Adaestuo - Tacent Semitae (2016)

Since I cannot find any information about where this band is from (Nothing on Metal Archives, Bandcamp and even Facebook page won't give me any info either) we'll just skip that part of the review. At any race, this black metal trio from “parts unknown” brings about a dissonant sort of black metal that comes with an unexpected element. Female operatic vocal, similar to Diamanda Galas. You have no idea how much that statement becomes a reality within this album. The album's ending cut and title track is nearly a tribute to the ritualistic Greek legend, with frontwoman Hekte Zaren performing nearly unrealistic chants that put the pop-singer turned black metal frontwoman Myrkur to shame. But it's not only that. Regardless of the frantic blasts and familiar dissonant riffs, there's an atmosphere of pure horror here. When I say horror, I do mean pure fright. Musically, the record comes packed with a mix of what I would consider an unsettling, yet wholly ritualistic vibe that you just won't hear from many, if really any other black metal source. Aside from this, the band can certainly play black metal with the best of them and sometimes the frontman adds to the harsh vocal element as well. That being said, you'll still hear Zaren's haunting chants in the background, further sprinkiling in bit of originality to what seems like a frighteningly progressive black metal backbone. 

Two of the songs on the disc aren't actually metal at all, and aside from the title cut we also have “Cicatrises Plexae” which is very similar to the industrial work that I review from Malignant. That being said, the black metal is definitely black and the atmopshere certainly feels like an atmosphere. None of this just seems haphazardly thrown together, as each style of music performed shows that it could work well enough to encapsulate two different bands which some listeners might feel should be the case. Even though it is 2016, some people still seem to have a problem with chocolate and peanut butter mixing, but it can also be said that those same individuals would have a problem with the female vocal approach as the frontispiece in the first place. I would much rather prefer Tacent Semitae to anything Myrkur puts out, and it shows that female fronted black metal and experimental approaches are indeed great things in the genre, which she embrace. Yet only if done with as much proficiency as has been utilized here. Definitely pick this one up in November, I think you'll be surprised with this unexpectedly potent debut.

(4 Tracks, 20:00)

9/10

Dakhma - Passageways To Daena (2015)

Swiss blackened death metallers Dakhma are part of something called the Helvetic Underground Committee, which seems to be an underground religious movement dedicated to bringing back pre-Judaic belief in the form of Zoroastrianism. It seems that old Ahura Mazda's coming back after all! Although the music here definitely seems closer to that of his counterpart Angra Mainyu, which is where we eventually found the building blocks for the devil. Setting mythology aside, we have a rather interesting and quite foggy mix of progressive death metal with some black metal elements, as described.
The band is made up of just two people, with Kerberos handling everything but the drums, which H.A.T.T. manages to perform rather well. Seeing as the drumming is a huge part of the record, H.A.T.T. seems to have just as an important a job as Kerberos, especially in the atmospheric cuts which can change the nature of the band entirely and work to slowly chip away the genre tag thrown to these guys by the scribes at Metal Archives. “Ascension II” is definitely more of an atmosphere than a sort of death metal song, even making me wonder how much of it is song and how much of it is an actual ritual. Kerberos's droning mix of growls and scowls actually enrich such a performance even more, making me truly feel witness to something rather awesome and unique. They aren't attempting to be an act like Portal, Aevangelist or Teitanblood even though semblances can be drawn if one wants to look far enough. We could even compare some of the riff melodies here to something like Deathspell Omega and the hordes of other acts in the French black metal scene. The production is raw here, at times very raw – but I feel that this organic approach makes for an absolute inferno that will surely require quite a bit out of listeners.

I happened to read an older review of the disc just before I wrote this one, where the listener claimed the record was too long, but when you have a piece like “Chinvat” which requires you to sit and meditate (no death metal, or any metal to be found on that one, folks – it is a literal soundscape) such a thing can be expected. After all, this is really not a “jam album.” It doesn't really make me want to bang my head or anything similar. Instead, I feel that I am being thrown into something ancient (as I've referenced earlier) and it will require a lot more out of me than throwing up an air-guitar. This is something that nearly transcends the boundaries of music entirely, which is why I feel that it is nearly an essential listen. There are oddly enough, guitar solos in use here, but anything that I'd really consider “metal” just sort of takes a backseat to what is something that you can tell the musicians take very seriously. It's not that “Of Charred Flesh” doesn't have a fiery little guitar solo and flaming hot tremolo riffs, it's that it also contains several elements that might seem just a little out of place for a heavy metal performance. I see nothing wrong with that however, as it shows that Dakhma just want to do more. Even “The Silent Tower” takes a break for atmosphere and melody, showing that the record has much more to offer than what you might expect from the first couple of tracks. There are some rather bizarre occurences here and I hope Ahura Mazda and Angra Mainyu are happy with this, as I would quite be had I been of their stature. An interesting bonus feature in “Call From The Grave” also appears, which of course is a Bathory cover performed in a slightly different style than Quorthon might have intended. It still has the spirit of the original, but is a little bland as far as the lead riffs are concerned. Another bonus cut for the disc is “Ritual Of Daebaaman” which is literally half metal and half ritual, depending on where you arrive in the piece. If metal music can be used as a ritual tool for religion, then such has been demonstrated here on Passageways To Daena. It came out last year, but it's definitely worth tracking down. I'm sure Godz Of War still has some left if you're interested!

(10 Tracks, 67:00)

9/10

Tvlpa - Mountain Of The Opposer (2016)

A tulpa or what is also known as an egregore, is a type of thoughtform. Most gods are tulpas, yet our images of superheroes or other fictional characters could also be considered tulpas. For instance, among the pagan community (this was years ago) there was an instance where Tom Hiddleston's Loki derived a lot of interest in the Nordic archetype of that being. Particularly among women. The whole thing brought about it's own tulpa/egregore which only became further fueled by the amount of emotional passion and energy put into it. Almost like religionists who pray to various deities, or rather, their imagined view of such deities. The archetype is given energy through their tulpas, even though one can use an archetype to create a tulpa as long as they make sure to give it a purpose. Here we have what I'd consider a Swedish mix of Dragon Rouge and Chaos Magick formed by a group of anonymous musicians. Though calling this “music” doesn't really fit. I've studied the occult long enough to know when I'm listening to a full-on ritual and this hour's length of such nodes is most certainly that. So, if you're religious and afraid that you'll burn in the fiery pits of the fetid inferno from listening to this, you had better stop reading this now or risk being infected by the “devils” laden within such music. Sometimes we get really grim here, and that goes beyond guitar solos and pounding drums. There's a much different nature of grim here, which some of you just might not be able to accept. These musicians consider themselves to be members of the left-hand path, which is seen by some as a much darker and volatile form of magick. If you find the right magician, you'll argue for hours as to the validity of that (which is why I've given up in that regard) but for all sakes and purposes, it is true here.

Now for the record itself. We've got several drones here, among some rather ominous whispers and what some might even consider dark, or at least demonic vocalizations. I know not what archetypes are being referenced here, but I do have a few ideas. I know that Karlsson wrote a lot of material about Lilith, who is indeed a very dark mistress beyond what some of you might have seen beyond television and comic books. Although, I have a feeling that this relates more to Kali Yuga. Makes perfect sense, as she has come up several times within the Therion heavy metal soundscape. Considering these pieces, this is definitely work that I would liken to her level of existence. Some pieces are even quite electronic, like “Mounatin Sermon” and everything sort of takes a very simplistic, yet atmospheric approach. Tvlpa aren't barreling over themselves to create this atmosphere. They're using small effects in order to make something that feels awfully mantric, and could effect the subconscious in ways that I'm not even so sure they full comprehend. “Ko-Phu” yields a similar effect, although much shorter than the previous, as it is the disc's shortest overall cut. I'm definitely getting the Steve Roach vibe here, especially in the electronic areas. That being said, Tvlpa are not an electronic act – not completely. There are sections of electronic synthesizers, but most of the work here is ominous and creates a misty soundscape. I'd almost say that eighty percent of the album is just that, which amounts to a rather disturbing or dark meditation. It's not zen, rather it's the anti-zen. Pieces like “Dragon Mound”, “The Becoming I” or “Daka Yantra” might actually end up frightening you more than soothing you, and chances are that you wouldn't want to play this record as “fall asleep music” or something by which to relax to during the twilight hours. There's nothing here that even feels so much as remotely pleasant and once you've jumped in, you've got to deal with the effects of this abyss. I could say that the disc's closer “Descent and Rebirth” feels the least oppressive to the senses, but it also feels as if a dark god-being is being hailed or worshiped by the piece. If you enjoy hearing very deep, mantric compositions that are not for the faint of heart and might scare tree-hugging hippie New Agers to death, then you might opt for a purchase of this record. Once again, Tvlpa do not create calm, zen-like meditation. If you choose to put this on and attempt a trance, I have no idea what you'll see and experience within the context of it. Having been more familiar with the heavy metal approaches to Karlsson's darker approach to Swedish magick, it's definitely interesting to see an atmosphere that also embraces it. I can certainly say that the piece is just as dark here as anything that we'd expect from The Dragon Rouge and it's worth picking up. Just don't expect peace and happiness. Mountain Of The Opposer is just not that kind of record.

(9 Tracks, 59:00)

8/10

Schammasch - Triangle (2016)

Swiss avantgarde black metallers Schammasch have returned with their third full length, which actually comes packed with three discs this time around, making me think that the next release will have four and the one after five. I say this because the band's first album was just one disc, with the sophomore being two and this one being as I've stated. There are some of you that may have seen these guys get rather upset with me last time in the form of a comment on our domain site, but that was removed by some means of which I am not sure (and certainly did not ask for.) This is because I was quite an inflamed conspiracy nut back then and had tied much of this to the mysterious conspiratorial buzzword “Illuminati.” These days I hold a slightly different worldview and understand the occult nature of this act a bit differently. Some acts do the whole occult thing for an image, but these guys are very deep into it and I have no idea how far that goes into the private lives. In any case, Schammasch is something of a ritual and that's quite clearly seen here. Just in the first ten minutes of this listen I'm definitely getting that French occult black metal feel, albeit with obvious Behemoth-influenced death metal drumming and an approach that doesn't come off as a scowl, but a bit of an angered roar. Chris S.R. (ex-Totenwinter) handles the vocals and guitars, reminding me a lot of Nergal albeit with a very dark croon that sounds like it could find a place in Tiamat or Type O Negative. The minute I heard this vocal touch first used, I noticed an evolution in the band and I hope that maybe these guys will veer off into a little bit of Goth rock as he definitely has the voice for it. “In Dialogue With Death” is the main track to where this really comes right out to me and shows that the act have a lot more promise to be had than what was merely showcased on Contradiction.

Since there are three discs here, we will obviously talk a little about each of them and I've already delved a bit into the heaviest disc first, as that's the one that metal fans will want to hear. But is this completely metal, or is it something else? There's obviously a lot of weight here, as well as a great deal of brackish firepower, but the fact of the matter is that these gentlemen are crafting multi-layered songs and are more concerned with creating art than just music. Yes, you'll bang your head, but you'll find the listen fascinating as well. It almost begins to feel like one song, as M.A.'s solo piece on “Diluculum” sounds like it belongs tied with “In Dialogue With Death.” Don't expect much from the first disc, because it is only about EP length, but that's not a real issue as there's enough meat here to sell the Deathspell Omega worship and vere away from the slight core influences by which this band have almost completely shed. If you heard any core on that first disc, please let me know as I surely didn't and I think the band are much better for it. In other words, if you've put these guys aside for awhile because of their other works, it might now be time to pick them up. Prosthetic have dealt with a lot of core acts in the past, I am aware of their past just as much as the rest of you – but please believe me when I say that the label are transcending their core worship and have really cemented that with Schammasch. In just a little more than thirty minutes, these guys have offered a lot more depth than what I get from similar occult acts, which I feel makes them well worth checking out merely from the first part of the listen.

The second disc here takes us down a much different path and lends more into ritualism. Aside from some droning doom riffs, “The World Destroyed By Water” even features some unexpected industrial elements that I didn't notice the first time around. Boris A.W. (Cold Cell) does occasionally kick up the drums a little, but the listen almost brings us into something not unlike a more metallic Dead Can Dance. “Satori” is a ritual, which is apparent from the second I listen to it. It features a mantra which is repeated nearly in a fashion similar to Gregorian chants. That becomes even further relevant when the music is removed completely, leaving only Chris's vocals as the focal point. It almost becomes meditative at this point, even though we haven't even gotten to the real meditation. “Metanoia” is probably one of my favorite songs on the album, wherein a clean vocal fronts a blasting drum kit. Chris has the vocals to do this perfectly, and it feels pretty goddamned surreal. Chris and M.A. (Blutmond) truly deliver here, as these melodies really help to broaden and expand these powerfully ritualistic pieces even more. It's not just here, if you've noticed – they've been working very hard to turn the guitar into something of an ethereal instrument by which more than metal can be observed. If we continue to observe the former, we'll find that it has almost gone completely into synths, which feel deep and yes, meditative. Yet again, we haven't even reached the meditation yet. Next we have “Above The Stars Of God” which begins with a rock influenced guitar solo section that doesn't even sound a bit like black metal, and I can honestly say that I accept that wholeheartedly. I like the melody that M.A. plays with here while the vocal chants are being utilized, and it's quite catchy save for the fact that it ends and become a very difficult to hear series of spoken word sections. Maybe they went a bit too far here? In any case, the final vocal moment of the piece is uttered in a short acoustic piece called “Conclusion.” Spoken word decorates this, but no catchy clean vocal sections. Instead we're brought some very powerful leads and solos by which are a good note to end the experience.

Though we're not finished yet, as one more disc remains in this listen. This, is the meditation. Do not expect to hear any fiery guitars, blastic drums, vocals or metal on this one. It's a atmospheric meditation by which some metal fans will either love or loathe, depending on their tastes. You must leave your elitism at the door if you choose to traverse this record, as it's very much like the material I cover from Malignant Records (who just sent me two records in the mail today, as a matter of fact.) Most of the tracks here will either feature industrial synths or tribal chants with both male and female vocals. I am not sure if any of any of the band members are chanting here, but I can assure you that nothing here is metal, though it is highly deep meditative trance that fans of Dead Can Dance's more upbeat material will love. It's the kind of tribal atmopshere that you can dance to when things aren't quite so droning and cold, mixing two different soundscapes together in a very weird and difficult to understand manner. We do hear some electric guitar and Chris's vocals on album closer “Empyrean” which comes with a spoken vocal section and an ending chant that I feel I can discern much easier. It's quite deep, very spiritual and may put some people off – but that's fine, as not all art is meant for all ears. I quite enjoy it and I feel that you will too. The riff melodies are nothing special, they are meant as mantric as the trance and it's more about creating a soundscape in which to escape, rather than a catchy little song that you can raise your fist to. I don't feel that anything here will really come across in that fashion, as Schammasch have never been that kind of band. The lyrics here are very personal, transformational and without a doubt, ritualistic in a way that you only have to hear to believe. I feel that Triangle is a big step over Contradiction, and feel that whatever these gentlemen deliver in the future after this one will be by and large different. I feel that I'm ready for anything else that Schammasch will have to offer and would definitely consider it one of the best releases of the year. The listener gets three sides of the band, one of which no one ever saw coming. That's worth your hard-earned money, folks.

(16 Tracks, 103:00)

9/10