncontrollable movements. A vocal style (complemented by a chorus of sorts conjuring a Viking gathering) adds to the track's impact. Layered in a well-executed ancient/nature vibe this is a fantastic approach and physical realization to garner one's attention making that all-too important positive immediate impression.

'Beyond Unseen Gateways' progresses to display Ildaruni's probable influences. As well sporting a majestic marriage of atmosphere, pagan rhythms and riffs, fans of both Dissection and Amon Amarth will no doubt appreciate it as Ildaruni also show their adoration of melodic BM. Cresting riffs flow, minus the harsh frigid nature associated with many acts in the genre, to create an undulating soundscape evoking an almost tangible narration of age-old myth, a myriad of tales inked in Bold type by way of the frolicking foundation of melodious arrangements. "Boundless Numen- Gardens of Ardini'' is an excellent example.

Among the myriad of influences which flash across the brain the exquisite blending of styles puts me in mind of early output by Moonspell (namely "Wolfheart") although this is significantly swifter in pace there are specific passages in "Towards Subterranean Realms" to strengthen this thesis.

The final track, "Whence Ravenstone Beckons", overflows with the aforementioned darkly fantastical atmosphere (leading me to believe Elves might actually exist and are quite possibly the reason why society isn't overrun by Orcs, Trolls and Goblins), in essence a perfect pairing of melodic black-metal and pagan-metal which this release has already excelled at showcasing.

Although somewhat 'light' in tone, there are a number of instances to perk the interest of the more traditional genre fan. From clean, to spoken to spitting 'absolute fire' the commanding vocal presence of Artak Karapetyan cannot be ignored, executed with a professionalism which far surpasses his years on scene his is a throat which fronts this vehicle through waters both murky and occasionally even uplifting. Bolstered by a solid, clear, production the 'whole' is a wonder to experience provoking an appreciation any fan is sure to blissfully exhibit. (9.3/10)

Cult

Band info: https://www.facebook.com/Ildaruni
Label info: https://blacklion.nu

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It doesn't take a rocket scientist to surmise that Feculent are going to 'bring the filth'. In fact, their name (translated as "foul with impurities") and the crimson mire landscape album art points with a blazing neon sign to such. Though it remains to be heard exactly how the band will go about tackling the premise. Obviously, the name nods to a wide spectrum of styles within the extreme genre. Is this therefore goregrind, pornogrind, brutal death, audio bursting at the seams with pig squeals or something which bears a decidedly more menacing tone?

It doesn’t take long to answer the mystery. Seething with ill-intent, the album commences with a wallop, gripping the ankles of the listener to yank them from their relaxed, unsuspecting, stance towards the dirt.

Grandiose, yet utterly brutal, rhythms in a style akin to Immolation assault the listener, an unhurried yet merciless barbed wire wrapped around Neanderthal club attack, complemented by a tone which might suggest the bands origin; swampland? Perhaps Florida or Louisiana? Guess again. Feculent, ironically, are from a location which the music continues to strongly evoke. I only wonder; is it preposterous to use The Underworld and 'Down Under' as similar terms?

As the album progresses it compounds the archaic, long forgotten, imagery which the first track had successfully conjured. "Host Consumed" bears a bludgeoning motif whose intent goes hand in hand with the low growled vocal accompaniment which especially recalls Tucker-era Morbid Angel. An exquisite track caressing the pleasure sensors. But I have a feeling the album isn't through just yet!

An unmerciful rumble approach, the bending string tendencies of vintage Gorguts and occasional cascading BM riffs result in the undeniable enjoyment and irrefutable replayability of "Weaponization of the Amygdala". It isn't, however, until "A Pit of Unshakable Depths” and "Beneath the Bedlam" (both stunning standouts within an album of especial note) that another strong influence becomes slap-one-in-the-face pungent. This element? The grand malevolence which genre giants Incantation have so painstakingly trademarked in their unwavering dedication to both the genre and their craft. This palpable aura is only cemented by the suffocating, harrowing, nature (the album's final track) "The Grotesque Arena; A Perverse Spectacle" provides. In essence a stellar second half to round out an album which speaks tremendous volumes no matter its frustratingly short length.

Familiar though also meticulously crafted and nuanced Feculent offer six tracks bursting with sufficient weight and genre chops to sate those whose OSDM yearnings have become ravenous as of late.

Based on the caliber exhibited herein one should expect the bands moniker to become part of the cavernous, OSDM, death/doom lexicon in record time.(8.8/10)

Cult

Band info: https://www.facebook.com/Feculent
Label info: https://brilliantemperor.bigcartel.com


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When faced with an album cover such as this the mind spins. The bands moniker brings to mind a vicious scene from a Salvador Dali 'feature' from the 30's (yes, the 30's!) much like the film the imagery here is stark and powerful with a slew of collaged pictures which are immediately recognizable; themes of war, poverty and beauty stand out and the intrigue only grows. Based on prior experience one might assume this to encapsulate audio of a style likened to Napalm Death, Insect Warfare or Terrorizer.

There's one way to know for certain.

Plucked from the void the style makes an instant impression. And the assumption is somewhat on point; this is bathed in Grindcore values. Featured early on "Stabbing Spiders" runs a whopping forty-seven seconds.

However, there's something else in the mix, another element which results in the audio bearing a jagged, blunt and undeniably abrasive aura with abrupt stylistic breaks (Is this the definition of Mathcore?) "Martyrs", the first track, being the earliest of indicators that this isn’t going to be an album easily defined within traditional genre boundaries.

Unpredictability is the word of the day here, as well "grueling" as this is quite the strenuous workout for the ears, especially those not familiar with the aforementioned ‘style’. Suffice it to mention that those wishing for mere chuggery, speed for the sake of speed and melody will be invited to dig deeper (as this album smothers the senses), this contains all of this though showcased in frenetic amorphous bursts as well enticing calmer passages opening the door for a myriad of other emotions to flood the psyche.

To state “Mirrors” contains complex arrangements and that the musicians involved are insanely talented is much like stating that the sky is up. Some elements, however, are less than blatantly obvious. For instance, it's difficult to decipher that Pupil Slicer are from the UK; growls, bellows and the angst dripping vocal assault boasts zero accent. More surprising still is the fact that the throat responsible belongs to Kate (Davies) whose talent is an undeniable and unprecedented force of nature (vocal gymnastics within "Collective Unconscious" will make one an instant believer) made even more impressive still by the fact that she also handles guitar duties. Shocking, is that Pupil Slicer is a three piece (outfit), as there's enough turmoil and intricate unforeseen meanderings draped in masterfully-controlled chaos in these arrangements for five.

Obviously, “Mirrors” will warrant several spins to fully digest and thoughts will tumble as to where influence derives as it does so. But when it clicks, it clicks!

As a debut this predicts a brilliant future which Prosthetic should be extremely proud of signing. Now if only this damnable Covid thing would dissipate in order that the ferocity of the band’s talent and raging wildfire on stage presence can be fully experienced. (8.1/10)

Cult

Band info: www.facebook.com/pupilslicer

 

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What's in a name?
Many acts sport a name which warrant research to sate the curiosity. "Nixil", could mean (and is translated as) several things; to refuse to accept or allow or as an exclamation or warning.

The cover art adds to the intrigue. A frustrated looking invertebrate chasing its own tail one connects with the title. However, it's the band's logo which sticks out; stark, angular and crimson bold, this isn't typical of the genre.

What about the music?
Taking into consideration how Nixil is comprised, with former/current members of Spectral Tombs, Dagger Moon, Tsepesch and Corpse Light, one would expect a varied stylistic approach. And they'd be correct in that assumption.

"Black Earth Within'' starts the album. An introduction invoking mist covered terrain rarely traversed by human feet is obliterated by a cymbal crescendo, brief melancholic chords, furious riffing and a scathing vocal assault boasting definite BM cursing-the-heavens-above qualities. As well its obvious viciousness the track meanders into doom realms, some might even say Sludge arenas. Only then to hit the nitro again when one becomes comfortable with the surprising groove. This initial audio example serves as an excellent introduction to both the album and the acts creative tendencies.

"Deaths of our own Design" commences with blazing riffs, then abruptly crawls to a snail pace accompanied by the tolling of a bell and a vocal plea, of sorts. Sludge again, is the order of the day though Avant Garde, ala Akercocke, elements (both in percussion and vocal fronts) appear as well melodies which recall earlier Paradise Lost.
"Make me the Voice" is an infectious dissonant number with a catchy chorus shot through with veins of BM pace. Three tracks in and the word 'unpredictable' is lit by night carving neon.

For those with melodious penchants the title track serves to scratch the itch. Folk elements are front and center (if I'm to be honest, I was well expecting a harp, violin or an interlude to showcase a soundbite featuring an owl or a cricket). Weaved among the arrangement also is a definite menace. Though the highlight of this standout track has to be the vocal conclusion..

Hoisting the standard for sounding most like traditional (is there even such a thing?) BM, is "May This Flame Flicker Out" (as if the title didn't give it away?) Although it too is shot through with stylistic deviances; nodding to both Heavy Metal and Blackened Speed arenas..
.
“All Knots Untied” concludes with "Unimpeded by the Weight". A photo finish second place in the aforementioned standard-hoisting competition, this bears palpable ominous qualities as well a chilling vocal presence. Rhythms are varied; ritualistic cavernous to those of the type to please individuals whose wardrobes proudly feature battle vests and a variety of studded arm adornments. A fantastic conclusion to an album which although might not initially grab the attention will seep into the senses and is likely to become a highlight in frequent playlists. (8.1/10)

Cult

Band info: www.nixilnothing.com 

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