En los últimos años, Cantabria ha ido mirando, como en otras comunidades del norte peninsular, hacia su antiguo pasado prerrománico, medieval y mitológico, con muchas referencias culturales de todo tipo. La música ha sido una de ellas, influenciando dicho pasado a diversos estilos; ya sean tradicionales, como el propio folk escuchado en los pueblos y su mezcla con música propiamente celta o medieval; o bien penetrando en otros más contemporáneos como rock e incluso el metal.
En este caso tenemos entre manos el proyecto personal de Erun, llamado Briargh que se sumerge profundamente en las raíces de Cantabria, tanto en su historia antigua como en el impacto personal que transmite su naturaleza y clima. Todo a través de la música y concretamente a través del metal extremo en varias vertientes.
Tras salir de un grupo volcado en el Pagan Metal cántabro como CrystalMoors, y con más historias musicales entre sus zarpas, Erun decidió centrarse en otro proyecto que ya había puesto en marcha relacionado con la mitología cántabra de una forma mucho más personal y oscura, junto con otros conceptos musicales que ya iba desarrollando en sus otros grupos, dando lugar a la modelación de Briargh y a la salida de su último disco llamado Eboros.
El resultado es un trabajo de pagan metal de raíces celtas, combinado con muchas partes de black metal, llevándonos por un viaje melancólico y nostálgico por Cantabria, sobre todo a partir de medios tiempos de guitarras melódicas, voces desgarradas evocando desesperación y tristeza en tres idiomas diferentes: (castellano, inglés y protocelta), con una sonoridad cruda y pútrida cual tronco del roble carcomido por la humedad y el tiempo (qué profundo me ha quedado esto). La unión de estos aspectos nos lleva a una sensación de desolación y penumbra interior muy bien trabajada, retocada con la utilización de teclados y samplers empleados adecuadamente en diversos pasajes instrumentales y formando parte de varios temas; La aportación femenina a las voces de Enserune, profundiza en ese mal rollo melancólico que nos deja el disco. Quizá la parte menos compactada pueda ser las rítmicas de batería, por ser un tanto repetitiva en ciertos patrones, aunque la producción primitiva de la misma creo que es acertada.
En general se nota cierta madurez en todo el conjunto compositivo, como consecuencia de un desarrollo sólido del proyecto: un aspecto muy importante en este estilo, del cual creo que muchos grupos no consiguen transmitir y adolecen de falta de personalidad.
https://morbidshrineproductions.com/wp-content/uploads/2016/01/CZ1oChDWwAAajX4.jpg5761024Morbid Shrinehttp://morbidshrineproductions.com/wp-content/uploads/2018/01/logosinfondo.pngMorbid Shrine2016-03-07 09:11:032016-03-07 09:11:03Album of the Week in the «Noche de Rock» radio show: Eboros
Briargh are a band that I can only describe as brilliant; formed in Spain back in 2003, the one-man band have become an amazing mixture of black, death and folk metal, and does it in a way which can only be described as brilliant. Focusing on themes of paganism, mythology and history, the band are back with a new full length album entitled Eboros. A beautiful album with a mixture of beautiful melodies and riffs, hard-hitting and rough drums, as well as dark, screeching, Hellish vocals which adds power and energy into such a powerful album.
The first track on the album, “El Lianto Del Bosque”, starts off with Burzum-sounding guitar melodies which mix beautifully with fast, heavy drums. When the deep, dark vocals start; the melodies and riffs quicken which add to the heaviness of the track. A track complete with different tempos add volume and depth to the track, and it is a brilliant start to the album.
Another track on the album which really stands out for me is the third track entitled “Sword of Woe” which for me is a perfect example of black metal infused folk metal. A song mixed with heavy vocals and female vocals and the mixture of the melodies and riffs on this track have already captivated me in a beautiful, enriched manor. Everything on this track is as heavy as anything including the vocals, melodies, riffs and drums. What really captivates me on this track is the “Whoa-wo-wo” clean vocals part of the track which makes folk metal really stand out on this track in a seamlessly beautiful way. This track for me works amazingly well and it is a track of complete perfection on the highest point.
“El Canto De Las Anjanas P.T II” is the sixth track on the album complete with hard-hitting drums beautiful melodies and riffs and raw heavy vocals kick off the track. Throughout the song can be heard slower riffs and melodies with heavier vocals adding power to this track. There is also a mixture of fast-paced instruments and tempo changes which add incredible beauty to this amazing piece of art. Keyboards and synths also come into work in this track which again just adds to the folk metal theme. This really is just a work of 100% perfection, and the use of the keyboards and synths add more beauty to an already beautiful track.
The last track on the album “Eboros – Epitome of Deat” for me was the best 5 minutes and 58 seconds of my life, a track that starts off with heavy keyboard and synths which almost sound like Summoning. Throughout tempo changes a beautiful keyboard melody can be heard behind what sounds like a male choir which gives off a mystical element on the track, when female vocals start the mystical element of the track, gives of pure beauty. As the female vocals end and synth melodies pave the way for heavy drums, bass and guitar riffs which makes the track seem darker and adds to the power behind the track. As the dark powerful screeching vocals enter the mystical element of the track may be washed away but the rawness and the power of the album remain right until the end.
A beautiful album which keeps on giving right to the end, an album that can only be described as flawless, perfect and beautiful a magnificent piece of art which is written in such a way where everything fits in this album (including instruments and vocals) flawlessly in an absolutely incredible album.
Briargh is a one man band made up of, Dux Briargh – All instruments and vocals. Music style is listed as, Melancholic Black Metal. Band location, Spain.
Eboros album released on October 27th, 2015, Morbid Shrine Productions. The music comes through with pure aggression and savagery. Nothing is over-processed. A very natural sounding recording is captured. Interesting aspects of the arrangements is how well the two guitar tracks compliment each other and trade of rhythms.
The song «Eboros – Epitome of Death», has a captive and creative keyboard piece along with female vocals complimented with a clean strumming guitar. A thing to note, these songs are all in spanish. It is the first time I have heard black metal with spanish lyrics, it fits well and adds a different dynamic to the album.
The drums have a natural sound and it is actually good to hear how intense the string parts are pronounced with the relentless battery of blast beats.
Final thoughts, if you want pure, abrasive and from deep in the underground metal music, then this is for you. ~Artemortifica
Some label owners are way too nice people. They have their own music project but tend to promote other bands more. I have no idea why they do that but it seems a habit of some people. Perhaps, they are a bit uncertain about their own abilities, certainly when they hear the masterpieces some other bands on their label produce. Because of that, some serious gems are left being underrated and unknown, which really is a shame.
Briargh is the blackened pagan folk metal act by Morbid Shrine’s owner Dux Briargh. Influenced by acts like Burzum and Drudkh he started working on this project years ago. To me, it sounds like a very old school black metal album with several folk influences thrown in, which obviously is a good idea. It’s been awhile since I heard something like this and I have to say, I’m glad this album reached me.
What I like most about this album, is the combination of bleak black metal and the warm sound of the instruments. It’s an odd contradiction but one that works very well. This isn’t a mere blast-beats driven piece of black metal but a melodic and mysterious sounding version of the genre, highlighting in songs like ‘El Llanto del Bosque’ and ‘Dubos Etenos’. Often I’m reminded of acts like Bergthron, Windir or Falkenbach.
I really think it would be a shame if this album wouldn’t get much attention. It is a very strong example of a strange and underrated subgenre. So yes, I would like to recommend it to all the black metalheads out there, certainly the ones who love a bit of paganism and melody in their music. Nice work…
Stil: Melancholic Black Metal
Label: Morbid Shrine Productions
Erschienen: October 27th, 2015
Bereits der Opener «El Llanto del Bosque » prügelt gleich nach dem choralen Vorspiel los.
Schon die ersten Takte sind für eine Gänsehaut gut: Ein Einstieg, der an Intensität und Spannung reich ist und schwer fesselt – man wird förmlich eingesogen in die dunkle Landschaft von «Eboros».
«Silom Sego» ist eingängig, einnehmend und mit Hooks versehen, die nicht so schnell wieder aus den
Gehörgängen verschwinden. Hier wird das Tempo angezogen, die Bassdrum wummert vor sich hin.
Das folgende «Sword of Woe » brilliert mit seinem markanten Rhythmus, «El Canto de las Anjanas (Pt II) » ist der vielleicht stärkste Song auf dem Album, sicherlich aber, ob seiner Klasse, besonders erwähnenswert ist auch «Dubos Etenos» und «Sun of the Dead». Jede instrumentelle Einzelleistung ist
dabei beachtlich – wieder einer dieser Punkte, die jeden weiteren Hördurchlauf interessanter macht und der «Eboros» eine besondere Note gibt. Über «El Nubero de Samhain » geht´s zum Albumabschluss: «Eboros – Epitome of Death «.
Dux Briargh – All instruments and vocals
1. El Llanto del Bosque
2. Silom Sego
3. Sword of Woe
4. Dubos Etenos
5. Sun of the Dead
6. El Canto de las Anjanas (Pt II)
7. El Nubero de Samhain
8. Eboros – Epitome of Death
Ghazghkull/Signs Of Hate/Morbid Shrine Productions/2015 Demo Compilation Review
Ghazghkull where a solo project from Spain that played a very raw and misanthropic form of black metal and this is a review of his demo compilation album «Signs Of Hate» which was released by Morbid Shrine Productions.
Nature sounds and atmospheric synths start off the compilation and after the intro the music goes into a very fast and raw black metal direction that also utilizes a great amount of blast beats along with some grim screams a few seconds later and the songs bring in a great mixture of slow, mid paced and fast parts.
Most of the music is rooted in the 90’s second wave style and you can also hear synths in the background at times and when guitar solos and leads are utilized they are done in a very dark and distorted fashion and one of the tracks brings in a brief use of spoken word parts and some of the tracks are very long and epic in length while a later track brings in melodic Gregorian chants that also gives the music more of a ritualistic feeling as well as a brief use of acoustic guitars while the main focus remains more on a raw style of black metal.
Ghazghkull played a style of black metal that was very raw and misanthropic taking the 90’s style into the early 21st century and also had an atmospheric style at times which was very common for the Iberian bands of the mid 90’s, the production sounds very dark and raw while the lyrics cover misanthropy, darkness and blasphemous themes.
In my opinion Ghazghkull where a very great sounding raw and misanthropic solo black metal project and if you are a fan of this musical genre, you should check out this compilation. RECOMMENDED TRACKS INCLUDE «Avatar Of Darkness» «Witness Of Nocturnal Silence» and «The End Of The Human Race». 8 out of 10.
https://morbidshrineproductions.com/wp-content/uploads/2015/11/flyernew1GHAZGH.jpg4231037Morbid Shrinehttp://morbidshrineproductions.com/wp-content/uploads/2018/01/logosinfondo.pngMorbid Shrine2015-11-22 08:00:202015-11-22 08:00:20Signs of Hate – 8/10 by OccultBlackMetalZine!
I sometimes don’t think people realise how hard it is to enjoy albums when you have to go through so many of them in a short space of time. You hear so many that sound so similar and it is hard to be positive about these albums. Not because they’re bad, they are most certainly not. But death metal for example is pretty hard to decipher when the band’s essentially play the same style without no change at all.
I was starting to think this of the new album WELCOME TO… from THE HELL. A vicious death metal band that hails from the far reaches of Serbia. Their album does something that not a lot of bands do these days, the second half of WELCOME TO… is far superior. Most bands bunch their best songs at the start of the album and hope people don’t notice the crap at the end. However when I hit the track THE HUMAN HARVEST FIELDS, the band took a completely unexpected turn from decent but ordinary metal and churned out some excellent five tracks that totally made the album for me.
The thing people have to remember is that even if the songs aren’t bad, they can be a little generic and I would say that about the first half of the album. WELCOME TO… was most definitely saved by the later songs which feature some seriously catchy, very fun death metal numbers. They range from some MORBID ANGEL to VADER in their brutal but infectious approach. GENOCIDAL WRATH and PHILOSOPHY OF VENGEANCE are easily the best songs on the album. I also really enjoyed the closing number, AMEN! which reminded me a lot of the modern input from EXODUS.
I know the start of this review sounds awfully negative but this is an album I enjoyed and I would recommend it. THE HELL clearly have the chops to play this kind of music. There is some really nice guitar playing, impressive bass licks and a particularly brutal drummer. So even though the first half of the album is unremarkable to a point, it does become a lot more likeable after multiple listens and it is worth it just for the second half of the record.
Chains Ov Beleth/Christeos Chaos/Satanath Records/Morbid Shrine Productions/2015 CD Review
Chains Ov Beleth are a solo project from Spain that plays an occult form of black metla and this is a review of his 2015 album «Christeos Chaos» which was released as a joint effort between Satanath Records and Morbid Shrine Productions.
A very dark and melodic sound starts off the album along with some drum beats and powerful bass lines kicking in a few seconds later which also leads up to some very tortured sounding grim black metal vocals and after awhile blast beats can be heard in certain sections of the recording and the vocals also use screams at times.
A great portion of the tracks are very long and epic in length and when solos and leads are utilized they are very dark and melodic sounding and when the music speeds up it displays more of a raw style of black metal and the songs also bring in a great mixture of slow, mid paced and fast parts while clean playing can also be heard in certain sections of the recording and on some of the tracks the vocals start utilizing a small amount of melodic singing and demonic spoken word parts which also gives the music more of a ritualistic feeling and some of the slower riffs also bring in elements of doom metal.
Chains Ov Beleth plays a style of black metal that mixes both modern and old school styles together along with some ritualistic elements and goth style clean singing to create a style of his own, the production sounds very professional while the lyrics cover Black Magick and Ritualism themes.
In my opinion Chains Ov Beleth are a very great sounding occult black metal solo project and if you are a fan of this musical genre, you should check out this album. RECOMMENDED TRACKS INCLUDE «Breath Of Disease» «Thrice Name, Thrice Cursed» and «Transcending». 8 out of 10.
https://morbidshrineproductions.com/wp-content/uploads/2015/11/cob.jpg315315Morbid Shrinehttp://morbidshrineproductions.com/wp-content/uploads/2018/01/logosinfondo.pngMorbid Shrine2015-11-12 11:52:542015-11-12 11:52:54Review of «Christeos Chaos» by OccultBlackMetalZine!
Death metal devastante, vicino al brutal e con molte sfumature black, è quello che ci propongono i ferocissimi Gloom, combo spagnolo al secondo full length che arriva sul mercato come una bestia inferocita dopo il debutto del 2009 intitolato “Mater Tenebrarum”, ed un ep “…Bless You All” uscito nel 2012.
La band invero è attiva dal 2002, tanta esperienza al servizio di un metal estremo travolgente, prodotto benissimo e masterizzato niente meno che ai Finnvox Studios da Mika Jussila. Doggodè un’aggressione senza soluzione di continuità: blast beat a manetta, velocità esagerata e un’assalto brutale massacrante.
Uno scream diabolico accompagna un growl cavernoso in queste dieci songs estreme che non mollano la presa sull’ascoltatore, un muro metallico impressionante che ha nei suoi solchi più demoni che si scambiano la scena come possessori di un corpo da esorcizzare.
Le ritmiche pesantissime e veloci, si mantengono squisitamente brutal, con qualche sconfinamento nel black oltranzista di scuola polacca, i solos trascinano via come fiumi in piena, lancinanti e debordanti e le urla si fanno sempre più rabbiose e disperate ogni minuto che passa.
Grandiosa la parte ritmica, una macchina da guerra composta dal demone a sei braccia Carlos Ayuso alle pelli e supportata dal basso grasso e potente di Manuel Pozo.
Le due chitarre sono armi letali in mano a Maiki e Fer, mentre la creatura malefica al microfono porta il nome di Necroseheiim.
Il death metal suonato dalla band di Madrid, ha nella scuola statunitense i suoi padrini, con Morbid Angel, Obituary e Cannibal Corpse su tutti, le atmosfere sono violentissime e oscure come il buon black proveniente dall’est europa, così da formare un sound devastante e Infernale, a tratti terrorizzante e blasfemo.
Quaranta minuti circa di metal estremo che ha nell’intro di qualche brano, pochi secondi di glaciali atmosfere sinfoniche, rendendo ancora più oscura e horrorifica la musica di Doggod.
In questa tempesta sviluppatasi nel girone più buio dell’inferno, non ci imbattiamo in alcun cedimento, il gruppo spara mitragliate estreme straordinarie, con tre brani che su tutti portano l’album sopra la media: Erich Lann, Mater Tenebrarum XV e la conclusiva Necromancer.
Violentissimo, bellissimo e brutale, Doggod ha tutte le carte in regola per piacere ai fans del metal estremo, dateci un ascolto, merita.
Spain’s Gloom has probably the most ironic band name to country ever. Their homeland is renowned for being a sunny holiday paradise, but there is clearly something horribly dark going on in twisted corners of España. Gloom are the birth of that beast, a flailing malevolent entity of blackened death metal chaos. ‘Doggod’ is their second record, following a six year wait from 2009’s debut ‘Mater Tenebrarum’, and it is a genuinely startling slab of violence.
Take ‘Erik Zann’ as an example. By the third track you’ve already been subject to the raging assault of the title track and this one is no different. Gloom meld the icy fury of black metal into the sheer heaviness of death metal. Crushing brutal death meets technical wizardry head on in a collision of stunning proportions. ‘Erik Zann’ is a schizophrenic exercise in pure rage and devastating riffage, that pogos around different time signatures.
It’s not all craziness however. The steamrolling opening riff to ‘Bolter’ is pure Bolt Thrower worship, and its fucking excellent. The song thuds into your brain with the force of a train, and its sheer propulsion urges your head to bang. The deathgrind ravages of ‘M.B.M’ and the thrashing ‘The Halfman’ add some variety to the mix, and there’s some superb headbanging moments, particularly in the rabid ‘Mass Infection’.
‘DogGod’ is a stunning blend of hyperblasting savagery and grinding, chugging low end. Gloom combine these elements expertly, while keeping each song totally listenable and relevant. There’s no wasted motion or notes, everything on ‘DogGod’ is exactly where it needs to be, and where that is is deep within some of the best riffs you’ll hear this year.
De hel bevindt zich tegenwoordig in de Servische hoofdstad Belgrado. Althans, daar komen de vijf heren vandaan die hun band zo genoemd hebben. Zowel de bandnaam als de muziek zijn weinig origineel maar lekker is het godverdomme wel zeg!
The Hell maakt brute deathmetal. Volgens goed gebruik is de muziek lekker bruut en ontdaan van allerlei overbodige tierlantijntjes en bijzaken. Gewoon veertig minuten lang tien nummers doorbeuken in de stijl van de grote Amerikaanse voorbeelden. Grootste troef op deze plaat is brulboei Tamerlan die een heerlijk donkergekleurde grunt heeft. De beste man is volgens de gegevens nog maar dit jaar toegetreden tot The Hell dus zonder zijn voorganger(s) te kennen lijkt me dit een goede zet.
Al met al een bijzonder aardig plaatje, dat Welcome to…. Lekker geluid, kundige muzikanten, goede zanger, teksten die niets aan de verbeelding overlaten (The Human Harvest Fields), wat wil een mensch nog meer? Originaliteit zegt u? Dit is deathmetal, als u originaliteit wilt gaat u toch lekker een deurtje verder? Ja, natuurlijk beginnen de nummers tegen het einde van de plaat op elkaar te lijken maar wat geeft dat? Niet zeuren en gewoon op repeat zetten, dit verrassend lekkere tussendoortje! Amen!, zoals de band zelf de plaat afsluit.
Let me get my one, singular complaint about this album out of the way. With honesty as brutal as the death metal housed within…Doggod is a f@#$ing stupid title. Yeah, I get it. God backwards is dog. How offensive. I think we’ve moved beyond that. So henceforth, given how much I otherwise love this album, I will be referring to it by the far superior title of Death Metal Inkblot of Vagina Dentata
So how good is DMIVD? F@#$ing awesome. The sheer intensity of the music is impossible to not be caught up in. A lot of this has to do with the vocals. The sway between death growls and blackened screeches conjures Burn the Priest-era Randy Blythe possessed by steroid-abusing demons. This is some brutal death with more bite than most. The infectious interplay of these voices hits hard from the very first track.
Then there is the guitar. Insanely catchy melodies and killer use of rhythm splatter the listener all over the floor. Riffs are thrashy as hell, combining with DM to monsrous effect. Thind Black Dahlia meets Vader. But amidst the fury is a surprising command of dynamics. Take the string opening to «Erik Zann» before it is literally shattered by the onslaught. Or the Dramatic intro «Mass Infection.» These elements provide the necessary counterpoints that prevent desensitization over time.
Yes, Vagina Dentata is chock full of great moments. Like the abrupt, but perfect, transition to crusty drums and start stop riff of «Mass Infection.» The racing tremolo lines and double bass of «Cosmic Devourer.» «Bolter» and «Necromancer» are just filled with dirty Devildriverish groove, while «The Halfman» is just endlessly engagin. The use of Dbeat and explosive blastbeats and riffs at the close are ruthless in their delivery.
By the end, there was not a single track I could stand to leave out of my regular playlist rotation. They are all just that good, and each offers a slightly different lethal dose. Do yourslef a favor and pick this one up today for 7 Euro. It’s worth the scratch.
Did you check out Doggod? Like what you heard? Awesome! Help Gloom get some well deserved fans. Share This Review:
Gloom are a Spanish Death Metal band and this is their second album.
Gloom play Brutal Death Metal with a Blackened element that allows them to add a viciously melodic edge to their unrelentingly savage assault.
Vocally, we get grunting, pignoise and serrated screams. It’s an impressive display of violence and the various voices are all used when they need to be to wrench up the brutality.
Gloom know how to maximise the extremity of the music while retaining a dynamic approach to songwriting so that the listener doesn’t get bored of listening to the same thing over and over again.
Although they boast an undeniably barbaric core, the Black Metal influence allows the band to add an entire other layer to their assault, with ugly, Blackened riffs and evil atmospheres pervading the songs like an infection.
It’s an interesting approach, as the blasting mayhem is tempered by the malevolent atmosphere in such a way that these two aspects of the band seem at war with each other over which way is best to flay you. This is completely to the listener’s benefit though, as it results in songs that have a creative violence to them that is lacking in many extreme bands.
Imagine a more brutal, Blackened Behemoth, mixed with the hybrid assault of a band like Gloria Morti or Anaal Nathrakh and drenched in the filth of underground Brutal Death Metal…this is where Gloom lurk.
The production allows the band to showcase all of this and everything is pleasingly balanced. Fast or slow the band sound great, but manage to avoid becoming overly polished or sterile. This is music that has a foetid warmth that you can feel as it guts you.
These tracks really are an impressive collection of songs, and there are more interesting ideas and quirks of extremity on this album than a lot of bands manage in a career.
Highly recommended. The more I listen to this, the more it becomes a firm favourite of mine.
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