01. I Became Flesh and Dwelleth Amongst Thee
02. Exterminate the Vacillating
03. Aethyr
04. Der Einsam Wandler
05. Suffering Comes with thy Name
06. Eidolons of Ash
07. The Hour of the Great Contempt
08. Wrath Upon the Cursed
09. Lama Sabachtani
10. Serpents Walk as if Human
I kind of thought Belgium’s Emeth had died a silent death after various line-up problems. The band has returned in full force with a new album. From the original line-up only guitarist Matty Dupont is left. The other members came into the band in 2012. Of those new members drummer Nico Veroeven (Serial Butcher) and vocalist Boris Cornelissen (ex-Leng Tch’e) are the most well-known names. Where the previous albums were released on the Brutal Bands label, this new one comes out through Xtreem Music. The album was recorded with Tommie Bonajo at the Tomsterproject Studio.
As we know of Emeth, we get a nice dose of extreme and technical death metal. Within the genre there are lots of band that I get tired of listening to. Fiddling about for the sake of fiddling about isn’t really my thing. Fortunately Emeth knows to impress with interesting songs that keep your attention to the music. Your thoughts won’t drift off because there isn’t any structure to be found in the songs. This is in the advantage of these Belgians. ‘Aethyr’ reminds me of a great mix of Gorguts, Suffocation and later Pestilence. The latter mostly because of the freaky solos. Like said, it’s not only craziness what you get to hear. Basically the songs are accessible and in total it all sounds very brutal. Within the technical death metal genre this definitely is an album to check out.
Emeth are from Belgium and play Technical Death Metal. This is their fourth album.
Emeth tread that fine line between brutality and technicality and manage to successfully incorporate both into their savage Death Metal assault.
Ultra-aggression and lightning speed riffage work together to melt faces whilst fretboard wizardry takes the technical side of the band to new heights of carnage.
Emeth can certainly play and play well, and they’re no stranger to brutality, but what sets them apart though is that they don’t purely rely on speed and technicality; they know when to inject a bit of atmosphere and quality instrumentation into the proceedings via some sharply written riffs and colossal guitar work.
The guitar work as a whole is a particular highlight of this record; there is plenty of inventive and interesting riffs and whether they are playing fast or easing off the speed slightly everything is precise, crisp and dynamic.
The singer does a great job and has a focused growl. He picks and chooses his vocal patterns well and knows when to let the music do the talking. This is not an album where the singer is the vocal point; rather the riffs take centre stage and the vocals are an enhancement, (albeit an important one), to the songs.
What an album! A whirlwind tour of destruction and creativity. Emeth have clearly put a lot of hard work into Aethyr and have been rewarded with an extremely strong album.
Intelligent Technical Metal. If you will find yourself categorizing this band, this might be the most proper unique thing to tell about them. Those guys created an intelligent, deep version of the classic full of gore Brutal Death Metal, and mashed it up with uncompromising breakdowns and techniques of the Modern Metal worlds as well. ABORTED – But with a glimpse of DREAM THEATER into it, if you would like to think in known terms.
Hailing all the way from Belgium, these are EMETH.
Being completely honest, I have heard anything like this before. Through all my teenage years and my adulthood I listened to many forms of Metal, some common, some less common, and some are very weird – listening to those guys simply astonished me. The music is heavy. Technically written. Well performed.
However, from the technical aspect I have to say – you can hear that they use the amp modellers. This is a very precise sound, yet very cold with a lack of "Analogue Feel" to it. Which stands for traditional Metal fans as a con – But from the modern aspect, you might actually find this sound a breakthrough of the modern technology of Metal.
I might add as well that the sick tracks, the amazing (seriously, just read it) lyrics and lyrical theme, alongside the high-technical solos gives you a band, which is not a common band in today's arsenal – but a band to stay and keep strong. I see a bright future for those Belgian guys in front of them.
During my time as being a reviewer of metal albums, it’s not common but its common enough to say it’s not rare for me to come across an album and have a track or two starting off with taking sound bits from well-known movies and implementing those bits into the songs. My favorite example of this would be from Matty Trash and the Horrorbles’ album “Part 2: The Decay†and the track “Smiling Politely†which starts off with the Joker from The Dark Knight saying “let’s put a smile on that faceâ€. Works out really well for me and it does for everything else about 90% of the time.
And Emeth’s new album ‘Aethyr’ uses this to its full potential by taking a sound bit from The Exorcism of Emily Rose and putting it in the beginning before leading into some super extreme death metal. Bet you can’t guess which scene was used (here’s a hint: it’s the exorcism scene where all the shit starts to fly (if you’ve seen the movie you’ll know what I’m talking about)). ‘Aethyr’ also does a really great job at being probably the most “true†extreme metal album for a while because it honestly sounds like the sound and music themselves took some speed before coming together to make this album and absolutely tearing it up.
The fact that Emeth infuses death metal along with the extreme metal makes the album all the more raw and punishingly fast for anyone who hasn’t been “properly trained†for this kind of music to the point that they might rip off their headphones or immediately mute the player because it’s too intense for them. Even though you’ve probably already guessed, Emeth has intense vocals that don’t end alongside the guitars that sound like they aren’t being played by real human beings because it’s really hard (for me at least) to believe that people actually train themselves to create albums like this where them and their hands will be pushed to their limits. I would honestly not be surprised if I found out that the guitarists for this band had multiple markings on their hands because of how intensely they play live. Either way I think it’s worth it because ‘Aethyr’ was a very solid album that I’m sure most any extreme metal and/or death metal fans can attach themselves to easily because of those two genres being able to be seen easily throughout the entire album no matter the song.
Wenn mal wieder unschuldige Zug- oder Flugreisende von Spartengewerkschaften in Geiselhaft genommen werden und die mentale Kacke richtig am Dampfen ist, ist brutaler Death Metal immer eine Lösung. Und einen überaus gelungenen und aktuellen Soundtrack zu den Streiks haben nun EMETH vorgelegt....
Bei EMETH ist allein schon das Label Programm "Xtreem Music". Denn die Belgier stehen für höllisch brutalen Death Metal der technischen Sorte. Hier wird extreme Brutalität und schrotiges Gebrettere zu einer einzigartigen Kunstform erhoben, so dass mit Fug und Recht behauptet werden kann, dass man es hier mit der Avantgarde des kompromisslosen, aber nicht minder anspruchsvollen Krachs zu tun hat. Nicht ohne Grund werden von den Kennern dieses Genres die frühen CRYPTOPSY, HATE ETERNAL oder HOUR OF PENANCE zum Vergleich herangezogen, wenn es darum geht, die tiefgründigen, akribisch bis ins letzte Detail ausgefeilten Songstrukturen zu beschreiben, die zudem auch noch keine Kompromisse in Bezug auf das Tempo und Brutalität eingehen.
Das ist sehr schön zu beobachten in 'Eidolons Of Ask'. denn wir haben hier eben kein seelen- und hirnloses Geschrote, sondern übelst heftigen Death Metal, hinter dessen Platinverkleidung sich vage angedeutet ein weicher Kern verbirgt, der in Form von zart angedeuteter Melodiosität bisweilen nebel- und schemenhaft hindurchschimmert. Manchmal brechen aus dem dichten und düsteren Wald aus übelsten treibenden Riffs mit Hang zum Groove, aus tiefsten infernalem Gegrowle und dem straighten unablässigen Vorwärtsdrang crazy-quietschende, ekstatisch amorphe Gitarrensoli heraus, die dem Sound eine ganz besondere Note verleihen. Mitunter wird die tiefe Düsternis auch noch durch übelst furchteinflößende Black-Metal-Anleihen ins höllisch Schwarze gesteigert ('Wrathed Upon The Cursed'), diabolische Entschleunigung inklusive.
Kurz: EMETH zeigen auf ihrem neuen Longplayer "Aethyr", dass auch Death Metal der brutalen und technischen Sorte überaus erfrischend, variationsreich und düster daherkommen kann, wenn man genial durchdachte Songstrukturen mit einem Hauch von kaum bemerkbarer Eingängigkeit und mit unerwartet verrückten Gitarrensoli verfeinert.
Brainy and intricate technical death metal that could very well be from outer space. That more or less describes the strange oftentimes twisted beauty of the new record from Emeth, Aethyr. The pinnacle of squirrelly tech death these songs still have an undeniable sense of groove to them and seem to rush forward with the rage of a boar. Precise and incredibly intricate, Aethyr is not a record that is going to easily disappoint. There are a lot of very exciting ideas going down on this album, and unveiling them all is quite the musical journey.
Right away, the angular riffing that defines this record is apparent. On top of that, you have the mile a minute growls which are delivered with an Altars of Madness level of insanity. The trippy guitar lines and hyper technical breaks are a lot of fun to listen too. Sure they might not be the easiest thing to latch on too, but they provide a welcome relief from the crushing attack of some of these riffs. The Cattle Decapitation influence is clear, and on songs like the self titled track Aethyr you can feel the razors edge of these riffs digging its way into your flesh. This is what true death metal is about, unholy skull crunching insanity.
As the grooves tattoo their way into your head, its hard not to love this album. Sure, it doesn't break a whole lot of new ground, but by god is it a strong record. The melodic content is top notch and the songs are all the perfect length. The occasional uses of sampling doesn't sound overdone and the pinch harmonics add a grim flavor to the entire affair. So prepare yourself for the drubbing of a life time, Aethyr is opening up the pit, and if you're not right in the middle of it getting down and dirty you might as well leave the hall.
Ok. Time for some brutal death metal from Belgium, and time for the 4th studio album of this monster band which I must be frank, I had no idea of its existence. Emeth is a brutal death metal band from Belgium reigning since 1996. You get what this means huh? Experience. And to someone with their skills, this can be a really powerful ally. If you add 'ultra technical' to their music description, you'll get precisely what Emeth deal with in "Aethyr".
American cut, technical brutal death metal performed in its finest by the Belgian war machine. Riffs that rarely step away in light forms, usually swirling around a basic theme, with a solid bass guitar that knows when and how to follow, and a completely relentless drummer that makes this whole riffing madness even bigger. Blasting their way mostly but never hesitating to groove the whole thing up, especially when the guitar riffs get too crafty. The technical element in this one is really intense. It doesn't get under your skin though cos the boys must have paid attention on not getting boring with it. There's a sense of 'tact' between the terms technicality and brutality and in this one, not only they leave each other space to breathe, but on the same time they seem present all the time. This album here is the epitome of balance between those two and if you add to that the clever riffing and the years in music those guys got on their backs, it gets pretty obvious that "Aethyr" is a release that will not pass unnoticed by any fan of the genre.
Consisting of 10 songs with medium length of 4 minutes each, cohesive and solid and with the tracks placed properly to create a continuation to the album flow, "Aethyr" will make 44 minutes of your life pass away quicker than usual. The album definitely has a flow and my opinion is that due to this flow those guys have created, even the cave-men of brutality, won't be disturbed by their technical approach. Once you push the play button you'll realize that the word technical doesn't necessarily mean faggot-ish. Emeth is one of the bands that use their skills and inspiration, pointing in the direction of brutality, so almost certainly whatever comes out of them is going to be brutal as it should be. As the genre itself commands. "Aethyr" is the perfect combination of technical and with surgical precision performance, with sharp and edgy riffs all pointing on the most brutal of everything. Word!
The return of GORGUTS recently had many Tech Death geeks jumping for joy. Some, like myself, however weren't so thrilled. To the minority of us (I assume), this new GORGUTS showed the band 'up-their-own-ass' with technicality. The songs meandered at great lengths without hooks, catchy rhythms, or any trace of bloodcurdling speed (LeMay since expressing disdain for the blastbeat). Thankfully, we have disharmonic Tech Death bands like EMETH to pick up where older GORGUTS left off. The material on "Aethyr" is consistently high tempo (a plus for me), with frankly staggering tightness for such abrupt rhythm changes and byzantine structures. Also of note is this record being much less processed and digital than most others in the genre. Kudos on skipping the 'typewriter' drum sound of obsessively corrected midi-percussion. Due to its schizophrenic arrangements and attention-deficit construction, I couldn't listen to "Aethyr" every day. However, if you're in the mood for complex stuff after one too many coffees, this album comes highly recommended.
With a name that means ‘truth’ in Hebrew, rest assured that Emeth have never delivered what pundits would cite as ‘false’ metal. Technical, brutal, grinding, this Belgian quintet play death served at an intoxicating clip. But following a six-and-a-half year hiatus and a major lineup change, how much has Emeth changed, and what does their fourth full-length release, Aethyr, have in store for old fans?
While not as booming as 2008’s colossal Telesis, Aethyr finds Emeth’s latest incarnation toiling even deeper in tech-death territory. The lead guitar exchanges are frenetic, aiding the record’s melodic sci-fi sensibilities, and new vocalist Boris Cornelissen adds a dense anthropoidal roar. Albeit overwrought, Aethyr should appeal to speed freaks, death-mechs, and grindaholics.
La propia “Aethyr†es un desenfreno que conjuga arreglos de guitarras dobladas, perfectos y pegadizos, en los que el bajo destaca por su ejecución y timbre, puntuales breakdowns al estilo DECAPITATED o SOREPTION, veloces blastings y riffs que se alternan sin parar, consiguiendo una muy buena estructuración durante 4:41 minutos.
“Der Einsam Wandler†roza lÃmites muy agresivos y contiene muy buenos solos de guitarra, partes marcadas y lentas cual sangrantes machetazos Slam y voces despiadadamente arrastradas. Sorprende la calidad de los arreglos y la buena combinación de ideas, consiguiendo de alguna forma sonar de otra manera en medio de toda la vorágine.
“Suffering Comes with thy Name†es un corte muy bestia en el que se manejan muy bien los intercambios de velocidad y los patrones de baterÃa. Precede a “Eidolons of Ashâ€, que es más tradicional en cuanto a algunos ritmos clásicos o armonÃas y tal vez más melódico respecto a las partes de los estribillos. Los solos de guitarra y los arreglos de corte marciano fluyen en cascada, precisos y directos.
“Lama Sabatchtani†es una pequeña introducción de guitarras electroacústicas, de efecto lejano y premonitorio. Sirve para desembocar en “Serpents Walk as if Humanâ€, tema que echa el cierre y mezcla todo tipo de tempos, pudiendo destacar las poderosas partes retardadas y agarradas que contienen rugidos completamente guturales.
Now here's an album I've been looking forward to hearing. After the release of TELESIS in 2008 things became a bit quiet with EMETH, but now, six years later and with a brand new vocalist, they're back!
The album starts absolutely furious with I BECAME FLESH AND DWELLETH AMONGST THEE. It's almost as if EMETH wants to prove from the start that they're back with a vengeance. Besides the fact that EMETH tries to break the Belgian speed limit the music is also extremely technical; even more so than before. It should be interesting to see if they can pull this off on stage…
Meanwhile, the album rages on with EXTERMINATE THE VACILLATING, the title track AETHYR and DER EINSAM WANDLER and I must say that AETHYR is turning out to be one hell of an album.
For me the main question was if EMETH was able to release an album that could compete with its predecessor TELESIS. TELESIS is an absolute beast of a technical and brutal deathmetal album and it would be a difficult task to come even close to it. But, with intelligent songwriting, a clear yet mean production and musicians pushing their limits EMETH actually succeeded. I'm not saying that AETHYR is better than TELESIS per se, but it's definitely right in the ball park. But then again, you can't really compare the two. Instead of trying to write TELESIS 2.0 EMETH continued exploring the technical side of their music, creating a fine balance of technique and brutality on AETHYR. So instead of creating TELESIS 2.0, AETHYR is the first album of EMETH 2.0…
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