Warthur Whereas Esoctrilihum's debut album was a more or less straight down the line atmospheric black metal number (though a rather pleasing example of that style), this compendium of forbidden formulas is a different matter. They might be working with forbidden formulas (formulas fatal to the flesh, perhaps?), but this is hardly formulaic - instead Esoctrilihum add a fat dose of death metal, embellishing their solid atmospheric black metal foundation with sickly, bestial grunting vocals and brutal guitar.

Death metal and black metal aren't miles apart to begin with, after all - how many bands have drifted from one to the other? - but few have managed a fusion of the styles quite as startlingly malevolent-sounding as this album. The quest to make extreme metal sound ever more evil is a difficult one, but Esoctrilihum here might have hit upon a stratum of darkness which we never before suspected.

Warthur The rather hard-to-pronounce Esoctrilihum is the solo project of one Asthâghul. Bedroom black metal projects run a wide gamut from lo-fi howling to more sophisticated symphonic or atmospheric black metal efforts, and Esoctrilihum firmly leans towards the latter here. It's not going to offer a whole lot you haven't heard before if you're into atmospheric black metal - particularly the cutting-edge material of the sort put out by I, Voidhanger labelmates Mare Cognitum - but it's certainly a competently put-together album with plenty of synthesiser, buzzsaw guitar, and all that sweet atmosphere you come to projects like this for. On the whole, a solid basis from which I hope Esoctrilihum are able to build on.

adg211288 Although barely half a year has passed since the release of Mystic Echo From a Funeral Dimension (2017), the debut by French atmospheric black metal solo project Esoctrilihum, it's lone musician Asthâghul has certainly wasted no time in getting it's follow-up out there. Entitled with the rather long-winded Pandaemorthium (Forbidden Formulas to Awaken the Blind Sovereigns of Nothingness), this second album sees the project building upon and expanding what was begun on the debut.

I want to make it clear that I personally loved Esoctrilihum's debut and nothing is going to be able to diminish the regard I have for that piece of work. It was a great example of the atmospheric black metal genre that could be considered contemporary to the work of I, Voidhanger Records labelmate Mare Cognitum. It wasn't the most surprising record in that respect, except for one sudden burst of death metal that came out of nowhere during the track BltQb (Black Collapse). Considered most likely to be a fluke by myself at the time, it's clear to me now that Asthâghul must actually be quite interested in what death metal can add to his music, since Pandaemorthium features considerably more death metal elements than Mystic Echo From a Funeral Dimension did, to the point where Pandaemorthium can be considered as much a death metal album as a black metal album.

While various black metal and death metal fusions aren't anything new, what makes Pandaemorthium a more unusual example is that the black metal elements themselves are still very atmospheric in nature, with many similarities to the first album in their underlying ambient, cosmic direction, a prime example being Lord of the Closed Eyes, the first song released for fans to hear. Naturally though the death metal elements greatly change the way that the record impacts upon its listener, becoming something much more aggressive. It is easy sometimes to forget you're listening to an atmospheric black metal record with this album because of them, which I guess is why some people seem to be saying that this album represents a complete stylistic shift for the Esoctrilihum project, but I have to say that I think that's false: if one listens past the death metal elements it's actually quite obvious that this isn't that big of a step away from what Mystic Echo From a Funeral Dimension started.

And that's just one of the things that's good about it! It's one thing to play this style or that style and another entirely to take bits of both and forge them into something that works as well as Pandaemorthium does. Another thing that's good about is the result of this mix. Pandaemorthium is an atmospheric yet intense album that will pummel your eardrums into submission for almost seventy minutes, neither letting up it's relentless assault or letting go of your attention span, not even during rare softer moments such as Breath of the Silent Shape. Expect plenty of black and death metal riffs (and even some thrashy ones in a track like The Holocaust of Fire in the Temple of the Red Oracle) that are full of technicality and complexity, interlaced with spacey atmospheric metal passages and of course Asthâghul's perfectly integrated, malevolent growling. I do find the latter hard to follow in terms of his actual lyrics, but as part of the whole package it works.

Pandaemorthium is undeniably a very satisfying release. It's not quite the album I expected to hear next from Esoctrilihum but maybe that's a good thing. A level of unpredictability makes this project even more exciting than it was already and Mystic Echo From a Funeral Dimension had already given me a lot of hopes for its future. For all we know, Asthâghul's next one for Esoctrilihum could easily be a full on progressive/technical death metal release, full on spacey black metal madness, or even something avant-garde. Or none of the above or maybe a bit of all of them and more. Wherever he takes this project next, it's clearly going to be one hell of a ride to take with him to find out. And for my money, Pandaemorthium is the first true standout album of 2018.

adg211288 There isn't much known about Esoctrilihum yet, except that it's a solo project by a French musician going by the moniker Asthâghul. Mystic Echo From a Funeral Dimension (2017), is the debut album from the project, released on I, Voidhanger Records. You can currently get the album digitally while a limited (300 copies) CD run has also been produced. Having listened to the album a few times now, I have to wonder if such a small amount is going to be enough to go around...

The music on Mystic Echo From a Funeral Dimension somewhat brings to mind the cosmic work of I, Voidhanger Records labelmate Mare Cognitum, particularly during the opening track Ancient Ceremony From Astral Land, an impression no doubt enforced somewhat by the usage of artwork by the same artist (Luciana Nedelea – who also designed the band logo) as did Mare Cognitum's Phobos Monolith (2014). It's only a passing similarity though, as Esoctrilihum is quick to diversify its sound and assert its own identity as the album progresses, so couldn't be called a clone act. They definitely seem to be cut from the same cloth though. Whether you're a fan of Mare Cognitum in particular or not (though you should be), if you like black metal at all then Esoctrilihum is a name you need to start paying attention to. I cannot state enough times what an impressive debut album Esoctrilihum has created with Mystic Echo From a Funeral Dimension.

The atmospheric black metal approach of the album is flavoured mostly by non-metal elements, such as cold, haunting ambient parts during Ancient Ceremony From Astral Land or clean tone guitar work in other tracks such as Following The Mystical Light of the Shadow Forest (Final Path to Death) or Infernus Spiritas. The biggest element of flavour and perhaps the most unexpected comes about halfway through later track BltQb (Black Collapse), where the atmospheric black metal riffs are replaced by a more intense, muddy tone and the music speeds up into something that I can only ascribe to being a burst of old school (blackened) technical death metal. In fact there are also times across the release that Asthâghul's growl breaks away from the raspy black metal standard and becomes more deep and deathly. Musically apart from that one burst in BltQb (Black Collapse) this record is as black metal as they come, but I'm sure Asthâghul has drawn influence from more than one source here.

Favouring long song structures of around the eight to nine plus minute lengths, with the exception of the much shorter Prayer of the Lamented Souls, which doesn't even hit three minutes and is more of an unusual kind of interlude featuring no black metal elements beyond harsh vocals, instead drawing more of ambient themes (less cold and more majestic this time) the seven track album runs for just shy of one hour and provides one hell of a trip. The music is engaging, well preformed and powerful in sound. This is no unnecessarily stripped raw black metal release, but one that balances the traditional treble guitar tones of black metal with quality production work that gives the music a fair bit of punch. Esoctrilihum has certainly set the bar high with this debut. Undoubtedly one of the best black metal releases, atmospheric or otherwise, that will come out of 2017.