Split album between Sulfure (Québec) & Carathis (Austria)
CARATHIS is the project of vocalist/guitarist Erech, who currently plays in Ancient Mastery, Narzissus, Golden Blood, Grandeur, etc, CARATHIS rip forth with raw-yet-melodic black metal that has one foot in the darkest past and the other in a differently darker present. Their tracks here comprise the Hymns to the Tower EP, which tells the tale of the Queen of the Tower. Expect a deceptive catchiness equally informed by punk and classic heavy metal, snarling and relentless.
Québec's SULFURE are almost as new entity, having released the EP Neurotisme in 2020. Hailing from the black metal hotbed of Québec, the band's four members have been active in that influential movement for years, most especially Atroce & Saccage and in modern torchbearers Délétère and Monarque. Here, with their half of the split being the EP Exorde Du Vide, SULFURE continue to carry on that grand tradition. The intro title track ominously sets the stage for what follows: two succinct torrents of thick 'n' throbbing, martial-yet-melodic black metal in the immediately recognizable Québecoise style, bookended by an ominous outro. Familiar and distinct simultaneously, SULFURE sound massive here, evincing a power and poignancy that demands blood be shed onstage. Caveman riffs deeply rooted into misanthropy and mental illness, Exorde Du Vide is a shock & awesome second strike.
CD version by Personal Records
credits
released March 21, 2022
Sulfure part was recorded in Québec, at ''local de dévastation''.
Sound engineering by Francois Chamberland (Drums/Guitars), Alexandre Chouinard (Bass) & David Lizotte (Vox)
Mixed by David Lizotte
Mastering by Tehom Productions
supported by 13 fans who also own “Sulfure / Carathis”
On ne frappe pas un homme à terre : c'est ce que dit la règle mais NONE a déjà prouvé qu'il ne les suivait pas et si son album éponyme retirait toute perspective de béatitude spirituelle, Life has gone on long enough, son deuxième opus, nous interdit l'accès au bonheur terrestre. La vie n'a aucune substance et la production plus distante le confirme. Le DSBM s'empare de textures sonores blues, mettant en relief une dépression urbaine. Les cris partent en fumées : ne restent que les pleurs... Jordan Vauvert