Haissem - Ad Cor Tenebrarum

Haissem is a black metal band from Ukraine who formed in 2014. It is actually a one man project, from the very creative mastermind Andrey Tollock, also from the doom project Sunset Forsaken.

"Ad Cor Tenebrarum" is the seventh full length album from the project; two EPs have been released as well.

I've followed this band/project for awhile now and ACT is definitely the most adventurous album Haissem has released so far.  The previous album, “A Sleep of Primeval Ignorance,” definitely took a more melodic path. ACT, however, takes this melodic approach but infuses it with a lot of blackened rage. This is, at times, a much more vicious affair. 

With that being said, much of the melody exists in the extremely well crafted keyboards. The textures created by these keys adds many dimensions to the black metal segments in the songs.

But the keys don't exist as just background filler nor do they overtake the songs—they are treated as equals as the rest of the instruments and none of the them outshine each other. In that respect, it is a very well written and meticulous album.

The production and mix are basically perfect—everything can be heard clearly yet the blackened edge is never dulled.

The album begins with “The Amalgam,” a song that begins immediately with a ripping bass note that leads to melodic guitar and demonic black metal vocals. The unique keyboards mix in effortlessly and work in tandem with the riffs to drive the songs. 

This song is pummeling and rumbles along at a gripping pace with the keys offsetting some of the fury, every nook and cranny being filled with an idea that always works. 

Early on, the album establish with “Arachnid,”  that it can be as melodic as it can be furious. The beginning is actually quite beautiful. The verses have a wonderful keyboard melody that pairs with the vocals even as it presents a different side of the album. 

About two minutes in there is a clean, melodic movement that sets up the rest of the song, its atmospheric aftermath birthing from the foundation previous laid.

The last couple minutes of the song are lighting fast as the song’s black metal elements finish it out. 

The album is just as good at presenting catchy, groovy parts as evident with “Ravenant.” This song is a straight up burner, the drums are lighting strikes against the thunderous riffs. 

The second half of the song is harrowing with its atmospheric tendencies as it leads the music into a darkly melodic portion that is immediately urgent and ear catching. 

“Agonymph” continues the groove machine but this song is filled with an energy that builds up as the seconds pass by. The middle part is dizzying but it's broken up in the later half by crunchy riffs and throbbing bass. Going from insanity to pulverizing really does a number on the senses—this song will throttle you.

“Cinder” takes a theatrical approach with the bombastic music pulling the atmosphere along with rolling waves of melodic fury, a path the song treads until the keys embrace all the elements, enveloping it in an epic but darkly embrace.

“Purgatoreal,” is one of the best songs Andrey has done under this moniker. The first half is like an unrelenting monsoon of which there is no escape except a watery tomb.The rhythm guitar carries this mood while it gets out from under the keys and forges its own path. 

All in all, HAISSEM has created what is its most dynamic and ambitious album yet. This will appeal to black metal fans but anyone who enjoys smartly composed music will find much to enjoy here.

9/10

Dauðaró - Hundrað þ​ú​sund þr​æ​lar Parts I, II, III

Dauðaró is a one man blackened funeral doom metal band from Reykjavík, Iceland.  Since the release of the debut album, “Af moldu er ég kominn,” in 2022, Dauðaró has been very prolific.  In total, nine full length albums have been released, in addition to a demo album and three EPs.

Those three EPs, the "Hundrað þ​ú​sund þr​æ​lar" trilogy are what I will be talking about/reviewing today.  These three releases each consist of one long song, a conceptual piece of an extremely high quality and songwriting approach.  Each were released this year and although they tell a story together, I will be speaking of them separately in the review.

I’m not one hundred percent sure on the actual details and subject matter of the EPs.  I like to interpret music and lyrics myself as it really helps me grow as a reviewer.  As such, I did not ask the gentleman for the details but instead decided to “feel” my way through the music.  Dauðaró’s brand of doom is extremely heavy and dense but it is also highly emotional, which makes it easy to take a very open approach to this very detail oriented music.

Hundrað þ​ú​sund þr​æ​lar – Part I: Með blóði þúsund þræla:

The first song/EP is what I think is the rebirth of this ancient god, which is what the whole trilogy is about.  The title translates to ‘The Blood of a Thousand Slaves,’ so the beginning is the process of these murdered souls being used to awaken this god from its slumber.  Gentle tones build up the song for the first minute or so, as if a nervous energy fills the room as the the awakening of the god is at hand.  The song grows darker and heavier, as the god finally begins to crawl out from whatever slumber it was in. 

Much like the music, it is a slow, sprawling process and nothing short of terrifying.  Did this god want to be awakened?  Has its peaceful slumber been interrupted to be thrown into a world it doesn’t understand?  Or is something more sinister going on here?  I think these questions are being answered.  Around the five and a half minute mark, the tempo gets ticked up a bit.  The strength of this band/project is just how well he combines metal with more non-traditional and ambient textures.  It is absolutely enthralling just as this particular part of the song is.  At this point the god is momentarily confused by what is happening and it definitely isn’t happy.

As the song approaches the seven minute mark, death growls erupt in violence and I can only imagine how this god feels but also the people who awakened it as they realize their mistake.  The halfway point of the song is filled with crunchy riffs, suffocating and deep textures and death growls from hell.  The god is beyond all points of reasoning now and is absolutely wrecking everything in its path.

But soon the carnage dies down.  The god’s sudden bloodlust born out of angered confusion has been cured…for now.  The followers and the god come to some sort of understanding and for the moment there is an alliance between the two, as the song fades out with clean tones and ancient textures.

Hundrað þ​​​ú​​​sund þr​​​æ​​​lar – Part II: Eilíf ánauð:

I could not figure out what ‘Eilif’ means but I think ‘ánauð’ translates to English as 'oppression.'  Speaking of that, this second song/EP, is much more direct than the previous one.  Quiet tones open up this song too, but it seems more of a continuation of the previous adventure’s ending.  With the god somewhat calm now, I’m imagining the people who resurrected it trying to figure out how to control this ancient being. 

But the song quickly covers the atmosphere with dark clouds.  Sorrowful synths/keys cover the landscape while the thick riffs move around below.  At this point, the god is thinking about this world he has been reborn into.  Are these people truly loyal?  Or do they deserve to be crushed under more destruction?  Who are they to try and control it?  They need to be reminded of their servitude.

As the song flows every forward, the riffs come up to the forefront more a musical allegory for the wanton destruction the god uses with its powers to crush these infidels.  These people, this land, this world, will remember why the feared and obeyed it in the first place!  Just like the music, nothing can stop it now.  Like water, death itself flows towards a never ending cycle of pain and torment.  

I like how Dauðaró has this ability to keep the songs slow, low, and doomy yet he still perfectly captures chaos incarnate.  From the 15 minute mark onward, that is what I am feeling.  Material possession laid to waste, people reduced to dead meat and ashes….nothing material, even bodies, matter to this god as his unbridled fury arrives like a plague.  

Hundrað þ​ú​sund þr​æ​lar - Part III:  Harmur keisarans:

The title for the next song/EP translates, at least to my limited knowledge, to something along the lines of ‘The Emperor’s Grief.’

This is perhaps the best of the trilogy because the emotions it generates is so unique.  I never thought I would feel sorry for a god, especially one that appears to lean towards the more evil destructive side of things.

However, after destroying everything in the previous chapter, it appears the god realizes there is no point in worship if all that is supposed to bow before you is no longer able to do so.  In its own way, the god mourns.  It doesn’t mourn what it has caused but more the after effects of having to live in a world that can no longer recognize it because, well, he removed that part of the world. Did it become its own enemy?  Is there a point to all this?  Well the circle not be unbroken and it just repeat this doomed cycle forever?  By making these people reap what they sow, the god also reaped itself, to a degree.

Musically, this song/EP really balances the sounds the previous two chapters created.  It is heavy but even the parts without guitars and growls are just as heavy in their own way.  The people, those who survived, are grieving what they wrought upon themselves but this god is grieving in its own way too.  

Around the five minute mark, it definitely feels like the god is speaking.  He is telling what’s left of the world to be careful what you bring about.  And to remind them this all could have been avoided, the pain on both sides, if they had never forgotten in the first place of their positions in this plane of life.  They are the subjects, they are to be controlled, and they are to worship this creature.  Trying to change that dynamic, to forget about this god only when they want to use it for their own machinations, is less worse than just continuing to honor it.   

Dauðaró’s “Hundrað þ​ú​sund þr​æ​lar” trilogy is a stunning achievement and one of the best funeral doom releases this year.  Dark and heavy but emotionally draining, this is one release you’ll need to check out if you're a doom fan or just a fan in general of engaging stories and soundscapes.