Reviews: SAT155

< Обратно к релизу / Back to page

A la base du concept, deux frères. Jerred et Wyatt Houseman,  de Manitou Springs, Colorado, qui auparavant agitaient l’underground au sein d’EXECRATION, groupe de Brutal Death très réputé dans leur état natal. Bien décidés à s’extirper de cette gloire locale pour frapper un grand coup, les deux frangins ont changé leur fusil d’épaule, et procédé à quelques ajustements musicaux. Exit le Death primitif, bonjour le Black symphonique et progressif, et les nouvelles ambitions. Après tout, il n’y a aucun mal à toujours regarder plus loin et plus haut, si on veut laisser une trace dans l’histoire de l’art.

Cette trace, Jerred et Wyatt en jettent les premières bases en ce mois de juin 2016, avec la sortie de leur premier LP qui risque en effet d’en laisser quelques-unes. Difficile de reconnaître leur passé et leur passif dans cette musique riche, agressive et grandiloquente qui risque de leur garantir des lendemains bien meilleurs, et des horizons plus fleuris.

Plus fleuris ? L’analogie est bonne, et en direct rapport avec leur nouvelle identité. HELLOBORUS, une fois décomposé de ses racines latines nous donne en effet « helein », suffixe qui signifie «faire mourir », et « bora », nourriture. Une fleur qui en effet est extrêmement vénéneuse et donc fatale après ingestion.

Et le duo ne pouvait en effet trouver meilleure description de sa musique. La beauté et la mort, éros, thanatos une fois de plus, duo/dualité qui prend forme au travers d’un Black majestueux, ample, luxuriant, mais terriblement puissant, noir et dangereux. Pour avoir un bref aperçu de cet album pas encore disponible sur le marché, faites un tour sur le Bandcamp du groupe qui vous laisse un morceau en écoute, dont ils disent ceci :

« « The Carnal Sabbath » est le cœur du son de notre album. Un hymne qui brasse toute l’imagination et la magie que nous avons insufflé à notre album. Avec ce morceau, nous voulions brosser un tableau exhaustif de toutes nos influences, mais aussi coller au concept de notre musique. »

Ce morceau, vous le retrouverez en clôture de ce premier LP, car il est un des plus épiques du lot. Avec ses neuf minutes bien pleines, il symbolise sans conteste l’équilibre entre les différentes parties engagées, et vous dévoilera un groupe homogène mais éclectique, qui assume ses références tout en affirmant son identité. Débutant et terminant par de brefs chœurs grégoriens, il tombe vite dans un déferlement de violence purement BM, rapidement stoppé par un mid tempo presque Rock, qui nous rappelle les CREMATORY. Puis soudain, la double grosse caisse bat le rappel des troupes avant que le groupe ne retrouve sa vitesse de croisière optimale, dans un élan brutal à la MAYHEM, pour revenir et rester campé sur des positions en mid tempo, comme la majorité de la structure du morceau. Deux parties, des mélodies étranges, de la vélocité, de l’assurance, et un ensemble bipartite qui finalement ne se révèle que dans sa diversité…

Mais ceci étant une conclusion, vous imaginez sans peine que le reste de l’album est à la hauteur de ces prémices terminaux.

J’ai moi-même eu la chance de l’écouter in extenso, je peux donc vous en parler quelque peu.

Dès le départ, et hors argument promotionnel, les influences sont plantées, et les fans guidés. On nous informe d’accointances sévères avec les univers de BLUT AUS NORD, BELPHEGOR, SATYRICON, SEPTIC FLESH et même NECROPHOBIC ou DARK FORTRESS, et je reconnais que les balises sont les bonnes. Même propension à se laisser guider au gré de ses envies, même parallèle de violence brute et de mélodie, d’arrangements complexes et de structures faussement alambiquées mais réellement efficaces. En gros, un mélange de Black bien sûr, de Death envoutant, mais aussi de Symphonique grandiloquent, de Progressif éloquent et de Heavy solide et grandissant. La musique d’HELLEBORUS est pluriforme, extensive, et ne tolère aucune barrière ni frontière, même si le ton global supporte très bien la comparaison avec EMPEROR et SATYRICON.

Loin d’être de simples faiseurs ou copieurs, les frères Houseman ont su se servir de leur propre passé pour construire leur avenir.

Tout commence par un morceau qui étale les idées fondamentales du concept, et que l’on retrouvera tout au long de l’album. Une rythmique compacte mais expressive, des guitares qui combinent riffs acérés et harmonies desserrées, clavier subtil en contrepoint qui tisse l‘ambiance, et un chant typiquement BM, grave, rauque, qui module et gémit, avant de partir dans des tonalités caverneuses effrayantes. Le son est à la hauteur des compositions, ample, généreux et luxuriant, mais pas toc pour autant. Beaucoup de profondeur sur le kit, de la précision sur les guitares et un peu d’écho sur les vocaux, équilibre parfait.

Difficile de rentrer dans les détails sans trop en dire, mais si les titres sont tous d’une durée honorable, ce sont certainement les plus développés qui se montrent les plus captivants. Ainsi, « a Gift Of Renewal » placé en pénultième intervention se réjouit d’un mid tempo assez léger et d’une mélodie qui ne l’est pas moins, et s’en laisse porter de bout en bout, tout en introduisant au fur et à mesure des éléments externes, en forme de blasts épars, de tierces de guitare totalement NWOBHM, et d’arrangements vocaux juxtaposés. « Edge of Black Waters » au contraire, n’hésite pas à jouer la carte du Heavy Doom harmonieux et dissonant, tout en gardant cette rythmique posée dans le fond, mais démonstrative dans la forme. La thématique est souvent unique, mais soumise à des digressions, ce qui garantit une cohérence de développement sans tomber dans les répétitions handicapantes.

A contrario, « Draconian Discipline », déjà révélé sur certains sites internet, ose le BM total et fatal, et accompagne sa fureur de lignes de guitare concentriques qui hypnotisent l’oreille.

Pour un premier LP, le résultat est pour le moins brillant, et même parfois bluffant. N’étant pas un grand fan de BM symphonique et progressif devant l’absolu, je m’incline face à cette réussite globale qui a su soigner ses détails pour présenter un concept très travaillé.

Mais méfiez-vous, et n’approchez pas trop près. Vous risqueriez d’être un peu trop séduit au point de vouloir y goûter un peu plus.

Et vous le savez. Les plus belles fleurs sont souvent les plus mortelles.

http://metaloddities.canalblog.com/archives/2016/06/04/33914917.html

My calendar tells me its 2016, but I refuse to acknowledge I’ve gone any further than 1996 with Helleborus’ debut, The Carnal Sabbath. Boasting a wondrously lo-fi and necro production with tinny, tinny cymbals and loads of high end elsewhere, it’s backed by a definitive low crunch to prevent it from entering Nattens Madrigal (Ulver) territory.

I regularly champion for the use of more pitchshifters in metal and Helleborus have granted my wishes. With a Wraith of the Ropes type quality in the vocals, they give tracks like “Coils” and the sinister “Colored Spores of Yuggoth” a bleaker edge, forgoing the expected high shrieks. Melodic overtones only provide a domineering sense of pure evil and have my eyes on Helleborus in the coming years.

http://loudwire.com/rumblings-from-the-underground-sylvaine-nails-entierro-deceptionist/

I have been anticipating the release of 'The Carnal Sabbath', the Housman brothers' debut full length project as Helleborus, having heard their other also excellent project Akhenaten, for what seems like an eternity. They've been taunting and teasing waiting fans with the release of three singles from this upcoming album during 2015 namely 'Coils', 'Colored Spores Of Yuggoth' and 'The Carnal Sabbath' but it is finally here and lives up to every expectation. Simply put, it's a superbly crafted album.

Both Jerred, who covers all guitars and drums and Wyatt, on vocals, are former members of brutal death Metal band Execration and although their current projects are, in many ways, very far removed from their death Metal beginnings, there are still aspects of those times that have been brought across to both Akhenaten and Helleborus, however their intention with Helleborus is to push the exploration of traditional black Metal into the uncharted territory of sensual duality and mysticism, with the addition of the psychedelic twist on black Metal as well as aspects of death and doom Metal.

Plus there's an ambient undercurrent all based around a strong core of broad ranging lyrical inspiration, elements of Left Hand Path philosophy, aspects of the occult and Lovecraftian influences, adding a unique and diverse aspect to the sound as well as making it a hugely listenable, varied and interesting offering with a consistently high standard to both instrumentation and vocal content, the latter of which has a good clarity of delivery.

It's also this degree of variety that helps to make this such a listenable release; the first hints at the psychedelic edge start to manifest in the opening minute of 'Helleborus Black' from synthesiser elements on what would otherwise be quite a harsh, slightly gothic, black Metal offering whereas 'Coils' has a stronger melodic edge to the guitars which give a superb contrast against the deep harsh vocal delivery and higher profile drum work.

The further into his album I get the more I love it and on 'Edge Of Black Water' a great haunting repeat riffs runs beneath the harsh vocal delivery and expands into superb crisp lead work in the second half, all of which makes for a hugely emotive offering with a nice contrast coming from the closing blackened riffing.

'Colored Spores Of Yuggoth' has slightly more of a straightforward black Metal approach, dark crushing and intense but enhanced this time with the clever use of thrashy guitar squeals, adding a haunting sinister mood. The vocal layering is excellent here, as is the vocal range which is at times almost spoken with the sonic edged synths at the close adding an even more eerie, spacey mood.

In an even more traditional black Metal vein 'Draconian Discipline' gains its sinister edge from the abundant use from tremolo picking alongside an increasingly deranged and broad ranging vocal delivery; a superb track.

As the sinister bass lines are joined by synthesisers I thought 'The Poison Of Sleep' was going to turn into an 80s style progressive offering but instead it manifests as a mix of intense blasts and haunting hypnotic repeats with a modern blackened twist and I love how the vocals develop a more and more distorted edge as the track progresses. There is even a bit of a blackened groove to the closing guitars, just before one final crushing onslaught; a superbly sinister track.

'The Temple Of The Seventh Death' comes in softer and more melodic but add the sinister gargling vocal delivery and this track becomes a whole new beast entirely and the sudden fade out at the end threw me completely, especially when it faded back into the start of next track 'A Gift Of Renewal' with its straightforward and understated distant haunting melody running beneath vocals, which here are the key factor. A very sinister, gargling delivery adding a dark edge to what could have been an innocuous, this time, slightly psychedelic track, now turned menacing with the use of some excellent vocal effects.

The mood totally changes for the final track, 'The Carnal Sabbath', an utterly crushing black Metal onslaught to begin with, intense riffing, a rasping vocal delivery, with a strong contrast created as the tempo drops away and a more melodic mood, along with some sublime guitar work, takes hold but maintaining the rasping vocals, the intensity returns briefly towards the close; a hugely memorable track to end on and one that urges you to listen over again.

Not only is the material on 'The Carnal Sabbath' well delivered but the production is excellent also. There's a notable crispness to the overall finish. Fans of The Devils Blood, Satyricon, Necorphobic, Belphegor or Blut Aus Nord should find this intriguing offering of great interest.

http://www.metaltalk.net/columns2016/201629401.php

If you ever find yourself in a dank, dark dungeon chained to a stone altar about to have your heart cut out as a sacrifice to some Cthulhu-looking demigod by a coven of robed devil worshipers, there’s a pretty good chance that the new album from Helleborus, The Carnal Sabbath, will be blasting in the background. Because if there was an album produced to be the soundtrack to a good old fashioned Satanic disemboweling ceremony, this would be that record.

Helleborus is a family affair comprised of the Houseman brothers, Wyatt and Jerred, formerly of the Execration. For a band made up of only two people, Helleborus carries quite a punch and The Carnal Sabbath shows that this musical incarnation could have quite a future ahead of them. The production is rock solid and the songwriting is spot on black metal at it’s finest.

Check out the tracks “Coils.” “Colored Spores of Yuggoth” and “Helleborus Black,” and chances are you’ll want to hear more from these magnificent bastards as much as this reviewer does.

http://skullsnbones.com/helleborus-the-carnal-sabbath-album-review-by-king-rhino/

If we narrowed a search of Colorado black metal groups down to those with members in only one band, I think we would have at least half as many. Helleborus (whose members are the Houseman brothers of Akhenaten and are both formerly of Execration) debuted their first album, The Carnal Sabbath, under this new band at the end of last week. If you’re in the mood for some polished, fierce, local black metal, then look no further this year. The Houseman Brothers, not ones to just churn out a black metal album full of Satan and misanthropy (who doesn’t love those topics though?) have stuck to their Akhenaten roots by forgoing that sort of material. I enjoyed this outing as Helleborus more, the Middle Eastern influence in Akhenaten’s sound really wasn’t my thing.

Overall, The Carnal Sabbath is grounded much more in traditional black metal with some death metal sparsely added, which is square in my metal wheelhouse.

Now, about the actual tracks, the opener, “Helleborus Black,” is an appropriate setup and forgoes the standard intro track, diving straight into what sounds like an old recycled Darkthrone riff, which is most likely recycled from Venom. Either way, it is still cool to hear something new with something old on something local.

The third track “Edge of Black Waters” is my favorite cut and is the slowest track of this entire affair. It’s just a really cool song and I love the guitar in this, the throwback solo is kick ass.  “Colored Spores of Yuggoth” checks off the spacier, Lovecraft song box and is also another track I really enjoyed.

I won’t keep everyone here with more track-by-track, but just give The Carnal Sabbath a spin if you’re into some dark sounding local black metal that wasn’t recorded with a tape deck in a basement. The rest of the album is just as dark sounding and thumping as the first half. The black metal scene here in Denver could use more quality acts and Helleborus is a good addition based on this debut.

The Carnal Sabbath is available now from Satanath Records. Helleborus is playing Denver’s Bluebird Theater July 15 with Of Feather and Bone, Belhor and Scepter of Eligos.

https://kvltofbrewtality.wordpress.com/2016/06/22/helleborus-the-carnal-sabbath/

When the brutal death metal band Execration moved from Colorado to Texas last year, the brothers Wyatt (vocals) and Jerred Houseman (instruments) grabbed the chance to fulfil an old dream of a new and different project.

They started Helleborus, a somewhat odd, eccentric and schizophrenic black metal band. Still, it's not the lads' first project on their own. They already have the Middle East-inspired black/death band Akhenaten. (Which I hope to return to some day.)

In a way, it's tempting to think of Helleborus as an American The Vision Bleak. The band is a duo, they are exploring partly unknown musical terrain, and they're channelling their creativity into a fairly melodic black metallic expression consisting of familiar elements, yet sticking slightly out of the crowd. In addition, Wyatt in particular has this rather bohemian look, resembling artistic minds having consumed their share of absinthe.

The band wants to explore a dark but romantic side of the black musical universe and convey the essence of this unknown black matter that they've had a vision of, and formulated as “masculine and powerful, yet sensual and respectful; controlled chaos”.

The music has a quite gloomy and exploring character, as of archaeological adventurers exploring alien worlds. With headlamps and torches they venture gently onward into dark landscapes where the sun's light never shines. At least not the sun we know. In unnerving, thrilling manners, the music balances the razors edge between dreamy and frightful.

The music is well composed and well played. We could call it a form of melodic black metal with an atmosphere of mysticism, a gentle touch of ethereal ambience and harsh rasping vocals.

I have a taste for this fairly quirky, yet not completely avant-garde variety of the black sphere, but I'm not completely satisfied with the sound. The sound is basically all right, as in the recording sounding alright. Thus, the pre-production might be flawless, but it seems someone has been a bit too zealous with the volume controls in the post-production. The final product sounds excessively loud, with jarring noises of clipping. I can't remember the last time I was this convinced of the dynamic range being creakily compressed under its own weight.

Quite right. When running the files through various audio analysis software, I find that the volume level often lies flat as a pancake in the ceiling. There, it is of course mercilessly cut right off. With a maximum value of DR5 on a couple of tracks, a minimum of DR2 on several songs and an average of DR3, this is perhaps the worst case of lousy phonetic dynamics I've ever seen. (Metallica's Death Magnetic admittedly had the same low numbers, but I haven't even bothered checking out that album.)

Conclusion: Although the music is not directly innovative, it is both interesting and good, with good song-writing and nice identity in the different tracks. Unfortunately, the sound is so hyperbolically boisterous that listening to The Carnal Sabbath simply ain't as enjoyable as it ought to be. I choose not to reduce the rating enormously, given that musical integrity weigh heaviest, but one is supposed to listen to the music as well, especially with such good song crafting. Thus, the grade unfortunately falls a notch down. I could (and probably should) have been more strict toward this violation of taste in sound.

http://gorger.org/english/2016/2016-06eng.htm#Gorger25

Helleborus is a black metal entity by Jerred Houseman and Wyatt Houseman, brothers from Colorado, U.S. who also have another musical project named Akhenaten which is uptempo atmospheric metal with Middle Eastern elements. This publication has previously stated about Akhenaten:

Akhenaten (Colorado, U.S.) is the work of two metal blood brothers, Wyatt Houseman (vocals, lyrics) and Jerred Houseman (guitars, drums, bass), who have two projects that I am a bit familiar with: Akhenaten and Helleborus. I guess it was last year, 2015, that I heard the black metal of Helleborus and I immediately liked the vocals. I liked the music, too, but I noticed the vocals, which, in my opinion, are possibly the best new extreme metal vocals that I heard in 2015. For me, the vocals stood out a lot and I remember thinking that they were especially good. Thus, I was looking forward to getting to know this Akhenaten album on account of the vocals of Wyatt Houseman.

Akhenaten is an entity that is something like “exotic” extreme metal with major Middle Eastern/Arabian elements: "Middle Eastern ethno dark industrial black metal." There is a symphonic vibe and the Middle Eastern/Arabian components are upfront, an indispensable part of the music, not just low-volume background sounds. In this music, despite the “world music” sounds, the black metal does not disappear completely. The guitar is present, even if it’s not raging all the time, obviously. I like the fact that the percussion is present throughout, too. If there is a beat, then that keeps my interest. I am not looking for long periods of ambience or yoga music, you understand. Anyway, like I was saying, I like the vocals, but I knew that coming in. That was part of the deal. I expected those vocals to be present because if they were not, then I was probably going to go find the exit door. I usually see the word “industrial” and I’m out the door. Mr. Houseman screams/growls similar to prime-time Chuck Schuldiner/ Mikael Åkerfeldt/David Vincent. There is a thickness to Mr. Houseman’s voice. I hope that he can actually do the vocals for real, and not just studio magic. The vocals are closer to black metal in feel, but they do not sound annoying like screechy vocals do for some people. There is a certain smoothness to them. There is definitely an expressiveness to them, too, that’s for sure.

The “exotic” elements are upbeat, like belly-dancing music, in a similar way that Nile or Melechesh is belly-dancing music. Akhenaten sounds very melodic due to these elements. Given that this is supposedly just two people, there are several issues that you might be pondering. It sounds like the drumming is drum programming and not real drums. What about all that Middle Eastern instrumentation? Is it real instruments? I cannot find anywhere where it says that Mr. Jerred Houseman plays other instruments besides guitar and bass. Don’t trust what I say, though. Hear the album for yourself at the Bandcamp link below.

Now, on to Helleborus.

This is very interesting black metal music. Atmosphere and black metal have been incorporated into surprisingly memorable songs of dark extreme metal. Moreover, atmosphere here does not mean ambient or doom or postrock, styles that have severe problems with song-centered music. Instead, these are memorable songs.

I continue to find the vocals to be a very attractive proposition: quite a bit of the words are intelligible, which if you think about it, it's curious because that is usually not the case in extreme metal. I can think of a couple of exceptions besides this band, but not too many.

In addition, it is important to recognize that Helleborus has very good guitar work and the guitar shows a focus on dark, catchy and melodic songs. The riffs do make these songs: in every song there are riffs or hooks or melodies that make the songs easy to remember and encourage repeated plays. It's also a nice change of pace to hear melodies in a way that fits the dark and heavy vibe of the music.

The album has programmed drumming, unfortunately. It's easy to see why musicians do this. It's easier than to deal with another human being; it's cheaper than going through the process of recording drums, which can be difficult if there's little experience; it's more efficient than to explain to a drummer what beats one is hearing in one's own imagination for the songs. Sometimes one lives in a small town and there are no drummers that can handle this music. There are plenty more reasons to use drum programming, but all those reasons have to be rejected. In metal music the audience wants to see a human playing drums in concert, for instance. If a band is asking for money for its album or wants to be taken seriously, it's necessary to be serious about the music, too. This calls out for an adventurous and skilled drummer to bring it to life. Support this band, listen to the music and show Helleborus that you appreciate quality metal like this. Greatness awaits Helleborus, and only real, live drums on the albums will do.

http://metalbulletin.blogspot.ru/2016/06/helleborus-review-by-mmb.html

Airy, reverberated black metal is all the rage these days, although not every band that composes in this heavy and ghostly manner can pull it off with measurable success.  But when it’s done right, atmospheric metal can be some of the most addictive music to listen to in the entire world.  And now, emerging from Colorado Springs, Colorado, is a new and talented black metal act known as Helleborus – and this pair of brothers from The Centennial State are clearly not afraid to dive headlong into otherworldly musical artistry to achieve their decadent dreams.

 Incredibly mesmerizing and intensely salacious, Helleborus’s debut full-length, The Carnal Sabbath, was released in the States last week on Black Plague Records (Satanath Records everywhere else), and after listening to only a few tracks, I knew right away that I wanted to write up this review and share this wholly enthralling music with you, my beloved readers.  Spellbinding, severe, and saturated with elemental puissance, The Carnal Sabbath is a bacchanalian orgy of organic black metal magnificence; and if you prefer your music dark, debauched, and dissolute, then this stalwart release should be just what you’ve been looking for.

 Straight away, Helleborus’s brotherly duo aggressively assert themselves on The Carnal Sabbath with the opener “Helleborus Black”, and between its squealing guitar inflections, nightmarish vocals, and driving rhythms, it’s hard to tell whether you’re coming or going.  Moving further into the album, songs like “Edge of Black Waters” (my favorite), and “Draconian Discipline” grab your attention by the ears, not letting go until they’re done with you, and The Carnal Sabbath closes with an impressive trio of first-class tracks in “Temple of Seventh Death”, “A Gift of Renewal”, and the striking, nine-minute title-track, “The Carnal Sabbath”.

Overall, Helleborus’s The Carnal Sabbath is pure fucking gold.  Fans of acts such as Wolves In The Throne Room, Vukari, and Obsequiae should love this prodigiously exceptional release as much as I do; and now that it has been officially unleashed on the public, you can order yourself a copy via Bandcamp, Big Cartel, or even iTunes, if that’s your thing.  Simply click the links provided below to procure The Carnal Sabbath, and add this incredible album to your collection today!

 To check out The Carnal Sabbath in all of its splendor and glory, just press play below!

 http://www.criterionofmetal.com/#!Review-of-Helleborus-The-Carnal-Sabbath/cmbz/576bea670cf27c385a7468ca

Named after the frost resistant flowers, Helleborus from Colorado, USA are a black metal duo that experiment with the symphonic black metal while adding elements from other styles like psychedelic rock. The band’s debut full length on Satanath Records, titled ‘The Carnal Sabbath’ displays a degree of hypnotic mysticism that manages to resonate deeply with the listeners. The music carries an enigmatic flavour, while not being overtly abrasive. Though there is a smooth flow to the music, none of the venomous black metal qualities are lost. Rather, the melodic and atmospheric take on the style manages to blend well with some of the more harsher qualities of the style. Some of the flairs added by Helleborus instill a psychedelic quality to the record, making this an album that is easy to lose oneself in.

There are also influences felt from the duo’s other project Akhenaten, which had touches of middle eastern folk added to a black / death template. While Helleborus does not exhibit the same folk influence, the lead guitar work and the general rhythm of the album seem inspired from the aforementioned band. While the tracks themselves do not exhibit outright abrasiveness in terms of riffs, they do a good job of drawing the listener into the music. Helleborus Black opens with a slow build up of the atmosphere as the guitars slowly and steadily build up to a steady mid paced rhythm. The rich atmosphere and the sound of the chiming bells have a very hypnotic quality and even when the band crank up the blastbeats, it only feels mesmerizing. The vocals are snarls that harmonize quite adeptly with the guitar tone and the atmosphere of the tracks.

Some of the tracks like Coils, Temple of Seventh Death and A Gift of Renewal exhibit riffs that are heavily inspired by psychedelic rock and are tracks that one can trip to. This contrasts with tracks like Colored Spores of Yuggoth, Draconian Discipline and The Poison of Sleep, which are much more vicious in their intent and more aligned towards traditional black metal ideas. This variation in song writing makes this album a very enjoyable affair that seldom gets repetitive. The electronic augmentations used sparingly on the album intensify Helleborus’ psychedelic nature. That said, the album as a whole still has room for improvement and it feels like Helleborus are only just beginning to explore the realms of symphonic and psychedelic black metal. The album does feel a bit disjointed in places and this is something that should be naturally rectified as the band continues to make further albums.

While Helleborus might not be synonymous with psychedelic black metal like the way bands such as Oranssi Pazuzu and Hail Spirit Noir are, it is only a matter of time before the metal world starts to take notice of this duo. There is a lot of potential here and ‘The Carnal Sabbath’ is an album I’d recommend if you’re into unorthodox black metal that pushes the boundaries of the style.

http://www.metalgallows.com/helleborus-the-carnal-sabbath-review/

Spesso gli estremi si attraggono, cosi ci dimostrano i letali Helleborus, band formata da i due fratelli HOUSEMAN, prendendo un genere estremo e complesso come il Black metal tradizionale e unirlo con tematiche di misticismo e della sensualita’ duale. Tutto il loro disco gira attorno all’attrazione e unione degli opposti. I loro suoni sono invernali, psichedelici e mortali, come lo stesso fiore da cui prende il nome la band. La loro città natale e’ Manitou Springs (Colorado) e la band è praticamente formata da i 2 fratelli, mentre per i live di avvalgono di musicisti alquanto tecnici e professionali.

Formazione band:

J.C.H - MusicI

S.W.H – Vocals

Formazione live:

Brent Boutte’ – Drums

Ian Horenman – guitar & rhythms

L’album e’ compost da 9 tracce.

Sono tutte tracce alquanto strane: la fusione della pesantezza e cupidigia che trasmette il black/ambient vecchio stile che va a intrecciarsi con tematiche che parlano  tutt’altro che di Satana, sono l’esempio perfetto di quello che vogliono dimostrare i fratelli Houseman, “Helleborus black” trasmette compattezza e angoscia allo stesso tempo, con la batteria che massacra  come solo il black metal puro ti sa dare, mentre “Coils “ d’altro canto è più rilassante, se si può definire tale, con suoni più lenti ma belli corposi. ”Edge of black waters” è un pezzone: bei riff, non troppo veloci ma compatti mentre il cantato da quell’effetto di esterno, come voce narratrice, ma in uno stile unico: lenta ma pesante e che trasmette ansia. Anche il solo e’ fantastico. ”Colored spores of yuddogh” invece si riaffaccia sul black vecchio stile, offrendo doppio pedale, riff veloci e gravi e voce demoniaca. ”Draconia discipline” d’altro canto ci offre velocità e compattezza mentre “The poison of sleep “ è il contrario. Tranquillità nei minimi standard certo, ma con un effetto notevole. Il cantato riesce a trasportarti in un mondo devastato e invernale mentre ti fa calare in uno stato di totale abbandono. ”Temple of seventh death” ha qualche influsso doom e ambient che rendono il brano molto melodico ma che va a infrangersi con la pesantezza della voce e degli altri strumenti. ”A gif of renewal” e’ fantastica come canzone, la mia preferita di quest’album, ottime melodie e riff mentre il cantato sovrasta il tutto. Si chiude con “The carnal sabbath” che e’ la personificazione del black metal. Riff veloci e gravi, doppio pedale e tematiche mistiche e profane sono l’essenza di questo album uscito sotto la Satanath (Russia) e poi tramite la Black Plague (USA). I fratelli Houseman sono riusciti a trovare la perfezione dello “Psychedelic Black Metal” e dandogli forma in questo album.

http://www.insane-voices-labirynth.it/satanath-records/recensioni/helleborus/

Признаться честно, глядя на облогу, я ожидал услышать какой-нибудь дум, ну может быть, дум с налетом готики, что ли. Но не тут-то было, ведь на деле оказалось, что за обложкой прячется очень экспериментальный и местами психоделический Black Metal. По сути, связь с готикой данный альбом все же имеет. Но связь совершенно не та, которую я себе представлял изначально. Хочу уведомить, что данная группа - это проект участников Akhenaten, в котором эти самые участники являются также единственными и как бы бессменными. Вот и в Helleborus они тоже единственные, если не считать сессионных музыкантов на живых выступлениях. К тому же музыка обоих проектов очень различна, хотя и там, и там достаточно экспериментальна. Но эксперименты идут в совершенно разных направлениях.

С первой же песни можно почувствовать влияние скандинавского блэка, который со временем перекочевал в разряды экспериментального индастриала. Странное ощущение, но такое чувство, что слушаешь The Kovenant, ...And Oceans, Aborym, Peccatum, но с риффами Satyricon и симфоникой Emperor. Конечно, все это присутствует в небольших пропорциях и подано со вкусом.

А вот от риффов "Edge Of Black Waters" уже отчетливо пахнет хардой, но при наличии скриминга сразу вспоминаются шведские коллективы Helltrain и Scheitan. Очень интересное сочетание, к тому же отличное сведение дают определенное удовлетворение от прослушивания и даже хочется тут же прослушать трек еще разок. Далее опять идет смесь симфо-блэка и психоделических экспериментов, но уже с более ярко выраженной чернотой. А вот под романтические "Temple Of Seventh Death" и "A Gift Of Renewal" даже можно погрустить или помечтать о чем-то возвышенном (если не обращать внимания на постоянные взбивки барабанов, хе-хе). После столь разнообразных блюд на десерт подается довольно мощный боевичок "The Carnal Sabbath", который образно вмещает в себя почти весь альбом разом. Данная песня, по сути, и является заглавной, той самой ради которой музыканты и устроили весь праздник.

В заключении хочу сказать, что любители поздних Сатириконов обязательно должны заценить данный релиз. Жаль только, что шайтаноподобная тема на альбоме всего одна, но тем не менее советую послушать альбом и их поклонникам. Энергии в музыке просто предостаточно!

https://new.vk.com/wall-99753659_250

Since its inception, the subgenre that is Black Metal has been reduced to many stereotypes and more often than not the creators behind the music were sole members or a few musicians. The brothers Houseman, Jerred and Wyatt have founded Helleborus in a goal to achieve something different with a masculine and romantic approach to the whole thing. I already see your eyebrows forming a strange W shape. Before you pass a judgement let’s see what it sounds like.

The Carnal Sabbath is not a typical Black Metal as sometime we intend it to be with the lo-fi Norse angle of the early 1990’s. In fact, it is a mix between Samael’s Ceremony of the Opposites’ era Satyricon’s Now Diabolical and early Katatonia. So no, it is not lame or that hipster either. It has this rocking edge that Katatonia does and the deep growls of Samael Black Metal entries. There are even guitar solos that reminds of a more progressive power rock time. This is an album that takes risks in its incarnation of the most infamous music genre.

The thing is, when a band takes such a risk it must be calculated and done flawlessly. It is interesting, but is it enough? It is on the edge but the melodic guitars, the clear production and the rocking parts are probably enough to get it out of the average category but not enough to actually get into the very good either. Some songs go on too long and at 54 minutes some concepts are revisited and needed a bit of editing just to help the whole thing to rest totally afloat.

It is a promisign debut and an interesting angle to tackle the subgenre and you should not judge before you give them a listen because the whole is positively surprising.

http://lemotdumelomaniaque.blogspot.ru/2016/06/helleborus-carnal-sabbath.html

« Rien ne se perd, rien ne se crée, tout se transforme ». C’est ainsi que Lavoisier traduisait sa loi de la conservation de la matière et sa masse. Avec Helleborus et son Carnal Sabbath, on est un peu dans le même cas de figure.

Helleborus, ou ellébore, une fleur vénéneuse de la famille des renonculacées digne de servir de philtre d’amour à Poison Ivy, est entre autres utilisée par le Grand Schtroumpf pour faire ses potions. Mais si les schtroumpfs sont bleus, Helleborus est black. Très black… ce qui fait donc de cet album un black « Sabbath ». Du Black Metal certes teinté psyché (avec quelques plages trippantes) et un peu sympho (mais sans l’orchestre), surtout très référencé old school, avec du son à la norvégienne typé Darkthrone, Immortal et Dimmu Borgir des débuts. Pas étonnant donc qu’on trouve tout ce mélange d’imagerie dès l’artwork, assez intriguant au final, parce qu’on ne c’est pas si c’est du lard ou du cochon décapité sur scène.

Si le début de l’album de ces… américains (oui, oui, pas du tout des norvégiens) est franchement lourdingue crado et amateur (« Edge of black Waters » donne juste envie de renvoyer les interprètes et leur ingé son/mixeur en stage de confection de macramé, tant c’est dégueux, brouillon et noyé dans une overdose de reverb), la suite est bien plus intéressante, mieux ellébo… élaborée, pardon, et met en avant les qualités techniques de chacun des musicos, principalement la précision du batteur et du gratteux (qui sont en fait le même être). Quant à la voix du chanteur… bon bah, ça fait parti de l’esthétique de l’époque et du type de mixage caverneux, donc soit on aime, soit on conchie…

Si on note que tout n’est pas parfaitement en place (après tout, c’est un debute album), on se laisse assez rapidement embarquer dans la noirceur ambiante de ces p’tits gars du Colorado – faire ressentir la froideur du Nord de l’Europe dans un état chaud des USA, c’était pas gagné – sur fond de blasts et de riffs grinçants et atonaux en tremolos de guitares. D’autant que « qui dit psyché dit longs morceaux » et se raccrocher à une déferlante de neuf minutes sans s’ennuyer ou que ça vous empoisonne les neurones au point de zapper, c’est une gageure en soi. Faire tenir un auditeur le long – c’est le mot juste – de neuf morceaux, le défi se doit d’être relevé… Challenge accepted !

Si l’ellébore était censée guérir de la folie et mélancolie selon les médecins de l’Antiquité, Helleborus en est l’antinomie totale. Le grand Manitou Springs a parlé ! Haow !

A écouter en cueillant dès aujourd’hui les roses de Noël de la… mort.

http://www.soilchronicles.fr/chroniques/helleborus-the-carnal-sabbath

 

Álbum de estreia do duo norte-americano de black metal conhecido como Helleborus, que está associado aos Akhenaten (composto pela mesma dupla de músicos que são os irmãos que também estavam nos Execration). O que temos aqui é um black metal sinfónico e melódico bastante cru, principalmente no que à produção diz respeito e é precisamente o pormenor da produção que impede que esta estreia tenha um impacto mais alargado. De alguma forma, acabamos por sentir que falta qualquer coisa, o que é frustrante já que não se trata tanto da composição ou seja não é o conteúdo, é mesmo a forma. Ainda assim. Interessante.

 

http://radiowom.blogspot.ru/2016/12/helleborus-carnal-sabbath-review.html

 

 

Gli Helleborus arrivano al debutto discografico dopo una serie di singoli pubblicati l’anno scorso. Gli americani sono nati da una costola dei connazionali Execration, essendo il duo una coppia di ex membri del combo citato. La copertina rende in minima parte la tipologia di Metal suonato, vale a dire una sorta di Black sensuale a tinte romantiche, molto simile ad alcuni lavori dei Cradle Of Filth. Certo la voce non è particolare come quella di Mr Dani Filth, ma il lavoro si distingue chiaramente dal classico stereotipo del Black Metal per un’atmosfera peculiare, vagamente Heavy ed epica ma molto soft nelle sfumature. Niente di pacchiano o commerciale in verità, solo un certo bouquet metallico elegante e ben eseguito, per un album molto piacevole all’ascolto. Stupisce la differenza abissale con il gruppo di origine, dedito a ben altro tipo di musica estrema, ma questo album rappresenta una ventata di aria fresca per un panorama estremo, quello americano, che difficilmente ha affrontato tematiche e sonorità simili in passato.

 

http://www.metalhead.it/?p=90088

 

 

 

Es increíble la cantidad de muy buenas bandas que tiene la escena extrema, y no menos increíble es la cantidad de bandas nuevas que llegan al ansiado debut. Tal es el caso del duo Helleborus de Colorado, EE.UU., quien incursionan en el black metal con aristas sinfónicas, aunque ellos mismos dicen hacer algo asi como "black metal psicodélico" (?).

“The Carnal Sabbath”, como decía, es su disco debut, y se nota a lo largo de todo el trabajo una saludable intención de hacer las cosas bien, de no dejar nada librado al azar, resultando en un producto de muy buena factura.

Hay en todos los tracks una atmosfera de melancolía y desazón, y si bien los riffs son pesados nunca alcanzan niveles de velocidad extremos, y hasta en algunos hay un cuidado extremo por la melodía, como por ejemplo el fantástico “Gift of renewal”, de lo mejor del álbum.

Helleborus viene a aportar lo suyo a la creciente escena black estadounidense, y es sólo cuestión de tiempo antes de que el mundo del metal empiece a notar este dúo. Hay mucho potencial aquí, no digan que no están avisados.

 

http://rockarollazine.blogspot.ru/2016/12/helleborus-carnal-sabbath-2016-satanath.html

 

 

Bei Helleborus handelt es sich um eine junge aufstrebende Band aus den Vereinigten Staaten. Nach ihrer Gründung in 2014 feuerten sie im darauffolgenden Jahr 3 Singles auf die hungrige Masse und legten nun mit „The Carnal Sabbath“ ihr Debütalbum vor, das neben den Singles noch 6 weitere Songs zu bieten hat.

 

9 Songs sind also auf dem ersten Album, das mit 54 Minuten ordentlich Material vorlegt. Viel Zeit, die auch irgendwie gefüllt werden muss. Helleborus wählen hierfür symphonischen Black Metal, der viel Abwechslung bereit hält. Zwar halten die Jungs ihre Songs überwiegend extrem düster mit packender Atmosphäre und tiefen verhallten Screams, die mich etwas an Songs wie „The Persecution Song“ von Cradle of Filth erinnern.  In diese Finsternis sprenkeln die Amis allerdings immer wieder kleine Farbtupfer wie das recht rockige „Edge of Black Waters“ oder das sehr langsame und ohne Keyboards auskommende „A Gift of Renewal„. Das bringt immer wieder kleine Überraschungen und hält die fast 1-stündige Scheibe frisch und interessant. Das soll aber nicht heißen, dass die düsteren Stücke schlecht sind, keineswegs. Instrumentell lassen sich Helleborus keine Schwächen unterstellen, die Gitarren sägen und liefern immer wieder schöne Melodien, die Drums liefern auch ordentlich ab und die düsteren Screams zusammen mit den Keyboards liefern das i-Tüpfelchen zu einer schaurigen Atmosphäre mit monumental-epischen Akzenten.

 

Helleborus legen mit ihrem Debüt gleich mal ein ordentlich fettes Brett vor, das auf den vollen 50 Minuten fesselt und den Hörer in ein episches und düsteres Symphonic Black Metal entführt aus dem es so schnell kein Entkommen gibt. Ohne Kitsch, einfach gut.

 

https://metalviewer.wordpress.com/2016/10/30/helleborus-the-carnal-sabbath/

 

 

HELLEBORUS "The Carnal Sabbath" (Satanath) Genre: Epic Black Metal Für einen Amerikaner legt der Songwriter Jerred Houseman einen erstaunlich europäischen Sound hin, der das gewohnte Gothic-Flair der Briten und die typische Garstigkeit der Norweger mitbringt. Was stellenweise besonders durch den Garagenhall in den Vocals nach sehr klassischem Black Metal klingt, wird jedoch durch eine subtile Epik, angenehme Abwechslung und regelrecht bluesartige Gitarrensoli wie in 'Edge Of Black Waters' aufgeschüttelt. Sogar vor groovenden Parts schrecken die Brüder Jerred und Wyatt nicht zurück, und am Ende kommt ein organischer Sound heraus, der hervorragend zu der Herangehensweise bei den Liedtexten passt, die sich um erotische Mystik und allerhand gefühlvollen Schweinkram dreht. Mit der Energie eines jungen Satyr holzt die biestige Stimme durch die neun Songs, schlüpft erstaunlich leicht in die Gehörgänge und feiert eine wilde Orgie zum Sabbath. Sehr starke Leistung für ein Debütalbum, da HELLEBORUS schnell ihren eigenen Weg finden und die Phase des Abkupferns offenbar direkt übersprungen haben. Kann man so machen. Sollte man sogar. Voller Elan stoßen die Amerikaner allerhand Genretüren auf und nehmen sich mit, was sie kriegen können, doch genau das macht diesen Erstling so charmant und lässt die Frage offen, wo es die Herren in den nächsten Jahren noch hintreiben könnte. (ACS) 13 Punkte

 

http://www.legacy.de

 

I am being flooded by Black Metal releases these days, by quite new bands, and from all over the world. And to be honest I am actually quite surprised with the high quality of most of the music. Of course it doesn't give me the same thrills as the music did back in the days, when it all started to emerge and the second wave of Black Metal wrecked havoc throughout the North and beyond, though I am actually finding joy in listening to some of the newcomers. Right now me and my neighbors are listening to HELLEBORUS, an American band delivering grim Black Metal with an touch of old inspirations, with a twist of the modern world as well. A spiced up modern version of EMPEROR, though without the same amount of quality in the output - and it comes much wider around than, what the Norwegians delivered back in the dark past. Though they try to summon the same atmosphere, using the same means often. Great cold guitar riffing, subtle keys, blazingly fast drumming, leaving you with a feeling, like standing outside in a violently storming and cold winternight. A good album for fans of symphonic Black Metal, a lesson in how it was done and how it can be done, as I am an old grumpy man after all, I liked it better back in the days, though this isn't a bad effort at all. We get some good songwriting, some good music and even better atmospheres to indulge in, and I do also like the vocals quite a lot.

 

http://www.voicesfromthedarkside.de/Albums-EPs-Demos/H/HELLEBORUS--10679.html

 

Helleborus comme le nom de la plante vйnйneuse, le two men band porte bien son nom! Formй en 2014 sur les cendres d'Execration par les frиres Jerred & Wyatt Houseman, les amйricains originaires du Colorado officient dans un black metal symphonique fortement inspirй des polonais Behemoth et du danois Abbath. Fort de 3 single, c'est en 2016 que le combo se lance dans l'aventure du full length avec "The Carnal Sabbath". C'est donc sur 9 titres et prиs d'une heure, que les amйricains vont dйverser leur black old school inquiйtant et malsain.

 

C'est par l'intro inquiйtante de 'Helleborus Black' que les hostilitйs dйmarrent. C'est sur un rythme mid tempo trиs basique que Wyatt accompagne son frиre avec son chant terrifiant et incantatoire. Les samples atmo apportent du volume а la compo qui sera vite envoыtante comme tout le reste de l'album. L'auditeur est balancй entre les passages calme et les envolйes brutales а coup de blast beat dйvastateurs sous couvert de l'ambiance d'horreur omniprйsente. La variйtй est de mise et les titres s'enchainent sans lassitude avec toujours ce sentiment dйrangeant de noirceur, 'Coils'.

 

La brutalitй basique n'est pas le moyen d'expression musicale choisi par les frиres Houseman mais plutфt le cфtй tйnйbreux et malsain des riffs et de l'ambiance, mкme si certains titres sont capables de nous surprendre par leur atmosphиre envoыtante et agressive fortement inspirйe des maоtres du genre Behemoth ('Colored Spoes of Yuggoth', 'Draconian Discipline').

 

Bien sыr, la recette norvйgienne а succиs pour donner de la variйtй aux compos n'est pas oubliйe si bien que l'on se croit presque en Scandinavie avec les titres 'Edge of Black Waters' et 'A Gift of Renewal' pour lesquels les riffs d'Abbath planent fortement. La froideur des montagnes glaciales de la Norvиge sont proches...

 

'The Poison of Sleep' offre quelque chose de plus guerrier caractйrisй par ses bruits d'explosion rйgulier tout au long du morceau, un peu а la Tsjuder. Le chant nasillard spйcifique au black old school est plus monstrueux accentuant l'effet de l'horreur d'autant plus marquй par le court passage au 2/3 de craquement au chant dйformй.

 

Un interlude presque pagan de 7' avant le titre final avec 'A Gift of Renewal'. Tempo trиs basique voire de dйbutant offrant une mйlodie accessible pour un morceau trиs instrumental.

 

Puis c'est le titre йponyme et clфturant la galette dans la mкme lignйe brutale que le titre 7 avec une inspiration trиs old school et extrкme. Cependant, le duo rйussit а marier а cet univers dйvastateur des plans plus atmo crйant une sensation d'apaisement. Le titre le plus long de la galette avec ses 9'17" proposera ainsi cette alternance d'agressivitй et de douceur pour finalement scotcher l'auditeur par une outro dйvastatrice le laissant ko.

 

Un premier mйfait rйussi pour les amйricains mкme si je le trouve trop inspirй de groupes trиs connus (Behemoth, Abbath). Cependant l'univers black old school scandinave est bien imprimй sur la galette si bien que l'on a du mal а croire que ce sont des amйricains qui jouent. Hвte d'йcouter la prochaine rйalisation des frиre Houseman qui offrira un style certainement plus affirmй.

 

 

 

http://www.unitedrocknations.com/chronique-the-carnal-sabbath-helleborus-511

 

 

video

 

https://www.youtube.com/watch?v=SmHieKaCXaY

 

 

 

American progressive black metal band realesed the album. This album is a very good progressive black metal album, and the progressive metal combined with black metal, has always been a combination that is very interesting for listening.

 

On this album it can be heard, that is very melodic, and the melodies are very well fitted, with black metal sound. The elements of atmospheric music and rock in some moments, made the album, special and interesting.

 

Vocals are great, with the vibe of death metal vocal.Tehnical compliace is brought to ideal, acoustic is to loud and it shouldn’t be, but it’s solid and production is awesome. This album will take you to a ride of ocultism, darkness,chaos, apocylpse.

 

Helleborus has progressive metal sound, that is precise, and with black metal sound, that has a true raw black metal essence in it, makes this band very unigue and specific. This band is a perfect example of progressive black metal, with music that is pure and evil as hell.

 

 

http://demon-reports.com/wp/2016/07/29/helleborus-carnal-sabbath/

 

Ci eravamo già imbattuti nei fratelli Houseman in occasione del loro ultimo lavoro targato Akhenaten, progetto dedito ad un death/black intriso di una forte componente etnica rivolta a sonorità egizie ancor più di quanto non avessero mai fatto gli stessi Nile, precursori di questo particolare tipo di contaminazione.

 

La riuscita di quell’opera aveva portato alla luce una coppia di musicisti di talento (specialmente Jerred, che si occupa in toto della strumentazione, lasciando a Wyatt il compito di condire il tutto con la sua aspra interpretazione vocale), per cui questa nuova uscita a nome Helleborus (l’elleboro, o rosa di Natale, è un fiore molto bello ma altrettanto tossico, dal quale vanno tenuti doverosamente alla larga bambini ed animali) incuriosiva non poco, preannunciando i nostri alle prese con un teorico symphonic black.

Detto che il genere citato si presta a frequenti scivoloni, che si concretizzano per lo più con una sovrabbondanza di tastiere che va a snaturare la matrice estrema del sound, gli Helleborus, con il loro primo full length The Carnal Sabbath, si tengono alla larga da questo rischio, proponendo una versione sufficientemente personale e robusta, sciorinando una decina di brani di grande impatto, tra i quali troviamo i tre singoli pubblicati in precedenza (Coils, Colored Spoes of Yuggoth e The Carnal Sabbath, tutti davvero notevoli).

In effetti, più che rifarsi a Dimmu Borgir e compagnia, gli Helleborus optano per una forma di black/death melodico non dissimile dallo stile dei primi Catamenia, per intenderci, e non a caso l’uso delle tastiere è misurato costituendo, alla fine, un mero accompagnamento all’incisivo lavoro della chitarra di Jerred ed al growl di Wyatt.

Non resta che citare altri due brani come la ficcante Edge of Black Waters e la splendida Temple of Seventh Death, nella quale una chitarra lontana dagli stilemi del black si prende meritatamente la scena, prima di consigliare questo ottimo album a chi voglia fare la conoscenza degli Houseman bros., andando magari a recuperare anche quanto fatto l’anno scorso come Akhenaten.

 

http://www.iyezine.com/helleborus-the-carnal-sabbath

 

 

 

A black/blackened death/doom metal project from the Houseman brothers of Manitou Springs, Colorado; expect a high quality metal from these two. Wyatt Houseman explores the vocals and is the lyricist and Jerred Houseman is behind all the instruments and the production.

 

Essentially a well written album, the compositions are a mix of melodic metal along a range of guttural low and raspy vocal performances. A great black/death album for a wide range of metal fans.

 

Check out for yourself through the following Bandcamp streaming widget.

 

https://kultur666.com/2016/10/06/the-carnal-sabbath-by-helleborus-a-comment/

 

1st track, Helleborus Black. A combination of Evil and Brutality. Orchestration on this song is Psychedelic and Dark, like a Horror Movie backsound. 2nd track, Coils. Guitar lick on this song is Psychedelic, plus Brutal Composition.  3rd track, Edge of Black Waters. The song of the Devil and the Moster. Thrash and Blues Guitar Solo.

 

4th track, Colored Spores of Yuggoth. Atmospheric, Chaotic and Thrash. And the Psychedelic sound n the last part is Horror! 5th track, Draconian Discipline. Brutal, Psychedelic and Dark. 6th track, The Poison of Sleep. The vocals on this song rather to echo. Brutal Music with Ambient.

 

7th track, Temple of Seventh Death. Some parts Brutal and some parts not Brutal. 8th track, A Gift of Renewal. This song is easy listening and catchy. An easy listening song with Great Guitar Composition. 9th track, The Carnal Sabbath. An easy listening ending song. Melodic, Brtual Psychedelic and with a little bit Digital sound effect.

 

Devil Vocals, Brutal Drums, and Psychedelic effect. Great Psychedelic Brutal Black Metal Album.

 

http://www.bdpmetal.net/2016/10/reviews-helleborus-carnal-sabbath.html

 

Pourtant signé sur un label russe, le duo du Colorado HELLEBORUS n'est ni beau, ni russe. Mais plutôt charpenté et américain ! Comme quoi, il ne faut jamais se fier aux apparences. Bref, du nom de la plante vénéneuse dont il s'inspire, le black metal torturé, lourdement lesté de death et de touches indus est ici meurtrier et fait mouche sur chacun des neuf morceaux qui compose ce « Carnal Sabbath ». Entêtant et ténébreux, celui-ci donnera des sueurs froides à ceux et celles en quête d'un metal noir sans compromis.

 

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

 

 

HELLEBORUS is a creation of the Houseman brothers known also from the Black/Death Metal entity called AKHENATEN. In HELLEBORUS the music is a bit different, I would say more mystic, grandiose, atmospheric and abstract at the same time. Still they use to compose songs mainly in the frames of Black Metal, more punctually in its symphonic vein. The nine tracks of "The Carnal Sabbath" debut album have been masterfully arranged, executed and armed with a top sound quality. The influences of CRADLE OF FILTH and DIMMU BORGIR can be heard in a few compositions, but still the USBM way is totally different in my opinion. For example in their "Temple of Seventh Death" the contemplative approach is just awesome, while songs like "Edge of Black Waters" and "A Gift of Renewal" start off with some really old-school Heavy Metal riffs, that are pretty odd for such music, but still work fine in total. They also like to incorporate relaxant parts in their music, thus I found their album good for meditation too. And as beseem for such a material it lasts almost an hour, well 55 minutes to be precise. You can order this CD directly from Satanath Records or have a listen to the entire album at the band's bandcamp site.

 

http://castrum.com.ua/encomium/4albums2.htm

 

A Jerred y Wyatt Houseman los conozco porque tienen otra banda, paralelamente a Helleborus, llamada Akhenaten. Ya reseñé a Akhenaten y me desviví en elogios hacia ellos, pues su propuesta me parece hipnótica y fresca, incorporando elementos de la Música de Medio Oriente de manera magistral a su portentoso Black/Death. Bien, Helleborus tiene a los mismos protagonistas, pero aquí eligen otra vertiente musical, relacionada con el estilo que practican en Akhenaten en cuanto a algunos aspectos, pero mucho más convencional y fácil de digerir.

Helleborus es Black Metal claramente influenciado por algunas bandas de los 90s (pienso en Dimmu Borgir, y también pienso en Satyricon), con tendencia a irse hacia el lado sinfónico de la cuestión, pero sin convertirse en una banda pomposa y aburrida, tal como sucede con gran parte de los grupos que eligen ir por esa senda.

Los hermanos Houseman saben dosificar los elementos que utilizan para crear su música, sea cual sea la banda, y Helleborus no es la excepción a la regla. Todo está en su lugar, cada pieza ocupa el lugar que debe ocupar, y hasta se encargaron de proveerle a la grabación un sonido acorde al estilo, sonando limpios pero no excesivamente producidos, cosa que sí sucede con muchas bandas modernas que van por el mismo sendero musical. Los Houseman optaron por un sonido más orgánico en las guitarras, poniendo a las mismas dentro de una estructura sonora que se ubica entre lo más limpio del Black Metal de los 90s, pero sin arriesgarse a perder la fuerza y algo de la suciedad que éste supo tener en su mejor momento. No abusan de los blast beats, aunque hay un buen trabajo en ese terreno. La voz suena cruda y oscura, y las melodías no son ampulosas ni rebuscadas, se entiende todo lo que tocan, y hasta resulta muy agradable esa sensación de poder comprenderlo todo.

Eso sí, no les sobran las grandes canciones, todo lo opuesto a lo que sucede con Akhenaten, banda a la cual le sobran grandes composiciones. Por el contrario, Helleborus es un grupo demasiado previsible y convencional, aunque no por eso uno debe negar que tienen una cantidad importante de virtudes (ya mencionadas). Salvo muy buenas canciones como "Coils" y "The Poison Sleep" (ambos tracks a medio-tempo, con armonías muy perversas y atractivas), el resto del disco es ameno para el escucha acostumbrado a éste tipo de música, y hasta puede llegar a serlo para aquel que no acostumbra a escuchar Black Metal. Y nada más que eso, no hay mucho más que eso.

Ok, "The Carnal Sabbath" es un trabajo bien pensado, construido de forma inteligente y presentado de manera bastante elegante. Pero podría ser mejor de lo que es, no tengo dudas de ello. De cualquier manera, entretiene.

 

 

https://puroruido.blogspot.ru/2017/01/helleborus-carnal-sabbath.html

 

 

Vi faccio una piccola confessione: il vostro caro Vlakorados adora i fiori. Ma li adora veramente molto, tant'è che la sua stagione preferita è la primavera, quando alberi e arbusti sono pieni di colori accesi e vivaci. Tutto ciò è poco Black Metal, vero, eppure oggi vi parlerò degli Helleborus, un gruppo che suona questo genere e che ha scelto come nome proprio quello di uno dei nostri simpatici amici vegetali.

 

C'è da dire che i fratelli Jerred e Wyatt Houseman — già noti nell'altro loro progetto Akhenaten — hanno scelto il nome di una pianta che fiorisce in inverno e che inoltre possiede la caratteristica di essere velenosa; niente di più adatto per un gruppo Metal quindi, come tra l'altro esplicato in copertina. La musica suonata dal duo in "The Carnal Sabbath" è di base un ibrido di Black e Death in parte assimilabile a quanto fatto dai Behemoth, spesso melodico, talvolta dissonante, ma con una costante forza d'impatto dovuta a una produzione bombastica che farà la gioia degli oppositori della loudness war; volumi e compressioni (forse) esagerate, tuttavia è anche il contenuto sonoro che di per sè si presta a presentarsi in maniera particolarmente possente, anche grazie a una prestazione vocale aspra e aggressiva di Wyatt che non lascio scampo. L'alto tasso tecnico messo in mostra da Jerred è evidente specialmente nelle parti di batteria dinamiche, precise, furiose e piene di fill e di elaborati giochi sui piatti, anche se il musicista si dimostra capace di trattenersi, seguendo ritmiche squadrate e più semplici. Altrettanto bene funziona la collaborazione tra basso e chitarre: il primo offre un contributo decisamente importante ad esempio in "Temple Of Seventh Death", ergendosi a protagonista del brano e in generale slegandosi dalle sei corde; queste ultime, invece, sono la principale presenza melodica del disco, rappresentata attraverso arpeggi e riff in tremolo spesso reminescenti della seconda ondata Black Metal, come accade nelle aggressive "Helleborus Black" e "Draconian Discipline" ma anche nella più atmosferica "The Poison Of Sleep"... E non è tutto.

 

Gli Helleborus possiedono infatti una seconda anima udibile in più occasioni, un'anima che prende la forma di una sorta di Rock psichedelico estremizzato; il caso più evidente è "Edge Of Black Waters", che non si limita a inserire qualche passaggio di questo genere, ma sforna anche un lungo e godibile assolo blueseggiante; ancora "Temple Of Seventh Death" e "A Gift Of Renewal" fanno uso di chitarre palesemente estranee al Metal estremo, mentre la lovecraftiana "Colored Spores Of Yuggoth" sfrutta i suoni allucinogeni dei sintetizzatori, solitamente posti come accompagnamento ma che in questa occasione risultano più rilevanti. Questa seconda faccia della band non viene palesata in ogni brano, seppur spesso lavori in sottofondo anche nelle tracce più legate al Black Metal, e proprio per questa presenza non sempre evidente qualche ascoltatore potrebbe lamentare una leggera eterogeneità del disco, ma niente che possa rovinarne la qualità.

 

Come ultima nota, i testi sbraitati da Wyatt si rifanno a tematiche quali esoterismo e sessualità: un mix non certo sconosciuto al mondo Rock-Metal che viene mostrato anche nel libretto, in cui immagini stilisticamente simili alla copertina non nascondono la vena occultista e carnale alla base della musica.

 

In definitiva, "The Carnal Sabbath" è un buon debutto per questa nuova realtà dei due fratelli del Colorado, in grado di mostrare già una propria identità e di intrattenere per tutta la sua durata senza grossi problemi.

 

http://www.aristocraziawebzine.com/recensioni/8082-helleborus-the-carnal-sabbath

 

For some reason I have a memory of having reviewed a previous record from this lot but I cannot find it anywhere. Perhaps it is my memory playing tricks on me. Whatever the case might be I’m looking forward to take this one on. There is a vibe to this that tells me I’ll be in for a treat. American black metal can be anything from Profanatica to Wolves in The Throne Room, from the most basic to the most symphonic. You can’t really speak of a cohesive sound. HELLEBORUS are more Profanatica than they are Wolves, more Mayhem than Satyricon. This is a cool slab of plastic that will spin more than once in my player. Anders Ekdahl

 

http://battlehelm.com/reviews/helleborus-the-carnal-sabbath/

 

 

Mondjuk úgy, hogy öt Satanath kiadvány közül egy szól nekem, tízből egy pedig nagyon betalál. Jelen anyag, a Helleborus agymenése atomkraft például. Az amerikai együttes a nagyon mérgező virágról a hunyorról kölcsönözte a nevét. Fiatal formációról van szó, 2014-es megalakulásuk után három single jelent meg digitálisan, majd ez a korong a Satanath és a Black Plague közös gyermekeként. Két taggal működnek - testvérek, koncerten vendégzenészek segítik őket.

 

 

 

Mondanám, hogy biztató az első pár hang, de mostanában gombamód szaporodnak az igényesen elszállós intró után csutkaszar zenét tálaló bandák. Ez bizony nem az a kategória, itt az atmoszféra végig megvan. Természetesen nem azt mondom, hogy csak az a zene a jó, ami atmoszférikus, de ha az intro ilyen, a folytatás meg nem, az csalódás számomra.

A Helleborus Black harmadik percének kígyómód tekergő dallammenet (arab? kelta? nem tudom eldönteni) az izgalmak végfoka, rituális, szektahangulat. Felette ez a szétefektelt ocsmány ének mesteri.

Kajakul túl van néha húzva a hangerő, ami időnként sercegést okoz (Colis első percének a végén a kiálláskor hallatszik például), de ez legyen a legnagyobb problémája annak, aki hallgatja a korongot.

 

A Draconian Discipline nótában az eddig elhangzottakhoz képest is ritka okádék az ének (valamire nagyon hasonlít, és tökre idegesít, hogy nem jut eszembe mire), egészen elképesztő hangokat torlaszt ki magából S.W.H.

Az első hallgatásnál a Colis és az Edge Of Black Waters egy kicsit szürkének tűnt... Az e két dalban feltűnő pár szögletes téma után fellélegeztem viszont, a lemez kirúgni látszik magát. Győz a misztikum. Valahogy úgy jártam, mint a Nachtmystium lemezeknél, amiket egy kicsit szintén érlelni kellett. Hasonló a jelenség ott is, miszerint elsőre atomjól sütő dalaik vannak, és lemezenként kettő - három, ami nehezen adja magát.

A csúcspotok a The Carnal Sabbath-on: Helleborus Black, Colored Spores Of Yuggoth, Temple Of Seventh Death... és a záró, címadó The Carnal Sabbath.

 

 

 

Kiemelném a borítót. Véresen morbid, ugyanakkor megfelelően művészi ehhez a szintén művészi zenéhez. A mai világban nem is kis megjelenésnek számító kétezer darabban lett lenyomva a CD.

A hangzáshoz visszakanyarodva még egy pillanatra, a hiba nem csak a túlvezésrésnél jön elő, hanem a dobhangzás is defektes rendesen. Szerencse, hogy a részletekre bontott pontozást a bűvös tizes fölé is húzható skálázással alkalmazom, így lehetséges, hogy ha a dob megszólalására 7 pontot adok, de a harmoniajátékra 13-at, akkor ez egy tizes átlag ugye? Hatásként a Nachmystium rémlik fel egyedül. Az ének cincál-boncol. Legyen a skálán mondjuk 12 pont.

 

Ez a lemez számomra a minimum két-háromszor hallgatós kategória, és igen, valóban, beismerem, ilyenkor sérül az igazságos verseny elve, de nem tudok ellene tenni, a Hangpróba egyesélyes, ott képtelenség mindent kétszer - háromszor lepörgetni úgy, ha azon kívül is szeretnék zenéket kutatni. Szóval újra hallgatva, kitisztult, kipihent füllel ez egy csont nélküli tizes. Közel egy óra játékidő. Kell ebből ennyi. Aki üdítő, újító, és végtelenül művészi, időnként klasszikus megoldásokat is használó, de MÉGIS ÚJÍTÓ lemezt keres, annak nagyon tudom ajánlani ezt.

 

http://www.femforgacs.hu/kritika/3857/Helleborus_The_Carnal_Sabbath_2016

 

 

Helleborous is a black metal band from Manitou Springs (USA). It was formed by two brothers, Jared and Wyatt Houseman, whio are also known as members of the acknowledged Akhenaten.

 

 

 

Helleborous also stands for the name of the rare species of a beautiful, but yet poisonous flower that blooms only in winter. This very interesting and artistically minded beautiful cover art with lots of hidden motives  hides a masterpiece album with a lot of obscure melodies as well, poisonous as the flower and dark and cold as the long winter night. The cover includes a flower that is both snake and the tree in the same time with mystical Hebrew letters from the forbidden Kabbalah mantras, and in the background, statue of satyr and a women having a period. All in all, we have a strong vibe of ''Akercocke meets Urfaust'' lyrics of aristocratic and elite occultism, as well as of esoteric and occult mystical sexual energy, which flows freely through the songs like the spring of Thelema's True Will. 

 

 

 

Helleborous - '' The Carnal Sabbath '' is a Full Length Album issued for Satanath (RUS) and the Black Plague (USA) on 17 June 2016. It is a release that spawns darkness at the first hearing, as incredibly dark guitar melodies constantly emerge from its nocturnal womb. In the background of all the discreetly hear apocalyptic keyboards. Scream vocals which remind me Ancient's Aphazel, guitar squeels on in the background singing the first stanza leave a strong impression creepy. Each song is extremely elaborate with parts' arrangement, but the band is definitely more focused on the dark atmosphere than the speed, and I like it. The band doesn't lack speed as well, songs evolve from creepy chord decompositions to the peak of reaching insane climax with the occasional blast beats and schizoid keyboards (such as those on '' Helleborous black ''), creating gruesome mini symphonies that are in my opinion the greatest asset of the album. Powerful thrash metal riff on ''Temple of Daath'' is by my humble opinion by far the most powerful and forcefull riff on the issue, and as a contrast to it we have groovy rhythms suiting more to Alternative bands like Autogeni Trening in style, but followed by very obscure tunes and scales. Each song is constantly evolving, mixing the different variations of songs' basic melodies as if they were mixing a deck of cards, not allowing any of the songs to be borring. The lads are playing with different styles,  remaining on their own and unique. Eg. '' Edge of waters '' is the song that goes to almost standard rock'n'roll alternative parts, sounding more like perfectly packed, darker and less strenuous Alogia song. In the song ''Colored Spores of Yuggoth'', with Lovecraft's name for Pluto and its inhabitants, extinct alien speices, we are faced with alien sounds and eerie interkosmic guitar scream as occasional motif. Some song arrangements remind me of Lifelover which I adore, with spontaneous intro for extremely powerful, slow thrash riffs in middle of the same song.

 

 

 

All in all, a unique, extraordinary and quite dark black metal release, a true refreshment in a genre.

 

http://bogotacreviews.blogspot.ru/2017/01/helleborous-carnal-sabbath-2016.html

 

Even before I listened to their album, I knew that HELLEBORUS was a rare breed. Consisting of only two band members- brothers Wyatt and Jerred Houseman (formerly of Excretion and Akhenaten), they weave together a polished and surprisingly good album for the mostly underground North American Black Metal scene. When most of us think of Black Metal, we think of Norway, Sweden, Finland, or some other icy European country with dark forests. However, “The Carnal Sabbath” proves that Black Metal within the U.S.A. is very much alive. Now, I must admit I’m a little biased. I’m a huge fan of DIMMU BORGIR, DARKTHRONE, CARACH ANGREN, and pretty much any Symphonic Black Metal. I’m not exaggerating, though, when I say that I was extremely impressed with HELLEBORUS’s meld of Death and Black Metal into one mind-blowing experience of an album, especially given that it was their first.

 

The album’s opening song, “Helleborus Black,” is a chugging explosion of DARKTHRONE-like riffs and Wyatt’s vocals. The vocals were especially striking due to the hollow reverb effect, and Jerred’s breakneck solo was mind-blowing. I think that the band’s decision to skip the intro track, which is used by pretty much every Symphonic Black Metal act, was a smart one. It leads the listener right into a badass song that flies along into a growling melody, and clearly showcases the band’s talent before the first minute is complete. “Coils” is a decidedly slower but still heavy track that showcases the symphonic riffs and intense drumbeats of the band. S. Wyatt’s voice takes center stage yet again, rippling to life in an evil-sounding distortion, and I mean that in the most complimentary way possible.

 

The third track, “Edge of Black Waters,” was my personal favorite, and one of the best new Black Metal songs I’ve heard in quite a while. I don’t give that compliment out unless it’s well deserved. The beginning riff is intoxicatingly catchy, and adds just the right amount of Atmospheric Electronica to the song’s sound. The bluesy solo near the 3:30 mark is also an unexpected and unique addition to an album that is pure, unadulterated Black Metal. Jerred’s background of melodic and masterful guitar work provides the perfect contrast to Wyatt’s harsh, grating vocals and creates a song that I would listen to again and again.

 

“Colored Spores of Yuggoth” provides a waveringly trippy ride through the cosmic world of HELLEBORUS. The background drums are a ruthless attack on the ears, while the vocals become increasingly robotic and warped. This track harkened back to DIMMU BORGIR’s electronic roots, using beautiful orchestral melodies overlapping with Wyatt’s classic Black Metal sound. The discordant and searing electric guitar of “The Poison of Sleep” lays over the steady drum rhythm with ease, and I especially enjoyed Wyatt’s vocals in the chorus on this song. His raspy and raw vocals are the perfect point of focus. However, I especially liked the slowed-down section in which his menacing whispers can be heard over the bass riffs.

 

I was equally impressed with its follow-up, “Temple of Seventh Death.” Its grinding, depressive sound reminds me of “Tales From the Thousand Lakes”-era AMORPHIS, and I love how enchantingly the delicate guitar melody blends with the vocals to create four minutes and 24 seconds of what can only be classified as the purest Black Metal. I didn’t think the album could possibly get any better within the last two tracks however, I was wrong. “Gift of Renewal” drew me in with its flowing, clear guitar riffs and layered melodies. The vocals were also muted down compared to the rest of the album. I think this fit the track perfectly. It allowed me to hear some of the lyrics that S. Wyatt also writes, which was an added bonus. The title track, “The Carnal Sabbath,” is undoubtedly a culmination of all of the different styles HELLEBORUS put into this album. It transitions from screaming vocals and hammering drumbeats to slow, grooving riffs in a snap-second and ends the album with a bang.

 

Now, in conclusion, I must put out a disclaimer. I almost never, ever give albums a perfect rating. No matter how strong an album is there is usually some kind of weakness. However, this album is nearly perfect. It’s a prime example of what a Black Metal album should be. My only criticism would be that sometimes the vocals become monotonous, but that is to be expected within the realm of Black Metal. Overall, I think this is one of the strongest albums I’ve ever heard from a band that isn’t very well known, and I know that you’ll be playing it on repeat if you give it a chance.

 

 

http://www.metal-temple.com/site/catalogues/entry/reviews/cd_3/h_2/helleborus-the-carnal.htm

 

 

The Carnal Sabbath is an album by avant-garde black metal act HELLEBORUS, from Manitou Springs, Colorado. With nine tracks – Helleborus Black, Coils, Edge of Black Waters, Colored Spores of Yuggoth, Draconian Discipline, The Poison of Sleep, Temple of Seventh Death, Gift of Renewal and the eponymous The Carnal Sabbath – this album probably features the most expressive, beautiful and imaginative guitar lines that I have heard in a record of the genre. Like a glorious thunder strike, with solos that remembers efficiently colorful, ascendant and perceptive power and heavy metal riffs, the sonorous guideline of HELLEBORUS can be described essentially as way more heavy metal than black metal per se, with the clear exception of the vocals, although I should point it out that certain passages in some tracks are indeed exceedingly rapid and hostile. Nonetheless, their musicality is vibrant, audaciously voracious, original and profoundly dynamic.

 

With uncommon creative abilities, The Carnal Sabbath is a beautiful work, that has on the verge of its consistent melodies the sagacity of its mordacious brilliance. Tracks one, three and eight – Helleborus Black, Edge of Black Waters and Gift of Renewal, respectively – are songs that deserve to be highlighted. Gift of Renewal, in special, certainly is one of the most beautiful songs that I have heard in my entire life. With impeccable and wonderfully exhilarating guitar lines, a very hard rock rooted sonorous proficiency and an impressionistic amalgamation of diffuse harmonies, this is probably the best song of the album. A firm and astonishing example of eccentric creativity in the genre, HELLEBORUS remembers nineties Rotting Christ a little, although I should say that they extrapolate the Greek band in terms of spontaneity and dynamics, as their music sounds more colorful, vivid and vibrant, and the production values are accurately clean and standardized.

 

 A very intelligent and singular album – a milestone in the genre’s history – that is absolutely secure of the complex comprehensiveness of its path, HELLEBORUS delivers to its audience a lucid and cohesive work, ostensibly genuine and volatile. This work can certainly be described as an intrepid storm of sonorous beauty, embalmed with an archaic dogma of despondent solitudes, exalted by a hostile atmosphere of infinite horizons, surrounded by a tempestuous, atrocious and sulfuric planetary darkness.

 

A thoroughly precious and fantastic record that certainly deserves the attention of each and every enthusiast of the underground scene, The Carnal Sabbath is a ferocious and aggrandizing work of art, close to perfection. You can listen to this album without fear. You will not be disappointed.    

 

http://www.merchantsofair.com/reviews/helleborus-the-carnal-sabbath

 

Возможно в горах Колорадо пишет свою черную музыку вот этот дуэт двух братанов, которые заделывают Progressive Black Metal, или как пишут на метал-архивах симфо блэк метал. Все тут произведено очень достойно и мощно. Вот вам еще инфа, эти музыканты играли еще в дэт блэковом проекте Akhenaten и дэтовом Execration.

Да впрочем, читаем:

J.C.H All instruments (2014-present), Guitars (lead) (live) (2015-present) See also: Akhenaten, Bohemian Grave, ex-Execration.

S.W.H Vocals, Lyrics (2014-present) See also: Akhenaten, ex-Execration.

И вот теперь понятно их желание поработать еще и на новом поприще, дать нам свое видение блэка, а именно его сложносочиненной части, наполненной эманациями природы столь богатого края.

С 14-го года ребята именно что занимаются этим проектом, и запустили уже четыре сингла, три - до и один после сабжевого альбома. И думается это было правильным — сначала опробовать свое музло на отдельных людях и небольшими порциями. А там война план покажет...

Альбом The Carnal Sabbath — это 55 мин дарк-, блэк-материала, который будет по душе широкому кругу металлистов. Которые воспринимают сложное и навороченное музло (до известных пределов, естественно). Траки не мелкие - по 5, 6, 7 и даже 10 минут, так что все нормально, есть где и куда развернуться.

Начиная с трака 1 музыкальные экспириенсы Helleborus это мидтемпо вязкие построения ритм-секции, в которые вклеены как хорошим универсальным клеем, нервные дрожащие струнные ни на что не похожие пассажи, и вокал («мягкий» гроул) медитативный и занимающий много места в протяженности компо. Томный риффинг и барабанные атомные проходы, знаменуют нам о траке 2, а там же и струнные солирующие переговоры. Здесь уже имеются пробои в иную более быструю реальность, куда иногда скрываются струнные инструменты да и ритм-секция. Гипнотизм вокаллера, кажется, превращается в авторитаризм, директивы и оккультные заговоры (посмотрел в буклет, директива относится к тональности, а заговоры к смысловой составляющей, причем, в прямом смысле).

Анализ дальнейшего музыкального доклада показывает, что здесь местами реализована интересная схема, которую можно условно обозначить как эзотерический «новый романтизм» (например, а ля Систерс оф Мерси), исполненный блэк металлическими музыкальными средствами. Естественно, более мрачного, чем исходник. При сохранение темповой медитации соло пробежек, указующих на дальние вершины гор, а также линии брутального голоса (причем его экстремальность не зафиксирована, а сдвигается туда, куда заказывает композер).

Однако же место отдается и поистине монструозным по атмосфере блэково-дэтовым полигонам в мидтемпо (как в траке 6, и кусками в 9), добротно структурированным по линии струнных, с внутренними мостами в тихое подполье. Вокал здесь по настоящему мизантропический и дерзкий, плотно поддержанный гитарным рубиловом. Нужно заметить, что после такого пикового озверения композер решает придерживаться более спокойного и даже меланхолического музицирования, демонстрируя свою незашоренность и многогранность.

В итоге добротный экспериментальный блэк-металл, с немалым артистическим потенциалом, плотно прописанный, обладающий шикарной аурой и магнетизмом.

Это совместный релиз с американской конторой Black Plague Records. Прилагается 16-страничный буклет оформленный в лучших традициях дарк-арт.

 

https://vk.com/wall216331265_2700

 

Batizado com o nome de uma bela, porém venenosa, flor, o trio estadunidense Helleborus traz ao Black Metal certo frescor, graças à exploração de arranjos e inserções variadas em sua música, todavia, a banda não abusa de arranjos de cordas e metais ou outros elementos que, se mal utilizados, só servem pra desconstruir a proposta de origem.

 

Os caras apenas inovam nas melodias e andamentos que, aliados à composições longas e atmosféricas, funcionam a contento. “The Carnal Sabbath” viaja por um universo místico, esotérico, por meio de faixas agressivas na essência, porém refinadas e instigantes em sua concepção.

 

“The Carnal Sabbath” é uma obra pesada, homogênea e agressiva, indicada pra quem é fã do estilo, mas está cansado do lugar comum. Destaques para “Edge of Black Whaters” e “Temple of Seventh Death”. Confira!

 

http://metalnalata.com.br/site/helleborus-the-carnal-sabbath-2016/

 

Jerred Houseman (also in Akhenaten) from Manitou Springs, Colorado, keeps his creative juices flowing. Besides his musical ambitions in his successful main band Akhenaten, which is a mix of Black and Death Metal with some Middle East folk influence, he also needs to get his extra kicks in a bit of different areas like this side project.

 

Not only has Jerred written all the music for this 9-track effort, but he has also recorded and produced the whole thing. His brother Shane Wyatt Houseman gets credits for the vocal parts and lyrics.

 

Musically, Helleborus operates on a traditional symphonic Black Metal field in which some strong and often even captivating and gloomy atmospheres play important roles within the band's mostly fast, malicious, cold and at times quite unforeseeable and a bit avant-garde Black Metal. Jerred has clearly put a lot of his time and effort into the making of this album, leaving nothing halfway finished. There are many things to be enjoyed on the album, even for the not so Black Metal purists like yours truly. The knobs were in the right position as far as the production on the album is concerned. It's not too slick or polished, and instead is raw and clear enough.

 

The Houseman brothers should make this a full band instead of keeping it as a side "hobby" only. There's enough potential in Helleborus to keep this unit breathing the needed amount of fire and brimstone that it should become a steadily tormenting Black Metal horde.

 

http://www.metalcrypt.com/pages/review.php?revid=10238

 

Ovde imamo američki dvojac sa čisto odsviranim, dobro produciranim albumom srednjeg tempa i specifičnim zvukom. Nemaju klasičnu „jurnjavu“ sa dva-tri prosta blekerska rifa koja će se vrteti od početka do kraja, a izostavljeni su i brzi besmisleni ritmovi,. Mračna atmosfera, sablasni, simfonični black metal sa notom psihodeličnog roka, sirovi vokali i (pre svega) dobra produkcija krase ovo izdanje. Svakako interesantan materijal za slušanje, pogotovo ukoliko ste ljubitelj eksperimentalnog i melodičnog black metala, a koji se ne obazire na granice klasičnog zvuka ovog žanra.

 

https://ciklonizacija.blogspot.ru/2018/03/kombo42.html