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Earlier this month I wrote about the two songs that were then available for streaming from J’aurais Dû, the new fourth album by the Swiss black metal project Pure, which will be released on May 13 by Symbol of Domination (Belarus) and Obscure Abhorrence(Germany). And now we bring you the opportunity to experience a third track in addition to those two: “Le jour où je suis mort” (the day I died).


Pure is a solo project founded by Bornyhake, from such bands as Borgne, Enoid, Deathrow, and Darvaza, and also a former member of Kawir.


We are told that “the album speaks about the worst and the best moments of Bornyhake‘s life”, with lyrics in French that are both positive and negative, and with changes in sound that are in accord with these changing moods. The album’s cover also reflects these disparate experiences — a naked figure huddles in the snow, yet the sun can be glimpsed through the forest.


Of the two songs that preceded the one we bring you today, “Anonyme et sans visage” is an electrifying, warlike charge that’s also atmospheric, with an air of grim, forlorn majesty. The anguished, tormented quality of the vocals adds to the song’s intense emotional force.


By contrast, “Je tuerais le monde pour ta lumière” initially proceeds at a slower, more stately pace, but then builds to a gallop, and eventually a savage storm — with a softer, entrancing interlude along the way. The vocals are once again wrenching, and the melodies are often searing in their sense of debilitating grief.


In this new song, “Le jour où je suis mort“, a pensive, self-reflective mood greets the listener, but it soon surges with passion, the head-nodding drum rhythm accelerating and waves of intense guitar vibrations moving through the mind like a gale. Yet the mood changes again as the tempo slows, and though tempered with melancholy, the melody glimmers like the sun glimpsed through dark forest ranks. Just as the song crosses lines between raw black metal and other dark styles, so too does the atmosphere of the music seem to signify recollections of beauty within the tempest of darker times.





Pure is a one-man black metal project from Switzerland, founded by Bornyhake (from such bands as Borgne, Enoid, Deathrow, and Darvaza, and also a former member of Kawir). Pure’s fourth album, J’aurais Dû, will be released on May 13 by Symbol of Domination (Belarus) and Obscure Abhorrence (Germany).


Two songs from the album are currently available for listening — “Je tuerais le monde pour ta lumière” (a free download at Bandcamp) and “Anonyme et sans visage” (on YouTube). Both of them are dramatic, emotionally evocative pieces.


“Anonyme et sans visage” is an electrifying, warlike charge that’s also atmospheric, with an air of grim, forlorn majesty. The anguished, tormented quality of the vocals adds to the song’s intense emotional force.


“Je tuerais le monde pour ta lumière” provides an immediate contrast to that first song, initially proceeding at a slower, stately pace and then building to a gallop, and eventually a savage storm (with a softer, entrancing interlude along the way). The vocals are once again wrenching, and the melodies are often searing in their sense of debilitating grief.




Some like their black metal grand and epic, some like it fast and super produced. Some like it alternative and progressive, and some – God have mercy on their rotting souls – like it hipster. Some however, at least at times, like it pure. For this last category, what could be better suited to deliver just such a form of the genre than a Swiss band named just that? Pure have released three full length albums before the present one, including debut Kingdom of Wrath and penultimate effort Art of Loosing [sic] One’s Own Life.


For previous fans of the band, J’aurais dû shouldn’t disappoint. The style is roughly the same as earlier – somewhat melancholic, uncompromising black metal of shifting pace and intensity. That is not to say that the only innovation on this album is the use of French, because there have been some developments too. First of all the production, or at least the mastering, is clearly superior to anything previously released by the band. It is still fuzzy, raw and slightly lo-fi, but it somehow has more life, and especially the drums come off better than on Art of Loosing One’s Own Life.


The album is, once again, pretty much a pure reiteration of the genre staples. There are blastbeats with Transilvanian Hunger era Darkthrone riffing, there are slower paced sections reminiscent of Abyssic Hate, and plenty of dirtier passages that bring USBM like 90’s era Black Funeral to mind. There are also short and limited outbursts of 1st generation riffs a’la Celtic Frost, and all is packaged in the listenable, but nails-to-the-blackboard harsh production. The vocals are slightly in the background, but they still come across as suitably desperate and angry.


As so often with this style of black metal, it all comes down to whether you like the genre or not. If you thirst for “innovation” or other such bullshit, this is probably not your thing. This is black metal as hieroglyphics: a perfected and formalized style, developed to express a sense of the sacred, carved in a very similar and very beautiful fashion by untold faceless artisans. Among which can be find Pure.





Pure  are  a  solo  project  from  Switzerland  that  plays a   very  raw  form  of  black  metal  and  this  is  a  review  of  his  2017  album  "J'auris  Du"  which  will  be  released as  a  joint  effort  on  My  13th  by  Symbol  Of  Domination  and  Obscure  Abhorrence  Productions.


  A  very  raw  and  melodic  sound  starts  off  the  album  along  with  a  great  amount  of  tremolo  picking  and  when t he  music  speeds up  a  great  amount  of  blast  beats  can  be  heard  while t he  vocals  are  mostly  grim  yet  high  pitched  black  metal  screams  and  the  music  is  very  heavily  rooted  in  the  90's  second wave  tradition.


  Modern  influences  are  also  utilized  at  times  while  being  more  closer  to  the  traditional  side  of  the  genre  and  the  songs  also  bring  in  a  great  mixture  of  slow,  mid  paced  and  fast  parts  while  you  can  also  hear  all  of  the  musical  instruments  that  are  present  on  the  recording  and  when  guitar  leads  are  utilized  they  are  done  in  a  very  dark  yet  melodic  fashion.


  Acoustic  guitars  are  also  used  briefly  and  most  of  the  tracks  are  very  long  and  epic  in  length  while  also  having  an  atmospheric  touch  at  times  along  with  the vocals  also  mixing  in  a  semi  melodic  tone  briefly  and  there  is  also  a  brief  use  of spoken  word  parts and  some  tracks  also  add  in  a  small  amount  of  depressive  elements  and  the  album  closes  with  an  instrumental.



  Pure  plays  a  style  of  black  metal  that  is  very  raw  taking  both  the  old  school  and  modern  sides  of  the  genre  and  mixing  them  together,  the  production  sounds  very  raw  and  heavy  while  the  lyrics  are  written  in  Swiss  and  cover  pain,  darkness,  and  destruction  themes.


  In  my  opinion  Pure  are  a  very  great  sounding  raw  and  atmospheric  black  metal  solo  project  and  if  you  are  a  fan  of  this  musical  genre,  you  should  check  out  this  album. 




Impressionante produttività e precisione. D'altronde è svizzero. Un luogo comune molto abusato descrive la carriera di Bornyhake, che però deve essere integrato dalla necessaria menzione dell'altissimo livello delle sue opere, che limitandomi ai full length sono sei a nome Borgne, altrettanti come Enoid e col nuovo 'J'Aurais Du' (Symbol of Domination) arrivamo a quattro col progetto Pure. Il tutto in poco più di dieci anni. La cosa spaventosa è che a parte un paio di dischi con una produzione abbastanza opinabile mi trovo sempre in balia di questo tizio, quasi ogni anno. Micidiale. Pure è come dice il nome. Etereo? Sognante? No, raw black metal. Puro appunto. Senza l'evoluzione di Borgne, certo, ma con un animo incorruttibile. 'J'Aurais Du' non vuol dire "ce l'avevo duro", care piccole teste vuote, ma "avrei dovuto". I testi sono carichissimi di pessimismo, tutti in francese e esprimono perfettamente la natura dell'opera. La voce è molto più definita del precedente 'Art of Loosing One's Own Life', è la batteria ad aver fatto un passetto indietro nel mix, ma la vera novità è che nel grezzume generale sembra -sembra, dico- che sia stato fatto addirittura un mastering degno di questo nome rispetto al passato. Ultimamente roba così radicale mi è capitata tra le mani da Ende, Forgjord e Eyelids, pur con tutte le distinzioni. Aggiungiamo anche 'J'aurais Du' alla lista della spesa: se pensate di trovare lo spirito black metal della seconda ondata non dovete fare altro che partire da qui.









Fancy listening to some happy, melodic, and unintimidating music? Too bad. Sit down, son, it’s black metal time. The Swiss raw black metal outfit Pure has returned with a fourth album, J’aurais Dû, and it is absolutely loaded with melancholic, down-tuned guitars, ludicrously fast drums, and raw, guttural vocals, all presented in a heavily-distorted package.

Listening to J’aurais Dû, feels like travelling back in time to 1980s Norway, when the first wave of black metal was beginning to change extreme metal forever. The harshness of the sound produced by Pure coupled with the sheer rawness of the recording truly encapsulates the essence of black metal, effectively paying homage to a style of play which has long been absent within metal as a whole.

Given the way which each instrument gels together seamlessly,  you would be forgiven for thinking that Pure was a collection of black metal musicians, perhaps even a full quartet. However, similarly to black metal heavyweight Varg Vikernes with his outfit Burzum, Pure is the work of one man. Ormenos plays each instrument and provides the vocals, an incredible accomplishment, and a true testament to his musical ability.

As previously stated, Pure embodies the sound of the first wave of black metal, what many fans refer to as “true black metal”. The slow guitar riffs coupled with viciously fast drumbeats and harsh, hate-filled vocals which once defined the Norwegian metal scene dominate J’aurais Dû. Within the first few seconds of the album, the “true black metal” style of play is evident, as within the initial track, “Anonyme et Sans Visage” (The Anonymous and Without Face), the listener is thrust immediately into a furious flurry distorted horror. The opening track explodes into being, with every instrument coming together as one, Ormenos clearly starting as he aims to continue on. Almost immediately, Ormenos creates a wall of noise, a sound which manages to totally encapsulate the listener, somehow managing to feel as if you have been surrounded by distorted guitar riffs and screeched vocals. It is perhaps due to this then, that within “Anonyme et Sans Visage”, there is a real feeling of unease created, something which is entirely appropriate for the style, both musically and visually, which Pure strives to adhere to.

This feeling of discontent and disquiet dominates the entirety of J’aurais Dû, recurring throughout the album, and is perhaps most noticeable at the beginning of “Je Tuerais le Monde Pour ta Lumière” (I Would Kill the World for Your Light). The acoustic guitar intro to the track is reminiscent of depressive black metal group Lifelover and follows a similar style; a sad, slow guitar solo which features only chords, which reappears throughout the track in a circular fashion, finally using the same melancholic cluster of chords to herald the end of the song.

There is a large amount of variety featured throughout J’aurais Dû, with the afore mentioned “Je Tuerais le Monde Pour ta Lumière” taking a slow, trudging pace, while title track “J’aurais Dû” attacks the listener with barbaric speed. This diversity in style is what keeps J’aurais Dû interesting, with each song being set apart and different from the last. While the album as a whole may encapsulate the sounds of the first wave of black metal, Pure is not simply a clone of bands at the time, with the album featuring entirely unique songs with its own style. At its core, J’aurais Dû is a nostalgic love letter to one of the most extreme and notorious musical genres of all time, taking the essence of what made black metal, and bringing it in to the 21st century.





The one man band called Pure has returned with their latest J’aurais dû (I Should Have) and has been distributed through Symbol of Domination Productions. The black metal Swiss army knife at the helm, Sergio “Ormenos” Moplat, treats your ears to raw black metal that can be synonymous to the sounds of the underground. “Anonyme et San Visage” (Anonymous and Faceless) treats you to such sounds but it’s also borderline ambient with the sounds the guitar riffs emanate. However, the song intended for the ladies “Je Tuerais le Monde pour ta Lumière” (I Would Kill the World for your Light) features a plethora of instruments and intensity which takes over a good chunk of the track towards the end. “The chunk” the Klown speaks of contains a slow paced, ambient electric guitar sounds with faint drumming before transitioning back to the same intensity featured in the beginning. “Le Silence Mortel” (The Deadly Silence), “Le Jour où Je Suis Mort” (The Day I Died) and “J’aurais dû” will make you nostalgic and set up the banner of raw black metal that this Swiss is representing. It was a pretty good album to listen to especially if you fancy yourself old school or a black metal faithful. Check this album on the label’s bandcamp.




Quatrième album d’une froideur rarement égalée – intense – elle traverse J’aurais dû d’une magistrale façon. Rien n’y échappe depuis les photographies illustrant le livret, en passant par les paroles simples, mais glaciales dans leur constatation (Si seulement j’avais pu choisir une autre voie / Depuis ces temps maudits je me décompose / Une vie détruite prématurément) jusqu’à bien sûr la musique du groupe qui répand un souffle hivernal pendant plus d’une demi-heure. Principalement raw et old school les six pistes dévoilent parfois des influences DSBM. Elles puisent leur efficacité dans des riffs franchement réussis qui drainent en eux l’affliction, le tourment, la déception…Ils sont comme marqués par la froide brûlure d’un hiver tyrannique, qui est tout autant celui qui drape la nature d’un monotone manteau blanc, que celui plus métaphorique qui règne dans le cœur des damnés de l’existence : écorchés vifs par l’implacable monde dans lequel ils sont jetés, comme prisonniers, à peine nés et déjà jugés  ; condamnés, d’errance en errance, d’erreur en erreur, ils vivent comme les ombres d’eux-mêmes… Aux côtés de ces riffs l’autre élément qui fait mouche est le chant – en français – qui se mêle parfaitement à l’ensemble. Il apporte principalement ce que l’on attend de lui dans ce type de musique : agressivité et émotion.  Globalement, la batterie opte pour un jeu sobre ce qui permet une contribution efficace à l’atmosphère évoquée en amont. L’album se termine par une piste qui sert plus d’outro que de véritable composition ce qui n’entache pas la qualité de J’aurais dû : mausolée de glace érigé avec soin et talent.





Já falámos aqui muitas vezes do feeling que os trabalhos de black metal conseguem transmitir, o poder do riff e da atmosfera que cria. Quando temos para analisar uma one-man-band que toca black metal primitivo, então a nossa atenção está assegurada. E tal como prevíamos, a atmosfera está cá toda (também, o que esperar de um projecto chamado Pure), presente em seis faixas, na sua maioria longas. Apesar da produção ser podre, esse sacríficio garante o ambiente negro e frio de temas como "Je Tuerais Le Monde Pour Ta Lumière" e "Le Silence Mortel". Com a duração ideal, este é um trabalho para ouvir e interiorizar. Caso tivesse um som de guitarra diferente e talvez o processo fosse facilitado mas desde quando é que o black metal é suposto facilitar o quer que seja?




E più puri di così… Si, i Pure sono un gruppo che non conosce compromessi. Il loro è un black ferale e molto ma molto crudo, quasi essenziale nella sua crudezza. Sette tracce con basso, batteria, chitarra e voce. E stop, nient’altro che questo. Insieme, questi strumenti sputano fuori musica nera e sotterranea, nulla a che vedere con la direzione del black degli ultimi venti anni. Nessuna melodia, nessun orpello, solo del nero sparato in faccia. E se ti va bene ok, altrimenti va bene lo stesso, cercatevi qualcos’altro da ascoltare. Questo dicono questi oltranzisti musicanti del black, la loro è chiaramente una presa di posizione mentale oltre che un certo genere di musica e lo mostrano, a mio parere, molto bene. Solo una breve parentesi strumentale a spaccare l’idillio infernale creatosi, giusto un paio di secondi. E’ tutta la tranquillità che questo album vi concederà, il resto son visioni oscure e davvero con nessuna speranza di redenzione. Ottimi.





Album nummer vier voor het Zwitserse Pure, één van de bands van

Bornyhake Ormenos, de man die mijn hartslag wegneemt met zijn band Borgne en eveneens indrukwekkend materiaal uitbrengt onder de naam Enoid. Het debuut van Pure, Kingdom of Wrath, omschreef ik als extreem snerpende en furieus harde, slepende en zelfdestructieve herrie. Album nummer vier zou in diezelfde lijn moeten liggen.



Dat is qua sound zeker het geval. J’aurais dû, de futur antérieur van devoir (moeten), is een plaat vol wanhoop en spijt, vol tergend pijnlijke gevoelens en negativiteit. Geen emogeblaat, dit is zwartgalligheid op een stuivend tempo, met leeggezogen, ‘kalme’ intervallen waarin Bornyhake Ormenos helemaal ten einde gekomen lijkt te zijn. De sfeer is continu bitter en zuur, ijsbijtend koud en guur. Ideaal voor fans ook van Canadese black metal van het Sepulchral Records label. Ideaal ook voor wie Frans leert en zijn werkwoordstijden wil aanleren. In het Frans zijn er een stuk meer dan in het Nederlands, dus ga er maar mee aan de slag. Deze gure lo-fi black  is ideaal om je ervan te overtuigen dat Franstalige black niet per se melodramatisch, romantisch of natuur-adorerend hoeft te zijn.





Pure is a Swiss black metal project of Ormenos who also is relentless with his other bands; Oculus, Enoid, Cryfemal among many others. J'aurais Dû is already fourth album from him and his songs makes my winter even colder. The album is oriented to very Norwegian style of black metal like Dark Throne, and takes inspirations from that region in general. Pure with single drum pedal effect sounds primal and primitive as I like in black metal. Also, he presents frost-biting guitar riffs with harsh vocals, occasionally choirs.  The sound is raw and lacks better studio production but Ormenos chose to put his music in total absence of light, compromising nothing, in order to reach out darker and obscure effects in his frosty songs. Music in many moments is fast with drum blasts and guttural vocals but also has a sense of desolation. Pure has his devotion to more melancholic and sorrowful sounds but everything ends in realm of true black metal sound.


I had no feeling of distaste while I was listening to this album, few times to find a spark to write this review. After all, J'aurais Dû grants equal musicianship of one person whom black metal is natural and purest.





It has been a long time since the last time a good black metal band and the definition of good in a sense that everything falls at the right place and the right time and perfect.Pure is a one man raw black metal band from Switzerland just made my day a Hell worth living in.


The release of the 4th full length release "J'aurais dû" in 2017 is like a time travel session when the first track started without warning. It really feels like trapped somewhere in the 80's where black metal music is simple,fast and harsh and not to forget all the essential elements are there present for real and there's no time to joke when comes to this album.The vocals are just pure hatred being expressed without sympathy and full of unexplained emotions to those who can "listen". Pure and honest fine black metal composition are to be heard and enjoyed full volume and just by closing your eyes, you could feel the atmosphere of the sound and harshness of the guitar penetrating your veins from the inside out, not to mention the clean parts which is something really refreshing and soothing but just for while. And the enthralling sound of the extreme continuous drumming is just chaotic and meant to be destroy peace by all means.


Pure stands out in every aspect of black metal possible and this is because Ormenos is a dedicated and high spirited musician to show and present his talent in his very own way without worrying about being labelled as a clone band.Swiss black metal at it's best and there's no doubt about it that Pure only knows how to deliver the message of pain, darkness and destruction and damn good at doing it. 6 killer tracks and over 37 solid minutes of mere darkness and solitude combined,"J'aurais dû" is a release that one shall regret for the rest of his/her life for not having it. Let the "Pure" darkness prevail!!!





All of a sudden it seems like I am flooded by Swiss metal. Last week it was two releases. This week it is another one. PURE might seem a strange name for a black metal band but it somehow fits the music as this is pure, unadulterated raw black metal. It is easy to say that this is just like the 90s Norwegian black metal but I get more a vibe of 00s Canadian black metal. You know all these French Canadian bands that appeared almost all at the same time and on the same label. But then again they do draw their biggest influence from the 90s Norwegian black metal sound. So it all goes around in circles really. But the vibe is French Canadian by way of Switzerland. But no matter what the geography says this is depressive, somber black metal. Almost dsbm in vibe. Yet not really. I like the cold melancholic feel that this records sends out.





Das Projekt Pure aus der französischen Schweiz mag es erst seit 2013 geben, Ormenos, der Kopf des Ganzen, treibt allerdings schon deutlich länger sein Unwesen in der Schweizer Unterwelt. Mit seinen beiden Projekten Enoid und Borgne ist er bereits seit Mitte der 90er fester Bestandteil der Alpenszene und auch wenn Pure erst 4 Jahre exisitert, so hat es doch mit „J’aurais dû“ sein schon 4. Album in den Startlöchern.


Ormenos hat ein Händchen für ordentlichen Black Metal, immerhin schafft er es mit jedem seiner Projekt immer wieder beeindruckende Soundkulissen zu erschaffen. Diese Soundkulisse besteht bei Pure aus rohem, direktem Black Metal. Kratzend sägen sich frostige Riffs durch eisige Wälder und erzeugen durch ihren Störgeräusch-überladenen Sound ein klirrendes und dichtes Konstrukt, das gleichsam beklemmend wie betörend wirkt und noch dazu mit viel Energie am Hörer nagt. Unterstützt wird das Netz aus Riffs durch dumpf rumpelnde Drums, die düsteres Wabern in den Sound integrieren und durch dumpfe Blasts die Songs in eine Richtung lenken. Um die so entstehende Atmosphäre noch weiter zu verdichten, lassen sich ganz dezent tief versteckt im Hintergrund seichte Keyboards und filigrane Gitarrenmelodien erkennen, die hauptsächlich unterbewusst Eindrücke übermitteln und dem Album einen melancholischen Unterton bescheren. Dabei ist das Songwriting exakt auf den Punkt, kein Riff zu lange, kein Tempowechsel zu kantig, alles fließt ineinander, die ruhigen Momente lassen träumen während die harschen Parts eine bedrückende Gänsehaut hinterlassen. Dazu passen auch die Vocals wie die Faust aufs Auge. Das grimmige, kühle Keifen verschmilzt mit den Songs zu einer diabolischen Einheit und die gelegentlich eingesetzten chorischen Elemente (wie in „Le jour où je suis mort„) ergänzen das Filigrane im Hintergrund. Mehr kann man aus Raw Black Metal nicht herausholen.


„J’aurais dû“ ist gefüllt mit frostigem Black Metal der roheren Machart und beweist eindrucksvoll wie gezielt man Störgeräusche und Rauschen einsetzen kann um eine bestimmte Stimmung zu erzeugen und den Hörer in die gewünschte Richtung zu lenken. Doch um langfristig zu überzeugen muss man auch gute Songs liefern und genau das machen Pure seit jeher und da bleibt mir nichts anderes übrig als eine absolute Empfehlung auszusprechen, aber überzeugt euch doch selbst.





Pure is een Zwitserse black metal-outfit en dit 'J'Aurais Dû' is alweer hun vierde album. Zoals de naam al doet vermoeden, is de muziek vrij traditionele en onverdunde black metal. Geïnspireerd door de Scandinavische scene uit het begin en midden van de jaren negentig. 'J'Aurais Dû' is korrelig, ruizig, maar bevat ook een behoorlijke hoeveelheid melodie en afwisseling. De ruizige productie zorgt voor een typische black metalsfeer en de meanderende songs bieden genoeg interessante riffs, maar 'J'Aurais Dû' wordt nooit verbluffend. Pure doet geen moeite om het genre te vernieuwen en natuurlijk zijn ze daar niet toe verplicht. Fans van de genoemde periode kunnen dit een kans geven.





Switzerland isn’t always known for it’s metal bands. Celtic Frost are arguably the country’s finest hard rock/metal exports, closely followed by Krokus, but compared to neighbouring Germany, they’ve never been the biggest players on the musical map. Obviously, size is a factor. That said, black metallers Pure make more noise than about fifty metal bands playing simultaneously and their 2017 release ‘J’aurais Du’ is a frightening experience to say the least.



Over the years, bands have taken the roots of black metal and fused it with other metal-based ingredients to create interest, but such experiments are largely of no interest to Pure: for the bulk of this album’s thirty seven minutes, they’re intent on taking the listener to the very edge of intensity. Even the opening track is spared of an intro; there’s nothing to acclimatise the ears, as ‘Anonyme et sens Visage’ kicks off with a loud, sheet metal blast of sound…a noise which, unless preventative measures are taken, could damage your speakers. Following several bars of similarly insane noise – like hearing Lou Reed’s ‘Metal Machine Music’ played back on four stereos at the same time – under which a second guitar valiantly tries to make a more melodious counterpoint heard, the band breaks into a pneumatic section that judders and thrashes like Bast jamming with Zeit. The vocals come across with a predictable rasp and husk; in essence, it’s all very trad black metal, but turned up to eleven. This continues for the bulk of the track until a small attempt is made to slow things down: it doesn’t become more melodic – no chance of that here – but a slight droning quality briefly suggests that this does have layers, and possibly plenty of them, but those textures are so compressed, it’s hard to focus in the long term.


Perhaps the lack of space within this recording has much to do with the way it’s created. Guitarist Bornyhake dominates everything, his amps cranked to such extremes that he even makes the drums hard to hear at times. Meanwhile, vocalist Bornyhake pushes his voice so hard, it’s almost like being party to a battle of wills…which gives the bassist (Bornyhake) little chance to stretch out. With all of that in mind, this one man show seems absolutely intent on creating the most extreme sound ever. The beginning of ‘Je Tuerais le Monde Pour Le Lumiere’ offers very brief respite by making a feature of an unaccompanied jangling guitar at the outset and a slower pace all round, but it isn’t long before the weight and sheer bluster of this piece becomes challenging. After a couple of minutes, the slower sounds give way to a full scale sheet of black metal with the vocals bleeding through. They’re all in French, but since the voice is used in the best black metal tradition of “extra instrumentation”, non-French speakers probably won’t feel sidelined. A number that gradually increases in heaviness across it’s eight minutes, this starts as heavy as early Paradise Lost, spends the bulk of the time ploughing the depths of the most pneumatic blackness and eventually ends up sounding like a classic thrash LP played at 45. Only a brief return to the intro breaks the general assault, but by that point, its a melody that sounds and feels somewhat like a red herring.


The middle of the album – and essentially, the meat of the record – comes from a pair of lengthy workouts primarily concerned with death. ‘Le Silence Mortel’ features one of the most intrusive black metal vocal performances ever, as Bonyhake takes most of the words on a near-individual basis and stretches them to almost a bar apiece, much in the way you’d expect from a gothic or doom outfit. The odd thing is, it sort of works. It’s really difficult to listen to (especially against a wall of jarring and thrashing guitar sounds), but always seems suitably confrontational. The couple of slower riffs within this frankly insane seven minutes hints at more to come…but it never does, leading to a rather claustrophobic experience. On the flipside, the intro to ‘Le Jour Ou Je Suis Mort’ actually sounds like a different band, throwing out a heavy but melodic groove, the basis of which could’ve come from an old Paradise Lost or Celtic Frost long player. There’s then a spooky and spacious moment where minimalist notes set up tension, as if to suggest you’ll have no idea what’s around the corner. …But, of course, you know exactly what’s coming by now and the sheet metal sounds and blisteringly fast riffs merely recycle earlier efforts. It’s done well – presuming that’s what you’re into – but there’s always a feeling that a bit of space would have helped no end. The two styles alternate for the duration and while, in some ways, the slower passages make this one of the album’s better offerings, the guitar tones are invariably headache inducing.


The title cut keeps up the confronting style by ploughing through almost six minutes worth of pure blackness, not even changing tempo for the most part. As instrumentals go, it’s far too straight, there’s just no variation on a theme. It’s obvious Bonyhake can play a variety of instruments, but this values extreme heaviness and sheer speed over musical intricacy. Maybe if he had bandmates with which he could jam out ideas and play against, this would have worked out…but then again, maybe not. By way of a coda, ‘Solitude’ revisits the cold guitar sounds introduced on ‘Je Tuerais Le Monde…’ before giving up and tailing off into a world of feedback. It was to be expected, but it leaves the album hanging, with the listener potentially feeling emotionally cranked and drained at the same time.


As mentioned, there are a lot of bands happy to mix their black metal influences with doom and other metal subgenres (the Zeit release from 2017 being one of the finest examples of this; it may even be one of the finest black metal records ever), but ‘J’aurais Du’ is pure in almost every sense of the word. It’s ugly; it’s devastating and it could tear a hole through your face from five hundred yards. This is a recording to be approached by only the very brave: while it shows amazing commitment from an extreme metal one man band, the results are of interest to black metal purists only.





Pure je název, jenž sám o sobě křičí do světa, jaký druh hudby byste od něj měli očekávat. Samozřejmě, že se jedná o tuze syrový mrazivý black metal… do určité míry. Vichr však v tomto případě nevane ze severu, nýbrž ze středoevropského Švýcarska. Dokonce se ani nejedná o nějakou náhodnou začínající smečku, ale o jeden z mnoha projektů jistého neúnavného muzikanta, jenž z téhle alpské země pochází.


Za Pure totiž stojí Sergio Moplat známý spíše pod pseudonymy jako Ormenos či Bornyhake. Tenhle borec mám na triku výbornou kapelu Borgne, jejíž muziku mám osobně dost rád, ale také formaci Enoid, která mi přijde o stupínek níž oproti Borgne, ale pořád má na kontě i povedená alba, především první dvě jsou velmi dobrá. Rovněž se podílí na novém mezinárodním projektu Oculus, jemuž letos v září vyšel debut „The Apostate of Light“ – zde se potkává s Azlumem (Manetheren) a Kozeljnikem (The Stone, May Result, sólo tvorba, Ophidian Coil). Kromě toho dále dříve hrával v řecké kultovce Kawir a jako host či člen koncertní sestavy se podíval i do skupin jako Cryfemal, Deathrow, Darvaza nebo Manii.


Což je dle mého dost slušné portfolio, za nějž se Ormenos nemusí vůbec stydět. A to jsem vyjmenoval jen to nejznámější, tímhle výčet zdaleka nekončí, protože tenhle švýcarský nezmar zanechal stopu na množství dalších kapel převážně z blackmetalového, ale v jistých případech i grindcorového žánru. Pokud by někomu tahle nálož nestačila a rád by z jeho tvorby zakusil i něco méně viditelného, doporučil bych jediný demosnímek „Pat nost“ (2009) projektu Haine – rovněž povedená syrovost.


Nicméně zpátky k Pure. Pod touhle hlavičkou letos vyšlo již čtvrté album s názvem „J’aurais dû“, které navazuje na dva roky starý počin „Art of Loosing One’s Own Life“. Dle názvu projektu by se mohlo zdát, že Pure je místem, kde Ormenos ukájí své choutky po ortodoxní podobě black metalu, ale takové tvrzení by bylo trochu zavádějící. Borgne i Enoid jsou totiž také black metal docela podzemního ražení, byť je pravda, že třeba první jmenovaná kapela nasává i ambientní vlivy a soustředí se více na atmosféru (nicméně kdo pamatuje začátky Borgne, tak ví, že i pod tímhle jménem vyšly slušné pekelnosti).


Myslet si, že Pure se od ostatních odlišuje alespoň zimním feelingem, jak by mohla napovídat obálka „J’aurais dû“, je také mylné, protože i takové pocity se již daly zažít u Borgne. A navíc – stačí se podívat na přebaly starších alb Pure, aby bylo zřejmé, že tohle není hlavním poznávacím znamením projektu, byť lze na novince chlad cítit. Nicméně bych netvrdil, že se jedná o ortodoxní zběsilou vichřici. Viz třeba skvělá atmosférická vsuvka v „Je tuerais le monde pour ta lumière“, rozvážnější tempo „Le jour où je suis mort“ s procítěným kytarovým sólem nebo „groovy“ pasáže v titulním songu.


Může to teď znít trochu paradoxně, ale i navzdory řečenému jednotlivé projektu mezi sebou nesplývají a každý si nese punc své vlastní atmosféry, ačkoliv si vlastně všechny vystačí se syrovým black metalem. Radši se nebudu pokoušet to nějak vysvětlovat, protože bych to nejspíš vysvětloval jak kokot a pak se do toho beztak zamotal, ale věřte tomu, že nějaký rozdíl v náladě v tom cítit je.


Nicméně i kdyby tomu tak nebylo, nakonec je stejně hlavní jiná věc – jestli „J’aurais dû“ dokáže zaujmout a zprostředkovat člověku nějaký zážitek. Zde bych si dovolil říct opatrné ano. Ten zážitek sice není kdovíjak hluboký a do nezemského vtažení mezi hudební víry má daleko, ale pořád se jedná o vcelku zábavnou a poctivou desku. Stále platí, že Ormenos svá doposud nejlepší díla stvořil pod hlavičkou Borgne, ale srovnám-li „J’aurais dû“ třeba s loňským „Exilé aux confins des tourments“ od Enoid, asi bych jako vítěze zvolil letošní počin. Slušná věc, což platí i pro ty z vás, kdo tvorbě tohohle švýcarského maniaka nefandíte věrně jako pes.





Pure are a young project by one of Switzerland’s most notorious (Black) Metal musicians, Sergio ‘Ormenos Bornyhake’ Moplat. He’s best known as drummer, yet as well as multi-instrumentalist, currently or formerly active with the likes of Enoid, Borgne, Gerbophilia, Kawir, Cryfemal and many others. He started Pure almost five years ago, and in the years 2014-2015 Pure recorded and released three full length albums, Kingdom Of Wrath (Humanity’s Plague Productions), And The Waters Turned To Blood (Asgard Hass Productions) and Art Of Loosing One’s Own Life (Obscure Abhorrence Productions). In 2016, Bornyhake started recording new material at the Chaos Studio, which got released in May 2017 via Germany’s Obscure Abhorrence Productions and Russia’s Symbol Of Damnation Productions, a sub-division of Satanath Records. The album comes in an edition of 500 copies, including an eight-page booklet. The latter contains the lyrics, which are written (and screamed) in French, and being darkened by beautiful black-and-white photography with snow as central theme.


J’Aurais Dû (which can be translated as ‘I should have’) brings six compositions that totally fir to the visuals: wintery, sunless, cold and desolate, like the vast emptiness on a snowy mountain. It is like a definition of the grimmest works from the first half of the nineties, like an expression of the blackened obscurity known as the Nordic Supremacy. Damn no, do not expect anything renewing, but imagine the true feeling of the Second Wave-inspired Underground, going for both performance and sound. The production is raw, you know, with those ripping, somewhat mesmerizing guitar riffs, the little simplistic (which is not meant as a negative element!) but hammering drum rhythms (including these artillery blasts), the dense, heavy bass lines, and that raw, blood-spitting throat. Indeed, quite typifying for sure. Even the few (semi) acoustic passages pass the revue, evidently. But a lack of originality must be forgiven when the result, coming from skilled song writing and professional play (and an appropriate sound!), is all right. And those trusted with Pure will not doubt: J’Aurais Dû can’t be anything else but qualitative.


The whole breathes an atmosphere that truly, and deeply, pays tribute to the origins, the roots. It’s not a coincidence that Bornyhake has baptised this outfit as Pure. The equilibrium in between the different instruments might balance over towards the guitar melodies especially, creating that sublime hypnotic feeling. Moreover, the few solos are even more mesmerizing, even bewitching, floating away from the contemporary catchiness of many new bands. And quite interesting too – and let’s say that this aspect totally fits as well to the whole concept – is that I surely hear (and see, cf. the pictures) a certain explanation of depression, negativity, tristesse and melancholy, rather than epic and victorious sonic paintings of hatred. Okay, misanthropy and disgust covers both possibilities, but in Pure’s case sorrow and bleakness overrule thuggery and bellicosity.


Oh yes, just for information, but in very early 2018 Pure did release a split with no one else but Horna via the World Terror Committee, so I might come back to this project / release quite soon, I guess…





It’s the first time I get to have the enormous pleasure of recommending a Pure album. I’ve known this project since its conception due to my profound interest in Ormenos’s black metal endeavours. Names like Borgne and Enoid stand out immediately when reckoning of how I have hooked up with his music and instantly got drawn into a devastating anti-human blood magic. Pure spawned back in the not so distant 2013 having released 4 full-lengths (including the one I am presenting) and a freshly released split with Finland’s Horna. Now, allow me to bestow on you “J’aurais dû” and its magnificence!


May the 13th, 2017; a day that celebrates the raw, unpolished and full of negative spirit music comes in the shape of “J’aurais dû“. Despite the short span of  the track list, 37 minutes to be exact, Pure makes up with a compelling record that urges the listener to digest over and over again. In its essence, this is a straightforward black metal album that blends visions of total bleakness through the prism of the early 90’s golden decade of the genre. Easily, one of the best CDs of the latter year in my unpublished list with favourites!


“J’aurais dû” is a statement that proves when a skilled musician could craft a magnificent piece of art through the rawest possible material. Unlike many who hide their lack of potent ideas and knowledge to deliver behind the garage sound, Pure totally blows it up with an utterly staggering quality of performance, song writing and production. Each piece embodies an array of luring riffs that will stick on the back of your head and hardly let go. Regardless of the overall minimalistic approach that defines the way this album has been composed, it still pays off by far! Simply reaffirming that one can never go wrong in the classic black metal vein when done the right way.


Pure excels with the careful notion of layering the instrumental elements. Thus, the raw nature of the production does not cast a shadow onto the individual performance of each instrument; in fact it completes it and adds an extra depth. It also shows off that Ormenos is capable of taking care of each stage of the creative process with little to no hassle and the end result admirable. 


Another strong point is the vocal part delivering much fright and distress. An ideal fit for the instrumental, boosting its effectiveness greatly. There is wrath, grief and hopelessness, all being projected in an honest and outright terrifying fashion. Above all, the darkness that reeks of every scream feels closer and closer, thus it’s unavoidable to not resonate in the same negative frequency.


Pure’s “J’aurais dû” is an album that you should not only experience but also recommend to those cry wolves who claim that black metal is dying. Not only is it alive but it is in a far better shape. Moreover, it disregards false statements like that and put to shame some of the popular names for a very simple reason. Pure is honest in his hatred towards the living, and no money & fame will ever console that!


Special regards to Satanath Records / Symbol of Domination for the CDs. Make sure to check out the rest of their lengthy roster with albums.


Well, this is it for now. Enjoy these 2 works of fine blackened art while I get my shit together and compose the next CD recommendation. Meanwhile, join me on Twitter and Google+ for small updates and other stuff that I post right off the bat.




Швейцарский темный монстр, разгуливающий по альпийским лужайкам и крушащий их с полпинка, обрушивающий мрачные ущелья своим рыком, громоздящий дикие склоны гор по прихоти и без. Это все он - PURE, выпускает раз за разом компакт-диски, наполненные смертетворящим чернейшим адом. Сабж - это четвертое круглое пластмассовое изделие, которое так и просится, рвется из рук в звуковоспроизводящие устройство. Дабы поливать горячим керосином.

Это в целом проект одного человека, который умело шифруется — иногда на разных группах называя себя по разному. Ну вот здесь аватар его Bornyhake и данный ВИА он организовал в 13-ом году. (Играет в группах: Borgne, Cakewet, Cryfemal, Enoid, Manii, Oculus, Serpens Luminis, Darvaza (live), Deathrow (live), Snorre, The Two Boys Sandwich Club, ex-Gerbophilia, ex-Haine, ex-Krigar, ex-Organ Trails, ex-ChokingOnBile, ex-Kawir, ex-Ravnkald, ex-Ass of Spades, ex-Jante Alu).

Музыкант с хорошей "кредитной историей", да что там, - выдающейся, надо честно сказать. Вы, уважаемые господа, несомненно слышали названия хотя бы нескольких проектов, названых выше. И я тоже. В этом смысле очень сильное издание лейбла Symbol Of Domination — среди других сильных. Ну и финализируя расследование про автора, скажем, что этот проект недавно выпустил сплит с HORNA. Да, это та самая финская Хорна.

Около 40 минут швейцарской черноты, мракобесия, мизантропии и...

В прессухе от лейбла занятно так указано, что автор описывает здесь свои не только черные движения души, но и светлые. Типа, на обложке где-то солнце мигает, значит, кое-что здесь не так негативно, как кажется попервоначалу. Хорошее утверждение, ибо... я подумал, что это шутка такая, черный юмор.

Ибо включенный поначалу контент (и немалую часть диска здесь) - чертовращение швейцарского безумия, настоящая горная паранойя, и PURE cking armageddon. По реальному жесткий, злобный тролль, настроенный на высших частотах (и средних, и низких) промчаться по пикам Альп, размолотив их в строительный песок. Причем сделав это максимально атмосферно. Такие запросы у камрада. Туда же в пропасти и его вокал - шрайк, дикий и человеконенавистнический, причем композер к ним местами пристругивал хоры, - призрачные, но такие же бестиальные, словно из ада подпевали. Кое-где вокал, если его можно так называть, стремительный и драйвовый, следующий за ритм-секционным ХЕЛЛом... НО там где-то подальше в пещерных глубинах диска темп замедляется, вроде как к блэк-блэк-блэк-думу, и вокал ядовито тормозит и опадает как порошок аскорбинки в граненом стакане. BBB-doom здесь еще есть, - в средне-темповом и помедленнее режиме, загадочный, как черный мертвеющий ворон.

И вот я как-то подумал, что в траке 4 начался тот самый пресловутый позитив. Прямо так он оптимистично начался, что хоть песни пой... не долго мучилась … в ... опытных руках. Дальше повалил черный швейцарский снег — депрессив-металл, в бодром темпе... и потом был мост поспокойнее, - may be post-black experience. И весь «позитив» в таком же духе. Потому что далее опять начался локальный Рагнарок, в трендовом нордическом забое и, как полагается, олдовом стиле. Шквал такой, что дай Отец Перун опомниться.

5 черепов из 5

Совместный релиз с немецкой конторой Obscure Abhorrence Productions. 8-страничный буклет. Ч/б.




Cuarto álbum del proyecto unipersonal  Pure, comandado e interpretado íntegramente por el suizo Sergio Moplat. La gélida tapa no deja dudas: “J'aurais Dû” está absolutamente cargado de guitarras melancólicas y desafinadas, baterías ridículamente rápidas y voces guturales en bruto, todo presentado en un paquete fuertemente distorsionado.

Pure se destaca en todos los aspectos del black metal posible y esto se debe a que Moplat es un músico dedicado que no teme mostrar su talento a través de seis pistas asesinas y más de 37 minutos sólidos de mera oscuridad y soledad combinadas.

Influenciado en su mayoría por la primera ola del black metal, la dureza del sonido producido por Pure, junto con la crudeza absoluta de la grabación encapsula realmente la esencia del black metal, rindiendo homenaje a un estilo cada vez más vigente.

Como mencione antes, Pure encarna el sonido que muchos fanáticos denominan "black metal verdadero". Los lentos riffs de la guitarra, junto con los golpes de un ritmo brutal y las voces ásperas y llenas de odio que una vez definieron la escena metalúrgica noruega.

El corset estilístico es claro y definido, pero "J'aurais dû" no le escapa a la diversidad y hace que su escucha sea interesante, con cada canción separada y diferente de la anterior. Interesante.