siLLy puPPy Formed in 1999 in Bishkek, Kyrgyzstan and then relocating to Leipzig, Germany, DARKESTRAH has delivered a unique strain of folk-infused black metal that stood out from the very beginning given its unorthodox infusion of Central Asian influences taking the world of Pagan black metal into completely new territory. The band led by drummer Asbath has undergone a ridiculous amount of lineup changes in its quarter century existence yet continues to sally forth like Gengis Khan conquering half of the Eurasian continent. The current year 2024 marks the 20th anniversary of the band’s debut release “Sary Oy” which launched DARKESTRAH onto the world’s stage of inventive black metal bravely reinventing itself in the 21st century from its second wave parent stock and in this calendar year we find the band returning after eight years with its seventh release NOMAD. The band did drop the EP “Chong-Aryk” in 2021.

The band featured the same lineup as 2016’s “Turan” only with newbie Charuk (vocals, percussion) delivers the expected mix of pagan infused black metal with frosty atmospheric backdrops, rasping vocals from beneath the din and the band’s knack for infusing traditional Kyrgyz folk sounds into the fabric of the metallic furor. DARKESTRAH has always delivered lengthy trotting tracks that emulate the procession of transversing the vast mountainous terrain and steppes of Central Asia and in that regard little has changed on NOMAD which continues the expected endless trajectory of lightning fast guitar riffing, blastbeats and moments of clean guitar contrast. The album features seven new tracks with four of them eight minutes or more. Atmospheric intros fueled with Kyrgyz folk melodies strummed on traditional instruments set the mood before the black metal bombast sets in. Throat singing technique yield to demonic black metal extremities. Yep, the DARKESTRAH formula is alive and well after all this time.

“Journey Through The Blue Nothingness” opens the album with the expected non-metal folk sequence before “Kök-Oy” begins the atmospheric black metal journey. After eight years the band is noticeably less vibrant than on past releases with the metal aspects set a bit back below the atmospheric melancholy. Likewise newbie percussionist and vocalist Charuk doesn’t seem as dynamic as former vocalists Merkith and Oldhan. Also noticeably missing are all those interesting contrasts within the tracks with most of them plodding along for their extended periods of time which makes me wonder if DARKESTRAH has finally run out of steam after two decades on the scene. The compositions are noticeably less complex in construct with simple guitar stomps punctuating a frigid atmospheric presence. Likewise the tracks don’t differ from each other as much as i would’ve expected with the title track sounding a bit too close to its predecessor. Dynamics, tempos and contrasts seem to evaporated like a life-giving water source during a drought.

This is a trend i find many long timers picking up lately. Deemphasizing the black metal intensity and setting it behind the atmospheric backdrop which now almost seems like the forefront, a sound that cheapens the overall effect and diminishes the value of the atmospheric contributions in the first place by showcasing how simplistic they are and why they are SUPPOSED to be set back in the mix. Overall DARKESTRAH has delivered a decent new slice of its classic pagan black metal with folk flavors but everything that made the band stand out all these years as been tamped down to a mere trickle and in the end this album comes off as a bit generic and lackluster. Sure the folk elements are weaved into the fabric of the music and the procession of black metal military march processions carry on but any element of surprise is sorely missing. Really the thing that bugs me most about this newest DARKESTRAH release is how the metal has been set back in the mix. It just doesn’t work for me. Add to that a rather by the books delivery of compositions and i’m not feeling the magic that this band once dished out in abundance. Despite that quibble, NOMAD is not a bad release at all even if not to my liking.

siLLy puPPy While black metal has found its beginnings as primarily a European musical expression, it really didn’t take long at all after the initial second wave explosion of the 90s to drift far and wide like a cloud of radioactive dust after an initial impact to blanket the entire globe. Bands like Kekal from Indonesia, Inquisition from Colombia, Shub Niggurath from Mexico, Taarma from Pakistan and Deiphago from the Philippines have all experienced varying degrees of success on the world’s stage but perhaps one of the most unusual of black metal bands to emerge was DARKESTRAH which came into existence in the Central Asian nation of Kyrgyzstan, a nation even in the 21st century still remains off most people’s radar.

DARKESTRAH, a portmanteau of dark and orchestra, was formed in 1999 by drummer Asbath in the capital city of Bishkek and released two demos “Pagan Black Act” and “Through the Ashes of the Shamanic Flames” before catching the attention of the German lane Curse of KvN Sadistic in 2003. The band would relocate to Leipzig, Germany and released its first album SARY OY in 2004 to critical acclaim in the underground world of black metal for its innovative mix of kvlt black metal sounds with the traditional folk music of Kyrgyzstan which implements the unique sounds of instruments such as the kyl-kyjak, a two-stringed upright bow instrument, the komuz which is an ancient fretless stringed instrument like the flute, the temir-komuz better known as a jew harp. In addition to the black metal raspy vocals set below the caustic din, the folky segments exhibit the sygyt which is a form of Central Asian throat singing.

Most similar to Romania’s Negura Bunget for its homegrown ethnic flavors seeping into the fabric of black metal, DARKESTRAH sounds like no other because the Central Asian folk sounds are in a world of their own and are quite effective in conjunct with the black metal bombast. Perhaps the most impressive aspect of DARKESTRAH is how the band adds highly complex progressive elements which include unorthodox time signature shifts, lengthy sprawling compositions that go through a series of changes as the three tracks narrate the concept of an ancient Kyrgyz tale about three sisters of nature. It’s also notable that lead vocalist Kriegtalith is female although in extreme metal gender specific vocal styles are indistinguishable. With only three tracks that make up a full album’s worth, DARKESTRAH crafts its compositions like classical scores with various movements.

The first two tacks hover around the 11 minute mark. “Part I - Sary Oy” emulates the wind swept Central Asian lands and introduces the Pagan themes with homegrown instruments that slowly evoke the atmospheric elements and the spirit of the land before the black metal erupts into full fury. While the mix is impressive the one weakness of the album becomes clear from the getgo and that is the rather amateurish mixing job of the keyboards and other elements. While not horrific, it’s clear that this band was still learning how to craft an epic sounding album. The second track “Part II - Jashii Oy” is the odd song of the bunch as it introduces a rather frenetic time signature rich guitar sequence that reminds me a bit of John Frusciante’s guitar parts in the Red Hot Chili Peppers’ hit “Snow” only this has a keyboard taking the spotlight. The track drifts on in a groovy electronic mode for six minutes before hitting its stride in metal turf. This second track is entirely instrumental.

The most epic track is the closing “Part III - Kysil Oy” which at nearly 26 minutes swallows up 2/3 of the entire album’s run. This track is also the most progressive as it drifts in and out of varying motifs that begins with the ambient sounds of howling winds accompanied by traditional Kyrgyz instruments but then around three minutes the black metal guitars kick in only is a drifting sort of sustained chord sorta way until it ramps up into a fast tempo fury accompanied by some keyboards that unfortunately sound a bit cheesy due to the mixing inadequacies however this sequence also delivers some of the most progressive constructs of the whole album with labyrinthine proggy workouts at breakneck speed. A piano sequence remnant of the previous track briefly kicks in at nine minutes or so before around ten minutes all the bombast drops out and it becomes an ambient track for several minutes. The rest of the running time sounds more like a church organ rich ritual along with a more demented version of Philip Glass around the “Glassworks” and “Koyaanisqatsi” era.

SARY OY has been a divisive album for sure as it will not appeal to black metal purists for its lengthy excursions completely out of the metal realms however for those interested in amazingly original experimental and progressive music then DARKESTRAH delivers all the goods on this one. The only pitfall with this debut album is the production and mixing job which are not horrible by an means but there are moments, most notably the keyboard oriented ones that things just don’t sound as tight knit as they should. If you base your musical happiness on production then this will most likely disappoint but if you can forgive the inexperience and focus on the music itself then this one is completely satisfying on many levels. Steeped in Western classical undercurrents and decorated with ethnic flavors and black metal bombast, SARY OY is quite the satisfying experience of experimental Pagan black metal emerging from one of the most off the radar regions of the planet. Blackened folklore metal rarely sounds this sophisticated and DARKESTRAH found a way to stand out from the very start.

adg211288 Kyrgyzstan isn't a country exactly well known for its metal bands. A quick online search for example reveals under a dozen ever known to have released anything. Best known of these bands is black metal act Darkestrah, who have been around since 1990 and have released six full-length albums, the latest being this one, Turan (2016). With long-time vocalist Kriegtalith now out of the picture, the band recorded the album with a session vocalist, Merkith, who now seems to have become their permanent replacement.

The music on Turan is atmospheric based pagan black metal. The use of synths and cello gives the album some lightly symphonic touches, though nothing up to the level associated with actual symphonic (black) metal. Some folk influences show themselves every now and then and when they do they err towards what I assume must be the traditional music of Kyrgyzstan, which gives Turan some unique flavours, heard prominently in tracks such as Erlik-Khan. Some of the additional instruments used alongside the traditional metal setup and cello are the mandolin and temir-komuz, the latter of which is a new one on me and I had to look up what it was. Apparently it's a Kyrgyz jaw harp. The band's style isn't always so overt as on Erlik-Khan and other tracks require a focussed listen to make out the fine details that give each track its identity.

Turan is a six track album with a total playing time of 52:24 minutes, with the shortest composition being Gleaming Madness at 6:59 minutes. The longest the album gets up to is its opener One with the Grey Spirit (10:22), however this track's first half basically serves as a really quite drawn out introduction for the release, the kind other bands may have made a separate track on the album, so once the whole band actually get going it doesn't seem to be such a long song after all. To my ears it's a little too long to wait for things to really kick off. It's one of those cases where it makes me want to yell at the band to get on with it.

The long introduction aside, Turan is still a very substantial album from Darkestrah. Solidly written and performed while also offering up some ideas that I've not heard a metal band doing before (this also being my first experience of Darkestrah's music – it won't be the last). The real issue holding the release back is that the music does tend towards a mid-paced tempo which coupled with the long track durations does make some of them, such as the 9:46 Bird of Prey, seem a bit elongated and could either do with a few minutes shaved off, with perhaps an extra track or two then substituted to make up the total time, or some additional experimentation with the traditional instruments, because those parts are certainly the most interesting aspects of the album that sets the band apart from the crowd.

renkls A composition that flows smooth as magma, and in some ways, just as excessively, being at least five minutes longer then it needed to be.

The 33:33 minute epic track, Epos is the only song to grace this album; and before you go thinking it's a wall to wall slab of 33 minute brilliance, I'll burst your bubble and say that's not entirely the case. It is however, a very good epic track nonetheless.

When you put on this album, the first thing you will hear is the sound of crashing waves. Sets the mood, all good. Two and a half minutes of these waves pass and the first section of the track eases in from under the waves; a good transition. It builds in intensity until the sixth minute, upon which it hits the first vocals, punctuated by a female vocalists roar. Epic, and powerful, it lurches through multiple verses, a repetitive rhythm and the addition of melancholy violin strings into the mix.

At the twelve minute mark, it all fades away, to the sounds of stormy turbulence far off in the distance. After a minute of this, a jew harp (never heard one of them before hearing this song) comes into the mix, then after a few beats, a chorus of 'hey' with drums, hand claps and jew harp signals the second section. That makes it sound ineffectual, but it comes in naturally and feels perfect for the composition at the time. After a few minutes of this, we settle into a new rhythm, aggressive and perfectly fitting - pagan influences are present underneath the all consuming atmosphere. This is music you have to hear up loud.

Again, after a while the music fades back down again, to a light acoustic segue which lasts all of thirty seconds before the female vocalist rips apart another cry and the third section begins, pulsing ahead to a powerful finish. The music swells passionately to the conclusion, reprising the opening rhythm as our female vocalist muses a melodic exit, and we are left to the sound of crashing waves once more.

While I love the composition itself, the choice to sandwich it between more than seven minutes of just wave sounds was a bit of a poor choice, as well as the decision to classify this as full length, when it's quite a measly offering. But with music this passionate and effective, it's a pretty minor complaint. Though it feels like three songs sandwiched together for show, it has a coherency to it that many other long tracks would envy, and I think it paid off. Just cut down a little on the repetition in each section and most of the waves, and you've got a real EP length gem.