Archive for cruz

Review: Sutekh Hexen

Posted in Reviews with tags , , , , , on May 11, 2019 by Magadh

Sutekh Hexen, S/T (Sentient Ruin Laboratories)

What seems like a lifetime ago, I was flipping through the Bandcamp offerings when a came across a new release by a death metal outfit from Barcelona called Cruz. I was mostly curious about them because I have some contacts in the Barcelona hardcore scene, and so wondered what was happening on the metal side of the tracks. Culto Abismal was not rich with novelty. But it was some chunky, riff-driven death metal that was well produced and catchy as hell. It’s still one of my favorite discs to this day. I got it via the Oakland-based label Sentient Ruin Laboratories. As time went on, I investigated some of the other offerings from SRL’s catalog. I think the next thing I got was VRTRA‘s My Bones Hold A Stillness, a weird mix of doom and crust that kind of sounds like Deathspell Omega on ketamine. Then I hooked up The Creeping Unknown by Noose Rot, which is some of the filthiest death metal you’re ever going to hear. I could go on. Pretty much everything that I’ve heard from this label has been weirdly brilliant (or brilliantly weird). The ultimate conclusion here is this: Sentient Ruin releases some seriously fucked up shit.

Fast forward to the present day. Magadh is sitting in his office in the public library, once again flipping through Bandcamp’s offerings in the hopes of chasing the boredom the comes with doing a bunch of repetitive tasks. I’ve rocked a few of SRL’s more recent offerings, especially De Val by the Dutch black metal outfit Verwoed, a real masterpiece of discordant atmosphere, and I start to see a lot of positive buzz around the recently released cassette by Sutekh Hexen. I’m game, I think. I’ve heard my share of black ambiance. This might be the kind of thing that will put me on edge…in a good way. About forty-five minutes later I’m sitting in my chair, eyes open wide, thinking about the place in Beyond Good and Evil where Nietzsche wrote, “Wer mit Ungeheuern kämpft, mag zusehn, dass er nicht dabei zum Ungeheuer wird. Und wenn du lange in einen Abgrund blickst, blickt der Abgrund auch in dich hinein.” [“He who fights with monsters should look to it that he himself does not become a monster. And when you gaze long into an abyss the abyss also gazes into you.”] The abyss seems to have looked back into me, and taken something, and I’m not entirely sure how to get it back.

The opening cut, “Descent,” sounds like the background noise as Charon ferries one across the river Styx: a weird buzzing cacophony in which the screams of the damned echo. This sets the stage for an odyssey that will last the better part of an hour which juxtaposes passages of echoey black metal with long stretches of modulated noise. Sutekh Hexen assaults the senses, most effectively I think because, as a listening, one is constantly trying to make some kind of sense of the aural composition with which one is confronted. But the attempt to turn this into something systematic and comprehensible must ultimately fail. The composers of this music simply will not allow the listener to find any kind of comfort or consistency. These sonic collages cannot really be parsed. They can only be experienced with greater or lesser degrees of psychic damage.

I’ve been listening to this record for a second time in the half hour or so that it’s taken me to compose this review. It’s really starting to freak me out. There are some parts that are just overwhelming. Other sections, like “Segue I: Ouroborus” sounds like what you’d hear while you were waiting for Pinhead to show up with some sort of giant, spinning blade to grind out the contents of your skull. I love this stuff, and simultaneously hate it because there is simply no way to get comfortable while listening to it. This is the lost soundtrack to the first Alien, redolent with horror, and using creeping menace in ways just as effective as the overwhelming walls of sound (which also appear from time to time).

I’ll probably get around to reviewing a number of Sentient Ruin’s other excellent recent releases, including Chasm by Suspiral, which is one of the most strange and depressing black metal releases I’ve heard in years. But for now, I think I need to sit alone in silence and try to recompose the fragments of consciousness that Sutekh Hexen have utterly fucking smashed.

Review: Cruz

Posted in Reviews with tags , , , , , on March 31, 2017 by Magadh

Cruz, Culto Abismal, Sentient Ruin Laboratories

cruz1The dregs of this shit week were enlivened by the receipt of this awesome disk. What we have here is eight helpings of extremely tasty death metal riffage. It’s mostly middling in tempo (right about the speed and gruffness of Corpse’s classic “Black Dawn) and I have to say I like that. Blast beats are cool and all, and they really seemed like something novel to me when I heard Napalm Death do them in the 1980s, but they’re really not my favorite part of death metal.

These Barcelona thrashers have a pretty good formula: crushing, straightforward death metal with galloping beats and utterly tortured vocals. There are a lot of bands to which they might be compared. They sort of remind me of a kind of grimier sounding version of Entombed, although they generally don’t get up to the speeds that Swedes moved at. But that’s just fine. Cruz have an idea of what they want to do and the execute their plan with panache and aggression.

cruz2This disc has been on repeat in my car for the best part of a week now, and every time I listen to it I pick up some nuance or vibe that I hadn’t caught before. The thing that differentiates them from a lot of bands that don’t roll at super high speeds is that their riffs are complex and compelling. They’re not content to just chug along on damped bar chords. Not to harp on the Entombed thing, but their riffs sort of put me in mind of a more aggressive version of Clandestine.

The sound of this record is absolutely perfect: dark and dismal, but clear enough to let the music shine through. Culto Abismal was recorded and mixed by Javi Félez (bassist in Graveyard who are only marginally less awesome). It was mastered by none other than Brad Boatright, who pretty much turns everything he touches into dark, thrashy gold, and this is no exception. Boatright brings a certain bleak aesthetic to everything he does, and Culto Abismal is a perfect example of this. It is a dark, swirling mass of sound rolling forward with the momentum of a freight train.

Yeah, just to sum up, this is the best thing I’ve heard since the last Martyrdöd album came out, and but for the awesomeness of that record it would be the best release that I heard from 2016. So if you’ll excuse me, I’m going to crank this up again and keep on rocking until the apocalypse descends.