New blood is boiling in the Austrian underground as dissonant / weight-of-the-ocean-heavy death metal band Guyođ introduce themselves with two tracks in their debut split release with Lehm, named Alluvial Soil. Drawing inspiration from the depths, initial listens evince a recipe of potent atmosphere, well-structured material and whole-hearted drive from people who take the project rather seriously. A small discussion between them and Arson Cafe reveals some of the band's background and intentions.

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• Welcome, feel free to give a short introduction of your band.

We are GUYOĐ from Graz, Austria. We summon our subaqueous Death Metal from the wet, dark depths of the oceans, where no light, no color, no man resides. 

• What is the meaning behind your name? You are probably correcting everyone who is trying to pronounce it...

We wanted to come up with a term which describes our music and our lyrical topic briefly and precisely. We stumbled over the word ‘guyot’, which stands for a dead underwater volcano, abraded to a table mount by the tides. We simply changed the spelling to make the band’s name stand out more and create further confusion. There is not even full consent within the band as to how to pronounce our name. Pick your favorite version.

• It seems Guyođ have lyrics mainly about aquatic subject matters. While a topic present in the underground metal scene (Ahab or Grond come to mind), it is still not one that tops popularity. What is your personal approach on this concept?

Our music is meant to evoke the feeling of being lost in the vastness of the great unknown and being subjected to powers beyond our imagination. Basically, that’s just what the oceans are, a terrifying, overwhelming ‘terra incognita’ – we know more about certain regions on the moon than about the deepest places in the oceans. It’s just an intriguing topic to delve into and deal with.

• Alluvial Soil, your first split release with compatriots Lehm, has been out for a few months now. How has the feedback been so far?

We got some very favorable comments on this our first output. Nevertheless, there’s still work to be done to spread the word further. After all, our two songs on the split are just precursors to the storm that is gathering on the horizon.

• There's a thick atmosphere and hints of more dissonant song writing in Guyođ. What are your musical influences?

Even though we do not sound much like most of the following bands, we get inspiration from the musical approaches and the atmosphere evoked by: Mayhem, Opeth, Marduk, Lvcifyre, Craft, Type O Negative, Immolation, Sulphur Aeon and many, many more.

• Is Vepar, a name featured in your first track "Into the Temple of Vepar", a reference to the demon from Ars Goetia? What would be some literature suggestions you would give to a fan of your music?

Yes, it is exactly THAT Vepar! The idea was actually given to us by the wonderful artist behind the jewelry label ‘Temple of Vepar’.  Also, good question about literature. In order not to mention the usual suspects, try “Leviathan, or the Whale” by Philip Hoare, “House of Leaves” by Mark Z. Danielewski, “Les Chants de Maldoror” by Lautréamont or the poems of Charles Baudelaire.

• How does your material come together? Is it a linear procedure with equal contribution among all members, or you have a main composer?

Our guitarist Dohrn is the main songwriter who has been writing the basic ideas for all of our songs so far. He usually comes up with about 90%-finished songs, but in the rehearsal room we figure out collectively how these ideas work out in ‘real life’. Sometimes we change more, sometimes we change less, but the ultimate product is a collaborative one. Some of our lyrics so far have been written by Dohrn, others by our singer Ōjin. We also have some remnants from our early days, created by our former singer Miron.

• What is the current status of the band, are you putting any new material together, that you can share with us? Is there an EP or full length in the works?

We are currently finishing the writing process for our first album, so we are planning on starting recording later this year. Most of these songs are finished and we play some of the material live already.

• You have already taken part in some local shows in your hometown Graz in Austria. Are there any plans for further touring this year?

Meanwhile, we have played concerts in Vienna, Gleisdorf and Maribor, Slovenia - besides the mentioned ones in Graz, of course. Even though we are extremely hungry for the stage, we are currently focusing on getting the album to the finishing line. But reckon to hear from us in the near future…

• Thank you for your time. Close the interview as you wish!

We are very grateful for the opportunity to introduce ourselves to your readers and answer some questions. Those interested are recommended “enjoying” our eerie music videos created by Cartismandua on Youtube, or simply listening to our music on Bandcamp. While there, get a hold of our tapes, while we still got some.

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https://www.guyod.net/

I have this feeling that by now, Blut Aus Nord's music is driven by a pre-defined musical direction that serves the content itself, rather than an artistic cleansing of the mastermind behind it. Of course this project is massive, with a distinct presence in the black metal scene, and even when a disappointment comes along, you can't ignore the overflowing passion Vindsval has for his music. Yet, I realized recently that I haven't enjoyed Blut Aus Nord that much since 2014, and even before that, there is only sparse material through a maze of releases that are worth it.

Right of the bat, you will get what you want in Disharmonium: Undreamable Abysses. Thankfully, the bittersweet roaming that was ongoing in Hallucinogen has ended and this record is more focused this time. Fretless guitar torture has come back with a vengeance, and it's excessively used to create the haunting atmosphere Blut Aus Nord have been experts of for a couple of decades. Lyrics are almost not needed and rarely used, it's mostly these flowing, vivid riffs that continuously pummel their way through the ears, constituting a rather nightmarish listen in a good way. At least, that's what a new Blut Aus Nord listener will experience.

For me, the same everlasting issue is also carried along in Undreamable Abysses: once you listen to the first two tracks (which are the highlights, worthy of being in a Blut Aus Nord playlist and to be listened again), you have heard the best this record has to offer. It starts repeating itself, slowing down unnecessarily and too often, and what starts as a hellish storm fades out as a bland replica of itself, but just worse. Even the titles don't mean anything to me anymore, as it seems like these words together would sound cool for this kind of record, rather than Vindsval actually expressing something. I get this weird emptiness from the current face of the band, which I wouldn't feel in the past. I mean, listen to Dialogue with the Stars and tell me if it doesn't piledrives you to oblivion.

I expect a lot of praise for this record, and it has a few good elements. For example, one point that you can never take away from them, is the visuals. All art and designs are impeccable, I am going to buy this album just for the front cover. I don't know what Blut Aus Nord should do to become solid again as they seemingly continue strong, yet I can't recognize the greatness that once was and definitely can't feel an album such as Undreamable Abysses after the third track. Even a boring release from them is still something I might return to once in a while and it's hasn't ever been completely ineffectual (with a few exceptions), but my long standing opinion on Blut Aus Nord hasn't changed. They release something of greatness, only when Memoria Vetusta is used in the title.

DAMAGE: 2.5/5 [Average]

For the first time in their discography so far, Sacred Son make a significant stylistic change of heart when deciding for an album cover art, a topic that was on its own a topic of discussion up to now. We were used to seeing rather earthly, social media-like personal pictures so far, which not only didn't remind of a black metal band at all, they wouldn't fit (unlike the music) any category of the "extreme" scene or anything even remote to that. At the same time, that was the most eye-catching point of the band for me, as the music itself was, at the times when it wasn't just clear reproduction of already known atmospheric / black metal, just uninspiring.

To be fair, the cover of The Foul Deth of Engelond is now amazing. The story behind this conceptual album is also really intriguing, covering the Peasants' Revolt of 1381, an important event in the history of England, and with a clear social predilection that is still relevant today, and more and more vocal within extreme metal. In that sense, I am totally for the turn Sacred Son have taken with their latest album. However, the band's material is still carrying the same problematic ends I have found in their previous works, and while having a handful of potent moments, it is in general a rather mediocre effort.

All tracks (apart from an one minute introduction) are long in duration and have multiple segments stapled together. There is a sense of flow which isn't perfect, but not completely out of balance either, as there are dots connecting the different parts together. Sacred Son's formula is easy to follow, and one can listen to it in the album's first two tracks, which are basically identical: middle paced build up moments, intense fast tempos with pale keyboards in the back, and back to slow or too slow sections that sometimes overstay their welcome.

For example, the ending of the self-titled track is clearly too long and without any kind of change, filling up a couple of extra minutes for no apparent reason. At the same time, the earlier, faster part is decent, and the same goes for "La Blakheth", which has a really dull introduction but a bit more intriguing guitar activity towards the middle (yet, something you have definitely heard before), before going back to slow-tempos of too many repetitions. The vocals are generally weak, and these two tracks specifically, have a kind of whispering / breathing into the microphone technique that I thought was horrible.

The Foul Deth of Engelond continues with an equally turbulent track that is unsure in itself what atmosphere to evoke (a general problem of the album, it's clear and without a substantial atmosphere at any point despite the attempts). By "Vengeance I & II", the album's last track, Sacred Son have completely given up, that track is basically nine minutes of waiting for a main part that never comes. Apart from the rhythmic introduction with male / female clean vocals, which makes you want to listen to late Wolves in the Throne Room or Wardruna, this track is by far the weakest here.

From the record, I enjoyed the more violent moments. However, they are scrambled together with a lot of slow-paced monotony, too many smaller elements that don't add up (piano, samples, unfortunately don't work) and a clear weakness of understanding of how to take a certain approach. The Foul Deth of Engelond remains as another boring Sacred Son album that I'm not going to listen to again, yet I was satisfied that I saw such a nice design and tracks with interesting lyrics for once. That they know well.

DAMAGE: 2.5/5 [Average]

It has happened that I have turned off a Primitive Man record, especially their early material, just because of how empty and long the compositions were. At the same time, when they aim more accurately, their absolutely crushing side becomes more prevalent. 

While I enjoyed their last couple of albums, I still think a major issue of this band is the length and the monotony of their work, which is always too much for too little. Funnily enough, this EP is longer than their last full length Immersion, and it includes a Smashing Pumpkins cover of the song "Quiet", but you will not recognize it.

Insurmountable that the equally scourging production of their recent works, and the same musical approach, so not much have changed: the second track "Boiled" is a solid noise / dark ambient piece, "Cage Intimacy" is borderline boring but a certain fan pleaser, the opener "This Life" is the actually legit and enjoyable piece and "Quiet" surpasses the notion of a cover, it's vastly different, it didn't fully fit to my ears and just makes you want to listen to the actual Smashing Pumpkins. 

Therefore, this EP is a hit and miss for me, I'm taking away the first track and probably nothing more. But still, just for the average amount of heaviness they manage, it's a pass.

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Label: Closed Casket Activities

Country: USA

Release date: May 13th, 2022

Website: Facebook

DAMAGE: 3/5 [Good]

Nechochwen definitely take their time creating new material and their discography might be short but very efficient, as they have had a rather splendid series of full length albums since their debut, Algonkian Mythos in 2008, especially their latest work, 2015’s Heart of Akamon. I was also impressed by their side on the split with Panopticon in 2020, which made me re-run the band’s earlier records while waiting for their next chapter. Kanawha Black now arrives seven years after its predecessor, and not only doesn’t disappoint, but has some of the most well-worked Nechochwen have put together in the project’s lifetime.

Once started as a pure neofolk / acoustic band, such elements still resonate very strongly in Nechochwen’s music. The record has plenty of melodic, almost purely acoustic chunks with enjoyable clean vocals, which are sometimes used exclusively (for example, in “The Murky Deep” and “I Can Die But Once”) but also as parts of longer compositions. The production glorifies the band’s earthy sound and emphasizes the variety of melodies Nechochwen employ, in a record that is by no means down lifting but rather epic and of great conceptual concept. Apart from the slightly more surprising short piece “A Cure for the Winter Plagues”, which has the pattern and deep growls of a funeral doom metal track, most tempos in Kanawha Black are middle / fast paced and its flow is impeccable. 

When the tracks get more direct and closer to clear black metal, there is always a set of dominating, blistering guitars that completely lay on folk / atmospheric black directions, yet don’t imagine the use of extra instruments to achieve an atmosphere. Shrieked vocals are awesome and the song structures are especially appealing, as it is demonstrated in “Visions, Dreams and Signs” or the opening, self-titled. The last part of Kanawha Black features another set of two amazing pieces, “Generations of War” and “Across the Divide”, which include all the fine tools of the band’s arsenal combined together in a quite successful way. I would personally prefer more screaming than singing especially in the distorted guitar parts, yet that is only personal, it doesn't really take any merit from the final work away.

It has been proven before that Nechochwen a really powerful band and their newest work is surely compelling at all levels. Not the average folk black project, full of interesting ideas and intense compositions with great riffs and some soloing only when needed, and not as a means of making an impression of skill. Kanawha Black is, as their previous works, strongly connected to nature and would make great company for a short hike out in the woods. 

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Label: Bindrune Recordings

Country: Canada

Release date: May 13th, 2022

Website: Facebook

DAMAGE: 4/5 [Excellent]

Four years and some turbulence since Trident Wolf Eclipse, the most commercially successful black metal band of our time returns with a new installment to their discography, transparently called The Agony & Ecstasy of Watain just as a characterization of their lifestyle and music career up to this day. Once again recorded at Necromorbus Studio at their hometown, Watain's body of work has always been catered from start to finish by its own people and similar-minded disciples, and at the end of the day, even if you can have any studio you want on the planet, why change a winning team...

For starters, I prefer this artwork to the previous album. While The Wild Hunt had to me the best visuals Watain have ever done, there are times that I have not understood their choices in that district. A rework of their mid 00's logo, infused with an Impetigo / Merciless kind of chaotic font filling, in vivid red color above a chock-full design makes a good case of presenting the record along with the way the title is written on it. At the same time, I'm not sure how I feel about the title itself, and this extends to some track titles in the record. For a band that is quite capable of writing great lyrics, I imagine they spent too much time touring with Profanatica before coming up with "Black Cunt", and also, what is a funeral winter? Strictly speaking, that means nothing.

Sound wise, The Agony & Ecstasy of Watain has a crystal clear production and a bombastic sound that won't let down fans of the band. The record is full of the quintessential, melodic structures Watain are known for, and shows a more distinct experimentation with different tempos within compositions, while at times being totally chaotic in high speed moments. I found Trident Wolf Eclipse to be a more direct album, as The Agony... shows a stronger propensity towards clearer melodies without missing thunderous turns of pumped energy that as a fan, you should be really eager to see live. For example, "Leper's Grace" is one of the most straightforward and heaviest tracks I have heard from Watain the last few years, it doesn't hold back for a second, and the same goes for the blasting opener "Ecstasies In Night Infinite" which serves as a great introduction to the album.

One of the singles put out prior to the full release, is a track that I feel can be the next big hit of the band and played around as frequently as a piece like "Malfeitor" or "Reaping Death". Built as the clearest example of what this band is, "The Howling" is what you should suggest to someone new to Watain if you want to show them the most typical sample of what they are about, and it's a pretty enjoyable banger as a whole, even though I don't like the very first two seconds, where that tiny opening riff should have been skipped completely. In some of its longer pieces, The Agony... showcases Watain's competency with creating impassioned guitar lines when they're not too busy playing fast and destructive, and "Before the Cataclysm" depicts exactly that.

Two guest appearances are featured in the record's 8th track "We Remain" (another title at the same level like "They Rode On"), specifically In Solitude's bassist Gottfrid Åhman and the frontman of The Devil's Blood, Farida Lemouchi. Watain have been in very good relations with both these bands and have paid their respect to The Devil's Blood in the past, which makes this collaboration totally reasonable, and it's the time when the band leaves the space open for these amazing female vocals to define this epic slow paced track, which has much stronger and better substance than the previous time when they tried clean vocals in The Wild Hunt. It is not a track I will be listening to that much, but I can tell its evocative nature and finally doesn't feel forced, and it fits well with the rest of the album.

With that being said, there is no point for the short piano piece "Nor sun nor man nor god" to be here, as it's overly simplistic and even includes some guitar playing. Why not make this the introduction of the next track for example? These choices of metal bands always baffle me. Weak moments also lie in the tracks "Serimosa" and the aforementioned "Black Cunt", with the latter being the most boring piece in the album, especially for this compositional pattern of abrupt starting and stopping of the guitars that is frequently used in it, which made it skippable for me. Luckily, it is just one track, and while "Serimosa" seemingly has nice melodies, I would have liked less repetition there too, and its timidness made it a bit unimpressive to me.

The Agony... concludes its piece well, with two really well written black metal pieces, "Funeral Winter" (... ok) and "Serpentrion". The glorious days of the past, when a whole Watain album was a hellish masterpiece, are gone. Nevertheless, it's pretty clear that the flame is still burning for this band and they have not strayed that much from their path, they are extremely skilled and capable of creating their own sound in black metal despite being so honorary towards their influences, and they have not been afraid to experiment. This album represents a fine next step to what they have been doing, and it has several really acute and potent moments, as well as some clear missteps for me. However, even the more fragile moments of the band are still very high in my preferences list, so...

"A cross has been carved in the place where we go to die

There they await, to draw every secret from you

And the blood of thy heart"

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Label: Nuclear Blast

Country: Sweden

Release date: April 29th, 2022

Website: Instagram

DAMAGE: 4/5 [Excellent]

This Finnish band's acute sting is no wonder when taking into account its members, who are also active in projects like Lie In Ruins, Profetus, Tyranny and Concrete Winds, some of the most high quality extreme metal out of that country, considering everything (you heard me). Nevertheless, I never gave Corpsessed a proper listen except for 2018's Impetus of Death, which I had found more than entertaining, and now their fourth full length and first release in three years, Succumb to Rot, which is as bludgeoning as the title suggests.

While disregarding excess in technicality, the record thrives on potent, heavy riffing with numerous middle and slower paced moments, cavernous vocals and harsh but clear production that has admittedly taken a step or two forward compared to their previous material. There is a leveled amount of old school death metal groove in Succumb to Rot, as well as excellent drumming with an even more excellent sound, definitely one of the highlights for me that made the tracks even more pleasing throughout the listen. Corpsessed have a good sense of riff sequencing and are not afraid to switch tempos when needed, achieving a result that stands out for its amounts of the purest element of the genre, brutality.

It's not that Succumb to Rot is completely void of filler moments. Especially in the longer tracks of the record (such as "Profane Phlegm", "Sublime Indignation" or "Spiritual Malevolence"), I heard some moments that served as little too long bridges between actually solid parts in the composition, especially when the band decides to go almost towards doom / death territories. This little point can remain under the radar though and won't really annoy the ear of a listener who gives themselves up to the album, an otherwise wholesome experience. These tracks are also enjoyable, but I do think Corpsessed are flawless in their shortest pieces, especially "Relentless Entropy". I could also live without this two minute introduction, but it does somehow set a mood. Imagine though, the record starting with the massive second track!

Corpsessed explode just before the record ends with the longest piece in the record, "Pneuma Akathartos", meaning unclean spirit in Greek and slightly grammatically incorrect (the correct phrase would be pneuma akatharto). Here, one can hear actually efficient doom-ish passages in between completely crushing death metal that brought Desolate Shrine in mind, while Corpsessed are more of an Incantation / Disma kind of hellspawn. Succumb to Rot does not come lightly, it doesn't contain any tricks to sound as punishing as it does and it resembles the image of a giant boulder running over the house. All in all, it hits what death metal can and should hit.

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Label: Dark Descent Records

Country: Finland

Release date: April 22nd, 2022

Website: Instagram

DAMAGE: 3.5/5 [Great]

Band: Suppression

Country: Chile

Album: The Sorrow of Soul Through Flesh

Label: Unspeakable Axe Records

Website: Facebook

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What needs to be stressed when looking at this new Chilean band, with only a couple of demos and an EP under their belts so far, is that it consists of members who also play in the - also relatively new - death / thrash band Ripper. And over there, they have shown to have an excellent grip on creating fast and pumped, old school rooted, menacing metal with no elements of modernity, as with 2016's Experiment of Existence being to me, one of the best album of its kind for that decade. The same gifted individuals now take a turn towards purer death metal and the underground should be happy.

For people listening to this music more than just to find out what they like and pass their time, it's an ordeal to end up finding a band with substance, mainly because of the rate records are released and how different approaches sometimes miss core points. Once one tries to play it old school, one sounds worse than what we have already heard. Once one tries to go on cleaner and more modern playing, one puts oneself in danger of lacking meaning in the music for the sake of ultra complex technique. In the end, I am frustrated to listen to 90% of death metal bands with fancy album covers out there. Oh, what is this, another Swedish chainsaw sound record about death? Just what we needed.

Considering these side notes, Suppression is a breath of fresh air in a post-apocalyptic, barren and uninhabitable wasteland. This band understands the essence of the riff. The flow and structure of their tracks is perfect, every instrument is audible and has a purpose in the composition, and they dare to experiment more than once in this album. Production-wise, the same muddy sound of the Ripper albums is ongoing, but it shouldn't be anything other than that. There's a ton of bulldozing guitar melodies all over the place, wonderfully placed together in seamless changes of tempos and it's above all, naturally heavy. 

Of the two instrumentals, there is one short acoustic piece and a more elaborated piece "Unwinded Harmonies", in the same spirit like the rest of the record, only more abstract and experimental that reminds a bit of early technical death metal's unconventional side, but only in parts of it. I liked all the solos I heard in The Sorrow of Soul Through Flesh, which also features vocals very close to the style of Obituary, and it's the only minor drawback I could find. While there's nothing wrong with how the vocalist sounds, sometimes it gets to close to this way of singing (for example in the second track "Overfeeding Gaps"), which is already a bit particular.

Apart from that, the record is full of amazing death metal tracks. The opening "Lifelessness", as well as "Lost Eyes" and "Monochromatic Chambers" are highlights, for their glorious guitar and bass moments, with the latter having a vibrant presence in the album, as it should always be. The take home message here is the same as in the other band of these Chileans, that you can still play old school without boring the listener to death, and it can be worthy listening to even further away from the ears of the fanatics of traditional metal that don't go for anything else. As much as I like Ripper, I like Suppression now.

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Release date: April 25th, 2022

Tracklist:

1. Lifelessness

2. Overfeeding Gaps 

3. Monochromatic Chambers

4. Unperpetual Misery

5. Unwinding Harmonies

6. Lost Eyes

7. Misunderstanding Reality

8. Self-Eaten Alive

9. Arrowheads

10. Extortion Behaviors

Band: E-L-R

Country: Switzerland

Album: Vexier

Label: Prophecy Productions

Website: Facebook

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The second full length by Swiss doom / psychedelic rock / blackgaze / atmospheric-post metal band E-L-R sees the light of day three years after their promising debut Mænad, and proves that it is sometimes rather senseless to force a genre label to something, after this description surpasses two words. It is still a case of an artist that has, to me, quite clear musical leanings, yet I can't stick just one genre tag on them, and I was reminded of this through their latest installment, a brand new full length named Vexier. 

E-L-R is a concoction of a few but assertive elements: powerful middle-paced post-metal riffing (similar to which, you have heard from the giants of the genre), a few slow ritualistic passages, even fewer intense, black metal-ish moments and dominant atmosphere in reverb. They sure take their time with Vexier, as tracks repeat and repeat themselves and you catch yourself nodding without realizing it. This is a double edged sword though: the music works perfectly almost as a secondary presence, but might lose a more impatient listener, who doesn't focus on anything else at the time of listening, along the way. At the same time, Vexier has the complete skillset to absolutely captivate and let everything drawn in to its world, once the conditions are right.

For me, the record has enough variety to stay interesting even when they're pushing the boundaries of repetitiveness at times. Consider how quickly rhythms change in "Three Winds", which dances between a black metal introduction, post-rock clean guitars and atmospheric doom metal with impressive vocals (a point that I will come back to later). At the same time, the droning, funereal tracks "Fleurs of Decay" and "Seeds", barely change tone throughout their duration, bringing in mind the compositional approach of Indian to me, even though the music is of course not the same. "Fleurs of Decay" is great, as is the massive closer piece "Forêt". Its introduction, as if taken from a Wolves in The Throne Room record, builds up for almost six minutes before unraveling long one note melodies and a melancholic ending which goes hand in hand with how Vexier opens during the first seconds of "Opiate the Sun".

That track is also very characteristic of what E-L-R are doing, and the horsepower and weight of these riffs, really make them worthy of the name. In its 12 minutes of length, "Opiate the Sun" is a delight to listen to, exactly because of how heavy the melodies are, the organic production and even more, the ethereal female vocals. By far my favorite aspect of Vexier, which hardly has any lyrics (thank you), is the usage of chanting distant female vocals as layers of specific parts of the compositions, instead of having a leading role, and it works marvelously. I felt the message of the band being successfully conveyed through the tracks, and all the little additions like rain or flowing water samples just put even more force for the ink on the stamp to stay. 

I am all up for the nature oriented adaptation of the band and agree with most of their choices, musical and aesthetical. E-L-R left a good mark with their debut but didn't hook me back then, I think with Vexier I am seriously revisiting the band will be paying more close attention to their creations. As a person who can be easily alienated by uninspired post-metal, I think E-L-R let their ideas grow and construct their own realm in this genre, as a multi-faceted band with more to give than what you would perceive with just one quick listen. And to think I almost missed this!

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Release date: March 11th, 2022

Tracklist:

1. Opiate the Sun

2. Three Winds

3. Seeds

4. Fleurs of Decay

5. Forêt

Listen:

Bandcamp | Spotify