Reviews: SAT201
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We’ve devoted significant attention over the years to the musical creations of Wyatt and Jerred Houseman through their band Helleborus, but the brothers Houseman have another project named Akhenaten, and it’s Akhenaten that’s the subject of the following premiere.
Through this project, the Housemans have drawn inspiration from the mythology and mysticism of ancient Egypt and Mesopotamia, interweaving exotic melodies into a framework of blackened death metal. The new Akhenaten album, Golden Serpent God, revisits these ancient deities and occult mysteries over the course of 11 tracks, and the one we bring you today in advance of the album’s May 31 release by the triumvirate of Satanath Records (Russia), Cimmerian Shade Recordings (USA), and Murdher Records (Italy) is named for the Mesopotamian goddess Erishkigal, queen of the underworld Irkalla and sister to Inanna, the goddess of heaven, whom she destroys (at least temporarily).
The music of “Erishkigal: Kingdom of Death“, presented here through a lyric video, captures the terrible power and malefic intent of the goddess for which it’s named. The song is a full-throttle rush, bursting with sinister, frenzied energy. Jerred Houseman’s storming percussion, darting riffs, and soaring keyboards, coupled with Wyatt Houseman’s powerful predatory roars and blood-freezing howls, create a hybrid atmosphere of occult grandeur and implacable savagery — and it’s a serious head-mover of a song as well.
Se tem um estilo dentro do Metal do qual eu tenho realmente falado muito ultimamente com certeza são as linhas entre Death e Black Metal, eu poderia dizer que é pela conexão com a Noruega ultimamente mas a realidade é realmente outra. Nos últimos anos o que mais observamos dentro do cenário é o crescimento em qualidade entre os trabalhos das bandas em todos os aspectos e estilos no Rock e Metal, este é um fator que eu já mencionei muitas vezes em outras resenhas mas que se faz absolutamente necessário dizer agora.
Explicando de uma forma clara entre todos os estilos podemos observar que um setor que vai muito bem no momento é a linha entre Death e Black Metal, são muitas bandas novas surgindo, com uma qualidade espantosa, que integram muitos elementos em sua sonoridade, tudo isso com integridade de composição e álbuns que são verdadeiros tesouros musicais.
Alguns podem realmente dizer que esta sempre foi uma realidade, eu concordo, esta é uma área no Metal que não perdeu tempo no crescimento, temos ótimos álbuns datados de dez anos atrás que são ótimos exemplos no estilo mas o que observamos agora é o estilo subindo a superfície, o que antes eram áreas de peso para um público mais exigente e categorizado agora vem se colocando a frente dos estilos mais consagrados como o Heavy Metal Tradicional, passou o tempo de álbuns sujos em sonoridade, gravados no sub-mundo do metal, hoje falamos de produções de peso em todos os cantos do mundo e a citada de hoje é o que posso chamar algo espantoso.
O papo de hoje é sobre a banda Akhenaten e seu poderoso álbum de 2018 “Golden Serpent God”, uma mistura de Death e Black Metal, com muito de Industrial, Folk e o melhor da sonoridade do Oriente, uma mistura poderosa e letal que impressiona.
Acima da esfera da sabedoria experiencial encontrada na obra de Helleborus (o projeto primário por trás da faceta de Akhenaten), havia uma vasta experiência humana tecida nos contos antigos quando falamos da mitologia e misticismo do antigo Egito e da Mesopotâmia, os Irmãos Houseman exploram caminhos esquecidos da história, extraindo conhecimento desconhecido e fios da verdade da história das areias quentes do solo do Oriente Médio. Desta jornada emergiu o projeto de estúdio “Akhenaton“, que se assemelha a temas encontrados em Helleborus.
“O álbum é um mural de épicos do Egito e da Mesopotâmia. Ele conta histórias de crença, guerras, homens e deuses.”
-Jerred Houseman
Baseando-se na sabedoria diversificada e som do mundo antigo, seu álbum de estréia “Incantations Through the Gates of Irkalla” é uma paisagem sonora épica de visões exóticas, monstruosas e melodias indescritíveis que assombram como um pesadelo alucinante. O som florescente de Akhenaton está enraizado no Death metal enegrecido, impregnado com a instrumentação exótica e estruturas rítmicas do Oriente Médio antigo. Compartilhando as características exclusivas de bandas como Al-Namrood, Narjahanam, Melechesh e Kartikeya, Akhenaton sussurrando para as regiões mais remotas da memória primal. O álbum de estréia de Akhenaten, “Incantations Through the Gates of Irkalla“, foi lançado pela Murdher Records, pela Satanath Records e pela Darzamadicus Records em dezembro de 2015.
O álbum com suas dez faixas paira entre sonoridades de puro instrumental e outras com linhas eletrônicas diferentes para o estilo e muito da herança mais grossa do Black Metal Norueguês. Faixas como “Throne of Shamash” chamam a atenção pela atmosfera, enquanto “Erishkigal: Kingdom of Death” salvam aos ouvidos com riffs velozes onde o gutural lembra muito da cena antiga do metal mais extremo dos anos 80.
“Apophis: The Serpent of Rebirth“, faixa liberada no Video Lyric, é uma explosão de criatividade e eleva em muito degraus os padrões tão seguidos pelas bandas americanas, isso torna o álbum e o próprio projeto realmente singular.
O Death metal é totalmente submerso na interface das areias quentes do Egito, e no que diz respeito a “apropriação cultural” esta dupla de músicos geniais de Akhenaton, do Colorado, expõe níveis intrincados e escalas incomuns, com alguns dos efeitos de guitarra mais interessantes sendo utilizados em novos parâmetros. Todo o conjunto da obra torna o trabalho desta dupla significantemente único.
A faixa “Sweat of the Sun” apresenta aspectos instrumentais tão diferenciados que é quase surreal entender como tudo se encaixou ao peso do Death Metal e por mais inacreditável que pareça isto pode ser encaixado ao playlist de qualquer festival de música eletrônica sem causar espanto e mesmo assim agradar os veteranos nos festivais mais agressivos do Metal, então não é de se admirar a razão pela qual esta banda já esteve ao lado de nomes como Fleshgod Apocalypse, Septicflesh, Cannibal Corpse, Taake, Dark Funeral, Cattle Decapitation, Wolvhammer, UADA, Erimha, Panzerfaust, Ghostbath, Tombs, Blood Storm, Mantar, Acid Witch, Numenorean, Lotus Thief, Nightbringer, Amorphise e Swallow The Sun.
Eu apenas posso concluir esta resenha deslumbrada pela criatividade e agressividade contidas neste álbum e recomendar a adição de um trabalho que passou longe de limitações e expandi as fronteiras criativas do estilo.
http://roadie-metal.com/resenha-akhenaten-golden-serpent-god-2018/
31-го мая на российском лейбле Satanath Records (совместно с Cimmerian Shade Recordings и Murdher Records) выходит поистине самобытный, интересный альбом. Уже за один только стиль, название композиций и арт-ворк можно обратить внимание на работу. Парни обещают нам необычайное путешествие в забытые миры. Исследуя закоулки древней истории, братья Houseman помимо своей другой банды (Helleborus) создали студийный проект «Akhenaten», который параллелен темам, затронутым во втором проекте. Название коллектива происходит от имени фараона Древнего Египта. Всего на счету группы 1 ЕР и 3 полноформата, включая «Golden Serpent God».
По своим ориентальным, фламенко- и прочими народными вкраплениями коллектив перекликается с такими бандами, как Impureza, Aeternam, Maat. Только, пожалуй, с более преобладающим дэтовым уклоном. Плотный саунд, техничные запилы с эпичными симфоническими аранжировками, а иногда и вовсе индустриальными семплами. Материал разнообразен и в этом его отдельная сила. Несмотря на то, что на релизе целых 11 композиций, каждая из них успевает раскрыться.
Отличный сочный гроул, высокое качество записи/сведения, концептуальная мифологическая лирика — вот еще несколько плюсов в копилку альбома. На восьмой композиции приглашенным гитаристом выступил Brian Palmer (Circaic, Technical Melodic Death Metal из США), а за женский вокал отвечает Rose White.
Абсолютно хитовым можно назвать трек «Pazuzu: Harbinger Of Darkness». Инструментальные с восточным колоритом композиции-проигрыши — отдельные украшения релиза. Они особым чарующим образом связывают между собой боевики, дополняя альбом аутентичным звучанием народных инструментов.
Весьма нестандартным является завершение монументального полотна «Golden Serpent God» одноименной композицией. Инструментальной и релаксирующей. После энергичного предшественника «Apophis: The Serpent Of Rebirth» начинает казаться, будто все происходившее было сном или последствиями непонятных эзотерических явлений. Змеиный бог незаметно уползает в скрытую от глаз простого смертного нору, дабы затаиться вновь на несколько столетий. В беспробудном сне, в таинственных катакомбах царства смерти он сокроет свои древние знания, пока кто-то не осмелится нарушить его покой вновь…
http://homo-faber.net/akhenaten-golden-serpent-god-2018/
The Pitch: Colorado blackened death metal band Akhenaten presents their new album Golden Serpent God via Satanath Records. Steeped in the mythology and mysticism of ancient Egypt and Mesopotamia, along with the symphonic instrumentation of the region, this duo does great justice to the style popularized by the likes of Al-Namrood, Narjahanam, Melechesh and Kartikeya.
What I Like: I was already greatly impressed by this band's previous effort, as well as their black metal project Helleborus, but Akhenaten have really stepped up their game. Had I not been told hat this project was just two dudes from the US, I never would have known. Golden Serpent God is absolutely awash in stunning Middle Eastern instrumentation. This lush, exotic approach sparks up the imagination and transports the listener to another time and place, especially on lengthy instrumentals like "Akashic Field- Enter Arcana Catacombs" and "Sweat of the Sun." Furthermore, it is implemented with obvious respect and admiration. Akhenaten aren't merely co-opting the culture and history: on this album they are living it.
On a related note, this is not merely blackened death metal with a dose of regional symphonic elements. The black and death metal vocals and ominous guitars gel perfectly with the tribal drumming, sitar, etc. such that they are ultimately inseperable. To use an old sociology phrase, this is a "melting pot" of styles, not a "salad bowl." And furthering this cohesion is the production: a transfixing balance of old and new approaches. The sound is rich and expansive while also maintaining a certain nostalgic brashness characteristic of classic black metal releases.
Critiques: I really can't think of anything truly negative to say about this album. It's certainly not something I've never heard before, but this is the best attempt at the style I have heard in some years.
The Verdict: With Golden Serpent God, Akhenaten have stepped up their game to deliver arguably the best symphonic release of 2018 so far. All of the marks are greatness are there from engagement and consistency to songwriting and production. And if some white knight metalgate blogger brings the terms "problematic" or "cultural appropriation" anywhere near this release, they've completely missed the point. This is a celebration, not some shallow cash grab.
https://metaltrenches.com/reviews/golden-serpent-god-1493
Akhenaten are a band from Manitou Springs, Colorado that has had an album reviewed before in this zine and plays a mixture of black, death metal and middle eastern folk music and this is a review of their 2018 album album "Golden Serpent God" which will be released on May 31st as a joint effort between Cimmerian Shade Recordings, Murdher and Satanath Records.
Atmospheric soundscapes along with some acoustic guitars and middle eastern folk music elements start off the album which also mixes in with the heavier sections of the songs along with the vocals being mostly grim black metal screams as well as some death metal growls also being used at times.
When the music speeds up a great amount of blast beats can be heard while the riffs also bring in a decent amount of melody along with the music also sounding very tribal at times and the son gs also bring in a great mixture of slow, mid paced and fast parts and as the album progresses a few instrumentals can also be heard before returning back to a heavier direction on the following tracks as well as a couple of songs also introducing spoken word parts and melodic chants onto the recording.
Akhenaten creates another recording that continues the black, death metal and middle eastern folk music mixture of previous releases, the production sounds very professional while the lyrics cover Mesopotamian and Egyptian Mythology themes.
In my opinion this is another great sounding album from Akhenaten and if you are a fan of middle eastern folk music, black and death metal, you should check out this recording.
https://occultblackmetalzine.blogspot.com/2018/05/akhenatengoldern-serpent-godsatanath.html
Das Zwei-Mann Projekt aus Manitou Springs, Colorado, die Band oder das Duo, wie jeder es auch bezeichnen mag, besteht aus den Houseman Brüdern und nennt sich Akhenaten. Genau, es geht um Echnaton, einem altägyptischen König (Pharao) der 18. Dynastie. Diese Thematik in Verbindung mit metallischen Tönen, ist mir bis dato auch noch nicht untergekommen. Nach “Incantations Through The Gates of Irkalla” aus dem Jahre 2015, ist “Golden Serpent God” nun der zweite Streich und ich bin gespannt, was mir in den 45:43 min. der “Pharao” so bietet.
“Amulets of Smoke and Fire” beginnt musikalisch lautstärkeansteigend ägyptisch orientalisch, bevor dann eine Mischung aus Growl, Scream und imposantem Chorus das Ganze miteinander verschmelzen lässt. Oriental Black Metal? Der Beginn des Albums ist schon mal sehr interessant und meine Ohren weisen diesen nicht ab, ganz im Gegenteil! “Dragon of the Primordial Sea” setzt diesen düsteren Sound fort und gepaart mit den stimmlichen Vocals hat man das Gefühl, die zehn biblischen Plagen brechen über einen herein.
“Throne of Shamash” lässt die nur kurz vorher erwähnten Plagen musikalisch ausbrechen. Infernaler Sound, infernale Growls! Nachdem dieses verhallt ist, bekomme ich bei “Through the Stargate” instrumentale Klänge in Form von 1000 und einer Nacht geboten. “Erishkigal: Kingdom of Death” ist eine in Töne gefasste Offenbarung an Vielfalt, an Düsterheit, mit epischen Momenten und einer meiner Favoriten auf dem Album. Vocalistisch trifft hier Amon Amarth auf Dimmu Borgir (natürlich etwas übertrieben der Vergleich……er dient auch nur zur Orientierung). Auf jeden Fall passt es wunderbar!
“Pazuzu: Harbinger of Darkness” vereint seichte epische und Folk Momente, mit donnernden Drums, mit Growling, Screaming und Sprachgesang aus dem Sarkophag, während man bei dem akustisch ruhig instrumentalen “Akashic Field: Enter Arcana Catacombs” dem Bauchtanz frönen kann. “Ich habe es versucht”, aber nach dem Ergebnis überlasse ich dies lieber der Frauenwelt oder denjenigen die es können….grins….
“God of Creation” lässt die Bauchtanzgruppe fliehen, denn es geht nun wieder in Richtung Zerstörung und Eroberung. Auch hier wie schon vorher, kombiniert mit eingebauten Elementen aus dem mittleren Osten als Untermalung. Nachdem nun alles erobert wurde, kehrt mit “Sweat of the Sun” wieder etwas Ruhe ein, die Bautanzgruppe kommt zurück, tanzt zu den Klängen und Rhythmen, Kyphi Duft steigt auf. Der letzte Song “Golden Serpent God” ist wieder einer aus der instrumentalen Reihe und beschließt dieses Werk mit entspannten Tönen.
Grossartig! Akhenaten bieten mir eine brutale Mischung aus Black, Death Metal und Middle Eastern Folk Musik mit jeder Menge kreativem, Screams und Growls, Blastbeats und Gitarrenriffs, epische Klanglandschaften, abgedeckt mit textlichem aus der ägyptischen und mesopotamischen Mythologie.
https://www.hellfire-magazin.de/akhenaten-golden-serpent-god/
There's probably no shortage of bands in a lot of different genres that dabble with "exotic" sounds. Imagine somebody bursting into a practice space and saying, "Hey, I learned about the Phrygian dominant scale from my Mel Bay book! Let’s write a 'Middle Eastern' song...about my girlfriend!" Not so with Akhenaten. Listening to their new album, Golden Serpent God, you can tell that there's no dabbling here. It's death metal, yes, but serious thought and study has been put into the Middle Eastern influence and themes.
Akhenaten is just two brothers, Jerred and Wyatt Houseman, who are alumni of Execration, among other bands. I had a brief e-conversation with them, and they cited Melechesh and Al-Namrood--from Jerusalem and Saudi Arabia, respectively--as inspirations for the kind of band Akhenaten is. Their commitment to their brand of death metal-Middle Eastern fusion is also evident by the fact that they "wanted the music to be more focus driven on the ethnic instruments themselves.” They use not just a sitar, which would be an easy and obvious choice, but also the Turkish saz, the oud, and a hammered dulcimer-like instrument called the santoor.
With this arsenal on top of the standard guitar, bass, and drums, Akhenaten creates bottom-heavy death metal with insanely catchy melodies. Whether they're playing a earth-rumbling bottom end that alternates with high melody lines ("Dragon of the Primordial Sea") or combining the thunder with tinkling accents ("Pazuzu: Harbinger of Darkness"). They fuse the western and eastern sounds as seamlessly as metal bands who draw on American or English folk sounds. For my money, Akhenaten actually do it a lot better.
As the band told me, a fascination with Mesopotamian mythology is also clear in the lyrical content. They write about anything from Ereshkigal, the Sumerian goddess of the underworld, to Pazuzu, the king of the demons of the wind in ancient Mesopotamian mythology (and, in my opinion, the subject of the best song on the album). And of course there’s a nice shout out to the Stargate franchise, in whose movie and (multiple) TV shows we learned that the Egyptian gods were actually malevolent alien slave drivers. They deliver all this in both a low, death metal growl and a more Ihsahn-ian croak, not to mention some clean, Middle Eastern vocals in “Akashic Field: Enter Arcana Catacombs,” all of which make for a nice contrast.
I got on board with this band they released Incantations Through the Gates of Irkalla back in 2015, and Golden Serpent God is an improvement in almost every aspect, including composition, balance, and sound quality. That's saying a lot given that Incantations was a damn fine album in and of itself, but Golden Serpent God elevates the band to a new level.
http://metalbandcamp.com/2018/05/akhenaten-golden-serpent-god.html?m=1
Though they hail from Colorado, US black/death duo Akhenaten are rooted in the past of Ancient Egypt and Mesopotamia. Using a variety of Mesopotamian instruments to fill out their black/death assault, Akhenaten’s third album, Golden Serpent God, is as eclectic as it is brutal.
In addition to the use of traditional instruments in conjunction with the standard metal arsenal of guitar, bass, drums and vocals, Golden Serpent Gods contains a number of interludes using Ancient Egyptian and Mesopotamian instruments and songwriting structures. It’s obvious that the band have pushed their songwriting skills for the album, each song sounding tighter and more cohesively written than 2015’s Incantations Through the Gates of Irkalla.
https://www.decibelmagazine.com/2018/05/30/full-album-stream-akhenaten-golden-serpent-god/
Exploring a variety of extreme metal traits and breaking up the intensities with elements inspired by soundtracks and world music, this 2018 release from Akhenaten is very interesting. It certainly isn’t your run of the mill death metal release. But then, you should expect nothing less than a sense of adventure and a progressive attitude from an album that “explores the forgotten paths of history” and is “steeped in the mythology of Ancient Egypt and Mesopotamia”.
The progressive and concept elements of the album are present instantly, as ‘Amulets of Smoke And Fire’ presents a very Eastern sounding musical arrangement, with synthesised strings, harps and lyres very much setting the scene. The eventual introduction of a very heavy guitar riff is obviously in complete contrast and huge bass drums make everything heavier still. Bringing in world music inspired drums behind the heavily pounded rock that’s quickly taken shape, you’d think they’d be lost somewhere in the noise, but the production and mix is so good on this disc that even a giant wall of sound appears to have a huge depth. The vocals are used sparingly at first, only really growling the title, but with most of the key ideas already in place, there’s a feeling this will get even more absorbing. Once they’ve warmed up, everything descends into full-scale death metal, but if you’re not adverse to intense pneumatics, the sheer power of the band should still be impressive. ‘Dragon of the Primordial Sea’ opens up far more, as Akhenaten mix epic progressive metal traits – again accented with Eastern melodies – with death metal vocals and furious drums. Throughout the track, the main melody – occasionally reminiscent of Iron Maiden’s ‘Powerslave’ – pierces through the growling voice and frantic drumming, always giving the feeling that Akhenaten believe in a strong melody, even if their desires to reach for the extremes can mask the 80s guitar sounds that are so desperate for excape. With a constantly droning keyboard on hand to add something more cinematic, the effect is like hearing Death covering Angra…it’s a little tiring, but it’s as tight as hell.
For those who like things less fussy, ‘Throne of the Shaman’ doesn’t mess about. With three minutes of almost pure death metal, the band draw influence from a classic early 90s style, but have the edge due to better production and one of the deepest drum sounds you’ll ever hear. Since that track only has metal concerns, it’s up to ‘Through The Stargate’ to redress the balance and as such, it’s a huge success with its three minutes of Egyptian inspired music. With plenty of bell-like tinkling, swirling keys and traditional percussion that conjures mental imagery of North African street markets, it sounds like something on loan from a Tuatara LP. Finally fusing all of their great ideas again, ‘Kingdom of Death’ very much impresses with a barrage of tech-death traits, some insane drumming speeds and contrasting cinematic keys. Linking everything, the guitars shred and the vocals – here, somewhat intrusive – attack at full pelt. Tighter and more adventurous than ‘Dragon’, this eventually slows down a couple of notches to pummel a great DevilDriver-esque riff against pneumatic drums and heavy use of keys. When the vocals cease and the drums launch into a few bars of deep tribal groove, it’s absolutely amazing.
For those hoping the band could stretch out even further, ‘Akashic Field: Enter Arcana Catacombs’ begins with four minutes worth of traditional Arabic music. Tabla, finger cymbals and percussive elements all settle into a repetitive riff, sounding not unlike Tuatara once again, before a drone arrives and signifies that something heavier might be on the horizon. That’s where a big surprise occurs – there is no heavier bit! Realising that all great albums should have variety, the second movement of this track finds a more percussive melody with even more tabla and steel drums. It very much takes cues from Soulfly and their many self-titled experiments which, obviously, is a very good thing. Across seven minutes, this really builds a visual image and lends a feeling of adventure. If you came for metal – and especially the kind of intensive metal Akhenaten are capable of delivering – you might not find anything interesting here, but then that’d be your loss…
Back into metal territory, ‘God of Creation’ sets up some very traditional death metal riffs, dictated by extreme drumming and dirgy guitars, but as before, the band make sure there’s a semi-melodic root throughout, thanks to some very prominent keys laying down huge blankets of eastern influenced sounds. The lyrics are very narrative driven, but the deep death growl renders most of them inaudible, though in death metal terms, things aren’t completely impenetrable. Elsewhere, ‘Apophis: The Serpent’ retreads the same path as a couple of the earlier numbers, with a grounding in melodic death metal, though by now, the fusion of heavy styles sounds better than ever. This band are so tight musically that even if this track does sound somewhat recycled, the album as a whole rarely fails in its goals.
Best of all, though, is ‘Soundtrack of The Sun’, where Akhenaten throw another curveball…and this one’s fucking massive! Assuming you’re still listening, by now you’ll be used to them mixing classic death metal with a little tech-death and prog; you’ll also be more than familiar with their soundtrack meanderings. This track takes everything a step further and uses programmed drums to set up dance-oriented rhythms, which when set up against the keys and eastern finger-picking results in about as fine an impersonation of the mighty Ozric Tentacles you’re ever likely to hear.
The influences may be familiar, but the results are still stellar. This provokes a feeling that makes you just want to close your eyes and bob your head constantly. Its only disappointment is that it wraps up at around six minutes, at around the point that the Ozrics – and to a lesser degree, System 7 – would realise the audience is just getting warmed up!
Progressive metal doesn’t have to sound like Dream Theater and death metal doesn’t always have to be played straight to be at its best. In both its sense of power and keenness to push boundaries, this album by Akhenaten is a huge success. While the constant Egyptian flourishes are likely to be the most memorable element of this album in the long term, it’s use of heavy keys – and the fact their always audible, too – also goes a long way to making the album as interesting as it is. It’s fair to say that if you have no tolerance for death metal – ‘Soundtrack To The Sun’ and ‘…Arcana Catacombs’ aside – you’ll be left absolutely cold, but for those who love extreme metal but are also in possession of an open musical mind, then ‘Golden Serpent God’ is a progressive death classic in waiting.
http://www.realgonerocks.com/2018/07/akhenaten-golden-serpent-god/
I’m sure you’ve all heard of that one Death Metal band that thematically focuses on Egyptian mythology. You know, the one that actually hails from the United States. I’m talking, of course, about…Akhenaten. The studio project of the Houseman brothers, Akhenaten has been around since 2012. “Golden Serpent God” is their third full length release in that time, and it shows them at a creative high point. Over the course of eleven tracks (and nearly 46 minutes), the duo take you on a journey of dark discovery. Musically, the album is Blackened Death Metal at its core, but the riffs, tones, and rhythms all carry that near-east mystique. There are plenty of folk flourishes and even interludes that recall ancient Egypt, but make no mistake, this music is tough! Too often folk influenced metal loses its edge. The folk elements tend to soften the genre to the point of boredom. Akhenaten are among a select few the don’t make that mistake. There is a dark viciousness to the album. Some of the interludes to carry a softer tone, but they mesmerize and mystify rather than bore. The main tracks hook you in with serious earworms, then transport you to a dark netherworld abyss where ancient evil can have its way with you. “Golden Serpent God” is one of my surprise hits this year!
http://www.vm-underground.com/review/akhenaten-golden-serpent-god/
Let’s face it. There is no shortage in metal of all of the bands who embrace Egyptian themes and imagery; perhaps the most notable being Nile. So what makes today’s offering any different?
Well today we have Golden Serpent God from US band Akhenaten released on Russian label Satanath Records.
Whereas a band such as Nile may draw lyrical themes and even samples from Egyptian history, Akhenaten seems almost to make an attempt at incorporating moments of actual Egyptian-inspired musical composition as well. “Through The Stargate” and “Akashic Field; Enter Arcana Catacombs” are both pretty good instrumental examples of that; mystical and ethnic sounding and each a good filler between the devastating tracks. But “stunning” and “intricate” are great words to describe “Sweat of the Sun” with what sounds like the inclusion of hammered dulcimer.
The production and mixing of Golden Serpent God is fantastic though no information on such credits is available to us at the moment.
“Dragon of the Primordial Sea” is definitely a highlight of the album and perhaps one of the better examples of all of the elements that the release encompasses. Some tribal drums appear amidst the ethnic-sounding riffs and remind us of the days of the purity in Sepultura’s landmark Roots album.
Golden Serpent God is an extremely rock solid slab of Egyptian-inspired death metal; a musical equivalent to the solidity of the Great Pyramids, if you will.
https://noisebeneaththesnow.com/2018/07/10/akhenaten-golden-serpent-god-album-review-death-metal/
Colorado blackened death metal band Akhenaten step up their game with new album Golden Serpent God via Satanath Records. AHad I not been told hat this project was just two dudes from the US, I never would have known. Golden Serpent God is absolutely awash in stunning Middle Eastern instrumentation. This lush, exotic approach sparks up the imagination and transports the listener to another time and place. Furthermore, it is implemented with obvious respect and admiration. The black and death metal vocals and ominous guitars gel perfectly with the tribal drumming, sitar, etc. such that they are ultimately inseperable. Akhenaten aren't merely co-opting the culture and history: on this album they are living it.
https://metaltrenches.com/reviews/2018-metal-midterms-innovation-73
Nuovo lavoro pure gli Akhenaten dei fratelli Houseman, band impostasi negli ultimi anni come credibile interprete del metal estremo immerso nell’immaginario egizio.
Come già detto in occasione della precedente uscita titolo, l’abilità del duo statunitense risiede nel saper amalgamare al meglio il sound di matrice black/death con la strumentazione tradizionale.
E se, in effetti, il primo nome che viene in mente quando si parla di certe sonorità sono i Nile, va anche detto che il sound degli degli Akhenaten è molto meno brutale ma, allo stesso tempo, anche meno dicotomico nel suo alternare le due anime che lo vanno a comporre.
Rispetto a tre anni fa la proposta della band del Colorado sembra anche meglio focalizzata ed efficace: gli intarsi etnici appaiono curati nei minimi particolari ed ogni brano possiede una propria peculiarità che in alcuni casi si esplicita in maniera fragorosa, come in episodi magnifici quali Dragon of the Primordial Sea, Erishkigal: Kingdom of Death e la title track Golden Serpent God, picchi qualitativi nei tre quarti d’ora di di black death etnici che a mio avviso teme pochi rivali, rivelandosi anche superiore a quello di band operanti in ambiti analoghi ma di ben più riconosciuta fama.
https://metaleyes.iyezine.com/akhenaten-golden-serpent-god/
Un duo incantato e affascinato dalla mitologia e le pratiche occulte perpetrate nell’antico Egitto e nella Mesopotamia, che ha fatto di textures arcane e mistiche la propria musica disciogliendone i tratti nel panorama blackened death metal.
Golden Serpent God è lascito del precedente viaggio, e continua ad assurgere a scenari visionari del logos umano e della saggezza empirica. Undici tracce di cui quattro strumentali, alla ricerca dei tasselli oscuri della storia, che cercano di rintracciare i fili della conoscenza e della verità, attraverso le divinità egiziane e il mondo mistico dell’aldilà.
Esoterismo e misteri si intrecciano a melodie evanescenti, incalzanti e sognanti. Un riffing intricato e accostato ad archi, quanto a un gran numero di strumenti mediorientali, sitar, tablas, campane tibetane e un sintetizzato sapientemente adoperato per la creazione di scenari epici ed onirici. La voce narrante di questo viaggio che si addentrà nell’occulto, si serve di death growls a fondo di ogni gutturale e black metal vocals nella versione più abrasiva. Golden Serpent God è un disco in grado di lasciare appagamento nell’ascoltatore per aver esplorato un territorio del metal recondito e raro attraverso un viaggio propiziatorio. AKHENATEN. GOLDEN SERPENT GOD.
A pesar de considerarme uno de los expertos de la web en metal extremo con influencias mediorientales, siempre hay algunas bandas que se me escapan, dado que no me dedico únicamente a descubrir bandas de manera concienzuda, además del tiempo del que dispongo, que no es todo el que desearía.
De cualquier modo, siempre hay oportunidades que nos brinda la música para ir completando la biblioteca cerebral que cada uno de nosotros alberga en su puta cabeza. En este caso, el heraldo que la música nos ha puesto para que descubramos a su campeón de guerra particular ha sido Sathanath Records, cuyo campeón de muerte responde al nombre de AKHENATEN, desde Estados Unidos. Ya no es extraño en absoluto encontrar formaciones foráneas a la zona que inspiren su manera de interpretar el metal extremo en el folclore medioriental.
En este caso, AKHENATEN lo hace con tanto acierto que si me hubieran dicho que provienen de Oriente Medio me lo hubiera tragado fácilmente. Además de que emplean melodías en escalas que evocan a la antigua Mesopotamia, tanto con melodías de guitarra como con otros elementos folclóricos, también hacen buen uso de instrumentos de percusión (supongo que darbukas o similares) originarios de los países a los que rinden homenaje, de manera más o menos directa. La inclusión de fondos de teclados le da profundidad y algo de épica al trasfondo mesopotámico y por ende al global musical, aunque sin llegar a sonar demasiado melódicos ni sinfónicos. En ese aspecto (además de la producción) me recuerdan bastante a los sauditas ALNAMROOD, aunque estos suenan quizá un poco más crudos que AKHENATEN, por no decir que los de Colorado tiran más para el death que para el black metal por lo general.
Con todo y con esto, AKHENATEN da un buen repaso a distintas maneras de practicar el death, notándose guiños al death clásico o al brutal death, y mezclar estas influencias con recursos más propios del black hace que la mezcla resultante sea cuanto menos avestrucesca.
Sinceramente, hay muy buenas maneras, buenas ideas, pero tampoco ha sido un disco de los que me hayan volado la tapa de los sesos; espero que en un futuro sí pueda ocurrir, pues como os digo, seguro que son capaces de sacarse más jugo.
https://subterraneowebzine.com/akhenaten-usa-golden-serpent-god-2018/
On the third full-length record of AKHENATEN we can further perceive and trace the mythical narratives about ancient Egypt and Mesopotamia. The Houseman brothers (one can also know them from HELLEBORUS), namely Jerred C. (all lyrics, all music) and S. Wyatt (all vocals), unearth a few really captivating topics, for example, they touch sorcery and underworld, deities and pharaohs, their habits and related traditions. They extract some earlier unavailable lore with an ecstatic precision. The musical side and arrangements connect so perfectly to the written stories that real magic happens through the entire album. The eleven chapters of the "Golden Serpent God" will lead you on a fascinating journey, into the era of the magnificent. Their songs are well-structured, kind of rather complex ones, which speak about a profound knowledge in the sphere of music composing. The core of their music is based on the canons of Death Metal, but with unavoidable influences and elements of the middle eastern folk music. If I had to compare them to others, I would definitely pick two names: NILE and MELECHESH. In my opinion it is kind of confluence between them, though AKHENATEN is not as brutal as NILE, mainly due to all those ultra-melodic, symphonic keyboard parts and cosmic-like samples used in a wide range there. Still I want to recommend this fantastic band from the US to all the extreme Death Metal fans worldwide!
http://castrum.com.ua/encomium/5albums1.htm
Forged in 2012 in the fires of Manitou Springs, a resort city in Colorado, in the United States by the “Houseman Brothers” Wyatt Houseman on vocals and Jerred Houseman on all other instruments, here comes a unique and vibrant Black/Death Metal studio project infused with Middle Eastern Folk Influences (even called “Blackened Mesopotamian Folk/Death Metal”) known as Akhenaten with their brand new album Golden Serpent God, steeped in the mythology and mysticism of ancient Egypt and Mesopotamia while exploring forgotten paths of history, extracting unknown lore and threads of truth. For instance, Akhenaten, known before the fifth year of his reign as Amenhotep IV, was a pharaoh of Egypt especially noted for abandoning traditional Egyptian polytheism and introducing worship centered on the Aten, giving you a very good idea of how distinct and aggressive the music by the duo sounds.
With parallel themes to what’s found in the brother’s Symphonic Black Metal band Helleborus, and featuring an imposing cover artwork by Tony Koehl of Sketch The Soul and a title page artwork by Dennis Lee Hughes of Cythraul Art, Golden Serpent God will appeal to fans of the music by bands such as Al-Namrood, Narjahanam, Melechesh and Kartikeya just like what happened in their previous release Incantations Through the Gates of Irkalla, from 2015, whispering to the most remote regions of primal memory to the sound of their Blackened Death Metal, filled with exotic instruments and rhythmic structures of the ancient Near and Middle East. “The album is a mural of epics from Egypt and Mesopotamia. It tells stories of belief, warfare, men and Gods,” said Jerred about their newborn opus, inviting the listener to an idiosyncratic and extreme music journey together with the duo.
In the excellent opening track, titled Amulets of Smoke and Fire, ominous sounds take us to the Mesopotamian world of Akhenaten, with Jerred generating a dark and embracing atmosphere with his scorching riffs, whimsical keyboards and demonic beats, while Wyatt growls like an Egyptian beast; followed by the also imposing and devastating Dragon of the Primordial Sea, where the guitar and bass lines create a beautiful paradox with the epicness flowing from keyboards, while Wyatt declaims the song’s lyrics with his deep, visceral growls, enhancing the song’s taste and impact even more, creating an instant link with the crushing chant Throne of Shamash, where the drums by Jerred get more and more demolishing as the music progresses in an excellent display of classic Blackened Death Metal, feeling like a battle hymn due to its thunderous vibe.
Then Middle-Eastern and folk elements permeate the air in the captivating instrumental bridge Through the Stargate, setting the stage for Akhenaten to smash our senses in Erishkigal: Kingdom of Death, a full-bodied, metallic feast of darkened sounds and nuances where the Houseman Bothers are absolutely on fire and in total sync, with highlights to the rumbling sounds extracted from guitars and bass. And things get even more thrilling as the strident and piercing sound of keyboards take the lead in the melodic aria titled Pazuzu: Harbinger of Darkness, the perfect union of history, myths and metal music, with the vociferations by Wyatt matching the musicality flawlessly, whereas in Akashic Field: Enter Arcana Catacombs get ready for over seven minutes of tribal beats and Middle-Eastern tones and nuances in another fresh instrumental extravaganza by this talented band, with Jerred blasting hypnotizing beats while the atmosphere remains as cryptic as it can be.
Featuring Brian Palmer (Circaic) on the guitar, God of Creation is the most devastating and modern composition by Akhenaten, with Wyatt growling like a demonic entity while Jerred makes sure the ambience remains as violent as possible in a multi-layered, intricate feast of Black and Death Metal for our avid ears. After such furious explosion of extreme music we have another interesting display of Middle-Eastern music infused with Extreme Metal and even futuristic elements entitled Sweat of the Sun, sounding a bit too weird at times (not to mention it could have been slightly shorter and more metallic), while in Apophis: The Serpent of Rebirth the duo gets back to their more incendiary mode, blasting a potent fusion of Progressive and Blackened Death Metal, being therefore tailored for fans of bands like Behemoth. Furthermore, the intricacy flowing from guitars and bass are the exact background Wyatt needs to thrive with his gnarls, flowing like a firestorm until the music fades into the atmospheric and vibrant outro Golden Serpent God, with all its hypnotizing sounds generating an enfolding and obscure finale for such heavy and captivating album.
In case you want to explore in more detail the vast and eccentric realm of Akhenaten, simply pay them a visit on Facebook for news and other nice-to-know details, and grab your copy of Golden Serpent God (available for a full listen on YouTube, on Spotify and on SoundCloud) from their BandCamp page, from the Satanath Records’ BandCamp page, from the Cimmerian Shade Recordings’ webstore, from iTunes, from Amazon or from Discogs. Akhenaten offer you a one-way ticket into the blackened and mysterious lands of ancient Egypt and Mesopotamia in Golden Serpent God, and I’m sure such distinguished experience will deeply encourage you to stay there and not come back of your own free will.
https://theheadbangingmoose.wordpress.com/2018/10/10/album-review-akhenaten-golden-serpent-god-2018/
Manitou Springs, Colorado, is the place where tales of the Mesopotamian times are told. This two-man band, Akhenaten, has been taken care of that since 2012 and released three studio albums and one EP in six years.
The band's latest opus, Golden Serpent God, and in all honesty this is something completely different that I have heard in a while. It's always great and uplifting to hear something other than your regular 'meat-and-potatoes' Black and Death Metal. Jerred Houseman is the guy responsible for all instruments behind Akhenaten, except for the vocals which are handled by his brother, Wyatt. Their musical vision, a mix of Black and Death Metal with some Middle Eastern folky elements thrown in, makes a pretty epic journey through the ancient times of the Egyptian pharaohs, which they have also been capable of locking well in their atmospheric and pompous music. However, do not expect to hear anything similar to what bands like Nile and Melechesh have done because Akhenaten isn't nearly as extreme sounding. In a way, they are more mysterious and unique sounding and even a bit of artsy so to speak, especially due to their tendency to suck in those folky Middle Eastern influences. It all sounds very interesting, of course, but then again, the material also has a bit of a disjointed feel to it. What they should consider doing better next time is to get rid of those programmed drums because they bring in a robotic feel. Plus, towards the end, the album turns a bit too, may I say, 'industrial' sounding (on "Sweat of the Sun" especially), which at best made me only raise my eyebrows in pure disgust. Every time they concentrate more on real playing is where they are at their best. I also like many of those (perhaps programmed?) Middle Eastern sound effects that they have used, almost creating a cinematic atmosphere. The title track, "Golden Serpent God", is a fine example of that, a completely programmed instrumental tune, which ends the album in a great way.
If folky Middle Eastern-tinged Black/Death Metal is your cup of a black-necked spitting cobra's poison, with a mild industrial touch, then nothing should stop you from checking out this band. If you don't do that, Akhenaten will cast an evil curse to haunt you forever. You have been warned...
https://www.metalcrypt.com/pages/review.php?revid=10815#
AKHENATEN — это американская группа — дуэт братьев, который сооружает Black/Death Metal with Middle Eastern Folk Influences. С ноль 12-го года. Команда выпустила уже три диска, из которых первый был селфрелизом, остальные — с подходом посерьезнее (ибо музыка мотивирует). Два диска вышли на нескольких заинтересованных лейблах. Лично меня еще в первый раз напрягли вот эти вещи - «... with Middle Eastern Folk Influences». Потому что некоторые музыканты в целях как-то выделиться из легиона металлических групп, делают уж больно сильный упор на фолк-составляющей. Кому-то в кайф, а мне лично важно, чтобы все-таки Black/Death Metal доминировал над любыми другими компонентами. В прошлый раз, вроде, все сыграло. А здесь?
Как и в 2015 году, группа с самого старта начинает с тем, богатых средне-восточным фолком, да и далее всегда зловеще опирается на древнейшие мелодии. Особливо - в атмосферных местах. НО сразу успокоил себя, что композер хотя востоком балуется явно и отчетливо, НО всегда компромиссно, не давая этим тэгам возобладать, частично заваливая их блэк-дэтовым ураганом, частично переводя в классику европейского образца (которая тоже не без восточного влияния. О Великий Пазузу, увлекла меня теория музыки).
Сразу же и о саунде, максимально раскрытом и атмосферном, размером с самолетный ангар. Потому слушателю, возможно, придется подкрутить ручки громкости, дабы устроить локальный армагеддон, как ему будет удобослышимо. А так, уважаемые читатели, стою я в чистом («поле» - зачеркнуто), чистой пустыне - перед тремя зиккуратами (мавзолеями) и НЕКТО Большой проводит опен-эйр-ритуал. И отдельные звуки ударяют из-за облаков. А другие доносятся из-под песка. Внемлите и вы, грешные, указу богов.
Весьма характерным для этого диска является трэк, который я по одной причине никак не мог обойти - «DRAGON of the Primordial Sea». Вот здесь низа так интенсивно ячат из колонок, что крепче за табуретку держись металлист. Притом, словно сухие ветра и штормы, прогоняют восточные мелодические виньетки, оформленные в титанические риффы, и надо сказать, что восток прорастает из твердо-каменной почвы вполне модерново оформленный в электроинструментах. И это сказано для того, чтобы дать понять: - древняя эзотерика аккадского и шумерского царства хотя и утеряна(?), но она совсем рядом. К тому же не удивительно, что такой же обезвоженный (именно здесь) вокал (гроул-харш) разносит в клочья антропогенную зону (человеческого обитания). Видимо, боги сердятся. На два голоса, как минимум. Этот ритуал будет продолжен и далее. На протяжении всего компакта.
Решил отметить и God of Creation (Ft. Brian Palmer) с приглашенным гитаристом, который написал и музыкальные партии для своего инструмента. Да, здесь все пошустрее, динамичнее и как раз, про что я говорил — присутствует восточная тема, имплантированная в евроклассику. При этом Brian Palmer докидал в компо язвительной патетики (своего личного видения). Итого - неплохой ход Акенатен.
Sweat of the Sun с СИНТ-КИБЕР ритм-секцией, прозвучавшей не только (за)(у)бойно, но и органично, дает другую — индустриальную - грань колорадской бригады - надо было в конец диска угнать этот трэк. Причем это 6 минут музыки.
Ориентальный (восточный) атмосферный блэк-дэт.
На фото сверху можно рассмотреть кусочек Pit-Art CD. 12-страничный буклет с роскошной обложкой. Includes OBI.
https://vk.com/wall216331265_3391
Dopo Melechesh, Nile e Arallu, ecco arrivare dagli Stati Uniti, altri esponenti della corrente arabo-mesopotamica. Si tratta del duo formato dai fratelli Houseman, che dal 2012 a oggi, ha rilasciato sotto il moniker Akhenaten, quattro album fatti di suoni estremi ispirati al mondo mediorientale. Le classiche venature arabeggianti sono già identificabili nell'apertura di questo 'Golden Serpent God', nell'opener "Amulets of Smoke and Fire", dove le peculiarità del combo del Colorado, si palesano immediamente. Ecco quindi la loro forma arcaica di death/black, in cui trovano ampio spazio delle percussioni dal sapore mediterraneo, un dualismo vocale che si muove tra growl e scream e ottime orchestrazioni. Insomma, tutti gli ingredienti essenziali per condire un genere interessante e che vede negli Akhenaten nuova linfa vitale per arricchirne di contenuti. Poi dopo quattro album e parecchia esperienza maturata, anche attraverso il progetto Helleborus, i nostri si divertono a sciorinare un pezzo dopo l'altro, contrappuntandoli di un forte impatto musicale. Splendida a tal proposito, la seconda "Dragon of the Primordial Sea", affascinante per le liriche ispirate al culto di Akhenaton (che per chi non lo sapesse era il padre di Tutankhamon e fondatore di una religione di stampo enoteistico), ma soprattutto per quegli inserti strumentali tipici della tradizione araba che ci trascinano al tempo dei faraoni. "Throne of Shamash", la terza song, prende le distanze dalle altre canzoni e si manifesta come una mazzata di violenza inaudita, al limite del brutal. Facciamo una piccola pausa con l'esoterismo strumentale di "Through the Stargate" e arriviamo a "Erishkigal: Kingdom of Death". Erishkigal, nella tradizione mesopotamica, era la regina della Grande Terra, dea di Kur, la terra dei morti nella cultura sumera e qui le sue tematiche vengono affrontate grazie ad un sound malvagio, oscuro che arriva a scomodare anche gli Aevangelist in una furibonda traccia, dove la roca voce del frontman, convince appieno. La song è monolitica, una sassata in pieno volto senza troppi orpelli stilistici, che invece riappaiono in "Pazuzu: Harbringer of Darkness", traccia decisamente più ritmata, dal forte sapore epico e battagliero, in cui le vocals appaiono per la prima volta anche in formato pulito e le tastiere si prendono la scena nella seconda parte. Siamo a metà disco e non temete, rimangono ancora parecchi momenti interessanti di cui godere: ad esempio le tre tracce strumentali (di cui "Sweat of the Sun" è la mia preferita) che ci prendono per mano e conducono in un qualche souk arabo, dove ad esibirsi troviamo incantatori di serpenti e danzatrici del ventre. C'è però ancora modo di fare male con il death metal distorto e contorto di "God of Creation" o ancora con l'apocalittica ed esoterica "Apophis: The Serpent of Rebirth" che sancisce la bravura, la preparazione tecnica e l'originalità di questo ensemble statunitense, devoto al culto del solo dio Aton. Eretici!
https://thepitofthedamned.blogspot.com/2018/09/akhenaten-golden-serpent-god.html
Помислиће неко да сам се баш окомио на ове момке, али морам да поновим увод из рецензије њиховог претходног албума. Схватам опседнутост древним Египтом, Месопотамијом и сличним темама. Много је људи на овој планети који их сматрају вечним извором инспирације. Али…
Да ли је мање интересантна домаћа историја? Познаје ли неко бенд који се позабавио богатом културом и веровањима америчких Индијанаца? Не, не причам о спорадичним покушајима бендова Europe или Iron Maiden. Говорим о комплетном опусу, концепту албума или целе каријере бенда.
Сигуран сам да можете набројати у моменту бар десет бендова који имају албум посвећен нордијским божанствима. Чак и словенским, ако говоримо о овим подручјима. Можда неки аустралијански бенд који се бавио Абориџинима? Да пробамо ближе, има ли Италијана који су помињали Марса, Јупитера или Јулија Цезара? Осим свега овога, једину замерку имам на омот издања који превише подсећа на компјутерску игру, него на озбиљан метал бенд.
Музички, Akhenaten са лакоћом „полаже тестове”. Базирају се на металу смрти, старе школе, уско везаним за синфонијски блек метал какав је својевремено изнедрио норвешки Emperor. Све то звучи (посебно уз врхунски чисту продукцију) слично данашњем звуку пољског Behemothа, са тим да је добрано прекривено традиционалним фолк деоницама својственим блиском истоку. Управо та разноликост, пре свега у форми неколицине аутохтоних инструмената, чини треће остварење ових Американаца толико оригиналним и квалитетним.
Пре свега бих скренуо пажњу на неколико инструменталних нумера које остављају јак утисак и поред изостанка гитарских 'зидова', нарочито седма по реду, седмоминутна „Akashic Field: Enter Arcana Catacombs”. Са друге стране имамо „Sweat of the Sun” која нуди некакву сумануту техно верзију блискоисточне музике коју сматрам потпуним промашајем, тако да је без размишљања прескачем у следећем кругу преслушавања (осврћем се на омот и проналазим везу са овом песмом). Остале песме су на високо инвентивном нивоу, не мањка ни разноврсности гитарских деоница, ни аранжманске 'разиграности' као ни музичарског умећа.
„Golden Serpent God” је одличан албум. Можда сам ја превелика цепидлака, па ми упадају у очи замерке попут оне у уводу. Можда то само мени смета. Ако то занемарите и просто се препустите звуку, сигуран сам да ћете уживати. Посебно ако су вам Египат, Месопотамија или Персија срцу драги.
https://ciklonizacija.blogspot.com/2018/09/akhenaten-golden-serpent-god.html
Blackened Mesopotamian Folk/Death Metal is some of what the American band Akhenaten deliver. The band consist of the two brothers with surname Houseman. Wyatt Houseman on vocals and Jerred Houseman all instruments. In addition the Houseman brothers are plays togheter in their band Helleborus. The name of the hometown provides certain associations to Native American culture! Manitou Springs. But Akhenaten is about metal drawing inspirience from Middle Eastern Black Metal and Ethno Dark Industrial.
It is a very exciting mix of different metals from Houseman brothers which makes them stand out. Wyatt Houseman has a voice that fits perfectly with the somewhat mysterious music of the band. I really enjoy how the brothers have drawn inspiration from the mythology and mysticism of ancient Egypt and Mesopotamia, interweaving exotic melodies into a framework of blackened death metal. Golden Serpent God have 11 tracks about ancient gods and occult mysteries, and explore forgotten paths of history.
The debut from Incantations Through the Gates of Irkalla was a god release, but now Akhenaten have taking further steps and devolved their sound. The new record offer a stunning Middle Eastern instrumentation. This lush, exotic approach sparks up the imagination and transports the listener to another time and place, especially on lengthy instrumentals like Akashic Field- Enter Arcana Catacombs and Sweat Of The Sun.
http://permafrost.today/2018/08/29/akhenaten-epic-soundscape-and-exotic-melodies/
Segredo para nos conquistarem imediatamente: usar melodias orientais ou do médio oriente. É garantido, ficamos logo com as nossas atenções totalmente focadas na coisa. Neste caso a tarefa ainda é mais facilitada pelo simples facto dos Akhenaten nos serem familiares mesmo que indirectamente - o duo que o compõe é o mesmo que perfaz os Helleborus. Não fossem os elementos do médio oriente já mencionados e poucas diferenças haveriam entre os dois, mas são esses mesmos elementos que fazem com que este trabalho se destaque de tudo o resto. Uma aura fantástica, assombrosa que faz com que o metal extremo (que já tem entrada livre nos nossos corações) aqui presente encontre uma autêntica auto-estrada. Sem entrar em desvarios e passos maiores que a perna o resultado, apesar de tudo é sóbrio e faz-nos pensar no que aconteceria se tivessemos uns Nile a tocar menos death metal brutal e a juntar-lhe uma dose de black metal no caldeirão. O resultado não andaria muito longe daqui.
Was die USA mit Ägyptern und Mesopotamien zu tun haben? Nicht viel und trotzdem vertonen das aus Colorado stammende Duo Akhenaten seit 2012 genau diese Mythologie und Epoche. Mit „Golden Serpent God“ erschien dieses Jahr sogar das bereits 3. Album der Truppe und füllt seine 11 Songs mit 45 Minuten nahöstlicher Folklore und viel Energie.
Im Kern bewegt sich das Duo irgendwo zwischen Black und Death Metal mit ziemlich klarer und druckvoller Produktion, die sowohl die rabiate Energie der Jungs bündelt als auch die folklorische Ader voll zur Geltung bringt. Schwer sägende Riffs heizen durch die Wüste und kraftvoll wabernder Bass untermauert die Dichte der Scheibe während sich die Drums mit einigen Blasts und interessanten Rhythmuswechseln und Ausreißern eine ziemlich frische und abwechslungsreiche Grundmauer zimmern. Schwer, düster und mit jeder Menge Energie im Schlepptau, knüppeln sich die Herren finster und aggressiv durch ihre Songs und geben dabei ziemlich direkt aufs Fressbrett ohne sich groß mit ausufernden Soli oder filigranen Melodien aufzuhalten. Stattdessen rauscht angeschwärzter „Old-school“ Death Metal aus den Lautsprechern und erzeugt eine extrem finstere, bedrohliche Atmosphäre. Auch gesanglich nehmen die zwei Brüder keine Gefangenen, denn sowohl die donnernden Growls als auch das beißende Keifen von Sänger Wyatt rauschen direkt auf einen zu und reißen mit ihrer hall-verstärkten Aura alles nieder. Dabei kann die Band nicht nur mit reinstem, rohen Black Death wie in „Erishkigal – Kingdom of Death“ und anderen dienen, sondern streut auch immer mal mehr (wie im Akustikstück „Akashic Field- Enter Arcana Catacombs„) mal weniger („Amulets of Smoke and Fire„) nahöstlichen Folk-Einflüsse in ihren Sound ein, die den Sound etwas an AlNamrood annähern lassen und der zugrunde liegenden Thematik gerecht werden. Theatralisch, orientalisch und dadurch ziemlich exotisch erscheint das Klangbild und doch fügt sich der Folk nahtlos in den Black Death-Reigen ein ohne ihn zu sehr zu zähmen. Das artet dann auch immer wieder in sowas wie orientalischen Industrial aus (man höre „Sweat of the Sun„), aber selbst das kann man den beiden nicht übel nehmen, immerhin fetzt der Rhythmus schon ordentlich und nimmt auch nicht zu viel Zeit in Anspruch, auch wenn der Drumcomputer die Einflüsse immer mal wieder deutlich durchschimmern lässt.
Alles in allem liefern Akhenaten auf ihrem bereits dritten Album ein richtig starkes Middle Eastern Black Death-Abrisskommando, dass mit 11 extrem facettenreichen und interessanten Songs daher kommt, bei denen auch die zahlreichen Akustik-Songs nicht als billige Füller daher kommen, sondern immer das gewisse Etwas mitbringen um sich ins richtige Licht zu bringen. Wer sich für Mesopotamien, Ägypten oder generell den Nahen Osten und ihre Kultur und Mythologie interessiert, AlNamrood aber zu schlecht produziert sind, der sollte sich mal in „Golden Serpent God“ reinhören. Enttäuscht wird er sicher nicht.
https://metalviewer.wordpress.com/2018/07/25/akhenaten-golden-serpent-god/
With a name, sound and lyrics that make you think this band is from Egypt, it is hard to believe that they are not. Hailing from Manitou Springs, Colorado, Akhenaten have perfected the Middle Eastern Folk inspired metal sound with the release of “Golden Serpent God.” Released May 31st through Murdher Records in collaboration with Satanath Records and Cimmerian Shade Recordings, this album takes all the aspects of black metal, death metal, folk metal and Middle Eastern themes and condenses them into a powerhouse of an album.
Brothers Jerred and Wyatt Houseman are the masterminds behind the project and uniquely bring a different take on the Middle Eastern influenced metal sound we have seen with bands like Nile, Melechesh, and Arkan to name a few. Akhenaten specializes in the use of fast and heavy guitar riffs, pounding drums accompanied by brutal guttural and unearthly screamed vocals. The orchestrations that dance between the guitars and drums add to the atmosphere that gives each track the folk feel. There are also instrumental tracks that stand out with the use of ambient folk styles that feel like the past times of the Mesopotamian era.
I thoroughly enjoyed this album. The instrumentals, the heavy riffs, the atmosphere, the lyrical content…there is really no flaw with this album. Jerred Houseman is a talented multi-instrumentalist while Wyatt Houseman is a well rounded vocalist, both combined produced a well rounded album. If you are a fan of death metal, black metal, folk metal or just metal at all, this release is a definite do not pass up!
https://metalpurgatorymedia.wordpress.com/2018/07/03/akhenaten-golden-serpent-god/
This is actually the third album of this American Death / Black / mythological Metal band that has its lyrics firmly rooted in the Ancient Mesopotamia and nearby lands and legends. As a matter of fact I really like their previous album that reminds me in style of bands like ABSU, MELECHESH and CELTIC FROST with touches of BATHORY and evil Thrash à la early EXODUS. Well, few things have changed here. The production values for this recording, done by a duo of brothers, is very good if maybe the guitar tone is a bit low for my likes, in a way it reminds me of the way “The Sun Of Tiphareth” was done. Also, if I am not wrong the drums are done by a program, as at times they feel a bit mechanic. The Arabic music influence is without doubt a big thing here, and it actually works very good with their thrashy Death / Black Metal. Interludes like 'Through The Stargate' sets the mood quite well. At times the music gets into dramatic heights that it sounds more like the soundtrack for an Arabian movie than a Metal band, so if you were expecting extreme Metal with middle-eastern music influence, it sounds as the contrary in many places. The vocals are quite good, but they sound above all instruments, and makes it hard to get the music more. Those production details are taking away power from this release, that undoubtedly has magick, yet it can improve upon those things. If the band is wise to have a better production with a fuller guitar tone, and use a human drummer, I am sure they will shine like Shamash in the epitome of the Pyramid. Even with all those things I found in the sound, it is a quite enjoyable release.
http://www.voicesfromthedarkside.de/Albums-EPs-Demos/A/AKHENATEN--11732.html
Two-man-band Akhenaten, состоящий из двух братьев Jerred и Wyatt Houseman, из Маниту-Спрингс, штат Колорадо назвал себя в честь скандально известного в египетской истории фараона-реформатора Эхнатона. В своё стародавнее время он ввёл культ Атона (зримая форма Ра) в ущерб другим богам. Между прочим, это самый ранний случай попытки введения монотеизма на уровне государства. Конечно, египтян эти реформы не впечатлили, и закончил Эхнатон плохо (вероятно, был отравлен), причём не только в земной жизни, но и в исторической – его имя было предано забвению. В каком-то смысле Akhenaten – подходящее название для группы, играющей в пограничном между блэком и дэтом стиле, да ещё и перемежающей метал с условной египетско-месопотамской народной музыкой. Но наши времена ценят дерзость в отличие от древнеегипетских, поэтому группе не грозит damnatio memoriae.
Альбом «Golden Serpent God», которым с нами любезно поделились Satanath Records, концептуально базируется то ли на шумеро-аккадской мифологии, то ли на франшизе «Звёздные врата». Лично я склоняюсь ко второму – уж слишком много совпадений. Тем не менее, шумерская музыкальная линия отработана на отлично. Вместо того, чтобы выдать очередной ориентальный метал, Akhenaten не мешают феназепам с алкоголем и выдают метал отдельно от народной музыки. Это, конечно, разрушает плавность и в конечном счёте цельность альбома, но по отдельности треки звучат очень приятно и стильно. Всё-таки некоторые ориентальные фишечки в их блэк-дэте присутствуют, но они не просят алиментов и звучат как приятное дополнение. В общем, до Orphaned Land не хватает напевности и мелодичности, до Nile – брутальности. Тем не менее, судя по этому альбому (а других пока не слышал – говорят, что не очень), Akhenaten вполне самобытны, как минимум, раздельным способом подачи материала и большим вниманием к его этнической аутентичности.
Несмотря на отсутствие цельности альбома из-за стилевых разрывов, «Golden Serpent God» слушается приятно. Как те книжки, где время действия постоянно скачет между двумя эпохами – современностью и древностью. События этих эпох оказываются связаны незримой нитью и подчинены единым законам. В случае данного альбома, не считая темы повествования, которую вы всё равно в этом гроулинге не разберёте, такой нитью стали ритмический рисунок и использование экзотических, нехарактерных для блэк-дэта инструментов. Немного портят дело в метал-треках робо-ударные, но если на этом не акцентировать всё своё внимание, слушать можно. Межэпохальные скачки неплохо так гипнотизируют, заставляют сомневаться в том, что слушаешь один и тот же альбом. А «месопотамский фолк» по отдельности так и вообще вынуждает сомневаться в реальности и погружает в полумистические грёзы, если сильно погрузиться в музыку. Чем ближе к концу альбома, тем больше в этнических композициях электроники. В «Sweat of the Sun» и «Golden Serpent God» так много индастриала, что это уже смахивает на неофолк. Думаю, концептуально это объясняется тем, что две эпохи как бы сливаются наконец в одну, но лучше было бы это более прозрачно отразить в металических композициях, если это действительно было аранжировочным ходом. Итак, концепция альбома великолепна, реализация же её, к сожалению, не столь роскошна.
https://vk.com/wall-50845529_6746
Moderní doba zkrátila časové vzdálenosti na minimum a tak ze současných Spojených států amerických je to do starověké Mezopotámie coby kamenem black death metalovým dohodil a zbytek ve folklórním moři doplaval, čehož je důkazem kapela AKHENATEN z Colorada se svým novinkovým albem „Golden Serpent Gods“. Vždyť taky co dělat ve dvou v nějakým americkým zaprášeným zapadákově, když kolébka magie pochází ze špinavého lůna Mezopotámie a Egypta. Odtud pochází nejstarší bohové, jejichž temnota přesahuje lidské chápání. Odtud pocházejí nejzvrácenější bohyně, v jejichž stínu je lidské uvědomění se jen pouhou nicotou. Zde se odehrávala prvotní zla a osobní defekty, vedoucí k velkým katastrofám, jež výraznou měrou ovlivnily celou západní magii. Osobně zrovna nejsem příznivcem toho, že se někdo převtěluje do někoho na hony vzdáleného. Jenže již Nile ukázali, že jde dobře se chopit něčeho, s čím svým způsobem nejste přirozeně sžití. Ovšem pozor. Podobnost mezi kapelou Nile a duem AKHENATEN je pouze ve využívání etnických nástrojů a kláves. Jinak jsou AKHENATEN naprosto jiní. Jsou více přímočařejší a jdou spíše do hloubky ďábelské démoničnosti. Jenže aby nebylo album „Golden Serpent God“ pouze o démonickém běsnění, tak se na albu nacházejí čistě instrumentální akustické skladby „Through the Stargate“, „Akashic Field: Enter Arcana Catacombs“, „Sweat of the Sun“ a „Golden Serpent God“, které mají spíše magicky folklórní charakter, i když ne bez známky rituální temnoty. Odlehčeným minimalismen navozují atmosféru zrádného neznáma. Tohle prostě AKHENATEN jde na výbornou a tak není divu, že tyto folklórní prvky jsou obsaženy i přímo v devastujících black death metalových skladbách bez toho, aby to znělo jako v zákeřně potrhané nesouroditelnosti věků. Tedy nic zbytečně složitého, ale o to více parádně fungujícího. Tady se patří vyzvednout hned úvodní song „Amulets of Smoke and Fire“, kde splývají ve společném životě chrlení sirného ohně s folk atmosférickou pochmurnou nádherností. Ano, tohle album by se dalo označit jako silně atmosferické a rozhodně by z něho mohly být unešeny veškeré nymfomanky ve službách nekromancie, jež provozují ďábelskou honičku se stíny. Totálním peklem je poté skladba „Apophis: The Serpent of Rebirth“, jíž v podstatném dění zla ovládají doom metalové pasáže. Třetí album „Golden Serpent God“, dvojčlenné kapely AKHENATEN, se mi jeví jako hodně povedené a ta třičtvrtě hodina, strávená v jejich náručí mezopotámské odpudivé temnoty, vůbec není marná.
https://hardmusicbase.cz/index.php?stranka=recenze_vypis&id=64139&m=1
Фараон Древнего Египта, выдающийся политик, знаменитый религиозный реформатор, супруг царицы Нефертити, Эхнатон был также человеком вне времени. Его попытки перевести религию страны от политеизма к монотеизму, за которыми, на мой взгляд, скрывалось стремление поклоняться не одному богу, а самому себе, привели в итоге к тому, что после смерти Эхнатона было потрачено огромное количество сил на то, чтобы уничтожить любое упоминание об этом правителе. Но, как бы не старались люди на пару со временем, всегда найдутся те, кто будут помнить. И сегодня память об Эхнатоне жива не только благодаря историкам и египтологам, но и благодаря дуэту из Маниту Спрингс.
Akhenaten - это проект из Колорадо, за которым стоят братья Houseman, известные нам также по проекту Helleborus. "Golden Serpent God" - третий по счету их полноформатный альбом, вместе с которым братья Houseman, вдохновленные мифологией и мистицизмом Древнего Египта и Месопотамии, предлагают нам погрузиться в мир оккультных тайн и древних богов. Альбом состоит из 11 композиций, но не смотря на такое количество, каждая песня успевает раскрыться, становясь неотъемлемой частью "Golden Serpent God". Эпичное симфоническое звучание, мощный бласт-бит, техничные гитарные запилы и инфернальный гроул от Wyatt Houseman рисуют перед нами по-настоящему масштабное полотно. Особое очарование трекам, на мой взгляд, добавляет использование музыкантами (помимо привычного нам музыкального арсенала) инструментов Древнего Египта и Месопотамии, звучанием которых можно сполна насладиться в песнях "Throgh the Stargate", "Akashic Field- Enter Arcana Catacombs", "Sweat of the Sun" и "Golden Serpent God". Эти инструментальные композиции с их аутентичностью из простых проигрышей превращаются в настоящее украшение всего альбома.
Я всегда питала большую слабость к тем командам, которые не ограничивают себя рамками какого-то одного жанра, которые, не боясь экспериментов и благодаря им, создают просто потрясающие музыкальные коктейли. И Akhenaten с альбомом "Golden Serpent God" не стали исключением. Братья Houseman словно факиры с самого начала альбома заставляют тебя, будто змею, вылезти из мешка и целиком отдаться музыке. Мрачная и пугающая с одной стороны, с другой - живая, мощная и не терпящая никаких преград, она завораживает слушателя, погружая его в какой-то гипнотический сон, наполненный яркими образами, которые рассыпаются в прах как только заканчивается последняя песня.
http://metalheads.by/en/review/akhenaten-golden-serpent-song-2018.html
Akhenaten blackened death metal a band that imnovates in its sound and is totally recommended for those with somewhat complex and not so basic metal tastes. From Manitou Springs, Colorado comes this new band that despite being new, already has three albums and that makes it more interesting. Today we invite you to listen to your record last year Golden Serpent God. AKHENATEN is: Jerred Houseman All instruments Wyatt Houseman Vocals They present their album with: 1.Amulets of Smoke and Fire 2.Dragon of the Primordial Sea 3.Throne of Shamash 4.Through the Stargate 5.Erishkigal: Kingdom of Death At first glance the record has a virtuous speed and a brutal character, guitars and direct bass, a battery without desmayo and a brutal voice in every way. Your disk continues with: Pazuzu: Harbinger of Darkness 7.Akashic Field: Enter Arcane Catacombs 8.God of Creation 9.Sweat of the Sun 10.Apophis: The Serpent of Rebirth 11.Golden Serpent God When listening to the last part of the album you can realize that the bestability continues and all the virtuosity also subtly linking with the extreme and that is incredible when it happens in extreme metal styles and in new bands but at the same time they have a lot of experience, three discs It is not anything and it shows for its performance.
https://thelegionoftchortzine.blogspot.com/2019/08/akhenaten-usa.html
Cuando hace ya dos años reseñé “Incantations Through The Gates Of Irkalla”, recuerdo haber resaltado que si Akhenaten ahondaba en los sonidos arábigos por sobre la andanada death/black definitivamente se ganarían un fan argentino. Pues bien, digamos que la cosa sigue más o menos igual que antes, para mi pesar.
A ver, las influencias de Medio Oriente están, claro, pero muy a cuenta gotas o sin que sean debidamente explotadas. “Golden Serpent God” tiene algunos paisajes sonoros épicos de visiones exóticas, pero son solo un matiz dentro del metal extremo que lo sustenta. Eso sí, toda la atmósfera es pomposa, misteriosa, inquietante y con un sonido y producción fantástica.
En definitiva, Akhenaten no estaría sumando un nuevo fan a su cartera de seguidores, pero desde ya invito a quien desee explorar con más detalle el vasto y excéntrico reino de Akhenaten, para recorrer con la imaginación tierras misteriosas del antiguo Egipto y Mesopotamia. Tal vez “Golden serpent god” sea una experiencia que merezca ser vivida. Yo espero el próximo camello.
https://rockarollazine.blogspot.com/2019/09/akhenaten-golden-serpent-god-2018.html
I don’t know what is going on in my head most of the times and I certainly don’t know which way my thoughts are going all of the time but for some reason this release from AKHENATEN made me think of Acheron and the bands that came out of Florida in the wake of Mordid Angel in the late 80s. And I wasn’t too wrong in thinking so about this one because there are those tendencies on this album. But it also kinda speaks to those of you that like stuff like Melechesh or Nile with its more ethnic approach. Perhaps not the most brutal death metal album you’ll ever hear but still a good enough one to keep spinning it.
http://battlehelm.com/reviews/akhenaten-golden-serpent-god/