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| Artwork by T Bare McClough |
It’s no secret that it has become increasingly difficult to stand out amidst the ever flowing stream that is black metal these days. Good and even great albums are washed away under a current of static hiss and more kvlt than thou histrionics, sadly leaving many with the impression that modern black metal has moved well past its sell by date. Thankfully there are bands like Arkheth who explore and expand the boundaries of the genre while consciously keeping one foot in the grave, remaining tethered to the atmosphere and sonic elements that helped to make black metal special.
First I have to make mention of that cover. I must admit that the initial impression was less than positive and had me questioning if the black metal tag was some sort of joke; however, closer inspection revealed a genius at work. The cover takes traditional genre elements (forests, witches, etc.) and flips them on their head by injecting a wash of new colors and embellishments, exactly mirroring the bands sonic enhancements to black metal. This is reflected in Opener “Trismegistus” which immediately sets the mood with a riff structure and guitar tone that reminds of an unholy combination of Dødheimsgard’s more recent creations with the otherworldly style of the always excellent Negative Plane. Over the next seven minutes the music continues to warp and mutate, never content to sit still for long – even when the opening riff returns, it is enhanced with new tones and sonic hues courtesy of saxophonist Glenn Wholohan. Over all of this, main man Tyraenos spews out devilish invocations via some of the best black rasps you will hear all year. And that’s just the first song.
Over the remaining four tracks, Arkheth throw all sorts of musical elements into the blender, injecting echoing arpeggios over rock beats that morph into ice cold tremolo picked melodies and blast beats before collapsing into dissonant soundscapes. Tyraenos is no one trick pony vocally either. While his black rasps are a personal favorite, he is just as skillful with his malevolent whispers and downright derange “clean” singing. What makes it remarkable is that it all fits together so well. Unlike Sigh for instance, sorry Sigh fans, which just sounds like the musical kitchen sink was thrown into some demented circus composer’s score, every new tone, sound and sonic element on 12 Winter Moons Comes the Witches Brew feels necessary and planned for maximum impact. Clearly Tyraenos spent the eight years between albums well, honing and sharpening his compositions to a razor’s edge.
Throughout the album’s 47 minutes, the constantly shifting, perverted musical landscape keeps you off balance and toys with your mental state in the best possible way. There is not a moment of this album that doesn’t demand your attention, constantly drawing you back in the second your attention even considers wandering. From the psychedelic cover to the unique and skillful incorporation of saxophone and the utter unpredictability of the songwriting, Arkheth has managed something truly unique, a remarkable achievement in and of itself. That it is so completely engrossing and excellent from start to finish is just the icing on the cake.