Satanath Records - Reviews: SAT157

Reviews: SAT157

С одной стороны, очень удивительно слышать качественно сделанный альбом в жанре блэк-метал из Казахстана, но с другой, удивительно то, что в Казахстане подобной музыки практически нет, хотя республика мало чем отличается от той же Украины или Беларуси, т.к. точно так же когда-то была частью единой страны. Конечно же, сказать, что на этих землях совершенно нет металла, нельзя, но на общем фоне казахстанский тяжеляк малозаметен и практически никому не известен. Что же касается альбома "Due Diaboli Et Apocalypse", то это уже не первый релиз Seven Sins, но в стиле симфонического блэка это все же дебют, да и навряд ли кто-то будет утруждать себя поисками того, что играл коллектив ранее, так что в данном случае даже не стоит пытаться как-то сравнить временные этапы их творчества. Глядя на банду в данное время, сразу можно догадаться, откуда музыканты черпали идеи для своего имиджа, отчего можно прийти как к положительному заключению, так и к отрицательному, а выводы будут зависеть именно от того, под каким углом на все посмотреть. На самом деле, скопировать в копейку образ Behemoth - не очень-то хорошая идея, тем более для среднеазиатского коллектива, но Seven Sins все это попытались сделать на очень высоком уровне, что уже не заставляет физиономию растягиваться в улыбке, как это бывает при виде команд с акварельным корпспейнтом и искривленными лицами. У казахстанцев вся бутафория вышла пусть и не оригинальной, но очень умелой, что наверняка может привлечь внимание со стороны более серьезных металхэдов. Что касается самой музыки, то блэком как таковым ее назвать очень сложно. Имеются, конечно, кое-какие запилы, свойственные жанру, тот же скриминг, но по большому счету это уже далеко не блэк. Даже сами Dimmu Borgir (у которых казахи также много чего позаимствовали) называют свой стиль не иначе как "extreme metal", что, по сути, и является самым верным определением. Материал больше опирается на мелодику, ну а построение композиций вобрало в себя максимум разнообразных оттенков в попытке сотворить что-то очень привлекательное, но никак не злобное и агрессивно-атмосферное. Если это и было главной целью музыкантов, то задумка вполне удалась, ну а если они таким образом хотели получить что-то вроде блэк-металлической классики, то тут они очень серьезно пролетели. Навряд ли альбом "Due Diaboli Et Apocalypse" сможет занять какие-то серьезные позиции в движении антирелигиозных мизантропов, а вот порадовать молодежь просто качественной музыкой им наверняка удастся. Ну а в среде близких они, конечно же, могут стать даже музыкальными идолами, тем более что до них в Казахстане точно никто ничего подобного не делал. Собственно, так называемым "true & evil" все же лучше обойти альбом стороной, остальным слушать вполне рекомендовано.

http://headbanger.ru/reviews/album-3946

With about 30 active bands with releases to show for, Kazakhstan ain’t the most prominent on the metal map. All the more pleasing that Seven Sins deliver. They’re now launching the sophomore album, presented as “a conceptual journey through the dark and obscure side of the Middle Ages in Eastern Europe and Asia”.

The band play gentle, melodic, and grandiose symphonic extreme metal, with local seasoning. Mild, but not as harmless as Orphaned Land.

Metal and symphony are fully integrated into melodies that don’t appear as malicious, creepy, or aggressive, but rather with a powerful and good whiff of folk-inspirations. The folk instrumentation can to some extent be reminiscent of both Arkona and Melechesh, and these elements and moods separate Seven Sins from natural Western references such as Dimmu Borgir, Cradle of Filth, Anorexia Nervosa, et al.

Structurally, the Kazakhs have drawn inspiration from classical music, film score, and folk music, and the song’s designs fluctuate between waltz and epic drama, with elements of, amongst others, gothic, primitive, and occult undertones.

Due Diaboli et Apocalypse was released by Satanath Records on September 20th.

http://www.nocleansinging.com/2016/12/16/beneath-the-ncs-radar-part-19-over-the-top-year-end-edition/

Arabian overtones and heavy use of keyboards. Someone really likes Nile…

But wait! There’s more! Now they go all symphonic power metal, albeit with snarly pagan/black metal vox! Then they tag in oddly dramatic soprano vocal bits!

We’ll even throw in this set of ginsu knives, absolutely free! Now how much would you pay?

Seriously, though, these guys are blending elements of Cradle of Filth and Dimmu with those of Nile and (really weirdly) those of bands like Edenbridge, Orden Ogan and Rhapsody (of Fire)…even tagging in the more pagan/Viking flourishes of bands like Leaves Eyes along the way.

I don’t get it, to tell the truth. I like my black metal old school, raw and uncompromising as a rule, my death metal in the classic Morrisound/Sunlight vein…and my bombastic, symphonically oriented power metal to be uplifting, with soaring nigh-operatic (generally male tenor) vox.

SevenSins, whether to their credit or detriment, jumble up the mix, taking the leg bone and connecting it to the arm bone and putting the skull where the foot should be.

Folks pining for the heyday of Dimmu (I won’t say Cradle, because I have an ongoing and abiding affection for their first few albums, and the feel here is very, very different from their oblique Decadent-toned gothicism) who also spend an inordinate amount of time in the pagan/Viking and power metal arenas and kinda have a thing for Nile may be quite pleasantly surprised.

PS, the production is pretty damn strong, in case you were wondering…but given the bands and genre elements they’re drawing from, was that even in question?

https://thirdeyecinema.wordpress.com/2016/11/04/and-now-the-november-supplemental-roundup-satanath-records-and-symbol-of-domination/

Il serait de bon ton de commencer cette chronique par une blague, une anecdote ou une donnée sur le Kazakhstan (car oui, Seven Sins vient de là-bas) mais ça serait sombrer dans la facilité crasse pour faire une introduction - et nous, chez les Éternels, on n'est pas du genre à utiliser ce genre de fainéantise pour cacher notre manque d'inspiration. Du coup, autant utiliser cette introduction pour vous dire qu'on ne le fera pas. Voilà.

Non mais en fait, que Seven Sins vienne du Kazakhstan pourrait être une donnée pertinente dans cette chronique si leur musique le justifiait. Parce que au-delà du fait que des groupes de metal venant de ce riant pays, on n'en voit certes pas passer tous les jours (comment ça, vous ne sauriez pas m'en citer un autre ?), faire du pays d'origine d'un groupe un aspect saillant de leur musique peut se justifier dans certains cas – par exemple, l'utilisation d'une thématique particulière ou d'instruments traditionnels – ici, non. Car si on m'avait dit que Sevens Sins venait de Norvège, j'aurais hoché la tête en faisant « hum, cool ». Parce qu'en Norvège, il y a Dimmu Borgir et que Seven Sins, c'est tout pareil. Et quand je dis « tout pareil », ça veut dire à la fois dans la forme et la qualité. Due Diaboli et Apocalypse est un chouette album de black metal symphonique, même si rien ne le rendra inoubliable dans la durée – un peu comme la majorité des albums de Dimmu Borgir, voila.

Après, nous ne sommes pas loin du sans-faute/sans génie propre à beaucoup de groupe qui ont des moyens et des idées mais pas vraiment d'éclairs d'inspiration. Des grosses guitares, des claviers à profusion, tout cela sonne bien, c'est puissant et équilibré, le chanteur est parfaitement dans son rôle de gueuleur tantôt écorché, tantôt emphatique. Il y a des voix féminines éthérées ("Seraphim"), des ambiances orientales ("Avicenna") – le Kazakhstan est à la frontière de l'Europe Orientale et de l'Asie, donc ok, c'est cohérent – des riffs à la Children of Bodom ("Alchemist"), des solos un peu partout et du blast : on se croirait revenus à la période de l'âge d'or du black sympho, en gros la deuxième partie des années 90. Difficile, du coup, de taxer ce Due Diaboli et Apocalypse de plus qu'un trip légèrement nostalgique vers une période où les gros synthés orchestraux dégueulaient sur la majorité de la production de black metal. Et d'un certain côté, ça ne fait pas de mal.

Loin de vouloir proposer quoi que ce soit d'innovant, Seven Sins s'inscrit dans le prolongement de la voie ouverte il y a deux décennies par les groupes d'Europe du Nord – voie qui ne s'est jamais vraiment refermée, tout au plus un peu asséchée. C'est brutal, violent et de qualité, mais trop calibré et manquant du genre de folie malsaine ou épique que l'on trouvait dans les meilleurs productions du genre à l'époque. Bon enfin, si maintenant on vous demande s'il y a des groupes de metal venant du Kazakhstan, vous ne passerez plus pour des guignols.

http://www.leseternels.net/chronique.aspx?id=17553

Out last September 20th 2016 was ‘Due Diaboli Et Apocalypse‘ by SevenSins via Satanath Records and MurdHer Records.

A symphonic blackened death metal album by an amazing band from Kazakhstan that delivers powerfully like Dimmu Borgir and its siblings.

Formed in 2008 we are left wondering if we’ll hear more about this amazing band. Info is scarse and obscure but we do know that they sing about the medival times of their country and its alentours.

https://kultur666.com/2016/11/24/due-diaboli-et-apocalypse-by-sevensins-a-comment/

If you’re going to play symphonic metal, then you need to absolutely commit to it – embrace the bombast, and create something with a true feeling of epic grandeur. Seven Sins from Kazakhstan do just that on Due Diaboli Est Apocalypse. The keyboards are given a suitably strong role, and they work in tandem with stirring guitar lines to create metal that sounds like it should be the soundtrack to some era-defining medieval war. It’s remarkable that such an underground band as this five-piece could record an album that’s so much more powerful, passionate, and convincing than anything done by the mainstream symphonic extreme metal bands. It is a bit of an exhausting listen, but Dui Diaboli Est Apocalypse is everything symphonic metal should be.

https://thesoundnottheword.wordpress.com/2016/11/27/november-blasts/

Khazakstan, the name alone sounds warm and inviting, and with the members of this band hailing from a region based at the foot of the mountains near the junction of two rivers known as Ust -Kamenogorsk (or Oskemon as it is called by the locals), things begin to sound even more friendly and inviting, but fear not fellow Metal Heads, for this place must indeed be dark and foreboding, as the music created by Seven Sins is sinister and dire to say the least!

Opening track Tempus Mortuorum is a chilling little instrumental number that pretty much lets you know what you are in for, with the sounds of Crows and Ravens and religious types chanting in the background laid over the top of some very dynamic orchestral music, softening you up a little for the oncoming fury of the second track Kabbalah. Blast beats and screaming death vocals ensue, a very tight band indeed, and yes let's get this out of the way first, you have heard this before from the likes of Dimmu Borgir and Carach Angren, even Cradle of Filth in their heyday, but do not let this detract you from what is essentially a fantastic album.

All the Symphonic Black/Death Metal stereotypes apply, crushing riffs, soaring guitar and keyboard harmonies, female vocals in the background etc. Bold, brash, loud and bombastic, epic to the last eerie scream. I can only imagine what the vocals are about as they are in Russian but the whole package certainly delivers in it's imagery of tortured dark medieval times. Standout tracks include Mors Atra, which loosely translates to Black Death or Terrible Death, a reference to the Black Plague which no doubt ravaged the area at some stage in history, again I can only surmise as I cannot speak Russian, but it certainly conveys a great sense of death and affliction. The outstanding Seraphim with it's female vocal harmonies intertwining with the guttural howls of lead vocalist Victor would not be out of place at the wedding of an undead King and his corpse bride, forever spinning into eternity hand in hand in their tattered marriage garb.

Powerful stuff indeed, pretty much not a bad track on the album and definitely one you can play from start to finish without skipping songs, which to me is always a plus and makes me want to return again and again, and return you will, for like anything done with such conviction and delivered so well you must pay attention. In the end all I can say is that listening to this album was like being hit with a hammer wrapped in a violin, brutal yet majestic. Add this to your collection, you won't regret it.

http://www.metal-rules.com/

Well, it takes a bit more than one band to make an entire scene, but it’s a start. So Seven Sins are from Kazakhstan and play some kind of symphonic crossover between Black and Death metal, previously they apparently played Deathcore, I’m still trying to figure out the exact thought process behind that, but let’s save that for another time.

The album starts with an orchestral intro, Tempus Moruorum, accompanied by some low chanting , not really anything out of the ordinary, it’s what you would expect from the genre.

But from here on out and until the end of the record it’s epic orchestral melodies mixed with Black and Death metal, in a way it’s very similar to Dimmu Borgirs newer material, especially Abrahadabra, just a bit heavier on the metal side. But that’s the major issue with this record, musically it doesn’t really manage to stand on it’s own, it’s just a mix of the best from a lot of similar bands, and that’s really sad, because there are some solid songs on this album. Alchemist and Seraphim, are the two tracks that really stand out and smack you in the face with everything you could ever need from this type of music, majestic orchestral parts creating beautiful symphonies combined with an equally beautiful onslaught of Death and Black metal. The track Avicenna also needs a mention, because it shows that Seven Sins can, when you remove a lot of the orchestral parts, play some good solid metal, the track has some tribal percussion and some other minor symphonic elements, but it’s really the instruments that carry the track, so Seven Sins are actually quite good musicians as well, and not just hiding a bit behind the symphonic parts.

But even when you have some music and the two tracks, Alchemist and Seraphim, that qualify as some of the best Symphonic Black/Death metal out there, there’s still a voice in your head that says: “Dimmu did it”, and that’s sadly something every single band who dabbles in this type of music will be told, and even if you then chose to switch the epic orchestral parts with some a more cold and gothic sound, someone would just say: “Cradle did it”, Cradle of Filth, for the two people in doubt. So you really cannot win when doing Extreme Symphonic metal or whatever you want to call it.

But with that being said, if you do this type of music you just need some tiny element that makes you stand just slightly out, and with Seven Sins it simply the vocals, they’re in Russian. That might be a bit of a silly thing to be what makes you stand out, but the language is really fitting, because the album has a slight bit of an occult ritual feel. It may just be because I can’t understand Russian at all, that the lack of understanding and the sound of the language makes it sound a bit like someone performing a ritual in some otherworldly language, but whatever it is, it’s working in Seven Sins’ favour.

To sum up, Due Diaboli et Apocalypse is a very well made record, but it’s sadly all been done multiple times before, but if you’re a fan of Dimmu Borgirs newer material but want something a bit heavier, with a slight hint of something tribal, you’re definitely going to like this album. Picking the album up somewhere might just be a bit of a problem, seeing as Kazakhstani music, and especially metal, isn’t really that widespread in most parts of the world.

http://www.rocknreelreviews.com/review/seven-sins-due-diaboli-et-apocalypse/

Seven Sins debuted in 2012, and they're now launching the sophomore album, presented as “a conceptual journey through the dark and obscure side of the Middle Ages in Eastern Europe and Asia”.

Who and what, then, is Seven Sins?

The band is a quintet from Kazakhstan. With its about 30 active bands with releases to show for, the country ain't the most prominent on the metal map, thus that probably doesn't tell you much.

It sure is a good thing, then, that I can help shed some light on the matter.

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The band plays gentle, melodic and grandiose symphonic extreme metal, with local seasoning. Although Kazakhstan might not be associated with the means and resources the west possesses in terms of recording and production, Seven Sins have constructed a powerful piece of music that sounds wonderfully epic. Fragments of unpolished sound only creates flattering debris in the audio-machinery. Something that comes in handy when the music's surprisingly gentle expressing can benefit from a wee bit of cloudiness not to appear too toothless. That the orchestration is synthetic is no problem either.

The band's compositions ain't analysed in a jiffy. Due Diaboli et Apocalypse ain't insanely complicated, but nevertheless fairly complex. There is a lot of sound her, to put it that way.

Metal and symphony are fully integrated into melodies that don't appear as neither malicious, creepy or aggressive, but rather with a powerful and good whiff of folk-inspirations. Much like the exotic smell of strong oriental tea and Turkish hashish. The folk instruments that are used can to some extent remind me of both Arkona and Melechesh, and these elements and moods separates Seven Sins from natural western references such as Dimmu Borgir, Cradle of Filth, Anorexia Nervosa et al. With its gentle melodies and elements of gothic melodies, which could have been partly inspired by Nightwish, these sinners are closer to bands like Old Man's Child than Necronomicon. The band, in any case, ain't as harmless as Orphaned Land. Seven Sins have enough sting, intensity and punch to be defined as extreme metal.

The metal segment of the whole must also be mentioned, although the bonded aspects are inseparable. Good drumming and varied extreme vocals are vital elements, but it's the lively guitar that shines most with its swarming approach, albeit not most of the time. Along with brass, violins, piano et al., as well as local instruments, the album in its entirety becomes greater than the sum of each component.

Structurally, the Kazakhs has drawn inspiration from classical music, film score and folk music, and the song's design fluctuates between waltz and epic drama, with elements of amongst other gothic, primitive and occult undertones. With a bit stronger melodies, this could quickly have become a modern classic within the genre. Few of these melodies are easy to hum in retrospect, but the band's blend has its signature even if the individual ingredients basically are well known. The music therefore ought to be recognizable, and that's not something everyone can boast about. Moreover, it sounds fantastic at the moment and it's in the moment we're living, right?

Seven Sins has delivered a very thorough pieces of work, which really impresses. The album is a delight to listen to, and no one in the target audience should feel disappointment. What, exactly, is the target audience, however, ain't all easy to determine. It must be allowed to regard Seven Sins as an excellent representatives of Kazakhstan in the global metal scene, and they're just a hair's breadth away from a stronger grade this time around. A little more memorability to the melodies till next time, and I'm sure it'll fit like a knucklebuster.

http://gorger.org/english/2016/2016-09eng.htm#Gorger36

I only had time for a short review today, but I still wanted to make sure that I could share Russia's Seven Sins with you all. The symphonic black metal collective has been recommended for bands such as Dimmu Borgir, Anorexia Nervosa, and Carach Angren. Due Diaboli Et Apocalypse is a conceptual journey "through the dark and obscure side of the Middle Ages in Eastern Europe and Asia" and follows-up the band’s debut album Одержимый насилием released in 2012.

Though maybe not quite as polished as some of the acts above, which is no fault of theirs considering that their access to resources is almost certainly not even close to the same at this level of their career, they make up for it with a differentiated sound. The symphonic additions have a much more Middle Eastern vibe, which also carries through on the guitar riffs. There are clearly a number of influences at play from neoclassical and rock soloing to more region-specific flair. The lyrics are also all in Russian, which some may consider a detractor but I always prefer a band convey themselves in their native tongue.

If you like really dramatic-sounding music heavy on the synths and with huge, epic guitars then you will love Seven Sins. This album, despite not having the budget of their peers, manages to utilize every second to its maximum potential. It sounds gigantic in nature; fit for a stadium performance with all of the fancy lighting and set pieces. The folkier compositions also bring about comparisons to groups like Equilibrium and Ensiferum at times. A few highlights to start with: "Peregrinus," "Mors Atra" (those female opera vocals!) and "Preasumptio Reatum."

https://metaltrenches.com/reviews/short-review-giant-album-564

Seven Sins are a band from Kazakhstan that plays a symphonic mixture of black and death metal and this is a review of their 2016 album "Due Diaboli et Apocalypse" which was released by Satanath Records.

Spoken word parts along with some keyboards start off the album as well as the sounds of eagles and after awhile the music gets more epic and symphonic while also adding in touches of classical and orchestra music and it also mixes in with the heavier riffs and you can also hear elements of Asian music at times.

Vocals are mostly grim yet high pitched black metal screams while death metal growls are also used at times and when the music speeds up a great amount of blast beats can be heard and the songs also bring in a great mixture of slow, mid paced and fast parts and when solos and leads are utilized they are done on a very melodic fashion.

Spoken word parts also make a return in certain sections of the recording and female vocals can also be heard at times and one of the tracks also brings in ethnic style folk instruments briefly while a couple of later tracks also brings in a small amount of clean guitars and some of the riffs also bring in a decent amount of melody and there is also a brief use of male clean singing vocals.

Seven Sins plays a style of black metal that is very symphonic and orchestra orientated while also being very heavy influenced by death metal, the production sounds very professional while t he lyrics cover Qabala, Alchemy, Occultism, The Devil, Knights, Medieval, and Death themes.

In my opinion Seven Sins are a very great sounding symphonic mixture of black and death metal and if you are a fan of those musical genres, you should check out this band. RECOMMENDED TRACKS INCLUDE "Kabbalah" "Alchemist" "Seraphim" and "Infinitas Non".

http://darkdoomgrinddeath.blogspot.ru/2016/09/seven-sinsdue-diaboli-et.html

Les labels, je vous jure, ils n’hésitent pas à induire en erreur pour essayer d’attirer les fans crédules comme moi. Ah si ! Parce que pour faire des comparaisons entre SEVEN SINS et CARACH ANGREN ainsi qu’ANOREXIA NERVOSA, il faut soit vouloir entuber le chaland, soit ne pas du tout savoir à quoi ressemblent les groupes cités, soit avoir les oreilles de Beethoven (pas le chien, l’autre). Alors si toi aussi tu as lu ces références, oublie-les très vite sinon tu vas prendre le groupe pour responsable et râler sévère. Non mais le deuxième album de ces Kazakhs n’a absolument rien à voir avec le théâtral de CARACH ANGREN. Encore moins avec l’orchestral tendu des poètes maudits et décadents d’ANOREXIA NERVOSA.

Le seul point commun, c’est l’utilisation de claviers. Alors si maintenant on considère tous les groupes à claviers comme similaires, ce n’est plus dans le même panier, mais dans la même benne qu’ils vont finir... S’il faut vraiment faire des rapprochements, ce seront des formations un peu moins connues qui viendront à l’esprit. Moins prestigieuses, mais tout de même sympathiques. SEVEN SINS fait du black sympho qui nous replonge dans des ambiances fin 90’s. Les synthés sont très en avant, les riffs caressent les oreilles, tout comme les chœurs féminins qui font fréquemment leur apparition. VANITAS, SIEBENBURGEN ou ETHEREAL SIN ne sont pas loin. Par contre le groupe aime varier et incruste sur d’autres pistes du death mélodique. Ambiance APOSTASY (« Mors Atra »). Il le fait avec beaucoup de dynamisme, ça fonctionne.

Le groupe n’a vraiment pas peur des grands écarts, et va se permettre d’inclure des sons électros sur « Preasumptio Reatum », d’enchainer sur « Infinitas Non » avec une petite musique mélancolique où la guitare sèche donne l’impression d’écouter du Sicilian black metal, et de poursuivre avec des rythmes militaires soutenus par un discours en allemand sur « Teofelspakt ». Alors, durs à suivre les Kazakhs ? Trop éparpillés ? Pas tant que ça parce qu’il y a tout de même des fils conducteurs. Les claviers d’abord, mais aussi les vocaux principaux très rugueux, et inspirés de la scène slave. Eux ne changent pas et nous accompagnent du premier au 11ème titre.

Les diverses influences s’expliquent sûrement par l’histoire du Kazakhstan, qui a fait partie de L’Empire Russe tout en se trouvant en grande partie dans l’Asie centrale. La personnalité de SEVEN SINS est à la base multiple... Logique donc de trouver des percussions orientales sur « Avicenna ».

Au final, il ne faut pas s’attendre à tomber de sa chaise. S’il était sorti il y a 15 ans cet album aurait été taxé d’opportuniste. Mais il sort en 2016, alors que la mode est maintenant bien loin, et que l’on est obligé de se satisfaire du moindre petit os symphonique. Donc on prend ! Et on attend de la progression. Le groupe a des qualités de composition et avec plus de tension et de maîtrise, il pourrait faire frissonner plus fortement. Surtout qu’il a l’air motivé vu les clips qu’il a fournis pour soutenir « Due Diaboli » et « Avicenna ». Bon, il sont plutôt risibles car du niveau de TROLLECH et ont plutôt tendance à ridiculiser le groupe et desservir sa musique, mais je vous les mets quand même à droite de cette page.

http://www.thrashocore.com/chroniques/chronique/6842-seven-sins-due-diaboli-et-apocalypse-2016-chronique.html

Toujours plus loin, toujours plus profond dans des terres parfois désolées, le Metal est partout, le Metal est universel. Penchons-nous aujourd’hui sur le cas de Seven Sins qui nous vient du Kazakhstan. Ce n’est certes pas la première formation metallique à émerger de ce pays de 17 millions d’âmes (en cherchant bien on peut y trouver une bonne poignée de groupes/projets de DSBM ou Black ambiant), mais Seven Sins lui vient quand même de loin, d’Öskemen précisément, tout à l’Est du pays, près des frontières mongoles et chinoises. De ce lieu reculé au milieu de l’Asie a émergé en 2008 le groupe SevenSins, devenu depuis Seven Sins avé’ l’espace (l’inverse de SepticFlesh / Septic Flesh en somme). Un léger changement de nom qui a d’ailleurs entériné un changement de style, le quintet ayant abandonné le Death-Metal de Obsessed With Violence (2013) pour passer à du Black Sympho, avec photos promos à l’avenant, maquillage peinturluré, costumes et compagnie. Après une sortie digitale au début de l’année, Satanath Records en co-production avec le label italien Murdher Records se sont penchés sur la bête qui se nomme Due Diaboli Et Apocalypse. Et si Seven Sins peut être attrayant de par sa localisation exotique, c’est bien la qualité de sa musique qui va lui permettre de se distinguer.

Oublié, le Death-Metal peu original et répétitif de Obsessed With Violence, Seven Sins a changé à tous les niveaux. Son nouveau domaine d’application est donc le Black Sympho, plutôt le versant agressif que mélodique, plutôt celui qui se base vers le Metal extrême avec des bouts de Death/Thrash que celui qui descend d’un BM plus trve, plutôt celui des années 2000 que des années 90. Après la bonne intro "Tempus Mortuorum" qui pose les bases purement symphoniques avec brio, "Kabbalah" nous démontre déjà toutes les capacités des kazakhs qui en ont en effet sous la semelle. Les riffs thrashy sont bien inspirés de même que les patterns de batterie blastés, le fond symphonico-épique est bien en place et les claviers virevoltants sont accrocheurs, le chant rocailleux en russe est convaincant, le solo de rigueur bien mené. On comprend bien vite que nous n’avons pas affaire à un combo du fin fond de l’underground, et Seven Sins a mis les formes, production sonore comprise, pour nous livrer un bon petit album de Black Sympho. Plus mélodique, bardé de jolis leads et donc encore plus épique, "Alchemist" finit déjà de nous confirmer le potentiel et la réussite du groupe kazakh, qui est lancé pour 47 minutes, dont ressortent encore l’entraînant "Peregrinus", parfois proche des groupes d’Epic Metal allemands à la Equilibrium mais avec des riffs autrement plus mordants, "Mors Atra" qui fait montre d’une parfaite osmose entre excellents riffs et synthés, ou encore le plus rentre-dedans "Avicenna" qui bénéficie d’intéressantes sonorités orientales et tribales, presque à la Saratan.

Ce sera cependant un des seules vraies originalités de Due Diaboli Et Apocalypse qui il est vrai reste souvent dans ses carcans de Black Sympho Dimmu Borgirien avec quelques clichés. On notera tout de même quelques petites aspérités au niveau du chant, notamment pour "Alchemist", mais aussi l’intervention d’une chanteuse aux vocaux tout à fait supportables pour les morceaux "Mors Atra" et "Seraphim". Et Seven Sins nous sort aussi quelques claviers un poil différents, notamment pour "Preasumptio Reatum" avec son passage fabuleux à 4’40, avec en outre des riffs qui tranchent bien et la meilleure performance du chanteur. En milieu de disque, "Due Diaboli" et "Seraphim" marquent un peu le pas, et la conclusion plus mélodique sur "Infinitas Non" et "Teofelspakt" n’est pas inoubliable, mais dans l’ensemble Due Diaboli Et Apocalypse est remarquable pour ce qu’il est, à savoir un album de Black Sympho de seconde division. Le groupe kazakh vient de loin et partait de loin, mais il a bien fait de changer radicalement sa cuti après ses débuts insignifiants pour livrer du Black Sympho de très bonne qualité. Certes pas abouti, mais forcément sans prétention à ce stade de leur carrière. Et le potentiel est bien là, Seven Sins ayant largement les moyens de puiser dans ses réserves de personnalité bien présentes ici et là, surtout que la base metallique cartonne un minimum grâce à des riffs bien sentis et inspirés, les synthés et orchestrations sont bien intégrés et jamais kitsch, le chant principal est bon et la prod est fignolée. Tout ceci fait que ce « second » album de Seven Sins est une bonne surprise et une découverte très sympathique, en attendant de voir l’avenir du groupe de l’Est du Kazakhstan.

http://www.hornsup.fr/a-16012/chronique/seven-sins-due-diaboli-et-apocalypse

Hailing from Kazakhstan, of all places, Seven Sins released their sophomore album, Due Diaboli Et Apocalypse, under Satanath Records last month. As Kazakhstan is not a country known for its metal output, I was intrigued when Due Diaboli Et Apocalypse crossed my desk. To say I was pleasantly surprised would be an understatement. The album is entirely in Russian, I believe – this irked me slightly, as I personally love reading lyrics and digging into the concept and themes of songs. However, that is a matter of personal preference and does not speak to the insanely high quality of the music itself. Due Diaboli Et Apocalypse is just under 50 minutes of utterly epic sonic devastation. To say I was pleasantly surprised would be an understatement.

Where Seven Sins truly excel is in their use of orchestration. The symphonic elements to their music create atmosphere, but do not overpower the brutality. Taken as a whole, Due Diaboli Et Apocalypse is a fast, utterly savage lesson in black metal. The orchestration and operatic, female vocals stand as an excellent contrast to the blast beats, down-tuned riffing and venomous vocals found throughout the majority of Due Diaboli Et Apocalypse.

If you are looking for a traditional black metal album that is cold, raw and has the production value of a 1920s film, then I would advise you to give this a miss. If you are looking for a traditional death metal album, built on utter brutality, I would again advise you to give this a miss. Due Diaboli Et Apocalypse is a little too blackened to be death metal, and a little too full-bodied to be black metal. The production quality is surprisingly strong.

Vocally, Seven Sins hit the nail on the head. Slap-bang in the middle of black and death metal, the vocals throughout Due Diaboli Et Apocalypse are mid-ranged and enjoyable. They do not grate on the ears, nor do they become monotonous. Right across the record, the listener is treated to a sound somewhat akin to what I imagine the bastard love-child of Fleshgod Apocalypse and Dimmu Borgir would sound like. A noteworthy point is also the guitars. While, yes, Due Diaboli Et Apocalypse is wholly punishing, the riff work – and particularly the solos – are hugely enjoyable.

What is really quite sad, is that due to Seven Sins’ isolation from the world, I highly doubt Due Diaboli Et Apocalypse will get the attention and universal praise it deserves. Their sound is incredibly original and exceptionally well executed. If you had told me at the start of the year that one of 2016’s best metal albums would come out of an isolated town in the northeast of Kazakhstan, I would have politely, yet firmly, told you to shut up and get me another beer. However, that is exactly what Due Diaboli Et Apocalypse is: one of 2016’s most enjoyable and well-executed albums. I, for one, will be keeping a very close eye on this quintet – and you should too.

http://allabouttherock.co.uk/due-diaboli-et-apocalypse-review/

Seven Sins su 2008. godine osnovani u Kazahstanu. Prvi album, ''Одержимый насилием'', je objavljen 2013. i na njemu je dominirao deathcore zvuk. No, tri godine kasnije objavljuju ''Due Diaboli et Apocalypse'' koji zvuči kao da je u pitanju sasvim drugi bend. Slobodno mogu reći da im je pravi pogodak bila ta žanrovska promena. Simfonični black metal koji neodoljivo podseća na ''Dimmu Borgir'', sa odličnim, atmosferičnim klavijaturnim deonicama, gitarama kojima je boja perfektno odabrana i koje su, zajedno sa ritam sekcijom, u ekstatičnoj harmoniji.

Oduvek sam voleo baš ovakav simfo-blek zvuk, pogotovo što se karakterističnih scream vokala (koji ovde imaju harsholiki prizvuk) mogu čuti i growl i čiste deonice, kako muške, tako i ženske, ali i poluhorovske. Tolika raznolikost u glasovnim rešenjima je samo pojačana odličnom dodatkom, a koji se ogleda u stihovima napisanim i otpevanim na maternjem jeziku. Takvo rešenje daje na snazi samim pesmama, a pored toga se stvara određena doza egzotičnosti za slušaoce kojima je taj jezik nepoznanica. Ženski vokali ukupnom zvuku daju dozu folklora zbog prelepog načina pevanja. Neretko se desi da se isprepliću takvi i scream vokali, što stvara efekat prijatne jeze.

Sa produkcijske strane ne bih mogao navesti ni jednu jedinu zamerku - zaista je svaki segment, svake numere ponaosob pokriven do tačnina. Tonalitetni balans između instrumentalnih i vokalnih deonica je skladan, tako da nema situacija da vokali poklope klavijature ili da bubnjevi suzbiju gitare. Već sam napisao da neodoljivo podsećaju na ''Dimmu Borgir'', što se može shvatiti kao da kopiraju njihov zvuk. Na svu sreću, ''Seven Sins'' su potpuno unikatni, te sa svojim norveškim kolegama dele samo žanr u kome obitavaju.

Slobodno mogu reći da je Satanath Records napravio dobru odluku, te je na disku reizdao ovaj album. Bez ikakvog dvoumljenja dajem ocenu: 10/10

https://headbang-vlog.blogspot.ru/2017/01/seven-sins-due-diaboli-et-apocalypse.html

Desde Kazakhstan, la banda Seven Sins nos presenta su trabajo Due Diaboli et Apocalypse, lanzado este año. La banda se forma y está en activo desde 2008, en general trabajan un sonido inicial Deathcore Técnico, que poco a poco se transformará en Death/Black Metal Sinfónico. Los temas de sus líricas versan sobre el mal, caballeros medievales, magia y muerte. Su trabajo a sido editado de forma independiente.

cover

Su line up: Yury en la batería, Vladimir en la guitarra, Víctor en las voces, Andrey en el bajo y Víctor en los teclados. Esta obra está contenida en 11 cortes que logran 47 minutos de interesantes melodías, cuidadas y ejerciendo todas las vertientes del mejor metal sinfónico, pasajes épicos, con un sonido melódico y cuidado en los detalles.

Due Diaboli et Apocalypse, se abre con la intro contenida en Tempus Mortuorum, se establece una atmósfera genial con el sonido de los cuervos. Luego Kabbalah, sinfonías épicas acompañan al registro vocal. Ya en Alchemist, se agrega un registro vocal femenino, riffs sencillos y fáciles de recordar.

El cuarto corte Peregrinus, desarrolla una interesante e inquietante inicio, de película bélica. Mors Atra inicia con un doble bombo marcando como una apisonadora, en un paseo triunfal, después de la guerra. Due Diaboli, arranca con un nostálgico piano, que es abandonado tras un intenso grito, a mi parecer se logra un solo de guitarra emotivo y brillante, que acompaña hasta el final del tema. En Seraphim, vuelve a intervenir el registro vocal femenino, para complementar un tema a medio tiempo.

Avicenna es el track número ocho, por su intensidad y velocidad es de mis preferidos, logra atmósferas agresivas, fusionado con toques exóticos. Preasumptio Reatum, inicia con un arpegio de guitarra limpia, jugando con atmósferas y cambios de ritmo; terminan con un dúo entre la guitarra y el teclado. Infinitas Non, lleva un aura de tristeza y nostalgia bien elaborada. El corte final Teofelspakt, mantiene el tono beligerante hasta el final.

Esta obra esta cuidada de principio a fin, los instrumentos suenan brillantes y equilibrados, una gran producción. Cabe destacar los solos de guitarras, elaborados y melódicos, de genialidad compositiva. Los teclados, la intensidad vocal y las baterías impecables. Extraño la agresividad del Black Metal.

(English Version)

From Kazakhstan, the band Seven Sins presents his work Due Diaboli et Apocalypse, released this year. The band is formed and is active since 2008, overall work, a Technical Deathcore initial sound, which gradually transformed into Death / Black Metal Symphony. The themes of their lyrics deal with evil, medieval knights, magic and death. His work has been published independently.

cover

Their line up: Yuri on drums, Vladimir on guitar, Victor on vocals, Andrey on bass and Victor on keyboards. This work is contained in 11 cuts that make 47 minutes of interesting melodies, maintained and exercising all aspects of the best symphonic metal, epic passages, with a melodic sound and attention to detail.

Due Diaboli et Apocalypse, opens with the intro contained in Tempus Mortuorum a great atmosphere is set to the sound of crows. Then Kabbalah, epic symphonies accompany the vocal range. Already in Alchemist, a female vocal is added, simple riffs and easy to remember.

The fourth cut Peregrinus, develops an interesting and disturbing start of war film. Mors Atra starts with a double bass ticking like a steamroller on a walkover after the war. Due Diaboli, begins with a nostalgic piano, which is abandoned after an intense cry, I think it is achieved one of emotional and brilliant guitar solo that accompanies until the end of the subject. In Seraphim, again the female vocal intervene to complement a theme halftime.

Avicenna is the track number eight, its intensity and speed is my favorite, manages aggressive atmospheres, fused with exotic touches. Preasumptio Reatum, starts with a clean arpeggio guitar, playing with atmospheres and rhythm changes; They end with a duet between guitar and keyboard. Non Infinitas carries an aura of sadness and longing well prepared. The final cut Teofelspakt maintains the belligerent tone to the end.

This work is maintained from beginning to end, the instruments sound bright and balanced, a great production. Notable guitar solos, elaborate and melodic, compositional genius. Keyboards, vocal intensity and immaculate batteries. Strange aggressiveness Black Metal.

http://www.brokentombmagazine.com/2016/10/critica-seven-sins-due-diaboli-et-apocalyse-2016/

Kommt aus den Landen hinter des damaligen eisernen Vorhanges etwa mit Seven Sins die Antwort auf Dimmu Borgir in Sachen Black Metal?

Mit dem sehr düsternen und vor allem bedrohlichen Intro "Tempus Mortuorum" und dem darauf folgenden Song "Kabbalah" könnte man dies schon fast denken. Hart, fies und böse erklingt der Blackend Death Metal.

Sauber produziert scheppert es nur was das Zeug hält und gerade gesanglich erinnert die Stimme sehr an die, der vorab norwegischen genannten Truppe. Hut ab, wenn das so weiter geht, liegt hier mehr als eine gelungene Überraschung vor mir. Selbst der Mix mit den paar Death Metal ähnlichen Elementen, zusammen in Verbindung mit den Keyboardeinlagen ist wirklich gelungen.

Soweit und so gut, leider wendet sich das Blatt ab Titel 3, den "Alchemist" mehr als in das Negative. Zumindest wirkt es so, da der Anfang der CD was anderes im Kopf aufgebaut hat. Ab genanntem Song tritt der Black Metal Anteil weiter in den Hintergrund und es wird sehr melodisch Death Metallig. Nicht schlecht gemacht, aber irgendwie birgt es einen sehr gewagten Stilbruch mit sich. Das böse bedrohliche weicht fröhlicheren Melodien. Metal muss nicht immer böse sein, aber warum so gut anfangen, um es so anders enden zu lassen?

Das Konzept bleibt erstmal unklar, "Peregrinus" schwimmt in beiderlei Teichen etwas herum und mit "Mors Atra" wollte man eindeutig zu viel. Frauengesang ist alles schön und gut, aber diese Opernstimme in Verbindung mit den Powersoli und viel zu über geschriebenen Orchester ist etwas zu viel. Es ist musikalisch stimmig, aber mehr als überladen und schwer sich anzuhören, da es so viele Stile in kurzer Zeit anschneidet, wie es nur geht.

Wirklich schade, oder der Opener hat nur mit der falschen Stimmung angefangen. Die typischen Blastbeats sind natürlich immer noch unterschwellig vorhanden, die Gitarren schreddern sich weiterhin einen ab, aber es ist ab einem gewissen Punkt einfach gekippt. Gegen "Due Diaboli" scheint das Schiff aus dem schwanken zu kommen und seine Spur zu finden, unter anderem auch dank den letzteren Titeln wie "Preasumptio Reatum".

Aber so richtig möchte der Funken wie anfangs vermutet nicht mehr über springen. Es bleibt schnell, die Stimme hat aufgrund der Ähnlichkeit alleine schon Pluspunkte verdient. Die Riffs sind noch ein wenig böse, aber die Komposition und angewandten Melodien, vor allem des Orchester zerstören hier irgendwie so einiges ("Seraphim").

Zumindest was an nötiger Grundstimmung für diesen gewählten Musikstil nötig ist um zu überzeugen. Man muss ja keine Band kopieren und kann es mit eigenen Kreationen schaffen, bei "Infinitas Non" scheint das Hin und Her ein Ende zu haben und man kommt auf den Punkt.

Aber es gibt insgesamt einfach zu viele Höhen und Tiefen im Wechsel mit Ungereimtheiten und ich hätte nie gedacht es mal sagen zu müssen, aber es fehlt einfach der rote Faden auf "Due Diaboli es Apocalypse". Es bereitet eher Kopfschmerzen, als mitzureißen, dabei fing es so gut an. Schade...

http://www.zephyrs-odem.de/cd-reviews/detail/seven-sins-due-diaboli-es-apocalypse-2016-5757/#.WGZYglWLSM9

Es ist schon sonderbar, an welche musikalischen Gestade es so manche Band im Lauf der Zeit verschlägt. So hat sich die kasachische Deathcore-Band SEVEN SINS inzwischen zu einer waschechten Symphonic-Black-Metal-Kapelle entwickelt, wie man an ihrem zweiten Album „Due Diaboli Et Apocalypse“ unschwer erkennen kann. Wer also immer noch das Ende von Anorexia Nervosa betrauert oder die nicht enden wollende Wartezeit auf den nächsten Dimmu-Borgir-Release nicht mehr erträgt, könnte sich mit SEVEN SINS möglicherweise ein wenig Abhilfe verschaffen.

Den Stilwechsel haben die fünf Kasachen jedenfalls recht souverän über die Bühne gebracht, denn auf ihrem zweiten Full-Length tappen sie grundsätzlich nur hin und wieder in die Fallen, die ihnen das neue Genre gelegt hat. Im Gegensatz zum eher gemischt aufgenommenen, letzten Dimmu-Werk „Abrahadabra“ – um nur ein Beispiel zu nennen – haben SEVENS SINS darauf geachtet, dass ihnen in all dem symphonischen Bombast nicht der Metal abhanden kommt. Den Saiten werden immer mal wieder coole Melodien und Soli entlockt, von Zeit zu Zeit werden sie aber schon von der üppigen Orchestrierung überlagert.

Ebendiese gefällt vor allem in den ungewöhnlicheren Ausformungen wie beispielsweise die epischen Orgel-Keyboards in Verbindung mit den weiblichen Vocals in „Alchemist“ oder die Perkussion und die Zupfinstrumente im obligatorischen Oriental-Track „Avicenna“. Die ansonsten sehr präsenten Streicher und Bläser sowie die gelegentlichen weiblichen, opernhaften Gesänge sind auch oft ein Gewinn für die Songs, vor allem im getragenen „Seraphim“, doch hin und wieder übertreiben es SEVEN SINS damit, in diesen Momenten fällt die Musik dann leider dem Kitsch anheim („Peregrinus“). Mal abgesehen davon, dass die symphonischen Stilmittel manchmal etwas zu schwülstig klingen, fehlt es ihnen noch einem ganz entscheidenden Element: der Atmosphäre.

Gewiss, „Due Diaboli Et Apocalypse“ ist ein sehr bombastisches Album, von der Düsternis, die man sich von einer Black-Metal-Truppe erwarten darf, fehlt hier jedoch jede Spur. Das können auch die an sich guten Gitarrenmelodien nicht auswiegen, denn bösartig klingen die eigentlich auch nicht. Immerhin an den Screams und dem Schlagzeugspiel gibt es demgegenüber nichts zu kritisieren, hier geben sich SEVEN SINS abwechslungsreich, kraftvoll und aggressiv, was den zumeist eher schnellen Songs durchaus zugute kommt.

SEVEN SINS erreichen auf ihrer zweiten Platte zwar nie die epische Grandeur von Dimmu Borgir oder die schaurige Horror-Atmosphäre von Carach Angren, doch an und für sich ist „Due Diaboli Et Apocalypse“ ein recht gutes Album geworden. Sowohl die Produktion als auch der Einsatz der Instrumente machen einen sehr professionellen Eindruck, was vor allem im Hinblick auf das Herkunftsland und die noch nicht allzu lange Vorgeschichte der Band alles andere als selbstverständlich ist, und der eine oder andere Song kann vor allem in der ersten Hälfte des Albums überzeugen. Ein paar Durchhänger und den einen oder anderen Flirt mit dem Kitsch haben sich die Kasachen jedoch zu Schulden kommen lassen.

https://www.metal1.info/metal-reviews/seven-sins-due-diaboli-et-apocalypse/

http://www.leseternels.net/chronique.aspx?id=17553

SEVEN SINS is a Blackened Death Metal ensemble from Kazakhstan, who growled into the world of metal in 2013 with the release of their first album, “Одержимый насилием,” (or “Obsessed With Violence” in English). The album was released at first entirely in Russian, but blasted itself into the memories of all metalheads with the band’s distinct combination of orchestral backing, rapid-fire-drums, and Medvedev’s terrifying switches between harsh, staccato screaming and throaty snarls. In particular, “Unit 731” seared itself into my mind with an explosion of stuttering drums, dissonant guitars, and roaring Russian vocals. Although the band released a promo called “Silent Hill” in 2010, they didn’t develop a bigger fan base until three years later. There aren’t many well-known musicians in Kazakhstan, much less Heavy Metal musicians, but SEVEN SINS’ brand of Melodic Black Metal established a name for themselves in communities of fans of DIMMU BORGIR, CRADLE OF FILTH, TIAMAT, and other infamous Symphonic Black Death Metal bands.

The album “Due Diaboli Et Apocalypse” opens with a cinematic and eerie collection of sound effects and Medvedev’s whispering vocals for the introductory song, “Tempus Mortuorum”. The second track on the album, “Kabbalah,” screams to life with a distorted Middle-Eastern sounding intro. This background repeats itself underneath stammering drumbeats and Mikhailov’s riffs and searing solos, topped off with Medvedev’s impressive sustained growls. The song definitely exudes a more Death Metal vibe, rather than Black Metal, but it is a strong track that is easy to head bang to.

Its follow-up track, “Alchemist,” is in my opinion one of the strongest songs of the entire album. It lays down a powerful and epic keyboard track behind Minov and Mikhailov’s biting rhythm and beautifully plays the raw savagery of Medvedev’s voice off of a female soprano vocalizing in the background. Especially interesting is the clean, almost electronic sound of Mikhailov’s guitar in the solo, which distinguishes it from its predecessor.

“Peregrinus” is the epitome of what a Blackened Death Metal song should be, beginning with a sweeping and cinematic riff, it descends into a whirlwind of drums and insane solos. However, it bears a distinct resemblance to other tracks by artists of the same genre, although the song itself is catchy and solid, it can sometimes feel repetitive and invoke a sense of déja vu in the listener. I, for one, found myself thinking I had heard some of SEVEN SINS’ songs before even though I hadn’t yet listened to their album.

The fifth track, “Mors Atra”, was a melodic masterpiece by all means, but didn’t stand out to me as anything particularly distinctive. The riffs and drums sounded similar to those of “Peregrinus,” and although Medvedev’s rumbling voice is impressive, it sounded almost exactly like the vocals of Shagrath (of DIMMU BORGIR). This is a compliment Shagrath is extremely talented. I understand that vocals and riffs, especially those in Symphonic Black Metal, are difficult to make unique. However, I just wish that the follow-up to three very strong songs would’ve continued to impress me.

Not to be deterred, though, SEVEN SINS rose up again in a blast of energy to deliver “Seraphim,” the seventh track. The melodic background complemented the gliding guitar riffs perfectly, and Medvedov’s voice blends enchantingly with those of the female vocalists. This song is so driving and epic that it could easily be a movie theme. The full length of the track is a melodic attack, supported by the band’s expert melding of warp-speed solos and chugging riffs.

Though the guitar and drums of “Praesuptio Reatum” sounded much like those of previous songs, I undoubtedly enjoyed the vocals the most in this song, which sounded distorted and slightly electronic, much like the vocals in “Puritania” by DIMMU BORGIR.

However, this brings me to my biggest qualm about this album. I can’t deny they have experience, talent, and musicianship. It is a true challenge to write a Symphonic Black Death Metal song that stands out from the others. Some of SEVEN SINS’ tracks, namely “Seraphim” and “Alchemist,” did just that. However, many others needed an extra push to create the difference, which would distinguish SEVEN SINS’ songs from others of the same genre. That being said, “Due Diaboli Et Apocalypse” is a heavy, gloriously melodic experience that won’t disappoint any Death or Black Metal fans and will leave you feeling like you’ve just taken an exhilarating ride through the dark and icy forests of Kazakhstan.

http://www.metal-temple.com/site/catalogues/entry/reviews/cd_3/s_2/seven-sins-due.htm?redirected=1

Ничего не планируйте сегодня на следующие два - три часа. Именно столько вы будет внимать следующему диску нашего обзора (да, три — четыре раза). Очень солидно оформлен компакт компакт казахстанской группы SevenSins – 12-страничный буклет, дизайнерское оформление, цветовая гамма, как видите, кровь и запекшаяся кровь. Играют с ноль 8-го года, и на этом диске, - как заявлено симфо-блэк-дэт. И это их второй альбомище. Мощная работа - так слышно сразу. Насчет стилистики — надо бы добавить тэг «мелодик» после тэга «симфо». Чтобы не вводить никого в заблуждение. Потому что существует реальный брутальный жестокий симфо блэк дэт. Еще добавлю, что тексты здесь на русском языке, чему возрадуется немалый процент металхэдов.

Что же нам предлагает SevenSins? Во многом - эпический стайл музла, нашего профильного металла, даже тогда, когда он откровенно быстрый и молниеносный, как грозовая туча. Уверен, что эта эпичность произрастает из клавишных, что адекватно моменту применены здесь. Ребята выбрали именно мелодический экстремальный металл. С этим материалом работают. А чего ж не работать, - если получается. Серьезно получается, потому что, если вот отстраниться именно от тонкостей саунда, видишь профессионально звучащее муЗЛО. Тогда-то и возникает реальное желание вслушиваться, продолжить тестирование.

Трак 1 это, как полагается, атмосферная открывашка с клавишами — неоклассика, нео-димму-боргирщина)) с непременными криками воронов и молитвами. Все чин-чинарем, - наше тоже не хуже. Правда здесь уже в смелых клавишных пробросах заметно — это не заурядное арпеджио, а есть НАМЕРЕНИЕ, И есть мастерство - это намерение исполнить.

Гитареро сей команды не страдает скромностью и где надо, в указанных творцом местах, вываливает свой грузовик струнного звука. Подготовленного, увесистого, жестко встроенного в пазлы отдельно взятого музыкального произведения (надо бы сказать о сведении этого диска). Во всяком случае звук гитары и инкорпорирование ее в тело трака, проведено на безупречном уровне, когда кажется - это так просто! А это плод истовой работы специалистов. Да и в целом весь диск отстроен на Ъ. Но все таки о гитаристе — этот мастер свободно валит свои партии, непринужденно разливая по сто грамм адового самогона соляков, импровизируя ярко, самозабвенно, и, что немаловажно, композер дает ему необходимое СВОБОДНОЕ место для того, ибо это одна из черных скреп этого диска. Уже в траке три замечено необычно обгашенное музицирование — а точнее непривычный окрас струнных... и далее — немало сюрпризов.

Певец группы исполняет в двух основных вокалах - обоих блаковых, один выше, а другой пониже, пополам с гроулом, к тому же добавляет в свои партии язвительности и яда, специальным образом интонируя в конце фразы. Музыканты рассказали в вк, что в работе над компактом в песнях Seraphim и Mors Atra им помогала Александра Сидорова, ex-вокалистка Imperial Age и других групп. В Серафиме, например, Александра настроила газовую горелку своего вокала как для создания хорового эффекта, так и соло-проходов - прорезов в теле компо. Вот так дозировано создается мощный эффект, что называется «музыкальная гомеопатия» и она работает.

В траке Авиценна формация музыкально линкует к восточной мелодике, но очень порционно, не перебегая известную черту, когда легкое влияние превращается в заурядную копипасту.

Надо заметить, группа активно концертирует, успешно воссоздавая на сцене свой личный звуковой ад. Остается добавить, что диск выпущен с мощных стапелей конторы Satanath Records в сотрудничестве с итальянской MurdHer Records.

https://vk.com/wall216331265_2344

I Seven Sins si formano del 2008 a Ust`-Kamenogorsk in Kazakhstan, loro suonano un tecnical deathcore con influenze Symphonic Black/Death Metal.

Del 2010 esce il loro primo demo di 2 tracce con il titolo Silent Hill, passano tre anni dal demo e esce il primo full album dal titolo Одержимый насилием, del 2016 esce il loro secondo lavoro da titolo Due Diaboli et Apocalypse.

Ottimo album di deathcore, i componenti sono validi e tecnici e la voce in un growl tecnico, gli strumenti ben studiati e la qualità delle canzoni e ottima, e l'inserimento della tastiera rende l'ascolto godibile anche se un genere estremo lo rende più dolce. Un artwork graficamente bello e in linea con il titolo dell’album e fa capire a vista all’ascoltatore che farà un viaggio verso la parte più oscura e maligna della musica.

L'album è composto da 11 tracce e la durata complessiva e di 47 minuti e 17 secondi.

Si apre con “Эпоха мёртвых (Tempus Mortuorum)”: intro parlata quasi a litania e uno stormo di corvi che si fanno sentire e la linea di tastiere sfumata; si sentono anche dei violini e colpi di grancassa che portano verso il finale.

Si prosegue con “Каббала (Kabbalah)”: intro di batteria e le tastiere in stile arabo, la voce il growl fa capolino nelle orecchie, le chitarre e il basso sono ben amalgamati al resto degli strumenti, un buonissimo assolo sempre in stile arabo, e ti porta verso la seconda parte della canzone, il cantato sempre più presente e ti porta verso una parte finale veloce.

Terza traccia è “Алхимик (Alchemist)”: un intro parlato in pulito poi attacca la chitarra e il violino e poi entra di prepotenza la batteria veloce, un piccolo rallentamento di tempo per far entrare la voce, e poi di nuovo a velocità massima, il growl prende il sopravvento, un assolo tecnico e veloce e ti trascina all'interno della canzone, le tastiere addolciscono un po' il tempo brutale della canzone e poi entriamo verso la seconda parte con il finale di tastiera.

Quarta traccia: “Крестовые походы (Peregrinus)” intro di batteria a marcia militare e di sottofondo chitarra e tastiere poi si scatena tutta la velocità con ingresso della voce, un bridge strumentale, con la strofa un secondo bridge che ti porta all’assolo.

Quinta traccia: “Чёрная смерть (Mors Atra)” intro veloce di chitarra, batteria e tastiere, pochi istanti dopo entra la voce potente e oscura, un rallentamento, la voce diventa da growl a scream, un aumento della velocità, un bridge di tastiere, ben presenti, aumento ancora della velocità tipo intro, un assolo potente tecnico e veloce di tastiere e la chitarra in power chord, e poi si prende un assolo e ti porta verso la seconda parte della canzone con la voce sempre più potente e una parte finale strumentale con le tastiere e batteria che la fan da padrone.

Con la sesta traccia si entra della seconda parte dell’album e si apre con la titletrack “Due Diaboli” intro di pianoforte e poi gli altri strumenti e voce a seguire, le tastiere sempre presenti in sottofondo, il piano fa un piccolo assolo e dopo una parte parlata e di sottofondo, un assolo di chitarra. La velocità aumenta, un grandissimo assolo di chitarra che ti porta verso il finale.

Settima traccia “Серафимы (Seraphim)” intro strumentale, l'ingresso della voce è perfetto, un piccolo rallentamento per il ritornello, lo scream tecnicamente perfetto ti porta alla seconda strofa e al ritornello seguente, un assolo di chitarra perfetto e ben amalgamato, si entra verso l'ultima parte di canzone con una voce femminile che fa capolino verso il finale.

Ottava traccia è “Авиценна (Avicenna)” intro in stile arabo di batteria e chitarra, poi con brutalità cambia stile e entra di prepotenza la voce, di sottofondo un giro di tastiere presente, un bridge ben studiato e rientra con la seconda strofa, un assolo di chitarra con batteria e tastiere pesanti. Una seconda parte di canzone con dei piccoli rallentamenti e un finale mozzafiato.

Nona traccia è “Презумпция вины (Preasumptio Reatum)”: intro di tastiere e chitarra, poco dopo entra la batteria e la voce, il cambio vocale dallo scream al growl è tecnicamente perfetto; un bridge di tastiere, un piccolo rallentamento e poi di nuovo la voce brutale e si arriva all’ assolo di chitarra. Dopo l'assolo un bridge di tastiere e ti fa entrare verso una seconda parte di brano sempre più brutale, e una parte finale tecnica con un nuovo assolo di chitarra.

Penultima traccia è Вечности не будет (Infinitas Non): un intro di pianoforte con un parlato pulito e poi entra di prepotenza la batteria e la voce demoniaca, la velocità aumenta e dopo poco entra anche la chitarra, un assolo a circa metà canzone addolcisce un po' la violenza musicale del brano, ma la calma dura relativamente poco, velocità e aggressività prendono il sopravvento. Di nuovo un rallentamento e le tastiere in questa parte di canzone presente, che ti portano verso il finale con dei rintocchi di campana.

Undicesima ed ultima traccia Teofelspakt (Teofelspakt): intro di batteria a marcia e di tastiere, una parte parlata in pulito introduce il growl al quale seguono poco dopo gli altri strumenti che entrano e si amalgamano bene gli uni agli altri, passaggi super veloci e senza sbavature, le tastiere rendono un po' più gradevole l'ascolto; un leggero rallentamento e poi si arriva all’ assolo sempre velocissimo tanto che le orecchie dell’ascoltatore sono travolte come una valanga sonora velocissima, un rallentamento dopo l'assolo ti fa entrare nella seconda parte dove la velocità diminuisce per pochi secondi, il tempo di riprendere fiato e poi di nuovo verso la velocità e il finale.

Bellissimo album, godibile in tutte le 11 tracce che lo compongono, musicalmente e tecnicamente è quasi perfetto, un ascolto non facile all’inizio ma dopo il secondo ascolto praticamente diventerà una pietra miliare del genere extreme; lo consiglio a tutti quelli che gli piace il genere deathcore e il symphonic. Unica pecca secondo il mio solo parere personale è la registrazione, troppo pulita, ma ci si può passare tranquillamente sopra perché è perfetto così com'è. E' un viaggio dalla prima all’ultima traccia verso le sonorità più oscure e violente.

https://www.insane-voices-labirynth.it/satanath-records/recensioni/sevensins/

SevenSins gründeten sich 2008 im kasachischen Öskemen und konzentrierten sich zunächst auf sehr technischen Deathcore. Wie man dann auf die Idee kam, seinen Sound mehr in Richtung Dimmu Borgir Symphonic Black zu verlagern, kann ich zwar nicht nachvollziehen, aber das Ergebnisüberzeugt und darauf kommt es ja an.

Das erste Album im neuen Soundgewand hört auf den Titel „Due Diaboli et Apocalypse“ und ließ 2016 11 Songs auf die Welt los, die, wenn man ketzerischen Zungen glauben schenken darf, mehr nach Dimmu klingen als das was selbige momentan fabrizieren. Dieses Album jedoch nur auf einen Einfluss festzunageln, käme seiner Bandbreite in keinster Weise zu Gute, denn was SevenSins abliefern klingt modern und frisch, trotz klassischer Anleihen. Die Band schenkt dem Hörer ungemein kraftvollen Midtempo Black Metal, der mal düster stampfend und mal melodisch und verspielt daher kommt und immer wieder einzelne Soli von der Leine lässt, die teilweise an klassischen Heavy Metal erinnern. Hier und da schleichen sich auch immer wieder Elemente aus dem Death oder sogar Power Metal und den Core-Wurzeln der Band („Alchemist„) in den Sound und die Band schafft es, das Ganze organisch in ihren Sound mit einzubinden, ohne dass es störend oder unpassend wirkt. Auf dieses Gemisch setzen die Vocals immer wieder Akzente, denn stimmlich wird von okkulten, verzerrten Spoken Words, die eine unheilvolle Atmosphäre kreieren über tiefe Growls bis zu harschen Screams alles geboten was das Satanistenherz begehrt und auch weiblicher Klargesang kommt gelegentlich zum Einsatz. Was fehlt jetzt noch zum Symphonic Black? Richtig, Symphonic. Diese kommen in Form von Keyboards daher, die mal klassisch an Dimmu Borgir erinnern, sich aber auch gerne in orientalische Richtungen wandeln und an AlNamrood erinnern, den düsteren Bombast von modernen Behemoth heraufbeschwören und in „Seraphim“ beinahe an Alestorm erinnern und damit das Sahnehäubchen auf eines der frischesten Symphonic Black Metal-Alben der letzten Jahre bilden.

Was SevenSins auf „Due Diaboli et Apocalypse“ aus dem Hut zaubern, liegt meilenweit von dem entfernt, was die Band noch auf ihrem Debüt ablieferten. Dabei versteckt die Band ihre Einflüsse keineswegs, sondern stellt sie stolz zur Schau, legt dazu aber noch so viel eigene Ideen und frische Einflüsse in den Sound, dass sich die Scheibe weder hinter Dimmu, noch Behemoth oder AlNamrood verstecken muss. Düster, bedrückend und immer wieder auflockernde Ausflüge, hier wird alles geboten was man sich als Symphonic Blacker wünschen kann!

https://metalviewer.wordpress.com/2017/02/22/sevensins-due-diaboli-et-apocalypse/

Sevens Sins is a band from Ust`-Kamenogorsk, Kazakhstan, that started out as a technical Deathcore band but changed their style to symphonic Black/Death Metal after a while. I would say it was a very wise move, as otherwise the band's second album, Due Diaboli et Apocalypse, would instantly have been flying out of my window.

Musically, Seven Sins remind me of a mixture of such names as Eternal Tears of Sorrow, Wintersun and Dimmu Borgir, with the bombastic and atmospheric elements that have made those three extreme Metal forces internationally known acts over the years. These blackened Kazakh warriors have created such an ambitiously crafted Black/Death Metal album that hardly pales in comparisons to some of these better-known bands into which big amounts of money has been invested for the production. On Due Diaboli et Apocalypse, Seven Sins manage to sound big and very strong, song-wise, also having a very good production wrapped around the entire album. They also have their own twist squeezed into their symphonic-driven Black/Death Metal, using their own mother language, Russian, to get their message across through the lyrics (supported by occasional female choirs).

Perhaps Seven Sins will never manage to hit it due to the language used on this record, but despite this, it's very easy to recommend the album for all the fans of symphonic and well-crafted Black/Death Metal. Seven Sins can definitely be proud of this achievement.

http://www.metalcrypt.com/pages/review.php?revid=9847

Kazakhstan might be a very obscure part of the world to some people, particularly a young westerner like myself who only knows about it through studying political history and the soviet union, but metal once again gives me a little peek into the world of far away and tells me there are people all over the world who share my taste in music and more. In this case an obsession with all things fantasy, role playing games, medieval warfare and Symphonic Black Metal.

Seven Sins, a band who originally made Deathcore some years ago have undergone a revamp and are now playing music I can liken to Dimmu Borgir in the early noughties and obscure fantasy obsessed groups like Order of the Ebon Hand. This album starts off with crows cawing and what sounds like a mage speaking a prophecy from an icy abyss before the proverbial attack commences. And we are on our way into a raging medieval battle where audible swords, daggers, shields and spears are thrown, torn and slashed away in a style similar to French metal group Darkenhold.

I was impressed from the moment I put this on and the band’s love for alchemy, druids, black magic and female vocals that gave it a gothic edge meant that this band represents all the Goths in this forgotten land overshadowed by bigoted Russia. These are the kids crying out to say that there is still hope and there are nerds all over the world who want to be known via the greatest music ever concocted.

This is an album I can say I loved to bits and listened to it multiple times before settling down to write this review. Its guitars are filled to the brim with catchy hooks, the pianos will have you thinking you’re listening to a blackened Orphaned Land and the vocals will change here and there to tell you this is one band that will get your blood pumping if you love a good Magic: The Gathering session.

Black Metal at its most fantastic from such a fantastic part of the world.

http://www.theindependentvoice.org/2017/04/05/seven-sins-due-diaboli-et-apocalypse/

2nd Full Length Album from Kazakhstan Symphonic Blackened Death Metal Band, SevenSins. I reviews this Album track by track. Check it out.

1st track, Tempus Mortuorum. Crow sounds, Rain souns, a Symphony, and spoken words. An experimental opening. 2nd track, Kabbalah. Blackened Death vocals, the riffs is too death metal, dark symphony and sick harmonic minor solo. 3rd track, Alchemist. The Symphony is so excellent, the vocals on this song are mixed between harsh, clean and female voice, the vocals are too awesome. The Guitar solo is simple and catchy and this song ended with simple guitar lick and synth sounds. 4th track, Peregrinus. The symphonic is very splendor and luxury. It’s luxury blackened death metal song. The guitar solo is simple and harmonize.

5th track, Mors Atra. Harmonize riffs & licks and the symphony is dark, splendor and cold. 6th track, Due Diaboli. The Dark and Splendor symphony and Neoclassical guitar solo. This song more classical. 7th track, Seraphim. Dislike previous tracks, this song is mid-tempo. The Beauty and The Beast vocals are awesome and the music composition very classical. Classical and Dark. 8th track, Avicenna. Started with Indian percussion. This song is very orient, a symphonic blackened death metal song with middle east and indian folk influences. This song very splendor and magnificent.

9th track, Praesuptio Reatum. This song combine symphony and some folk elements. Perfect combination between classical, blackened death metal and folk. This song very middle eastern. 10th track, Infinitas Non. Mid-tempo song with gloomy symphony and dark licks. Easier, but Epic. 11th track, Teofelspakt. This song rather Melodic and the solo is dark and simple. Like 10th track, the composition of this song is easier, easier but splendor and glorious.

The Symphony on every tracks are very splendor and luxury, the blasting are solid and the guitar solo on every tracks are simple, but great.

The Splendor and the Magnificent of the Darkness.

http://www.bdpmetal.net/2017/03/reviews-sevensins-due-diaboli-et.html

It very much seemed that by the end of 2016 there were very few places across the globe that hadn’t been affected by a plague of black metal. Bands were springing up in some very unlikely places and seemingly on a weekly basis. No longer just the product of various Scandinavian territories and a few other places, for such a niche genre, black metal seemed to be big business (relatively speaking, of course). While many bands seemed happy to screech and hiss their way down a familiar path, there genre still had other avenues to explore.

Fewer black metallers come any more bombastic than SevenSins, a band from Kasakhstan. On ‘Due Diaboli et Apocalypse’ – their second full-length – they take the guts of black metal, beef them up with more pneumatics than you could pummel a face with, and then throw in grindcore elements and operatic vocals for good measure. This might be brilliant for what it is, but man, to call it uncompromising would be an understatement.

A lengthy intro combining drones, squawking crows, some foreign language dialogue and symphonic keys that sound as if they’ve been inspired by a Hans Zimmer soundtrack each set a very dark and ambitious tone at the outset – very much bigging up the symphonic elements of the band’s sound. It fills a couple of minutes confidently and could easily stretch further, but SevenSins have other ideas, and so, ‘Kabbalah’ comes forth with a hefty riff and a few Arabic tones. There’s a weighty pneumatic rhythm pushing everything forward apace, coupled with a typically scratchy vocal, but beneath everything, banks of keyboards approximating an orchestral leaning go a long way to making something that’s insanely heavy also sound oddly melodic. The inclusion of two very old style, shredding lead breaks – influenced from classic eighties thrash – are also very much worth some ear time. With more spoken, demonic voices and a combination of twin lead guitars and symphonic backdrops, ‘Alchemist’ is at first closer to Within Temptation’s much heavier cousin, but once the vocal puts in an appearance, the black metal takes over. Frontman Victor tackles the number with a force that’s impressive, though in terms of melody, it can be hard going. Luckily, the music remains tight and impressive. Keeping the harsh vocals up front, ‘Peregrinus’ fuses symphonic black metal traits with some of the macho bombast of battle metal, serving up what could be the purest example of the band’s sound. The production values on this disc are so good, that although SevenSins sound like a truck at all times, there’s still a huge clarity between the layers and instruments. Factor in another old school lead guitar and it quickly becomes an album highlight.

None of that, however, will prepare you for ‘Mors Atra’, a thunderous, pneumatic workout that rips the guts from a huge guitar sound and an even bigger drum, while simultaneously attacking the listener with a dual vocal. The male lead settles for a typical black metal rasp – only ever really reaching out to the converted – while a female voice pushes everything farther with some smart operatics. The fusion of two bombastic voices and a juddering, thrashing riff makes this number a superb example of how to be inventive with extreme metal without going down too far along an avant garde path. It shows the individual players to be at ease no matter how intense things get. Overall, it certainly isn’t as broad as a couple of the previous numbers, but an increased focus on symphonic elements against a slight industrial metal riff midway lends yet another new aspect…and one that’s most welcome.

Reaching the midpoint of the album – assuming you don’t need a rest – SevenSins are more than happy to pummel your ears further. ‘Due Diaboli’ throws itself headfirst into a giant doom riff underscored by lightning fast drum fills, before filling the bulk of the remainder with clangerous black metal fare. This is perhaps closer to a standard hybrid of death and black metal styles, with less interest in the symphonic angle, although huge pompy keyboards continue to waver in and out of the relentless riffery, as a constant reminder of how important these guys view the orchestral sounds. Despite being one of the album’s most confrontational tracks, nearing the climax, guitarist Vladimir steps forward with a mornful and sweeping lead guitar. For the briefest of moments, his playing is very, very emotive – hauntingly beautiful even. It won’t be enough for those who’ve been put off thus far to re-evaluate anything, but it’s a really nice touch.

Revisiting a lot of the musical themes that dominated the album’s first half, ‘Seraphim’ brings a crushing riff and almost pirate-anical melody before sinking into some typical black metal musical themes and ‘Praesuptio Reatum’ fuses the usual sympho-black sounds with a chunky hardcore breakdown. As before, the playing is strong; the production weighty. In all, neither track is quite as memorable, but it would be grossly unfair to categorise these efforts as filler, especially since both the construction and production remains impressive. Returning to Eastern vibes, the intro to ‘Avicenna’ makes a huge feature from cleanly plucked acoustic work and Arabic percussion, before dropping into a forceful thrashing riff. The intense speed and weight of that ensuing riff shows SevenSins in a very heavy frame of mind, but the interplay between lightning fast drums and vocals is impressive, as is the symphonic melody lurking beneath. Given time to adjust, by the time the instrumental breaks put in an appearance, the music combines intensity and melody in a way that makes it sound like an Arabic take on a classic Soulfly work. If you only have time to cherry-pick a few tracks from this album – or are too wussy to make it from end to end – make sure you give this track a spin.

The final pairing of tracks gets off to a great start with ‘Infinitas Non’ showing off some fantastic melodic guitar lines before plunging face first into another riff that sounds like a more hardcore version of a Max Cavalera classic. In fact, the whole track is a great showcase for SevenSins uncompromising heavy as hell melodies, forging ahead and leaving some great metal in it’s wake. The earlier melodies provide the bulk of a couple of superb solos, too, so in extreme metal terms, this ticks so many boxes, while ‘Teofelspakt’ closes the disc with a return to sledgehammer symphonic blackness. If you’ve made it this far, there are no real surprises – just one last opportunity to gawp (and perhaps baulk) at the all round intensity of the performance and production values. If it ain’t broke, as they say…

Okay, so…this is huge. It’s bombastic beyond belief, edgy as hell and sometimes genuinely frightening. With all those things taken into consideration, SevenSins might already have a great album on their hands (genre specific, of course), but it’s also great to hear a DIY band from a small country who’ve actually given their music the kind of time and budget it deserves. It’s extreme nature means ‘Due Diaboli et Apocalypse’ won’t please everyone, but if you’ve got a passing fancy in black or death-infused symphonic metal, it would be a crime not to give this a listen.

http://www.realgonerocks.com/2017/05/sevensins-due-diaboli-et-apocalypse/

Trazendo elementos de um moderado Hardcore e acrescentando uma sonoridade de um Symphonic Black/Death Metal, temos o Seven Sins. Essa horda cazaque consegue seguir os passos de um Dimmu Borgir e ainda incrementar ainda mais a sua premissa. Com esse seu segundo álbum de estúdio lançado, os caras captaram uma maneira de fazê-lo soar como Emperor, Ulver, Agalloch e Vesania tudo de uma só vez.

Confesso que achei que este seria mais um disco “clichê” de hordas que tentam se inventar dentro do Black Metal sinfônico sem muito sucesso. ME ENGANEI COMPLETAMENTE ! A essência de suas faixas está necessariamente nos conjuntos de arranjos de cada horda acima citada. Não esperem nada menos do que PROFISSIONALISMO por parte desses caras ! Só não ganhou nota máxima por conta de uma “levíssima” sensação de misturarem com Metal Industrial também. Não sei vocês, mas achei que tropeçaram inofensivamente.

Os fãs de Dimmu Borgir e Vesania serão os mais beneficiados por essa obra disparadamente. Aumentem o volume e apreciem no “repeat”. RECOMENDADÍSSIMO !!!!

http://metalnalata.com.br/site/seven-sins-due-diaboli-et-apocalypse-2016/

It is very hard to not mention Emperor and Dimmu Borgir when you talk symphonic black metal so I too will mention these bands in this review of SEVENSINS album “Due Diabloli Et Apocalypse”. When I listen to these kinds of releases I often find myself wondering what it is that they want to say with their music. What is it that they want to create when it would be so much easier to just write your standard A to B black metal album? But then it happens that makes me kinda understand why they want to write a symphonic album. That pivotal moment when you have a sort of revelation. This album has that larger than life kind of feeling that wakes all kind of emotions in you.

http://battlehelm.com/reviews/sevensins-due-diabioli-et-apocalypse/

Seven Sins es una banda de Kazajistan, un lugar del que, no me avergüenzo de decir que peco de prejuicios, no creí que saliera una banda tan poderosa. Si, poderosa. Aplastante, con un cantante que paso a ser uno de mis favoritos del género, seguro.

Muy en la línea de Dimmu Borgir, a quien tienen como uno de sus referentes, toman de estos la rabia en la composición. Y lo transmiten muy bien. Uno escucha uno o dos temas de Seven Sins y sabe, sepa o no sepa ruso, que destilan rabia.

Este “Due diaboli et apocalypse” es su segundo larga duración, y muestran black metal sinfónico del bueno, fuerte, aguerrido y combativo y visceral. Seven Sins es una de esas bandas que están llamadas a encabezar el renacimiento de un estilo que, si bien no murió, tiene una preocupante falta de ideas en el gran circuito. Que exagero? Veremos. Mis votos están en esta banda y pongo todas mis fichas al género, uno de los que más disfruto, que más me gusta y que mas me llega.

Si sos fanático del black sinfonico mas reaccionario, violento y “gritón”, esta es tu banda, si amas a Dimmu Borgir, dale una oída a esta banda que no defrauda, todo lo contrario, se disfruta desde el primer tema.

https://rockarollazine.blogspot.ru/2017/10/seven-sins-due-diaboli-et-apocalypse.html

Kazakhstan is another country I knew nothing about metal scene at all, until now. I have watched Seven Sins video to the song Alchemist which demonstrates they are slightly influenced by Dimmu Borgir. They sound a bit like them and band`s images are visually associated. With purpose or not to what they do with their image and music, it`s OK with me. I do not say the music of Due Diaboli Et Apoclypse is much of cliché but certainly belongs to symphonic black death metal movement where some bands just sounds similar to each other. Do not get me wrong, as long as album is good, I do not care. I am just honestly surprised I haven`t heard from them before!

They have very good orchestrations, almost cinematic which fulfills their sound very well. They are without doubt more powerful and complete band because of that. They use their native words, so it is something not every band has and it`s considerably original in their tracks. Vocals and music is often melodic but they are not much harsh and orthodox but impressive. Keys are very active instrument here and as important as guitars. The guitars for instance are composed by experienced musicians and they give the music that death metal blow forward. Of course they do not forget that there is a devil in black metal and they also combined those darker elements of this genre, pretty well. The album is not overdone when comes to intensity of music and connection between brutal and melodic parts is something to really appreciate.

In Mors Atra song in particular, they used brilliant opera-like female vocals while in other songs this element and its expressions are close to folk metal, which is small part of their music as well. I find it hard to point out my best songs. So, it`s fairly to write that I enjoy the entire album. It has all fantastic death/black metal orchestrations and symphonic elements. Basically, they have had good taste in writing process of making music to the CD. Sound and production stand out from the crowd of other this type albums but at the same time the other bands with huge budget, still are able to sound much better.

I think, in Kazachstan this band deserves national award in heavy metal music if there is one.

http://monarchmagazine.weebly.com/seven-sins-due-diaboli-et-apocalypse-satanath-records-murdher-records.html

Pamiętam jak dziś historię sprzed lat. Jeden znajomy miał dziewczynę, której ojciec był konsulem w Kazachstanie. I kiedyś przy piwie, tenże zaczyna roztaczać wizję, że po studiach to on ma w planach wyemigrować do Stanów. Na co w te słowa wtrąca się inny kolega: „chyba do Kazachstanów…”. Wszyscy ryknęli śmiechem. Kurtyna.

Fakt jest taki, że jeszcze do niedawna ciężko było mi wyobrazić sobie światowej klasy produkcję pochodzenia którejkolwiek z postsowieckich republik. Czy to Kazachstan, czy Azerbejdżan, czy Kirgistan – stereotypowe aroganckie myślenie kieruje mnie raczej w stronę tezy, że oni tam mają problemy z prądem, a co dopiero jakieś studia nagraniowe albo profesjonalny sprzęt grający.

No i teraz będę musiał to wszystko odszczekać z powodu kamiennogórskiego (ciekawe kto z Was wie, gdzie to jest) kwintetu Seven Sins. Ich drugi album okraszony tytułem Due Diaboli et Apocalypse to klasyczny przedstawiciel symfonicznego black metalu z najwyższej półki. Taka trochę skóra żywcem zdarta z Dimmu Borgir, tyle że z rosyjskojęzycznym wokalem i damskim wokalem operowym w tle, no i na szczęście mniej pompatyczna. Na całość albumu składa się jedenaście utworów, trwających nieco ponad trzy kwadranse. I już z tych liczb można by wysnuć przypuszczenie, że będzie zwięźle i bez popadania w śmieszność i tandetę. I tak właśnie jest.

Utwory są krótkie i zwięzłe. Szybkie i treściwe. Wstępy oczywiście często epatują symfoniką, ale niepotrzebnego patosu nie ma. Jest za to zgrabna melodyka, ciekawe pomysły aranżacyjne i mnóstwo dobrych partii wokalnych, gitarowych, perkusyjnych i klawiszowych. Jeśli chodzi o gitary, to może zalatują nieco thrashem, ale łatka symfonicznego blacku pasuje tu w 101 %. Kawałki są do siebie co prawda podobne (no, może z wyłączeniem utworu numer 8, który nieco bardziej zalatuje orientem oraz nieco wolniejszym kawałkiem numer 10), ale płyta nie nudzi się nawet przez chwilę. Nawet rosyjskojęzyczne damsko-męskie operowe miejscami wokale nic a nic nie przywodzą na myśl pieśni klasy robotniczej z ubiegłego wieku.

Do tego naprawdę dobra produkcja, wyraziste partie poszczególnych instrumentów i świetnie zbudowany klimat nie pozwalają mi się przyczepić absolutnie do niczego. Niczego! A grając metal symfoniczny, nader łatwo wpakować się w banały. Toż to nawet Dimmu Borgir potrafi zaliczyć tego typu wpadkę.

Rosyjski Satanath Records wypuścił ten album w zaledwie pięciuset kopiach. I ja Wam powiem jedno. Kto nie będzie miał tej płyty, ten jest dupa wołowa. Due Diaboli et Apocalypse to naprawdę świetny album, a Seven Sins miejscami są lepsi od swojego sławetnego wzorca z Norwegii. Polecam jak mało który recenzowany przez siebie album. A ja pędzę po pozostałe dwa wydawnictwa tej kapeli!

http://kvlt.pl/recenzje/seven-sins-due-diaboli-et-apocalypse-2016/

Архив Satanath Records порадовал альбомом двухгодичной давности «Due Diaboli Et Apocalypse» группы SevenSins из Усть-Каменогорска (Казахстан). Команда образовалась в 2008 г. и недавно, кстати, отметила десятилетие своей творческой жизни. Сначала ребята играли модный металкор, но вскоре нашли в себе брутальности, чтобы сменить направление на дэт-метал. А к вышеупомянутому альбому люди и кони окончательно смешались, так что получился очень самобытный симфо-блэк-дэт с маленькими коровыми вкраплениями по старой памяти.

С первых звуков «Due Diaboli Et Apocalypse» впечатляет своей торжественной величественностью. Кажется, что тут всё всерьез, и музыканты не просто приняли какой-то образ – они настоящие вестники Апокалипсиса. Синтезатор, используемый на манер сатанинского оргАна, злой скрипучий вокал, для пущего устрашения иногда обработанный эффектами, эпизодический женский вокал, лишь подчёркивающий зловещую атмосферу, гитары, перемалывающие звук, как адские жернова, и забивающие гвозди в ваш гроб барабаны. Запись и сведение альбома заслуживают уважения – всё звучит необычайно сочно и будто пропитано подвальной сыростью. Часто экзотическая витиеватость гитарных и синтезаторных партий в некоторых композициях напоминает о месте жительства музыкантов, но, может быть, дело тут совсем в другом – и восточные мотивы обусловлены тематикой соответствующих песен. Гитарные соло, кстати, - одно из несомненных достоинств альбома. Они настолько скоростные, бурные и при этом запоминающиеся, что вы наверняка будете впечатлены, даже если остальное вам придется не по нраву.

Музыка получилась красивой, разнообразной и нескучной, а главное – выстраивающей вместе с текстами определенный сюжет. SevenSins не побоялись смешать дэт с блэком и вставить это в поблескивающую симфоническую оправу, в итоге получилась почти что метал-опера, к счастью, обошедшаяся практически без элементов пауэр-метала.

https://vk.com/wall-50845529_6432

I think, in Kazachstan this band deserves national award in heavy metal music if there is one.

http://monarchmagazine.weebly.com/seven-sins-due-diaboli-et-apocalypse-satanath-records-murdher-records.html