. Satanath Records

Reviews: SODP098

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Parrà strano, ma non si può dire che parlare di una band del Kirghizistan sia una primizia, perché chiunque sia in possesso di un minimo di curiosità e di cultura musicale non può non conoscere i grandi Darkestrah, che proprio dalla capitale Bishek mossero i primi passi prima di mettere le radici in pianta stabile in Germania, nazione certamente più funzionale per chi vuole fare musica ad un certo livello.

Così, il vessillo del metal estremo nel lontano paese asiatico è tenuto alto in loco praticamente dai soli Kashgar, i quali, nonostante l’oggettivo rischio di isolamento musicale, si stanno dando un gran daffare per farsi conoscere, soprattuto in Europa.
Questi tre ragazzi meritano effettivamente di trovare uno spazio, perché il contenuto del loro album omonimo tracima urgenza compositiva e se ogni tanto qualcosa viene sacrificato a livello tecnico, l’intensità sprigionata arriva a compensare abbondantemente il tutto.
In fondo, in questa quarantina di minuti scarsi, i Kashgar riversano in maniera compulsiva un background musicale fatto da metal estremo, classico e persino dal progressive, tutti elementi che, ascoltando con attenzione, sono sicuramente rinvenibili all’interno dei singoli brani .
Se Half a Devil è una sorta di summa strumentale a livello di intenti, non c’è dubbio che la pietra miliare dei Kashgar sia Tyan-Shan / Batyr, brano spettacolare di oltre 11 minuti di durata in cui i nostri immettono tutti i loro spunti compositivi, anche quando apparentemente sembrerebbe non essercene lo spazio: una sfuriata black, all’inizio, viene seguita da umori tooliani/crimsoniani, ed un mood che riporta alle migliori band elleniche tanto amate dalla band kirghisa (non a caso la masterizzazione è stata affidata ad Achilleas Kalantzis dei Varathron) viene disturbato da un’inquietante cantilena.
Se Scent of Your Blood è un condensato di furia distruttiva, con una chitarra dai tratti lancinanti , Erlik rallenta la corsa fino a spingersi ai confini del doom, e Albarsty è pregna di dissonanze compensate da un finale thrash d’annata. La chiusura è affidata a Come Down, in cui emerge una componente più riflessiva che, in qualche modo, va ad attingere alla spiritualità ispirata da una natura che, in un paese come quello asiatico, esibisce ancora intonsa la propria selvaggia maestosità.
Kashgar è un lavoro intrigante quanto perfettibile in qualche sua parte, e sicuramente sono gli aspetti positivi a prevalere, a livello di consuntivo: considerando l’inesistenza di una scena meta nel paese, le possibilità che fossero seguite pedissequamente le tracce dei Darkestrah erano alte, eppure Ars, Warg e Blauth scelgono un strada espressiva differente e, tutto sommato, anche personale. La voglia di inserire più elementi possibili in un album di durata relativamente breve è comprensibile ma, talvolta, va a discapito della fluidità compositiva: resta il fatto che questo lavoro risulta attraente proprio per la bontà dei contenuti, tralasciando l’ovvia curiosità derivante da una provenienza geografica desueta.
Per quanto mi riguarda, i Kashgar sono una bella sorpresa e seguire le loro mosse future non sarà affatto tempo sprecato.



One of my absolute favorite things about hearing new music every single day is that every so often you find something that can only be described as unexpected. There’s many version of “unexpected”, and today’s case is easily my personal favorite. I’ve been lucky to hear metal come out of seemingly random countries such as India and Iran, and now . . . Kyrgyzstan! Not familiar with the Kyrgyzstan metal scene? That’s because it’s made up of one band: Kashgar. And oh boy do they make their presence known!

Imagine being the only metal band in your country! It seems like such an outlandish thing to someone like me who’s seen it come out of there far reaches of the world, but yet Kashgar stands tall as the only active metal act to be going in their nation. Quite the head turner, sure, but it’s the music that’s the real impressor. What kind of metal would the only Kyrgyz metal act perform? Black? Thrash? Death? Doom? Actually, as much as it sounds like a clusterfuck, Kashgar manages to infuse elements of all four into their self-titled to truly make a stand out performance. Every moment of Kashgar’s first piece of material is no less than extremely satisfactory with each track being diverse, unique, and made with such excellent levels of musicianship that it’s simply staggering. The best thing about what Kashgar has done with this record, in my opinion, has to be how each song is a different experience that shows the true genius behind the group. Want a groovy instrumental piece? Throw on the first track, “Half a Devil”. Desire a lengthy and epic experience that spans several styles? Dig into the second track, “Tyan-Shan / Batyr”. Crave something that cuts deep and lets the blood flow? Toss up the third track “Scent of Your Blood”. All of what Kashgar has dealt with this record shows the band isn’t thinking with a one-track mind but is instead thinking outside the box to create an experience that very few can create, and the fact that it’s pulled off so smoothly is what makes Kashgar’s creation as delectable as it is.

Honestly, I totally forgot about Kyrgyzstan as a country entirely. Be it me just not hearing anything about it never or you saying it’s because I’m a scumbag American, I truly don’t care for I’ve now got all I could ever want out of the mid-Asian country in the form of Kashgar! This debut is a true gem that I know very few have had the privilege of hearing, and I know there’s many out there who are craving for material exactly like this! Kashgar may be the very definition of an obscure band at the moment, but I know for a fact that if the band keeps at it and continues to dish out albums like this then they will without a doubt grow to be a formidable force in the Asian metal scene.



The newcomers in Kashgar promote themselves as Kyrgyzstan’s only active metal band. I thought I was clever when I smoked them out by claiming that Darkestrah also hail from Kyrgyzstan. I still had to eat my accusation of forgery, for the trio from the steppes are of course right when enlightening me that Darkestrah flagged out many years ago and turned German. During the past four months, another Kyrgyzstani band named Panzer Bulldozer have popped up on Encyclopaedia Metallum. But let’s ignore that, as I’m not interested in making an ass of myself one more time.

The trio play a kind of black/death that does not quite fit into any square pigeon-hole. The expression also varies somewhat on the album, something that doesn’t make it easier to define the music. Not that it sounds way too schizophrenic for this reason. Much like Black Hole Generator and Black Anvil, for instance, the band have a somewhat diffuse expression that’s rooted in black metal, but that differs from the usual recipe. A majority of the songs may be said to have a partly melodic and relatively progressive slant, and a rather gloomy atmosphere.

A majority of the songs have a relatively calm feel, albeit with aggressive undertones, while they sometimes seem to lose their temper and resort to rage. At first listen, “Scent of Your Blood” hardly seems compatible with the expression in the first two songs, while “Albarsty” riffs like a ragingly rabid Black Sabbath, high as a kite on fly agaric. These songs, and some other segments, have a stronger, more inaccessible underground feel.

The expression nevertheless has commonalities that prevent too much splay, and the last time I checked, it was still allowed to experiment a bit on a self-released debut. Not that it’s easy to look up the related laws as it basically consists solely of unwritten rules. In addition, there’s status in breaking the rules.

The self-titled debut has a certain home-made charm, which falls naturally considering they’ve done everything besides the mastering on their own. The band’s guitarist Ars is the one who has torn off his hair in despair attempting to fine-tune the sound, while the mastering was entrusted to Achilleas C. of Varathron and Aenaon fame. The deep, rich, and suitably distinct bass sound in particular deserves praise.

The lyrics focus on Tengrism, a traditional religion, not only of the Kyrgyz, but of the Mongolian and Turkic people. The band Tengger Cavalry is named after Tengri, the sky deity, by the way. Kashgar apply a shamanistic approach. You can read this interview if you’d like to learn more about their motivation and history.

The album has a somewhat strange and primitive feel, but it is also charming. With a little airy and splayed gap in the material, it’s not easy to say exactly where Kashgar will go from here. The future may prove to become interesting.



True Kyrgyz black metal. It would be very difficult to come up with a better band slogan than that. Kashgar is one of extremely few bands, and probably the only death/black metal band, hailing from the former U.S.S.R. republic of Kyrgyzstan. They don’t use the aforementioned slogan, but they really could. This their self-titled debut was available digitally for about a year, before being reissued on CD by Belarusian Satanath record’s sublabel Symbol of Domination just recently. So, what’s to expect here?


Lovers of slightly older Greek black metal will be pleased to know that the album has been mastered by Achilleas Kalantzis of Varathron. This one choice has given the album a slight edge, which perhaps would have been missing otherwise. In any case it makes sense, since the often slow, pulsing style of black/death metal Kashgar plays really has quite a lot in common with Greek heroes like Thou Art Lord and indeed also Varathron. The tempo goes up at times, and at those times the Norwegian riffs also show up (“Tyan Shan – Batyr” is like a mix of slow Thou Art Lord with selected Transilvanian Hunger riffs).


The album offers more than a mere blend of Western and Central European black metal variations. Folk elements, pure death metal riffing and more than the odd nod to classic thrash metal a’la Kreator add additional gallons of flair to Kashgar, as does the rather exciting lyrical and conceptual framework. While Western black metal bands more often than not choose one or a couple of a few standard concepts – satanism, nihilism, Norse paganism, depression and/or the occasional brown-tinged idea – Kashgar draws heavily on the history and customs of Central Asia. Shamanism, Tengrism, folklore and a number of other topics show up. While digging where you stand in a cultural and spiritual sense is not exactly a unique idea for a black metal band, it becomes very much just that when you’re virtually the only extreme metal band standing there for hundreds of miles in each direction.


Kashgar’s Kashgar is available from the band or from Symbol of Domination, on digital download or CD, and unless you already have too many Kyrgyz death/black bands in your collection, Archaic Triad can only recommend you go get it before its gone.




We have a huge review pile to get through and sometimes you pick something because the name or details stand out. I plumped for Kashgar as they’re from Kyrgyzstan and I think that’s one of the ever-decreasing number of countries we’ve not yet covered! So, what does Kyrgyzstani black/death metal sound like?

In brief… varied. That is, not in quality but in breadth of sound. Kashgar have to some extent put together a compilation album with each song sounding wildly different from the others. They’re all heavy. They’re all metal. But beyond that, they could all be from different albums. To skip through each of the tracks briefly:

“Half a Devil” is a slow-building, bass-led atmospheric instrumental that runs for five minutes. It’s dark and suitably evil, it’s nocent tones encouraging neck movement and sparks of blackness to evolve in the brain stem. I tend to listen to review albums while I’m reading, and at the moment I’m ploughing through Defender, a post-apocalyptic road-trip book. “Half a Devil” really suited this – perfect background noise.

Clocking in at almost twelve minutes is “Tyan Shan – Batyr”. More in the classic black metal style with harsh, throaty vocals and some wonderful spoken word sections it comes across as part of a story, perhaps the introductory track or overture to some epic musical or film. Still a comparatively slow number, with the odd fast break, the lead guitars get the odd flurry in here as well.

“Scent of Your Blood”, however… talk about taking it up a gear. The bass drums seems to have been forgotten and replaced by toms, everything’s tuned up a notch and we’re hitting a more extreme metal tempo throughout. If the first two tracks allow your brooding hatred to grow, this is the one that tells you to grab the axe and do something about it.

“Erlik” is the calm after the storm. Slow, doomy and with a pace akin to frozen blood not-oozing along a scarred tabletop, the vocals are guttural, slimy and send chills down the back. It fades out into nothingness to be replaced by “Albarsty”, another fast-paced number and my favourite from the collection. If it reminds me of anything, it’s Skalmold though the resemblance is faint.

The seven-minute closer, “Come Down”, is pure atmosphere for the first two minutes. It takes four minutes before the incredibly slow beat, and growled vocals, ramp up in tempo and fervour. This track takes you from slow, grinding terror to the heights of panic and back again.

Kashgar is a re-release and available now. If you fancy something a bit different that definitely still fits into your black metal end of the spectrum, it comes highly recommended. If Kyrgyzstan has more bands like this, then keep your eyes open for more forthcoming reviews.





O metal flui das mais diversas localizações. Os Kashgar apareceram no mapa do metal com o seu álbum de estreia auto-intitulado e lançado originalmente o ano passado. A banda surge do Quirguistão ou República Quirguiz que não é dos sítios mais esperados para se ter metal extremo. Uma mistura entre o death metal (em termos instrumentais) e o black metal (em termos de abordagem) o som da banda nota-se precisar claramente de amadurecer, mas para um primeiro trabalho, o resultado é sem dúvida positivo. Falta talvez alguma dinâmica acrescida aos temas para assegurar que resultados ainda superiores mas o que apresentam aqui não os envergonha em nada.





Nos países mais improváveis é que somos mais surpreendidos quando uma banda/horda lança seu trabalho. Eis que vêm até nós o Kashgar, oriunda do Quirguistão, e lança o seu primeiro álbum autointitulado. A julgar pela capa podemos supor que seja algo ao estilo de um Myrath da vida certo ?! ERRADO !!! O Kashgar carrega essência extrema em suas veias, trazendo atributos de um Death/Black acrescidos de passagens progressivas, algo muito singelo e linear.


Para se ter uma idéia que o som passa, temos muitos elementos de um Agalloch Page somados a uma incessante (e cansativa!) captação ondulatória. Em outras palavras, parece bastante alguma boa banda extrema misturada a um Sonic Youth. Há quem goste ?! Sim, mas aqui preparem-se para altos trechos de tédio e repetição.


Observando o trabalho como um todo, não nego que seja um disco muito bom e todo pensado em seus detalhes, mas não posso deixar de mencionar que não será toda hora que ele cairá bem.


Este é um trabalho direcionado para quem gosta de um som extremo mais alternativo. Se você não curte este som de maneira alguma, então passe longe. Caso contrário, ouça até perder os seus sentidos !





I Kashgar sono un gruppo Black/Death di Kyrgyzstan, nato nel 2014 a Bishkek e hanno all’attivo un full-length intitolato "Kashgar", che comprende 6 traccie molto diverse fra di loro, uscito dopo due anni di incertezze e cambi continui di line-up. Nonostante la breve esistenza sulla scena del Metal e quindi la breve esperienza nel settore, l’album ha un sound molto buono e delle sonorità abbastanza incandescenti e tetre, con delle atmosfere decisamente Stoner/Sludge alle quali vanno ad aggiungersi un mix particolare di Black Metal grezzo e di Death Metal in stile anni ‘80-’90, molto tagliente ed incisivo, con leggere influenze Doom e Post-Black, specialmente nelle parti di clean e nei brevi interludi melodici. La produzione è molto buona, come sono molto valide anche le idee a livello di sonwriting. La batteria è molto cadenzata e molto precisa, a momenti forse anche un po’ troppo e rischia di togliere naturalezza al suono, rendendolo troppo “costruito". Il basso è molto “rotondo" e “grasso" e dà sicuramente una marcia in più alla cadenza della batteria ed alle chitarre taglienti ed aggressive, con delle influenze Progressive e Post-Black, specialmente nelle parti di clean, dove possiamo rilevare anche delle sonorità Doom molto piacevoli, accompagnati da un vocale particolare molto ruvido e molto voluminoso.

Tra i temi abbordati nei testi dell’album troviamo lo sciamanesimo, il folklore e la storia dei popoli del’Asia Centrale, l’occulto e lo spiritismo, quindi delle tematiche specifiche a quelle terre e quei popoli esotici.

Bisogna però anche dire che l’album è organizzato in modo particolare, a forma di “panino”, in modo che le prime due traccie e le ultime due abbiamo un Stoner/Sludge molto particolare e cupo, con molte influenze Progressive e Post-Black, ed invece la terza e quarta traccia presentano un Black/Death molto violento e reo, con un suono molto grezzo e crepuscolare, come una laida bestia fella e malvagia. Da ciò si potrebbe dedurre una certa incertezza ed indecisione in quanto riguarda lo stile abbordato, forse dovuto alla giovane età della band oppure ai numerosi gusti musicali dei suoi componenti. Sarebbero da chiarire un po’ di cose? Perchè etichettarsi come una band Death/Black se alla fine fai anche altri stili fuori dal contesto dato? Oppure perchè fare un full-length dove suoni più stili invece che magari fare 2 EP con dei stili ben distinti in modo da non confondere gli ascoltatori? Non avranno fatto un passo più lungo del dovuto, visto che sono solo all’inizio? E la domanda principale, si prospetta un’identità musicale ben distinta almeno per il futuro o la band rimarrà nella selva oscura e mistica dei “senza clichè"? Sicuramente quest’album non sarà un capolavoro che lascia chiunque a bocca aperta, cosa molto prevedibile in quanto è un primo approccio con questo mondo Metal, molto dinamico ed in continuo cambiamento, ma è un buon inizio che lascia intravedere dei bei traguardi e soddisfazione che regaleranno i Kashgar nel futuro ai fan fedeli di questi stili che hanno abbordato nel full-length.






Аутентичное оформление буклета, эмблематичный арт и плотный звук дополняют хорошее впечатление от диска, который местами начинает звучать почти как моргульский “Sketch Of Supposed Murderer”, а основное настроение, которое можно почувствовать и перенять в ходе прослушивания релиза, — это затаённая злоба и медитативно-самоуглублённое восхищение величием суровой и бесчеловечной природы. Почти психоделические соло, абстрактные нашёптывания под нос и ревущие стоны отчаяния уже на втором треке погружают в мир кошмаров и как будто развивают найденные швейцарцами из Messiah холодные идеи.


У меня осталось в целом неоднозначное впечатление от альбома. Там, где Kashgar играют прогрессивно и ударяются в арт, звучат они здорово и своеобразно, а вот в агрессивных треках уникальность стремительно снижается. Чувствуется, что у ребят есть свои интересные наработки, есть потенциал и необходимая степень самобытности, но на данном этапе они всё ещё находятся в поиске себя и своего звучания, отчего так отличаются друг от друга разные вещи на рецензируемом CD. От авангардного трэша через дэт и блэк к прогрессиву и психоделическому арт-року путь нелёгкий, есть смысл попытаться пройти его вместе с Kashgar, а заодно вспомнить Celtic Frost с их “Into The Pandemonium” и мисайевский “Extreme Cold Weather”. А тем временем кыргызстанские блэкеры уже готовят новый лонгплей, на котором мы и увидим, чего они стоят.




Как утверждает пресс-релиз лейбла Symbol Of Domination это - рrogressive Black/Death Metal из Киргизии. Это и первый альбом, и переиздание (так говорят метал-архивы) так что каждый или почти каждый найдет себе дело по душе. Ну а так как я практически никогда никому не вверю, то надо послушать что там натворили музыканты. Надо еще добавить что там один из участников чел из США. К том уже формация пригласила немало народа для того, чтобы здраво отметиться на этой работе.

В названии, оформлении и именах треков группа сделала акцент на своей азиатской локации, видимо что-то имея в виду. Что - не представилось возможным узнать, хотя возможно - это просто шанс рассказать миру в таком музыкальном формате о местах, которые еще не исследованы металлическими бардами и менестрелями. Потому включим диск на прослушку.

В трэке один команда сделала акцент на ударную группировку и как-то подумалось, что это будет этническая ритмика. Но, в моем понимании — не сложилось, - а получилось сыграть 5-минутный мост — вход в этот диск, инструментальный трек, неторопливо камлающий на запад, куда солнце садится и только в второй половине гитара взялась за соло, которое прижгло - не адово. Видимо, все впереди. По мостику зашел во второй трэк, и там встретил вокалиста, который исполняет очень талантливо - в среднечастотном харше с неожиданными выходами в чистый вокал... вот тут-то мы и врубились в тему К.

Здесь есть, что послушать. Мидтемпо образования, зловещие, неторопливые словно пустынные змеи после обеда, уходящие в глубь песков. И вокалист становится чуть ли не главным действующим лицом. И он заслуживает того... Тут же и появляется язычковый инструмент, типа варгана— первый, что напоминает нам об Азии. Трэк 2 — длинный, самый длинный — 12 минут, так что позволяет уместить здесь целый аудиальный роман. С разными настроениями, эмоциями и пиками внимания. Повторюсь, вокалист организует сварку всего материала в единое целое, в целый бронебойный снаряд. А уж как вы им распорядитесь - дело каждого )).

Трак три показывает, что заготовленные снаряды К. сваливает возле пушки из русско-турецкой войны XIX века, и начинает деловито снаряжать орудие и палить из него. Оперативно, бодро и агрессивно - выдавая на гора трешево-дэтовый канон, а к финалу трека неожиданно еще дополнительно ускоряясь до пулемета...

В противоречие к оному трак 4 - это замедленный трип с вокалом в баритоне, однако готовом в любой момент к гроульной задаче — к тому и пришли. Заторможенность здесь на ура! реализует схему почти думового результата, аудиально рисуя картину распада и выноса мозгов. В компо применены кое-какие фишки, которые не только не дают нам заскучать, но и еще видимо претендуют на глобальное значение )).

Важным в идеологии альбома является финализирующий трэк на 8 минут, для начала серый, эмбиентовый, потом фюнерал думовый - мрачный и апокалиптический, а с половины — мидтемповый гитарный обстрел, впрочем весьма прозрачный — для атмосферности. Вокал все рассказал — о ненависти и мизантропии.

В итоге — прогрессивного здесь не очень много, и это может быть и хорошо. Потому что проявленная здесь мелодическая история вполне самодостаточна и не требует избыточного материала. А явленную нам в некоторых местах внутри стилистическую импровизацию приветствуем, ну может еще и кумыса выпьем! За наше здоровье!




My ‘knowledge’ of the scene from Kyrgyzstan is enormously limited. With exception of Shahid, Darkestrah (though I admit that I have not been following them anymore for more than a handful of years) and Panzer Bulldozer, I have no idea what’s going on out there, in the centre of Central Asia. And then, suddenly, Aleksey K. did send me an album by a band from the capital of Kyrgyzstan, Bishkek, called Kashgar. It’s a young formation that seems to include at least one musician that is active within the underground Metal scene in this country. Bass player Warg, vocalist / drummer Blauth (he left in the meantime) and guitarist Ars recorded a first album in between July 2015 and early 2016 in their home city, with assistance of several studio / guest musicians. The result was mastered by no one else but Greek guitar player Achilleas Kalantzis, whom you might recognize from e.g. Varathron, Aenaon or Katavasia. The band independently released it in Summer 2016 via digital sources, and in very early 2017, Manifest Of Hate Creations came up with a vinyl edition. And recently the productive Italian / Russian collaboration of MurdHer Records and Symbol Of Domination Productions resulted in the release of the first (and sole) album on compact disc. It includes a twelve-page booklet, lasts for thirty-eight minutes, and comes in an edition of 500 copies worldwide.


What strikes me most, and it was the case with my first listen of this album, and still it is, must be the sound. The production is extremely clean and clear. It’s not that I would have expected something else from a country ‘far away’, but I am truly blown away by the virginal purity and faultless correctness of the result. It’s not an over-produced, clinically polished experience, yet just a full, well-balanced production.


What these guys bring is a very technically executed and progressive-oriented mixture of Melodic and Modern Death Metal. It sounds very European, with several great elements. The progressive side signifies an extremely technically high-standard rhythm section in combination with avantgarde structures and well-crafted riffing. It’s a multi-levelled symbiosis of different instrumental layers, gathered into one cohesive sonic experiment. The band makes use of influences from related genres, like Black Metal, Post-Rock, Doom, Groove, Folk (not the Happy Hippie kind), Thrash Metal and Prog-Rock.


Remarkable too are the ingenious song writing and the professional execution, on top of the sublime production, the progressive technics executed, and the organic injection of other genres. There is quite some variety in structure and tempo, in instrumental handling and within the vocal timbre as well. For the better part, the energy is forceful and merciless – especially within the heaviest parts the power has no boundaries. Yet still there’s room for subtlety and intimacy too; listen for example to the opening sequence of Erlik, coming with something like a cinematic feel.




I don't think I've ever heard of any band coming from Kyrgyzstan... This trio comes from Bishkek and they play some sort of a progressive and avant-garde mix of shamanic Black and Death Metal. The band's mostly mid-paced approach is innovative and interesting, trying to break some new ground. In that sense, one must respect these fellows' efforts to set themselves apart from the masses even if some parts tend to sound a bit clumsy and even amateurish here and there.


It's really the band's obscure, sort of shamanic vibe that makes them interesting to the casual listener. There's something truly primitive and primal here. At times, when you listen to the disc you may be like, "what the F**K is going on here...," while at other times you may even say you feel pretty comfortable with their sound, no matter how avant-garde or weird they may sound musically. Good stuff.




Grande banda de metal extremo com elementos folk diretamente do Quirguistão, é como uma viagem no tempo,existe toda uma atmosfera épica, gloriosa, oriental, além do tempo em sua majestosa musicalidade.

As guitarras pesadas e certeiras são destaque, carregando também uma grande quantidade de criatividade e harmonia, a bateria muito competente e precisa.




Baixo em muitos momentos lembrando baixo de bandas como Iron Maiden, Black Sabbath, Mercyful Fate, mantendo a tradição e a essência do metal clássico.

Os vocais são como de bandas clássicas do Black Metal dos anos 90 como Rotting Christ, Mortuary Drape, Impaled Nazarene, Marduk, entre outras.

A banda detém muitas influências musicais, nisso faz com que a banda tenha um som muito próprio, é uma grande surpresa essa banda vinda desse país tão inesperado.




“Kirguistán es un escabroso país de Asia Central que se ubica en la Ruta de la Seda, la antigua vía comercial entre China y el Mediterráneo. Las montañas Tian Shan, que rodean la antigua ruta de caravanas y dominan el país, son el hogar de leopardos de las nieves, linces y ovejas.” Luego de este textual de Wikipedia, nos introducimos en el disco debut de Kashgar, banda oriunda, justamente, de este remoto país, y del cual no tenía ni la menor idea de que tuviese una escena extrema.

Y que tenemos aquí? El trio (Warg en bajo, Ars en guitarra y Blauth en voz y batería), cubren un amplio espectro que va del death al black, con ocasionales toques doom.

Las voces son siempre ásperas y guturales, con una producción extremadamente limpia y clara, no digo que sea pulida clínicamente, sino una producción completa y bien equilibrada.

Técnicamente ejecutado, “Kashgar” suena muy europeo, combinando estructuras de vanguardia y riffs bien diseñados.

Hay bastante variedad en la estructura y el tempo, en el manejo instrumental y también dentro del timbre vocal. Para la mejor parte, la energía es contundente y despiadada, especialmente en las partes más pesadas.

Interesante debut, chequéenlo.