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Serendipity (n): the occurrence and development of events by chance in a happy or beneficial way.


Back in the day, when I was still trying to be creative instead of writing about other people’s creativity (which, honestly, I’m far better suited for), I’d often joke that serendipity is the artist’s best friend. Mostly because if I ever did happen to do something that seemed to work, it was usually an accident. I may be on the other side of that equation now, but I do still have the occasional serendipitous moments.


For example, consider the email I randomly got this past Sunday with a YouTube link to a track from a Turkish band called Xoresth, whose second album Vortex of Desolation will be available July 22 from Satanath Records/GrimmDistribution (preorder here), and a short message saying that if I liked it then we could premiere something else from the album at the Vault. I wasn’t familiar with Xoresth, and only slightly familiar with Russian label Satanath Records, who’ve released albums by Corpse Garden, Perdition Winds, a couple of Striborg reissues, and Wampyric Bloodlust, among many others. Since I listen to at least a couple of minutes of everything that gets sent my way, though, I followed the link and hit play on “Illusion Before the Matter.”


And then I remember very little of the next ten minutes, because I completely lost myself in the track. See? Serendipity.


It may be a bit ironic to use that word here, though, since Xoresth’s music is about as far from happy as one can get. In simplest terms, Xoresth play an especially depressive hybrid of funeral doom and drone. And yes, I realize it may seem a bit redundant to call a funeral doom band depressing, but I’m talking like…imagine Silencer or Make A Change…Kill Yourself playing funeral doom. It’s music that will completely fuck your mood and your day – which, of course, I mean as the highest possible praise.


It’s entirely possible, though, that they sound even more despondent when they showcase more of their drone side, like they do on Vortex of Desolation‘s closing track “Nefes.” Its title translates from the Turkish as “Breath,” and it’s nearly fourteen minutes of slow, haunting clean guitars, throat singing, ambient noises, and a variety of traditional/folk instruments, including what sounds like it might be a Karadeniz kemençes and possibly even a didgeridoo. It’s one of the most uniquely haunting tracks I’ve heard in a long time, and we’re thrilled to be premiering it here today at the Vault.




You ever get that sinking feeling, as if the entire world around you is just being sucked bone dry by a yawning chasm of endless, soul-crushing social anxiety? You know, that feeling where the boughs of the trees outside your window droop a little lower, the sky roils in an endless sheet of grey, and all the conversations around you seem to dim and vanish to the periphery like the remnants of some vestigial sense your treacherous body has deemed no longer necessary for your miserable persistence? Yeah, we’ve got an explanation for that. You’re just hearing the big endless suck of Xoresth‘s wretched doom. I’d do my usual song and dance here to tell you I’m pleased as hell to introduce you to the premiere of a killer new track called “Vortex of Desolation,” but this song has really got me down, and now I’m passing those bad vibes on to you.



It’s hard to stand out in a genre known for despondency and languishing time signatures; your parents probably wouldn’t consider it much of an achievement that you were the saddest kid in a group of loners, and yet a cosmic sense of frailty is exactly what I seek when I listen to funeral doom. Thankfully, Xoresth delivers sadness on exactly the right scale to drive home the satisfyingly inconsequential nature of everything, and the Turkish quartet does so on new album Vortex of Desolation with a surprising sense of urgency.


Urgency may not be the first word that comes to mind when you think of doom metal, yet it’s the only label that tastes just right (in the worst sense) in my mouth. The booming, reverberating percussion rolls over you with an oppressive malice that makes your heart yearn for a release from suffering. The grating, grinding guitars, reminiscent perhaps of Yhdarl or Hyponic, cruelly strangle a wilting keyboard line that desperately attempts to escape the overbearing gloom throughout the song’s run time. Unfortunately for that lovely bit of melody (though perhaps fortunately for the doom heads in the crowd), that keyboard line never quite makes it out, smothered beneath a torturous vocal performance courtesy of both Eduard Utukin and Karahan Karaoğlu that positively swallows the light.


Can you recall the last time a funeral doom song left you so listless, cold, and down? Do you remember hearing a funeral doom song so urgent in its disregard for humanity that it made you want to charge headlong into its Vortex of Desolation if only to get one last glimpse of solace before eternal silence?


Yeah, me neither. Press play below.




Turkish funeral doom unit Xoresth will release Vortex of Desolation on July 22. Even by funeral doom standards, Vortex of Desolation is dark and hopeless as mournful melodies, booming drums and buried vocals express sadness and pain. “Vortex of Desolation” is the second song on the album and it displays the best qualities of the band, sounding massive and even airy at times, despite the general denseness of the album, and funeral doom in general.





When you watch the video for this first song you will see Xoresth’s music labeled as Funeral Doom. To be more precise, this is music for the funeral of all humankind, with no surviving soul left to mourn. As I hear it, it’s a vision of the future in which our planetary home has been burned to a cinder and then frozen in a heatless void. Not for naught, the name of the album is Vortex of Desolation.


It will take another 7 or 8 billion years for the sun to become a red giant, its outermost surface layers expanding so far that it absorbs Mercury, Venus, and Earth. If there is anything left in that zone which hasn’t been vaporized, a few billion more years will leave it adrift in the cold as the Sun collapses into a white dwarf.


Of course, no human will be alive to witness those events, but we can imagine them as we listen to the frightening strains of “Illusion Before the Matter.” The song establishes a collage of sound and then repeats it with only slight variations all the way to the end of this stream… and seemingly beyond. A tension-ratcheting whirr of seething chords and spectral ambient sound; bursts of maniacal and methodical drum munitions; among the most macabre vocal excretions you’ll ever hear; and light, xylophone-like pinging tones — all these sounds combine to create an apocalyptic scenario that is both disturbing and mesmerizing. It drones on… and on… and a chill sinks ever deeper into your bones.




Этот пакет с землей для любителей Funeral Doom Metal/Ambient, а метал архивы прибавляют - /Drone. Турецкая музыкальная шкатулка из четырех участников. Что немаловажно, сами знаете почему — потому что иногда one man project не хватает запалу на полноценную художественную бомбу. Понятно, не каждый музыкант - Варг Викернес.

Так вот, группа основалась в 13-ом несчастливом году, начала усиленно тренироваться в медленном звуке. И довольно таки успешно и счастливо, заметим, ибо пошел похоронный поток из одного демо, трех сплитов и двух альбомов, один из которых сабжевый. Все тренировки на репточках вылились в итоге в понимание того, как надо делать трупный музконтент. А к тому же поняли, что без атмосферы... почему без атмосферы? - С АТМОСФЕРОЙ - это получается в многократ лучше, увесистей, гремучей и глубже - в итоге.

На сабжевом черном диске, светлая у него только подложка рабочая, и та - с пит артом) заморожены три композиции: на 10, 11 и 14 минут, благолепно отработанные и, кажется, закопанные на пару месяцев где-то рядом с ближайшем местом упокоения. Ибо так НАпитаться и ПРОпитаться кладбищенской аурой нереально с помощью чего-то другого. Или это талант.

И ДА, АТМОСФЕРА, други читатели. Это воздух какого-то некрополя или чего похуже. Как и тренировались музыканты, все сделано медленно: разворачивают тру-мега-полотно темнейшего земляного цвета, посыпанное низкочастотным песком, заполняющим мир вокруг..., баханье лопаты и комков земли с нее тоже производят неизгладимое впечатление. Губительные клавиши или что-то невыразимое не спеша пробиваются в этот греб... бренный мир. Они просачиваются ОТТУДА и потому несвеже воняют серой и тленом. - SOS, - запоздало кричит затерявшийся путник. А ему уже подписан билет. One way ticket, как пела незабвенная Precious Wilson.

Бренд Xoresth - это темночугунные записки из нижнего мира, обладающие как гипнотической, так и мелодической магией. Для профильных людей, увлекающихся Nortt и сопутствующим стаффом, это мастхэвный релиз.

Турки кое-где ухитрились еще применить некие неназванные в буклете этнические инструменты, но не подумайте, что они применены в фолковом ключе. Ага, сейчас! Возможно они использовались в начале трэка 3 — какие-то низкочастотные трубы, типа иерихонских, но только ниже басом. Там же в тройке исполнители понастроили для эффекта экспериментального стаффа, такого же медленного и тягучего, но с небольшими проигрышами на гитаре. Этот материал получился интригующим, тем более, что скоро он сменился пустынным эмбиентальным самумом и опять тем же забивающим гвозди в крышку инфернальным молотом.

Вокалист поет на английском — заглянул в буклет. Вокал в тему - низкочастотный, до беспредела расщепленный, с обертонами нечеловеческой грус(зачеркнуто), ненависти и омерзения. Местами он выкатывает к ультра-низкому баритону, но это песня уже про вечность и внеземное.




VERDIKT: Během černočerných kompozic zemřelo vše příjemné a skutečné z mých snů. Přeji se vzbudit ze zlého oparu, který, jak to tak vypadá, snem nebyl.

Přiznám se, že jsem po promu tureckého projektu Xoresth sáhl hlavně ze zvědavosti. Tureckých kapel moc neznám, ani se po nich nijak nepídím. Evidentně je to pro moji škodu, protože hned od prvního cinknutí Vortex of Desolation jsem zůstal totálně uzemněný nezemskou atmosférou a suverénním projevem obou protagonistů. Protože jsem o Xoresth nevěděl vůbec nic, začal jsem se pídit a zjistil, že ani moc zjistit nepůjde. Důležité ovšem jsou hudební kroky jak vokalisty Karahana Karaoglu, tak hlavního mozku, multiinstrumentalisty DY. Dá se říct, že na základě jejich dalších aktivit mimo Xoresth je napovězeno, koho máme před sebou a jak je možné, že Vortex of Desolation zní tak ničivě a chorobně.






Nebudu se tady zamotávat výčtem jednotlivých kapel a projektů, ve kterých se oba pánové objevili či objevují. Zatímco Karahan Karaoglu dává přednost hlučnější formě, je tajemný DY založený spíše depresivně, ambientně a esotericky. A přesně takto mi Vortex of Desolation připadne. Sotva půlhodinová deska, kde naleznete pouze tři skladby, je doslova napěchována rozervanou náladou, lákající do nejhlubších pekel. Záhrobní vokály a šepoty jakkoliv jsou svojí podstatou nelidské, můžou být vodítkem k duševnímu kolapsu destruktivních vizí DY.




Už při pohledu do temného bookletu, kde se toho zas tak moc nepíše, ale svojí divnou aurou nahlížejícího posluchače odvrhuje, mi připadlo, že možná tvůrce Vortex of Desolation ani nechtěl, aby jeho dílo někdo slyšel. Uzavřenou zlou bolestí je album doslova nasáklé a je potřeba se naladit na podobnou vlnu. Tedy v depresích o půlnoci po tmě si sednout a nechat album na sebe působit. Tehdy vyniknou mocné plochy naplno. Ve vlaku či při práci zní Vortex of Desolation lehce řečeno nepatřičně. Rušivě. To vás najednou začne všechno rozčilovat. Jste neklidní. Pochopíte, až to vypnete.




Ono o té půlnoci se vám nepovede líp. Taky na vás skočí noční běsi, drásají vše, co za normálních okolností chápete a jste s nimi srozuměni. Nyní ale nic nechápete. Vše je špatně a garantuju vám, že po skončení této kratičké desky jen tak neusnete. Po ukončení třetí skladby, nebo lépe řečeno mantry Nefes máte dojem, že něco zůstalo nedořečené. Něco vám uniklo. Ani po desátém poslechu nevím, co způsobuje takový pocit. Zřejmě nahrávka svoji zvláštní podstatou vytváří šílené halucinace, které odpovědi nepřináší. Tempo je velice pomalé, odklepává rytmus… buch… buch… buch buch… kytary štípou kdesi v povzdálí, na klávesy pidliká jakýsi děs a zlý poděs chroptí nehezká slova. Uf!








Myslím, že jsem doposud slyšel opravdu hodně funeral doomových desek, ale až nyní jsem obklopen skutečně pohřebním naturelem. Během černočerných kompozic zemřelo vše příjemné a skutečné z mých snů. Přeji se vzbudit ze zlého oparu, který, jak to tak vypadá, snem nebyl. Hodnotit formu v takto obsahově silném díle je zavádějící a podle mě zbytečné. Je jasné, že komu podobná zla nevoní nebo mu vadí příliš pomalé tempo, bude pro něho představovat Xoresth hloupost. Těm pár šílencům, holdujícím bolestným a černým marastům, může naopak připadnout Vortex of Desolation s celou svojí přízračností jako vynikající. Proto bez hodnocení. Nula nebo deset. V žádném případě ne průměr!





Da un po' vado dicendo che quello delle one-man-band sembra essere un fenomeno che va diffondendosi a macchia d'olio in tutto il mondo. Ecco che il progetto di oggi ci conduce in Turchia a Izmir per l'esattezza, città natale di Dorukcan Yıldız, il factotum che si cela dietro al moniker Xoresth. La proposta del musico turco è all'insegna di un funeral doom dai tratti fortemente dronici che nelle tre song a disposizione, assume connotati fortemente caratterizzanti. Si perchè mai mi sarei sognato di miscelare questi due generi già di per sè assai ostici. Potete immaginare quindi il mio stupore quando "Illusion Before the Matter" si palesa nel mio stereo con il suo carico mortifero legato al funeral, il tutto inserito in un contesto dronico di riverberi che amplificano l'effetto apocalittico del doom con esiti davvero interessanti, ma soprattutto ipnotici, con il drone che tuttavia stempera la pesantezza di un genere che rischierebbe di stritolarci come le spire di un boa costrictor. Niente male affatto, non me l'aspettavo. Con maggiore curiosità mi avvio ad ascoltare gli oltre dieci minuti della tremolante title track. Qui ve lo anticipo, si sprofonda all'inferno, c'è poco da fare se non mettersi l'elmetto e avviarsi a scendere nelle viscere della terra. La sensazione è quella di ritrovarsi in una grotta profonda dove l'ansimare legato alla fatica eccheggia sulle pareti di quell'antro cavernoso e dove la sensazione di carenza d'ossigeno preme forte sul petto, generando un angosciante carico di ansia. Si, "Vortex of Desolation" è una song fortemente ansiogena e tenebrosa, quasi quanto la sensazione di buio assoluto che sperimentai una volta in una spedizione speleologica. Fa paura, ma è estasiante, da provare almeno una volta nella vita. Nel frattempo, Dorukcan Yıldız ci ha già introdotto nell'ultima spaventosa traccia, "Nefes", che guarda caso deriva dall'arabo respirare. Allora non mi sbagliavo con quella sensazione di privazione di ossigeno lamentata poc'anzi. In quest'ultimo brano infatti, quella percezione si acuisce ulteriormente. Ora ci si trova nelle tenebre, di fronte alla Signora Morte in persona, con spiraglio alcuno di rivedere la luce, solo ombre, voci terrificanti e un senso di fine assai palpabile in una song ambient/drone decisamente claustrofobica e assai ostica da digerire che relega questa release ad una nicchia di fan ancor più limitata. Da sperimentare però almeno una volta nella vita, questo rimane il mio comando.





You know, the scene from Turkey has a lot of bullshit going on, but there is some highly interesting stuff out there as well. I am, personally, quite a ‘fan’ of all bands and projects that involve Emil Togrul, and I do deeply adore acts like Zifir, Cosmic Funeral, Hatevomit, Illusions Play or Valefor, amongst several others. Within this list, you might also find Xoresth, a project formed in 2013. In 2014, they released three splits: one with the Russian tantric ritualists of Phurpa, a second one with Egypt’s finest and happiest Frostagrath, and a last one with Blood Ariser. By the way, all of them saw the light via Cvlminis. The very same label also took care of the release of the first yet extremely limited Xoresth full-length, Yeghanku Madde, and now, luckily not that limited, we can enjoy the newest full album, called Vortex Of Desolation.


Vortex Of Desolation was created by multi-instrumentalist Dorukcan Yildiz and vocalist Karahan Karaoglu (both also involved with several excellent bands / projects), assisted by Eduard Utukin (additional voices and ethnic instruments; he hails from the Russian Federation). The three tracks (thirty-four minutes of duration, so expect some lengthy efforts) are released via a collaboration of Israel’s The Eastern Front and Ukraine-based GrimmDistribution (acting under the protective wings of Satanath Records), and it comes with a sober four-page booklet, which includes the lyrics of the two first songs.


Xoresth bring, as they say, a sonic outlet of ‘Universe Covers Nothingness’. What the H*** indeed! The ‘nothingness’ thing I can agree with, and I think this explains most of it. Desperation, depression, suicide, hatred, (self) mutilation, confusion and anxiety are keywords for sure, defining their description. It is like a harsh and noisy wall (not of the HNW, aka Harsh Noise Wall, kind, yet still… - something to consider!), mixing elements from Ritual Black Metal, Funeral Doom, Dark Drone, Morbid Death Metal and sludgy Industrial Wave Void Terror Noise Anti-Music (never heard about it before? Well, now you have…), injected by elements from Rhythmic Noise, Black Industrial and Post-Apocalyptic Drone. It collects truly massive, monolithic droning riffs, haunting synth melodies, harsh rhythmic instrumentation, demonically possessed and wretched grunts (and some more bizarre, obscure, ominous and grim vocal timbres), ritualistic percussion, dense and funereal escapades, profane chants, doomed excerpts, dungeon-like atmospheres and so much more, as long as it is bleak, ominous, asphyxiating and negative in every sense. Especially the first two tracks (Illusion Before The Matter and the title track) come with that nasty, destructive character of nihilism and arrogance, while the third piece (Nefes) is rather esoteric and hypnotic in essence, yet with a comparable overwhelming and disturbing heaviness.


But the great thing is that it sounds so fantastic, almost lovely. Yeah, ‘lovely’, in case abyssal obscurity gets preferred over enlightening relief, hehe. No, seriously, despite the chaotic approach, and amateur of the genre will get aroused by the permanent tension, the increasing suffocating and grim atmosphere, and the transcendental deepness at the same time. In a masochistic way, the discomfort teases and pleases, and in a sadistic way, you want to cover the ignorant crowd with those tunes of negativism until all fade away into oblivion, into nothingness. What if the universe, or at least our world (and the human population especially) was covered, for all eternity, into nothingness. Well, this album is the ideal soundtrack to celebrate extinction and inexistence!


A last word about the sound quality: raw, unpolished, primal. Under-produced? Well, not exactly. Appropriate? Indeed it is! Nothing more to add…


For fans of Ancient Moon, early Void Of Silence, Goatpsalm, Woods Of Belial, Mekigah, Funeral Of God, Khost, Sektarism, The Nulll Collective and the likes…!





XORESTH is a one man Funeral Doom / Drone band from Turkey. Dorukcan Yıldız, the mastermind behind it, has already released a demo, 3 splits and their debut full length. "Vortex Of Desolation" is the band's sophomore album and it follows the trail set by their previous outputs. I have always thought that Doom Metal and Drone have always been an acquired taste. Specially this kind of music, which relies solely in atmosphere and aural landscapes. "Vortex Of Desolation" is definitely a perfect title for the music showcased here. 3 songs, clocking at 34 minutes. So each song is in average 10 minutes of pure, sonic chaos. I have always been a fan of Doom and Funeral Doom Metal. And even though XORESTH fall somewhat in this subgenre, I think that the Drone influences overshadow everything and eventually, the songs sound a little too similar, although some of the melodies are really memorable. My fave track is the closer, 'Nefes', which has a lot of clean guitar arpeggios that instantly reminded me of THERGOTHON and FUNERAL. The production is good. There are a lot of things going on and keeping a clear mix is a monumental amount of work. Yet, the sound is cohesive and all the instruments become part of the unity, which unleashes a thunderous amount of heaviness on one side and haunting clear passages on the other. The vocals, which range from deep growls to desperate screams sustain the density of the instrumentation. Apart from drums, guitars and bass, the keyboards are a main element. The pads and piano melancholic melodies mixed with the thickness of the music, which is actually pretty hard to figure out in the first two songs. This is not music for your everyday listen. It is deep, dense and heavy, yet it has a lot of emotion. But if you are a fan of Drone, Doom and Funeral Doom Metal, go ahead an get it right away. You won't be disappointed.





Izmir or the former Greek Smyrna is a port city with oil refinery, and in addition the band Xorest from Izmir refines their music to be very exciting listening on the new album Vortex Of Desolation. The album is the bands second album, but they released three split album in 2014 and a demo in 2013. The debut CD Yeghanku Madde came in 2016. The band member are from Turkey but also from Russia as far as I can understand? Eduard Utukin with vocals & ethnic instruments. Karahan Karaoğlu with vocals. Bora Şahin with lyrics and Dorukcan Yıldız with many instruments. Together they plays a funeral doom/ambient/drone music, and here is the song Illusion Before The Matter,


Xoresth plays no happy music to say the least. Rather, on the contrary! A very depressive mix of drone and funeral doom and leave no hopes at all. The good news is that the Turks are able to play a very fascinating music. When the band is in their more drone modus they even sounds more than depressive than ever! There is nothing urgent in Xoresht’s mind-blowing and demonic world. Just like funeral doom at its best should sound like that.




Xoresth  are  a  duo  from  Turkey  that  plays  a  very  atmospheric  form  of  funeral  doom  metal  and  this  is  a  review  of  their  2018  album  "Vortex  Of  Destruction"  which  was  released  as  a  joint  effort  between  Grimm  Distribution  and  The  Eastern  Front.


  A  very  dark,  heavy  and  atmospheric  sound  starts  off  the  album  while  the  screams  add  in  a  touch  of  black  metal  along  with  the  slower  riffs  being  very  heavily  rooted  in  funeral  doom  metal  as  well  as  all  of  the  tracks  being  very  long  and  epic  in  length  and  spoken  word  parts  can  also  be  heard  briefly.


  Synths  are  also  added  into  certain  sections  of  the  recording  while  the  solos  and  leads  are  done  in  a  very  melodic  style  along  with  the  vocals  also  having t heir  deep and  grim  moments  as  well  as  some  spoken  word  parts  also  being  used  briefly,  elements  of  ambient  can  also  be  heard  at  times  and  the  music  always  sticks  to  a  slower  direction  and  clean  playing  is  also  added  onto  the  closing  track.


  Xoresth  plays  a  style  of  funeral  doom  metal  that  is  very  slow,  atmospheric  and  ambient  influenced,  the  production  sounds  very  professional  while  the  lyrics  cover  suicide  and  nothingness  themes.


  In  my  opinion  Xoresth  are  a  very  great  sounding  funeral  doom  metal  band  and  if  you  are  a  fan  of  this  musical  genre,  you  should  check  out  this  album.




Rendons nous ce jour en Turquie afin de découvrir un projet de l’écurie Grimm Distribution (en collaboration avec The Eastern Front), et faisons lumière sur Xoresth, projet fondé en 2013 et qui a depuis sorti déjà une démo, 3 splits et un album.


C’est donc déjà fort d’une expérience que Xoresth propose trois titres pour plus de trente minutes d’un funeral doom lourd, oppressant et malsain.


Ambiances ultra pesantes, l’ensemble est proposé bien sûr dans un tempo des plus lents, le son est dans sa généralité noisy à souhait, empli de dissonances assez drone.


Les vocaux alternent entre growls bien lourds et cris plus black et stridents et ils sont en parfaite symbiose dans cet univers suicidaire et tourmenté.


Un véritable effet d’hypnose ressort par exemple s’un titre comme « Nefes » certes un peu moins bruitiste que ses prédécesseurs, mais les riffs et rythmes vous ayant déjà sérieusement plombé le cerveau, les passages atmosphériques paraîtront eux comme une sacrée bouffée de chloroforme inhalé à plein poumon, cette sensation de froid qui s’empare de votre intérieur suivi de cette chute vers les abysses tout en planant.


L’album vous laissera pour sûr avec une écume abondante autour de la bouche tant l’emprise maladive est nocive sur tous les points. Le rythme est assommant et retentit pleinement au gré de la destruction neuronale, les sonorités dissonantes incluses vous vrillent le cerveau provoquant une certaine nausée et le chant et mélodies malsaines laisseront paraitre quelques messages subliminaux qu’il est souhaitable de ne pas comprendre.




Veritable bande son d’un film qui pourrait se dérouler dans un asile désaffecté, l’album de Xoresth sait proposer un funeral doom chargé d’émotions négatives et peux s’avérer être à déconseiller à toute âme sensible ! Malsain, lourd et oppressant




To, že Turci strašili celou Evropu po mnohé věky, ví kdejaký dějepisecký čtyřkař. Proto z dějepisu asi nikdy nikdo nepropadl. Ovšem, byl jste někdy někdo na tureckém pohřbu? To vám musí být asi něco opravdu fakt strašného. Soudím dle třískladbového alba „Vortex Of Desolation“, turecké funeral doom metalové kapely XORESTH. Ono se ovšem do jisté míry může v tomto případě mluvit o one man projektu. I když se na aktuálním albu podílelo povícero lidí, tak demo, tři splitka a v tuto temnou chvíli už i dvě alba, vycházející pod jménem XORESTH, jsou především dětmi človíčka, slyšícího na jméno Dorukcan Yildiz. Mimochodem, tenhle človíček je na turecké scéně docela akční a vydal s několika kapelami či projekty nemálo všelijakých nosičů. Možná by nebylo od věci něco z toho omrknout, ale zpět k albu „Vortex Of Desolation“. To opravdu nebude žrádlo pro každého. Rozhodně zapomeňte na romantiku chtěného splínu či deprese bezpečně poskakující až za izolovaným rohem, které jako by vyvolávaly na oko smutný dojem, aby náhodou slza neponičila oční omalovánky. Ono tohle bude těžký žrádlo i pro skutečné fajnšmekry pohřebních písní metalových. V případě XORESTH bych si možná dovolil tvrdit, že se jedná o atmosférickou antihudbu. No vážně. Ta metalová složka jako by dělala pouze hlukovou stěnu k něčemu, co z ní dělá tu stěnu naprosto nečitelnou. To něco je vrstvení noise hlukových ploch s plochami ambientními, vytvářející hustě nervní drone atmosféru, ze které občas zazní laciné klávesové trylky. Rytmus je samozřejmě nechutně pomalý, ale kdo nebo co jej udává, se můžete jenom dohadovat. Ty rytmy a antirytmy jsou tak upozaděny, že mohly být hrané na cokoliv. No a k čemu přirovnat zpěv. Je to přesně pravý opak toho, jako když zamilovaná žena chce vykřičet své štěstí ze všech střech světa. Prostě tady chce někdo mrtvý vybublat svou bolest ze všech hrobů světa a nejlépe z těch masových. Ovšem tento popis platí pouze pro dvě třetiny alba, tedy pro písničky „Illusion Before The Matter“ a „Vortex Of Desolation“, z nichž druhá jmenovaná je přeci jenom trošičku muzikálnější. Třetí skladba „Nefes“ je čistě instrumentální skladbou, oproštěnou nejen od zpěvu, ale i od metalové složky. V téhle skladbě převládají etnické instrumenty blíže neidentifikovatelný, vydávající především zvuky buuu a bzzz. Zde je alespoň slyšet, co ve finále devastačním způsobem usměrňuje tu metalovou složku. Řekněme, že turecký mistr Dorukcan Yildiz se svým ansámblem XORESTH je kazisvět hluboce nedobrotivý a ještě ke všemu naivní kazatel práchnivého dřeva. Mně se však jeho atmosferická primitivnost zamlouvá. Kolikrát se radši nechám ohromit primitivní naivností, ale s dobře nafingovaným fíglem, než mistrovsky provedenou nudou.




'Vortex Of Desolation' is the first brush I've had with Turkey's Xoresth. Indeed, I don't honestly remember ever listening to any other Turkish bands within the Metal spectrum, which made this release an interesting one to sample. On an included inlay that was more designed for a cassette case than for a CD case, it stated that the music would appeal to fans of Evoken, which further piqued my interest.


Now, I'm not prepared to say that Evoken fans definitely won't like this release but suffice to say that I struggle to find the parallels between Xoresth and Evoken. The first impression that 'Vortex Of Desolation' left me with is that the band were trying to emulate Denmark's Nortt rather than America's Evoken. They deployed the same type of approach with slow but powerful Funeral Doom, desolate vocals, and solemn but atmospheric backing. The trouble is that I don't think they were quite good enough to pull it off.


For me, the harsh vocals aren't deep enough to work well in this kind of music. That's not to say that they aren't good vocals; they're just not well-suited to this atmospheric bombardment. I think that the vocals would shine more with a "tortured" approach to their Doom Metal.


Furthermore, I feel like the band have rushed their songs on this release. To make Funeral Doom of this nature successful, I think that the composition of each track is even more pivotal than usual because there's nowhere to hide when everything on each track is designed to be as clean and transparent as can be. Therefore, when I hear keyboards relentlessly playing throughout each track rather than interludes, it almost sounds like they're vying for centre stage with the vocals, and that's not how they should be played, in my opinion. They're supposed to accompany the music and even send tracks in another direction, not get lost in the mix, which is basically what I found happening all too often.


In terms of production, I thought this release was a bit too "mashed up", if you will. Again, if they're going for what I'd call a Nortt approach, they need to be very precise with their production and they haven't been. To me, it sounds quite sloppy, almost as if the band didn't know what they wanted to be the focal point of each segment.


Additionally, I thought that the transitions between tracks were quite poor. It felt like there was a section missing between track one and two, given the almost contrasting styles that materialised from one second to the next. Between track two and three, it felt like there was an accidental period of silence that was more than merely providing a level of drama. As for the final track - it felt like an exaggerated outro more than an actual track.


On the one hand, I am glad that a band has valued Nortt (directly or indirectly!) to the same level that I do. I'd love to hear more bands successfully emulating the Danish project because I find that type of music very powerful and enjoyable to listen to. However, I don't think that Xoresth have done a good job of that here. Their minimalistic approach doesn't complement the atmosphere that they're attempting to generate, and the harsh vocals don't fit the music either. I don't want to be too harsh on the Turkish band but this is one of my favourite types of Doom Metal to listen to, and this band hasn't done it very well. They're not that far off, weirdly enough, but this kind of release is more reminiscent of a first take than a finished product. There's definitely room for improvement on 'Vortex Of Desolation', and I certainly hope they can make that leap in their next release.




Siempre menciono lo difícil que me resulta reseñar trabajos de doom metal. Y cuando al término le agregamos el adjetivo “funeral” la cosa es sencillamente imposible. El que avisa no traiciona, reza el dicho, por lo cual me voy a limitar a describir este disco de la mejor forma que pueda.

Xoresth es un trío turco (Eduard Utukin en voz, Karahan Karaoğlu en voz, y Dorukcan Yıldız en todos los instrumentos) y “Vortex of Desolation” es su segundo larga duración. Oscuro y crudo, todo aquí expresa tristeza y dolor, densidad y sensación de hundimiento.

Las voces, que van desde profundos gruñidos hasta gritos desesperados, sostienen la densidad de la instrumentación.

La opresiva malicia que destila el disco no hace más que realzar el producto final, que seguro gustara a los fans del género, pero de ninguna manera recomiendo este álbum a aquellos neófitos en el tema.




I have a really hard time, most of the time at least, to pronounce band manes that starts with an X. Xentrix being the exception really. This Turkish band’s name is one I’ll leave trying to pronounce. At least I know how it is spelled. The music is easier to understand. Or is it? I thought that this was gonna be a funeral doom metal band but it turns out it is as much an ambient band as it is a metal band. so if you like your funeral doom droning instead of soring you should check out this one. I think I’ll stick to more conventional funeral doom metal.




Xoresth has started out in 2013 as one-man band (founded by Dorukcan Yildiz). During next years, other members have joined this Turkish funeral doom metal project. Vortex Of Desolation has been already recorded with 3 instrumentalists, also involving a fourth person who seems only responsible for lyrics for Xoresth.


All tracks on the album are very slow ones which is obvious by term -  funeral. Songs with numbers 1 and 2 sound very cold, horrifying and intense. This album can throw your mind into oblivion, where you can meet the worst human fears, driven by curiosity to discover the unknown worlds of human imagination which is reflected by music of this band. Slow, steady drum beats, ominous sound of synths and terrifying vocals, these all evoke despair, endlessness of hopelessness, which sometimes could be petrifying, if you are trouble minded person.  The third track is instrumental, you can hear no distortions to guitars, and mysterious sound of synthesizers is what leads the track towards the end. This song sounds friendlier to human ears and it`s easier to comprehend the music. But I prefer first two tracks because they are more hostile (think about how you might feel in a cosmic universe) and when I listen to it, my imagination awakes...


This album does not sound convincing at all. It`s unfortunately a typical home-made record, but the music is more interesting factor and rewards the time spent to get to know this album. I`ll surely listen to Vortex Of Desolation sometimes again...