Chthe'ilist - Le Dernier Crépuscule

By Professor D. Grover the XIIIth. Chthe’ilist sound like Demilich. There, we’ve gotten that out of the way. Greetings and salutations, friends. Today, we will plumb the depths of a madness emanating from Quebec in the form of

By Professor D. Grover the XIIIth.

Artwork by Paolo Girardi

Chthe’ilist sound like Demilich.

There, we’ve gotten that out of the way. Greetings and salutations, friends. Today, we will plumb the depths of a madness emanating from Quebec in the form of Le Dernier Crépuscule (French for "The Last Twilight", presumably not a reference to Breaking Dawn) and the Finn-worshipping Chthe’ilist. As I mentioned (and as has been mentioned in likely every article regarding the band in the history of time), Chthe’ilist draw no insignificant amount of influence from infamous Finnish oddballs Demilich. It’s an unavoidable comparison, given both bands’ predilection for off-kilter riffs, but to simply dismiss the band as pure Demilich worship is pure folly.

While we’re addressing misconceptions regarding Chthe’ilist, let’s not forget that despite the band’s name and apostrophe-ridden song titles like "Vecoiitn’aphnaat’smaala" and "N'triiodctuion'to Iagorsmataanph" (from the similarly apostrophe-ridden Amechth'ntaas'm'rriachth demo), none of the band’s material is drawn from the Cthulhu Mythos. This is not to say that the band’s lyrics aren’t influenced by the works of Lovecraft, because the influence is clear on lyrics such as these:

A lone traveller gazes at the stygian horizon, as twilight fades below the distant mountains. Slowly, shades of darkness descend upon the desolated plains before him, and a sense of dread plagues his mind: the certitude that something is lurking amidst the withered trees, haunting him ever since the sun has vanished.

But it is important to note that the lyrics are almost entirely based on original works by the band.

You will notice, of course, that I said “almost entirely”, and that is where we come to one element of Chthe’ilist’s work where there are no misconceptions. If the title of the album’s final track, "Tales Of The Majora Mythos Part 1", doesn’t make it abundantly clear, Chthe’ilist have written songs based on The Legend Of Zelda (specifically, Ocarina Of Time and Majora’s Mask). The deeply unsettling tone of the lyrics may seem a bit at odds with the atmosphere of the Legend Of Zelda games initially, but the combination is incredibly effective in practice:

A cursed moon hangs low in the tumultuous skies, glowing ominously over plains of arid desolation. A stone tower stands before these haunted lands, its structure perpetually ascending toward the heavens. Bitter lamentations from lingering spirits echo through the valley, speaking of a forgotten aeon. Rumours of ancient men, and their war against the gods, bridging their world to the sacred realm.

Musically speaking, I mentioned the similarities to Demilich, and I also mentioned how Chthe’ilist are far more than a mere Demilich clone. The bands share a predilection for odd compositions and unconventional, sometimes discordant riffing, and there’s a technicality to the music that bears certain similarities, but Chthe’ilist draw a great deal of influence from a number of other classic death metal bands, from Gorguts and Convulse to Adramalech and Incantation. (Certainly, vocalist Philippe Tougas bears more of a sonic resemblance to Craig Pillard than Antti Boman, aside from some moments and interludes that find Tougas creating some truly alien sounds with his vocal cords.)

Chthe’ilist are comprised of Tougas (who provides lead guitar, bass, and synths in addition to vocals AND plays in a number of other bands, including Serocs and the underrated First Fragment), Claude Leduc (who handles guitar, synths, and some occasional bass), and Philippe Boucher (an insanely talented drummer who is also in Beyond Creation). The trio are incredibly talented and rise admirably to the challenge of creating such challenging, compelling material, layering unusual riffs with eerily beautiful leads, the occasional dash of slap bass, held together by some astoundingly versatile drumming. The production is simultaneously spacious (thanks to some well-implemented reverb) and suffocating, but none of the musical elements are lost in the mix and everything is distinct without feeling sterile or robotic.

If I had a complaint about the album, it would be that the music is by its very nature rather inaccessible and difficult to wrap one’s head around. Without a number of repeat listens, the songs can be difficult to remember and may turn off the more casual listeners. However, digging beneath the surface and immersing one’s self in the music can be incredibly rewarding, revealing an album that stands out from a sea of squeaky clean tech death bands and HM-2-wielding Swedeath revivalists. The investment in time is well worth it.

So, as I said earlier, Chthe’ilist sound like Demilich, and that’s okay, but it’s important to remember that there’s much more to Le Dernier Crépuscule. This is one of the deepest, most inventive death metal creations you will hear all year, and to miss out would be to do yourself a great disservice.

Satan's Fall - Seven Nights / Tyfon's Doom - Yeth Hound

By Andy Osborn.

Finland has a complicated history with heavy metal. While it’s clear Oz’s 1983 classic Fire In The Brain was the birth of the genre in the country, few bands kept the tradition alive over the next couple of decades. Sure, groups like, Lordi, Apocalyptica, and Tarot held a certain appeal, but their popularity can hardly be attributed to their songwriting skills as they largely relied on gimmicks to win their fans. With few heroes to look to, the genre was largely ignored and Power, Death and Black metal largely captured the nation’s attention. But a few years ago something changed. A new breed of heavy metal youngsters started to appear and start paying homage to the glory days of old. Bands like Speedtrap, Lord Fist, Aktor, and Ranger proved that Finnish heavy metal never died, it simply went dormant.

So I’m excited to report that the movement those bands started lives on in 2016. This month, two short releases stand out that that prove the scene is growing ever stronger is Finland. Both - named after the trials of evil deities - keep the fire alive with tricks that are both familiar and exciting.


Satan’s Fall’s Seven Nights Demo is a quick foray into what makes classic heavy metal so enjoyable. With a charismatic lead singer, deft songwriting chops and memorable hooks, it’s a very promising start for this brand-new band. “Poisonhead” is a world-class rocker of a tune, with fiery leads constantly playing off of each other - it’s clear they have have a classic guitar duo in the making. It’s short, to the point, and impressive; everything a demo needs to be to get the attention of the world.

Living in the same fantasy realm, but in a class of their own, Typhon’s Doom occupy the land home to heroes like Manilla Road - meaning they’re a scrappy band of traditionalists who aren’t necessarily the most technically proficient or or concerned with a slick production. Their charm comes from their dedication to the craft and the fun atmosphere they’re able to produce with a relatively small sound. The eight-minute epic “Gate to a New Reality” is the perfect example of this. It relies on a brilliant galloping riff that twists and churns throughout the song and gives a sense of adventure and might to the track that few bands can achieve. It’s a perfect nostalgia trip for those seeking old sounds, but still wanting something new.

Both bands are brilliant in their own way and have clearly done their homework. The fundamentals of guitar-oriented badassery are omnipresent in their work - and that’s what heavy metal is all about. It may be just a small taste of what the country has to offer, but combined with other recent outputs, it’s a sure sign a new age of heavy metal is bursting forth in the land where it seems all other genres reign supreme.

Full Disclosure: Andy is now an employee of Bandcamp, but he swears on all that is unholy his recommendations come with only the best intentions for the bands in mind and not the company’s bottom line.

Wildernessking - Mystical Future

MOBILE PREVIEW

By Justin C.


I've gotten into a somewhat unfortunate pattern lately, ending each year with some unpleasant surgical procedure. Luckily, I've also gotten hold of album promos around the same time that have provided some comfort. Last year, Lotus Thief got me through a rough patch of recovery, and this year, it was Wildernessking's turn to figuratively babysit me with their new album, Mystical Future. Stylistically, these two bands don't share a lot of sonic territory, but both have that all-important power to take you to other places.

The intricacies of how Wildernessking fits into the vague "post-black metal" category has been covered elsewhere, and our friend Andy Synn at No Clean Singing does the topic much more justice than I could. That said, I have to admit that I came to be a bit obsessed with perhaps the least black metal track on the album, "To Transcend." This would be a lovely piece of music that would probably easily translate to almost any genre, although of course there are some far-away-yet-still-harsh vocals deep in the mix, keeping things black and frosty. The delicate instrumentation puts me firmly in mind of walking down an abandoned beach in the cold off-season. And believe me, I clung to that feeling during a December bone biopsy when a doctor was literally using a hammer to chisel away a piece of my hip bone under only a local anesthetic. So somewhat unfairly, this album will always have a close tie to the feeling of someone trying to pound a railroad spike into my pelvis, but on the plus side, this wide-ranging music was an excellent refuge, and I think it will easily outlast any unsavory associations.

"To Transcend" might be more delicate than the rest of the album, but it's part and parcel with the overall feeling the band has achieved here. At times, I hear strong hints of shoegaze, particularly in "With Arms Like Wands," but it's been truly absorbed into the band's unique sound. The melodies are aching and powerful, and they often come in on waves of sound. There's still plenty of black metal to be found, of course, but the throat-burning vocals, melodic tremolos, and blasting drums, when present, all serve a very particular vision of songwriting, making detailed discussions of influence and stylistic cues beside the point. In fact, I had plans of a more detailed, perhaps even academic breakdown of the band's progression, but I ultimately abandoned that idea. The album is so expansive, and oftentimes wistful, that it seemed like a more analytic approach would be like teaching an art appreciation course focused solely on the chemical compositions of the paint used. The five tracks make up a cohesive whole, in concept and sound, and teasing it apart wouldn't do it justice. Wildernessking are pushing on the boundaries of black metal, which does the whole genre a great service, and Mystical Future is a remarkable gem to kick off 2016 with.