The death metal rivers have all dried up, the cessation of a flow that is even more evident with the radiations of lost brilliance and grace, coming from an enemy residing high up in the sky. The Death Metal world suffers a drought of ideas and thoughts, this impurity of a stagnation is like a spiralling decline into the void of death itself. Still a star shines at this darkest hour, and its shadows hang under the tundra moon that of fogs and mists forgathered. It is an entity rising from the hungering depths and it demands to be heard. In raging tongues, it speaks of dignified works of true quality and calibre that seems to be lost from the wombs of forgotten worlds. It is the None So Vile, and it sits on the heavy foundations of the Altars of Madness, basking in the glory of the Considered Dead. The sighting of the beast is ever so clear now and as it opens its mouth-watering jaws, it hereby proclaims itself as a new yet a strong enemy of the sun. Let the showers of praise’s rain upon this sturdy body of fierce and wholesome might. Come one, come all. Consume and rejoice, for its name is Auroch.
Auroch was spawned in 2006 as a Thrash Metal act which was formerly known as Tusk, and one of few rare ones who is standing strong against this catastrophe. Fast-forward to the year of 2008, it sees a changing of name and a procession into successful runs of a series of demos. Majority of them received critical acclaim from the underground, and so the call for attention was achieved. Possessing that of a passionate fire that literally breathes through the underground, their efforts caught the attention of Hellthrasher Productions. Building up the hype over the long, arduous years, it then crushes down to an announcement of a new full-length due to release later this year, intriguing the deepest of interests in many of the underground dwellers. And so, the band sees it as a perfect opportunity to introduce the new and revamped sound that Auroch is moving forward in. This new sense of direction also sees teaser releases of several songs from the upcoming album, From Forgotten Worlds which further elevates the level of anticipation. It was originally scheduled for a release in late August this year, however it got delayed to October. Then, a full listen to the upcoming masterpiece suggests that the wait was all worth it. It is a deliverance from all doubts, embellished with the overwhelming aspects of completion.
From Forgotten Worlds weight heavily with surges of Lovecraftian poetries, and while it takes influences from some of the cornerstones of the genre, it sounds nothing like its musical ancestors. Instead, it thrives on a unique formulation of the Old School and Brutal Death Metal into the creation of a stand-alone piece, possessing that of a high sense of technicality and originality. Furthermore, residing within the suburbs of the metal thriving Canada, Auroch shines effortlessly without the need for distinction. Mostly known to metallers as a Technical Death Metal mecca, Canada has also fostered a rising, fast-moving movement that stirs deep within the underground. It is no secret now that Canada also sees to the darker sides of things, to the likes of Weapon, Mitochondrion and many other promising entities. Auroch is somehow or rather caught in the middle, possessing qualities to the best of both worlds and a sense of uniqueness that is devoid of any replications. Auroch is yet another nail on the metal map, securing Canada with a firm placing that it rightfully deserved.
Moving on, the disgusting contrast between the screams and growls is perhaps the first musical demonstration that shows the band at its highest form. As the swallowing masses of putridity and filth are deeply and lowly regurgitated, the fried burning rasps breaks out of its form to an all-time high. Unrelenting at its delivery, the vocal presentations can only be described as the most sickest and vilest in terms of words. This merciless ear assault is of course pleasurable to the most abrasives of ears, but for the ones who attempt to revel in such greatness, I would strongly suggest that you seek treatment as soon as possible. But this heavy slab of an abomination is not without its sophistication as the art of the grotesque is further intensified in the quality works of the guitars. From Forgotten Worlds is shouldered upon the breaking, groove-laden rhythms that are scattered throughout the album. Serving as a basis for a ton of things to come, it is accompanied with the array of harmonious, soaring melodies, all capable to the lifting of the spirits. Travelling freely on the context of the fret board, it is like an endless journey of a restless vagabond, yet never to rest on a settling home. And as the flying fingers come rushing in at different placing on the now overly unsettling fret board, the frantic noises and crazy disorientations can only suggest that of a mature elaboration of guitar solos. Wild in its attacks, it leaves listeners dumbfounded in its awe, which can only lead to the praising of the fingers which are comparable even to that of Trey Azagthoth and Karl Sanders.
Those who have not witness its viciousness cannot apprehend the overwhelming madness that is at hand. What we have here is the prowess of a stunning musicianship, with a high degree of song writing skills to boot. The roads that they lay down themselves are leading them to a bright and successful future, tirelessly carved with their bloodied efforts and ever dripping sweats. Equally praised by reviewers worldwide and alike, it is a consensus that is shared amongst similar minds. The results? The reception of massively high ratings in different scales that are still coming in as we speak. It is definitely an album that should not be underappreciated or moreover, missing a place in your top 10 list this year. Now, follow the entrails to the crowded tombs where the callings to the most Ancient One could be distinctly heard, and where the distorted power chords are sounding the awakening of the dead but dreaming. For even Cthulhu would be proud.
About the Author
This is what I feel about my favourite genre in metal:
Black Metal is a timeless piece of magic(k)al art that is not limited by boundaries. Be it musical or aesthetics wise, it contains an honest and raw essence that is capable of not only satisfying the most abrasive of listening ears, but also an elevation to a higher state of transcendence. For years, the sphere of what we considered Black Metal has since expanded. It is mainly because of the myriads of influences that have been brought into the genre itself. Moreover, the influx of experimentations has rendered traditional Black Metal characteristics invalid. This is another trait that attracted me, for one, artists could then create their own art which allow the categorisation of Black Metal to be a certain state of emotional and feelings, rather than that of musical qualities. However, it is still mostly a personal experience to undergo. For the most part, it is different for everyone and I definitely respect that. Listening to Black Metal for me is like opening the floodgates to an ever-flowing source of energies where they are being channelled and manifested in the form of music which we are able to comprehend. Through passion and dedication, one will be able to realise the true potential of the magick that is in work. With that set into stone, the occurrence of change as we know it will be bestowed upon the listeners themselves where they will bask in all the glory and rewards. It is like an endless quest on the path towards spirituality.
Axis of Metal is me showing my appreciation to the music that has been keeping me alive. I also have a personal blog -Thelightoftheinvictus.tumblr.com which I write reviews for during my free time. I am always open to views, discussions and criticism. So, shoot me an email if you would like to talk :)