Satanath Records - Reviews: SAT146

Reviews: SAT146

Enoid is al sinds 1996 actief maar dit is de eerste keer dat ik dit solo project hoor. Duistere, kille black metal met ijzige melodieën is wat deze Zwitser ons voorzet en het smaakt me goed. Acht nummers met een rauw geluid en veel variatie in structuren komen langs en allen hebben ze dezelfde kwaliteit. Die is niet hoogstaand te noemen maar ook zeker niet slecht. Dit is gewoon prima spul, niet vernieuwend of opzienbarend maar wel lekker.

http://www.lordsofmetal.nl/nl/reviews/view/id/32403

'Exile Aux Confins Des Tourments' is the latest and very noteworthy album in the extensive catalogue of releases from Swiss Black Metal project Enoid, marking the twentieth anniversary of their inception.

I say they, but in fact Enoid is a one man project masterminded by Bornyhake Ormenos, the man also behind several other solo projects including industrial Black Metal project Borgne, raw Black Metal project Pure as well as Black Metal bands Haine and Ravnkald, not to mention a whole other list of involvements and collaborations. Needless to say the standard here is as high as you would expect from such a seasoned musician.

As well as handling all the composition, vocals and instrumentation Bornyhake is also responsible for the album mixing and sound wise it's a fairly straightforward Black Metal offering that's a mix of Swedish and Norwegian in its style and delivery, dark and crushing and with a harsh but controlled brutality and a subtle dark melodic inference that makes it hugely listenable yet delivering that all important, challenging edge.

Composition wise the tracks are solid, well constructed, unfussy and straightforward and made me think a little of '1349' at times, particularly the coldness to the guitar work that comes from the very distorted edge to the riffing which is very dominating as well as hugely atmospheric, evocative and downright misanthropic and although the sound is a traditional Black Metal one it's modern and forward thinking in its outlook.

The drum work is great, very punishing and often prominent, particularly on 'Ces cicatrices dans mon âme', where it rises up majestically out of the blackened riffing. It could be a drum machine but if it is, it's well programmed and the whole thing is completed with traditional, superbly delivered vocals which manifest as a raw rasping scream, set slightly to the back of the sound, drawing you in.

The whole album bounces along taking you with it and as it does, each track has that little aspect that catches your ear in passing; the closing off kilter piano which really grinds uncomfortably, in a good way, on you, on opening track 'Je t’arracherai ces Cieux’. The addictive haunting repeats on the crushingly dark 'Ces cicatrices dans mon âme', also on possibly my favourite track of the release, the beautifully morose and dark 'Mangez ma chair, prenez ma douleur' and an engaging mix of both the haunting and the punchy on 'La croix de mon existence'.

I also love the initially slower pace of the reflective and haunting 'Nouveau cycle destructeur' and how it this pace quickens and intensifies, there is a brief crushing moment but on the whole it's a fabulous builder of a track.

Probably the craziest track of the release is the intense and manic paced 'Sourire éternel sur mes lèvres' and the background screams add a rather nice tortuous edge to the intense nature of 'La lumière disparaît' but all the stops are pulled out for the final and longest track, 'Ode à la haine', a dark, slow, deliberate and haunting opener with a tortured vitriolic edge to the rasping vocals, the slower pace building slightly but on the whole remaining on that constant slow, crushingly oppressive route with some great haunting lead segments punching through.

'Exile Aux Confins Des Tourments' is a thoroughly engaging chunk of highly listenable Black Metal.

http://www.metaltalk.net/columns2016/201629400.php

Jaaaa, natuuurlijk ben ik Enoid beginnen luisteren omdat Ormenos (Borgne) de bezieler is. En ja, ik vond het oorspronkelijk niet zo bijster sterk. Ik wachtte gewoon een Enoid-plaat af die A. de moeite waard is B. niet onbeluisterbaar scheurend klinkt en C. een andere kant van Ormenos laat horen. En ja hoor, die is er nu: Exilé aux Confins des Tourments.

Bij Enoid lijkt het alsof Ormenos meer zijn eigen goesting kan doen. Niet per se het Borgne keurslijf, maar ook gewoon ongedwongen negatieve black metal met een snerpende lead, midtempo of uptempo blastcomputerbeats, met of zonder bas, ... maakt allemaal veel minder uit. Soms klinkt het daardoor volatiel, soms net extra creepy en crispy. Ormenos slaagt er in ieder geval wel in om Frans eindelijk als een evil taaltje ten berde te brengen, dankzij het snerpende gitaarmateriaal en de begeesterende serenade aan impulsen, iets wat voorheen enkel een aantal Canadese blackmetalbands lukte.

Luisteren doen we naar Ces Cicatrices dans mon âme en La Croix de mon Existence (fade out much?), twee nummers die het gemiddelde naar boven trekken. Haatdragende blackmetalliefhebbers doen er dik vijf punten bij, en in benevelde toestand komen daar nog eens vijf punten bij. Fuck humanity en zo.

http://www.zwaremetalen.com/recensie/34717/Enoid-Exile-aux-Confins-des-Tourments.html

Swiss musician Ormenos is a well-known figure in black metal world, as he has multiple active projects and been involved in countless more. You’re likely to know him best from his two long-running solo projects Borgne or Enoid, the latter of which is set to release a new full length later this week. Out on May 5th as a co-release from Satanath Records and Black Plague Records, ‘Exilé aux confins des tourments’ looks to be another strong showing from the band and will appeal to anyone looking for another display of raw, unrelenting black metal.

Today we’re pleased to have the opportunity to premiere the song Mangez ma chair, prenez ma douleur, the third song on the record. If you’ve heard the previously released singles you might be thinking that Enoid is going to spend much of the album going full throttle and hitting you with fast paced riffing. But this song showcases the project’s slower side, establishing an eerier lead riff that gets under your skin with a heavy amount of distortion and colder tonality. For a song that loosely translates to “Eat my flesh, take my pain”, this slower build-up and foreboding instrumentation feels appropriate. About three quarters of the way in Mangez ma chair, prenez ma douleur takes that denser atmosphere and throws the listener right into a swirling mixture of cold and abrasive riffing that’s up there with some of the best black metal has to offer.

The tense, dark instrumentation isn’t the only thing that the song has to offer though. Throughout the course of the track Ormenos delivers a harsh scream that is razor sharp and has just the right amount of reverb on it to have this larger than life feel that towers over the instrumentals. It’s that type of pitch that gets your skin crawling just as much as the riffing, and the level of distortion and grit to the performance really helps to set Mangez ma chair, prenez ma douleur over the edge and continually grab your attention.

All of the tracks that Enoid has released as a preview for ‘Exilé aux confins des tourments’ head in slightly different directions while still maintaining that icy, abrasive feel that black metal does so well. Despite the sheer amount of music Ormenos works on and releases over the span of a few years, he has the ability to write eerie, unsettling black metal with real substance to it and this album looks to be no exception. Get ready to be sucked into the darkness and despair of ‘Exilé aux confins des tourments’ on May 5th.

http://tometal.com/song-premiere-enoid-mangez-ma-chair-prenez-ma-douleur/

Enoid is a Swiss one-man band playing black metal akin to the neighbours in France.

The protagonist, Bornyhake, is an active man, running the band Borgne on his own amongst others. Even this guy has been involved with Kawir, and he's even been session drummer/guitarist for Manii on their Skuggeheimen EP.
Enoid has actually been around long enough to mark the band's 20th anniversary this year, albeit also under other names for about half the time, but most of the activity has taken place under the name Enoid during the last ten years. Exilй... is the band's seventh release.
In what we may refer to as noisy conditions, I rushed to put on the first music I could find on my phone, leading to Exilй Aux Confins Des Tourments washing over me at full volume like a tsunami. Exactly what sounded most clamorous, the external racket or the deafening sound as the headphones exploded, is rather difficult to tell.

After adjusting the sound down several times, I note that the music Enoid offers is good, but that there is something wrong with the sound. In sharp contrast to Head of the Demon below, where the dynamics feels better than its numbers, this feels considerably worse than what it actually is. The volume seems ridiculously loud, so harsh and shrill I could swear on low dynamics and clipping en masse, affecting the sound quality negatively no matter how much one turn down the volume. A control measurement however reveals DR7 and extremely low amount of clipping.
Bottom line is there's something very erroneous with the production, for it sounds glaring and rather fucked.
The music had deserved better, though as Bornyhake have tuned and mixed everything on his own, it's strictly speaking his own fault. The black metal is actually good as coal. This is dark and uncomfortable metal with pretty solid tunes and gloomy moods. The music is characterized by despondency and suffering, as well as adequate disgust, because there's always someone or something to blame. The music has diverse dystopia and misery, and overt aggression.

With varying sound from churning guitars, pounding drums providing outlet for pent-up rage and tormented vocals with French spiteful diction, the approximately 43 minutes never becomes boring. Although the album can't really be said to be original, it never feels generic. The rather special, and far from polished guitar sound, does help somewhat on supplying distinctive character. Diversity, brutality and moods otherwise provide comfort for comfort-less souls. And certainly, some may actually consider the sharp and stinging sound as trve. I am admittedly an aficionado of Nocte Obducta's Schwarzmetall (as mentioned ad nauseam) but this is still a bit exaggerated. Necroticness, aggression and mediocre dynamics is probably no optimal combination.
Music: very good. Compressed Shrill sound: if not gruesome, then at least tiresome. Grand Total: medium plus.

http://gorger.org/english/2016/2016-05eng.htm#Gorger08

Очень много агрессии несет на своем последнем (на данный момент) релизе швейцарский он-мэн-бэнд. Также визуальной жестокости добавляет работа Максима Таккарди - культового художника из мрачных закоулков Парижа. Интересно, сколько крови потерял Макс, перед тем как закончить данный арт? Сколько бы не было, а вышло действительно очень кроваво и с гнильцой. Пусть никого не смущает столь странный комплимент, но думаю, что мысль художника я угадал.

И действительно, сам альбом имеет именно такой оттенок. Сначала в музыке, словно в разуме, зарождается злость, которая постепенно переходит в агрессивное состояние. В свою очередь именно агрессия толкает на необдуманные поступки, которые ведут за собой большие беды и иногда даже чью-то смерть, ну а далее кровь да разложения... Все вроде довольно просто и мрачно, но контент совершенно не заводит в какую-то определенную крайность, и восемь треков очень легко меняют настроение всего альбома. Конечно же, настроения эти далеко не солнечные, так что любителям улыбок лучше сразу пройти мимо. Но и конкретной меланхолии здесь тоже как бы и нет. Есть безысходность, есть злоба, есть раздражительность, есть какая-то тревога, есть даже психоделика, но нет грусти и усталости. Материал напичкан большим количеством различных ходов, среди которых немало мелодизма, но в то же время материал не отступает от канонов стандартного тру-блэка. Так что смело собирай вокруг себя воронье и усаживайся поудобней на костлявом троне.

Альбомы у Enoid и ранее были очень интересны, но данная пластинка, конечно же, берет над всеми предыдущими верх. Над звучанием работал сербский "мастер черных дел" - Владимир Узелак. Кстати, звук последнего альбома российской группы Godcider, тоже его рук дело.

https://vk.com/wall-99753659_262

This is the seventh album from this Swiss black metal solo project.

As soon as I press play my attention is hooked by what blares out of the speakers. It’s scything, sharp Black Metal with a tight sound and enough frosted melodies and dark aggression to cut deep into the most jaded of hearts.

Kind of like Anaal Nathrakh crossed with Darkthrone and dipped in Norwegian scorn, Exilé aux Confins des Tourments is a very satisfying listen. I always enjoy this kind of black metal, all bladed intent and malevolent onslaught.

The songs switch between blast beats and slower, groovier sections with ease; both are highly enjoyable and both benefit from guitars that deal in either frosted rhythms or swirling, biting melodies.

The melodic component of the tracks should not be underestimated; providing a heightened sense of emotive darkness along with the blackened riffs and scathing screams, it all fits together as a hugely impressive package.

Speaking of the scathing screams – they’re extremely well performed and are the final touch to the album. Everything on this release smacks of high-professionalism and grim conviction, focused on producing supreme black metal art.

This collection of songs really hit the spot for me. The tracks slip out into the airwaves with a lethal smoothness; for a great combination of emotive content and outright intensity, Enoid’s latest release strikes the right balance with ease.

Hellishly good. Check this one out as a priority.

https://wonderboxmetal.wordpress.com/2016/05/05/enoid-exile-aux-confins-des-tourments-review/

Apparently French is one of the four official languages of Switzerland and the Romand language or français de Suisse is spoken largely in the Arc Lémanique region in the Western part of the country. This fact and the disc in front of me reminded me of the one man outfit Borgne who had so impressed with 2012 album ‘Royaume des ombres.’ It probably wasn’t really surprising to discover that both Borgne and Enoid are actually the work of the same person one Sergio Moplat who is best known under the nom de guerre of Bornyhake. He certainly is a prolific chap who has notched up plenty of releases in the aforementioned acts, as well as past and present, some 15 others. He even managed to play drums in Greek outfit Kawir at one point. As far as Enoid are concerned he has delivered six albums in the last ten years but the project has been active for 20 under various guises. This is my first encounter with them and again it is very much a one man show as everything you hear is done by him.

With an album title that translates to ‘Exiled To The Confines Of Torment’ and tracks similarly like ‘These Scars In My Soul’ and ‘Ode To Hatred’ it’s pretty obvious this is going to be devout and misanthropic black craft. Once ‘Je t’arracherai les cieux’ ‘I Will Tear You Heaven’ hones in the abuse comes thick and fast. Drums hammer away, thorny vocals spike and snarl and guitar riffs flail like whiplash. This goes like the absolute clappers and is a bit of a change from the more atmospheric and graven Borgne that I have heard. There’s a good melodic grasp about its pulverising thrust though and if I had not looked things up and known better I would have assumed this was the work of a full band rather than just one individual. There are some slower moods stirred up here too and they are quite creepy as they lurch along with some necrotic sounding vocal parts. The track ends really strangely too with some pizzicato plucking noises before the next number hammers in on its back and tears off again.

Without going further into the lyrical narrative it is still pretty easy to guess where Bornyhake is coming from with his hellish vocal delivery and spiteful musical approach. There’s some excellent driving fury here and some of the repetitive musical motifs as with the central theme of ‘Ces cicatrices dans mon âme’ are catchy and compulsive. Tracks are on the whole cut down to an average 5 minute length and are not left to sprawl but get their message across in a perfunctory fashion before moving on. It’s not all hyperblast speed either and we move to brooding crepuscular and crypt like stalking tones on ‘Mangez ma chair, prenez ma douleu’ where as the title suggests flesh is consumed in an unholy mass. Don’t get too comfortable though as the next number is a complete contrast and literally tears your head off whilst also adding some downright sinister melody lines once it has done so.

There’s plenty of depth and passion about this album and at full thrust it goes down a damn destructive path. The fact that other paces are occasionally brought to the forefront allow things to breathe and not stagnate making this a pretty solid album that captivates throughout. Having been bitten I’m glad that this is just the start for me as there are plenty more works of suicide and genocide still to explore.

http://www.avenoctum.com/2016/07/enoid-exile-aux-confins-des-tourments-satanath-records/

Sarà per qualche strano allineamento geomagnetico, oppure solo una questione di caso/fortuna, ma se un gruppo viene dalla Svizzera, solitamente incontra i miei favori musicali. E il bello è che si parla di varie realtà musicali, dai Celtic Frost ai Samael. E ora questi Enoid. Dal titolo francofono dell’album si può evincere che i nostri vengano da una specifica area geografica dello stato elvetico, ma poco cambia. Perché gli Enoid, nella migliore tradizione svizzera quindi, fanno buona musica. E per giunta musica estrema. Trattasi di un Black dalle forte influenze norvegesi, Mayhem in primis, ma con dei suoni molto meno grezzi e molto più moderni, quasi al passo coi tempi mi verrebbe da dire. Già la voce tributa non poco le leggende poco fa nominate, ma è in generale l’intera impostazione delle tracce a lasciare piacevolmente colpiti. Perché chi ascolta i Mayhem sa che loro sono sempre stati fedeli a certi suoni eppure sempre avanti coi tempi. Beh, nel loro piccolo anche gli Enoid sembrano voler fare altrettanto con un sound molto coinvolgente e figlio del nuovo millennio tanto quanto della tradizione Black novantina. Insomma, se cercate musica in stile Mayhem, ma che non sia uguale ai Mayhem (specie perché loro non sono dei campioni di produttività…) avete trovato decisamente quello che fa al caso vostro.

http://www.metalhead.it/?p=79323

“Ode a la Haine” is the new track from Swiss one-man black metal outfit, Enoid, and it is absolutely amazing! At first, it’s warm and inviting, almost like a lullaby. A bleak and ominous lullaby, but a lullaby nonetheless. The some equally warm drums with a full, rich kick sound. Before you know it, more than a minute and a half has passed… and things take a turn toward some intense vocals and heavily distorted guitars. Yes, all of “Ode a la Haine” is glorious.

But don’t take my word for it, have a listen in the player above!

“Ode a la Haine” is one of eight tracks from the upcoming album Exilé aux confins des tourments, set for co-release via Satanath Records (Russia) and Black Plague Records (USA) on May 5, 2016. The album is Enoid’s seventh release, marking the 20th anniversary since establishing in 1996. All instruments and the mix of the album were done by Bornyhake (Borgne, Kawir, Manii, Triumfall, Pure) along with cover art done by Maxime Taccardi.

http://www.yellmagazine.com/perfection-ode-la-haine-enoid/108182/

Enoid are a solo project from Switzerland that has been featured before in this zine and plays a very raw form of anti human black metal and this is a review of his 2016 album "Exile Aux Confins Des Tourments" which will be released in May as a joint effort between Satanath Records and Black Plague Records.

A very dark soundscape starts off the album giving the music an ambient feeling before going into a very fast and raw black metal direction that utilizes a great amount of tremolo picking and brutal blast beats and a few seconds later high pitched black metal screams make their presence known on the recording.

When guitar leads are utilized they remain true to a raw style of black metal and all of the musical instruments have a very powerful sound to them while the vocals also get very grim at times while some of the riffs and leads also use morbid sounding melodies and the songs also bring in a great mixture of slow, mid paced and fast parts.

There is also a brief use of spoken words and there is also a few seconds of avant garde elements while the music sticks mostly to a raw style of black metal and on some of the later tracks the vocals also get deeper in some parts of the songs and one song brings in the screams of tortured souls and clean playing is introduced on the last track which is also very long and epic in length.

Enoid creates another recording that remains true to the very fast and raw style of anti human black metal that he is known for, the production sounds very professional while the lyrics are written in his native tongue cover death, misanthropy and reflections themes.

In my opinion this is another great sounding album from Enoid and if you are a fan of raw and anti human black metal, you should check out this recording. RECOMMENDED TRACKS INCLUDE "Ces Cicatrices Dans Mon Ame" "Nouveau Cycle Destructeur" and "Ode A La Haine".

http://occultblackmetalzine.blogspot.ru/2016/04/enoidexile-aux-confins-des.html

When you first listen to Enoid and kinda blinkingly make a face like you have a mouthful of spicy food, you might yield a laugh from your loved ones. For they can’t discern the shades of intensity in black metal; the idea that Enoid is the lightning fast, invasively intense kind might seem like a speck-sized distinction, like the difference between gun shots to the skull with bullets of slightly different size. Enoid is a big, dirty ordnance.

http://www.metalsucks.net/2016/05/06/sht-comes-today-may-6-2016/

The Swiss Black Metal one man band Enoid is celebrating its 20th anniversary with the release of Exilé Aux Confins Des Tourments. Singing in French their depressive and suicidal Black Metal, Bornyhake is taking a path that can’t left you hoping for happiness or joy. There is not one moment of positiveness and the claustrophobic music makes it a highly effective record in the genre.

Taking the musical aesthetics of the lo-fi Scandinavian Black Metal, Exilé Aux Confins Des Tourments is well executed and the final mix is putrid and disgusting just right for the lyrics and its packaging. The album is reprising rhythms and beats that made Black Metal what it is today. It is grim, evil, violent, dangerous, and highly suicidal. At first I must admit not being a fan of depressive Black Metal and the whole current of suicidal BM either. But it would not be fair to not tell that I actually enjoyed the musical parts of Enoid’s instrumentations. Saturated guitars, blast beats to full overdrive and a fulfilling sense of ordered chaos. With this seventh album and twenty years making evil music he mastered the craft and the sound of a deviled record.

Pretty much like some more extreme bands like NSBM bands, which I’m sure Enoid is not, I do not agree with their lyrical choices but I can enjoy the music and the sheer talent of the musicianship. So overall, Exilé Aux Confins Des Tourments is a captivating piece of fast and aggressive Black Metal. It is an offering that is Black Metal in its purest form, not reinventing the genre but delivering a solid entry in it.

http://lemotdumelomaniaque.blogspot.ru/2016/05/enoid-exile-aux-confins-des-tourments.html

Ormenos ist der Mann hinter ENOID und der bringt hier Album Nummer sechs auf den Markt, bei denen wie beim Opener „Je t'arracherai les cieux“ Fans früher Dimmu Borgir Werke voll auf ihre Kosten kommen werden. Das Stück ist oftmals in oberen Tempo Regionen und das dazu wabernde Keyboard macht dazu einen episch bombastischen Eindruck. „Ces cicatrices dans mon âme“ hingegen ist nahezu frostig wie der skandinavische Winter, die Riffs klirren zu Beginn dermaßen, dass einem der kalte Schauer über den Rücken läuft. Mit zunehmender Spieldauer kommen dann die leicht angewärmten, harmonischen Gitarren hinzu und das Tempo geht eine Spur zurück, um später wieder sprunghaft zu steigen. Schleppend und tragend eröffnet „Mangez ma chair, prenez ma douleur“ mit einem Hauch Melancholie, der sich sehr lange hinzieht, bis gegen Ende des Songs ein Gang nach dem anderen hoch geschaltet wird. Im Vollgas legt „La Croix de mon existence“ mit unheimlicher Wucht los, das ist old school Black Metal mit herrlichem Gekeife und einem beeindruckenden Sound und auch „Nouveau cycle destructeur“ prügelt so manch extreme Salve raus, kann aber mit Breaks, vertrackten Parts und Tempowechsel die Spannung jederzeit hoch halten. Chaotisch brutales Blasten eröffnet „Sourire éternel sur mes lèvres“ das sich in seiner Intensität fast durch den ganzen Track ballert, um dann mit „La lumière disparaît“ auch wieder etwas Dimmu Flair aufkommen zu lassen. Diese Nummer hat auch sehr zähe Passagen, die bedrohlich wirken und mit geballter Raserei das Stück enden lassen. Am Ende beginnt das finale „Ode à la haine“ mit ganz weichen, warmen und sanften Klängen, bevor das frostige Riffing wieder die Kälte herauf beschwört und dabei das Song in eine hymnische Richtung drückt.

http://www.ffm-rock.de/index.php/reviews-interviews/cd-reviews/26809-enoid-exile-aux-confins-des-tourments

Ormenos, někdy též vystupují pod jménem Bornyhake, je docela činorodý chlapík. Budeme-li se bavit o jeho nejznámějších působištích, tak jste určitě mohli zaznamenat, že několik let tloukl do bicích v Kawir, působí v koncertní sestavě Deathrow (rovněž jako bubeník) a v pozici hosta se mihnul i u Manii (což je, jak známo, blackmetalová inkarnace Manes). Vedle toho má nebo měl i řádků dalších projektů a kapel, z nichž drtivá většina se pohybovala ve vodách black metal nebo grindcoru.

Z těchto osobních projektů pak vystupují nad ostatní zejména dva – Enoid a Borgne. V posledních letech se k nim do nejaktivnější trojky přidalo ještě novější jméno Pure. Všechny tyto tři kapely spojují dvě věci – jsou jednočlenné a jsou blackmetalové. Ve všech třech se však Ormenos na tento žánr dívá z trošku odlišného úhlu.

Ve všech případech ovšem platí, že Ormenos nepředvádí nic extrémně originálního. Všichni ale víme, že ne vždy je to potřeba, aby hudba byla dobrá. Mě osobně jeho pojetí black metalu baví a vlastně mám tvorbu tohohle holohlavého týpka docela rád. Tedy – do jisté míry. Abych byl totiž skutečně přesný, tak musím dodat, že mám rád především Borgne. Ten je i díky ambientním vlivům ze všech těch black metalů nejvíc zatížen na atmosféru, ale stále ve velmi syrovém, leckdy takřka až garážovém (viz „III“) podání. Ale baví mě to a minimálně „IV“ je jednoduše skvělé album, k němuž se stále rád vracím.

Jak ale vyplývá z nadpisu tohoto článku, předmětem dnešní recenze není Borgne (zde jsem příležitost k čerstvému představení v recenzi propásl – poslední album „Règne des morts“ vyšlo loni v září), nýbrž Enoid. Abych se přiznal, alba tohoto projektu zas tak podrobně nesleduji. Mám vcelku rád první dvě desky „Livssyklus“ a „Dodssyklus“, které jsou velmi dobré. Z dalších nahrávek už jsem slyšel jen něco a to, s čím jsem čest měl, mě zdaleka neoslovilo tolik jako debut a jeho přímý následovník. S letošním počinem „Exilé aux confins des tourments“ jsem se rozhodl to opětovně zkusit, tak si pojďme říct, jak to dopadlo…

Kdybych tu recenzi chtěl hodně omrdat, tak bych lakonicky prohlásil, že stále platí, že pro mě v rámci diskografie Enoid vede dvojice „Livssyklus“–„Dodssyklus“, na čemž novinka nedokázala nic změnit. Hádám však, že s tímhle byste mě pěkně hnali, tak to zkusím trochu rozvést. „Exilé aux confins des tourments“ je do jisté míry trochu obyčejné a nemá tolik síly, aby člověka doslova strhlo a nabídlo mu tak poutavou atmosféru, aby šlo odpustit jakživ neduhy. Zrovna v tomto případě mě nijak nerozčiluje relativní jednotvárnost či absence výrazných skladeb, které by nějak vystupovaly z celku. Vzhledem k žánrovému směřování Enoid to není třeba. Neschopnost uhranout však zamrzí.

Tím nicméně nechci říct, že by „Exilé aux confins des tourments“ byla hloupá nahrávka. V rámci black metalu, který bychom vágně mohli definovat jak dostatečně podzemní a čistokrevný, ale ještě ne garážový a echt špinavý, se jedná o dost solidní práci. Ormenos toho má za sebou přece jenom hodně a zkušenosti jsou z novinky jednoznačně cítit. Je to složené s jistotou a stále dostatečně kvalitně na to, aby šel poslech absolvovat v o poznání pozitivnějším duchu než jen stylem „nějak to přetrpím“. Některé pasáže jsou dobré a především ve druhé půli počinu se atmosféra přece jen zahušťuje. Skladby jako „Nouveau cycle destructeur“, „La lumière disparaît“ či „Ode à la haine“ jsou povedené a vlastně toho proti nim nelze moc namítat. Důstojnou laťku si ovšem udržuje celé „Exilé aux confins des tourments“ a ve finále tu není písně, na niž by šlo ukázat, že právě tahle je nadbytečná.

Největším problémem „Exilé aux confins des tourments“ ani není kvalita samotného materiálu, jaký se na nahrávce nachází. Desce spíš ubírá body skutečnost, že Ormenos už v minulosti natočil i výrazně lepší a poutavější alba, která tou silou posluchače strhnout disponují. A samozřejmě tím narážím zejména na „Livssyklus“ a „Dodssyklus“, o nejlepších deskách Borgne ani nemluvě. Tohle z „Exilé aux confins des tourments“ dělá počin, který si člověk právě teď, v době vydání, poslechne vcelku s chutí, vlastně ho to i baví, ale z dlouhodobého hlediska tu není moc důvodů, proč se vracet.

Jakkoliv si za tímhle prohlášením stojím, nechci, aby recenze vyzněla přehnaně negativně, jelikož se skutečně nejedná o špatnou záležitost. „Exilé aux confins des tourments“ je poctivé žánrové album, jež má své kvality, dobré pasáže, působí vlastně vcelku sympaticky a navzdory poměrně standardnímu výrazivu nezní vyčpěle. Což jsou věci, s nimiž se kolikrát nemohou chlubit ani výrazně známější skupiny. Je však na každém z vás, zdali to stačí k tomu, abyste se pustili do poslechu. Sám za sebe mohu říct jen to, že čas strávený ve společnosti „Exilé aux confins des tourments“ mi ztracený nepřipadá, jen nemám potřebu pokračovat dál.

http://sicmaggot.cz/enoid-exile-aux-confins-des-tourments/

Kehren wir zurück zum Black Metal und zu einer nicht wirklich unbekannten Band aus diesem Segment. Enoid feiern nämlich dieses Jahr ihr 20jähriges Bestehen (richtig gelesen – die Band gibt es seit 1996). Und was macht man zu einem solchen Event – man bringt ein neues Album heraus. Und das macht die Band dann auch und zwar mit dem Titel Exileé aux confins des tourments.

Mit Je t´arracherai les cieux startet das Album und nach einem kurzen orchestral klingenden Intro geht es gehörig zur Sache. Richtig brutale Drums und Riffs untermalen eine ebenso brutal klingende Stimme und wer die Boxen noch zu laut aufgedreht hat, dem fliegen die Ohren weg. Wenn das so weitergeht, dann hat man am Ende des Albums keine Luft mehr, das verspreche ich. Und es bleibt tatsächlich so, das zeigt dann das folgence Ces cicatrices dans mon âme. Mit viel Energie und Härte gehen die Schweizer zu Werke und hauen einem die Takte nur so um die Ohren.

Um einiges schleppender dringt dann Manget ma chair, prenez ma douleur an das Ohr, auch wenn immer schnellere Riffs hochkommen oder die Rhythmusfraktion einen Gang höher schaltet. Selbst dann hat man das Gefühl, dass der Song Zeit benötigt sich zu entfalten, gut gemachter Gegensatz. La croix de mon existence kommt dann dank der Drums wesentlich schneller aus den Hufen ist zugleich aber auch sperriger und schwieriger als das vorgehende Lied.

Nouveau cycle destrcuteur knallt dann wieder in bester Black Metal Manier aus dem Lautsprecher und dringt ohne Umweg in das Hirn des Hörers um ihn dann etwas geschafft zurück zu lassen. Schöne Melodieführung die aus dem Chaos immer wieder in den Vordergrund geschoben wird und wirklich tolle Drumleistung. Und dann wird es mit Sourire éternal sur mes lèvres wieder verdammt schwierig, denn der Song verlangt einem einiges ab. Vor allem auch Geduld und die Fähigkeit sich auf etwas einzulassen und genau zuzuhören –a anders wird man nicht glücklich damit.

Einfacher will man es uns nicht machen, dies wird mit La lurnière desparaît bewiesen, wobei sich hier geordnetes Chaos mit sehr melodischen Teilen abwechselt. Vor allem das Zusammenspiel Rhythmus und Vocals gefällt mir hier. Ok, mit Ode à la haine schaffen es Enoid mir nochmal ein richtiges Sahnestücken zum Abschied und zum Ende des Albums zu kredenzen. Für mich der beste Song eines guten Albums.

Fazit: Enoid gehen keine Kompromisse ein, sondern liefern ein hartes und brutales Album im Black Metal Bereich ab. Nichts für den netten Abend oder für nebenbei, sondern eher zum genau zuhören. Sperrig und manchmal an der Grenze zum Chaos muss man den einen oder anderen Song durchaus mehrmals hören um wirklich Zugang zu finden. Wer sich das zutraut und dann auch durchhält, wird dann allerdings zum 20jährigen mit einem sehr guten Album belohnt.

http://www.harte-musik.de/cd-reviews-aktuell/enoid/

Enoid ist wohl eine der dienstältesten Schweizer Ein-Mann-Projekte, denn es besteht (die Namenswechsel eingerechnet) bereits seit 1996. Genügend Zeit also um seinen Sound zu finden und zu verfeinern.

Mit „Exilé aux confins des tourments“ kreierte Omenos nur das 6. Album unter dem Namen Enoid und liefert damit einen fetten, tiefschwarzen Hassbatzen, der keine Gefangenen macht. Sägende, frostige Gitarren wechseln sich mit schneidenden Riffs ab, während die Drums mal Vollgas und mal Standgas geben. Dazu gesellen sich die rauen, kratzigen und hasserfüllten Screams. Die Songs preschen gnadenlos nach vorne und erzeugen eine bedrückend kalte und raue Atmosphäre, die sich durch das gesamte Album zieht, nach dessen Ende man sich fühlt wie der nette Herr auf dem Cover…allerdings im positiven Sinn, denn Enoid gefallen ohne große Schnörkel, bis mit dem abschließenden „Ode á la haine“ noch ein kleiner Epos nachgeschoben wird, der mindestens 3 Minuten länger ist als die anderen Songs des Albums und damit fast die 9 Minuten-Marke knackt. Kraftvoll stampft sich der Song nach vorne, ohne Unterlass und bildet zusammen mit „Mangez ma chair, prenez ma douleur“ die kleine Gruppe, der etwas gemächlicheren Songs. Die Gruppe, die zeigt, dass Enoid auch die ruhigen Töne beherrscht.

Enoid zeigen auf ihrem (/seinem) 6. Album, dass man nach 20 Jahren wissen sollte, wo man hin will…und das weiß der Herr sehr genau, wirkt doch das Album wie aus einem Guss mit ordentlichen Übergängen und drückender Schwärze. Und das Ganze komplett auf Französisch! Chapeau.

https://metalviewer.wordpress.com/2016/08/17/enoid-exile-aux-confins-des-tourments/

1. Ormeos comprises the one-man Black Metal effigy of ENOID. And it's refreshing that the sound of ENOID sounds more like a band than a one-man presentation recorded in a bedroom on a laptop. Earlier albums such as "Ataraxiis" took a little growing, but matured into thriving Black Metal that stood up to many. But the sixth studio album "Exilé Aux Confins Des Tourments" shows a more solid, immediately enjoyable piece of work beginning with the opening track 'Je T'Arracherai Les Cieux '. The second track 'Ces Cicatrices Dans Mon Âme' is pure Black Metal at its finest. The atmosphere, the melancholic rhythms and piercing vocals combine to draw us into the world of ENOID... a bleakness we come to associate with this genre. 'Mangez Ma Chair, Prenez Ma Douleur' slows it down a little without losing its appeal. The fourth track 'La Croix De Mon Existence' blasts back into action with a quick-paced cry of agony. And it's nice to hear real drums in a one-man band, which is a rarity. 'Sourire Éternel Sur Mes Lèvres' bleeds angst with its old school Black Metal guitars and driving drumming. The women screaming at the beginning of 'La Lumière Disparaît' is unnecessary, but luckily doesn't last long. The track itself is consistent with the earlier tracks in its intensity. The album ends with 'Ode À La Haine', which emits a feeling of drowning in despair while grasping and reaching for a way to the surface. If you want a solid Black Metal album, you won't be disappointed. ENOID's maturity as an artist ensures a lasting career in the world of Black Metal.

2. ENOID is a Black Metal one-man band from France. Formed back in 2005 (but already dwelling with different names since 1996) this is their sixth album. As far as I know the only band member actually handles all the instruments, drums included. In fact this is not the first time I have been faced with this band, and from what I can remember not that much has changed. They still play raw Black Metal inspired by early BURZUM and the Black Metal era of DARKTHRONE, with ice-shilling melodies, with more emphasis on the aura and atmosphere rather than heaviness. It has that sort of wicked melodies also comparable to very early EMPEROR. And vocals that go along with the style. In all, it is not that bad for the style, and fans of the aforementioned bands will do no wrong checking them out. They actually have quite a variety in playing styles as it is not just mid-tempo or fast, they like to play in a variety of tempos that makes this more interesting and to sound less repetitive than similar bands. This album is done in French... well, not something one would notice anyway. After a few listenings, there are some riffs that got stuck in the head like the one in 'Sourire Éternel Sur Mes Lèvres' which has a quite hypnotic aura. My only minor complain would be that the drums at times get lost in the very fast parts, something that happens a lot to similar bands. Still, this is a very good release for Black Metal fans, and also another hit in the Satanath Records catalog.

http://www.voicesfromthedarkside.de/Albums-EPs-Demos/E/ENOID--10668.html

Apesar daquilo que o título do álbum possa sugerir, não, Enoid não é um projecto francês. É uma one-man-ban suiça que lançou com este "Exilé Aux Confis Des Tourments" o seu sexto álbum. Nada mau tendo em conta que o primeiro foi lançado precisamente dez anos atrás. No entanto, para quem possa estar a interrogar-se como é que Enoid lhes passou ao lado e conjugando teorias acerca da sua qualidade como justificação, pode ficar já por aí, já que "Exilé Aux Confins Des Tourments" é um excelente álbum de black metal primitivo".

Já sabemos o que estão a pensar e não, apesar de termos uma produção agreste (por vezes a beirar o industrial pela sua crueza), não há por aqui nada de simplista ou de básico. Na realidade, até para os padrões do black metal, este é um álbum bastante dinâmico apresentando tanto temas mais uptempo (como a faixa de abertura "Je T'Arracherai Les Cieuxomo") outros mais midtempo (a excelente "Mangez Ma Chair, Prenez Ma Douleur" é outro bom exemplo) o que faz com a audição seja surpreendentemente viciante, para quem esperava apenas mais um álbum de black metal banal.

Banal é mesmo o que não temos por aqui, com "Exilé Aux Confins Des Tourments" a ter o mesmo potencial melódico que podemos encontrar nuns Anaal Nathrakh se estes tocassem um som um pouco menos javardo e com mais proximidade em relação ao black metal tradicional. Comparações aparte, os Enoid conseguem apresentar um equilibrio perfeito entre a tradição black metal e melodia, sem sacrificar um mílitro das concepções que temos para o estilo. Seja como for, é bom e é viciante como tudo. Pegando na pergunta inicial, se antes nos passou ao lado, a partir de agora vamos ficar de olhos bem abertos.

http://radiowom.blogspot.ru/2016/09/enoid-exile-aux-confins-des-tourments.html

Tra i monti innevati della vicina Svizzera non manca certo la voglia di suonare metal, d’altronde non sono pochi i gruppi che hanno dato il loro contributo alla causa metallica e che sono ormai considerati storici (due su tutti Celtic Frost e Samael) specialmente per quanto riguarda le sonorità estreme.

Così non mi meraviglia trovarmi al cospetto di un lavoro molto interessante e ben fatto ad opera di questa one man band chiamata Enoid, entità estrema del polistrumentista Ormenos, attivo con molte band della scena e dal 2005 portatore di morte con una serie di album giunti al cospicuo numero di sei con quest’ultima opera intitolata Exilé aux confins des tourments.

L’album si sviluppa su otto brani di black metal che deve molto alla scena norvegese degli anni novanta, ma un’ottima produzione gli conferisce un mood al passo coi tempi, esempio lampante di come si possa produrre musica vecchia scuola senza risultare per forza obsoleti ed alla lunga inascoltabili.

E’ così che l’album riscopre quelle atmosfere diaboliche e glaciali delle produzioni passate, valorizzandole con un buon songwriting ed un ottimo lavoro in sala.

Il polistrumentista svizzero accende la fiamma nera che risplende in questa raccolta di brani, agguerriti, e devastanti, le ritmiche per lunghi tratti con il pedale dell’acceleratore a tavoletta frenano su ottimi cambi di tempo che infondono alle tracce un’aura oscura.

Lo scream è perfetto, terribile e misantropico, da vero demone delle montagne, mentre l’atmosfera da armageddon della terrificante La lumière disparaît (con tanto di urla di pura disperazione di qualche anima dannata) insieme alla dannazione eterna in musica del piccolo capolavoro Ode à la haine, formano una coppia di brani che vanno a concludere l’album con il botto.

L’album risulta uno dei più riusciti nel genere in questo anno, perciò l’invito ai blacksters a non farselo sfuggire è d’obbligo.

http://metaleyes.iyezine.com/enoid-exile-aux-confins-des-tourments/

A black metal act from Switzerland since 1996, Enoid released their 7th album as it coincides with their 20th anniversary.

For true die-hard fans of Norwegian black metal, ‘Exile Aux Confins Des Tourments‘ is an album that uses French as its main lyrics language. Aggressive and melodic, it is a true companion of darkness and despair.

https://kultur666.com/2017/01/16/exile-aux-confins-des-tourments-by-enoid-a-comment/

Side-project du leader lausannois de BORGNE, ENOID va vous en faire voir de toutes les couleurs ! Oui, car à l'inverse de ce jeu de mot maladroit, cet album a tout pour séduire les fans de la formation principale de Bornyhake. Son bien raw, guitares grésillantes et agressives, vocalises raclées à l'acide chlorydrique, tous les ingrédients d'un bon gros taquet black metal sans compromis sont réunis ici. Et dieu sait qu'en matière de black, les Suisses n'ont de leçon à recevoir de personne. CELTIC FROST, HELLHAMMER, SAMAEL, il y a pire en matière de généalogie non ?

http://www.hardforce.fr/actu/18910/satanath-records-retour-sorties-2016

The origins of Enoid go back to the mid-nineties, when Sergio ‘Bornyhake’ Moplat started the project Pest. This Swiss guy is or was in many extreme projects, but I think Enoid, which actually is the successor of Organ Trails, with Organ Trails being the follow-up of higher mentioned Pest, might be one of the best known ones he’s involved with, and for sure one of the best.

With Exilé Aux Confins Des Tourments, Bornyhake has a fifth Enoid full length album, after 2013’s The New World Murder (Bergstolz), and it’s the first release since Summer 2014, when Lower Silesian Stronghold did release the Impetum In Tenebris split with Dizziness and Mortuus Caelum. For those interested: we published my fabulous and excellent review (what else?!) on November 10th 2014, so if interested (and why shouldn’t you) you know where to look.

Exilé Aux Confins Des Tourments (it must mean something like exiled on the borders of agonies) gets released in a partnership of Russia’s mega-label Satanath Records and smaller yet at least as promising label Black Plague Records. The album lasts for more than forty minutes and it consists of eight tracks. Except for the mastering and the artwork, Bornyhake did everything himself: song writing, performance / recording, production and mix.

Once again, Enoid crush, rape, torture and destroy in a sonic way. This band’s Black Metal is extremely, and I mean ‘extremely’, raw, grim and violent, in both execution and sound. The latter, the sound quality, is just marvellous (hehe, will I add ‘it’s just beautiful’, or is that too brutal?). There’s such an overpowering production involved, yet with inclusion of a fabulous mix. The rough-edged recordings come with a splendid equilibrium of all elements involved (instruments and vocals), with none too much on the foreground, and none denigrated towards the background either. It’s like a bloodied chainsaw, a taken the bit in one’s hand bulldozer and a ravenous pack of rabid monsters gathering to start a gospel choir. No, seriously, this misanthropic, hateful and blaspheme material truly impresses by the monumental sonic recording quality. Listen to the presence of those well-thought drum patterns, these rusty guitar lines, sulphur-breathing screams or dominant bass melodies…

…which easily brings me to the composing and execution of the material on Exilé Aux Confins Des Tourments. It’s highly melodious, including the essence of the nineties’ spirit. No, Enoid are not another uninspired Nordic-styled combo, for they really aim for an own sound, an own approach. But one cannot just ignore the essence of the Old School, which surely might be the main inspirational source (of all Evil). In general, everything blasts quite furious and fast, the merciless and devastating way. The high-speed approach thunders and hammers most of the time. But the intelligence of this material lies in the subtle variation in that high-speed approach. Fastness, in this case, means a grandiose balance in between ‘fast’, over ‘ultra-fast’, towards ‘pyroclastic whirlwind eruptionally blasting’. And what’s more, quite some passages decelerate that high-speed tempo. On top of it, it does not matter which tempo rules, but whole of the time the material balances in between different aspects of melody, from epic to aggressive, from extravert to angry. The many guitar leads, tremolo-laden, add a dimension of human ingenious on top of the bestial outbursts for sure.

For those interested in the lyrical side: everything is written and sung (hahaha, ‘to sing’ and the throat of Bornyhake in one single phrase; it’s a contradiction in terminis that says it all, the sarcastic way) in French. I do understand French, but if you do not: sorry, a pity, but not of my concern… No, seriously, the French lyrics deal – but I am pretty sure the smarter ones amongst you, dear readers, did have a clue – do not exactly deal with tolerance, peace and inter-human love. It represents the hatred, fear, pain and disgust of the composer, expressing Bornyhake’s vision on humanity and our society. An endless hate towards the world, flames in my eyes, blood on my hands, fury in my head. But suffering in my heart, a face marked for life, a body marked by hate, I’m drooling of your vein’s blood, I’m shrieking to Death… (freely-interpreted translation)…

http://www.concreteweb.be/reviews/enoid

De Laussanne, Suiza; una edición conjunta de sellos de USA y Rusia a puro Norwegian… La multiplicidad de Enoid, en los papeles, es sencilla: Un proyecto unipersonal (Bornyhake; composiciones, voces y todos los instrumentos) vigente desde 1996 y que antecede a Exilé Aux Confins Des Tourments con seis CD´s (Livssyklus, Dodssyklus, Ad Nilem, Attaraxiis, The New World Murder y Suicide Genocide). Energía, crudeza, una irreverencia opulenta y maldiciones hechas realidad; un recomendado «ataque aplastante a hiper velocidad de brutalidad Black que sorprenderá a los fans de la Escuela Noruega (N. de la R.: más Marduk y sus coterráneos Samael) precisa y con una mano experta para desatar el Infierno».

http://www.elcorteonline.com.ar/

Otro proyecto black metal de un solo integrante, esta vez es el suizo Sergio Moplat (nombre artístico, Ormenos) y una de sus tantísimas bandas, Enoid.

El disco que nos ocupa es su sexto larga duración y el primero cantando en francés, donde si bien no inventa nada, se las arregla para mostrar un black bien crudo y tradicional, sucio y sin rebusques.

La escuela nórdica, con Suecia y Noruega a la cabeza, está presente a lo largo de los más de 40 minutos que dura el álbum, por lo cual los eruditos del estilo saben de qué hablo.

Sin más que agregar, “Exilé aux confins des tourments” es una buena muestra de black sin concesiones. Chequéenlo.

http://rockarollazine.blogspot.ru/2017/02/enoid-exile-aux-confins-des-tourments.html

Swiss black metal? I don’t think that I’ve heard that one before. It can be anything thing from a total fiasco to the greatest thing you’ve heard since the invention of the electric guitar. The sky is the limit. What struck me from the beginning was how much this reminds me of Emperor’s “In The Nightside Eclipse”. There is that same attack to the music and the sound has that compactness you find on that classic Emperor album. it is strange how something so old can still be an inspiration to a band today. Not the most original stuff I’ve heard but I still find this album by ENOID highly entertaining

http://battlehelm.com/reviews/enoid-exile-aux-confins-des-tourments/

Блэк с Родины Блэка. Совместный релиз с американской конторой Black Plague Records.

Франкоязычный швейцарец из Enoid занимается посредь своих Альп настолько темными и мрачными делами, что нет-нет да там произойдет землетрясение. Ну местных это вводит в транс, а все мы знаем, что Швейцария родина блэк металла в лице Хеллхаммера и Кельтик фрост. Так что появление таких черно-металлических проектов как Enoid всегда было и есть вопрос времени.

В целом, это проект одного музыканта Bornyhake - Drums, Guitars, Vocals (2005-present). Уже шестой альбом, - этот композер знает, что делает! И прикиньте, его трудовая книжка давно распухла от записей. И каких!

Читаем названия групп, в которых он работает и работал - Borgne, Cryfemal, Manii, Pure, Serpens Luminis, Darvaza (live), Deathrow (live), ex-Cakewet, ex-Gerbophilia, ex-Krigar, ex-Haine, ex-Organ Trails, Oculus, Snorre, The Two Boys Sandwich Club, ex-ChokingOnBile, ex-Kawir, ex-Ravnkald, ex-Ass of Spades, ex-Jante Alu. Это крутой список — для меня он крутой с самого начала.

Так что вполне естественно, что в своем личном проекте Enoid он нас столкнет в мрачные глубины настоящего европейского блэка, который с древнейших времен пугал аборигенов и радовал фанатиков этого жанра по всему миру. Так собственно и произошло. Кто бы сомневался?) Вслед за небольшим шумово-эпическим интро на 20 секунд композер бросает нас на амбразуры скорого современного блэк апокалипсиса, заваренного гитарным дестроем, ритм-секционной строганиной и мистическим вокалом, который словно доносится из завалов и пещер альпийских каменоломен. Своеобразная стена звука. Интересно, что после середины где-то творец уходит в мидтемпо и отбивает по низким частотам жирнющий ритм, от которого кажется брызгает красным и колонки, кстати, по низам тестируются на ура. Такое начало словно говорит нам: это только старт, готовьтесь к более тяжким временам. И одновременно: просто не будет! Вдохновляюще — однозначно!

Блэк для автора - это брутальная каменная стена звука, созданная по кирпичику творческого угара, разрушительного настроения, темнейшего намерения. От этой пекельной печки он пляшет в своем послании. «Мелодизм» в данных ритуалах присутствует и даже иногда соляки струнных положены сверху как хорошие рельсы навалены после взрыва магистральных путей. При всей тяжести и неимоверного давления получающейся конструкции, она достаточно гибка, что бы реагировать на солирующие партии гитар, как гигантская стальная башня качается под ветром на высоте 100 метров.

А вот вам и трагическое истинное замедление до мид-темпо и чуть ли не до блак-дума, (трак 3 и настоящий эпик трак 8 на 9 минут). Композер в реале решил влить несколько тонн музыкального дизеля в топливные баки своего альпийского трактора, чтобы пройтись по полям и взгорьям. Там где пасутся коровы, которые дают шоколад. Да и не только шоколад - после такого прохода. Шутки в сторону. Мощнейший эпический блэк - горный мрак, наполненный снежным ураганом, который укатает в ледяной панцирь что угодно. Так вот откуда черпают силу швейцарские блэкеры! Это стоит послушать. В лучшем качестве, ибо низкочастотное давление саунд-бурана — весьма важная его составная часть. Посмотрел спектрограмму. Автор вольно или невольно интенсивно использует весь доступный диапазон, кривая падает только на высоких — иначе это было бы просто непереносимо. Неудивительно, что этот уникальный образчик блэка плотно ассоциируется с дикой метелью.

Возьму на себя ответственность и создам новый подвид блэка —— de montagne black metal – горный блэк металл, в отличие от форест блэка. А по французски потому, что сам проект Enoid франкоязычный. Думаю, для швейцарского блака такой подстиль будет актуальным. И не только, - само собой. Норвегия - довольно-таки гористая страна, например.

А сейчас хочу поздравить тех, кто уже приобрел диск Enoid. Дело в том, что такую енную прессуху и откровенный торжествующий мизатропический забой встречаешь далеко не каждый день (и неделю). Надобно еще уточнить, что во многих местах тот прикопанный харш-скрим часто вырывается в ночную темь и превращается харш-визг голодающего годами вампира. Это шок!

Важное приобретение в коллекцию блэк-металлиста.

https://vk.com/wall216331265_2825

One-man Black Metal bands/projects seem to be quite a phenomenon these days... Here's one more. This time it is Enoid, a band from Switzerland run by a guy called Ormenos.

Exilé aux confins des tourments is the title of his sixth studio album, within which he takes care of all the instrumentation and vocals. One can sense right away from Enoid's stuff that there's much serious ambition driving this opus, which is shown with his carefully constructed songwriting. The Black Metal herein tends to become chaotic on the level of Emperor's In the Nightside Eclipse at times, but Ormenos also knows when to slow down, such as how he does on "Mangez ma chair, prenez ma douleur," painting his room with slowly dripping shades of black, so to speak. Enoid sounds good when he sounds like Satan on speed, but also when the heartrate is nearly that of a dead man. As much as I would like to like the album more than my Black Metal mojo allows me to do, Ormenos isn't doing anything that special or unheard of under a funeral moon. If you can deal with that and can enjoy your Black Metal as 99% of us mortals are already doing, then nothing should stop you from checking this out.

http://www.metalcrypt.com/pages/review.php?revid=10264

Слушајући шести албум овог швајцарског one-man пројекта, морам признати да сам првобитно помислио да сам „too old for this shit”. Мислим, албум сам по себи ни у ком случају није „shit”, само што ја више не налазим готово ни најмање материјала за уживање у језиво-сировој музици, поготово не када ме прве две нумере помало сморе. На сву срећу, од песме број три је ситуација постала мало занимљивија. Опори black metal, резак и бескомпромисан. Катаклизмично линеаран, помало експерименталан. Једнодимензионално инвентиван и злокобно атмосферичан. Албум ће много више пријати сладокусцима и die hard фановима жанра него онима који спорадично пусте нешто слично једном у месец дана. И после неколико преслушавања сам остао равнодушан што се албума тиче: има добрих страна, али не довољно да се више „загрејем” за бенд.

https://ciklonizacija.blogspot.com/2018/06/kombo48.html

http://tometal.com/song-premiere-enoid-mangez-ma-chair-prenez-ma-douleur/

Enoid is a Swiss one-man band playing black metal akin to the neighbours in France.

Enoid has actually been around long enough to mark the band's 20th anniversary this year, albeit also under other names for about half the time, but most of the activity has taken place under the name Enoid during the last ten years. Exilй... is the band's seventh release.

In what we may refer to as noisy conditions, I rushed to put on the first music I could find on my phone, leading to Exilй Aux Confins Des Tourments washing over me at full volume like a tsunami. Exactly what sounded most clamorous, the external racket or the deafening sound as the headphones exploded, is rather difficult to tell.

Bottom line is there's something very erroneous with the production, for it sounds glaring and rather fucked.

The music had deserved better, though as Bornyhake have tuned and mixed everything on his own, it's strictly speaking his own fault. The black metal is actually good as coal. This is dark and uncomfortable metal with pretty solid tunes and gloomy moods. The music is characterized by despondency and suffering, as well as adequate disgust, because there's always someone or something to blame. The music has diverse dystopia and misery, and overt aggression.

Music: very good. Compressed Shrill sound: if not gruesome, then at least tiresome. Grand Total: medium plus.

http://gorger.org/english/2016/2016-05eng.htm#Gorger08

Bornyhake, quand il n’est pas en studio, il est en concert, et réciproquement… je ne vois pas d’autres solutions !

Entre Borgne, Enoid, Haine, Pure et Ravnkald, celui qui officiait également dans Gerbophilia, Kawir ou Krigar semble ne pas avoir beaucoup de temps à lui pour autre chose que la musique.

Quand on rajoute qu’il ne sort quasiment que des albums de qualité, on aura fait le tour du personnage.

Avec son one-man band Enoid, dont c’est là le sixième album en onze années d’existence, Bornyhake nous balance un black metal organique, souvent rapide, au chant saturé et aux ambiances malsaines.

Beaucoup plus raw et minimaliste que peut l’être Borgne, Enoid est un véritable retour aux sources d’un black metal on-ne-peut-plus cru, sur lequel Bornyhake se charge de tous les instruments, pour ne laisser la place qu’au résultat d’une haine crachée par un esprit torturé.

Malsain au possible, avec son lot de saturations tout azimut, de dissonances morbides et de break étouffants, on sent que l’artiste ne veut nous laisser respirer à aucun moment et nous pousser dans nos derniers retranchements.

Véritable bande originale de nos pires cauchemars,”Exilé aux confins des tourments” est un catalogue de haine et de destruction orchestré par un artiste tourmenté au possible et si, par certains passages, l’esprit de Borgne est bien présent, Enoid reste l’œuvre exclusive de son auteur qui se lâche totalement pour nous exprimer ses sentiments les plus noirs.

En une quarantaine de minutes réparties sur huit titres de torture au possible, Enoid alterne les passages mid tempo et les breaks à vous coller au siège, le tout dans une noirceur lancinante qui n’a d’égale que la profondeur des ténèbres dans lesquelles se trouve l’atmosphère générale de l’album.

Chaque titre, très homogène l’un de l’autre, se veut être une longue complainte toute en rage difficilement contenue, tantôt mélancolique lors des passages mid tempo, ou totalement haineuse dans les moments rapides et Bornyhake arrive régulièrement à nous prendre à contre-pied lors d’accélérations lors desquelles on se prend quelques G dans les oreilles (“Je t’arracherai les cieux” et “Nouveau cycle destructeur” en tête).

On est loin des arrangements travaillés de Borgne, les côtés atmosphériques et industriels laissant la place à un univers plus sombre, plus glacial, sans le moindre relief et dans lequel il est inutile de chercher toute notion de vie tellement Bornyhake semble avoir décidé de déshumaniser totalement sa musique.

“Exilé aux confins des tourments” est une œuvre d’une beauté froide qui, malgré des lancinances qui ne tombent pas dans la redondance, se veut très homogène mais limite addictive.

L’entité Helvétique ne fait pas dans la dentelle, ni dans le compromis et a définitivement décidé de rester ancré dans un raw black metal typiquement nineties, tout proche des racines du genre, avec la production et le son crasse qui va avec.

Magnifiquement laid ou abominablement beau, au choix…

http://www.soilchronicles.fr/chroniques/enoid-exile-confins-tourments