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And now for something completely different, and quite extraordinary on multiple levels — a smorgasbord of strange delights, mind-warping delicacies, and blood-freezing terrors for the adventurous listener, a work of mad and marvelous genius that discerning consumers of sound will not soon forget. This is Flawed Synchronization With Reality, the debut album by an experimental black metal project that has taken the name Deemtee.
Deemtee is the work of Spanish multi-instrumental artist NHT from Garth Arum, As Light Dies, and Aegri Somnia — though one should not be misled into guessing that this record will be in the vein of any of those other bands. Perhaps the best way to begin (succinctly) is to share some of the descriptive references in the press materials that have paved the way for the record’s June 22 release.
“Flawed Synchronization with Reality is a compilation of psychotic experiences, based in human psychology, the immensity of the universe, the insignificance of the human while facing an alien and incomprehensible deities and the end of all times. There’s a certain tension pervading throughout the entire record, a trance-inducing atmosphere stripped from any pleasantries that will sure impress fans of Deathspell Omega, Oranssi Pazuzu, Valborg, Blut Aus Nord, Ved Buens Ende“.
None of this is idle chatter, but rather an accurate forecast of what lies ahead, as we present a premiere stream of the entire album. Yet perhaps a few more paragraphs of at least one listener’s impressions might be useful, so you’ll have a somewhat better idea of what you’re getting yourself into:
Neither the album as a whole nor any single song is a predictable, linear progression. The music is often vastly intricate, and also unexpectedly mesmerizing. At times it’s utterly brazen and boisterous, and at other times seductive or violently disorienting. Some tracks become concertos of madness and psychedelic hallucination, others divert into voyages across cosmic oceans or plummet into wells of inner despair. Nothing is at it seems at first, and there is no chart laid out to tell you where you’re going next.
The production is finely tuned to permit each instrumental ingredient to stand out, even if the mind has difficulty focusing intently on what any one of them is doing because the combinations are so frequently bewildering. Even so, you can detect the fascinating (and technically impressive) interplay among the instruments, and there is extravagant vocal interplay as well, ranging far and wide among harsh roars, livid howls, gruesome gutturals, delirious screams, and vibrant clean singing (which itself ranges from haunting to fiery and entrancing). As if this weren’t enough, NHT also enlisted an array of male and female vocal collaborators to provide speeches (often distorted), choirs, and strange conversations.
The album begins with a show-stopper, a song called “Birds” that’s the kind of long, mind-bending piece-de-resistance that you might expect to come at the end of an album such as this, to cap the entire experience in a pinnacle of craziness. It has few anchors to reality, so variable are the rhythms and pacing, and so twisted and ever-warping are the riffs. The mercurial fretwork delivers shrieking extravagance, slithering melodiousness, angular jolts, insectile skittering, grand braying fanfares, lunatic meanderings, and dreamy, gleaming and gliding raptures. The drumming and bass performances are themselves an unpredictable kaleidoscope of sound, shifting continually in intensity and patterns — sometimes stopping altogether to allow the unfolding of ambient alien tonalities to surf through the brain, and even injecting stop-start, weirdly syncopated rhythms that actually succeed in hooking the head.
After that eye-popping start, the album takes yet another unexpected turn with “Badtrip Culmination“, which is pretty much what the title says — a storm of relentless blasting drums and an enveloping miasma of grim, dissonant, swarming riffery, together with a cacophonous cavalcade of cruel and crazed vocal delirium. It’s so destabilizing that it risks throwing your inner ear out of whack -— until the pandemonium subsides, without warning, into an eerie astral drift in which ghosts seem to wail and weep.
What comes after that opening one-two punch is “Glowing Serpents Everywhere“, which is actually an infectious number at first, launched by a heavy pounding riff and rocking beats, and there’s an air of majesty conjoined with the by-now expected madness. But of course the song changes again and again, becoming a shape-shifting trip through space-time wormholes and lysergic acid seas, and the changes persist through the freakish and frenetic permutations of “Multiverse Recoil“.
“Mirror of Confusion“, on the other hand, is glistening and glorious — and also monstrous, thanks to the overlay of grotesquely distorted proclamations or musings (with a long spoken-word sample that consumes half the track). “Tunnel of Melting Black Stars” rivals the opening track in its length, and although it’s less extraordinary in its transformations, it also becomes a shape-shifter — moody and enthralling at first and then building into an experience that’s demented and despairing — and then so beautifully soulful and sad that it pulls at the heartstrings, before becoming a cosmic journey of wonder and fear.
How might such an album end? Surprisingly, of course. “Nobody Out There” becomes a union of bright acoustic guitar with a distinctly Spanish flare; soaring, wordless vocals (both male and female); and gossamer ambience — together creating a sense of yearning laced with loss, and a finale of pulse-pounding vibrancy.
What will you do next? Maybe not immediately, because there’s a lot to process here, and perhaps the desire to get your mental moorings back in place, but eventually what you will do, if you’re as captivated by the album as I am, is listen to it again (and again). It really is like a psychoactive drug. It doesn’t lose its excitement just because you’ve heard it once, and each time it reveals ravishing new discoveries.
As our regular readers have likely noticed, I tend to like challenging music. However, there’s something about the word ‘experimental’ as a genre description that gives me serious pause. I don’t feel that same hesitation with ‘progressive’ music, though. So what’s the difference, and does that distinction actually exist anywhere besides my own head?
They’re both valid questions. I don’t know about answering the second one, but as for the first – I think it has to do with shapes. Progressive music works with recognizable shapes, expanding and altering them but never pushing them to the point where they lose form. Experimental music, on the other hand, does whatever the fuck it wants, which means there’s a greater chance for things to go sideways and totally lose form.
In the case of Spanish experimental black metal project Deemtee, it seems like NHT, the lone individual behind the band, starts from a point where things have gone sideways and just keeps pushing from there. At first blush, that may not seem like a ringing endorsement for Deemtee’s debut Flawed Synchronization With Reality – due out on June 22 from GrimmDistribution (preorder here) and Suprachaotic Records (find info here) – but it’s meant as one. On tracks like “Glowing Serpents Everywhere,” which we’re premiering here today at Clandestine Sounds, NHT doesn’t even give the listener time to find his or her footing before departing for parts unknown.
I could try to describe the song, but why? Wouldn’t you rather just listen to it?
https://www.clandestinesounds.com/track-premiere-deemtee-glowing-serpents-everywhere/
DEEMTEE es el proyecto unipersonal de NHT, multiinstrumentista miembro de bandas como AS LIGHT DIES, GARTH ARUM o AEGRI SOMNIA. Flawed synchronization with reality es su álbum debut en el que explora el black metal desde una perspectiva experimental, psicodélica y vanguardista.
Si hay algo que caracteriza a las bandas que hacen uso de la etiqueta “experimental” es la intención de utilizar recursos que no forman parte habitual de elementos reconocibles. Esto suele desplazar las sensaciones que transmite hacia terrenos que no resultan familiares, y esa suerte de bizarra originalidad es en gran medida lo que causa esa percepción de estar escuchando algo “extraño” y que no es del agrado de todo el mundo.
DEEMTEE viene a dejar claro desde el primer minuto que no es un concepto encorsetado. Lo que según una concepción estructural ortodoxa sería la pista final en el 99% de las ocasiones, abre el álbum con sus casi once minutos de metal ecléctico, mutante e inquieto.
Más que una declaración de intenciones, “Birds” irrumpe como una amenaza. “Si no te agrada lo que oyes, date la vuelta y huye”, parece espetar. Un potente inicio muy progresivo que más parece influenciado por el death, pronto recurre a guitarras de corte avantgarde, cambios de ritmo y voces claras que me recordaron instantáneamente al metal alternativo de los años noventa. Cabe destacar que la voz limpia de NHT aparece de manera testimonial, pero destaca por su armonía y su personalidad, que introduce perspectivas totalmente diferentes a las que ofrecen las partes más agresivas.
Uno de los mayores logros en el haber de DEEMTEE es la capacidad para adentrarse en caminos experimentales sin resultar demasiado extraño. En su continua exploración de espacios menos convencionales, nunca realiza giros injustificados ni se enmaraña en estructuras laberínticas. El metal extremo y potente siempre está presente, dejando espacio no sólo a fragmentos más agresivos, sino a temas que asaltan los oídos sin miramientos. “Bad trip culmination” y “Multiverse recoil” se acercan más a los cánones, aunque nunca pierden su tono avantgarde.
En el otro extremo, “Mirror of confusion” muestra una faceta muy alejada de lo convencional. Sus casi siete minutos se dividen en una primera parte puramente ambiental seguida de casi cuatro minutos de una locución en castellano, en la que el universo personificado envía un amargo mensaje a alguien que ha sufrido una gran pérdida. Acompañando a este descorazonador tema, “Tunnel of melting black stars” nos induce en un coma emocional a través de un blackened doom oscuro y melancólico.
Como no podría ser de otra manera, este álbum finaliza con un nuevo giro estilístico con “Nobody out there”, una pista acústica en la que una guitarra de raíces españolas, con castañuelas incluidas, acompaña a un dúo de voces dulces y emotivas.
En suma, Flawed synchronization with reality no puede negar su carácter experimental, jugando con las estructuras, los ritmos, los pasajes narrados y los fragmentos ambientales. No obstante, todos estos cruces de caminos no hacen que pierda el norte, manteniendo una dirección reconocible y constante que sólo llegando a su final nos permite reflexionar acerca de la cantidad de recursos de los que hemos sido testigos.
https://subterraneowebzine.com/deemtee-esp-flawed-synchronization-with-reality-2019/
Some people enjoy pure old school black metal, but I must admit I prefer experimental black metal. Then the band Deemtee from Spain perfect for me. Deemtee (or dEEmtEE) is an experimental black metal project created by NHT (Garth Arum, As Light Dies, Aegri Somnia). The album Flawed Synchronization With Reality is a compilation of psychonaut experiences translated in an abstract tonalities and free form music for open minded people. It is based in human psychology, immensity of the universe, insignificance of the human being facing an alien and incomprehensible deities and the end of all times. The band states on Facebook that they plays psychedelic freeform math/black metal. The music is probably for fans of Deathspell Omega, Oranssi Pazuzu, Valborg, Blut Aus Nord, Ved Buens Ende and psychedelic rock music.
Deemtee is probably not for the traditional black metal fans as it’s a work of crazy sounds and there are not some predictable linear progression. The music is often extremely intricate, and often also unexpectedly fascinating. Sometimes it is completely brave, and sometimes seductive or violently disorienting. Some tracks are with much madness and psychedelic hallucination, others divert to voyages across cosmic seas.
http://permafrost.today/2019/07/24/deemtee-with-compilation-of-psychonaut-experiences/
DEEMTEE is an experimental black metal project created by NHT (Garth Arum, As Light Dies, and Aegri Somnia). Hailing from Spain, DEEMTEE takes you on a psychedelic journey of gruesome black metal, spoken word, and rock and roll infused craziness with “Flawed Synchronization With Reality”. I honestly wasn’t sure what direction I would be taken with every track. It is a rollercoaster ride full of twists and turns. The album kicks off with “Birds” which is a crazy journey that doesn’t land on just one genre. The track starts with a kind of more brutal sounding rock band feel to it. It has a sort of 70s psychedelic guitar riff that turns right into a blast-beating forceful sounding song. There are some clean vocals thrown in briefly for good measure as well. I can say just from the beginning of the album, its strange but entertaining. The off-time signatures that lead back into the rock and roll sound just seem to work. There are even some choir like vocals that lead into creepy spoken word, but none of it sounds like it does not belong in the track. It is put together so coherently that I just let myself go on the journey.
This is how the entirety of the album presented itself. Every track being a relative “smorgasbord” of musical talents and genres. You could have yourself perplexed by the complete tonality of “Birds”, then thrust right into the brutality of “Badtrip culmination”. From the fast guitar riffing and punishing blast beats you are treated to the more prototypical black metal sound in this track. There are some alien-like keyboard sounds thrown in to add that extra layer of weirdness. Coupled with the brutality there is that rock and roll infused sound, presented by a guitar solo. Even the atmospheric sounds and beautiful woman’s voice at the end of the track just seem to fit. “Multiverse recoil” brings a more death metal sound to the overall album which I can appreciate it. I’m always a fan of when bands can achieve some level of cohesive genre mixing. There is a lot going on in this album, but quite frankly, its impressive. DEEMTEE can throw all these genres into a blender and add some spoken word that makes the journey so much better. “Mirror of confusion” hits with this theme in mind. An almost deafening angelic sound blasts through and takes you on another journey of psychedelic mastery.
You can almost travel to another dimension if you just close your eyes and listen. Just when I thought that DEEMTEE was done surprising me, “Tunnel of melting black stars” comes in with that doom sound and throws me for another loop. A more depressing sound is offered in the track that just adds another layer of musical prowess to the already impressively diverse album. That doom sound is interrupted by some beautiful clean vocals that add a level of almost alternative rock sound. “Nobody out there” caps off the album in providing a beautiful acoustic melody and clean vocals. It is not lyrical in nature but is captivating, nonetheless. It is an array of woman and men’s voices being projected in a beautiful way. At times I found myself scratching my head wondering what this album was but finding it easier to just listen and let it all happen. DEMMTEE provides a wide array of musical genres within a seven-track album that impresses from start to finish. Take a listen to this one and enjoy the journey.
http://www.metal-temple.com/site/catalogues/entry/reviews/cd_3/d_2/deemtee-flawed.htm
Stravagante proposta quella della one-man-band madrilena dei Deemtee. Capitanata dall'enigmatico NHT, membro tra gli altri di Alien Syndrome 777, As Light Dies, Autumnal e Garth Arum, tutte band caratterizzate comunque da una certa personalità, questa prima release intitolata 'Flawed Synchronization with Reality' presta il fianco ad una psicotica rivisitazione di un black contaminato, sperimentale e spesso fuori dagli schemi. E non poteva esserci complimento migliore per i Deemtee almeno da parte del sottoscritto da sempre alla ricerca di sonorità originali. E il buon NHT, rischiando il più pericoloso deragliamento, mi sa ipnotizzare con un sound davvero particolare. Parlandoci in tutta franchezza, ci sono delle cose che non ho amato particolarmente di questo cd, tipo quando il factotum percorre strade un po' grezze o piattine, di contro ci sono momenti di folgorante genialità. Penso alla prima delirante "Birds" che sfoggia una lunga parte centrale tra atmosfere da incubo, spoken words ed una ritmica in stile meshugghiano dotata poi di un'evoluzione sonora che finisce per abbracciare anche un che della stravaganza di Devin Townsend. Rimango già conquistato dai primi dieci minuti di questa release che in un qualche modo riesce a contaminare la propria proposta anche di quello scorbutico sound della scena transalpina. L'influenza dei Deathspell Omega diviene ancor più forte nella seconda "Badtrip Culmination", una song dalle ritmiche sghembe e malate, che chiama in causa anche gli Aevangelist ed una band in cui il nostro polistrumentista presta i suoi servigi, ossia gli Aversio Humanitatis. È un assalto all'arma bianca quello che ci investe nelle note persuasive e insane della seconda traccia che esalta le potenzialità di questo alterato ensemble ispanico che chiude con quello che parrebbe il verso ammaliatrice delle sirene. Siamo invece in territori più death oriented con "Glowing Serpents Everywhere", anche se a livello ritmico percepisco un che degli australiani Alchemist che erano finiti nel dimenticatoio ma che riemergono nelle note di questa song che si muove anche in territori più criptici, tipici del doom e che addirittura sfoggia un cantato pulito. È comunque una costante ricerca della soluzione ad effetto a caratterizzare il disco che per intenderci palesa ancora qualche spigolo da smussare. Le idee sono buone, in taluni casi ottime, ma poi emerge qualcosina che come dicevo non mi entusiasma poi troppo. Nella terza canzone emergono le influenze degli Alien Syndrome 777 e mi sta bene, non mi esaltano invece troppo le ritmiche, che suonano troppo obsolete, cosi come quei riffoni in testata a "Multiverse Recoil", cosi influenzati dal sound americano, non mi eccitano poi tanto. Il pezzo è un chiaro esempio di come si possa coniugare il techno death statunitense con il prog, esperimento a tratti riuscito, in altri momenti veramente complicato da digerire. Da apprezzare però enormemente il tentativo di sperimentazione da parte di NHT, che prosegue nell'ambient sci-fi con "Mirror of Confusion" (con tanto di spoken words in lingua madre) e nelle titubanze in chiaroscuro di "Tunnel of Melting Black Stars", un'altra chiara dimostrazione di ricerca di originalità da parte del musicista spagnolo con un pezzo di marca Ved Buens Ende, in grado di accompagnarci con le sue svergole asperità fino alla conclusiva " Nobody Out There", gli ultimi tre minuti di chitarra acustica e voci pulite che chiudono in modo totalmente inaspettato un disco dai molteplici risvolti, sorretto da idee grandiose che mostrano quanto ci sia ancora spazio per deviare completamente dai binari dell'ovvietà e dell'ordinarietà.
https://thepitofthedamned.blogspot.com/2020/02/deemtee-flawed-synchronization-with.html
Опять к смертоубийству меж тегами - Experimental Black Metal — это полагание издающего лейбла, Avant-garde Black Metal — заявляют архивы. И как всегда, не нарочно, я решаю доложить в кассу 5 коп. Jazzy Black Death Metal. Как говорится, не проходи мимо, дабы не жалеть об этом всю оставшуюся жизнь. Или наоборот).
Архивы нам в помощь. Oscar Martin - это музыкант, скрывающийся за тремя буквами NHT. Сразу - что мне известно точно — он - тот самый, кто стоит за свирепо-симфоническим, очень крутым проектом Garth Arum - супер-находкой Сатанат рекордс. Коротенько скажу, это та музыка, которая открывает двери в неизведанное, или сама эти двери. Ну это надо читать в соответствующем отклике. А сегодня про DEEMTEE.
NHT здесь исполняет —- Vocals, Guitars, Bass, Drums, Synths, напомню, кроме Гарт Арума еще играет играл в Alien Syndrome 777, As Light Dies, Autumnal, Aversio Humanitatis (live), Aegri Somnia, ex-Bloodoline (live), ex-Hybrid (live), ex-Wrong (live), ex-Amargore, ex-Der Kartoffelkult, ex-Fatalitas Band, ex-Fu Fu, ex-Ildur.
Кто не понял, это человек сквозь которого протекает музыка в этот мир. А вот откуда она истекает в этот раз, надо бы еще разобраться. А блэк и дэт направления уже намекают...
Но как раз скажу, для чего нужны настоящие диски и буклеты. Оскар на последней странице разразился тучей тэнксов людям, группам, музыкантам, художникам, всем тем, кто помог ему при записи этого альбома и … выжить после этого трипа. А тема была жуткой. Главное, он указывает, что в записи участвовали еще 4 человека (архивы ни слова) - вокалистки и вокалисты. Теперь и мы знаем.
Фантастический мистический микс дэт-блэка с фри-джазовыми подходами и улетами. Оскар в своем подполе копает и уже глубоко прокопал тоннель в нижние пределы, где как, уверяют нас эзотерики, начинает слышаться ор, вой, крики грешников, весьма плотно населяющих все круги ада. Но будьте уверены, время от времени там все стихает и оттуда льется чарующая нежная завораживающая музыка, заставляющая нашего исследователя бурить дальше. Это как допинг и мотивация, страх, ужас и кайф, и наслаждение. Для нас важно, что Оскар все фиксирует в записную книжку, а уж потом, вылезая из подполья и отряхнувшись наскоро, спешит к музыкальным инструментам. Результаты мы имеем честь наблюдать и слушать... но первое слово не оговорка, - настолько визуальны образы DEEMTEE, настолько прописаны они аудиально, что будто начинают жить в нашем мире.
Начальная композиция BIRDS — как раз с эстетикой джаза, экспериментально дэтовая, а потом ультра-атмосферная, насквозь пробитая сто и одной идеей, и ими же разукрашенная. Где вокал - дэтовый гроул с нюансами и колебанием вдоль этой оси, не поет, а вещает как с черного амвона, тут же прорисовывается чистый вокал, который тоже не прочь повитийствовать, … потом включается эзотерический примоченный голос. И вокальные чистые партии на заднем фоне. Это самая длинная песня на более чем 10 минут.
Tunnel of Melting Black Stars - 8 с половиной минут. Шокирующий Black doom experimental. Поддержанный психопатическим харш-скримом, трагическим, адским и главное - искренним. А далее - более проработанная и более полная партия чистого «райского» вокала. Вот таковы колебания этого психоделического маятника...
Совместный релиз с Suprachaotic Records (Испания).
Официальный дистрибьютор: Dan's Crypt Records (Испания).
8-страничный буклет, Pit-Art CD.
https://vk.com/wall216331265_4204
O Experimental Black Metal que os espanhóis do Deemtee executam em sua carreira é digo de grandes nomes, suas canções exaltam um peso muito bom e técnica apurada.
Em "Flawed Synchronization With Reality" eles trouxeram tantas qualidades que posso dizer facilmente que estiveram entre os melhores álbuns de 2018.
Sua produção não soa datada e mantém o nível denso pedido em sua vertente, ambientações muito boas que fazem o ouvinte viajar mentalmente, além de um instrumental robusto.
No geral, un álbum muito bom, seus riffs soam no mais cru possível, não temos tantos efeitos atuais (por assim dizer) entregando um feeling Old School.
Não deixe de conferir!
http://rockvibrationsofficial.blogspot.com/2020/07/deemtee-flawed-synchronization-with.html
Barred cualquier idea preconcebida antes de escuchar Flawed Synchronization with Reality de DEEMTEE, disco de 2019 del curtidísimo ya músico madrileño Oscar Martín (aka NHT) de grupos como As Light Dies, Autumnal o Garth Arum entre otros cientos. A continuación tened en cuenta que la etiqueta esa de Avantgarde Black Metal tiene la misma eficacia hoy día que la que podría tener la del Post Rock... es decir, mejor escuchar y valorar bajo el propio criterio del oyente no vaya a ser que os llevéis a engaño y me busquéis con vuestros putos puños americanos terminados en pinchos; sí, esos mismos que os compráis al por mayor en mayoristas para vuestras fotos de sesión.
Sigo a lo mío. Deemtee es un experimento para mentes abiertas, dice el libreto... y yo me digo, joder, ha llegado al sitio correcto. Tengo la mente tan abierta que se me derraman los sesos en ocasiones... soy de pisar neuronas o incluso de beberme mi propio y jodido líquido cefalorraquídeo. Concebido durante la grabación de The Love Album de As Light Dies, y bajo los efectos del tetrahidrocannabinol (aquí tengo que regañar... DROGAS NO!, que luego me dais trabajo amortajando gente), se graba en una sola toma por el propio NHT con apoyos vocales en puntuales momentos.
La grabación es en los Kadath Sound Studios en el verano del 2013 y para que os hagáis una idea, viene a ser el equivalente sonoro de Las Puertas de la Percepción de Huxley. Un viaje psicodélico (o psicorrágico) donde las mezclas de estilos se suceden con suavidad, sin aspaviendos y con una sutilidad que asusta. Para mí, un discazo que se va abriendo como una Matrioska a medida que aumentáis las escuchas.
¿Qué bandas podríamos establecer como punto de partida para el oyente despistado?... bueno, está claro que cosas como Oranssi Pazuzu, Igorrr, Blut Aus Nord, los (es verdad que más progresivos) dos nuevos discos de In The Woods, Ved Buens Ende, Öxxö Xööx, Dodheimsgard y cosas así... pero ojito, ese regusto a la brutalísima hornada de bandas Finlandesas de nuevo cuño se refleja también en nombres menos conocidos como Kuolemanlaakso. Resumiendo, toques al fondo de catálogo de Svart en lo psicodélico, pero con esos puntos de locura alucinantes de gente como Vampilia y lo que es lo mejor, brutalidad perfectamente equilibrada con experimentación, huyendo de lo sinfónico acarameladiense (es como acaramelado pero mal declinado en Latín) y optando por lo que creo que es el principal acierto del disco... dinamitarte la cabeza desde dentro.
La edición en CD en jewel case con el para mí siempre maravilloso Pit Art es una coedición entre Suprachaotic Records y GrimmDistribution (que a su vez opera con Satanath Records) con distribución a cargo de Dan´s Crypt Records. Por cierto, aventurando qué puede significar DEEMTEE, tiene toda la pinta de ser algo así como el anti acrónimo de DMT, el compuesto alucinógeno de la Ayahuasca. Para más datos o fanáticos del Quimicefa, N,N-dimetiltriptamina (DMT o N,N-DMT). Como último detalle técnico, tanto logo como artwork son de Unholy Designs.
La apertura de "Birds and Ashes" despista un poco. Mezcla de Death Melódico con tintes suecos quizás, pero que poco a poco va revelando detalles extraños; ritmos más propios del Math, subidas y bajadas del tempo (con formas de abordar la base rítmica deudoras de Voivod) y un uso versátil y para nada usual de la estructura de las voces. El toque sinfónico de teclados (que lo hay) transcurre en un nivel/escalón inferior de la mezcla. Pero no os perdáis... la vértebra principal es el Black Metal, por mucho que entren voces melódicas limpias con regusto a Katatonia u Opeth.
Diez minutos verdaderamente encomiables que consiguen ese efecto dodecaédrico musical propio de este tipo de proyectos (no sé, pero algo me recuerdan a Blutmond y su bestial disco Thirteen Urban Ways 4 Groovy Bohemian Days de 2010), ejemplar en lo vocal hasta en los dobles coros de voces limpias que son puro Orphaned Land de cuando se despojan de lo oriental. Sigue "Bad Trip Culmination", sobre exposición extrema a velocidades Limbónicas tiñendo de una luz espectral todo lo que la música barre a su paso.
Leyendo las letras, el submundo cosmogónico del Neo Avantgarde Blackmetalero está ahí; esa opción personal (llamémoslo moda, llamémoslo cambio/relevo generacional, llamémoslo reformación de los viejos conceptos en algo falsamente nuevo) de transformar el agreste olor a tierra mojada por el subyugante espacio entre esferas celestes, y su posterior reinterpretación/adecuación de dichos mitos al espacio interno y a la desintegración personal (física y psíquica) en un nuevo tipo de Nihilismo. Musicalmente destaca el interludio ambiental de voces fantasmagóricas femeninas.
Fabuloso el arranque Old School de "Glowing Serpents Everywhere" y "Multiverse Recoil" aunque vayan mutando (son muy paralelos en estructura) en múltiples y complejas melodías trenzadas y articuladas por osificaciones de posible origen carcinógeno. DEEMTEE es un proyecto que me cuesta creer que esté grabado en las condiciones que se citan porque todo encaja como una pieza de orfebrería, los barroquismos y cambios de ritmo son coherentes y cualquier atisbo de improvisación se me antoja complicado. Pero oigan, yo no soy músico más que cuando me cruje alguna articulación o ventoseo en modo Celtic Gas.
Me encanta el drone cuasi ritual en el inicio de "Mirror of Confusion". Dark Ambient mezclado con algo de World Music de cariz espiritual. Para forzar la sensación de irrealidad, voces procesadas sueltan homilías en pleno espacio exterior, contrastando de forma oblicua con el Spoken Word al más puro estilo Neonymus o Keltika Hispanna (salen en los agradecimientos, al igual que el Raíz Ibérica, así que tan loco no ando).
Para aquellos que les pille defecando en las Líneas de Nazca, todavía queda "Tunnel of Melting Black Stars", con un riff de guitarra que abre como un tajo los 8 minutos del corte. Acompasado, lento pero cargado de detalles, me es imposible no acordarme de Maurice de Jong/Mories (Gnaw Their Tongues entre otros) por la forma tan abstracta y angular de conducir los temas. Menos cacofónico pero los efectos implosivos son los mismos, excepto cuando entran esos toques propios del debut de los noruegos Winds.
Da igual las etiquetas y los grupos que suelte aquí, DEEMTEE es algo genuino y de una altísima calidad, tanta, que me quedo de piedra al escuchar "Nobody Out There", tres minutos de rock progresivo inusual que no voy a describir, os lo dejo a vuestro criterio.
https://lamuerteteniaunblog.blogspot.com/2020/06/deemtee-flawed-synchronization-with.html
Es wird mal wieder Zeit für richtig abgefahrenen Scheiß, da kommt spanische Ein-Mann-Projekt Deemtee gerade recht, denn das Avantgarde Black Metal-Biest von NHT (u.a. As Light Dies) hat mit „Flawed Synchronization with Reality“ vor Kurzem sein erstes Lebenszeichen in fast 5 Jahren Bandgeschichte vorgelegt.
7 Songs beherbergt das Album und bietet damit eine dreiviertel Stunde abgedrehter Mucke, sperrigen Arrangements und viel futuristischem Ambiente. Schon beim 10-minütigen Opener „Birds“ geht der Herr in die Vollen und eröffnet das Album mit verstörendem, sperrigem und ständig wechselnden Riff-Salven. Wirklich durchschaubar wird es nie, alle paar Sekunden ändert sich das Bild komplett, bringt neue Gefühle und Ideen mit und ballert mal wild drauf los, groovt vor sich hin oder ergötzt sich an schiefen und queren Gitarrenmomenten. Im Mittelteil gibt es dafür etwas Erholung mit futuristischem Ambient, das auch in einem Alien-Teil gut zur Filmmusik gepasst hätte, aber immer wieder durch betörende und helle Elemente ergänzt wird. Danach gibts schweren, tiefen Groove Metal auf die Fresse, der hier und da modern wirkt, bevor dann nochmal alles zusammen geschmissen wird. So zieht sich das auch durch den Rest des Albums. Donnernder Black Metal der obskuren Sorte trifft auf etwas Ambient und verzichtet dabei auf alles was leicht verdaulich ist. Stattdessen klingt das Album wie eine post-futuristische Computerexplosion, dessen Geräusche sich tief ins Hirn bohren. Und ja, das ist alles positiv gemeint, denn trotz der enormen Sperrigkeit, der ausgelösten Verstörung et cetera, wird man doch gefesselt. Auch gesanglich geht NHT andere Wege und liefert mal klassische Schreie, weitaus öfter jedoch einen sich ständig überlagernden Mix aus leichtem Hall und grimmigen Growls, die schon leicht an wütende Aliens erinnern. Trotzdem ist man froh, wenn die 45 Minuten um sind und man sich aus den Kopfschmerzen des Albums befreien kann… bis man sich dazu durchringt nochmal auf Play zu drücken.
Wer mal wieder komplett kaputten Black Metal braucht, bei dem man während des Hörens jeden Bezug zur Realität verliert und sich in kafkaesken Songstrukturen und völliger Beklopptheit verlieren will, der ist mit Deemtees Debüt vollauf bedient. Ich bins jedenfalls, „Flawed Synchronization with Reality“ ist schon ein krankes Biest, aber geil.
https://metalviewer.wordpress.com/2020/03/29/deemtee-flawed-synchronization-with-reality/
It`s difficult album to review because this Spanish band jumps from one metal genre to another and they have no intention to stick to one music direction which can be unsettling.
Already first song; Birds is kind like a technical death metal but very weird, with some progressive metal guitar rhythms, growls and melodic vocals - which particularly sound very interesting. Overall, it`s a strange song and a word "normal" would be out of place when trying to describe the music.
Second track is much more grim and intense black metal song, very fast, with another combo of extreme vocals in their arsenal. There is quieter moment at the end with spooky female humming.
Glowing Serpents Everywhere sounds like experimental death metal track with a lot of non-linear guitar riffs, like making less music sense was most important for this band than making a sort of music sense. I guess I`d probably need to re-listen their songs another 20 times to find out... It`s another weird song of this album which usually has very good music ideas.
Multiverse Recoil has a good guitar shreds and some harmonies but obviously the universe of this album has to be a bit odd because they mix here technical/progressive death metal with black metal which after all, really is not a bad combination.
Fifth track is a half ambient song with ominous sci-fi, cosmic synthesisers. Second half is just vocal monologue in Spanish, without music background at all, which is too long and boring fragment from perspective of a person who do not speak Spanish,which is me.
Tunnel Of Melting Black Stars is a slower paced black metal track, full of guitar textures and groove. Deemtee does melodic vocals again and I have to tell you that I really like how they performed it in this song and in a few more places of the album too. Maybe if they have had replaced all extreme vocals to melodic ones then they could sound like avant-garde version of Devin Townsend...
Another surprise is Nobody Out There with folky acoustic guitars and melodic mix of male-female vocals.
Music is better than album production of Flawed Synchronization With Reality and it`s kind of an album that is a challenge when listen to songs from it.
Deemtee (DMT is an intense naturally-occurring psychedelic that's also found endogenously in the human body) is a Spanish avant-garde one-man project initiated by Óscar Martín Diez-Canseco aka NHT (vocals, guitars, bass, drums & synths) in 2015 and "Flawed Synchronization with Reality" is the debut material of this super weird musical oneness. The seven songs of the CD were conceived under the effects of THC, thus don't expect the resulting ideas to be typical at all. Furthermore, NHT defines his music as psychedelic freeform black metal, which is a very apt definition taking into account the large presence of elements coming from depressive suicidal black metal, psychedelic rock, doom metal, progressive death metal and even mathcore. The variety of musical patterns is simply vast there. By the words of NHT it is a music, which explores the unreal, parallel worlds, the psyche, dreams and the limits of universe and time. Indeed, his arrangements sound deeply abstract, futuristic and unique. Moreover, I could easily imagine one or another fragment from the current album as a soundtrack for an alien-motivated sci-fi movie, e.g. the track called "Mirror of Confusion" would be the perfect choice, in my honest opinion. To cut it short, it's rather innovative and experimental, something you should listen to first!!! To cut it short, it's rather innovative and way experimental, if you ask me, it's something you have to listen to a couple of times to understand and get the real idea of its creator!!!
http://castrum.com.ua/encomium/7albums1.htm
VERDIKT: ... jak šlo hulení krví, inspirace chtěla pokaždé jiný nástroj k zvěčnění svých šílených představ...
Předpokládám, že název dEEMTee nikomu nic moc neřekne. Možná recenzentům, kterým debut Flawed Synchronization with Reality zaslal k pitvání Alexey ze Satanath Records, případně z partnerského labelu Grimm Distribution, který album vydává. Ať už je to jak chce, předpokládám, že jméno jediného člena Deemtee bude znát širší podzemní veřejnost. Multifunkční Óskar Martín (NHT) se totiž věnuje hned několika vskutku různorodým kapelám či projektům naráz (As Light Dies, Alien Syndrome 777, Autumnal, Garth Arum…). Rovněž ho objevíte v nejedné koncertní sestavě (Aversio Humalitatis, Bloodoline…). Kdo by chtěl Óskara podezřívat z únavy a vykrádání sebe sama, nechť si některou z kapel pustí a udělá si obrázek o tom, že NHT unavený není a rozhodně se nevykrádá. Teď už se ale pojďme mrknout na jeho sólo projekt dEEMTee. V bookletu NHT uvádí, že album vznikl během nahrávání alba The love album – Volume I doomerů As Light Dies pod vlivem THC. Rozhodně je to poznat.
Rád bych zařadil Flawed Synchronization with Reality do nějakého chlívečku, ale nejde to ani při nejlepší vůli. Opěrné mantinely nahrávky může s přivřením obou očí být avantgardní black či jakýsi podivný death a ambient atd. NHT se s tím vskutku nemaže. Veškeré nástroje si nahrál sám. S pomocí přátel album i celé nazpíval. Byl jsem zvědavý na bicí, protože v některých projektech, kde se objevil, použil bicí automat a někde bubnoval sám. Zkrátím to – je to bourák. Lidově řečeno – nesere se s tím. Když album uhání, umí se do toho opřít, když zní jako z blázince, jsou takové i rytmy. Jakmile se nálada ztiší, jsou jemné i bicí nástroje. To samé platí i pro zbytek nástrojového obsazení. Rozhodně není poznat, zda základ skladeb byl stvořen na kytaru, basu nebo klávesy. Myslím si, že jak šlo hulení krví, inspirace chtěla pokaždé jiný nástroj k zvěčnění svých šílených představ.
Často se stává, že extrémní metalový nájezd bývá nabořený sedmdesátkovou psychedelií. Jednoduše posloucháte chvíli řezbu a najednou je z ní prog jak víno. NHTův hlas je stejně bravurní jako jako hudební mozaika. Nejčastěji používá growl a jeho odstíny. Výjimkou ale nejsou ani čisté zpěvy. Zda je majitelem zvučného hlasu on, nebo jeho hosté, nebo všichni, netuším. Zase tak se to v bookletu nepitvá, což samozřejmě nevadí. Jde zejména o bláznivou road movie do jiných dimenzí.
Rozhodně se jedná o milé překvapení, které už tedy patří do minulého roku. Netvrdím, že je album geniální a že jsem nikdy nic takového neslyšel. V tomhle ranku, kde se nehledí na hranice ani předsudky starých konzerv, bylo za poslední dvě dekády a kousek vymyšleno tolik vzrušujících děl, vedle kterých krása Flawed Synchronization with Reality poněkud bledne. Nicméně je také pravdou, že se v avantgardě nic moc převratného už dlouho neděje, a tak krása zhuleného debutu dEEMTee zase rozkvétá. Ne, vážně, je znát, že Flawed Synchronization with Reality svému stvořiteli udělalo velkou radost a tu pak nahrávka vrací posluchačům zpátky. Je škoda, že poněkud zapadlo, protože příznivce netradiční hudby může bezpochyby potěšit. Pouze doufám, že se nejedná o jediný výstřel a že bude nějaké další příště…
https://www.echoes-zine.cz/recenze/deemtee-flawed-synchronization-with-reality
Avant-garde black metal from Spain is not something that I come upon too often. Don’t even know if I want to come upon too much avant-garde black metal at all. Or perhaps I do. That is how split I am in my thoughts about avant-garde. It didn’t take many chords for me to realize that this was going to be a very hard album to review. And I am not really sure what I think of it. Within the first minute my mind had wandered to Marilyn Manson, to Deathspell Omega to I don’t know what. I am sorry but this wasn’t my cup of black metal.