Sarmat - Upgrade

Labels: I, Voidhanger Records

Formats: CD/Digital

Release Date: 28 Mar 2025

Tracklist:

1. Upgrade

2. Serum Visions

June ended up being a little quieter than I had planned but also somehow turned out to be a bit of a record breaker. I want to try and gain better writing momentum again but I'm not forcing it either. With all of that in mind, I've chosen to write about US jazz/progressive extreme metal band Sarmat and their latest release, Upgrade. The two-song EP was released on CD and digitally by I, Voidhanger Records in March.

Sarmat is more a musical collective than a band and for this release it comprises drummer James Jones, bassist/keytar player Steve Blanco, guitarists Zachary Blakeslee-Reid and Ryan Hale, upright bass player Niko Hasapopoulos, trumpeters Oskar Stenmark and Jerome Burns, as well as vocalist Ilya Belko. It was recorded live at Gojira's own Silverchord Studio and was mixed/mastered by Colin Marston.

It’s so frustrating seeing the highest profile music festival in the UK (if not the world) paying such little respect to heavy music and it’s bands. On the flip-side, the same thing also happens in some grassroots venues too, as experienced just last Sunday when I attended a gig where the venue made no effort to promote one they were putting on, which featured four up-and-coming bands trying to reach new audiences.

With that in mind, I’m trying to play my small part by sharing the newest release from Sarmat, which so far has left people both bewildered and enthralled in equal measure. Starting with title-track ‘Upgrade’, you’re thrown straight into some utterly insane, extreme metal, filled with improvisation and uncharacteristic instruments. The trumpet of Oskar Stenmark joins the drums, bass and guitar (of James Jones, Steve Blanco and Zachary Blakeslee-Reid respectively), providing an inspired dark-jazz/experimental layer.

Nothing about this piece of music is conventional and is exactly what I’d love to witness live at my local live music venue here. It combines everything I love about extreme metal and enough weirdness to leave me grinning from ear to ear. The addition of Ilya Belko’s harsh vocals in the song’s latter half push the extreme envelope further, while not detracting from Sarmat’s metallic progressiveness. 

Second piece ’Serum Visions’ is somewhat shorter than ‘Upgrade’ was, yet it feels even more of a headfuck because of it. This time Steve Blanco switches to keytar and is joined by Niko Hasapopoulos on upright bass, Ryan Hale on guitar and the trumpet of Jerome Burns. It retains Sarmat’s heavy sound but ratchets up the otherworldly experimentation to greater levels. You’ll understand what I mean when you hear it. 

I really don’t know how I reached this point of musical exploration but I’m thankful for it. Being curious enough to dig deeper Into the outer, creative edges of genres (or music in general) gives a feeling of wholesomeness, even if what you’re listening to is extreme. The ever changing collective that is Sarmat makes it even more worthwhile. Please lend them your ears.

You can stream and purchase Upgrade both digitally, and on limited digipack CD from I, Voidhanger Records below:-

Sarmat - https://www.facebook.com/Sarmatproject

I, Voidhanger Records - https://www.facebook.com/i.voidhanger.records

The Oldest House - A Worm Through Time

Labels: I, Voidhanger Records

Formats: CD/Digital

Release Date: 26 Jan 2024

Tracklist:

1. Objects Of Power

2. The Oldest House

3. A Worm Through Time

4. Interdimensional Mold

5. The Painting On The Wall

It's been a pretty sobering start to the year if I'm being honest, hence the sporadic nature of things here. The focus of this review will do nothing to brighten the mood but sometimes it's better to sink to the lowest depths, so you can rise up at the other end. Spanish sludge/doom band The Oldest House is the brainchild of A.M. of Aversio Humanitatis (Debemur Morti Productions) fame amongst others, with drums provided by J.H. You may be familiar with that band's black metal, but The Oldest House promises something altogether different. I'm excited so let's jump in.

A Worm Through Time is described as being a sludge/doom EP but I’m not sure what to expect. It has drawn some (very tangible) comparisons musically and as opener ‘Objects Of Power’ begins, it takes away every last breath you have thanks to it’s sheer wall of heaviness. An initial lumbering, bass-heavy tempo takes the lead alongside deep growls that build in ferocity as the music does. It’s not without it’s technicality though thanks to the percussive skill later on, highlighting why the band found a home on I, Voidhanger Records for it’s debut release.

A.M.’s black metal roots aren’t too far away here, as the spine-tingling vocal delivery on ‘The Oldest House’ shows. Extreme metal is extreme metal, whatever sub-genre you categorise it into, so it’s best to just enjoy it in whatever form it comes. Here, that form is unwaveringly heavy and satisfyingly groovy. Yes, there’s some psych going on here!

Talking of psych, title song ‘A Worm Through Time’ takes you on a journey thanks to it’s spellbinding bass performance and shaman-like singing/chanting that almost throws you off, before everything shifts in a grind/PV direction. I have to say that this uptempo approach to sludge and doom isn’t usually my thing (I like it slow and drawn out most of the time) but The Older House completely changes my orientation here.

‘Interdimensional Mold’ is the EP’s shortest song and it provides a bit of respite from the extremity of previous songs thanks to the addition of ambient sounds that are almost cosmic. It’s fully instrumental and leads perfectly into closer ‘The Painting On The Wall’, which provides one final opportunity to appreciate everything that The Oldest House has to offer musically. The band offers so much!

I haven’t covered a great deal of 2024 releases up to now; however, what I have heard and featured has been extremely strong so far. This EP is no different. It’s given me an appetite to dive into sludge and doom again, though that temptation is never far away!. Great stuff. Let’s hope and hold our breath for more from The Oldest House in the future.

You can stream and purchase the EP on both CD and digital formats below:-

The Oldest House - https://www.instagram.com/theoldesthouseofficial/

You can also buy CD copies from I, Voidhanger Records here - 

https://metalodyssey.8merch.com/product/the-oldest-house-a-worm-through-time-cd/

https://metalodyssey.8merch.us/product/the-oldest-house-a-worm-through-time-cd/

I, Voidhanger Records - https://www.facebook.com/i.voidhanger.records

Unsouling - Vampiric Spiritual Drain

Labels: I, Voidhanger Records

Formats: CD/Digital

Release Date: 26 Jan 2024

Tracklist:

1. The Wolf And Survival

2. Ladder Of Broken Backs

3. Taileater

4. Floating Key

5. Weightless Immovable Anchor

6. Endless Plateau

7. The Wolf And Ascension

I never intended for my first 2024 release review to come a mere three/four days before the end of January, but that's just how things have fallen. Vampiric Spiritual Drain is the debut album from US solo US black/death metal band Unsouling. It was officially digitally by Unsouling and physically via I, Voidhanger Records just two days ago. Unsouling draws it's inspiration from the likes of Feral Light and Manetheren amongst others, so expect something forward-thinking.

I’ve spent the last forty-eight hours or so with family and a four-legged friend. The reason I mention that is because the album opener ‘The Wolf And Survival’ reminds me of how energised I feel after another long-awaited encounter with my favourite canine. The song in question is a melodic yet raw affair, providing loving warmth alongside typical black metal intensity and experimental joy.  ‘Ladder Of Broken Backs’ is a more straightforward black/death metal song with Unsouling’s sole musician providing an extremely coherent and complete barrage of percussion, bass, guitar and vocals. At times it’s almost bombastic though it never crosses into symphonic territory.

After two full-on opening songs, ’Taileater’ is an electronic-laden instrumental number that’s perhaps inspired by cosmic elements. Maybe not in the same way as Blood Incantation but hopefully you’ll understand where I’m going with that comparison. ‘Floating Key’ is a superlative example of orchestral black/death metal and it works because Unsouling’s approach here is one of utter bewilderment and avant-garde experimentalism. The lengthier songs on Vampiric Spiritual Drain are the best in my opinion and ‘Weightless Immovable Anchor’ is a song that moves in many different circles, from true heaviness to melodic pomposity without compromising on overall musical quality.

There’s also a none-so-subtle industrial element to the sound on this album, as demonstrated by penultimate song ‘Endless Plateau’ and it’s percussion-lead tone. Much like Nailbomb/Sepultura without being a clone. Album closer ‘The Wolf And Ascension’ takes Unsouling’s experimental blueprint and stretches it to an almost ten-minute epic. When I say epic, I really mean it to as Unsouling’s lead-guitar work really comes to the fore during the song’s mid-section. It gives way to a synth-laden passage that lasts just long enough to add some light to the recording. Spacier tones wrap themselves around you during the closing few minutes, adding to the cosmic vibe generated earlier on while banishing any sense of extremity.

This has been an earthy yet really engrossing debut album from a solo project that will hopefully go on and produce more great black/death metal. Another great find by I, Voidhanger Records too.

You can stream and purchase Vampiric Spiritual Drain directly from Unsouling below:-

Unsouling - https://www.instagram.com/unsouling_/

You can order physical CD copies from I, Voidhanger Records below:-

UK/EU Store - https://metalodyssey.8merch.com/product/unsouling-vampiric-spiritual-drain-cd/

US Store - https://metalodyssey.8merch.us/product/unsouling-vampiric-spiritual-drain-cd/

I, Voidhanger Records - https://www.facebook.com/i.voidhanger.records

Cerulean - Carrion Angel

Labels: I, Voidhanger Records

Formats: CD/Digital

Release Date: 27 Oct 2023

Tracklist:

1. Tower Of Silence

2. Sky Burial

3. Carrion Angel

4. Gnashing Of Teeth

5. Shroud Of Locusts

I had this down as my first "2024" release review until I realised that Cerulean had already self-released their newest EP digitally in October of last year. I decided to stick with it though, as I had so much fun listening to the blackened death/doom of Ethir Anduin on Sunday just gone. Cerulean, haling from the US, play a more progressive form of blackened death metal and it's that style that no doubt drew the attention of Italy's I, Voidhanger Records. A CD version of this EP is due to drop via the label on 26th of January. 

This EP is the first of a two-part EP release, which is due to conclude later this year. Carrion Angel opens with ‘Tower Of Silence’, which is an ambient intro piece that doesn’t give too much away in terms of Cerulean’s sound immediately. ‘Sky Burial’ gives the first proper glimpse into the musical mind of Cerulean and it’s one of extreme black/death metal tempered with experimental/progressive musicianship. I personally really enjoy the marriage between primal extremity and modern experimentation, so this suits me down to the ground.

This EP’s longest song is sandwiched in the middle here and benefits from greater musical expression, as there’s more playing time to fill. ‘Carrion Angel’ stretches for over six minutes and it’s where the comparisons to Deathspell Omega begin to truly seep through. It’s filled with avant-garde, jazz-like time signatures and instrumentation while not straying too far from more traditional metal elements, especially thanks to the vocals. It’s a truly spellbinding song.

What follows seems a lot more primitive initially (mainly due to it’s faster tempo) but ‘Gnashing Of Teeth’ is just Cerulean dialled up to the max in all departments. Their song-writing is what makes this entire EP sound as (dare I say it) catchy as it does. EP closer ‘Shroud Of Locusts’ follows where it’s predecessor left off, focusing more on utter intensity and jilted melody. The percussion here is off the charts while the rest of the band battles to keep up. At times chaotic but also groove-laden too.

Cerulean are ones to watch in 2024. They make the case for musical discovery and why it’s so important to embrace musical evolution. Joining forces with I, Voidhanger Records will only be a good thing. I just hope that more people are drawn in by what they hear. Excellent stuff!

You can stream and purchase Carrion Angel digitally from Cerulean below:-

Cerulean - https://www.facebook.com/CeruleanBlackMetal

You can pre-order CD copies from I, Voidhanger Records via their stores below:-

EU - https://metalodyssey.8merch.com

USA - https://metalodyssey.8merch.us

I, Voidhanger Records - https://www.facebook.com/i.voidhanger.records

SkyThala - Boreal Despair

Labels: I, Voidhanger Records/Moonlight Cypress Archetypes

Formats: Vinyl/CD/Tape/Digital

Release Date: 18 Nov 2022

Tracklist:

1. Eternal Nuclear Dawn

2. Variegated Stances Of Self Mockery

3. Boreal Phrenological Despair

4. Rotted Wooden Castles

5. At Dawn They Walk

6. Yielding Quivers Of Revolution

If ever there was a greater enigma within underground/avant-garde extreme music currently, it would be  experimental and orchestral black metal band SkyThala. So much so that as a band they decided to remove any obvious reference to modern US musical influence in favour of Russian history and the classical music of Igor Stravinsky, Naturally, they found a home in the form of I, Voidhanger Records alongside the mysterious label Moonlight Cypress Archetypes in which to release their debut album Boreal Despair. Let's not waste anymore time, for twisted wonderment awaits.

This album is truly where classical music and extreme metal meet. Symphonic bands have tried to marry the two together for many years now, but in my opinion they’ve failed with each attempt. SkyThala mixes cold and somewhat curdling black metal with orchestration that includes keys, woodwind and brass instruments. Okay so it does at times nod towards off-kilter/avant-garde jazz, but there’s nothing wrong there as it challenges you as a listener. I certainly wouldn’t call in anti-music but it’s not an easy listen throughout the ten minutes of opener ‘Eternal Nuclear Dawn’.

‘Variegated Stances of Self Mockery’ makes me think about the varied differences between mainstream music (and even what could be considered gateway metal) and the truly inspiring, thought-provoking works that pass us by everyday. It’s a travesty that we’re not encouraged to listen to more intelligent music and indeed musicians. I guess that’s just the world we live in right now. I never did truly understand music theory nor did I attend university, but I’m utterly fascinated by this album already. 

They say that music is one of the greatest of escapes (aside from travelling maybe) but as the calm acoustic/stringed tones of ‘Boreal Phrenological Despair’ begin, you’re whisked off to somewhere entirely different. It strangely prepares you for the black metal intensity that follows. Airy orchestration sits amongst the extremity, with unnerving choral singing hidden within it’s depths. Varied mental images are painted throughout each of Boreal Despair’s six lengthy songs, but none more so than here. 

The album’s second half is as transfixing as it’s first, as ‘Rotted Wooden Castles’ flourishes with instrumental prowess and truly epic choral melodies that give way to a clash of yet more ice cold black metal, and constantly switching jazz/classical textures. The lead guitar work really sticks out here as well, giving the song’s latter half a proper old-school headbanging twist, at least for a couple of minutes. 

Penultimate song ‘At Dawn They Walk’ contains probably the greatest orchestral-metal ratio of the entire album; however, SkyThala manage to retain an extreme edge from within their haunting crypt. The organ that leads much of this song is brilliantly played and while it seems like the song’s full nine minutes are split into smaller movements, everything works as a (slightly odd) cohesive whole. Album closer ‘Yielding Quivers of Revolution’, with the additional guest vocals of Starer, is an exceptional way to end. Musically, it encompasses everything that makes SkyThala such an engrossing and enjoyable band to listen to.

I refuse to accept that bands like Five Finger Death Punch or Falling In Reverse are considered challenging. Okay, those examples are somewhat lazy but as I eluded to earlier in this review, the breadth of talent within the counter culture that makes up extreme music is growing ever richer and SkyThala belong in the pantheon of the most extreme, and musically gifted. 

You can stream Boreal Despair and buy it all available formats via Bandcamp below:-

SkyThala - https://www.facebook.com/SkyThala

If you're in Europe and would like copies on CD/Vinyl, head to I, Voidhanger Records here - 

https://i-voidhangerrecords.bandcamp.com/album/boreal-despair

I, Voidhanger Records - https://www.facebook.com/i.voidhanger.records

Moonlight Cypress Archetypes - https://www.facebook.com/MoonlightCypressArchetypes

ZOS - The Whole Of The Body I Call ZOS

Label: I, Voidhanger Records

Formats: Vinyl/CD/Digital

Release Date: 22 Apr 2022

Tracklist:

1. The Whole Of The Body I Call ZOS

2. Volition

3. Black Albatross

4. On The Announcer Of Great Events

5. Oh, Mighty Rehctaw!

I hope the current holiday season is treating you all well! I'm currently planning my review schedule for early January, but I've still got time for one more review this year. I'm also having an I, Voidhanger Records binge of late, which is where this 2022 release from Polish drone/doom/weird trio ZOS comes in. It was released via I, Voidhanger in April and is the band's third full-length since their formation in 2018. Aside from the above, I know very little about ZOS. Let's allow the music to do the talking.

Starting with the opening track ‘The Whole Of The Body I Call ZOS’, you’re greeted with droning bass and ambient instrumentation centred around guitar and synth. After the initial near two-minute intro you’re thrust into a cacophony of seemingly indecipherable noise coupled with haunting and whispered black metal vocals. After spending the last few days reflecting on music in it’s countless forms and whether it’s virtuous  for an artist/band to follow their own creative path or one laid down for them by fans/trends, it occurs to me that ZOS are merely here to divide and fracture. That’s not to say they’re bad though; far from it. It’s what you make of it that counts.

I, Voidhanger is known for some of the most avant-garde portrayals of extreme music you’re likely to hear in this modern age and in ZOS the label has managed to capture a beast. ‘Volition’ shows off their droning influences to a greater extent, while also making use of anguished depressive/suicidal black metal wails that pierce your very soul. The world’s slowly descending into chaos, so music might as well provide an accompaniment.

Rewards come in the form of many things nowadays and the glorious metallic riffs that open ‘Black Albatross’ await you if you’ve made it to the mid-point of this album. The latter half of that sentence probably sounds a bit harsh on ZOS but please don’t take it the wrong way, because experimental music such as this instrumental proves there’s more than meets the eye here and it’s as gripping as the album artwork is frightening.

The disarming spoken-word sample/verse that sits atop of the minimalistic instrumentation during ‘On The Announcer Of Great Events’ cloaks the album in darker shrouds, before being overtaken by more immersive metallic tones and a further nod towards lowly doom. Sometimes it’s easier to spot the pretenders and to completely overlook those who genuinely mean what they’re doing. ZOS are certainly not pretenders. 

Album closer ‘Oh, Mighty Rehctaw!’ provides one final momentary glimpse into the minds of those behind ZOS. It relies much more heavily on drone as the backbone for something deeply rooted in occultism. The term ‘occult’ is being used a lot nowadays, especially thanks to the likes of Beastmilk and Ghost; however, it does describe the feeling you get from this final song and ZOS are unlike either of those aforementioned bands. 

2022 as a year has been many things and given what it’s followed, bands have a right to produce and release music that draws from the most challenging times. ZOS came through those times and in doing so, provided a body of work that’s both inwardly and outwardly reflective. To truly appreciate is to listen.

You can stream and purchase the album on all formats below:-

ZOS - https://zosvelthanatos.bandcamp.com/

I, Voidhanger Records - https://www.facebook.com/i.voidhanger.records

Arkheth - Clarity Came With A Cool Summer's Breeze

Labels: I, Voidhanger Records

Formats: Vinyl/CD/Digital

Release Date: 30 See 2022

Tracklist:

1. In The Cradle Of The Crescent Moon

2. Kundalini

3. Psychonautica

4. Neptune Beaches

5. Patience In The Garden Of Fire

6. Where The Ocean Meets The Sky

I've found myself in a rare spot, where I can pick a random release to talk about. This particular release forms part of the ever growing I, Voidhanger Records stable, which is a label that's known for it's love of progressive and avant-garde metal, with bands who constantly up the cover-art level. One such band is Australia's Arkheth. I previously wrote about their 2018 album 12 Winter Moons Comes The Witches Brew. I really enjoyed that album and knowing that they've now found a suitable home for their latest work, I'm excited to hear how they've progressed over the past four years and if that cover is anything to go by, there's gonna be psychedelia aplenty.

I’ve said before that it’s always great to revisit bands that I’ve reviewed before and Arkheth left a really good impression with their previous album. Fast-forward to now and Clarity Came With A Cool Summer’s Breeze promises to be as good, if not better. Album opener ‘In The Cradle Of The Crescent Moon’ is an instrumental that hides Arkheth’s extreme influences behind acoustic guitar, saxophone, clarinet and birdsong. It’s an auspicious start.

‘Kundalini’ follows quickly on with something that’s a little more extreme, but only because it contains guitar riffs. They’re joined by both spoken/whispered and cleanly sung vocals, keyboard tones that sound like a Moog and almost shoegaze-like textures. There’s a lot going on and the creativity levels are very high indeed. Even the electronic flourishes during the song’s mid-section don’t sound out of place. Black metal makes more of an appearance later on, along with some Shining-like black jazz.

There seems to be a growing trend (if you can even call it that!) of bands becoming less extreme, heaviness-wise and Arkheth make their point clearly on ‘Psychoanutica’ (not that they’re following any trends). Part black metal, part cheesy 80’s game show music and part bizarrely beautiful sound collage. If this band ever makes it onto Jools Holland’s Hootenanny, I’ll be bloody happy!

The reason I mentioned Jools Holland is because the brass section of ‘Neptune Beaches’ could easily have come from his rhythm and blues orchestra. It’s that good and underlines just how impressive this album is. I’ve honestly never heard anything like this in the twelve years I’ve been writing about music. Everything flows so well and before you know it you’re listening to the 70’s inspired penultimate song ‘Patience In The Garden Of Fire’. More like a folk, psych, Beatles-esque pop song than anything remotely close to metal, yet it works so well in the context of Arkheth’s music. 

‘Where The Ocean Meets The Sky’ epitomises the musical quality of this album best and it’s the final song of a record that’s over too quickly, It’s very atmospheric and it builds in a gentle way, making full use of every element at Arkheth’s disposal. Led by the band’s sole permanent member Tyrone Kostitch, with additional and no-less significant contributions from Glen Wholohan (alto sax, tenor sax and bass clarinet), Tarquin Halls-Corbett (bass, backing and additional lead vocals, along with added acoustic and electric guitar on track 6), Prophanant (additional lead guitar on track 3) and Hunter McDonald Gerrand Rogers (string orchestration on track 5), it’s unlikely that you’ll find a collective as inspiring as this.

All that’s left now is for you to go on your own journey of musical exploration, starting with this record. It fully justifies why Arkheth should be held in much higher regard and why I, Voidhanger Records should be revered amongst lovers of challenging, stimulating music devoid of traditional labels. Fantastic!

You can stream and purchase Clarity Came With A Cool Summer's Breeze on all formats below:-

Arkheth - https://www.facebook.com/arkheth

I, Voidhanger Records - https://www.facebook.com/i.voidhanger.records

Spectral Lore/Jute Gyte - Helian

Labels: I, Voidhanger Records

Formats: CD/Digital

Release Date: 19 Jan 2018

Tracklist: 

1. Jute Gyte - Helian

2. Spectral Lore - Helian

This new two-song split comes from Greek band Spectral Lore and the USA'a Jute Gyte. Both bands play extreme, atmospheric black metal of sorts and this release sees them both re-imagining the 1913 poem "Helian" by Austrian poet Georg Trakl. The split has been released via I, Voidhanger Records on both CD and digital platforms. Spectral Lore was created by sole-member Ayloss in 2005 and to date, the band has released four full-lengths and countless splits and EPs. Jute Gyte, also a one-piece and started by Adam Kalmbach, has released a vast number of full-lengths, splits and EPs. 

This record begins with Jute Gyte’s musical interpretation of Helian. Jute Gyte presents it in a droning, misery-drenched way. The main backbone of the song is doom-like bass/guitar and percussion, interspersed with harsh black metal vocals and organ-like synths. It varies in pace, with the fast sections becoming almost fit-inducing thanks to what sounds like a drum machine that’s set to warp speed. Experimentation is at the forefront of both Jute Gyte’s music and this song. The song is lengthy so thankfully the tempo and mood changes are at points that will maintain the interest of the listener, without turning them off due to it’s extremity. 

The soothing guitar that opens up Spectral Lore’s take on Helian is surely there to draw you into a false sense of security. It’s incredibly musical yet the sense of foreboding that filled the air during Jute Gyte’s song is still there and it’s not long before more feed-back drenched notes fill your ears. Again it’s doom-filled but more restrained as well. The spoken-word sample/vocals sit within the mix before giving way to rasping growls. At times it’s more introspective and relaxing (if I can say that), with less reliance on bold and extreme musical shifts. The song kind of splits in to two movements, as around ten minutes in there’s a very brief moment of silence. That silence gives way to riffy blackened doom, amongst the band’s atmospheric textures.

My futile attempt to write a synopsis of this record is plain to see. It has two very different sides to it though. One is bizarre and extreme, while the other is more insightful and relaxing (in a strange way). It’s a record that you’ll need to listen to yourself, to truly appreciate. Needless to say, it’s inspiring. 

You can stream "Helian" and purchase it on CD and digitally below:-

Jute Gyte - https://jutegyte.bandcamp.com

Spectral Lore - https://spectrallore.bandcamp.com

I, Voidhanger Records - https://www.facebook.com/i.voidhanger.records/

Eigenlicht - Self-Annihilating Consciousness

Labels: Gilead Media/I, Voidhanger Records

Formats: CD/Vinyl/Digital

Release Date: 16 Feb 2018

Tracklist:

1. There Lies Already The Shadow Of Annihilation

2. Hagia Sophia

3. Labrys

4. The Deifugal Force

5. Berserker

It's scary to think that it's almost been three years since I first featured Olympia (Washington, USA) black metal band Eigenlicht on here. How time flies! The quartet has recently released it's first full-length via both Gilead Media and I, Voidhanger Records. The 2015 EP "Sacral Regicide" was a mere hint at what the band could achieve on a larger format and finally they are given this chance by two fantastic labels. "Self-Annihilating Consciousness" is sprawled across both cd (I, Voidhanger Records) and 2 LP's, both hewn in gold or black wax (Gilead Media).

Eigenlicht has always been very adept at weaving atmosphere into their music. There Lies Already The Shadow Of Annihilation is a very short instrumental opener, featuring droning feedback and traditional flute melodies. Hagia Sofia is the record’s first long-player and initially it’s very doom-like. Again, it contains traditional instrumentation and it’s slow to build. When the vocals kick in, they’re low growls that remind you more of doom/death. They sit well amongst the atmospheric instrumentation but it’s only when the harsher and higher-pitched screams start that you realise there’s more to Eigenlicht than just slow, meandering heaviness. The clean singing is chant-like and haunting, and the band doesn’t believe in instant gratification for the listener, instead preferring to progress slowly and with musical touches that aren’t always present within black metal. It’s only towards the end of the song that they choose to unleash a more obvious black metal approach. 

I suppose that just calling this a black metal album is way off the mark, as it’s a lot more varied and experimental for that narrow classification, though Labrys appears more straightforward. It sounds more orchestral and majestic, which for a band that doesn’t call themselves a symphonic black metal band, is quite an achievement. The moments of off-kilter mayhem later in the song takes it in a completely different direction for a little while, though it never loses it’s musicality. Spacey keyboard ambience paints a subtly dramatic picture on Deifugal Force. It is heard over the guitars and at times is quire menacing. At around the two-minute mark it gives way to another bout of off-kilter guitar work and slow percussion. This is the record’s longest song and it definitely feels as though Eigenlicht has upped the experimental textures somewhat. It’s a glorious piece of music that is both harrowing and transfixing, even in it’s quietest moments. 

Ending with Berserker, Eigenlicht takes a slightly more laid back approach but there’s still a sense that they could flair up at any moment. Flair up they do, though only relatively briefly. Their black metal blueprint sounding as brilliant as ever. “Self-Annihilating Consciousness” is a record that may demand repeat listens, but one that will reward you with it’s enchanting and sprawling musical textures. Eigenlicht has certainly stepped it up on this full-length and are a band that stand out as one’s to pay close attention to. Great stuff. 

You can stream "Self-Annihilating Consciousness" and purchase it digitally via Eigenlicht's bandcamp page below:-

You can buy physical cd and vinyl copies from the releasing labels below:-

I, Voidhanger Records - https://i-voidhangerrecords.bandcamp.com/merch

Gilead Media - https://gileadmedia.bandcamp.com/merch

I, Voidhanger Records - https://www.facebook.com/i.voidhanger.records/

Gilead Media - https://www.facebook.com/gileadmedia/