Shibalba – Stars Al-Med Hum


For the virginal, when a band’s lineage includes members from Black Metal legends Acherontas and Nåstrond, it’s a fair bet that the new band might follow that bloodline. Not in the case of Shibalba. Stars Al-Med Hum (Agonia Records), the latest issue from this Greek / Swedish hybrid follows their chosen path of ethereal, cosmic Drone and is again partially delivered by instruments of the earth.

‘Alignment I Fa Ra On’ is an eerie opening: sci-fi synthwork evoking the stars whilst sampled beats and choral bursts blend chaotically with spoken ramblings. As the track progresses, it is the intensity rather than the anger which increases, the growling drone of a bass guitar adding to the swell. ‘Alignment II TEI Re Re Re’ is a wonderfully dramatic undertow of violins, piano keys and sparing drums: the soundtrack to a thriller with deep, resonant intonations enhancing the sinister feel. During the seventeen-minute transcendental journey, the band’s leaning to ethnic instruments sees a hypnotic middle section graced by Tibetan horns plus ceremonial bells, whilst the whole blends modern-day technology with a ritualistic atmosphere to give a truly mind-bending experience.

The cold, metallic jangle of ‘Alignment III Ana Hat’ welcomes tribal percussion in a clashing of styles which tickles the nerves and quickens the blood, the clanging icicles akin to the warped chiming of church bells and becoming more edgy as the synth undercurrent grows through the track. Here the second movement maintains an unbearable tension as whispered voices mimic both the chase and the sexual encounter, with animalistic screams littering the pulsing beat. It’s hard to believe that this level of drama can be continued yet even a return to the earlier spectral effects with ‘Alignment IV La Ra’, complete with bone horns and bartuka percussion, is accompanied by a growing thunder which chills the soul, only settling with a coda of mournful guitar.

Closer ‘Alignment V Egi Pto’ is both beautiful and startling, the early stages a return to piano and strings which is graced by deep ruminations that echo through time, whilst the endgame is a deeply unsettling parade through Industrial synth sounds and marching boots. It’s incredible to think that a spiritual product based on ancient, indigenous sounds could be more exhausting than Black Metal but, despite its fearsome beauty, this album achieves that status.

A disturbing, troubling, yet utterly absorbing piece of work.

8.0/10.0

PAUL QUINN