The 2017 Resurrection Fest will be taking from July 5th-8th in Viveiro, Spain, and the lineup is BIG. Continue reading
Spanish extreme black metal group Noctem do NOT mess around. With this year’s release of Haeresis, the band leaves no page unturned. No frilly intro, no soundscaping, and no gently easing into the album; it starts fast, heavy and loud. The band’s bandcamp tells us that the album was recorded by Tore Stjerna of Necromorbus Studio, who have also recorded material for Watain and Tribulation. Continue reading
Check out all of today’s new releases in the heavy metal world! Continue reading
Noctem will be unleashing Haeresis on September 30th via Prosthetic Records, but you don’t have to wait until Friday to hear it. Continue reading
Iberian extreme metallers Noctem have partnered with Ghost Cult today to stream their new single, ‘Pactum With The Indomitable Darkness’. The track comes from their forthcoming album Haeresis, due out via Prosthetic Records on September 30th. Continue reading
Paving their path supported in their own effort since 2001, the Spanish blackened death metallers Noctem have released this year the third full-length Exilium, via Prosthetic Records/Art Gates Records.
This band is clearly an enthusiastic one regarding the grandeur of darkness and providing a touch of celestial taste to the songs in Exilium, the operatic choruses appear in tracks like ‘Apsu Dethroned’ or ‘Eidolon’ dancing above the black metal distorted guitar riffs that sometimes are alternated with solos or cleaner moments that exalts their death metal vein.
Noctem aren’t a band deprived of melody regarding the organic instruments – on the contrary however, the first melodic soundscapes are truly felt in the fourth track ‘Namtar’s Crown’ in which, from its beginning to the end, the guitar riffs go up and down harmoniously somehow recalling Dissection. And in a moment of diversity, the guitar picking technique is used in ‘Halo of Repugnance’ something that’s not so usual in this genre, but I admit it was put there in a perspicacious way.
‘The Adamantine Doors’ is without doubt the pinnacle of Exilium in which Noctem’s symphonic side emerges with great splendor through the orchestrations lined by wind instruments with some reminiscences of Dimmu Borgir in their less raw phase. In spite of these characteristics, the double pedals of the drums are brilliantly heard. The using of those symphonic tools is so evident that the record even ends with an elegant orchestral version of the song.
As a final observation I would point the overusing of the shredding technique as a downside, but all the other features are able to overcome that – like the acoustic song ‘Egregor’. Beleth, alongside Exo, is one of the two remaining founding members and his voice is still potent and quite raw in some passages employing to the album his huge experience.