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Auld Interview

jeudi 13 mai 2021 à 02:21


1.Can you give us an update on what has been going on with the band since the recording and release of the new ep?

 Arron: While wanting to focus on writing our debut album with the momentum of the release of the EP, the direction has been more to ensure we can, to our satisfaction, suitably fill a live set without the constant repetition. This has included focus on diversifying some of our content with instrumentals, unplugged and more potential collaborations moving forward. 

2.Recently you have released a new ep, can you tell us a little bit more about the musical style that you went for on the recording? 

 Arron: Drawing elements from Atmospheric Black Metal, Folk, Black/Void-gaze and rock, our sound is inspired by folklore and nature, writing melody and harmony over a wall of noise creating heavy dark ballads. 

3.One of your songs also covers Scottish folklore, can you tell us a little bit more about your interest in this topic? 

 Arron: The band to varying degrees all have history and heritage from the British Isles and many an interest in history, folklore and poetry. We relish the idea of bringing these old stories back to light and creating our own. The song in question, Am Fear Liath Mòr, is based on the folklore of a shadowy grey may who haunts the foggy mountains of Ben MacDhui and the lyrics include an excerpt from “Constancy of an Ideal Object” by Samuel Taylor Coleridge. Also Hollow Mews includes reference to the Sidhe from Irish mythology and part of the lyrics draw influence from William Butler Yeats. Daniel: In addition to playing black metal, I have a history of playing Scottish pipe band music, as well as Celtic folk music. This is paired with a fascination with the tales and poetry of Scotland in particular and the Celtic lands in general. It was, in fact, the shared appreciation for black metal and Celtic folk influences that drew Arron and I together in what would become the genesis of Auld. 

 4.What are some of the other lyrical topics and subjects the band has explored so far with the music? 

Arron: As mentioned above a lot of our lyrical themes cover folklore, myths, legends, poetry and nature. We have also worked with the Irish and Scottish diaspora and historical battle themes. Daniel: “…of petrichor and I” is a lament from the perspective of a sacrifice. A journey to the high green places that Skye is known for, in order to give one’s life to ensure the rain falls for everyone else. Hollow Mews draws from the feelings of isolation inherent in urban existence, the drive to return to the wild and tumult of the life we led before we became civilised. It draws, as Arron said, from Yeats, and from the Irish myths of the Sidhe that were the most important part of Celtic mysticism prior to and indeed long after the Christianisation of the British Isles. Cianalas, a song not on the EP but a regular part of our live performances, is drawn from a concept of the same name which refers to the inevitable haunting homesickness that befalls any native of the isles of the Hebrides who leaves to explore the world. 

 5.What is the meaning and inspiration behind the name 'Auld'?

 Daniel: “Auld” is the Scots word for “old”. Back before this was anything more than a concept that Arron and I tossed around at practices for the other band we were playing in, the idea was that it would be a group dedicated to recontextualising old ideas. Old melodies, old sounds, played in a way that opened them up to a new audience. Folk instrumentation, which we’ve introduced in the title track of the EP, was always planned to be a central pillar of the Auld sound. As we go forward, we’re going to be introducing more ancient instruments and older tunes, contrasting that melancholy and that sweetness that Gaelic music really showcases with the heavier sounds of black metal. I’d even be interested in introducing some piobaireachd (Highland bagpipe and vocal melodies known for being haunting and meditative) into the Auld sound. 

6.Can you tell us a little bit more about the artwork that is presented on the ep cover? 

 Daniel: The EP cover is centered around a photograph taken by Marcus McAdam, a Scottish photographer who specialises in pictures taken on the Isle of Skye. It’s a picture of a rock formation known as the Quiraing, on the northernmost point of the Isle. As soon as I saw the photograph I felt that it was a perfect visual encapsulation of the atmosphere that Auld was sonically pursuing. The logo was created for us by the genius Vojtěch over at Moonroot art, who also did the amazing heron piece we used for our music video for Hollow Mews. There’s also some pretty exciting art ready for future use that we’re keeping pretty close to our chest for the time being. Arron: I actually took a photo from the exact same spot in Quiraing on the Isle of Skye while I was spending time in Scotland in 2009.

 7.What are some of the best shows that the band has played so far and also how would you describe your stage performance? 

 Daniel: It’s hard to pick a favourite show. Questfest 2020 was amazing fun, and the guys at Girthsword do an awesome job putting that together every year. Playing at Heathenfest 2019 was also great fun, but it’s hard at this point to go past our very first show, supporting Christ Dismembered and Fatigue. It was this short moment of fruition in which everything just fell into place, and it validated, at least to me, every minute of effort that we had put into writing, arranging, and practicing. Seeing that people actually enjoyed the music we made was intoxicating, which is why we’re all still doing this. This answer may change in a few months depending on how a certain performance we can’t really divulge too much about shapes up. Arron: One of my favourite memories was the community, camaradarie and atmosphere of Heathen Fest 2019 in Moruya. Sharing the stage with Hobbs Angel of Death for what would ultimately be his last show was an absolute honour. Daniel: With regards to how we would describe our stage performance, it’s difficult to talk too much about an experience from inside the performer bubble without sounding a little ridiculous. I can definitely say that we aim for an air reminiscent of the highland mists, the green and the grey of a land at once inhospitable and lived in for millennia. I’m sure the dumb jokes I use to fill in time detract somewhat from that, but old habits die hard.

 8.The new ep was released on 'Eschatonic Records', can you tell us a little bit more about this label?

 Daniel: Eschatonic Records is run by some of the most supportive people we’ve ever come across, and right from the beginning the entire conversation was what they could do to build a platform to support us. I initially came across them through their work with Black Mountain, and as soon as I went to Jay to talk about Auld, Eschatonic Records immediately began helping us get everything together. Jay helped us through every step of the recording process and has been a huge advocate of our work, and for that I personally am immensely grateful.

 9.On a worldwide level how has the reaction been to your music by fans of atmospheric black metal?

 Daniel: I would say that thus far the worldwide reaction has been greater than I expected. As someone involved in the local scene for years at this point, every time I see someone from Europe or the US listen, like, or comment, it is absolutely humbling. I personally consider it a privilege to be able to share the music we’ve made with anyone from anywhere, so it’s especially amazing to see that come to fruition with people from so far away. 

 10.What is going on with 'Black Mountain' these days, a band that also shares a couple of the same band members?

 Daniel: Josh and I have been the two shared members doing double duty between Auld and Black Mountain, and due to some changes that have taken place in my personal life, I have actually left Black Mountain. So while I can’t speak from an insider’s perspective regarding Black Mountain, I know that Jay from Inhuman Remnants, Unholy Vendetta, and a plethora of other heavy acts has temporarily taken over bass duties until they find a full-time bassist. I can say that I’ve seen their name on the line-up for a gig in the not-too-distant future and that I’m excited to see what Black Mountain sounds like from in front of the barrier. 

 11.When can we expect a full length and also where do you see the band heading into musically during the future?

 Arron: There are plans for an upcoming album and I think the story of that will all be driven by where the band is heading musically. If we wanted to pump out a derivative album that all sounded the same that might be a fairly clear and short race. However we all feel passionate about not necessarily pushing ourselves, but exploring what we are capable of and incorporating a diverse range of instruments and capabilities within our bailiwick. So this could mean broader collaboration with other musicians to create a larger sound or bringing it back with some instrumentals closer to the folk/neofolk sphere. 

12.What are some of the bands or musical styles that have had an influence on your music and also what are you listening to nowadays? 

 Daniel: For me, the influences are vast and diverse. Metal bands include Agalloch, Saor, Cân Bardd, Sadness, and Woods of Desolation/Remete. On the other side, a large proportion of influence for sound and for the way I’ve approached composition for Auld has been driven by Celtic folk music by groups such as The Battlefield Band, Silly Wizard, and The Tannahill Weavers, as well as pipers like Davy Spillane and folk musicians such as Andy Irvine. Arron: Emperor, Moonsorrow, Drudkh, Enslaved, Primordial, Wolcensmen, Alcest, Arkona, Andy Irvine, Daoiri Farrell.

13.Before we wrap up this interview, do you have any final words or thoughts? 

Daniel: These open-ended questions always kill me! There’s always so much to say. Auld is, without a doubt, the project that I’ve been involved in which I feel the most affection for. I’ve never been more excited about a band. The group of musicians we’ve assembled just clicks musically so well that any reticence I’ve had ingrained into me to bring new ideas or suggest different directions has disappeared. This, coinciding with the fact that, against all odds, people seem to enjoy listening to it, has completely altered my approach to the concept of being in a band. Thank you so much for reviewing the EP and for asking these questions. It’s been great to engage and to talk about it. Arron: From what started out as just two passionate people jamming with a singular purpose just for pure personal pleasure, this has grown into more than we expected and taken on a life of its own. I look forward to nurturing our creation through the years to come.


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Vulture Lord/Desecration Rite/Odium Records/2021 CD Review

mercredi 12 mai 2021 à 05:09


  Vulture  Lord  are  a  band  from  Norway  that  plays  an  old  school  form  of  black  metal  with  elements  of  death  and  thrash  metal  and  this  is  a  review  of  their  2021  album  "Desecration  Rite"  which  will  be  released  in  June  by  Odium  Records.

  A  very  dark  sounding  intro  along  with  some  spoken  word  and  movie  samples  start  off  the  album  before  going  into  a  heavier  direction.  When  the  music  speeds  up  a  great  amount  of  tremolo  picking  and  blast  beats  can  be  heard  which  also  gives  the  songs  more  of  a  raw  feeling  and  the  solos  and  leads  are  done  in  a  very  melodic  yet  old  school  style.

  Vocals  are  mostly  grim  sounding  black  metal  screams  while  the  music  also  brings  in  a  great  amount  of  first  wave  and  thrash  metal  elements. Melodies  are  also  added  into  some  of  the  guitar  riffing  along  with  all  of  the  musical  instruments  also  having  a  very  powerful  sound  to  them  as  well  as  some  of  the  riffing  also  showing  an  influence  of  death  metal,  the  songs  also  add  in  a  good  mixture  of  slow,  mid  paced  and  fast  parts  and  ad  the  album  progresses  a  brief  use  of  clean  playing  can  also  be  heard.

  Vulture  lord  plays  a  musical  style  that  is  mostly  rooted  in  the  old  school  tradition of  black  metal  as  well  as  mixing  in  some  elements  of  death  and  thrash  metal  to  update  the  genre  for  the  modern  era.  The  production  sounds  very  professional  while  the  lyrics  cover  death,  pestilence,  satanism,  blasphemy  and  anti  Christianity  themes.   

  In  my  opinion  Vulture  Lord  are  a  very  great  sounding  old  school  mixture  of  black,  death  and  thrash  metal  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  band.  RECOMMENDED  TRACKS  INCLUDE  "Bloodbound  Militia"  "Diabolical  intervention"  and  "Perverting  The  Bible".  8  out  of  10.       

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Odyrmos/For The Brightest Light/BMC Productions/2021 Full Length Review

mercredi 12 mai 2021 à 04:15


  Odyrmos  are  a  band  from  Greece  and  on  this  recording  plays  a mixture  of  black  metal,  dark  ambient  and  dungeon  synth  with  some  touches  of  doom  and  heavy  metal  and  this  is  a  review  of  their  2021  album  "For  The  Brightest  Light"  which  will  be  released  in  June  by  BMC  Productions.

  Dark  ambient  style  synths  start  off  the  album  while  the  music  also  brings  in  a  great  amount  of  dungeon  synth  elements  along  with  some  songs  being  in  a  heavier  direction.  When  guitar  solos  and  leads  are  utilized  they  are  also  done  in  a  very  melodic  style  and  the  vocals  are  mostly  high  pitched  black  metal  screams.

  The  riffs  also  add  in  a  great  amount  of  melody  while  some  of  the  tracks  are  also  instrumentals  along  with  all  of  the  drum  beats  also  being  programmed.  One  of  the  songs  also  introduces  spoken  word  parts  onto  the  album  along  with  some  influences  of  doom  metal   also being  added  in  the  slower  sections  of  the  music.  clean  playing  can  also  be  heard  briefly.  A  couple  of  the  tracks  are  also  very  long  and  epic  in  length  and  some  of  the  melodies  also  show  an  influence  of  traditional  metal.  

  On  this  recording  Odyrmos  keeps  the  dungeon  synth  and  dark  ambient  elements  of  their  previous  release  and  mix  it  with  black  metal  and  touches  of  doom  and  classic  metal  to  create  a  sound  of  their  own.  The  production  sounds  very  old  school  while  the  lyrics  cover  darkness  and  sorrow  themes.

  In  my  opinion  this  is  another  great  sounding  recording  from  Odyrmos  and  if  you  are  a  fan  of  black  metal,  dark  ambient  and  dungeon  synth,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "Ode  To  The  Forgotten"  "Quiet  Despair"  and  "Every  Last  Moment".  8  out  of  10.

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Gexerott Interview

mercredi 12 mai 2021 à 02:30


1.For those that have never heard of you before, can you tell us a little bit about the band?

Sure. Gexerott was born in 2004 in a place called Envigado, near the Antioquia’s capital city (Medellín). At the beginning Gexerott was formed as a three-piece band and we released our first album like that. It's called Grim Arcane Winds and was released in 2007 by the north American label “Blood Ritual Productions”. After a drastically line-up change, in 2013 we released our second album “Into Descensus Impious Ad Gloriam”. This time released by the Colombian label “Tribulación Productions”. Now, after 8 long years we have released our third full-length entitled “Hallucinetic Violet Ignition” in collaboration with the Ecuadorian label “Exhumed Records” and the Russian label “Satanath Records”. We perform Black Metal in a non-traditional way (aesthetically speaking) but keeping alive what has made this musical genre a raw, violent, honest and full of convictions expression of art.

2. Recently you have released a new album, musically how does it differ from the stuff you have released in the past?

For us, art is a manifestation of philosophy, spirituality, emotions and experiences. Each one of our albums are a response to a precise portion of time and space. In this album we explore new sounds and new atmospheres where you’ll find songs that combine ambient sounds, violent hypnotic guitar riffs and chorus that are mixed and interact with each other trying to cause a movement in the emotions through a history. Each one of these songs is a history in itself and every song is a complement of the album’s main history in general: The history of a transmutation of the self. It can easily take you through oceans of uncertainty and calm and then be a storm and chaos bringer.

In the hallucination that carries the transmutation of the self a door is open in the perception where it is allowed to be another being in another world. A deconstruction of the self and it’s perceived existence, tearing apart violently its own conceptions and ideas… opening the eyes in the darkness to see.

3.This is also your first release in 8 years, can you tell us a little bit more about what has been going on during this time frame?

Ok… it looks like a long time but I’m not really sure if it’s that much. Once again, Gexerott had another line-up change: our previous drummer left the band and we start working successfully with a new one. Someone who has bring a lot of discipline and vision to our work. It implies an adaptation time and a reconstruction of the songs that we have already composed and recorded… Oh, yeah… the recording process, another headache. It took us a lot (I mean, a lot) to find someone to talk honestly about it and interested enough about giving us a try. We recorded over and over again in different studios until we found Umbral Studio where we could actually have a long and good conversation with our sound engineer (Felipe Gonzalez… cheers, bro!). In the end that was the place where we recorded our album and it was better than expected...

We rehearsed a lot and played a few shows in Colombia. Some of those shows big enough (De Mysteriis Dom Sathanas tour) and others a bit more private and selective (Exánima Ritual, in its different versions).

We have never had any particular rush to record and release material. We like to take our time to be sure about what we are doing. To be sure that what we are doing will actually be accurate enough to our own visions and expectations. For us, it’s not about to play blast-beats, use corpse paint and record an album per year to be “active” in a scene long dead….

4. A lot of your lyrics deal with Chaos Gnosticism, Enochain, and the Kabbala along with the band name also being rooted in those traditions, can you tell us a little bit more about your interest in the esoteric and dark arts and also how long have you been practicing this path to enlightenment?

Our interest in these matters comes from years previous the band’s formation and it has evolved through the years in it (but not necessarily thanks to it). As individuals we have experienced what at the beginning feels like a call from something far beyond our everyday life. We have named it in many times and in many different forms but as the time passes by we have feel the need to bring it to our everyday life through practices and spiritual revelations. Of course that we experience it as individuals. None of us lives the same spiritual experiences or understand it in the same exact way at the same exact time and even so, our own individual perceptions revolve around the same core which stands in constant convulsions looking for different and non-traditional manifestations of itself. Those traditions have feed our visions, practices and understanding in many levels of the existence, even in the undervalued daily life (The brighter the light, the darker the shadow is). 

Of course that we don’t see each other as occultist, magicians, enlightened wised persons (something really common nowadays, in particular into the Black Metal scene), but it wouldn’t be fair to ignore that thanks to our particular interest and devotion to the beliefs that we have achieved and experienced we have been able to understand the world(s) into a different perspective and express it in our art form.

5.What is it that you feel makes your music stand out from other bands playing occult black metal?

Well, that’s a hard question to answer. 

Gexerott has no pretention to be into the “Occult Black Metal” world. Not even into the “Black Metal” world itself. Of course that we all have growing up listening and experiencing Black Metal… hence, we deeply respect its history, ideals and roots… but what we definitely don’t do is walking into our rehearsal room and say “Hey, you know what? I have this riff which express exactly my idea about a particular experience but it’s not black metal enough so I’ll just put it aside and forget it” or like “Hey, we need to write a song that sounds like “X-Band” ”. Not at all. We are here for a total different idea. A different approach. We have spent a lot of years listening and playing Black Metal and we have this need to portray our own interpretation of the ideas and feelings surrounding it. That’s maybe why some people say that our albums have a hard melodic base… or a doom metal vibe… or a post black metal sound… and, you know what? It’s all on them. We don't really care about it.

Honesty was the primal seed for the golden age of Black Metal and we think that that’s the main reason for what we do. To be honest. Our spiritual experiences are there. Our personal convictions are there. There’s a mystical manifestation behind that and sometimes it’s a pure manifestation of Darkness… sometimes it’s a raged and violently destructive vision…. sometimes it’s an ocean of uncertainty and melancholy… sometimes it’s a hypnotical trance of vibrations and emotions and that’s what we’re up to. It results that Black Metal is the banner that better describes our art manifestation, but playing Black Metal it’s not our main intention. We’re not interested in to sound like Mayhem or being a new tribute to the old good days of Thorns or Dissection (even when we appreciate and respect their work, of course).

6.Originally the band was called 'Somber Solium', what was the cause of the name change?

It was at the very beginning of Gexerott, when the band was a two-piece band. At that moment, their members were very young with things not that clear… the band’s name change happened while the concept behind the band was constructed. There’s no much to say about it, to be honest.

7.Can you tell us a little bit more about the artwork that is presented on the new album cover?

Well, this has been a work done by our vocalist Kinetic XI around some ideas presented by all of us. The idea was worked for almost 4 years and have passed through uncountable modifications, but we feel satisfied with the final result. It’s a collage of pictorial techniques over wood with photography and digital post-production. The intention is that it works as a “window” to see through a mind that experiments a hallucinatory state, visions from another time and space that awaken a sense of higher will, the dissolution of the self in that state of hallucinatory ecstasy.

8.Has the band had any opportunities to do live shows and if so, how would you describe your stage performance?

Yes. We have played live a couple times. Most of them in a private event called Exánima along with prominent Colombian bands like G.O.C, Nyxtahar, Theurgia, Ignis Haereticum, Enter Hell etc. This event is organized by ourselves in company of other people from the aforementioned bands.

But we have been invited to play a couple times with foreigner bands. In 2016 we play in Bogotá as guest to Mayhem’s “De Mysteriis Dom. Sathanas” tour and in 2017 we shared stage with the North American band Uada in their date in Medellín. 

We try to always keep in mind what kind of event is inviting us to participate in and according to that we may or may not present a particular “performance”. We try to focus all our effort into Exánima since it allows us to express the real essence of our work.

9.The new album was released on 'Satanath Records', how would you compare working with this label to other labels that you have been a part of in the past?

Well, so far it has been great. We have seen that our album has been well promoted in other countries (something that we didn’t see before. At least not in that level). We got a good deal with them and with Exhumed Records (from Ecuador). At this point (07/05/2021) we haven’t receiver the physical copies of our album but it’s totally understandable since shipping is a complete disaster due to Covid-19 restrictions and the actual Colombian social situation (some fucked up things are happening right now). We are planning to release a limited edition of the album. Just like we did a couple years ago with “Into Descensus Impious Ad Gloriam”.

10.On a worldwide level how has the reaction been to your music by fans of black metal?

To be honest, I haven’t been too much into that. Of course I’ve been notified about a couple of reviews of the album and it seems to have a good feedback. Most of them understand quite right that it’s not a traditional Black Metal album but it’s a positive thing since, as I said earlier, it’s part of our own intention. They seem to be a bit surprised that it’s an album that has very little similarities with our two previous albums, but for what I can see… it just worked as a plus.

11.What is going on with 'Nyxtar' these days which also shares a couple of the same band members?

I’m not really sure how dead Nyxtahar is now, but the project has been on hold for a couple years. Their bass player has been a bit far from playing Black Metal. He’s a great guy tho, but that’s the reality. Their vocalist shares the same history. But what is true is that they had amazing material and the rest of the band (the ones who keep playing and sharing with us) are not willing to give up. We shared great experiences and built something strong and powerful. I guess that the band will be active with new people, but I’m not really sure about when that will be done. We have talked a lot about release something together (and I’m sure that we will) but as you can imagine, we have no rush about it. Neither do they.

12.Where do you see the band heading into musically during the future?

Well, we have been working hard into new material. There is a project that has keeping our creativity busy. For the moment, I can tell you that is a split album. A conceptual work that we have been constructed with friends and brothers from a local band that will be announced at the right time.

Our aim is to get connected with more people that feels attracted to our musical and conceptual work. To our art. It may help us to reach new levels of both aspects which is very important for us as a band and as individuals.

13.What are some of the bands or musical styles that have had an influence on your music and also what are you listening to nowadays?

That’s a hard question. We are very different among us and it’s something that you can find even in our own musical tastes and influences. We feel attracted to violent (even dark, if you want) artistic manifestations that are full of mysticism and emotions. Each one of us look for inspiration in literature, photography, painting, spiritual traditions and music, of course (ironically not that much into metal music). I’m talking about those things that may influence our work in Gexerott.

As for what I’ve been listening lately… well, I’ve to say that I’m kinda old fashioned nostalgic that still finding an invaluable and deep darkness in the classic albums that shaped Black and Death metal and its roots into more contemporary bands and even in genres no directly related with metal at all.

14.Before we wrap up this interview, do you have any final words or thoughts?  

I’d like to thank you for the patience for the reply to this conversation and the interest in our artistic work and of course to thank those who have taken enough time to read it. Keep your eyes open. There will be some good announcements soon.

Solve Et Coagula!


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Klamm/Misanthropocene/Disharmonia Records/2021 CD Review

mardi 11 mai 2021 à 06:50


  Germany's  Klamm  have  returned  with  a  new  recording  which  shows  the  music  going  for  more  of  a  melodic  and  atmospheric  form  of  black  metal  and  this  is  a  review  of  their  2021  album  "Misanthropocene"  which  will  be  released  in  June  by  Disharmonia  Records.

  Drum  beats  and  synths  start  off  the  album  while  spoken  word  parts  can  also  be  heard  briefly  before  going  into  a  heavier  direction.  A  great  portion  of  the  tracks  are  also  very  long  and  epic  in  length  while  the  vocals  are  mostly  angry  sounding  black  metal  screams  along  with  the  solos  and  leads  also  being  done  in  a  very  melodic  style.

  Clean  playing  can  also  be  heard  in  some  parts  of  the  recording  while  some  songs  also  add  in  a  small  amount  of  clear  vocals  which  also  gives  the  music  more  of  an  avant  garde  vibe.  All  of  the  musical  instruments  also  have  a  very  powerful  sound  to  them  along  with  some  elements  of  post  metal  also  being  utilized  at  times 

  When  the  music  speeds  up  a  great  amount  of  tremolo  picking  and  blast  beats  can  be  heard  which  also  gives  the  songs  more  of  a  raw  feeling  along  with  some  growls  also  being  utilized  at  times  as  well  as  the  tracks  also  adding  in  a  decent  mixture  of  slow,  mid  paced  and  fast  parts,  spoken  words  can  also  be  heard  briefly .

 The  riffs  also  add  in  a  decent  amount  of  melody  and  as  the  album  progresses  acoustic  guitars  are  also  brought  into  the  music.  The  production  sounds  very  professional  while  the  lyrics  cover  a  dystopian  future  and  political  themes  which  also  shows  inspirations  from  the  writings  of  Orwell,  Huxley,  Bradburry  and  Atwood.

  In  my  opinion  this  is  another  great  sounding  recording  from  Klamm  and  if  you  are  a  fan  of  melodic  and  atmospheric  black  metal,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "Sun  Invocation"  "Anthropocene"  and  "Death  Worship".  8  out  of  10.



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