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In the ‘About’ section on Sardinian blackened death metal band Gôr Mörgûl‘s Facebook page, it reads:

 

Καὶ ἠγάπησαν οἱ ἂνθρωποι μᾶλλον τὸ σχότος ἢ τὸ φῶς

– E gli uomini vollero piuttosto le tenebre che la luce.

Giovanni, III, 19.

 

That Giovanni? Most of us probably know him better as the Apostle John, and Chapter 3, Verse 19 of his gospel reads “And this is the condemnation, that light is come into the world, and men loved darkness rather than light, because their deeds were evil.”

 

 

You’d be hard pressed to find a better way of introducing this band. Since forming in 2007, Gôr Mörgûl have been remarkably singleminded in their purpose: spreading the Gospel ov the Unlight, sowing seeds of Blasphemy and stoking the fires of Corruption within men’s hearts and souls.

 

And you know what? They’re really fucking good at it, too. Today we’re premiering the video for “Elohim,” the title track from Gôr Mörgûl’s third full-length, which will be out on June 16 from Satanath Records (order here) and Death Portal Studio (order here). The product of four years’ worth of intensive study of arcane Mediterranean and Middle Eastern rituals, it’s easily one of the strongest things I’ve ever heard from the veteran band. The band’s trademark blistering aggression is still abundantly present – the blasts on Elohim (the album) occasionally go as fast as 260bpm. However, there’s an esoteric melodicism to “Elohim” (the song) that I don’t recall being quite so prevalent on the band’s previous releases.

 

It would be easy to refer to them as ‘Middle Eastern’ melodies, but there’s more to it than simply a case of guitarist Zukk using the Phrygian dominant or Persian scales more often in his riffs. There’s an intentionality behind them as well. Combined with the lyrics – which are a mix of English, Ancient Greek, and Latin – the album is a deliberate subversion of the Biblical concept of Elohim in both sound and word.

 

The bottom line? If you’re into Behemoth but were one of the many who were underwhelmed by their latest offering, then Gôr Mörgûl is exactly what you’re looking for.

 

https://www.clandestinesounds.com/video-premiere-gor-morgul-elohim/

Questo gruppo italiano ci è andato giù pesante. La musica proposta ha la forma di un death di stampo brutal piuttosto che black metal. I continui blast beat abituano presto l’ascoltatore a ritmi serrati e senza respiro. Le otto tracce proposte scivolano via velocissime, quasi senza dare il tempo di adattarsi ad un suono malvagio e inquietante, che non disdegnerebbe nella discografia dei Deicide. L’ispirazione americana si sente tutta in effetti, con una voce potente e profonda in grado di tener testa a riff furiosi e tempi veloci e malati. Il minutaggio delle singole canzoni è piuttosto esiguo, i nostri sparano letteralmente i suoni in testa e non lasciano tempo alcuno per elaborazioni della struttura canzone, lineare su pressoché tutto il lavoro. Una produzione pulita e all’altezza del suono contribuisce a creare un disco compatto e ben riuscito, da bersi tutto d’un fiato.

 

http://www.metalhead.it/?p=167973

 

Gôr is the Welsh word for choir, and Gôr Mörgûl is a Italian band that plays blackned death metal. Mörgûl is Icelandic word that means many. Consequently the band is Choir Many?! No thats wrong, Gor Morgul comes from The Lord Of The Ring, it means black magic.  Gôr Mörgûl was born in Villacidro, Sardinia, in 2007. Through the years the band have released two albums (In the Sign of Blackness in 2010 and Heresy in 2015 via Satanath Records & Death Portal Studio, and in addition an EP Ruins On The Icons Of God in 2013. The new album Elohim is born after few years of work on the songs. Lyrics are mostly in English, Ancient Greek and Latin. Everything is about Elohim’s myth. Fast riffs and blast beat up to 260bpm put the album into a great obscure atmosphere.

 

Lyrically it’s about often about corruption within people’s hearts and souls. Elohim is the result of four years intensive study of arcane Mediterranean and Middle Eastern rituals. The bands trademark is blistering aggression is still abundantly present. Guitarist Zukk using the Phrygian dominant or Persian scales more often in his riffs. The album title Elohim refer to the Hebrew Bible. Elohim is Hebrew: Aֱlֹhִim is an ancient Hebrew word which in the Hebrew Bible refers to gods. It is one of many names or titles for God in the Hebrew Bible, thus affecting both Judaism and Christianity.

 

http://permafrost.today/2019/07/30/gor-morgul-lyric-from-hebrew-bible/

 

 

Gor  Morgul  are  a  band  from  Italy  that  has  had  music  reviewed  before  in  this  zine  and  plays  a  blackened  form  of  death  metal  and  this  is  a  review  of  their  2019  album  "Elohim"  which  was  released  as  a  joint  effort  between  Satanath  Records  and  Death  Portal  Studio.

 

  A  very  fast  and  brutal  sound  starts  off  the  album  along  with  a  great  amount  of  blast  beats  along  with  the  vocals  being  mostly  death  metal  growls.  At  times  the  riffs  also  get  very  melodic  sounding  along  with  the  songs  also  adding  in  a  decent  mixture  of  slow,  mid  paced  and  fast  parts.

 

  All  of  the  musical  instruments  have  a  very  powerful  sound  to  them  while  the  music  also  adds  in  a  decent  amount  of  black  metal  elements. When  guitar  solos  and  leads  are utilized  they  are  done  in  a  very  chaotic  yet  melodic  style  as  well  as  a  few  tracks  also  introducing  acoustic  guitars  and  spoken  word  parts  onto  the  recording  but  keeping  the  focus  more  on  a  heavier  and  brutal  style.

 

  On  this  recording  Gor  Morgul  remains  true  to  the  blackened  death  metal  style  that  was  established  on  previous  releases.  The  production  sounds  very  professional  while  the  lyrics  cover  Occultism  themes.

 

  In  my  opinion  this  is  another  great  sounding  recording  from  Gor  Morgul  and  if  you  are  a  fan  of  blackened  death  metal,  you  should  check  out  this  album.

 

https://bringerofdeathzine.blogspot.com/2019/07/gor-morgulelohimsatanath-recordsdeath.html

 

 

Von Nordeuropa wieder zurück nach Südeuropa, diesmal zu den Italienern von Gôr Mörgûl, welches dieses Jahr mit „Elohim“ ihr drittes Album in der zwölfjährigen Bandgeschichte veröffentlichen durften. In dieser Zeit hat die Truppe von der Insel Sardinien bereits etliche Mitglieder an fast allen Positionen „verbraucht“, nur am Gesang hat sich nichts geändert soweit ich das weiß.

 

Musikalisch geht die Band ihren eingeschlagenen Weg stur weiter und drückt dem Hörer sturen, aggressiven und schnellen Black/Death aufs Fressbrett. Um das ganze ins richtige Licht zu rücken zimmert die Produktion ein ordentlich fettes, drückendes und energiegeladenes Fundament in dem höchstens die Vocals einen Ticken zu leise sind, ansonsten aber die volle Wucht des Albums und vor allem der Instrumentierung zum Tragen kommt. Darauf baut eine wilde und kraftvolle Mischung aus klassischen Black und Death Metal auf, die vor allem mit facettenreichen, oft schnellen und präzisen Riffs auf sich aufmerksam macht. Doch auch die Drums machen mit donnerndem, fast durchgängigen Geblaste und Gedresche auf sich aufmerksam und knüppeln wild aber gezielt vor sich hin. Im Mittelfeld des Sounds bewegen sich meist die Vocals, die mit minimal hörbarer Mehrstimmigkeit grimmige und harsche Growls vom Stapel lassen und damit oft zwischen Donnergrollen und dreckigem Fauchen rangieren und wechseln. Im Zentrum der Scheibe steht allerdings die Saitenfraktion, die sie mal mehr im frostigen Black Metal mal mehr im Old School-Death Metal verorten lässt und mit messerscharfen, kraftvollen und abwechslungsreichen Riffs das Album rücksichtslos antreibt. Gelegentlich wird das Ganze durch kurze atmosphärische Parts aufgelockert, ansonsten dominieren allerdings schnelle, hier und da stampfende Riffs. Damit geht die Sache mehr in Richtung Archgoat denn Behemoth, allerdings ohne voll auf War Metal zu setzen. Dafür ist die Scheibe auch nur gut eine halbe Stunde lang und danach kann man eine kurze Verschnaufpause auch ganz gut gebrauchen.

 

Gôr Mörgûl zeigen auf ihrem neusten Album, dass man sich auch bei sturem Gedresche ständig weiterentwickeln kann und liefern mit „Elohim“ ein wildes, energiegeladenes und doch sehr kompaktes Werk ab, das von seiner Produktion und Aufmachung her mit den ganz großen Bands locker mithalten kann. Wer also auf einen brachialen Mix aus Black und Death Metal steht, der kann mit dem Album eigentlich nix verkehrt machen.

 

https://metalviewer.wordpress.com/2019/09/08/gor-moergul-elohim/

 

For more than a decade, Gôr Mörgûl dwell around to bring us their message of blasphemy and black magic. With Elohim, this band from Sardinia, Italy, brings forth their third full length opus, continuing the path they started in 2010 with In The Sign Of Blackness, followed by the EP Ruins Of The Icons Of God (2014) and the second full album, Heresy (2015). One again we had to wait quite some time, but Elohim might be worth waiting for so long.

 

The album gets released once more in the partnership of Satanath Records from the Russian Federation and Death Portal Studio from the U.S. It’s an eight-tracker that gets released in a regular CD-edition (i.e. jewel case) (500 physical copies, besides the digital ones) with a four-page booklet that includes quite unusual and strange, experimental cover artwork, but no lyrics, unfortunately (which are, by the way, in English, Latin and ancient Greek).

 

Totally in the vein of the former works, Elohim stands for more than half an hour of intense, energetic and mainly fast (1), yet quite melodic (2) and varying (3) Technical Death Metal (4) with a blackened edge (5). I’ll go little deeper into these things.

 

This stuff sounds furious, warlike and kinetic as from the very beginning until the end. Reminiscent of the North American and Polish scene, the material on this album is merciless, unstoppable, fast-forward and malicious. The guitar riffing comes with that destructive tangle, but it’s the drum part especially that creates the devastating and taking-no-prisoners attitude.

Notwithstanding the enormous power behind the better part of this album, Gôr Mörgûl somehow succeed to maintain a melodious approach, with great tremolo riffing, dual leads and some sharp-edged yet transcending solos. Especially the slower excerpts, yet most fast ones too, are sort of blessed with that crafted approach.

Despite the fact that the album is blasting fast especially, there are several tempo-changes, in about each composition, with a diversification in structure and speed. The latter refers to a couple of ultimately blasting eruptions, yet also quite some mid- to up-tempo chapters.  Another remarkable thing that characterises the diversity of this recording is the balance in between groovier pieces, atmospheric passages, right-in-the-face parts and so on. Lamaštu is an example of all this, with slower riffs and eruptional outbursts, a fine equilibrium in between harsh warmonger and integer moments (cf. the acoustic intermezzo), and much more. Acoustic excerpts, by the way, do appear more than once at very well-balanced, ideally chosen moments.

The craftsmanship, well, I was quite enthusiastic about the members’ skills in the past, but the craftsmanship exceeds the average easily. It all starts with the song writing, which asks for a technical high-skilled approach. And that’s exactly what the professionally skilled quartet aims for: defining their ability to translate the technical song writing into a satisfying sonic result.

The band does not perform Black Metal, as said, but there is such an atmosphère noire going on. It’s the lyrical side, and the languages used, it’s about the Arab / Persian / Mesopotamian influences, it’s the overall atmosphere that overwhelms, captures, bewitches.

Elohim is not a renewing album, for it represents a sub-trend that exists for a while. It does not reinvent the scene, not opens it the portal to another sonic dimension. But within its specific genre, it is one of the better recordings in quite some time. Recommended if you appreciate everything in the vein of, let’s say, Neter, Blood Of Kingu, Dalkhu, Archgoat, Preludium, Veld, Demonic Obedience, Misanthropic Existence and Akhenaten; even fans of Arkhon Infaustus, Behemoth, Azarath or Morbosidad might adore this material…

 

https://www.concreteweb.be/reviews/g%C3%B4r-m%C3%B6rg%C3%BBl-0

 

Итальянский железный посев блэк-дэта. Включился в мировую игру на выживание в 2007-ом году. Квартет. Ударник, как часто бывает, засветился во многих других коллективах. Третий альбом. Второй — 2015 года - также выпускался на Satanath Records.

Цитата из отклика на второй полноформат: «Редко да метко появляются такие коллективы, где гитарные пекельные гении в зубах держат окровавленный блэково-дэтовый штандарт, и при том руками организуют новые кейсы широкой и открытой импровизации".

Реальный блэк дэт, с некоторым тачем своеобычной мелодики, всецело поддерживаемой вокальными партиями, по моему восходящих в своей патетике к традиционным ритуальным песнопениям и раннему DEICIDE. Вокалист GOR MORGUL, так уже повелось на этом альбоме, вытребовал себе представительскую трибуну, с которой не только экстатично вещал об оккультизме, но и будучи творческим авангардом, направлял свой коллектив в нужную сторону. Со своим харшевым вокалом он капитально вписывается в «лирическую» идеологию группы.

Формация аккуратно выстраивает высокотехнологичный музыкальный материал, максимально отточенный и выверенный со всех точек зрения. Причем в приоритете - быстрые темпы, которые позволяют насыщать пространство трэка энергией подземных царств.

В квартете GOR MORGUL всего один гитарист, но прослушивая сабжевый альбом, так конечно не покажется. Струнник устанавливает здесь настоящую стену звука, которая как и полагается становится еще и опорной конструкцией в этом блэково-дэтовом строительстве.

Сам альбом очень ровный в своем напоре, жестком драйве, так что трудно выбрать рекомендуемый трэк.

Почему Sentinel? В нем поболее разного рода переходов, которые разнообразят трэк. И хотя сверхбыстрые партии доминируют, громят и рубят окружающее пространство, где-то вдруг напряжение падает, как если бы провод с высоковольтной линии сорвался и упал на землю. А тут нарисованы и медленные раздумчивые кусочки, практически нехарактерные для этого альбома. Вокалист GOR MORGUL как и везде напряженно монтирует стальные партии, ибо все это будет залито струнным бетоном.

Во многом представляемому звуку группа обязана толковым звукоинженерам, которые создали нормальное решение — четкий и одновременно мощный саунд, позволяющий расслышать все движения музыкантов GOR MORGUL.

Для любителей стремительного, агрессивного и тотального рубилова.

 

https://vk.com/wall216331265_4189

 

 

 

Something that has been over the heads of many people (not only music listeners) is the state of the culture nowadays. Regarding music, it has been of everyone’s attention how little lyrical substance is put into the subject matter of the “tunes” that we hear on the radio, as if there was nothing to say.

 

The situation of Gor Morgul is the complete opposite. Considering the genre they play as an underground branch of one of the most unchartable music genres, extreme metal, it is of no surprise for the average connoisseur. However, an album such as the one this Italian quartet proposes us opens up like a million-year old scroll that contains summonings to Hebrew, Egyptian and Greek deities in English, Greek and other languages that are beyond this humble reviewer’s knowledge, all that over a top-notch musicianship reminiscent of Melechesh in terms of style and prose. An album intended to be listened and read multiple times for multiple interpretations. I burn the sky!

 

http://www.vm-underground.com/review/gor-morgul-elohim-2

 

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https://thepitofthedamned.blogspot.com/2020/01/gor-morgul-elohim.html

 

 

This is already the third full-length album of the Italian blackened death metal horde. With this new record the Sardinian occultists are going to punch in your ear canals so hard and with such a terrible accuracy that you must be a prepared metalhead to survive their circa 34-minute long aural annihilation! The drummer, Simone "ArcOndA" Piras, mainly dictates a lightning speed tempo, thus the eight chapters of "Elohim" storm in a tornado-like manner and leave absolutely no mercy for the listener. The quartet skillfully spreads some of the darkest and eeriest musical moods with a sort of ritualistic approach, the way we used to hear it for example from Behemoth. Moreover, the same goes to the lyrical context found there as their topics are very close to the ones heard in Behemoth before. As you've noticed from my words, this band not really cares about originality, their main objective is to create good and quality extreme music, which I have to admit they've maximally achieved. The current CD, like its predecessor, was released in cooperation of two labels, i.e. Satanath Records and Death Portal Studio. Let's hope for a fair dose of uniqueness on their upcoming stuff!!!

 

http://castrum.com.ua/encomium/7albums2.htm

 

Existem discos pesados e depois existe “Elohim”, o terceiro álbum de originais dos italianos Gôr Mörgul que nos atinge na cara como uma pedra da calçada. Brutalidade é eufemismo, até porque, na nossa opinião, a melhor brutalidade é aquela que é servida com melodias que sirvam como ganchos. Neste caso concreto, os ganchos servidos através de tremolo picking à boa moda do black metal. Em pouco mais de meia hora, levamos uma carga de porrada que até nos esquecemos ao que vínhamos… ou seja, satisfação garantida!

 

https://worldofmetalmag.com/wom-reviews-victims-of-contagion-vhs-baleful-abyss-antichrist-siege-gor-morgul-krypts-rankatoko-implore/