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The Hungarian black metal band Aetherius Obscuritas are certainly capable of mounting musical assaults of cut-throat savagery and spine-tingling wildness, but what makes their new album Mártír stand out from the barbaric pack is, for want of a better word, their adventurousness. The compositions are elaborate and multi-faceted, and the results can seem like musical potions that produce enthralling as well as electrifying effects. The song we’re premiering today, “Ilyen a vér (Blood Is Like This)“, is a great example of such ingeniously conceived and sharply executed adventures.


The core duo that makes up Aetherius Obscuritas, Viktor (vocals, guitars, bass, keyboards) and Zson (drums) have been working together under that name for roughly 18 years, long enough to become familiar with each other’s talents and propensities but quite obviously not so long as to settle into stagnancy. In that time they’ve recorded eight albums, including Mártír, but still seem to be pushing themselves into new musical territories, perhaps most obviously on this new album. It follows the last one by a significant five years and will be released on April 15th by GrimmDistribution (Ukraine) and Paragon Records (U.S.).


“Ilyen a vér (Blood Is Like This)” really is a richly textured and pleasingly variable experience that proves to be strongly charismatic, and becomes even more fascinating with repeated listens. Even in its full-throttle opening moments (a sudden attack of hammering blast-beats and scorching screams), the layered guitars and keyboards create a kind of magical aura. Over time they combine rapidly jittering and fast flickering fretwork as well as slowly chiming tones whose ethereal melodies become the main threads that tie the song together.


As the drum rhythms become less maniacal, the sinuous and seductive aspects of the melodies become stronger, but shaded by more ominous undercurrents. In some of its changing phases the song sounds deliriously feverish, in others moody and mysterious, in others ecstatically joyful. The vocals are usually a vicious goblin shriek, but are briefly paired with clean singing to good effect. As much as anything else, the vocals give the song a feeling of hot-blooded viciousness, but that’s just one dimension of the multi-dimensional (or maybe inter-dimensional) experience the track creates.



Aetherius  Obscuritas  are  a  band  form  Hungary  that  plays  a  very  raw,  old  school  and  atmospheric  form  of  black  metal  and  this  is  a  review  of  their  2020  album  "Martir"  which  was  released  as  a  joint  effort  between  Grimm  Distribution  and  Paragon  Records.


  A  very  fast  and  raw  sound  starts  off  the  album  along  with  a  great  amount  of  tremolo  picking  and  blast  beats.  Vocals  are  mostly  grim  yet  high  pitched  black  metal  screams  while  the  guitar  solos  and  leads  are  also  done  in  a  very  dark  yet  melodic  style  and  the  riffs  also  add  in  some  melodies.


 All  of  the  musical  instruments  on  the  recording  have  a  very  powerful  sound  to  them  while the  songs  also  add  in  a  decent  mixture  of  slow,  mid  paced  and  fast  parts.  A  lot  of  the  music  also  shows  its  roots  in  the  90's  second  wave  era  era  along  with  some  keyboards  also  being  added  into  some  parts  of  the  album.


  A  few  tracks  also  introduces  clean  vocals  onto  the  recording  along  with  another  song  also  adding  acoustic  guitars  onto  the  album  as  well  as  the  music  also  having  its  atmospheric  moments  and  as  the  album  progresses  a  brief  use  of  spoken  word  parts  can  also  be  heard,  a couple  of  the  later  songs  are  also  instrumentals.  The  production  sounds  very  dark,  raw  and  school  while  the  lyrics  are  written  in  a  mixture  of  English  and  Hungarian  and  cover  spiritual,  symbolism  and  agony  of  death  themes.


  In  my  opinion  Aethurius  Obscuritas  are  a  very  great  sounding  raw,  old  school  and  atmospheric  black  metal  band  and  if  you  are  a  fan  of  this  musical  genre, you  should  check  out  this  recording.




Aetherius Obscuritas have been pretty productive as far as Black Metal bands go, releasing eight full-length albums in their 18 years of existence. Mártír is their most recent release, and with the first I've laid ears on, and it's a display of fast and vicious Black Metal that shows off a good bit of experimentation along the way. There are some guest vocals from Jontho (Ragnarok) on "Marthyr" and Kaiaphas (Thokkian Vortex) on "The Frozen Lake of Eternity", but outside of that and the drumming of Zson, main man Arkhorrl is responsible for everything from guitar playing to vocals to songwriting, making him the driving force behind this band. Considering the varied song structures that weave blasts of speed with slower, more progressive elements to make an individual and compelling sound, he's clearly putting his years of experience to good use on this release. I don't know how previous albums compare, but if they're as novel and high-quality as this, then they're worth me visiting sometime in the future. For now, I'll settle with recommending this to fans of more experimental Black Metal.




Całkiem niezła perełka mi się trafiła dzisiaj do odsłuchu. Chociaż znam trochę zespołów z węgierskiej sceny black metalowej, to jednak AETHERIUS OBSCURITAS pozostawał mi nieznany (choć z drugiej strony kojarzę logo zespołu i istnieje możliwość, że raz przesłuchałem jakiś materiał i odkładając go na bok przepadł z mojej pamięci), a wielka szkoda, bo muzyka, jaką tworzy ten duet jest świetna. Tak przynajmniej wnioskuję na podstawie najnowszego albumu. Wliczając tę ostatnią płytę, zespół od swoich narodzin w 2002 roku dorobił się trzynastu pozycji w swojej dyskografii, a w tym aż osiem albumów. Ostatni album ukazał się dzięki współpracy Grimm Distribution i amerykańskiej Paragon Records, być może dzięki temu trafi do szerszej grupy odbiorców, czego im życzę.


Mártír to album objawiający się z jednej strony solidną dawką agresji uderzającej w nieosłoniętą twarz, a wszytko to w szybkich tempach. Z drugiej zaś strony muzyka jest nacechowana niezwykłą atmosferą która występuje zarówno w szybkich jak i w wolnych tempach. Muzyce tej bardzo blisko jest do skandynawskiego black metalu, a połączenie obu cech - agresji i atmosfery daje odczucie wielkiego mrozu, zupełnie jak w przypadku IMMORTAL. W kwestii gitar mamy tu bardzo dużo sekcji tremolo, oraz ciągnących się ładnych melodii. Po za tym są również od czasu do czasu akustyczne wstawki, nieco ocieplające muzykę. Nie łudźcie się jednak, to ocieplenie nie trwa zbyt długo. Bardzo ciekawe brzmienie uzyskały klawisze, kreujące niemal kosmiczną atmosferę tego materiału. Koniecznie trzeba też wspomnieć o perkusji, gdzie Zson w szybkich partiach gra, jakby miał cztery ręce, a nie dwie. Na koniec zostawiłem wokal, który jest jak najbardziej poprawny w swym black metalowym skrzeczeniu i nawet jakoś specjalnie tym nie zaskakuje. Tylko, że raz na jakiś czas pojawia się w czystej odsłonie, gdzie na prawdę śpiewa, co można uznać wręcz za piękne. Z tak melodyjnym głosem, mógłby się doskonale wpasować w bardziej rockowy utwór, ale AETHERIUS OBSCURITAS udowadnia, że jednak można wpasować ten głos w bardziej ekstremalną odsłonę muzyki. Moje uznanie dla wieńczącego album utworu Pulzar. Nie ma w nim gitar, a całość jest tak zimna, że odczuwam dreszcze na całym ciele. Cały materiał trwa niewiele ponad czterdzieści jeden minut i liczy sobie dziesięć utworów. Jeśli lubicie atmosferyczny black metal, to ta płyta przypadnie Wam do gustu.




(English version)


I have a pretty good gem to listen to today. Although I know some bands from the Hungarian black metal scene, AETHERIUS OBSCURITAS remained unknown to me (although on the other hand I associate the band's logo and there is a possibility that once I listened to some material and put it aside it was lost from my memory), and it's a great pity, because the music created by this duo is great. At least that's how I conclude on the basis of the newest album. Including this last album, since its birth in 2002, the band has gained thirteen positions in their discography, including eight albums. The last album was released thanks to the cooperation of Grimm Distribution and American Paragon Records, perhaps this way it will reach a wider audience, which I wish them.


Mártír is an album that reveals on the one hand a solid dose of aggression hitting the uncovered face, and on of course, all this at fast speeds. On the other hand, the music is characterized by an unusual atmosphere that occurs both in fast and slow motion. This music is very close to Scandinavian black metal, and the combination of both characteristics - aggression and atmosphere gives a feeling of great frost, just like IMMORTAL. As far as guitars are concerned we have a lot of tremolo sections and nice melodies running around. Besides, there are also occasional acoustic insertions, slightly warming up the music. But don't be under any illusions, this warming does not last too long. Very interesting sound was given to the keys, creating almost cosmic atmosphere of this material. It is also necessary to mention the drums, where Zson plays in fast parts as if he had four hands, not two. At the end, I left the vocal, which is as correct as possible in its black metal sound and does not even surprise you with it. Only that once in a while it appears in the purest form, where it really sings, which can be even considered beautiful. With such a melodic voice, he could perfectly fit into a more rocky track, but AETHERIUS OBSCURITAS proves that you can fit this voice into a more extreme part of the music. My appreciation for the ending track Pulzar. There are no guitars in it and the whole thing is so cold that I feel shivers all over my body. The whole material lasts just over forty-one minutes and is ten tracks long. If you like atmospheric black metal, you will like this album.




Como já tive oportunidade de dizer, sou (somos!) sortudos por termos este trabalho que nos permite conhecer música que nos chega de todos os cantos do mundo. Pensar que quando iniciei o caminho da maravilhosa descoberta da música pesada que seria impossível isso acontecer e que pérolas como este “Mártir” dos húngaros pudessem passar despercebidas, até faz doer a alma. O duo traz-nos mais uma dose do seu black metal cru e levemente melódico – com os riffs de tremolo picking a soarem bem catchy. A mistura não é exactamente harmoniosa, com a voz a abafar um bocado (um bocadinho de nada) o instrumental – nada que comprometa o resultado final todavia. É um daqueles álbuns que sabemos ter defeitos mas que mesmo assim não deixamos de gostar.




Hungarian Black Metal band Aetherius Obscuritas have recently released their eighth album, “Mártír”.

Similar to their other albums, in this one they also maintain the majesty of pure Black Metal in the style of the Norwegians.

This album starts quickly with a cool drum intro that delivers you straight into the darkness of their songs. Although the guitar riffs are very common (but this is something good seeing how people stray so much from the core of the genre now), the voice is pretty good, quite comparable to Kvist or Thyrfing. The spacey outro and the elaborate and folk acoustic interlude “Beyond The Walls” are notably much different than the rest of the songs, giving a nice variety to the album.

This band has quite a unique sound, even if you may first perceive it as a common Black Metal band. With their fast tempos and restless drums, they are somewhat like the northern bands, but with their own eastern essence also prominent in the lyrics.

I recommend this album if you like pure Black Metal, especially the brand of Eastern Europe, maybe like bands as Vokodlok or Negura Bunget.




Los brujos comenzaron a girar al rededor del pentagrama mientras recitaban cada vez más alto el sortilegio. El pentáculo, empezó a irradiar una insana y rojiza luz que inundó por completo el lugar. Al acabar el hechizo, los cuerpos de los oscuros sacerdotes se fusionaron, transformándose en un solo ser de seis brazos y cabeza de macho cabrío. Al fin, habían podido traer al plano astral humano al mismísimo Satán…

Bienvenidos al universo de Aetherius Obscuritas.


«Mártír» es el nombre del octavo álbum de estudio de los Black metaleros Aetherius Obscuritas. Fue lanzado al mercado el 15 de abril de 2020 gracias a Satanath Records, GrimmDistribution y Paragon Records.




El grupo está formado por: Viktor (voz, guitarras, bajo, teclados), Zson (batería).


A pesar de que por culpa de la pandemia esté siendo un año nefasto a nivel humano y social económico, en lo referente a la música extrema está siendo genial. Para muestras de lo que digo, tan solo tenéis que echarle un oído al disco de hoy. El dúo húngaro ha parido un señor discazo del mejor «Metal Negro» que podáis imaginar. Sin renunciar ni por un solo instante a la ferocidad propia del estilo en cuestión, las tonadas están repletas de geniales melodías dramáticas para nada facilonas, haciendo que su escucha sea toda una gozada.




Las seis cuerdas, rebosan dobles armonías y embistes de tremolo picking, siendo ambas cosas sus señas de identidad. A su vez, tropezaréis con pasajes siniestros pausados y pinceladas de guitarra clásica genial.


Los omnipresentes y omnipotentes shrieks, comparten espacio si es necesario con toques leves de clean vocals.


Poca broma con la percusión. Si tenéis problemas de tensión tened cuidado, los devastadores blast beats y up tempos que Zson nos regala son letales.


Con la única excepción del ambiental corte final ‘Pulzár‘, el resto de temas son pura violencia. Me llamó especialmente la atención ‘A harag lángja (The Flame of Wrath)‘. Pura agresión y maldad en forma de notas musicales.


Blackers del mundo, ¡ya tardáis en haceros con una copia de este Elepé!




Reverberating with frigid desperation and pinging with intricate musicianship, Aetherius Obscuritas bitterly remind us of winter’s tedious gloom with Mártír. The Hungarian veterans’ eighth full-length record, Mártír wields pinpoint percussion like shards of ice while chilling the unsuspecting listener to the bone with a blizzard of demonic growls. While stereotypes of cold and desolate landscapes are often reserved for Scandanavia, Aetherius Obscuritas bide their time on the glacial shores of Lake Balaton, Hungary.


Mártír toes the line in the drift between traditional raw black metal and experimental atmospheric blackened metal, doing both exceptionally. While opening moments of “Ilyen a vér (Blood Is Like This)” crack the glossy surface with cursed shrieks and breakneck instrumental velocities, the fractures recede briefly to creep ahead melodically. These jagged changes in pace are common throughout the record, and relapses into speed are often marked with sections sans strings, allowing Zson’s exquisite percussion style to shine as he bruises often under-valued areas of his kit. “Lidércpalota (Incubus Palace)” showcases this battering well. A multitude of switches in tempo capture the bewilderment of a lost wanderer as nightfall sets in, with every short-lived injection of percussive style embodying the foreboding noises emitting from the dark unknown.


Middle tracks “Marthyr” and “A vén végvivő (The Old End-Bearer)” are dominated by searing black metal melodies, yet keep the listener on frost-bitten toes. Ominous off-key stringed demons slowly surround their prey, paralyzing the listener with fear until the rapid attack resumes with merciless force. Lead vocalist Arkhorrl unchains corpse-like groans behind the veil of blistering riffs, demonstrating his ability to both enchant and eradicate in the same breath. Acoustic notes trickle in for the first time on fourth track “Az Igaz (What ‘True’ Is)” as an atmospheric respite. Reminiscing on Dissection‘s The Somberlain, these notes offer a sense of mysticism and spirituality before distortion emerges from the shadows to reproduce the initial tune. This track features a wide range of vocal stylings as well as a stand-alone section that hints at the direction of the remainder of the album: 90’s melodic black metal.


Standout track, “The Frozen Lake of Eternity,” captures the essence of a frost-bitten black metal kingdom. Featuring guest growler Kaiaphas (ex-Ancient, Thokkian Vortex) and spewing addictive chunky riffs laden with lo-fi distortion, this track is the culmination of instrumental precision and wintry hatred. A break in the whiteout offers symphonic relief in the style of Emperor‘s “The Majesty of the Night Sky,” under the cover of a penetrating guitar solo, ringing with Valhalla’s calling. Not two tracks later, “Beyound the Walls” plays like Dissection‘s “Into Infinite Obscurity”: two minutes of acoustically-picked bliss before eighth offering “A harag lángja (The Flame of Wrath)” shreds through the serenity.


Final tracks, “Destiny: Unknown” and “Pulzár (Pulsar)” embody the mysticism that has been an integral part of the black metal culture since its impure conception. While largely a result of anti-religious and misanthropic emotions, black metal is also immeasurably dependent on the spiritualism of its followers and their connection with the natural (or supernatural) world. While the majority of Mártír conjures images of a wandering soul on a frozen lake deep in the forests of Hungary, these final two tracks introduce a metaphysical landscape. “Pulzár (Pulsar)” is two minutes of unsettled pulsations soothed by an eerie organ. The poor traveler falls through the ice of the frozen lake of eternity, only to encounter something even more malevolent beneath…


Mártír is a worthy incubus for Aetherius Obscuritas, both in style and delivery. The attention to percussive variation is impressive, Arkhorrl’s choked shrieks are ungodly, and the biting black metal riffs ricochet across the record like bullets of ice. These Hungarians have conjured an abominable rock-filled snowball that will knock you out cold.




Aetherius Obscuritas is a Hungarian band formed by two members, already being around for eighteen years as they started the band in 2002. By the time writing this review, they have released eight full lengths, two demos and a split album. I hadn’t heard about them before Grimm Distribution, the label which released their latest album, sent me some of their albums to listen. Mártír, as they call it, was released in 15th of April 2020 and it contains ten tracks which last for about forty-two minutes. I picked this one first because of the very interesting, simple but impressive cover as also the unique photos and generally the very nice presentation of the album in the booklet and fortunately I was rewarded for that choice.


This is a very talented band, and this becomes obvious by the first minutes of the album. Musically, the band is following the great Scandinavian Black Metal school, by creating melodic, beautiful and at the same time dark, brutal riffs and black and white, depressing images. There is a lot of variation concerning the riffing both for their pace and their style. The speed you will find in here goes from medium to fast speed and the changes between the various pace are often but very interesting. The riffing, most of the times is tremolo, presenting the melodies, accurately and passionately. The variation regarding the riffs, the pace and the images presented makes the album very interesting and the experience of the listener unique, although the style of the band is nothing new. Moreover, another unique and interesting touch is the atmospheric, acoustic intros of some tracks. The tracks last from three to six minutes and the impressive work that they have done for the structure of the compositions, makes the listening of the album a very smooth and pleasant experience. The lyrics of seven of the tracks are written in Hungarian while the rest three of them are written in English and, at least for the English ones, they are dark poems presenting aspects of life and philosophy in a dark and sometimes symbolic way.


As in music, so in the performance of the instruments and the rest of the arrangements, the band has done a very professional job. Every instrument is played with absolute accuracy but at the same time with much expressiveness and passion. The guitars is the main instrument which creates the atmosphere and the body of the scenery, alongside the few but very interesting keyboards and the touches of the acoustic guitar. The bass is audible and supports the compositions very well. The drums are very stable, full of energy, with a lot of changes, furious blastbits and generally a great performance. The vocals are harsh, demonic Black Metal vocals, very expressive and passionate. The production is warm, bassy and modern, stepping away from the traditional raw Black Metal sound, while the mixture is balanced producing an interesting result which suits the style of the compositions perfectly.


In conclusion, my impression is that Mártír is a great album. I don’t know anything else about this band neither have I listened to any of their older releases in order to compare and comment on their improvement through time. This album combines the spirit of the old school Black Metal with the modern era and on top of all, everything is done under an artistic aspect. I believe that this one will be appreciated by every Black Metal fan out there, so because the CD version is limited to 1000 copies, get your copy.





Maďarští pekelníci AETHERIUS OBSCURITAS, ač řádně čpící sírou a jedovatými plyny, čerpají z náladovějšího a propracovanějšího pekelného kotle. Není prostě black metal jako black metal - AETHERIUS OBSCURITAS nesází pouze na všeničící agresivitu, skladby jsou zajímavě strukturované a vygradované, syndrom pocitu jedné předlouhé skladby v tempu šicího stroje v jejich případě opravdu nehrozí. I když si sypaček ve zběsilém tempu užijeme dosti, promyšlená struktura a velmi kvalitní instrumentace vytahuje nemálo trumfů z rukávu. Vedle nezbytné atmosféry, bez které se black metal neobejde a nebyl by již black metalem, je tu velezajímavá technická stránka projevu AETHERIUS OBSCURITAS. Technické kotrmelce, vyjímající se v ostatních metalových odnožích, jsem si v black metalu příliš představit neuměl. A vida, ono to funguje, ba co více, zní to opravdu dobře a nikde to rušivě netrčí. Je pravda, že technických pasáží AETHERIUS OBSCURITAS užívají pouze v pasážích, kde se to vysloveně hodí a ne jako nějaký pochybný nástroj sebeprezentace, jakože „čumte na nás, jak jsme dobrý a my Vás teď posadíme na prdel“. Nikterak dlouhá stopáž skladeb – od tří do šesti minut – nebrání jejich bohaté strukturovanosti, a i přesto drží až překvapivě pevně pohromadě a výživná porce animální energie zůstává nedotčena.


Pocit, že poslouchám sympatickou tradiční černou chásku, bere rychle za své. Prakticky ihned dochází k rychlým zvratům tempa, ultrarychlé palby střídají náladovější pasáže, propletené technickými vsuvkami, nápaditě vsazenými do struktury skladeb. Všechny tyto prvky jsou šikovně a vynalézavě  propojeny do jednoho bezchybně fungujícího celku, který stále neopouští black metalové podsvětí, byť má silné akademické vlohy. Progresivní chutě jsou však drženy na řetězu v pomocné roli, stejně jako atmosférické pasáže – výsledkem je velice zajímavé spojení black metalového undergroundu a pozdnějších nahrávek norské scény v sofistikované a promyšlené formě, jako vyvrženec pekel disponující IQ 160 s diplomem z kvantové fyziky. Má to myšlenku, žádné bezhlavé běsnění, zbrklá střelba na neurčitý cíl ani laciná exhibice, nádherně to funguje vedle sebe bez rušivých následků a AETHERIUS OBSCURITAS se především podařilo zachovat silnou rouhačskou atmosféru starých časů.


Zajímavé album, tenhle „Martír“. Nijak hlasitě na sebe neupozorňuje, a přesto v jeho zdánlivé obyčejnosti (pouze na první letmý pohled) tkví jeho největší síla. „Martír“ je totiž všechno ostatní, jen ne obyčejná tuctovka. Jasně, jedná se o album, jehož nadstandardní kvalitu a kouzlo pravděpodobně ocení poměrně úzká skupina posluchačů.  AETHERIUS OBSCURITAS jako relativně neznámé jméno black metalové scény rozhodně stojí za pozornost, ve skutečnosti je mnohem, mnohem lepší, než naznačuje první letmá srážka. Stačí celkem málo – pozorně se zaposlouchat a dějí se věci neobyčejné, i když to tak zpočátku nevypadá.


Jsem překvapen…a spokojen.




Венгерская блэковая, практически труйная формация, которая провозглашает идеалы БМ с 2002 года. Теоретически все время группа имела формат дуэта, хотя не раз, говорят, приглашала сторонних музыкантов. Но сначала об авторах, это — Arkhorrl - Vocals, Guitars, Bass, Keyboards, Programming (участвовал какое-то время в группах Sudden Death, Oneness) и на ударных - Zson, тоже играл в Sudden Death.

Архивы сообщают, что это восьмой полноформат, на который музыканты пригласили (Внимание!) спеть двух известных вокалистов из популярных команд - Jontho из норвежского RAGNAROK - трэк "Marthyr" и Lord Kaiaphas (группы Thokkian Vortex, ex-ANCIENT) на песне "The Frozen Lake Of Eternity".

Более 40 минут шквального мадьярского порочного блэк-металла гарантируют музыканты, которые бодро отбойными молотками сканируют пространства вокруг. Это комфортная для настоящего блэкаря диспозиция, состоящая из быстрых аховых презентаций, и атмосферных моно-маньячных проводок, которые - самые разные на этом альбоме, но главное - что они вроде как сделаны для передышки, а неподготовленные слушатели и там захлебываются.

AETHERIUS OBSCURITAS начинают свой альбом с программной композиции. Где через 2,5 секунды стартует дренаж нервной системы быстрейшим гитарным остроугольным риффингом, причем даже показалось, что иногда все идет к чертям и несколько наперекосяк,


Чуть далее - к центру трэка - гитары поуспокоились и только разрывают печень режущими сентенциями, а тут вообще в блэковом антураже полу-баллада на 7 секунд, а далее - вдоль и попрек искрометная, реально артистичная пилорамная отработка. Нигде гитаристы не чураются хаосной организации, если так можно выразиться, чем и многоценны.

Arkhorrl - зачетный мультиинструменталист... и не менее толковый вокалист. Он отлично модулирует в жестоком скриминге, на ходу перестраивая диапазоны, и что уникально для него, как оригинального вокалиста, — в некоторых местах у него в горле словно бы закипает чайник - такое вполне отчетливое среднечастотное клокотание.

Музыканты AETHERIUS OBSCURITAS легко меняют темпы выработки блэк-металл угля: то ускоряются, то не менее плодотворно замедляются, для контраста. Так легче пережить их стремительные гитарные пекельные ливни из огня и серы.

Многообразие и многоукладность в нише БМ - это не парадокс и не фантазия буйно помешанного, именно так органично и артистично играют и собирают здесь композиции. Не чураясь опираться на очевидные мелодические линии. Кстати, и приглашенные вокалисты спели, как я понял, чистыми и немного примоченными голосами. Получилось символично: когда более олдовые коллеги поддержали блэкеров более поздней генерации.

Как было отмечено, Arkhorrl исполнил здесь и на клавишах, это были всегда или почти всегда скрытые фоновые партии, но иногда, дабы отчетливо догнаться депрессией и негативным взглядом на разбросанные вещи, он брался за черно-белую колоду. То же самое насчет акустической гитары, но тут - кроме указанного - Arkhorrl кидал в топку напряжение, арт-диссонанс и святую простоту.

Для того, чтобы вы полнее поняли мировосприятие AETHERIUS OBSCURITAS, отмечу, что они участвовали в венгерском трибуте Burzum с трэком "Ea, Lord of the Depths".




Octavo álbum hasta la fecha de los longevos húngaros AETHERIUS OBSCURITAS, formados en 2002 y que poco a poco han ido limando esas similitudes en su sonido con Burzum para enclavarse en algo más pulido y melódico. Mártír, que así se llama el disco, bebe muchísimo de la ola nórdica de los 90 de los primeros Satyricon, Dimmu Borgir o Gehenna, lo cual queda bastante patente en esa apertura y desarrollos ya clásicos en "Ilyen a Vér" o esas abruptas cabalgadas a lo Dissection (y con interludios, parones atmosféricos de teclados mediante) de "Marthyr", temazo de regusto clásico que muestra a una banda ya curtida en los instrumentos.


En un inicio proyecto en solitario de Viktor Vágvölgyi (Arkhorrl), pronto se acompañaría de la batería de Zson además de varios músicos más para los directos. Sonido limpio y nada embarrado, a pesar de lo cual no se pierde nada de atmósfera en los gélidos pasajes de "A Vén Végvivő", con toques a Dissection incluso. Los sincopados ritmos de las guitarras con lentos pasajes recuerdan muchísimo a Immortal también, y aunque no se metan por terrenos Folk, sí que supura cierto aroma Pagan en el abordaje agreste de la guitarra acústica de "Az Igaz" y su posterior derrame melódico. Esos contrastes entre melodía y brutalidad están muy bien medidos y cada uno de los cortes de Mártír pasa por diferentes fases, puentes y y estribillos, que además se adornan a la perfección con algún canto esporádico o detalle de sintes.



Amantes de los Blast Beats agárrense las gónadas con "The Frozen Lake of Eternity" y sus efluvios cuasi Emperor (falta lo sinfónico, eso sí)... maravilloso por cierto el interludio espectral de teclados y medios tiempos, solo de guitarra inclusive. "Lidércpalota" sube la intensidad todavía más haciendo que otro nuevo puente melódico de teclados resalte como una pepita de oro en medio de alquitrán. Para que me entendáis, creo que lo más parecido sería el Nemesis Divina de Satyricon o For All Tid de Dimmu Borgir. Es encomiable la calidad que tiene el disco en cuanto a composición... mira que hay bandas y proyectos, pero los húngaros Aetherius Obscuritas lo han bordado.


El tramo final pasa por la acústica y de raíz medieval "Beyond the Walls", cortada en seco por "A Harag Lángja" y su circular riff de guitarra en modo Permafrost, que se asienta sobre unos extrañísimos ululares metálicos de teclados y el doble bombo apuntando a Orión. "Destiny: Unknown" sigue la misma tesitura y "Pulzár" finiquita con una outro experimental de teclados catedralicios y cánticos que se disuelven a penas son esbozados. Muy buena.


Por cierto, coedición entre Grimm Distribution y Paragon Records, Pit Art en el CD, jewel case con libreto de 12 páginas y pocos datos técnicos más tengo. Los seguidores del Black Metal de los 90 van a disfrutar de lo lindo. Impresionante ejercicio de género que os va a encandilar.




Here I sit yet again with a band that I have absolutely no clue about and with an 8th record to review. Not having heard any of the previous 7 I don’t really have anything to go by. If this turns out to be a real killer I need to track down the remaining 7 albums to get a complete collection. Musically this is black metal of the more basic kind. As I listen to this I cannot really make up my mind what I think about it. All I know right now is that I will not hunt down the previous 7 albums. This is really my kind of tracks. They seem to be very plotty. As if they try to put too much stuff into one song. Perhaps this will grow on me with time but for now I’ll settle with calling it decent.





Even-though it’s been more than a year, I will write several reviews on stuff released by GrimmDistribution (and the sister-labels involved) from ‘back then’. Mártír is one of those releases that does deserve any additional support by undersigned (for what it’s worth).


Anyway ‘part one’, Aetherius Obscuritas are a duo from Hungarian soil, active for about two decades, and for some strange reason way too underestimated outside their home country. This release will probably / surely, put this project on the world-wide map of Extreme Metal.


Anyway ‘part two’, Mártír is the band’s seventh or eighth full-length album, clocking more than forty minutes. There are 1,000 physical copies, coming with a twelve-page booklet, which does include the lyrics (performed in both English and Hungarian) and a modest, sober lay-out. It gets released in a cooperative craftsmanship in between GrimmDistribution, part of the mighty Satanath Records family, and Paragon Records from the States. And before writing down my thoughts on the sonic side of this recording, a last point of information. The album was recorded by founding member Viktor ‘Arkhorrl’ Vágvölgyi (‘etherial lore’ aka all vocals, strings and synths) and drummer László ‘Zson’ Fodor, who collaborated a thousand times before with Aetherius Obscuritas (both live as well as session musician).


The core of Aetherius Obscuritas’ Black Metal is based on speed-up melodies, a powerful and stunning technical execution, and a well-thought equilibrium in between blasting aggression and dark-atmospheric elegance. I did mention ‘speed-up’, for the better part indeed rages from energetically up-tempo over brutally accelerating up to pyroclastic eruptional. The merciless, barbaric drum-work by Zson surely contributes to that furious and maniacal character. However, once in a while, or is it: more than once, everything slows down, with calmer passages and rather relaxed excerpts. Relaxed? Well, that’s an exaggeration, for do not expect any moment of peace or tranquility.


The technical implementation is of a very high-standard, creative nature. This gets translated through the many breaks and tempo-changes (which are, by the way, very well-balanced and deeply worked-out), the cool yet cunning modifications in structure, the little progressive guitar-lines and leads, the multi-layered and savage approach, and the fine interplay in between the lead-work and the rhythm section. The latter gets strengthened in a positive way by the professional yet still rough-edged production, generating an acceptable mix of all voices and instruments.


Besides, this album brings more than just a virulent and vicious assault on the listener’s state-of-mind. Aetherius Obscuritas do add quite some interesting details. The main vocals are little nasal, very raw, somewhat shrieking and high-pitched, but there are spoken words and some cleaner vocals too; not too much, yet done at the right moment. Another thing is the use of some atmospheric, semi-symphonic fragments. The keyboards are carefully used, organically mixed into the whole experience, and they do create those necessary moments of in-depth ambience at the right moment. Other synth parts add a feeling of psychedelic and frenzy mind-twist (example: the oppressive industrial / electronic outro Pulzár or certain chapters within Lidércpalota). Furthermore, the well-crafted guitar solo’s are technically strongly-written and performed, strengthening an epic mood of victory, then again simply defining Arkhorrl’s craftsmanship. And of course you can expect some acoustic guitar-work as well. Beyound The Walls (‘beyound’ indeed, not ‘beyond’) is a track totally performed on acoustic guitar, unusual and dexterous, and a fine intermezzo on this full-length.


An interesting thing is the guest contribution of some well-known human (I think they are) beings, like Ragnarok’s current front-man Jontho (on Marthyr) and Lord Kaiaphas (currently in e.g. Le Chant Noir or Thokkian Vortex; ex-Ancient / Thokk / Grand Belial’s Key) (The Frozen Lake Of Eternity).


Anyway, there’s no use to go on with delving into details and descriptive points of interest. Mártír turns out to be a very eccentric, diversified and, above all, overpowering and laborious work, which will be adored by some, and maligned by others. Listening before buying (stealing?) is recommended, but the open-minded ones amongst us might be positively surprised!





Hungarian Aetherius Obscuritas started out in 2002, Martir had been released in April 2020 and it is already band`s 8th studio album.


Martir is mostly obscure black metal record, having deadly fast drum beats, plenty of blazing and some dissonant guitar riffs that pop up throughout the record quite often, There are some cosmic, electronic effects blended into sound of the band that remind me of Emperor, but guitar-wise - it is happening in songs of the band as well.

Song A vén végvivő (The Old End-Bearer) when is not played fast, has this crafty moments in the middle of the track that penetrates the space in band`s music, because Aetherius Obscuritas is not just about black metal cacophony in their music but diverse song writing also.


Both high pitched shrieks and clean vocals sound very convincing in the music, either in those harsher fragments or where vocals needed to be more melodic. In Marthyr, a guest appearance has had Jontho from Norwegian band Ragnarok.

Blistering black metal riffs with a bit of melody from lead guitarist and a singer, it surely was not a bad idea to add another blazing song like Az Igaz (What 'True' Is) to the band`s  tracklist and make it shine for the album.

Heavier and ethereal-some track is The Frozen Lake Of Eternity. This is how you still can expanse black metal boundaries a bit, by using various effects in vocals and music that are less common. Also here, you can hear a voice of Lord Kaiaphas (ex-Ancient) who was another guest musician on the record.  

Lidércpalota (Incubus Palace) has a bit an avant-garde black metal music vibe, not only the way a bassist plays here, but overall - the band often escapes beyond black metal cliché in their songs by playing little more complex arrangements than most of black metal bands do.

Beyond The Walls is an instrumental track played on acoustic guitar that sonically shows you that there is a good musicianship in Aetherius Obscuritas.

A harag lángja (The Flame Of Wrath) is both fast and heavy song where some riffs sound pretty much like traditional Norsk black metal.

Grim, faster black metal song is Destiny: Unknown, which has its slower guitar moments and keyboards that they try to fit into songs every time differently.

Organ and strange, industrial effects is all you can hear in closing track called Pulzar that is not a metal song at all.


I noticed that keyboards effects and vocals deliver the most of diversity into the music of the band. Guitars make the band sound original at some points although by transcending Tormentor, Emperor, Master`s Hammer (vocals) influences into the music of this Hungarian band, Martir does not feels like this album always brings something new musically for me. It does not stop me from having those few strongest tracks that they have on this album such as: Lidércpalota (Incubus Palace) and A vén végvivő (The Old End-Bearer)...





The prolific Hungarian act releases in 2020, for Satanath Records / Paragon Records, the eighth album; a remarkable achievement because the band has been in business "only" since 2002.

The duo's proposal is a fairly personal Black Metal, based on a truly inspired and varied riffing, on fast and dynamic drumming, with almost experimental solutions of Synths and rather refined and unconventional scores.

We suddenly pass from more dilated and dissonant parts to outbursts more in line with the genre of origin, as in "A Vén Végvivo"; "stop and go" and acid arpeggios in the title track "Martir", Thrash Metal hints and references to Prog in "The Frozen Lake of Eternity"; bizarre bass parts, as in "Lidércpalota", but in general the particularities are scattered a bit in all the songs, this aspect makes the whole album enjoyable and not monotonous.

Very direct "A Harag Làngja", the most incisive song; vaguely reminiscent of Taake's Hoest screaming harsh and rough that is well suited to the musical part: the latter seems to be inspired, even if minimally, by the Norwegian band, especially in the more Epic parts.

The singer, however, does not disdain sporadic clean vocals that are spot on.

The production is remarkable, dry and well defined: the instruments have a good sound that also brings out the very valid bass phrasing, often in the background in most of the Black Metal releases, the drum is present even if slightly in shadow compared to the rest in particularly in the faster parts, the guitars have a lean sound that allows you to detect the playing precision of the riffs.

Ultimately a great album, personal and engaging, like a few in this period!




Haha, nyt on sellaiset vokaalit, etten ole black metalin saralla vielä kuullut! Aetherius Obscuritasin vokalisti ja piru kaiken takana Viktor, omaa sellaisen kurkun, jonka rääkyminen kuulostaa joltain kiiskeä köhivältä Klonkulta. Näin äärimmäistä ja freesiä ääntä en muista hetkeen kuulleeni. Lisäksi perus corpse paintin sijaan taiteilijalla on rahkakipsiä muistuttava paksu kuorrutus naamallaan, mikä vain lisää rajuuskertoimet maksimiin!


Kiljuminen ja metalliswag ovat asia erikseen, mutta miten itse duon tarjoilema musiikki? Toinen puolisko koostuu rumpalista Zson, joka on patteriston takana oikea piripäinen pugilisti kilisytellessään, kolisutellessaan ja takoillessaan lautasia sekä kalvoja.

Kappalemateriaali on monipuolista, ja vaikka nopeusmittari näyttää hurjia lukemia, löytyy “Mártír”-levyltä myös hengähdystauko akustisen “Beyound The Walls” -kappaleen ajaksi. Harvakseltaan kuultavat puhtaat lauluosuudet jäävät lähinnä kurioositeiksi, sillä Viktorin puhdas ääni ei ole hääppöinen. Syntikoita levyllä kuullaan maltillisesti ja biisien tunnelmia vain ehostaen, ei hidastaen.


Unkarilainen Aetherius Obscuritas soittaa uutukaisellaan keskivertoa parempaa black metalia moderneilla soundeilla, mutta hullu rumpali ja uniikit vokaalit nostavat lopputuloksen tasapaksuuden yläpuolelle. Pelkästään jo Viktorin kurlailujen vuoksi tarkistamisen arvoinen suoritus!