Satanath Records - Reviews: SAT282

Reviews: SAT282

After a scattering of short releases that mainly began emerging in 2017, the Australian symphonic black/death band Mazikeen has completed a debut album named The Solace of Death that’s now set for co-release by Satanath Records and Iron, Blood And Death Corporation on March 23rd.

From its beginning as a solo project, Mazikeen has been the brain-child of Andrew Shiells, but for this new album he was joined by a formidable line-up of allies. With Shiells on guitar and synths, he is accompanied by drummer Marco Pitrruzzella (Six Feet Under, Sleep Terror, ex-Brain Drill), guitar soloist Kris Marchant, pianist Aretstikapha (Plasmodium, Klavierkrieger), and vocalist James Edmeades (Claret Ash).

The album includes eight original songs as well as four cover songs, putting Mazikeen‘s spin on tracks by Mayhem, Dissection, Dimmu Borgir, and Darkthrone. It’s one of the original songs that we present today, a dazzling track named “Vexation Through the Golden Sun“.

At almost 11 minutes in length, the song proves to be an amalgam of stunning contrasts — in part a breathtaking spectacle and in part a spell-binding time-travel into the distant past.

From soft simmering tones the song builds into a furnace of hyper-blasting drums, thunderous bass, cruel riffage, and howling vocal extremity. There is swarming madness in these sounds, everything going fast — really fast — including the rapidly swirling leads. Yet as soon as those scintillating arpeggios take flight and soaring symphonic waves arrive, the music generates an aura of spectacular grandeur that gives a different dimension to the madness.

The combined impact of all these dimensions of sound — the turbocharged speed, the ferocious vocals, the darting and whirling keyboards, the bouncing symphonic chords — is electrifying. But further dimensions of the song are yet to come, including a soft and sublime acoustic interlude with a decidedly medieval air. The contrast between this mesmerizing ancient music and the lightning-storm turbulence that precedes it is a sharp one — and so is the contrast created by the harsh, warzone-like noises that follow, as the music ramps up again, gradually recapturing the symphonic grandeur, the ravaging intensity, and the madness of the song’s early blood-rushing momentum.

In addition to the line-up listed above, The Solace of Death also includes guest vocals on particular tracks by Josh Young, Ian McLean, and Ashahalasin. The fascinating cover art was created by James Ludbrook.

https://www.nocleansinging.com/2020/03/02/an-ncs-premiere-mazikeen-vexation-through-the-golden-sun/

A beastly album of Symphonic Death and Black Metal from Australia that proves death can be comforting when enfolded by first-class extreme music.

What started in 2013 in Melbourne, Australia as a solo project by guitarist Andrew Shiells with the help from Chris Meyer (from Australian Black Metal act Aberration Nexus), who recorded some drums and synths for the project’s first demo tracks, has evolved to a much bolder and multi-layered beast in recent years, blasting a crushing hybrid of Symphonic Death and Black Metal with other extreme styles such as Melodic Death Metal and old school Black Metal. I’m talking about Mazikeen (based on the Hebrew word “mazzikim”, meaning “harmful spirits”), an infernal horde comprised of the aforementioned Andrew Shiells and his henchmen James Edmeades (Claret Ash) on vocals, Kris Marchant on the guitars, Aretstikapha (Plasmodium, Klavierkrieger) on piano and synths, and Marco Pitrruzzella (Six Feet Under, Sleep Terror) on drums, who are unleashing upon us their first full-length opus titled The Solace of Death, featuring eight original songs and four insane cover tracks throughout impressive 67 minutes of music, all embraced by the stylish and sinister artwork by Australian artist Jamie Ludbrooke.

An eerie, phantasmagorical intro evolves into a feast of symphonic and dark sounds in the opening track The Solace Of Death, where Marco is absolutely infernal with his blast beats while James delivers his Dani Filth/Shagrath-inspired roars and gnarls, supported by the imposing synths by Andrew and Aretstikapha, whereas in Apostate it’s time for ten minutes of Symphonic Black Metal infused with Doom and Melodic Death Metal nuances where the guitars by Kris and Andrew sound sharp and very harmonious just the way we like it in extreme music. Brutal and enthralling form start to finish, this great composition lives up to the legacy of bands like Emperor, Dimmu Borgir and Carpathian Forest, which can also be said about Vexation Through The Golden Sun, even more obscure, violent and epic than its predecessors, spearheaded by the insane drums by Marco while his bandmates make sure every empty space in the air is filled with darkness and evil, resulting in a lecture in modern-day Symphonic Black Metal full of breaks and variations, Stygian passages and even some serene, acoustic moments for our total delight. And featuring guest vocals by Josh Young (Astral Winter, Atra Vetosus), Mazikeen go full Scandinavian Black Metal in Fractricide, inspired by the trailblazers of the genre such as Mayhem and Emperor, blasting a demolishing sonority that will make your head tremble nonstop.

Josh returns with his wicked gnarls in the melancholic and somber Psychotic Reign, starting in a Gothic Metal-ish vibe while also presenting elements from Atmospheric Black Metal in its core essence. Moreover, I personally love the paradox created between Marco’s stone crushing beats and all background keys and symphonic elements, giving the whole song and extra touch of eccentricity, flowing into the cryptic and atmospheric instrumental bridge Harrowing Cessation, which also develops into a romantic instrumental ballad entitled MORS VINCIT OMNIA, or “death conquers all” from Latin, where the strength and depth of the piano notes take the lead and guide the music until its inevitable and grim ending. And in the last original song from the album, Cerulean Last Night, Mazikeen get back to a more ferocious and visceral mode, uniting the most piercing elements from old school Black Metal and contemporary Symphonic Black Metal spiced up by the visceral guest vocals by Ian McLean (The Maledict).

The last batch of songs in The Solace of Death is the band’s own tribute to their biggest idols and influences, starting with Mayhem’s Freezing Moon, originally released in the 1994 cult album De Mysteriis Dom Sathanas (check the original version HERE), with Mazikeen’s version featuring the vicious vocals by guest Ashahalasin (Inhuman Remnants, Somnium Nox) infernally complemented by the pulverizing drums by Marco, followed by Disection’s Night’s Blood, from the 1995 album Storm of the Light’s Bane, as bestial as the original song with Kris and Andrew delivering sheer electricity and rage through their scorching riffs. Then we have a cover for Dimmu Borgir’s Mourning Palace, from the 1997 album Enthrone Darkness Triumphant (you can listen to the original one HERE), where James does a fantastic job on vocals accompanied by the whimsical keys and synths by Andrew and Aretstikapha. And finally, Ashahalasin returns for their cover song for Darkthrone’s Transilvanian Hunger, from the 1994 album Transilvanian Hunger, as raw and malevolent as the original tune, with Marco once again taking the lead firing endless dementia and wrath from his blast beats.

You can enjoy this precious gem of Australian Black Metal in its entirety on YouTube and on Spotify, and also grab your copy of the album from the Satanath Records’ BandCamp page, from the Iron, Blood & Death Corporation’s BandCamp page, from Apple Music, or click HERE for all options where you can buy or stream the album. Mazikeen can also be found on Facebook, where you can know more about the band, their tour dates, their music and plans for the future, proudly carrying the flag of Black Metal wherever they go. In a nutshell, Andrew and his horde from Mazikeen nailed it in The Solace of Death, showing us all that death can be indeed comforting, especially if enfolded by a good amount of first-class Black Metal like the sonic devastation blasted by such distinct band hailing from the always inspiring Australia.

https://theheadbangingmoose.wordpress.com/2020/06/11/album-review-mazikeen-the-solace-of-death-2020/

Mazikeen are an Australian black metal band. This is their debut album.

There’s 78 minutes of material here, spread out over 12 tracks. The main album consists of the first eight songs, with the final four being bonus covers of Mayhem, Dissection, Dimmu Borgir, and Darkthrone songs.

The band contains current and ex-members of bands such as Rings of Saturn, Six Feet Under, Astral Winter, Atra Vetosus, and Somnium Nox. Their music is inspired by the second wave, specifically the symphonic style. Although clearly referencing the old-school in their approach, Mazikeen offer a modern interpretation of this period of time’s music. This makes for an album that can be thought of as an updated version of something like Dimmu Borgir, (who are clearly an influence, and not just because of the cover version), mixed with a band like Chthonic.

The songs frequently focus on speed and intensity, tearing into the airwaves like multifaceted aggressors. There’s a lot going on here, with the synths and guitar solos adding layers to music flush with harsh grandiosity. The songs are involved and border on the chaotic on places, as all of the various components jostle for place in increasingly crowded musical landscapes. Not only do Mazikeen manage to largely keep things together, but they also manage to channel these frenetic energies back into the music, making for songs that have an unhinged quality to them on occasion. This seems especially true with regards to the technical drums, and some of the vocals, (the band have a main singer, as well as some guest vocalists).

Mazikeen manage to put a slightly different spin on symphonic black metal, with hyper-aggressive elements and a technical, modern edge. Give this a listen and see if it’s to your taste.

https://wonderboxmetal.com/2020/05/24/mazikeen-the-solace-of-death-review/

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https://www.dargedik.com/2020/05/mazikeen-solace-of-death-2020-resena.html

Andrew Shell’s band Mazikeen from Australia has started to release singles three years ago, and now the first full-length album is presented in 2020. In the beginning they described their music as blackened death metal, but now it’s based rather on symphonic black, than death foundation. “The Solace of Death” is a long album and even if it is overall coherent and logical, a couple of longest songs (like “Apostate” and “Vexation Through The Golden Sun”) can be easily divided, besides, the change of tempo encourages it.

The release is melodic and sounds comparatively easy, but in truth, the unclean sound negatively affects the audibility of instruments, so the whole perception of the songs is quite messy. The most original songs are also the longest ones, they are full of mood changes and atmospheric alterations (especially on the song “Vexation Through The Golden Sun”). The material isn’t innovative, but thanks to some stylistic rules (change of rhythm, recitals, various extreme vocal range, atmospheric keyboards), it is not too boring or some clone album. The closest inspiration for Mazekeen is undoubtedly Dissection, so for good reason they chose them as one of the cover songs.

The synthesizers are an important part on this record, but due to blurred sound, they can’t properly convey the essential ambiance, and they even create some chaotic discordance. In “Vexation Through The Golden Sun” the synths form the psychedelic aura, and the song surprisingly ends like industrial black metal piece (but the acoustic guitar provides this massive song with some sort of melancholy). The singing of James Cronovras fits right into the music with its aggression, which is very notable on “Fractricide”, it is intense and moderately emotional. Apart from the band’s constant singer, there are three more invited vocalists (Yosh Young, Ian McLean and Ashahalasin).

The most important part is guitar solo work, solos are not overloaded with technical precision, but they are not too primitive as well (as it often happens in raw black metal). The instrumental songs (“Harrowing Cessation” and piano-based “Mors Vincit Omnia”) are interconnected. “Psychotic Reign” is the slowest song on the record, but even there is a slight pace change in the end. “Cerulean last Night” is a classical contemplative symphonic black metal example with a long guitar solo. So, without further experiments, the album ends on that note till the cover songs.

They chose the songs of Mayhem, Dissection, Dimmu Borgir and Darkthrone, and the cover songs are classically performed. These are not symphonic (except Dimmu Borgir), like their original material, and no surprises here or original interpretations. Was it worth it, to add four covers and making the album so long (1:17), that’s matter of opinion, but if we set aside its length, chaotic nature and unclean sound, then Mazikeen released quite listenable debut album.

http://antichristmagazine.com/review-mazikeen-the-solace-of-death-iron-blood-and-death-corporation-satanath-records/

Mazikeen are a band from Australia that has had music reviewed before in this zine and on this recording plays a symphonic mixture of black and death metal and this is a review of their 2020 album "The Solace Of Death" which was released as a joint effort between Satanath Records and Iron, Blood And Death Corporation.

Dark soundscapes start off the album along with some drum beats and whispered vocals before going into a heavier direction. The music also adds in a great amount of symphonic elements while the riffs also add in a lot of melody and the vocals also bring in a mixture of black metal screams and death metal growls.

When the music speeds up a great amount of blast beats can also be heard while a great portion of the tracks are very long and epic in length. When guitar solos and leads are utilized they are also done in a very melodic style while the songs also add in a decent mixture of slow, mid paced and fast parts.

Spoken word parts can also be heard in certain sections of the recording along with the music also being very heavily rooted in the 90's but modern at the same time. Some tracks also add in a small amount of clean vocals as well as one track also introducing classical guitars onto the recording.

Harsh noises can also be heard briefly and as the album progresses a couple of instrumentals can also be heard and the album closes with some Mayhem, Dissection, Dimmu Borgir and Darkthrone covers and re doing Freezing Moon and Transylvanian Hunger in 2020 is completely useless and there original material is good enough to the point where they have no need in covering these songs. The production sounds very professional while the lyrics cover destroying souls, death and darkness themes.

In my opinion this is another great sounding recording from Mazikeen and if you are a fan of symphonic black and death metal, you should check out this album.

http://darkdoomgrinddeath.blogspot.com/2020/04/mazikeenthe-solace-of-deathsatanath.html

“Open the window of time… in the open space you’ll find… the nothingness in which I hide.”

With this invitation so begins the profound existential apocalypse of The Solace of Death, first full-length album by Australian inferno MAZIKEEN. Created by mastermind and foundational songwriter Andrew Shiells (humbly credited for guitar and synth, although he did bass as well), MAZIKEEN is a composite project made up with an array of preeminent Aussie (and US) talents: James Edmeades (CLARET ASH, CHRONICLES OF THE VOID) on vocals and lyrics, Kris Marchant on guitar and most notably all of the guitar solos (HACKXWHORE, WORLDFUCKER, also working on new albums with DEVOLVED / DEVIL YOU KNOW members), Aretstikapha (MORS VINCIT OMNIA, PLASMODIUM) on piano and synth, and none other than ‘Lord’ Marco Pitruzzella (SIX FEET UNDER, MONUMENTAL TORMENT, RINGS OF SATURN, BLEAK FLESH, HUNHAU MITNAL, VINTERTODT, just to name a few) on percussion. Expertly mixed and mastered by Mike Trubetskov at EOL Studios, the album features a number of other contributors for various songs (to be addressed below), album artwork by James Ludbrooke (DAMAGED, THROES, ex-TERRORUST, ex-WALK THE EARTH), and logo design by yours truly (!).

“I witnessed the end…”

By the time the modest intro of the first song (the title track) breaks into a well-timed onslaught of double kick, cascading piano, shredding riffs and triumphant roaring, it is readily apparent that though it might be hiding in nothingness The Solace of Death is anything but opaque, as every element is orchestrated with immense, grandiose, overwhelming intensity. ‘The Solace of Death’, brimming with tragedy, switches back and forth between full aggression and catastrophic melody, before a mournful solo and scathing conclusion, and it’s a little hard to imagine that MAZIKEEN is just getting warmed up. ‘Apostate’ initially starts off significantly more measured, with an easy pace and enough space to sound somewhat like a classic death metal track, allowing for breathtaking, almost VITAL REMAINS-esque guitar lead to wash over the introductory narrative. Things start to build from there and by the time we arrive at the 2.5 minute mark, the charging power and insistent groove behind this track is fully audible, accentuated by Marco’s occasional blasting. Further treats await in the last third of the song with some distant clean singing and bombastic piano contributing to the intoxicating effect.

“… these dark shadows ominously rise…”

The chains come off entirely with the significantly blacker ‘Vexation Through the Golden Sun’, unhinged with a frenetic pace, downright assaultive synth progression, incinerating guitars (including sweeping and soloing) and almost constant minigun battery on the drums. Just as the listener starts to adapt to this exquisite barrage, we are treated to a fucking beautiful acoustic interlude written and performed by Kris. Far from intrusive, this adds a level of depth and reflectiveness heretofore unexplored. But, like the harmony overtaken by nuclear chaos described in the lyrics, this interim fades with a series of nearing detonations, finally ending in a cacophonous explosion of shrieking, squalling noise before returning to black metal form and gradually re-accelerating for an outro almost hypnotic in its savagery. The transition from this to ‘Fratricide’ is one of the best things that happens on this album. Part of that is because, for me, the opening sweeping riff and epic beginning of ‘Fratricide’ (the first MAZIKEEN song released by Andrew on Bandcamp in the first weeks of 2017) is absolutely the quintessential sound that I think I will always associate with the band. [Of note, this riff (as well as the one at about 3:30) is played in a very particular style which utilizes multiple note plucks even though it’s a sweep; check the amazing track ‘Autophobia’ on the Mazikeen EP for another good example of this technique.] ‘Fratricide’ is where we can hear the real foundation driving the entire band: Andrew’s solid, classic, fiery black metal songwriting. Everything else seems a bit stripped down on this track, with what seems to be comparatively limited synth, and even more traditional black metal vocals (provided by Josh Young of ATRA VETOSUS and ASTRAL WINTER).

“… through ashen skies and falling rains…”

‘Psychotic Reign’ (also voiced by Josh Young), though also one of the original tracks written, injects a lot more melody with a tempered intro of acoustic guitar and fantastic use of piano. Even when the smoldering ignites at the two-minute mark, the song remains grandiose and almost majestic in its heaviness and keeps building until the face-melting blast/solo combo and outro. ‘Harrowing Cessation’, an instrumental interlude of sorts which originally started out as an outro to the Mazikeen EP, accordingly utilizes the riffs of ‘Psychotic Reign’ (which preceded it on the EP as well) and translates them into a haunting melody. ‘Mors Vincet Omnia’, another instrumental, takes this evolution a step further, doing away with the eeriness for a piano track also based on the central riff from ‘Psychotic Reign’, full of beauty and sorrow. I personally would have been tempted to split these two tracks up and place them on either side of ‘Psychotic Reign’, essentially making it a three-part song with an instrumental intro and outro, but I am loathe to be presumptuous enough to tell an artist how to arrange their art. Though it is not the last song on the album, ‘Cerulean Last Night’, featuring vocals and lyrics from Ian Chambers (THE MALEDICT), seems to combine all previous elements to stand as a sufficiently epic and robust closing track.

“… as we pay our bloody tithes to the limitless void.”

As if that weren’t enough, what follows are four thoroughly enjoyable cover tracks, ambitious in the rendering of none other than MAYHEM (‘Freezing Moon’), DISSECTION (‘Night’s Blood’), DIMMU BORGIR (‘Mourning Palace’), and DARKTHRONE (‘Transilvanian Hunger’), with guest vocals provided by Ashahalasin (SOMNIUM NOX, INHUMAN REMNANTS) on ‘Freezing Moon’ and ‘Transilvanian Hunger’. Of these four I found ‘Mourning Palace’ and ‘Transilvanian Hunger’ particularly compelling, with a lot of extra elements and depth added to the synth of the DIMMU track and the significantly more muscular DARKTHRONE rendition providing the opportunity for a jaw-dropping and torrential percussive assailment ala Lord Marco. A fitting end to what amounts as nothing short of a symphonic black/death metal masterwork with a complexity, precision, and fire that is unlikely to be matched by relevant comparisons anytime soon.

FFO: mid-era DIMMU BORGIR, latter OLD MAN’S CHILD, EMYPREAN THRONE, SOMNIUM NOX, SIRIUS (RIP)

https://www.moshpitnation.com/mazikeen-the-solace-of-death/

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https://blackmetaldaily.wordpress.com/2020/03/22/a-window-of-time-to-the-limitless-void-a-review-of-the-solace-of-death-by-mazikeen/

Release vor Rezi. Durch Zufall wurde ich durch den Release auf MaziKeen aufmerksam. Der gehörte Song (leider weiß ich nicht mehr welcher es war), setzte sich direkt in meinen Gehörgängen fest.

Nach Gründung 2013 in Australien erschien neben diversen Singles 2017 eine EP. Doch nun der erste Longplayer mit vier Cover-Songs. Infiziert von Dimmu Borgir und Dissection, interessieren mich diese beiden Cover natürlich ganz besonders.

Aber schon der Einstieg und die weiteren Songs bis zu den erwähnten Coversongs lassen mich in die Darkworld versinken. Treibend, aber auch immer wieder mit melodischen und klaren Gitarren-Parts, starkem Drumming und screaming Vocals durchzogen … einfach gesagt, ich bin gerade voll und ganz dem Hören verfallen. Hier ist Australien ganz nah an meinen nordischen Genre-Lieblingsländern.

„Psychotic Reign“ sorgt bei mir für absolute Gänsehaut. Energiegeladen, rhythmisch und schön düster … damn good.

Bei „Harrowing Cessation“ vermisse ich die eingängigen Vocals, aber das wertet den Song keinesfalls ab. Dem schließt sich „Mors Vincit Omnia“ alà Klavierkonzert an. Ein unerwarteter, rein instrumentaler Stilbruch im Album.

Mit „Cerulean Last Night“ geht’s aber wieder in die andere Richtung. Erste Gedanken an Dimmu Borgir kommen auf und das Mayhem Cover „Freezing Moon“ brennt sich gerade in meine Lauscher.

Das Dissection Cover „Night‘s Blood“ kommt in meinen Ohren nicht wirklich an Jon (R.I.P.) &Co. heran, aber es ist ja auch ein Cover und schlecht ist es nicht.

And now, das Dimmu Borgir Cover. Es ist nicht das Original, dass muss es auch nicht sein. Es hat seinen eigenen Style, allein schon durch die anderen Vocals, die meines Erachtens bei „Cerulean Last Night“ ähnlicher geklungen haben.

Ein „damn good“ gibt’s auch für den Abschluss des Scheiblings, das Darkthrone Cover „Transilvanian Hunger“.

Die Heimatstadt Melbourne wird hier zu „Hellbourne“, so bezeichnet man sie in den Infos der Facebook-Seite. Dem kann ich absolut zustimmen.

https://www.hellfire-magazin.de/mazikeen-the-solace-of-death/

With “The Solace of Death”, the guys from Australia release a symphonic but brutal Black/Death Metal beast. The beastmaster and mastermind behind everything is Andrew Shiells and Mazikeen is based on the Hebrew word mazzikim which means harmful spirits.

“The Solace of Death” includes 8 original songs and 4 cover tracks which are great songs from huge names, for example “Night‘s Blood” from Dissection. All in all 67 minutes of cool music. The compositions live up to the legacy of bands like Dimmu Borgir, Emperor, Carpathian Forest, and Cradle of Filth. Mazikeen is far away from being just a copycat. The tracks on this record are a very modern version of symphonic Black Metal with a deadly touch. The vocal varies between Dani Filth and Shagrath. To be honest this two styles are the only ones that fits perfectly to this kind of extreme music.

The performance of the musicians is great especially the blast beats from none other than Marc Pitruzella who has played in bands like Six Feet Under and Rings of Saturn. I also want to mention the awesome artwork by the Australian artist Jamie Ludbrooke which perfectly underlines the music.

Mazikeen surely deserves more than the 70 listeners on Spotify. So check them out or buy their album on Bandcamp and unleash this Australian beast.

http://www.vm-underground.com/review/mazikeen-the-solace-of-death/

Starting as a solo project called Rising Tide of Vengeance by Andrew Shiells in 2013, Australian Black Metal act Mazikeen have left a trail of singles and an EP before finally giving us their debut full-length, The Solace of Death. Judging by the four cover songs at the end, you'd expect this to be a blast of Symphonic Black Metal that takes from both the Norwegian and Swedish scenes, and you'd be dead on the money with that judgement. In fact, Norway's own Limbonic Art is a pretty solid comparison, as this band has the same penchant for complex and aggressive music with a real feel for space and atmosphere that almost sounds cosmic in nature. That's not to say they're up to the same standard, but this album is filled with densely layered music that takes several listens to really get into, complete with some first-rate drumming courtesy of Marco Pitruzzella that you could mistake as coming from a machine at first listen, the usual assortment of acoustic guitars/pianos/synth interludes and no fewer than four vocalists, courtesy of guests Josh Young, Ian Mclean, and Nathan Collins. The covers at the end are pretty solid too, especially for Dissection's "Night's Blood" and Dimmu's "The Mourning Palace", even if they don't do more than show love for all the band's influences. All in all, this may not be groundbreaking or impressive enough to be essential, but it's a damn good start for a damn good band.

http://www.metalcrypt.com/pages/review.php?revid=12104

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https://www.dargedik.com/2020/05/mazikeen-solace-of-death-2020-resena.html

Poslední dobou jsem už měl pocit, že nad symfo blackem dle mustru DIMMU BORGIR, CRADLE OF FILTH, případně LIMBONIC ART pozvolna zavřela hladina temných vod a tito uvedení příliš následovníků na své temné pouti nezanechali. Když už se z tušení stávala téměř jistota, domákl jsem se jistých MAZIKEEN, velmi zručných Australanů, kteří se našli právě v tomto stylu – mnozí jej již za black metal nepovažují a mají z jednoho úhlu pohledu pravdu. Symfo black se přece jen vyznačuje vyšší mírou přívětivosti vůči okolí, což lze rovněž vykládat i jako komerční tendenci a podbízení se šoubuzinci. Se vším tímto lze souhlasit, můžeme se tomu bránit, svolávat mocnosti pekelné na tyto kapely, plivat na ně oheň a síru, stavět se na hlavu a dělat kotrmelce, stejně s tím uděláme akorát tak takovou tu velkou a kulatou věc.

MAZIKEEN rozhodně žádní šampónci nejsou. „The Solace Of Death“ obsahuje matroš natolik důrazný a dostatečně hrubý, že je z komerce cestou symfonických prvků a synťáků nařknout není možné. Jistá porce melodické líbivosti se napříč celým albem sice vyskytuje, ovšem v míře nutné k dochucení a dodání štiplavého aromata atmosféry, aby nebyla příliš misantropní a vyhrocená. MAZIKEEN ani příliš od věhlasnějších kolegů ve zbrani neopisují a sympaticky si budují na své druhé položce v diskografii vlastní pekelnou pobočku. Album ani nezní jako plastový výlisek, upadlý z výrobního pásu na globální unifikované prefabrikáty – což bývá častou nemocí řady nahrávek, sice instrumentálně chyb nemajících, ovšem duše a temný adrenalin se ztratily kdesi mezi nástrojovým obsazením, producentským křeslem a záznamovým zařízením. Proto také více inklinuji k méně učesaným, ne úplně profesorským nahrávkám, ty touhle bolestí povětšinou netrpí a spolehlivě se jim daří zvedat hladinu dekadentních endorfinů v mém krevním řečišti. Mohutná zvuková stěna naopak činí „The Solace Of Death“ zčásti odtažitým a hůře přístupným albem, které se nepodbízí na prvním rande a bez pozornějšího poslechu, než začne fungovat jako komplexní celek, se to celé prostě neobejde. Zpočátku můžete mít pocit, že posloucháte notně přebuzený kravál dohnaný do extrému, kdy po tlakové vlně už nezůstane nic. Ztěžka, velmi ztěžka jsem se přes masivní zvuk prokousával k jádru s vědomím, že třeba toho moc nenajdu. „The Solace Of Death“ není na poslech nějakou odpočinkovou záležitostí, alespoň zpočátku ne. Orientační body je třeba nějaký čas hledat, jsou v té kulometné palbě drobet skryty. Poté se z „The Solace Of Death“ stává poněkud jiné album. Už věřím promo materiálu, kde je psáno cosi o „symphonic black metalu“, uši si postupně zvykají a přicházejí MAZIKEEN na chuť.

„The Solace Of Death“ je dostatečně symfonické, zároveň si k mé radosti ponechává nezanedbatelný podíl temné energie, sirných výparů a zlých tónů. Sem tam sice slyším postupy již kdysi a kdesi slyšené – byl by div, kdyby se tak nestalo. Boom symfo black metalu je dávno retro jako prase a já jsem rovněž o dvacet let a kousek starší a tvrdím, že nic kolosálně převratného se už v rámci žánru nepřihodí. MAZIKEEN mi jsou sympatičtí a přijdou mi nesmírně zajímaví z jiného důvodu, krom nesporné osobitosti – spojují běsnost MARDUK, nebo i DARK FUNERAL s odhlehčeným a ortodoxním křídlem nenáviděným symfo blackem bez toho, abychom měli příliš sladko na patře.

https://www.metal-line.cz/articles/recenze-mazikeen-the-solace-of-death-2020-satanath-records-iron-blood-and-death-corporation-1743

A beastly album of Symphonic Death and Black Metal from Australia that proves death can be comforting when enfolded by first-class extreme music.

https://theheadbangingmoose.wordpress.com/2020/06/11/album-review-mazikeen-the-solace-of-death-2020/

O black metal sinfónico não é um estilo que encontremos com profusão para os lados da Austrália, o que só faz com que tenhamos mais curiosidade perante esta estreia dos Mazikeen – cujo nome não faço a mínima ideia do que significa. O poder metálico é evidente mas a mistura precisava de um bocado de mais graves – gosto pessoal, provavelmente, mas daria mais corpo a um som que, por si só, já é bastante cheio. Essa é uma parte que provavelmente fará com que se sinta alguma saturação de tema para tema (ainda para mais nos longos) para quem não gosta deste tipo de coisa – alguém se lembra dos Anorexia Nervosa? Independentemente da forma, o conteúdo é do agrado de qualquer caçador de bombas metálicas. Sendo a primeira, temos a certeza de que mais e melhor nos chegarão no futuro. As covers, no entanto de Mayhem, Dissection, Dimmu Borgir e Darkthrone estão muito bem conseguidas.

https://worldofmetalmag.com/wom-reviews-arstidir-lifsins-enoid-kolossus-insaniam-goats-of-doom-gravespawn-mazikeen-sacrilegious-rite/

Mazikeen is an Australian blackened death metal horde grounded in the year of 2013. The band is strangely named, one would say, as Mazikeen is a fictional character taken from a comic book that stands for hostile night spirit (invisible demon), which can create minor annoyances or greater dangers to men. Okay, let's analyze their debut full-length album "The Solace of Death" in details. It has 12 songs (8 songs of their own plus 4 cover versions) with over 77 minutes playing time. Music-wise, the band is particularly influenced by the Scandinavian black & death metal elite, like Dimmu Borgir, Emperor, Arcturus, Covenant, Dark Funeral or Dissection, but in my opinion the sonic arsenal of Cradle of Filth did the biggest impact on their repertory. The recording members were: James Edmeades (vocals/lyrics), Andrew Shiells (guitars/synths), Kris Marchant (guitar solos), Aretstikapha (piano/synths), Marco Pitruzzella (drums) plus three guest vocalists: Josh Young, Ian McLean and Ashahalasin. Their own cuts sound rather well-structured and maximally polished, which speak about the skillfulness of the musicians. What's more, I found all the symphonic elements come in a perfect balance with the rest of the instruments there. Unfortunately, can't say the same regarding their cover versions. The four covers are as follows: "Freezing Moon" from Mayhem, "Night's Blood" from Dissection, "The Mourning Palace" from Dimmu Borgir and "Transilvanian Hunger" from Darkthrone. They've managed to add plenty of ineffectual guitar harmonies, drum parts, keyboards and vocal parts there. I mean, it is not a good idea to change the original guitar riffs to some unpleasant ones or to add fast blast beats and double bass rolls, where they are not practicable at all. With no cover songs this CD would be definitely more impressive to me as a whole!!!

http://castrum.com.ua/encomium/7albums2.htm

Nachdem die letzten Alben ja alle eher von lokalen Bands stammten, wird es doch mal wieder Zeit über den Tellerrand zu schauen, diesmal mit Mazikeen aus Australien. Die haben nämlich mit „The Solace of Death“ vor Kurzem ihr Debüt-Album vorgelegt, was nach bereits sieben Jahren Bandgeschichte auch langsam Zeit wurde. Mit von der Partie sind Mitglieder von Six Feet Under oder Devolved. Diese Bands haben aber musikalisch so gar nichts mit Mazikeen gemeinsam.

Auf „The Solace of Death“ braut das Australische Quintett eine brachiale Mischung aus Black und Death Metal mit dominanten Keyboards. Mit kraftvoller aber kühler Produktion entfaltet sich ein über 50-minütiges Spektakel aus rasanten und steril klingenden Drums, meist als Blast Beats, wildem Riffing und markerschütterndem Gekeife zwischen Growl und Scream. Wer hier auf sanften Symphonic Black gehofft hat, der wird einfach überrollt. Pause? Gibts keine, stattdessen ballert die Band ein rasantes Riffs nach dem anderen raus, untermauert durch abwechslungsreiches high-speed-Geballer und einen schön dichten Keyboardteppich irgendwo im Hintergrund. Immer wieder schafft es die Band ihren Terror-Riegen aufzulockern ohne auch nur ein bisschen an Aggression und Geschwindigkeit einbüßen zu müssen. Hier ein wenig verhallter, weiblicher Klargesang, bei dem es einem kalt den Rücken runter läuft, da etwas groovigeres Geknüppel, da ein unverhoffter Melodiebogen und so weiter und so fort. Die Scheibe ist gefüllt mit Energie, Spielfreude und wildem Black Death…und dann stellt man fest, dass man erst bei Track 2 angekommen ist und fragt sich wie man die Scheibe überleben soll. Bei Stücken, die auch gerne mal die 10-Minutenmarke überschreiten kein Wunder. Doch es geht weiter und immer wieder wird man überrascht wie man so viel Filigranität in symphonisches Geholze packen kann um es nicht nur hart sondern auch facettenreich, tiefgründig und fesselnd zu gestalten. Man merkt den Jungs zu jeder Sekunde an, dass sie schon länger im Musikgeschäft unterwegs sind und in den Jahren gelernt haben wie man Songs schreibt. Nach dem eigentlichen Album huldigt die Band in vier Covern nochmal schnell ihren Vorbildern (und füllen nochmal 20 Minuten). Mit Mayhem, Dissection, Darkthrone und Dimmu Borgir sind genau die Herrschaften vertreten, denen man wohl den Sound der Scheibe zu verdanken hat und packt sie standesgemäß in einen an die Band angepassten Sound. Und was am wichtigsten ist: bringt sie überzeugend rüber.

Wer von weichgespültem Symphonic Black die Nase voll hat, der sollte mal in diesen Hassbatzen aus aggressivem Black/Death mit Keyboards reinlauschen. Voller Energie und in atemberaubendem Tempo wird hier über 70 Minuten lang (die Cover mal mitgezählt) voll aufs Fressbrett gehauen. Mazikeen haben mit „The Solace of Death“ ein echtes Brett abgeliefert. Absolut empfehlenswert.

https://metalviewer.wordpress.com/2020/12/20/mazikeen-the-solace-of-death/

Австралийцы умеют порадовать. Вот вам к примеру проект — Symphonic Black/Death Metal группа MAZIKEEN (стиль определен как издающим лейблом, так и метал-архивами). Была организована в 2013-ом лохматом году. Andrew Shiells — гитара, синтезаторы, мне кажется, решил, что надо обогатить этот мир музыкальным адом, что у него по ночам проворачивался в голове, соответственно, мешал спать. Как лечиться? Записать это на диски, говорят: помогает. Как узнать, работает ЭТО или нет? Просто пиши синглы, тестируй эту духовную практику. Что поделаешь — с 17 года по 19-й записано 7 синглов и один ЕР.

К этому времени Andrew убедился, что все работает, и решил ударить по основам, по фундаменту, так сказать, этого мира полноформатом. Кого брать из музыкантов? Драммер — конечно же, известный американский музыкант Marco Pitrruzzella. Даже если вы вдруг никак не вспомните эту фамилию, то вам оживят нейронную сеть такие названия как Six Feet Under, Vile (live), Vital Remains (live) — там он играл. А так - в его послужном списке около 30 групп, не буду их сюда постить. И тут уже надо сообразить, что этот драммер - неспроста, композитору были нужны его серьезная выучка, профессионализм.

Далее - Kris Marchant — guitars, James Edmeades - vocals, lyrics, Aretstikapha - piano, synths. Итого - 5 человек (с опытом работы в других группах), казалось бы есть отдельный певец, что надо еще? Нет, надо еще - три вокалиста в трех трэках отработали. Опять намек. Andrew Shiells все делает основательно.

Слушая этот диск, я понял, почему Andrew Shiells решил подрывать основы, - в первую очередь потому, что его Symphonic Black/Death Metal в целом не очень похож на наши представления об этом стиле. Тут я вообще засомневался, а называет ли сам композер ТАК свое музло? Нет, конечно, на бандкампе написано - blackened death metal. А откуда же симфо? Разберемся.

А вот это абсолютно верно - blackened death metal. Черно-ядовитый, и в первую очередь - ужасающе многослойный, по саунду довольно таки жестковатый, и одновременно - атмосферный. Хотя последнее - как раз один из итогов многомерного музыкального пространства.

Вообще-то Andrew Shiells замахнулся на многое, на серьезный охват, но заранее будьте готовы к его разящему рашпильному детовому саунду. Это само собой тоже деталь его наступления на мир (среди других - 3-минутная фортепианная пьеса). Но не пьесы должны беспокоить меломана-металлиста, а жесточайшее и сложное дэтовое рубилово, которое осуществляет эта бригада.

После короткого атмосферного интро MAZIKEEN включает приблэкованный дэт, с хорошей линейкой пересекающихся вокалов (дэтовых и блэковых, до блэковых а ля Кинг Даймонд), а где-то и хоры в тело трэка вплетены. Тут уже одни вокалы создают довольно сложную структуру, что же говорить об остальном струнном и клавишном наступлении. Оно всеобъемлющее, акцентировано на поражающий фактор средне- и высокочастотного излучения. Сразу же и понятно, что драммер здесь был нужен особенный. Marco Pitrruzzella справился. Его драмминг, конечно, это экзо-скелет данного альбома. Им и полюбоваться не грех, я уверен, мы в состоянии это сделать. Думается, что это именно Andrew Shiells исполняет крутые, техничные гитарные партии (специальные локации выделены, тут есть чем заслушаться, и настоящего лиризма здесь хватает), среди бушующего урагана техно-дэта и блэк-дэта.

Кстати, здесь на этом диске целых четыре кавера - Freezing Moon (Mayhem), Night's Blood (Dissection), The Mourning Palace (Dimmu Borgir) и Transilvanian Hunger (Darkthrone). Коротко - они хороши, это не копипаста, а собственное видение автора этих классических эпиков. И здесь было бы о чем поговорить, если бы не адское пламя 8 трэков основного альбома.

Совместный релиз Satanath Records и мексиканского лейбла Iron, Blood And Death Corporation.

https://vk.com/wall216331265_4523

VERDIKT: Nejprve odstřihneme bonusové skladby, poté se zahrádkářskou vervou ostříháme nežádoucí výhonky patetičnosti a podobného balastu. Výsledná koruna takového keříku je pak již plně optimální a příjemná.

Podle metalového archivu hrají Mazikeen symfonický death/black, ale když rozkliknete příslušné oddělení s výčtem členů, ani jeden z nich nehraje na symfonický nástroj. Záhada? Ne, jen obecný trend nazývat klávesové podkresy jako symfonii. Bohužel pro Mazikeen ani zde však nevidím zcela určující paralelu. Zkuste třeba srovnání s Dimmu Borgir na Puritanical Euphoric Misanthropia. Ten rozdíl je fatální.

Deska The Solace Of Death je prvotní velkou nahrávkou kapely po cca sedmi letech existence. Čas zjevně uzrál. Co nám tedy nabízí? Vcelku nic zásadního, přesto poměrně přemýšlivého a proměnlivého. Zajímavostí určitě bude hned první trojice skladeb, které jsou rozmáchlé a snaží se být i komplikované a věru bohaté. Co však okamžitě začne bušit do uší, je zase zvuk kopáku, který je ještě intenzivnější a věrohodnější zvuku, který jsem nedávno popisoval u Black Crown (třetí odstavec, třetí a čtvrtá věta). Nebýt tohoto třepetání vynikla by více snaživost zbytku kapely. Ale je mi jasné, že se soubor chtěl vyprsit právě s bubeníkem. Tím je totiž nějaký Marco Pitruzzella, který má na kontě angažmá v dalších sto padesáti kapelách. Že ho neznáte? Já nereagoval jinak, přesto tenhle chlapík od roku 2013 bubnuje v Six Feet Under. Ano, to je ta kapela, která neustále vydává předělávky starých písní a pak také nějaká svoje alba, kdy to poslední, co se mi líbilo, má už na krku sedmnáctiletou existenci. Tím samozřejmě nechci brát zásluhy a řemeslný um uvedeného tlučmistra, jen tu tak filozofuji nad souvislostmi.

Mazikeen po třech vcelku zajímavých úvodních skladbách s delší stopáží dokázali úspěšně navnadit a nebudu lhát, že i zaujmout, byť ty šlapáky jsou prostě směšné (pro mé uši samozřejmě). Jenže pak přijde takové plácání se v patetičnosti a soubor několika kratších skladeb, kdy při rychlém sledu nejsem schopen se orientovat. Irituje mě příliš dlouhé sólo na pseudoklavír a vztek, který bych jindy nabyl od jiné death/blackové smečky, přichází ze zcela jiného úhlu hudebního dějství. A než se člověk naděje, je tu závěrečná plejáda čtyř coverů. Sakra proč? Z dvanácti skladeb je tak skutečně jen pětice samonosná, odolná a mnou vyzdvihovaná. Zbytek tvoří nebetyčnou vatu.

Zmíněné čtyři coververze mají udělat dojem na blackmetalového fanouška. Vytahávají totiž kvalitní skladby, které jsou pro mnohé hotovými hymnami. Snadný terč? Zvyk ze Six Feet Under? Jedno se jim ale musí nechat. Vyznění je od originálu odlišné a více deathmetalové. Řekl bych, že i rychlejší a místy přizdobené novými aranžemi. Takže po stránce invence vlastního otisku do cizího materiálu jde o správně zvládnutý level. Ale proč kapela, která svou desku postaví na komplikovanosti, bohatším průběhu a celkem solidní feelingu najednou přetočí kormidlo v zábavný revival? Záhada a samé otázky.

V konečném důsledku je debut Mazikeen vlastně pozoruhodným úkazem. Je na něm totiž načrtnut hned několikerý úhel pohledu na skupinu jako takovou a rovněž i nastíněno několik dalších možných cest budoucího vyznění. Bude to svědomitý, dobře promyšlený black/death s podporou kláves? Bude to snaha o patetičnost, epičnost a průnik do síťovaných oděvů fanynek? Bude to další Graveyard Classics?

Um se zastavil v půli cesty, což je škoda. Trochu lépe rozvinout vlastní nápady a vnést do nich správnou atmosféru okleštěnou o rozmáchlou touhu nahradit orchestr – to by mohla/měla být příští meta.

https://www.echoes-zine.cz/recenze/mazikeen-the-solace-of-death

A 2013-ban indult ausztrál Mazikeen debütáló „egészestés” CD-je érdekes hallgatni való minden, a szimfonikus/melodikus death-black metal stílus iránt rajongónak, nem csak fanatikusnak. Engem minden hónapban elképeszt a különböző írott és elektronikus metal zenei sajtóban a sötét zenék undergroundjának sűrűsége. Így biztosra vehetjük, hogy a tőlünk messzi déli földrészen sem ez az egyetlen zenekar alkot ebben világban. Nem tudom, mennyire egyedi, vagy kiemelkedő a maga környezetéből, de a kiadványuk átgondolt a zenétől a fényképeken át a CD kiállításáig. Csak a zenét hallgatva minden társított ismeret nélkül mondhatom a The Solace of Death a dallamos black-death skandináv példákhoz mérhető erős alkotás.

Az album számomra egyetlen zavaró eleme – többszöri meghallgatás után is – amit a zenére nézve tán indokolatlanul riasztó alcímként adnék. Élménydús aláfestőzene egy dobgéphez. De ezt nem merném leírni, mert senkit sem szeretnék elrettenteni a hallgatás élvezetétől. Egyszerűen úgy érzem, hogy a hangszeres hármas-négyeshez képest a zenélésre, mint tornagyakorlatra tekintő dobos messze nem hozza ki a bőrökben rejlő lehetőséget. Igaz, a lemez közepén megcsillantja a változatosságot, és néhány percen át azzal hiteget, hogy ez mostantól így is lesz. Talán azért fakadt belőlem a kritika, mert a korong amúgy igazán átgondolt, erősen szól és sokszor villant fel ismerős pillanatokat, ezzel belopva magát a hallgató szívébe.

A magát egy DC Comics karakter, a pokolbeli démon, Lucifer tanítványa és testőre után elnevező banda alapvetően Andrew Shiells gitároshoz formálódott. 2017 óta hét kislemezt és egy EP-t jelentetett meg. A zenekar eredetét kutatva fellelt azonos című EP borítója külön borzongást keltett bennem mert mintha a Don’t Break the Oath megidézését látnám vörös-kékben. A The Solace of Death album idején a zenekar felállása: Andrew Shiells – gitár és basszus, Kris Merchant – gitár, Marco Pitruzzella – dobok, Josh Young és James Cronovras – ének, Aretstikapha – billentyűk, továbbá Ian McLean és Ashahalasin – háttérének.

A lemez frontjának grafikája az EP gomolygó elképzelését viszi tovább, minden benne van/lehet, amit a dallamok hallgatásakor lehunyt szemmel látnék. A felfeslett fonalak-rétegek fölötti meredt bámulás után antropomorf figurák táncolnak és majdnem elhiszem, amit gondolok a lemez hallgatásakor; majd hirtelen megriadok, amikor látom, hogy a logon egy szenvtelenül figyelő arc töviskorona alól néz velem szembe.

A címadó The Solace of Death egy távoli háború zaját sejteti, megnyílik a föld, sötét suttogás hallik. Robbanásszerű dobbal zúdul ránk a továbbiakban is kettős tónusó énekkel – a Bathory és a Death első lemezei óta ismert – változón hörgős, vagy orrfacsaróan fortyogós hang. A dob folyamatosan az előtérben van és állandóan géppuskaszerűn pereg. Végül a szóló hoz valami új színt a dalba, hidegen és visszhangosan a zene fölé emelkedik. A hörgő ének jobbról balra és vissza csapkod. A stílus jellemzőinek újabb hangszereivel, a billentyűk felett tiszta zongorahang színesíti a hangzást.

A második Apostate hirtelen kizökkent, ahogynekem megidézi a Dead Kennedys Kinkys Sex…-ét a Give Me Convincence…-ről. A fakó „felolvasás” homlokon vágja az embert az első szám dübörgése után. Szórakoztató, furcsán társul a zenén átsütő koncepcionális hidegséghez. Megnyugtatom a leendő hallgatót, ez az egyetlen hasonló motívum a korongon. A színtelen hangot felváltó mély kórus feltűnik, majd eltűnik és a gitár(ok) lebegő dallama, egyszerre technikásabb játéka, a ritmus egyre változatosabb zenét alkot. És végre, a dob nincs annyira az előtérben (vagy csak megszoktam?), hogy zavaró legyen változatlan pattogása. A hörgésbe-károgásba váltó énekkel komor hangulatot festve a nóta 10 percet kínál. Az ütemes ritmusváltások, gyorsítások, lassítások, szaggatások sorával felveszi a végső tempót. A nóta a színesítő kórusok, a ritmusgitár hangzását követő dallamok fel-lehullámzása alatt feltűnő dallamos, majd disszonáns billentyűs betéttel ér véget, szinte egy csapásra.

Gyakran unalmasnak találom az ismétléseket, de ebben a zenében a négynegyedben és négyes osztásban ismételt dallamoknak dramaturgiai szerepe van. Nem csépelik el mert ugyan kiszámítható, de várhatom a következő pillanatot. Az első két dal változatossága aztán megmarad az egész korongon, jóllehet, az ének tekintetében innen marad a vastag death/black ösvényen. A harmadik tétel, a Vexation through the Golden Sun a számomra az album első csúcspontja. Az ismét 10 perces dal külön érdeme, hogy a szinte az előző kettő track szakadatlan folytatását (hangnem, dallam, lüktetés…) ismétlő ütemeket, a golyózápor-dobot és a ritmusok tekerését egyszerre megszakítja egy nem is rövid, kellemes akusztikus gitár betét. A zenekar jól figyel arra, hogy mikor kell a nyugalmat megzavarni egy atomháború robajával, s vág bele a már ismert kínzó viharkeltésbe.

A negyedik dal, a Fractricide végül átszakítja az ismerős érzésekből szőtt bizsergő bőrt és a számomra felidézi a Nexus Polaris (Covenant) több tételének egy-egy dallamát. A változatlan intenzitású nóta végül nem sodor magával. A Psychotic Reing merengős indulása után egyre erősödő hangzásban a rövid szakaszokban pergő katonadob ezúttal jó ellenpontot szolgáltat az aláfestő zenében felhangzó zongoradallamokhoz és a felúszó hörgéshez, sóhajokhoz. A dal felében feltűnő szóló emlékezetes párhuzamos gitárokba fordul. A hatodik tétel, a Harrowing Cessation az előző dal végéből úszik át ugyanolyan lágy gitárpengetésen, mint ahogy akár a 70-80-as években Kerrs Pink progresszív rockot játszó norvég zenekar majdnem minden dala zeng, de említhetném akár King Diamond hangulatfestő átkötéseit is. Dramaturgiailag arra szolgál, hogy megpihenjünk az előző dal zúzása után (a dobos kimenjen végre vizet inni) és felkészüljünk az ezúttal hangversenyzongora hangzással játszott hetedik dalra, a Mors Vincit Omniá-ra. A lemez engem ezen a ponton emel fel ismét. A dal egy lassú levezetéssel és végül váratlan szünettel ér véget. A nyolcadik tétel, a Cerulean Last Night jól felépítve indul, sejtelmesen teljesedik ki. A lemez negyvenedik perce közelében már megszokottak a dallamok, de még mindig nem unalmasak. Ezzel együtt sajnálom, hogy a dob, mint hangszer lehetőségeit továbbra sem használják ki. Azon túl, hogy pereg és néha szaggat, ismét csak egy sportteljesítmény akusztikus lenyomatát nyújtja. Kimondottan ötletes, hogy a dal végén a gitár hangszíne kilép a stílus sematikus hangzásából. Kár, hogy a dalszerzők megelégedtek ennyivel, pedig ez a dal már-már súrolja a Nexus Polaris komplex hangulatát. Ezzel ér véget a zenekar albuma.

Felkerült a korongra négy feldolgozás a nagyhatású elődöktől. Arra mindenképpen alkalmasak, hogy elhelyezzék a Mazikeent a zenei térképen. Stílusban nem, de időben mélyről válogattak. A banda nem is vállal nagyot, inkább bemutatják, hogy eljátszani ők is képesek a számukra meghatározó zenekarok dalait. A Mayhem Freezing Moon-jában (1996) visszaadják a dal ősi brutalitását. A Dissection Night’s Blood-jában (1995) ezúttal jól hallható a basszus mielőtt a dal második harmadától tömör zúzássá változna. Ám a Dimmu Borgir The Mourning Palace c. dala (1997) a sordalok között is megtalálná a helyét. A sort a Transilvanian Hunger zárja a Darkthorne-tól (1994).

Akik szívesen hallgatják a melodikusabb black/death stílus nagyjait és biztosra akarnak menni a feltörekvő trónkövetelők között válogatva valószínűleg nem csalódnak a Mazikeen első teljes nagylemezének meghallgatásakor.

https://www.femforgacs.hu/mazikeen-the-solace-of-death-2020/

Hoy nos hemos ido hasta nuestras antípodas para encontrarnos con los australianos de Melbourne Mazikeen, practicantes de un black metal sinfónico de corte clásico y debutantes en esto de los discos de larga duración. A este “The Solace Of Death”, editado por el sello ruso Satanath Records en colaboración con el label mexicano Iron, Blood and Death Corporation, le preceden una miríada de singles y el Ep homónimo que editaran en 2017. Marco Pitruzzella (batería), Aretstikapha (piano, sintetizadores), Andrew Shiells y Kris Marchant (guitarras) y James Cronovras (voz) conforman la banda a día de hoy.

“The Solace Of Death” arranca con el tema del mismo nombre para dar pie a un black sinfónico bien amalgamado pero donde predomina una voz que por momentos se aleja de registros más convencionales en este tipo de bandas y se arrimar a voces propias de bandas como Silencer, Nyktalgia o incluso sus paisanos Drowning the Light. Es un arranque bien construido, parapetado en un crescendo al que arrastra unas baterías de bombos incesantes y buenas líneas en general. A destacar también el solo tras el puente central y que corona un más que decente primer corte.

“Apostate”, que superará la decena de minutos en el reloj, parte desde un inicio lento, pausado, casi críptico en esa inclusión de samples vocales, para ir transitando con paso firme hacia pastos más convencionales. Es un arranque que parece escrito a mayor gloria de la dupla de guitarras, que expele cierto aire a los primeros Dissection (a quienes, por cierto, versionan en la parte final del disco). Destaca por lo variado de su escritura, ese baile entre sonidos más cercanos al post-black metal (hasta hace poco tan en boga) y rápidas andanadas donde orquestaciones y baterías se llevan un poco por delante a Shiells y Marchant. En su tercio final dará una vuelta más a la tuerca y aparecerán coros y orquestaciones grandilocuentes sin que por ello el tema pierda un ápice de agresividad. Mi favorito de los dos temas largos del disco.

El inicio de “Vexation Through the Golden Sun” se contrapone al anterior apostando casi desde los primeros acordes por black metal veloz y algo más desnudo en cuanto a arreglos. Lo que no cambia es la detallista labor que dejan por el camino Shiells y Marchant, que acompañan a una línea vocal algo más atemperadas que en entregas previas. Superado el primer tercio se vuelve más saltarina en cuanto a ritmos, también más épica y pomposa, y sobre todo más Dimmu Borgiana, si se me permite la expresión. Hay un brusco parón en el puente central, coronado por unas tímidas guitarras acústicas y mucho ruido precediendo a la acompasada oferta que precede al violentísimo final.

“Fractricide” reduce duración, congela estructuras y se entrega casi de pleno a un black metal no demasiado complicado del que emana cierto aire a la primera época de los noruegos Emperor. Buenos cambios de ritmo y mejor dominio aún de las pausas. Sin que me sorprenda ni me enganche igual que varias de sus compañeras, aprecio ese black metal más funcional y no tan sobrecargado. “Psychotic Reign” oferta otro inicio calmado en un corte que profundiza en aquella aproximación hacia los terrenos más depresivos que mostraran en la inicial “The Solace Of Death”. Sobresale un buen piano, encajonado entre una amalgama de sonidos que contribuyen al tono melancólico y triste de esta quinta canción del debut de los melburnianos. Habrá de acelerarse en su epílogo, lo que no quita para que, al menos en lo que a escritura se refiere, sea uno de los temas más planos de lo que podríamos llamar primera cara del álbum.

De pronto, el disco entrega dos cortes instrumentales. El primero, “Harrowing Cessation”, comandado por las cuerdas acústicas de Andrew Shiells y Kris Marchant y que gira dramáticamente hacia el sinfónico en su puente central para recuperar las cuerdas en el epílogo. Más minimalista que cualquier corte anterior pero menos que la siguiente “Mors Vincit Omnia”, donde es el piano de Aretstikapha quien toma el mando de las operaciones. Curiosamente, Aretstikapha es miembro también de unos blackers de nombre, sí, Mors Vincit Omnia, que en su disco “Opprobrium”, editado por Satanic Propaganda Records en 2008, ya incluían un corte de igual nombre a este pero sin mayor parecido con este más allá del nominal. Curioso cuanto menos. Con “Cerulean Last Night” vuelven voces, baterías, guitarras (debidamente distorsionadas) y todo el aparataje sinfónico para dar pie a un corte de black funcional y resultón. Vuelven a emerger guitarrazos a lo Dissection, conjuntados, cuando no apoyados, en buenos aportes sinfónicos.

Y ahora está el tema de las versiones. La banda venía editándolas en formato single desde 2018 y ha decido reunirlas ahora cara a dotar de mayor atractivo al disco. Supongo. La elección de los temas no podría resultar más tópica dentro del género. Para los no muy versados en estas lides y salvando las debidas distancias, vendría a ser el equivalente de una banda de heavy metal de nuevo cuño haciendo suyos el “Highway To Hell” de AC/DC, el “Ace Of Spades” de Motörhead, el “Breaking The Law” de Judas Priest y el “Run To The Hills” de Iron Maiden.

La primera de ellas es “Freezing Moon”, del seminal (y para mí ineludible) “De Mysteriis Dom. Sathanas” que los noruegos Mayhem tuvieran a bien editar allá por el año 1994 con Deathlike Silence Productions. Los inclasificables alaridos de Attila Csihar en el original son el mayor punto discordante con esta revisión de Mazikeen, resultando por lo demás bastante fiel al original. Cabe destacar cómo la banda australiana ha dejado a un lado todo sinfonismo en pos de entregarse a una rendición lo más respetuosa posible.

La segunda de esta tanda final de versiones es “Night’s Blood”, originaria de otro disco capital para el género como lo es “Storm of the Light’s Bane” de Dissection (Nuclear Blast, 1995). Una obra magna dentro del black melódico que reluce aquí representada punto por punto, con precisión y mimo absolutos, dejando cero lugar a la sorpresa. De las cuatro versiones en liza, la de Dimmu Borgir es, claro, la que más se aproxima a una banda como Mazikeen. “Mourning Palace”, de un disco aún importante para el black sinfónico como es “Enthrone Darkness Triumphant” (Nuclear Blast, 1997). En esta puesta al día por la banda de Melbourne suena algo más espacial en cuanto al sonido de los sintetizadores pero por lo general resulta bastante fidedigna. James Cronovras no tiene el registro de Shagrath ni falta que le hace.

“Transilvanian Hunger”, del disco homónimo de Darkthrone editado por Peaceville Records en 1994 es de las cuatro es la menos fiel al original. Obviando el mayor punto fuerte de esta, a mi modo de ver, que no es otro que la oscuridad que lograba desprender su riff principal, y la sustituye por una entrega sin remedio al blast beat incansable que llega a situarla más cerca de bandas como Dark Funeral, Setherial o Belphegor que del dúo noruego. Cabreará a puristas y encandilará a fans del black algo más trotón.

Y ya estaría. Entre unas cosas y otras estamos ante un disco gigantesco para el género en cuanto a duración (más de hora y cuarto) siempre y cuando metamos el cuarteto de versiones en la ecuación. Antes de esa rendición final hay un black metal sinfónico con bastantes puntos de interés, bien producido y con su mayor fuerte en las dos piezas por encima de los diez minutos. Diversidad en escritura, variedad en cuanto a tonos y buenas interpretaciones en general. Me chirría, no obstante, las dos instrumentales, una detrás de otra, que casi parece más un error del sello a la hora de confeccionar el tracklist del disco. Sea como fuere un disco que se escucha bien y en el que aprecio buenas maneras pese a tratarse de una banda aún muy joven. Bienvenido sea.

https://heavymetalbrigade.wordpress.com/2020/11/12/resena-mazikeen-the-solace-of-death-satanath-records-2020/

MAZIKEEN gelingt es mit "The Solace Of Death" ein Album, bei dem man kaum einzelne Highlights herausstellen sollte. Dafür ist die Scheibe ganz einfach zu homogen. Die Australier servieren ihre Version des Black/ Death genau so, wie man diese Art von Musik auch spielen sollte. Die Band sprüht nur so vor genialen Ideen, welche sich aber zum Glück nicht nur in fantastischen Melodien offenbaren, sondern sich auch immer wieder in herrlichem Geballer entladen. Dabei präsentiert man sich keinesfalls nur nach Schema F, sondern variiert die Songstrukturen sehr geschickt. Der eröffnende Titelsong "The Solace Of Death" und das darauf folgende "Apostate" starten beispielweise eher im härteren Sektor, hier setzen sich die Melodien erst gegen Ende so richtig durch. Auch "Harrowing Cessation" und "Psychotic Reign" halten spielerisch das verdammt hohe Niveau. Und nicht nur das, gerade letztgenannter Song entpuppt sich nach mehreren Durchläufen als formidable Hymne. Begriffen und bestens umgesetzt. Und das Ganze wieder sehr wohltuend ohne irgendwelche Härtekiller. Ansonsten verschiebt sich die Gewichtung diesmal minimal Richtung Melodic. Zum Grande Finale packen MAZIKEEN dann noch "Cerulean Last Night" aus, der perfekte Rausschmeißer für eine starke Scheibe, alle Daumen hoch! Soviel zu den regulären Tracks, denn die vier Coverversionen sollte jeder für sich beurteilen.

https://www.kobzr-magazine.de/cd-reviews/m/mazikeen-the-solace-of-death/

Si mis cálculos son certeros, este es el álbum debut de esta banda Australiana, la cuál ya tuve la oportunidad de escuchar con anterioridad en un EP del 2017 que por cierto ni nombre tenía, solo recuerdo que la portada era en color rosa con azul.

Ya se veía venir una buena entrega por parte de esta potente agrupación, quien no ha hecho otra cosa mejor que evolucionar y definir su sonido dentro de las leyes del Black / Death sinfónico.

De forma global se puede escuchar un avance muy metódico y muy elaborado, todo en la misma línea claramente cortado de la misma tela; ahora bien, de manera particular se puede escuchar una vocalización con efecto de eco pero my impertativa, por su parte el trabajo de las guitarras denota dominio sobre las cuerdas, pues hay varios solos que consideraría moderadamente virtuosos y otros mas que llamaría contagiosos.

A pesar de su complejidad, su velocidad y numerosos efectos anexados en un estudio de grabación, este “consuelo de la muerte” resulta ser muy digerible.

En total son 12 tracks que superan la hora + ¼ de duración, tiempo que para nada se hace eterno pues se disfruta mientras se consume, aunque aclaro que no todo ese tiempo es de autoría propia pues los últimos 4 cortes son covers de bandas como Mayhem, Dissection, Dimmu borgir y Dark throne, los cuáles están bastante decentes.

Para finalizar, haré hincapié en el diseño gráfico que de igual manera luce bastante extremo, cosa que es lo mas correcto pues considero que es lo mas apropiado para hacerle justicia al contenido auditivo.

Pues ahí está esta banda muy under, que a su manera intenta abrirse paso entre los grandes, yo espero que así sea pues material tiene.

https://www.facebook.com/media/set/?vanity=xreviewszine&set=a.833316493890024

Since 2017 this Autralian symphonic death/black metal band have released 9 singles and EPs as well as an album. Prolific or what? And I have managed to miss out on all but the album. I guess that is better than none. You gotta start somewhere, don’t you? When it comes to symphonic I want it to be OTT, no holds. Just full on fleshing out with the good stuff. I don’t feel that MAZIKEEN has gone all out with the symphonic on this album. Not that it is a bad one because of that. This is black metal that is a bit on the chaotic side. There is a lot going on in it that requires your full attention. The more I listen to this the more I like it. There is so much to discover.

http://battlehelm.com/

After several digitally self-released tracks, the Australian outfit MaziKeen (an archaic Hebrew word meaning something like deleterious soul or detrimental spirit) signed to Satanath Records from St. Petersburgh in order to release their first official full-length album; it’s a cooperative happening with Iron, Blood And Death Corporation from Mexican soil. Anyway, to keep it short, this first official full-length album in more than seven years of existence has a digital option to enjoy, as well as a physical one; the latter being a compact disc edition on ‘normal’ jewel-case, including an eight-page booklet, which includes the lyrics from their own songs (the album includes several cover tracks; see further). It comes with very nice artwork by James ‘Jamie’ Ludbrooke (the logo, FYI, was created by the Order member / moderator Ivan Gossage).

The band, just as additional information for you, dear reader, started about eight years ago as an outfit by Andrew Shiells (performing the string-parts), yet throughout the years it did ‘grow’ into a real band. On this album, Andrew was assisted by drummer Marco Pitruzzella (also involved with e.g. Six Feet Under, Waking The Cadaver, Sleep Terror or Fetal Sewage, amongst many others), chansonnier James ‘Cronovras’ Edmeades (you might know him from the unique Black Metal act Claret Ash; he’s also responsible for layout and visual design, in case you might be interested), guitar player Kris Marchant (nowadays also involved with Tech-Death formation Devolved), and Plasmodium’s Aretstikapha on keyboards and piano. Besides, a few guests joined the latest recording sessions (and during earlier studio works), contributing with vocals and lyrical content, being no one else but Josh ‘Slikver’ Young (think: Atra Vetosus and Astral Winter, the original founding guy behind the now-Belgian-based top-label Immortal Frost Productions) on two of the newly recorded hymns, Ashahalasin (of Somnium Nox fame) who contributes on two of the cover-tracks, and Ian Mclean (known from The Maledict).

The very lengthy album (fifty-three minutes without the bonus cover-songs, seventy-eight including these ones) brings a fast and energetic form of technically-skilled and universal Black Metal with a timeless song-writing and quite some variation on different levels. Take the main vocals, for instance, varying from hysterical screams over deep-grunting growls, and everything in between. The blackened screams, being the major form of throat-rape, are somewhat high-pitched and sulfurous, piercing one’s eardrums with a rusty barb. Besides, there are some harmony chants, spoken words and clean singing too, yet decently dosed within the whole package.

The tempo varies a lot as well. The better part balances in between up-tempo and fast, with several blasting outbursts and malicious assaults. However, no matter if a piece is explosive like a pyroclastic eruption or just mid-tempo-oriented, the whole always remains forceful, overpowering and intense. The dynamism works oppressive and convincing, never about to surrender, never prepared to float back. And even the (very few) slower passages, like the opening sequences of Apostate, overwhelm with a merciless and intolerant arrogance. The drum-work plays a big deal within this sonic energy, with molesting double bass-drums, ear-raping artillery-salvos and total percussion devastation. Listen to those comet-fast drum attacks in Vexation Through The Golden Sun to have a clue.

The string-section acts like the spine of the album, with monolithic guitar-driven melodies, added by ingenious solos and tremolo riffing, a colossal rhythm support (rhythm and bass guitars) and a modest yet fine-tuned addition of acoustic and semi-acoustic fragments. However, despite being considered the ‘spine’ of the better part of the compositions, the strings do not have the insufferable arrogance, hubris or conceit to act like the harsh-beating heart of the whole sonic organism.

The sound of MaziKeen has that sort of unique and subtle ‘extra thing’ caused by the carefully chosen and executed synths and piano (even-though the latter gets quite rarely performed; then again, an intermezzo like Harrowing Cessation stands for one or another piano / synth / acoustic guitar-based horror-soundtrack; Mors Vincit Omnia, on the other hand, is like a piece of Contemporary Classical Music with a touch of gothic elegance). In a piece like already-mentioned Apostate, for example, the keyboards add a grandiose level of victorious bombast (the harmonic choir-singing and clean vocals strengthen that epic attitude). It’s like a monumental ambient wall of sound at the background, pushing the lead instrumentation to higher levels of abundant grotesquery and mystic bravery. Other fragments get that touch of astral magnificence, then again the synths color (or is it: uncolor) a darkened sphere of static hypnosis and paralyzing mesmerism. And more than once, cf. a composition like Fractricide (one of the pieces with Josh Young), the keyboard-work reminds me a lot of Dimmu Borgir’s late Nineties’ era (Enthrone Darkness Triumphant and its successors).

MaziKeen did cover several tracks throughout their career. As said, four of them are part of this album, as some kind of bonus for the listener, and as tribute to some bands that have been of influence and source of inspiration for Andrew and his horde. I am not going to analyze any of the covers too deeply, but I cannot but show respect for this band’s eccentric yet still appropriate own vision of them. First comes Mayhem’s Freezing Moon, with the raw voice of Ashahalasin, executed in a manner that would make the guys of Mayhem blush like a young schoolboy watching his sexy teacher’s [whatever, hehe] for the first time. …or something. Okay, a cover is (almost) never as satisfying as the original, but damn, this is a fine piece of tribute! Ashahalasin ‘sings’ on Darkthrone’s legendary hymn Transilvanian Hunger too. It touches the intensity of the original, caressing the sharp-edged grimness that characterizes this bleak piece of evil Aural Art with awe. Still there is a primal tang within the sound, respecting the Old School. And then, those hurricane-laden drum charges, what the f*. Night’s Blood by Dissection comes with at least as much force and dynamism as well. Striking are the well-executed lead passages and, evidently, those thunderous drum salvos. The calmer, epic intermezzo at (almost) half of the song is a breath-taking passage, showing this band’s capability to do the right thing (of course, it does say a lot about the ingenious original track too, evidently, and the magnificence of the initially performing band, Dissection). The most divergent cover-song is the reinterpretation of The Mourning Palace (Dimmu Borgir). It’s less ‘usurping’ or overawing than the original track; rather atmo-symphonic in decoration and slightly catchier as well. That’s an interesting approach, once again demonstrating MaziKeen’s self-interpreted sonic universe.

The production on The Solace Of Death is nearly top-notch, being totally intoxicating, and covering the whole experience in a thick, impenetrable nebula of obscured and opaque (sur)realism. It has something theatrical and dramatic for sure. The mix (EOL Studio, with long-time collaborator - mixer / master Mike Trubetskov) shows a nice balance of all instruments (vocals and acoustic instruments included), although the enormously overpowering mass-instrumentation might confuse and disturb. Once in a while it’s even discordant and chaotic, yet in its core, this material maintains a fine, and necessary, equilibrium of all details involved.

The Solace Of Death brings, simply put, Symphonic Black Metal, yet totally penetrated with aspects from both Atmospheric and Nordic-styled Black Metal, Symphonic Death Metal, Morbid Doom and Dark Ambient. It’s a rich, decadent experience for sure. Anyway, if you can appreciate – and I know that what follows is a radically open-visioned approach – the likes of Emperor, Mactätus, Limbonic Art, Morgul, Obsidian Gate, Alghazant, Dimmu Borgir, then you will surely adore this epos of blackened-symphonic orchestra!

https://www.concreteweb.be/reviews/mazikeen

When you look at last four title tracks of this album you will see that these are cover songs of well known European black metal bands. Mazikeen itself comes from Australia. These songs are not exact versions of originals, they have little changes in arrangements and sound (it is the sound of this album, which is just different). Of course, you can recognize these classics easily by riffs that every maniac of black metal should know or at least have heard them once or twice in their life...My favourites of the four are Freezing Moon (Mayhem) which is the song that always gives me creeps and Transilvanian Hunger from other pioneer of raw black metal who is Dark Throne. The Mourning Palace is not as pumped as original of Dimmu Borgir (better budget) but keyboard orchestrations and bombastic atmosphere is very dark, by which this Mazikeen song is basically memorable. Back when DB released this composition, it sounded much more spectacular.

The Solace Of Death is a mixture of sounds of all these covered bands by Mazikeen, which even gave them original sound. I do not write it because Mazikeen made these covers, there is just that obscurity and an evil atmosphere in music of this band that strikes you from all directions. Mazikeen in tone is a total darkness - many other Australian bands that I heard have it too. When you have it like Mazikeen, the songs just sound better as they composed them around dark sensations, also they added various elements into songs that go beyond typical black metal, such as skilled, melodic guitar leads.

In track Apostate are ominous sounding keyboards, heavy pace, crushing guitar shreds, some fast tempos, mind blowing choirs and plenty of extremely harsh riffs.

Vexation Through The Golden Sun has sort of musical chapters. It`s speed black metal track spreading death and destruction. Acoustic guitars and melodic guitar solos in between make a nice musical contrasts. End of the song is majesty of chaos, as it is in many parts of this album also.

Another very harsh track with many orchestrations ala Dimmu is Fractricide.

Slower pace, groove, plenty of kick drums and different keyboard variations are in track Psychotic Reign which streams a cosmic chaos.

Two instrumental songs are Harrowing Cessation and MORS VINCIT OMNIA, the second one is particularly very well played on keys.

In Cerulean Last Night there are some riffs that remind infamous funeral march, and the song is just in depth, very dark and chaotic black metal with organ sound among other sound ideas added to the instrument. Vocals are harsh, just like in other songs.

Album has massive but little overpowered kick drums (fortunately not so loud, which is a good thing) that in my opinion have gone too far sometimes, beyond reasonable sense of what black metal is, which is drumming simplicity and organic sound. No, The Solace Of Death just sounds insane on drums at times, but not always – tom-tom drumming is more traditional black metal. Vocals on the album are roars of dying souls (you can only imagine), very much like early Mayhem, you can sense that there is something sinister in the air when you hear those haunting screams. I have to say that guitarists, drummer and singer (some songs also feature guest vocalists) play technical on the album few times, but music overall is more restrained and Mazikeen curves possibilities of black metal without super experimentations with music, at least not that much.

http://monarchmagazine.weebly.com/mazikeen-the-solace-of-death-8203satanath-records.html