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Anvil Kvlt’s artwork for the new album by the Hungarian black metal band Aornos signals important aspects of the music, as does the album’s title: The Great Scorn. The song we bring you today in advance of the album’s April 29 release by a consortium of labels provides a further gripping representation of what the album holds in store.

 

That track — “From A Higher Reality” — is rich in arcane atmosphere and bursting with poisonous, blood-rushing energy. It bruises the mind, but also practices a devilish form of sorcery that leads to a perilous hypnosis.

 

In its opening minutes, “From A Higher Reality” alternates between bursts of furious blasting percussion joined with wild, whirling riffs, and phases of cold, cruel riffing that’s eerie and occult. Differing vocals also trade off, matching the changing states of the music, from shudderingly wild and bestial to solemnly reverent, and those opening minutes are capped by a jaw-dropping solo whose speed and freakishness seem beyond the pale of human dexterity.

 

Further changes are yet to come, however. A bridge leads into a swirl of mystical melody and ominous, mercurial bass notes, and then a spiraling solo feeds back into a mounting storm that raises visions of infernal grandeur (look again at the cover art). The transcendence of ordinary, all too human things, and the quest for the eternal, are part of the inspiration of the music, and that comes through in the sensations of this song.

 

http://www.nocleansinging.com/2018/04/23/an-ncs-premiere-aornos-from-a-higher-reality

 

  Hungary's  solo  project  Aornos  have  returned  with  a  new  recording  which  continues  the  atmospheric  style  of  black  metal  from  previous  releases  and  this  is  a  review  of  his  2018  album  "The  Great  Scorn"  which  was  released  as  a  joint  effort  between  Symbol  Of  Domination  Productions,  Ira  Aeterna,  The  True  Plague  and  Black  Metal  Records.

 

  A  very  dark,  heavy  and  melodic  sound  starts  off  the  album  while  the  synths  also  give  the  music  more  of  an  atmospheric  feeling  while  the  faster  sections  of  the  songs  also  use  a  great  amount  of  blast  beats  and  tremolo  picking  which  also  gives  the  music  more  of  a  raw  edge  along  with  the  vocals  being  mostly  grim  black  metal  screams.

 

  Clear  vocals  and  spoken  words  can  also  be  heard  at  times  while  the  solos  and  leads  are  done  in  more  of  a  melodic  style  along  with  all  of  the  musical  instruments  having  a  very  powerful  sound  to  them  as  well  as  some  spoken  word  parts  also  being  added  into  certain  sections  of  the  recording  and  the  songs  also  bring  in  a  great  mixture  of  slow,  mid  paced  and  fast  parts,   their  is  also  a  brief  instrumental  before  closing  the  album  with  a  couple  of  tracks  that  are  very  long  and  epic  in  length.

 

  Aornos  creates  another  recording  that  remains  true  to  the  atmospheric  style  of  black  metal  from  previous  releases,  the  production  sounds  very  professional  while  the  lyrics  cover  cosmos,  nature  and  existence  themes.

 

  In  my  opinion  this  is  another  great  sounding  album  from  Aornos  and  if  you  are  a  fan  of  atmospheric  black  metal,  you  should  check  out  this  recording. 

 

https://occultblackmetalzine.blogspot.com/2018/05/aornosthe-great-scornsymbol-of.html

 

 

Ο διάδοχος του “Mors Sola” του 2016, το οποίο μας είχε αρέσει και το είχαμε παρουσιάσαμε λέγεται “The Great Scorn”. Ο πολυοργανίστας και μοναδικό μέλος των Aornos, Algras, συνεχίζει επιτυχώς την ίδια συνταγή. Η συνταγή είναι 90ς black metal, Νορβηγικού ήχου. Έχω ξαναγράψει ότι από τη στιγμή που η πλειοψηφία των κλασσικών μπαντών του είδους έχουν εγκαταλείψει αυτόν τον ήχο είναι ευπρόσδεκτες οι ενδιαφέρουσες κυκλοφορίες από νέες μπάντες. Ο Ούγγρος έχει την ικανότητα να συνθέτει riff με πολύ ένταση και ποιότητα, τα οποία σε συνδυασμό με τα φωνητικά που φέρνουν στο μυαλό Attila, τον επιτηδευμένα παλιομοδίτικο ήχο και τα ταιριαστά πλήκτρα δίνουν ένα πολύ νοσταλγικό αποτέλεσμα. Μαζί με τους Evilfeast και τους Vargrav ότι καλύτερο στο χώρο του old school majestic black metal άκουσα τελευταία.

 

 

 

The successor of 2016 “Mors Sola”, which we liked and we had presented, is called “The Great Scorn”. The multi-organist and unique member of Aornos, Algras, continues successfully the same recipe. The recipe is 90s black metal of Norwegian sound. I have written before that since the majority of classical bands of the genre have abandoned this sound, interesting releases by new bands are welcome. The Hungarian has the ability to compose riffs with a lot of intensity and quality, which in combination with the vocals that bring to mind Attila, the sophisticated old-fashioned sound and the matching keys give a very nostalgic result. Together with Evilfeast and Vergrav this is the best old school majestic black metal I’ve listened to lately.

 

http://deepbeneath.com/aornos-the-great-scorn/

 

The Great Scorn is the third full-length album by Hungarian, black metal band Aornos. Formed in 2014, this project is essentially the brainchild of primary songwriter and multi-instrumentalist, Algras.

 

In a contrast to the previous albums, which were both one-man undertakings, this recording is significant because it makes use of an expanded, “full” line up with four additional musicians. The benefit this gives to fans is it makes live performances a possibility for the first time in the band’s career, and judging by the slick performances on this album, that is quite an exciting proposition indeed.

 

Describing themselves as being for fans of 1349, Emperor and Ascension, Aornos’s take on Black Metal initially comes across as a fairly standard offering in a well served genre; but dig a little deeper and it becomes apparent there are some significant and unique elements that mark The Great Scorn out as an album to give some time and attention to. It certainly has a fair amount of replay value.

 

The album starts with a fade-in, which initially gives the effect of walking down a corridor and through a heavy door, to discover the band, in their rehearsal space, already deep into a solid, heavy, mid tempo stride. Dávid Lőrincz adds some ethereal keyboards to proceedings before things accelerate into the album’s first full song…

 

From A Higher Reality smashes from the speakers with all the lurching aggression of a lycanthrope in the grip of a full moon. Straight away, it’s clear that The Great Scorn has hit a sweet spot with the production. Clear and crisp enough that you can hear the individual parts, but there is a raw edge to this that ensures it retains a murky brutality.

 

Cutting through the grim battery is some excellent lead guitar playing from Tibor Terbesi. It is wild and idiosyncratic and stands as a re-occurring highlight throughout the album. That’s not to say this standard of musicianship isn’t matched by Róbert Mester’s deft drumming and some lively bass playing from the man who goes by the simple, single initial of S. The bass playing is worth highlighting for it’s unique, rubbery style. In several places, S glides and glissandos on what sounds like a fretless instrument. It gives the record a dimension that is rarely heard on other black metal albums and helps The Great Scorn stand out from the pack.

 

The Kingdom Of Nemesis continues the double bass drum onslaught as it underpins some particularly ferocious tremolo riffing. The track features a set of commanding, spoken word passages and the guitars and keyboards work together brilliantly to create a fully blackened soundscape. The addition of some carnival organ spices up the arrangement and adds to the twisted atmosphere.

 

Trace To The Beckoning demonstrates that Aornos can play at a steadier, measured tempo and still sound terrifying. Here, the band sound like Kvelertak jamming on some Darkthrone riffs. There is a punkier stomp. It’s four to the floor but with moments of progressive bass to peak the listener’s interest and provide a lift.

 

The faster tempos return on Come And See. This song has a crossover appeal and could almost be considered thrash if it weren’t for the icy keyboards. It has a rattling blast beat under Algras’ deranged vocal performance. His desperate howl teases us with another genre nod, and reminds this reviewer of sludge legends, Iron Monkey.

 

By the time we reach the title track of the album, we have been treated to some exemplary musicianship, all played with great enthusiasm. It’s a shame that the The Great Scorn doesn’t feel as exciting as the songs that have gone before it. In a jarring moment, it’s half- time stride with stabbing keyboards, gives way to what I can only describe as a country influenced, black metal hoedown! To be fair, it’s an interesting arrangement that makes for a unique moment on the album, but to this listener it represents a slight slip of Aornos’s enigmatic mask. The rest of the song chugs along with sufficient menace, but ultimately feels like a less inspired moment on the album. All that being said, I’ll give it the benefit of the doubt and assume it’s a grower.

 

The gothic, keyboard interlude of De Profundus sets us up for the powerful gallop of Funeral March For The Death which crashes and crunches towards a whirlwind mid-section. It’s as much Maiden as it is Mayhem and climaxes on a doom tempo and some squealing, almost traditional metal guitar on the fade out.

 

The guitars are certainly a highlight on this record. Final track, Adamante Notare emphasises this with an off-kilter riff that punctuates the maelstrom. There are discordant melodies throughout, giving everything a suitably sinister atmosphere that the band manage to sustain across the album’s entire running time. The solos are nasty, Slayer-esque short, sharp blasts of twisted metal and this song’s offering is no exception. Underneath the riffing, the drums drive us towards the final moments, albeit through a confident but fairly conventional arrangement that leaves me feeling like The Great Scorn’s best moments are in the first half of the record.

 

Not such a bad thing, because it leaves me reaching for the play button for a repeat listen.

 

Absolutely recommended.

 

https://www.theindependentvoice.org/2018/07/29/aornos-the-great-scorn/

 

La one man band Aornos, nonostante la sua attività intensa sua racchiusa negli ultimi tre anni, non è certamente il progetto di un neofita del black metal.

 

Algras, infatti, è protagonista nella scena ungherese con i Frost fin dall’inizio del secolo e quindi le sue influenze primarie non possono che giungere da lontano.

A tale riguardo, prima ancora di ascoltate i contenuti di The Great Scorn, per farsene un’idea preventiva sarebbe sufficiente scorrere la tracklist dell’album uscito lo scorso anno , con il quale il musicista magiaro rendeva omaggio a diversi giganti del genere (Emperor, Satyricon, Bathory, Arctusrus e Thorns) oltre ad una non certo sorprendente digressione nel death con i Morbid Angel.

Quello di Algras non corrisponde ovviamente ad un mero collage di spunti altrui ma si rivela, invece, una maniera efficace e competente di riunire tali istanze per restituirle in una forma piuttosto personale e tutt’altro che ammiccante.

Ovviamente The Great Scorn non è un album destinato a stravolgere le gerarchie del genere, ma appare semmai la testimonianza di quanto di interessante ci sia da dire al riguardo in più parti del mondo.

Una serie di ottimi brani, tra i quali spiccano la trascinante The Kingdom of Nemesis, la teatrale title track e ed il quarto d’ora complessivo delle conclusive Funeral March for the Death of the Earth e Adamante Notare, ripagano ancora una volta la costante ricerca di nomi e volti ancora relativamente sconosciuti.

 

https://metaleyes.iyezine.com/aornos-the-great-scorn/

 

Aornos is a one man black metal project from Hungary and this is his fourth album.

 

Rooted in traditional black metal, The Great Scorn is an atmospheric and raw rendition of cosmic black metal that also incorporates some elements of more modern styles in its blistering delivery.

 

With enhancements from occasional subtle synths and grim melodies, this is music that focuses on creating blackened atmosphere just as much as it does on scathing, fiery black metal. The songs pilfer from old and new to create blackened hymns to darkness that are affecting in their mood-setting and effective in their world-building.

 

The music is at once both wild and violent, and fluidly constrained. The older and newer influences combine to birth something that takes strong aspects from both, and the songs that are on The Great Scorn benefit from this lineage. Although firmly operating in the darkest reaches of the underworld where it was born, the music on this album has a good deal of involving and engaging ideas spread across its uncompromising delivery.

 

Although it definitely stays within its self-created blackened framework, this is an album that still demonstrates decent variety across the songs. Each track feels well-shaped and sturdily constructed. I also like that although you can identify various reference points, (Emperor, Satyricon, Nightbringer, Schammasch, Dødsengel, Akhlys, for example), they come together in ways that create the personality that is Aornos. The past is revered and treated with respect, but this album also belongs to itself alone.

 

Full of arcane energy, mystical atmosphere, and esoteric venom, The Great Scorn is a very enjoyable listen. Whether a fan of old or new black metal, there’s probably something here for you.

 

Highly recommended and enjoyable.

 

https://wonderboxmetal.com/2018/06/22/aornos-the-great-scorn-review/

 

 

Akik ismernek tudják nagyon jól, ugyancsak válogatós vagyok ha black metalról van szó. Akármilyen össze-vissza bugyogást, kopácsolást nem hajlandó bevenni a fülem, és még mindig úgy gondolom énekelni az igazi kihívás, nem pedig az üvöltözés. Ugyanakkor vannak olyan monstrumok a fekete fém világában amelyek egyszerűen megkerülhetetlenek, megvan a sajátos és emlékezetes dallamviláguk, netán olyan spirituális értékekkel rendelkeznek amiknek párját más műfajokban lehetetlen volna megtalálni. Ha olyan zenekarokra gondolok, mint a Dimmu Borgir vagy a Mayhem, netán az Emperor, még véletlenül sem tudnék statikus zajra vagy értelmetlen hörgésekre asszociálni. Szóval ezekhez a valódi szellemi többlettel, és egyedi hangzásvilággal rendelkező előadókhoz szeretne felnőni az Aornos, hitem szerint teljes sikerrel. Ez immáron a harmadik alkalom, hogy egy tökéletes nótacsokorral lep meg minket a miskolci egyszemélyes zenekar, méltóképpen áldozva az előbb említett bandák színvonala, a sötét spiritualitás, és önnön pokolian magasra helyezett mércéje előtt.

 

 

 

Én nem szeretném azzal húzni az időt hogy az előadót Tátrai Csabát bemutassam, úgy gondolom hogy az internet világában, - ahol minden tudás csupán karnyújtásnyira van -, alig két kattintásba kerül megismerkedni Algrassal, korábbi munkásságával, esetleg az alkotó személyiségével. Nem szükséges nagyon messzire menni egyébként, hiszen itt a Fémforgács hasábjain is rendelkezésre áll a kellő mennyiségű információ, mindenkinek ajánlom a korábbi interjúkat amelyeket a művész úrral készítettem. Az előbb azt mondtam művész, és a szónak minden egyes leírt betűjét komolyan is gondolom, sőt mi több igyekszem majd igazolni is ezt e rövidke írás keretein belül.

 

 

 

Az első és legfontosabb amit szeretnék kiemelni az Aornos kapcsán az a végtelen profizmus, és a megkérdőjelezhetetlen zenei tudás. Könnyen előfordulhat, hogy ez a muzsika egyáltalán nem a te füleidnek való, de hacsak nem vagy egy kulturális véglény akinek tudománya megállt Katy Perry dalainál, kénytelen leszel elismerni, hogy Algras amikor hozzányúl a gitár nyakához tökéletesen tudja mit csinál. Egy magasan képzett talentumról van szó, ami persze magában kevés lenne ha nem párosulna hozzá dalszerzői véna és képzelőerő. Itt már kénytelen leszek egy kicsit szubjektív lenni és azt állítani, hogy szerintem ezzel sincs problémája a fekete fém borsodi apostolának.

 

 

 

Mostanában nem sűrűn írok ajánlókat, de erre a felkérésre nem tudtam nemet mondani, mert valahol előre sejtettem, hogy ismét egy magas színvonalú alkotással lesz dolgom. Nem csalódtam egy cseppet sem, az összesen kilenc számból álló korong szinte minden momentuma hibátlan. Az ismerkedést célszerű lesz a borítóval kezdeni, ami egy kifejezetten hangulatkeltő kompozíció. A pusztítón hömpölygő lávatenger felett mintha Vasudvard tornyát látnánk, amelynek ormán éppen lángra kap egy bukott angyal. Amennyire tudom Algras nagy rajongója a különféle horror és fantasy alkotásoknak, ez a borító pedig illik hozzá, és ahhoz a zenéhez amit képvisel, egyúttal pedig nyilvánvalóvá teszi kiket is szeretne megszólítani. Az eredeti artwork festmények annyira jól mutatnak, a cikk aljára odabiggyesztettem őket, remélhetőleg más is értékelni fogja őket rajtam kívül. Anvil Kvlt mondhatni tökéletes munkát végzett, a külalak tehát nem csupán atmoszférikus, de egyúttal segített nekem megérteni azt is, hova tart az Aornos zenéje. Bár ezt is nyilván a saját szubjektív szemüvegemen keresztül tudtam vizsgálni, úgy hiszem van egy elképzelésem honnan indult ez az egész, jelenleg hol tartózkodik, és a sötét tapasztalás mely régióiba utazhat a jövőben.

 

 

 

Nagyon hamar leszoktam arról, hogy egy album dalait egyesével kielemezzem, ezúttal sem fogok minden egyes nóta mélyére betekinteni, inkább összességében szeretném megragadni a lemez koncepcióját. A zene nem meglepő módon progresszív, atmoszférikus black metal, olyan elődök ösvényein haladva mint az Emperor, esetleg a Mayhem - de másolásról szó sincs, viszont valahova muszáj elhelyezni mindent a mai világban, nem igaz?

Az első szó ami eszembe jut erről a dalcsokorról az, hogy mennyire eszméletlenül finom, milyen bársonyosan selymes a maga brutális ereje ellenére. Igen, továbbra is egy kegyetlen extrém metal lemezről beszélünk, amit az alkotója telepakolt nagyon finom, nagyon ügyes, és végtelenül muzikális megoldásokkal. A témák nem csupán fülbemászóak, de technikásak is, kezdő bárdoknak igencsak fel kell kötniük a gatyát, ha el akarják ismételni azt, ami a lemezen elhangzik.

 

 

 

Ennyi dicséret után jogos lenne a felvetés, hogy ez valamiféle fizetett hirdetés, ám erről szó sincs. Sokkal inkább az van a háttérben, hogy szívesebben foglalkozom olyan zenékkel amik lenyűgöznek, amelyek inspirálnak, és öröm őket hallgatni. De vajon mi insipirálja ezeknek a daloknak a készítőit? Algras szerintem rájött arra, hogy minden iszonyatok közül a legborzalmasabb maga a Tér és az Idő, és létezésünk eme két legfontosabb elemét nem csupán érdemes, hanem bizonyos esetekben szükséges is megénekelni. Gitárjának húrjain életre kel Lovecraft minden félelemmel teli gyötrelme, az ember által nem ismert dimenziók őrjítő morajlása, fajtánk kisszerűsége, porszemnyi jelentéktelenségünk, és a közeledő elmúlásunk elkerülhetetlensége. Az előző két albummal indított utazás ezzel körbe is ér, az első lemezen, az Orior-on még olyasvalaki zengi igazságait aki hiszi a Sötétség uralható, irányítható, béklyóba verhető. A Mors Sola egyre mélyebbre ás a szentségtelen tudásban, kutatja a kifürkészhetetlent, a második korong tehát vizsgál, elemez, eltöpreng. A The Great Scorn idejére pedig eljön a rádöbbenés, mely szerint a romlás erőit halandó ember nem uralhatja, így nincs más hátra mint a beletörődés, az elfogadás, és a teljes alázattal való főhajtás. A trilógia elején még dacos és erős a zene, majd a fokozatos akadályok után egyre inkább filozofikus lesz, míg végül nem marad más csak a tébolyult imádat, amit az enyészet névtelen borzalmai érdemelnek. Nyilván ez az én saját személyes meglátásom, könnyen lehet, hogy a költő teljesen másra gondolt, no persze amint módom lesz rá, meg is kérdezem ezt tőle.

 

 

 

Összességében véve már csak egy lényeges momentum maradt: elmondani, hogy kinek is érdemes közelebbről megismerkedni ezzel a koronggal. Mindenkinek aki szereti a dallamos, agresszív, ám egyben nagyon muzikális, finom zenéket, akik imádják a kozmikus horror műfaját, szeretik ha a pénzükért olyat kapnak aminek nagy az újrajátszhatósága, nos nekik ajánlatos beszerezni egy példányt az Aornos The Great Scorn lemezéből.

 

http://www.femforgacs.hu/kritika/4126/Aornos_The_Great_Scorn_2018

 

 

Screen.

 

http://www.headbangerslatinoamerica.com/reviewsCD/junio2018/AORNOS.html

 

This chiselled Black Metal entity from Miskolc (Hungary) was formed by Algras in 2014. He plays all the instruments and do the vocals on "The Great Scorn". He was the only member of AORNOS until the fall of 2017 and now with a complete line-up the band is ready to play and conquer live as well. This is Algras' third full-length effort, which consists of nine chapters and stands for the dark projection of existence. The musical mixture he presents there was strongly influenced by cult Black Metal hordes of Norway, such names pop up into my mind first as EMPEROR, SATYRICON, DIMMU BORGIR or ARCTURUS. The atmosphere is mostly cold, almost apocalyptic and empyrean during the entire material. The guitar passages were thought out and executed pretty well, the screeching guitar sound is given too, one would say everything is granted for a perfect record, albeit the uniqueness and the originality of ideas are somehow not presented there. Anyways it's a good release and something to listen to if you are a diehard maniac of the Norwegian Black Metal style. By the way, the graphic design of the booklet turned out to be flawless!

 

http://castrum.com.ua/encomium/5albums1.htm

 

The name ‘Aornos’ comes from a fortress in contemporary Pakistan, more or less ‘close’ to the Himalayan mountains and the Indus river. It was a fortified site known for the passing of Alexander the Great and his final siege (or at least one of the latest ones), some centuries before our modern era. It is the moniker as well for a productive outfit by Tatrai ‘Algras’ Csaba, a Hungarian multi-instrumentalist who is member of Frost too, and who used to be in bands like Carcharoth and Bornholm. The first official Aornos album was Orior in late Summer 2015, which also was the project’s debut for Symbol Of Domination Productions. Shortly after, a digitally self-released EP, with cover tracks especially, appeared, followed in 2016 by a second SODP-release, Mors Sola (I can’t find my review anymore, unfortunately). A second digital cover-filled recording got distributed via the project’s Bandcamp page in 2017 (From The Deep), and in early Spring this year, Fekete Terror Productions release a split-tape with fellow-countrymen De Profundis. That very same label, by the way, re-released all former material on cassette in a box-set. Now it is time to embrace the third (physical) album.

 

This new piece is called The Great Scorn, printed in 500 copies and available via Symbol Of Domination Productions in a partnership with Italy’s Ira Aeterna, The True Plague from the U.S., and a new American label called Black Metal Records. it was totally written, performed for the better part (*), and produced by Algras himself. Everything was recorded, mixed and mastered during 2017 (Winter - Spring - Summer), and the nine tracks, with English titles and lyrics (not that common in Hungary; appended to the three-folded booklet) have a total running time of just over three quarters of an hour.

 

(*) S of Svoid did the vocals on Trace To Beckoning Fade, for which he wrote the lyrics as well.

 

Algras did never hide his adoration for cult bands and classic albums from the so-called Second Wave period. His former recordings did not exactly show a renewing vision, but proved his appreciation for the scene that did put ‘Black Metal’ on a pervious level. So, once again you do not need to look after originality. But f*ck originality. Aornos may not reinvent hot water or a round wheel, but his tribute to the origins of the scene is highly qualitative for sure. Fast versus slow (with doomy passages and eruptional blasts) including the well-performed sudden breaks and changes in tempo, ‘Orthodox’ riffs, traditional (maybe predictable too) song structures, atmospheric passages, epic moments, and so on – everything is present. Yet as said, since the song writing and performance are top-notch, I totally ignore the lack of originality.

 

Actually, despite lacking a progressive injection, Aornos somehow gathers so many inspirational elements from, well, Satyricon, Emperor, you know, and Algras makes his own interpretation of all this majesty. The hypnotic leads come with a fierce yet proud, convinced attitude, the variation in vocal timbre is a surplus, the additional keyboards add a fine aural bonus, and so on. Besides, the average quality, as mentioned before, is truly high, and there is not one single moment that bores or annoys. On top of it, I must say that the full, heavy, bombastic sound strengthens the whole concept, the whole experience. And the variety, in between the tracks and within every single composition, is another surplus too.

 

http://www.concreteweb.be/reviews/aornos-0

 

The Great Scorn es el cuarto larga duración de la banda de Hungría AORNOS, proyecto de Algras y practicante de un black metal de vieja escuela con equilibrio perfecto entre brutalidad y atmósfera. El disco es una coedición de Symbol Of Domination, Satanath, Ira Aeterna, The True Plague y Black Metal Records. La grabación se realiza en QUASAR STUDIO de Miskolck (Hungría) y el fantástico artwork es obra de ANVIL KVLT.

 

Al claustrofóbico inicio de "Ad Futuram Memoriam" le sigue un trallazo en la línea de MARDUK, DARK FUNERAL o EMPEROR con "From a Higher Reality". Una soberbia producción en la que cada instrumento se distingue a la perfección hace que fluya todo con una facilidad pasmosa, y los tránsitos de las salvajes arremetidas contrastan de forma fantástica con los medios tiempos (teclados atmosféricos incluidos). Es de agradecer lo orgánico de la batería (suelen ser programadas en estos proyectos pero no en AORNOS) que le da muchísimo cuerpo al disco.

 

Letras por lo general cosmogónicas me lleva a emparentarlos a veces con los EMPEROR del Anthems To The Welkin At Dusk (sobre todo por el uso extremo del blast beast en algunos pasajes) pero las voces en ocasiones me recuerdan más a los SATYRICON del Nemesis Divina. Destacan los recitados característicos del género en el inicio de la monumental "The Kingdom Of Nemesis", cuyo riff sucio tiene algo de MAYHEM también.

 

 

 

Por lo general este tipo de proyectos no suelen despertarme muchas expectativas, pero tengo que reconocer que el black metal tocado por AORNOS es de altísimo nivel, cosa que no suele darse en los proyectos en solitario, que suelen tender más hacia lo sintético y artificioso. Sin embargo, The Great Scorn es un pelotazo donde destacan incluso solos alucinantes de guitarras genuinamente nórdicas (la intensidad es palpable).

 

Momentos destacados es el inicio a medio tiempo de "Trace To Beckoning Fade", con colaboración de S de SVOID a las voces. Un corte que podría perfectamente pertenecer al catálogo de cualquier banda noruega de los 90 (la parte central me recuerda algo a los primerísimos IN THE WOODS). La maldad agreste de SATYRICON queda plasmada en el juego de guitarras de "Come And See", posiblemente de los temas que muestren la versatilidad de AORNOS. Por cierto, los momentos en que irrumpe la voz limpia son deudores del For All Tid de DIMMU BORGIR o los trabajos más recientes de BURZUM (como en el homónimo "The Great Scorn", con unos lejanos teclados y tintes operísticos incluso en algunos momentos, aunque pronto se mute al Black Thrash de CELTIC FROST).

 

El tramo final es de órdago. "De Profundis" es un puente de teclados hacia la corpulenta "Funeral March For The Death Of The Earth" con aires a lo IMMORTAL cuando se pone procesionaria pero con momentos sinfónicos de epicidad nivel Dios. La velocidad no está reñida con lo melódico y AORNOS dominan el tema a la perfección; cuando escuchas su música sientes que estás en la cima de una ciclópea montaña en el centro mismo del Universo... o en el culo del mundo, que al caso lo mismo da.

 

"Adamante Notare" cierra resumiendo la propuesta de AORNOS... un black metal furioso, rapidísimo pero sin estar reñido con la melodía; es más, sus temas se te pegan como una segunda piel y no te los quitas fácilmente de la cabeza. Muy recomendado.

 

 https://lamuerteteniaunblog.blogspot.com/2018/10/aornos-great-scorn-varios-sellos-2018.html

 

 

Nella cittadina di Miskolc, ho trascorso qualche giorno lo scorso anno, per motivi lavorativi. Mai mi sarei immaginato che potesse essere la casa di questo progetto oscuro a nome Aornos. Trattasi di una one-man-band, con 'The Great Scorn' a rappresentare il quarto album per il mastermind ungherese. Il suono proposto da Tátrai Csaba (in arte Algras, peraltro, ex membro di Carcharoth e Bornholm) include elementi black e progressive, dalle forti venature cosmiche che chiamano immediatamente in causa gli svizzeri Darkspace. La musica è originale, combinando in modo inusuale, flussi disarmonici con sprazzi di grande atmosfera, come dimostrato dalla seconda "From a Higher Reality" che segue a ruota l'intro iniziale. Accanto allo screaming efferato del vocalist, si affianca poi un cantato più epico, sorretto tra l'altro da delle chitarre che per certi versi mi hanno ricordato i Windir. Sto parlando della terza traccia, "The Kingdom of Nemesis", in cui i vocalismi al vetriolo di Algras, sono sorretti da delle chitarre old school nella vena della tradizione black norvegese (Emperor e Satyricon) e da synth a tratti davvero ispirati. Più thrash oriented invece "Trace to Beckoning Fade", anche se nella seconda parte emergono influenze più vicine ad un epic in stile Bathory. Ma sono soltanto lontane reminiscenze che s'intersecano con il chitarrismo più tradizionale del musicista ungherese, che comunque si conferma abile nel creare ritmiche cupissime inserite in un contesto a tratti claustrofobico. Algras però affonda le sue influenze non solo nella fiamma nera che bruciava negli anni '90 in Norvegia, sento infatti dell'altro nelle linee sghembe della sua chitarra: suggestioni oblique dei Deathspell Omega così come l'aura maligna dei Dødsengel o la carica mistica dei Nightbringer. C'è tanto nelle note contorte di 'The Great Scorn': il mid tempo della title track vive ad esempio di interessanti cambi di tempo, mentre "Funeral March for the Death of the Earth" sembra mostrare una vena più sinfonica vicina ai Limbonic Art e vocalmente, ai primissimi Arcturus. Insomma, l'avrete capito, Algras ha voluto omaggiare i grandi maestri del passato nordico, tributando altre grandi band black del presente, il tutto peraltro trattando temi noetici, ossia relativi alle correlazioni tra mondo fisico e la mente umana, e come essa possa influenzare determinati avvenimenti o processi fisici. La fiamma nera brucia anche nelle campagne dell'Ungheria grazie agli Aornos.

 

https://thepitofthedamned.blogspot.com/2018/09/aornos-great-scorn.html

 

 

Когда выходит совместный релиз Symbol Of Domination с Ira Aeterna (Ita), The True Plague (USA), Black Metal Records (USA), это как-то заставляет насторожиться. Но я уже насторожился, когда увидел название AORNOS. Я его прекрасно заполнил с прошлого раза. ААА!!! С прошлых раз! Не премину воспользоваться цитатой: «В прошлый раз он наладил более часа высококачественного отборного сложного блэка. В этот тоже час без малого ярится система, выгребая лазером из нутра этого компакт-диска мощные мелодические и антимелодические идеи. Гитара тут выдает такие эскапады, что и не верится, что это всего лишь обыкновенный, хоть и электрический, инструмент. Хотя при чем здесь гитара, когда во всем виноват творец. «Убивает не оружие, а тот кто нажимает на курок», так вроде снайперы говорят меж собой».

Я почему-то уверен, что и другие блэкеры, послушавшие прошлые альбомы AORNOS запомнили это немудреное название. И еще - Symbol Of Domination уже как минимум третий диск издает — значит правильную группу выпускает... И понятно, почему к этому действу подключились еще три конторы.

Конечно, и в этот раз надо сказать, что это венгерский проект одного музыканта Algras. Также его можно (встретить) (было встретить) в командах Frost, ex-Carcharoth, ex-Bornholm, ex-Paragon Zero (live), ex-Sickdom. Талантливый чел, чего скрывать. По-черному, по-нашему, неординарный. И музыку строит в районе Emperor и прочих монстров сложного блэка. Причем, сразу же и замечу, что это струнная в целом музыка, без довлеющих клавишей, которыми увлекаются многие симфо-блэкеры. Возможно здесь есть где-то клавесины, синтезированные пианино и рояль, …вероятно...., но главенствуют здесь неодолимо гитары, что дает сильный знак - как карта Император в Таро - музло будет жестоким, мощным, «красивым», и по-настоящему блэковым.

В этот раз AORNOS начинается с торжественного въезда в Ad Futuram Memoriam, воротами в аркаду-альбом The Great Scorn. И сразу же слушатель замечает плотный, но вибрирующий саунд, который при должной громкости обволакивает пространства, создает жестокую ауру вовлеченности. И два вокала - скрим-харш и чистый, может быть маякуют о непростых музыкальных перипетиях, но уже и маяковать-то поздно, ибо тут уже во втором трэке From a Higher Reality чистый организует нечто типа мини-литургии, а гитары строят черный храм с основания. С добротным фундаментом, с роскошными витражами и высокими потолками. Как раз место для поклонения. Богам струнных инструментов. Ибо композер здесь миксует их немало, сколько - очень трудно понять, а может быть и не надо.... важен результат, - монументальное здание комплексного, сложного блэка, с неоклассическим подходом к мелодике. Не забывая, что это БМ, со специфическими задачами.

The Kingdom of Nemesis — опять небыстро раскрываются врата и чистый помпезный вокал устремлен в небеса. Свиваясь с блэковым, он создает ряд живых дышащих колоннад, которые грозят уронить крышу на слушателя. И кстати, - скриминговый здесь мутирует почти до вороньего крика. Музыкальное развитие здесь, как и везде на диске, очень сложное, и только фирменный саунд-инжиниринг позволяет все воспроизводить адекватно. Одно из впечатлений, - начав слушать этот компакт, трудно от него оторваться, и есть тема включить его по новой, как будто решая повысить концентрацию блэка в организме.

Очень показателен трэк Funeral March for the Death of the Earth, в котором композер стремится (и может быть достигает) экспериментального дэт-блэкового напора и марша. И ему это как бы запросто. Многотонные ритм-секционные вложения способствуют. И энергетика смертельного металла, с которой не поспоришь, а появившийся здесь блик клавишей, словно стальной клинок гордо дефилирует сквозь плоть компо. Здесь же замечено ОСОБО эффектное стерео-звучание, мудро и технично раскинутое по каналам.

Высокие баллы.

Includes 6-page booklet. Includes OBI. Includes Pit-Art CD.

 

https://vk.com/wall216331265_3382

 

Il progetto ungherese Aornos arriva con "The Great Scorn" alla sua settima uscita discografica nonchè quarto LP. Signori, questo disco è una bomba!

Non solo il tutto è stato creato e composto in maniera intelligente ed efficace nel suo intento, ma la dose di cattiveria che ne scaturisce è semplicemente grandiosa! Dopo il breve intro strumentale "Ad Futuram Memoriam" parte il primo pugno in faccia con "From A Higher Reality", brano in cui Algras - polistrumentista ed unico membro di Aornos - si butta a testa bassa in una miscela di MayheM sulla falsa riga di "De Mysteriis Dom Sathanas", "Perdition Insanabilis" degli Arkhon Infaustus, ma anche "Hail Satan" dei Goetia e, dulcis in fundo, "Hell Eternal" dei Setherial.

Il risultato è annichilente e totalmente oscuro. La matrice delle varie bands appena citate viene mescolata con abilità sopra la media, ma purtroppo il tutto, proprio per questo motivo, risulta essere un riassunto di varie influenze, piuttosto che un esplosione di personalità che emerge con fatica.

Un male o un bene, decidete voi, ma senz'altro un punto importante che va tenuto in considerazione. Perchè? Senz'altro perchè l'artista che manda avanti Aornos ha delle doti e potenzialità ben oltre la media, peró nella sua celebrazione dei "grandi antichi" dimentica il proprio modo di vedere le cose e questo discorso rende "The Great Scorn" un lavoro valido a metà, nonostante sia assolutamente un gran disco. Là dove le idee si scostano leggermente dalle varie influenze, Aornos è un progetto incredibile. Là dove le idee si rifanno ad altre bands, Aornos è un progetto sopra la media, ma non indimenticabile.

Qui chiaramente si arriva a filosofeggiare sull'importanza della propria personalità in un genere ormai vecchio di trent'anni e non voglio entrare in merito.

L'album in questione, tenuto in mente il continuo rifarsi a nomi ben noti, distrugge a piú riprese l'ascoltatore e, nella sua totale devozione al genere, va senz'altro nominato come uno dei dischi piú avvincenti che abbia ascoltato negli ultimi tempi. I vari brani che lo compongono son stati posizionati anch'essi in maniera interessante, dando un senso quasi altalenante al tutto, laddove la furia iniziale rallenta ad intervalli regolari con brani a modo loro "lenti", come la quarta "Trace To The Beckoning Fade"; il corpo centrale del disco è composto dalla title track "The Great Scorn" (evocativa nel suo intro e incredibilmente agile nel mutar forma sino all'incredibile movimento finale degno di un head banging violento ed assassino), l'intermezzo "De Profundis" e la penultima "Funeral March For The Death Of The Earth" (brano in cui la personalità di questo progetto brilla maggiormente), prima di arrivare all'ultima e maestosa "Adamante Notare" (altro highlight di questo LP).

Ora, se vi aspettate la novità black metal dell'anno, siete fuori strada. Se volete ascoltare invece un disco con i controca##i e lasciarvi trasportare da un moshpit sanguigno, "The Great Scorn" è una perla che davvero non dovreste evitare di ascoltare!

Aornos è senza ombra di dubbio un progetto che voglio conoscere meglio e che cercheró di seguire negli album a venire! Per ora, una prova assolutamente riuscita in previsione di un prossimo album in cui spero di vedere un progetto maggiormente indipendente!

 

http://www.allaroundmetal.com/component/content/article/26-releases/5226-aornos,-una-botta-di-cattiveria-violenta-ed-assassina

 

The Great Scorn is the third full-length album by Hungarian, black metal band Aornos. Formed in 2014, this project is essentially the brainchild of primary songwriter and multi-instrumentalist, Algras.

 

In a contrast to the previous albums, which were both one-man undertakings, this recording is significant because it makes use of an expanded, “full” line up with four additional musicians. The benefit this gives to fans is it makes live performances a possibility for the first time in the band’s career, and judging by the slick performances on this album, that is quite an exciting proposition indeed.

 

Describing themselves as being for fans of 1349, Emperor and Ascension, Aornos’s take on Black Metal initially comes across as a fairly standard offering in a well served genre; but dig a little deeper and it becomes apparent there are some significant and unique elements that mark The Great Scorn out as an album to give some time and attention to. It certainly has a fair amount of replay value.

 

The album starts with a fade-in, which initially gives the effect of walking down a corridor and through a heavy door, to discover the band, in their rehearsal space, already deep into a solid, heavy, mid tempo stride. Dávid Lőrincz adds some ethereal keyboards to proceedings before things accelerate into the album’s first full song…

 

From A Higher Reality smashes from the speakers with all the lurching aggression of a lycanthrope in the grip of a full moon. Straight away, it’s clear that The Great Scorn has hit a sweet spot with the production. Clear and crisp enough that you can hear the individual parts, but there is a raw edge to this that ensures it retains a murky brutality.

 

Cutting through the grim battery is some excellent lead guitar playing from Tibor Terbesi. It is wild and idiosyncratic and stands as a re-occurring highlight throughout the album. That’s not to say this standard of musicianship isn’t matched by Róbert Mester’s deft drumming and some lively bass playing from the man who goes by the simple, single initial of S. The bass playing is worth highlighting for it’s unique, rubbery style. In several places, S glides and glissandos on what sounds like a fretless instrument. It gives the record a dimension that is rarely heard on other black metal albums and helps The Great Scorn stand out from the pack.

 

The Kingdom Of Nemesis continues the double bass drum onslaught as it underpins some particularly ferocious tremolo riffing. The track features a set of commanding, spoken word passages and the guitars and keyboards work together brilliantly to create a fully blackened soundscape. The addition of some carnival organ spices up the arrangement and adds to the twisted atmosphere.

 

Trace To The Beckoning demonstrates that Aornos can play at a steadier, measured tempo and still sound terrifying. Here, the band sound like Kvelertak jamming on some Darkthrone riffs. There is a punkier stomp. It’s four to the floor but with moments of progressive bass to peak the listener’s interest and provide a lift.

 

The faster tempos return on Come And See. This song has a crossover appeal and could almost be considered thrash if it weren’t for the icy keyboards. It has a rattling blast beat under Algras’ deranged vocal performance. His desperate howl teases us with another genre nod, and reminds this reviewer of sludge legends, Iron Monkey.

 

By the time we reach the title track of the album, we have been treated to some exemplary musicianship, all played with great enthusiasm. It’s a shame that the The Great Scorn doesn’t feel as exciting as the songs that have gone before it. In a jarring moment, it’s half- time stride with stabbing keyboards, gives way to what I can only describe as a country influenced, black metal hoedown! To be fair, it’s an interesting arrangement that makes for a unique moment on the album, but to this listener it represents a slight slip of Aornos’s enigmatic mask. The rest of the song chugs along with sufficient menace, but ultimately feels like a less inspired moment on the album. All that being said, I’ll give it the benefit of the doubt and assume it’s a grower.

 

The gothic, keyboard interlude of De Profundus sets us up for the powerful gallop of Funeral March For The Death which crashes and crunches towards a whirlwind mid-section. It’s as much Maiden as it is Mayhem and climaxes on a doom tempo and some squealing, almost traditional metal guitar on the fade out.

 

The guitars are certainly a highlight on this record. Final track, Adamante Notare emphasises this with an off-kilter riff that punctuates the maelstrom. There are discordant melodies throughout, giving everything a suitably sinister atmosphere that the band manage to sustain across the album’s entire running time. The solos are nasty, Slayer-esque short, sharp blasts of twisted metal and this song’s offering is no exception. Underneath the riffing, the drums drive us towards the final moments, albeit through a confident but fairly conventional arrangement that leaves me feeling like The Great Scorn’s best moments are in the first half of the record.

 

Not such a bad thing, because it leaves me reaching for the play button for a repeat listen.

 

Absolutely recommended.

 

https://www.theindependentvoice.org/2018/07/29/aornos-the-great-scorn/

 

Hongaarse metal staat de laatste tijd iets meer in the picture, dankzij het Eurovisie Songfestival. Daardoor let je als reviewer ook net iets meer op als het woord ‘Hongarije’ valt. Deze eenmansband komt uit Hongarije, dus wou ik wel eens voorzien van een review. Collega Wouter vond het debuut van deze band, Orior, in 2014 niet bepaald sterk. Nu is het aan mij om drie albums en vier jaar later uit te zoeken hoe het staat met Aornos.

 

De commentaren van collega Wouter zijn nog steeds geldig anno 2018. Aornos weet dan wel verdomd goed hoe je een atmosferisch/symfonisch black nummer in elkaar moet zetten, het weet niet hoe je het een eigen geluid moet geven. Je hoort Emperor, Limbonic Art, Satyricon, Arcturus… maar weinig Aornos. De snellere atmosferische nummers die richting Limbonic Art gaan liggen mij persoonlijk het beste, zeker als hier en daar wat Midnight Odyssee weerklinkt. De midtempo nummers doen meer denken aan nieuwere Satyricon, met heavy riffs en duidelijk hoorbaar sfeervol baswerk. De nummers verschillen onderling veel, maar er is een blijvende jaren negentig black metal vibe waarneembaar en een constant gevoel van “Ja, dat heb ik nog gehoord”. Slecht is het niet, alleen luister ik liever naar de klassiekers die Aornos inspireerden. Misschien toch een idee om in de toekomst te gaan focussen op de snelle kosmos/atmosblack met hyperspeed computerblasts.

 

https://zwaremetalen.com/albumrecensies/black/aornos-the-great-scorn

 

 

One-man project bands aren't any new phenomenon these days anymore. Here's one more to the same pile: Aornos from Hungary, being run by a guy named Algras, handles every instrument in his own creation.

 

The Great Scorn is the fourth full-length studio album by this one-man band and it sounds like there's a whole band backing him up on it. Aornos' Black Metal is atmospheric, ominous and played fast, at times almost too blindingly fast, and I am reminded of Norwegian Emperor's past works. Sometimes all it takes to create a decent piece of music is enough sheer talent and determination to make things happen for yourself. You don't necessarily need other people's input for all that at all. It's definitely worth checking out if professionally executed, atmospheric and well-produced Black Metal doesn't make you cut your wrists wide open (for Satan, The Master).

 

https://www.metalcrypt.com/pages/review.php?revid=10944#

 

Mustasta metallista puhuttaessa tulee mitä luultavimmin (edelleen) mieleen sellaisia kokoonpanoja kuin Satyricon, Dimmu Borgir, Enslaved, Marduk tai vaikka Immortal. Nyt voidaan myös kiistellä tuomiopäivään asti, ettei osa näistä ei ole ollut black metallia enää pitkään aikaan. Huomion arvoista on kuitenkin se, että jokainen näistä yhtyeistä julkaisee edelleen uusia levyjä sekä kiertää ahkerasti maapalloa.

 

Uusia yrittäjiä puskee samaan aikaan esiin kuin sieniä sateella ja ilahduttavinta tässä on, että suurin osa materiaalista on laadukasta. Voi siis sanoa, että genrellä menee erittäin hyvin tällä hetkellä. Näille apajille on saapunut kärkkymään myös unkarilainen Aornos. Tämä suhteellisen uusi, vasta vuodesta 2014 vaikuttanut yhden miehen bändi julkaisi yhden vuoden 2018 parhaista black metal -levyistä.

 

”The Great Scorn” lainailee niin norjalaisen kuin ruotsalaisen mustan metallin kattilasta sekoittaen siihen kuitenkin Nightbringerin ja Deathspell Omegan kaltaisten bändien ritualistista sekä kylmää myrkkyä. Ainekset eivät ehkä ole sieltä omaperäisimmästä päästä, mutta Aornos osoittaa kuinka tutusta materiaalista voi uudelleenjärjestelyllä saada ulos jotain tuoreelta kuulostavaa.

 

Bändin multi-instrumentalisti ja primus motor Algras hallitsee soittimien lisäksi myös äänenkäytön. Miehen ulosanti muistuttaa paikka paikoin Attila Csiharin möykkäämistä mikä on tässä tapauksessa vain ja ainoastaan positiivinen asia. Algrasin perinteisemmät kärinät sekä puhtaat laulut jäävät nekin heittämällä plussan puolelle.

 

Levyn äänimaailman ollessa samalla kylmän nihilistinen olematta kuitenkaan ylituotettu ja vanhan kehnon (kerrankin) loistaessa poissaolollaan sanoituksista on vaikea keksiä pahaa sanottavaa ”The Great Scornista”. Joten jos mustempi metalli on lähellä sydäntä, kannattaa laittaa levy ostoslistalle.

 

http://metalliluola.fi/aornos-the-great-scorn-2018/

 

Lyhyen ja pahaenteisen intron jälkeen The Great Scorn käynnistyy räjähtävästi. Nopeatempoinen ja läpeensä pahasyinen black metal ryöpyttää vasten kasvoja kuin alkutalven räntäinen lumisade. Nyt ollaan selvästi hyisevän ja ilkeäsävyisen levytyksen parissa.

 

Aornos on vielä kovin nuori, vasta noin neljän vuoden ikäinen yhtye Unkarista. Tästä huolimatta Algras-nimiseen soittajaan kulminoituva yhdenhengenyhtye on synnyttänyt jo neljä kokopitkää levyä – yhden per vuosi – sekä parit pienlevytykset päälle. En tiedä kumpi on hengästyttävämpää ja hämmästyttävämpää: miehen monitahoinen osaaminen eri soittimien parissa vai projektin taso sen kovasta julkaisutahdista huolimatta.

 

Tuhdit ja selkeät soundit sekä kireähkö ärinä ovat kaikki hyvällä tasolla. Laadukas miksaus saa monitahoisen leyvn kuulostamaan kenties isommalta kuin se onkaan.

 

Soundeja enemmän kuitenkin merkitsee levyn varsinainen sisältö eli biisit, ja se puoli on pääosin vahvaa osaamista. Vaikka osa biiseistä on verrattain pitkiä, Algras on saanut pidettyä hyvin langat hanskoissaan. Kireät sahaukset, nopeat melodiat ja järkkymätön (kone)rumputulitus rakentavat vahvan teoksen, jonka ilkeäsävyisyyttä sopii arvostaa. Myös sopivasti annostellut dramaattiset koskettimet toimivat tässä yhteydessä erinomaisesti.

 

Kolmivarttinen The Great Scorn ei kuitenkaan ole pelkkää autuutta, sillä levylle mahtuu myös vähemmän herkullisia hetkiä. Osa riffeistä on lähinnä kummallisia, osa vain vähemmän hyviä. Kokonaisuus kuitenkin ratkaisee ja siltä osin levy jää vahvasti voiton puolelle. The Great Scorn on kaikkiaan maittava albumi.

 

 

 

https://www.impe.fi/reviews/1/19287

 

Aornos is the solo act of one Algras who is based in Hungary. Now as soon as someone writes, “solo act” or similar the reader would be entirely justified in exiting the browser, shutting down the computer, turning off the monitor and leaving the building. After all, “solo act” has the same cache as the “singer-songwriter” designation. Nine times out of ten its shorthand for ‘crap’ and going outside for a walk is a better idea than staying in and listening to the tracks. After all, think of names like Menza or Burzum and who could blame the reader in assuming Aornos is rubbish as well? The good news is that Aornos, as represented by The Great Scorn, is both listenable and compelling. The man steers his album into fast and furious black metal gear. The vocals are extreme and respectable, the songs above average and the speed compelling. There are several instances of unwanted vocal experimentations and the same-old tired use of synthesizers, but the summation of these nine tracks is worthy of an endorsement from Metallian Towers.

Past an instrumental called Ad Futuram Memoriam there is From A Higher Reality, which is fast and heavy complete with ferocious vocals. The vocals alternate to cleaner in the chorus, but the aforementioned qualities, heavy sound, wild noise and melodic solos, energetic guitar lick and appropriate technical ability establish the band before weaknesses set in. The vocals are grim and horrific. It is quite a lot for a one-man project, albeit there is a line-up in tow now. The Kingdom Of Nemesis is inspired by Mayhem and features very distorted and chaotic guitars. A dash of keyboards and cleaner singing remains in the background and thankfully fails to destroy the song. The juvenile synthesizers do disappoint nonetheless. Quorthon resides over Trace To The Beckoning Fade. Aornos does impress with its harsh vocals, simplistic full speed ahead approach as said, audible warm bass sound and evil intent, but the drum machine and aforementioned issues keep getting in the way. De Profundis, for instance, is an unneeded gothic interlude. The title track, however, has blasting music and sinister vocals, Adamante Notare nods to Immortal especially in its vocals, which includes variety and drama, and Funeral March For The Death Of The Earth finishes with a capable solo. The last two tracks are over seven minutes long each and despite the obvious riffs have the intended impact.

Aornos claims nothing more than traditional ‘90s-based black metal and that is always a welcome development. Banish the non-metal elements and Aornos is an even better proposition.

 

http://metallian.com/aornos.php

 

Tak on teda byl císař prej jenom jeden. Prej Caesar. S jeho smrtí nastal úpadek nějaké říše. A nebo že by to byl Napoleon, se kterým padla Francie? Ale rozhodně tady byli Emperor, se kterými nepadl black metal. Emperor byli tak silný ekvivalent norského black metalu, který se vyvíjel mimo ortodoxnost severské černoty, až ovlivnil nemálo kapel po celém světě. Jednou z takových jsou i maďarští AORNOS. Ti se do toho po vzoru svých otců opírají, jako by se jich krvavá pomsta synů netýkala. Povyšují nesoudnost zla na větry neurvalosti v korunách stromů bez listí, skrze které je možno pozorovat nekonečnost vesmíru v jeho nekonečné temnotě. Zlo, hnus, prázdnota i krása jde ruku v ruce dekadentních detailů. Nebezpečné melodie si potikávají s vražednou rytmikou i heavy metalovými sóly bez toho, aby si mrzouti stěžovali na nedostatek svérázné atmosféry pro závěť budoucího sebevraha. Detailní propracovanost jde ruku v ruce s nevraživostí starců, kteří mladí se cítí. Zvuk je k těmto účelům naprosto brilantní, tak aby vynikla černá nezávislost „The Kingdom of Nemesis“, jež se mi jeví jako klenot alba. Zařazování čistých vokálů ve „From a Higher Reality“ i „Trace to Beckoning Fade“ a „The Great Sborn“ je jako třešnička na dortu nebezpečné atmoferičnosti, lehké zvrácenosti zprofanovaných mýtů o existenci čehokoliv. Pouze promiskuitní dav hluchých neuslyší tu výzvu zla i k nekompromisní atmosferické rovnodennosti, která začíná i končí tmou a poskytuje apokalyptické pískoviště pro hulváty s fantazií. Tvoření nicoty pomocí destrukce všehomíra není jen na astrální úrovni, ale je těžce fyzické, čehož si na tomto albu cením nejvíc. Emperor byli jenom jedni, ale ze všech těch pohrobků zla vesmírného se mi jeví album „The Great Scorn“, madarské kapely AORNOS, jako nejzlověstnější a zároveň nejvěrohodnější.

 

https://hardmusicbase.cz/index.php?stranka=recenze_vypis&id=65597&m=1