Reviews: SAT327
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Today is the day when Satanath Records (Russia) and Dark Terror Temple (Mexico) will release The Emerald Tablets Of Thoth, the latest album by the US band Akhenaten, whose amalgamation of death and black metal with Eastern melodies and traditional Middle Eastern instrumentation has already proven to be an alluring combination.
The new album — the fourth full-length in Akhenaten’s discography and the first since 2018’s well-received Golden Serpent God — focuses on the themes surrounding the mysteries of the Emerald Tablets and the teachings of Thoth the Atlantean, and it carries forward the collaboration between Colorado-based brothers Jerred and Wyatt Houseman, who also join forces in the symphonic black metal band Helleborus.
Later today you will have the opportunity to listen to the entirety of the new album, but for now we bring you the premiere of a lyric video for the second track in the running order — “Halls of Amenti“.
This new song channels mystery and menace in mesmerizing and marauding ways. Almost immediately, it presents a gripping combination of glimmering, high-flying, ethereal waves, thrusting bass heaviness, bursting drum flurries, savage growls, and raw howls (doubled for extra ferocity).
The oriental texture of the cascading synth melodies grows increasingly pronounced, swaying and swirling with exotic and mystical charisma, accented by ethnic percussive rhythms and maniacal, darting fretwork. But as forecast, there is palpable menace in the music as well, not only from the fangs-bared vocals and the wildness of the fretwork frenzies but also from ominous horn fanfares and cold, groaning low-end currents. And on top of all that, the song gets stuck in the head quite easily.
For those anxious to hear more of the album, below we’ve also included the stream of a previously released track, “A Hybrid of the Gods“.
The Emerald Tablets of Thoth includes guest appearances by Josh Dummer (Buried Realm), Stuart Hetzler (The Boston Molasses Disaster), and Nation Sampino (A Belt Above Black). Satanath and Dark Terror Temple recommend it for fans of Nile, Absu, Melechesh, Septicflesh, and Nokturnal Mortum.
https://www.nocleansinging.com/2021/04/30/an-ncs-video-premiere-akhenaten-halls-of-amenti/
Das Zwei-Mann Projekt aus Manitou Springs, Colorado, die Band oder das Duo, wie jeder es auch bezeichnen mag, besteht aus den Houseman Brüdern und nennt sich Akhenaten. Genau, es geht um Echnaton, einem altägyptischen König (Pharao) der 18. Dynastie. Nach “Incantations Through The Gates of Irkalla” aus dem Jahre 2015, “Golden Serpent God” aus dem Jahre 2018 folgt nun in den nächsten Tagen der dritte Streich namens “The Emerald Tablets Of Thoth” und ich bin gespannt, was mir diesmal der “Pharao” so bietet.
Wenn man sich den Albumtitel näher anschaut findet man Thoth und ich denke, das es sich hier um den ägyptischen Gott des Schreibens und Wissens handelt. Mit “Neferkapta’s Tomb” beginnt die orientalisch dunkle Reise voller Magie, die mich wunderbar in diese Welt eintauchen lässt, gepaart mit dem perfekt gesanglich wechselnd brachialen und es klingt so, als würde Atum – Gott der Schöpfung und des Himmels sich erzürnt und erbost an seine Jünger wenden. Das ist aber reine Fantasie meinerseits und es geht hier ja hier um das Grab von Neferkaptah, einem Prinzen und Wesir aus Ägypten (3200 v. Chr.).
“Halls of Ament” taucht geschwärzt gestählt und dynamisch musikalisch vielseitig in die Hallen des Ament ein und wieder findet das kraftstrotzend Vokalistische gefallen in meinen Ohren, anklang bei mir. Ament, der Totengott selbst empfängt die Toten mit Brot und Wasser am Eingang zur Unterwelt und sein weibliches Gegenstück ist die Göttin Amentet.
“Of Emerald and Alchemy” ist klanglich ruhig, verträumt und instrumental angelegt und schon jetzt habe ich mir nach dem bis hierher gehörten meine Trilogie “die Mumie” zum anschauen bereitgelegt. Oh man, kennt ihr das: man sieht Werbung für genüssliches im Fernsehen und bekommt Appetit darauf. Fas genauso geht es mir hier beim hören. “A Hybrid of the Gods” leitet beginnend musikalisch diesen “Heißhunger” auf filmisches wie “Gods of Egypt” ein. Der Song selbst bietet breite Momente, ist schleppend unterwegs und zum ende hin wird der Gitarre ihre eigene Bühne zusätzlich geboten.
“The Atlantean” verbindet vielerlei Klänge zu einem wunderbar gemeinsamen, untermalt von drohenden Hörnern steigert er sich zunehmend und gibt sich folgend aggressiver in der Spur. “Cult of Kukulkan” ist mit Panflöten und Vogelklängen und der instrumental geruhsam entsprechend sphärischen Atmosphäre gespickt, denn diesmal geht es zu den Mayas, den Pyramiden des Kukulcán, die in der altertümlichen Stadt Chichén Itzá liegen und “The Black Land” lässt mich gesanglich dieses spüren und das Sinnliche und das Besessene gehen in einträchtig Hand in Hand.
“Tabula Smaragdina” lässt 1001 Nacht in meine Räume, in meine Träume und auch hier wird vielerlei miteinander hörerrisch kombiniert. Im übrigen ist die Tabula Smaragdina eine smaragdene Tafel und wird Hermes Trismesgtios zugeschrieben, der die alt-ägyptische Kultur gegründet haben soll. Auf der Tafel befinden sich Verse (ich glaube 15), von denen heute viele esoterische Lehren abgeleitet werden. “Priests of the Jackal” bläst episch, kommt groovend und spielt stimmungsvoll mit der Thematik. Der liegende Anubis und/oder der stehende Upuaut, beides Totengötter und als Schakal abgebildet, wären stolz.
Mit “Fall of the Living Gods” endet diese für mich faszinierende, in Töne gefasste und bebilderte Reise Jahrtausende zurück mit einem abschließenden Klangpaket, was noch einmal alles reinwirft und perfekt umsetzt, sodass eine wunderbare Stimmung zwischen hell und dunkel, gut und böse, Aufstieg und Fall aufgesaugt wird.
Ich hoffe ich habe euch nicht allzu sehr mit geschichtsträchtigem “genervt”, aber wenn ich recherchiere dann viel (ob es immer richtig ist sei dahin gestellt – zwinker), denn diese und anderen vergangene Kulturen und mystische Thematiken stehen ganz oben bei meinen privat geistigen Interessen, nebst der Musik.
Fazit: Beindruckend! Das Duo bietet mir eine brutale Mischung aus Black Metal, Death Metal und Middle Eastern Folk Musik mit jeder Menge kreativem, Screams und Growls, Blastbeats und Gitarrenriffs, epische Klanglandschaften, die nicht hier nur aus der ägyptischen und mesopotamischen Mythologie stammen!
https://www.hellfire-magazin.de/akhenaten-the-emerald-tablets-of-thoth/
Akhenaten are a death metal band from the US and this is their fourth album.
Akhenaten play a hybrid style of black and death metal that’s been spiced up with Middle Eastern folk influences. The music brings to mind a cross between aspects of bands such as Nile, Melechesh, Arallu, Orphaned Land, Rudra, Septic Flesh, and the like. In other words, bands that use their extreme metal for more than simple brutality.
The Emerald Tablets of Thoth contains 57 minutes of material that Akhenaten use to present their chosen metallic medium. Theirs is a layered approach to songcraft, with musical extras and creative flourishes liberally used to increase the atmospheric and emotive content of the songs. There’s great texture and musical proficiency on display across these ten tracks, and it’s clear that the band know a thing or two about their source material and influences.
The music is well-written and a cut above what your average death metal band gets up to. The tracks are song-based pieces, largely mid-paced, and focus on building atmospheric grandeur and memorable hooks, of which there are many.
Akhenaten’s prominent Middle Eastern influences and instruments are tastefully and intelligently applied to the bare metallic bones of the songs, building them up to more than they would be without them. Entire sections, and sometimes even entire songs, are given over to these non-metal elements, and I have to say that this works very well.
The Emerald Tablets of Thoth is a solid, enjoyable, and well-made album, one that I very much enjoyed listening to.
A recommended listen.
FAVOURITE TRACK: The Black Land. On this song the band’s folk components are especially well-integrated and expand to cinematic scope.
https://wonderboxmetal.com/2021/04/28/akhenaten-the-emerald-tablets-of-thoth-review/
Manitous Springs, Colorado's duo Akhenaten have returned with a new recording which continues their mixture of black, death metal and middle eastern folk music from their previous releases and this is a review of their 2021 album "The Emerald Tablets Of Thoth" which will be released on April 30th as a joint effort between Satanath Records and Dark Terror Temple.
Ritualistic bells and soundscapes start off the album while also introducing elements of middle eastern music onto the album which also mixes in with the heavier sections of the songs. Percussion's can also be heard in some parts of the recording and the vocals also bring in a mixture of black metal screams and death metal growls.
Melodies are also added into some of the guitar riffing while the solos and leads also bring in more of an old school extreme metal style. At times the music also captures an ethnic orientated atmosphere along with some synths also being mixed in with the heavy riffs and one song also introduces clean playing and folk instruments into the music.
A couple of the tracks are also instrumentals along with the music also capturing a very shamanistic atmosphere in some parts of the recording as well as a couple of the songs also being very long and epic in length, clean vocals can also be heard briefly and when the music finally speeds up a small amount of blast beats.
All of the musical instruments also have a very powerful sound to them as well as the songs focusing more on a slow or mid tempo musical direction. The production sounds very professional while the lyrics cover Egyptian, Mesopotamian, Mayan Mythology, Atlantean Magick, Occultism and Alchemy themes.
In my opinion this is another great sounding album from Akhenaten and if you are a fan of black, death metal and middle eastern music, you should check out this recording.
http://occultblackmetalzine.blogspot.com/2021/04/akhenatenthe-emerald-tablets-of.html
Of all the combinations of different styles throughout metal that I’m always looking for more of, the marriage of death and folk is one that does not happen nearly enough. There are some bands that are able to do it justice, sure, but to come across an act that takes full advantage of what such a sound could possibly be would be to create something that truly cannot be found elsewhere in music. One of the few names that come to my mind of those that are able to execute it well, Akhenaten definitely comes to mind. Their last album was downright massive in every form, and it’s with this forthcoming album that they kept that momentum going brilliantly!
There’s nothing quite like an ancient Egyptian theme done well, and that was just one of the many strengths that Akhenaten’s previous outing, “Golden Serpent God”, had going for it that instantly made it stand out from many of the other releases from that year, and it’s with “The Emerald Tablets of Thoth” that Akhenaten is poised to repeat itself. But what we have here is very much the next step in everything that Akhenaten has been crafting up to this point with every aspect across the board coming together on a higher plane to make this effort a true spectacle to behold! If it was with the previous effort that Akhenaten truly came into their own with their blend of death and folk metal to makes every Egyptian subject they broach somehow even more epic and badass, it is single-handedly with “The Emerald Tablets of Thoth” that these guys show us that they aren’t just some fad that comes around to do just one good effort but, rather, a name that is not destined to fade away anytime soon with the potential to influence future artists very high. The imagination and craftsmanship that permeates every song throughout this album is absolutely staggering right from the beginning as Akhenaten doesn’t waste a single minute or a single note throughout the whole album to deliver us an experience that’s not just an awesome metal performance to fall into, but a cohesive work that presents to us the real glory that such a blend of styles can achieve if it’s put in the hands of the very capable. If Akhenaten is nothing else, they’re capable of bringing forth a wholly badass performance virtually without fault and it’s with “The Emerald Tablets of Thoth” that we get ten overwhelming examples of just that.
Whenever I go to use a prime example of what happens when you masterfully bring together the worlds of death and folk metal to make for a truly beefy work, I now have two works from Akhenaten to present to people, and it’s potentially on this effort that we’ve got a far superior creation. Right until the very end, the undeniable whole of “The Emerald Tablets of Thoth” is poised to become one of the best albums of its kind that we’re to get this year, and I will defend that claim to the fucking grave.
https://headbangerreviews.wordpress.com/2021/04/15/akhenaten-the-emerald-tablets-of-thoth/
Video review.
https://www.youtube.com/watch?v=nXbIZLD7zJY
The town Manitou Springs was founded for its natural mineral springs and the town is located at the foot of Pikes Peak. The band Akhenaten is located in Manitou Springs but exploring the vast religions and folk mysteries of Eastern world. The band is Mesopotamian folk/black/death metal band from USA!
Akhenaten named after the heretic monotheism Pharaoh and tenth ruler of the Eighteenth Dynasty of Egypt. The band pushes the boundaries of death and black metal with a great expanse of traditional Middle Eastern instruments. Spear headed by Jerred & Wyatt Houseman aka Hellborus from Manitou Springs, Colorado.
Their last album Golden Serpent God had tremendous reviews and was named 17 of 30 on Loud Wires Best Albums of the Year. The Emerald Tablets Of Thoth is a the next chapter in the on going saga. The album focuses on the themes surrounding the mysteries of the Emerald Tablets and the teachings of Thoth the Atlantean. This album is without question the best and most expensive work from Akhenaten and clocks in close to an hour.
This album includes a guest appearances from Josh Dummer (Buried Realm), Stuart Hetzler (The Boston Molasses Disaster) and Nation Sampino (A Belt Above Black). For fans of Nile, Absu, Melechesh, Septicflesh and Nokturnal Mortum.
http://permafrost.today/2021/04/07/akhenaten-metal-music-natural-mineral-springs-and-pikes-peak/
US band Akhenaten is out with the album "The Emerald Tablets of Thoth", where they bring their own unique touch to the art of making extreme metal. Many of the songs combines gentler passages of world music that has a distinct Middle Eastern vibe to it with their own brand of massive, monumental extreme metal, with the loud guitars and commanding vocal barks further supplemented by orchestral textures and world music details. Often combining the latter two. Elegant purebred world music oriented songs with and without orchestral textures also appears on occasion, emphasizing the strong and distinct atmosphere of this production. Extreme metal fans with a fascination for sounds, tones and timbres with an Egyptian association in particular should fancy having a go at this production, as well as those who find the combination of world music, orchestral textures and extreme metal generally fascinating.
https://www.facebook.com/wildernessviking/posts/4085018304929838
US based symphonic death metal band Akhenaten releases their fourth full length album, The Emerald Tablets of Thoth. Now, as I've previously said, symphonic metal is not my thing. But, these guys do it differently I think. There's a much more grounded and heavier approach to their sound compared to others of the genre, still keeping to their death metal roots, especially when it comes to vocals and instrumentation.
Speaking of instrumentation, they use a wide variety of different instruments from all across the east as well as the typical guitar, drums, bass you'd find in any metal band. They implement string instruments, flutes and hand drums, and other such folk like instruments to really add to that nice layer of dusty Egyptian mythological atmosphere. They touch upon the topics of the lost esoteric knowledge of the Hermetic Emerald Tablets, an ancient tablet which held the knowledge of Thoth the Atlantean. Much of the album lyrically, would be related around that and the music fits very well with the theme, breaking down into the dark and mysterious folk instruments and mixing it in with the intense death metal instrumentation really adds for a very fun and creative time.
The album is very long as well, but with how each song progressive and grows on its own little journey, you can easily lose track of time and get absorbed into the music. One of the songs that I got lost in was the seventh track The Black Land, an eight minute opus that takes you on a journey through the desert. Starting you out with string instruments and synths creating a thick layer of atmosphere as the hand drums kick in to hurry you along its way into the very oriental style guitar playing. Its a very fun song that you can't help but nod your head to.
All in all I don't think I'll be sticking around the symphonic parts of black or death metal, but it was a very fun and interesting little dive into two albums of the genre. And when listened to Osiris' Meanders A Soul back to back it really creates a very unique musical journey that is connected yet vastly different. Personally, I prefer Akhenaten, but they're both good albums and I recommend giving them both a shot.
http://www.runicreviews.com/2021/05/a-symphonic-journey-through-egyptian.html
Colorado's based duo Akhenaten released via Satanath Records their fourth album, The Emerald Tables Of Thot. This black/death metal duo formed by Wyatt Houseman on vocals and Jerred Houseman on all other instruments dedicate themselves to the mythology and mysticism of ancient Egypt and Mesopotamia. The band's name, Akhenaten, is a tribute to the pharaoh Amenhotep IV who abandoned Egyptian polytheism and adopted the cult of Aten five years after the beginning of his reign. The band blend their black/death metal with Middle Eastern folk music, and as well many folk music instruments are skillfully added to their unique black/death style.
The Emerald Tables Of Toth is impressive, both in terms of musicality and its theme. The skill shown throughout the tracks is captivating, cohesive and makes Akhenaten the masters in this mix of styles. The album consists of ten songs that develop over 57 minutes and have a mysterious atmospheric texture. Usually with a medium rhythm but not losing the aggressiveness showed in the blast beats, guitar riffs and vocals. Wyatt intersperses between the characteristic high-pitched shout of black metal and the growls of death metal. All that becomes an epic soundscape with very intriguing lyrics. Everything that comes from Sumerian and Egyptian mythology has always been part of my passions. Before listening to the album, what made my curiosity sharpen was precisely the theme and art of the album, majestically produced by Wyatt Houseman.
Close your eyes and immerse yourself in the world of an ancient civilization filled with mysteries of life and death with "Neferkapta's Tomb". A track that transports you in time, to a hot and starry night, the fine sand and the night breeze caressing your skin and then the god will speak through Wyatt's incredible vocals, pure perfection. "Of Emerald And Alchemy", "Cult Of Kukulkan", "Tabula Smaragdina" and "Fall Of The Living Gods" are purely instrumental, engaging and dreamlike tracks that unfold majestically. Of these tracks, my favourites are "Tabula Smaragdina" and the final track "Fall Of The Living Gods". This type of composition and instrumental mastery is not common, repetitive or an imitation of Middle Eastern folk music. These tracks tell their own stories and are strategically placed among the others. "A Hybrid Of The Gods", my other favourite track, offers a great blessing to those that enjoy brawn, and the guitar amazingly makes the show. "The Black Land" and "Priests Of The Jackal" close my list of the top tracks of The Emerald Tables Of Toth.
What else to say about a perfect black/death album that dares to involve folk music in such a cohesive and original way? Nothing, because it would be redundant and massive. The Emerald Tables Of Toth is undoubtedly one of the best albums of the genre so far and I can bet that it will be the only one in the year 2021. If you still don't know Akhenaten, I suggest that in addition to this album, you spin the albums, Incantations Through The Gates Of Irkalla (2015) and Golden Serpent God (2018). Akhenaten's work could perfectly compose soundtracks of renowned films of Egyptian and even Sumerian mythology. If you are a fan of Nile, Absu, Melechesh, Septicflesh and Nokturnal Mortum, this album was specially composed for you. Enjoy the epic journey!
Video review.
https://www.youtube.com/watch?v=28UnCMQ9JTU
Kolejna płyta, której nie mogłem się doczekać!
Już kiedyś prezentowałem wam ten zespół. Amerykański Akhenaten wydał kilka dni temu swoją najlepszą płytę. Już poprzednie robiły wrażenie, szczególnie "Golden Serpent God", ale najnowsza "The Emerald Tablets Of Thoth" jest jeszcze lepsza. Przede wszystkim jest bardzo spójna i słychać, że zespół w końcu dopasował idealnie i właściwie proporcje pomiędzy metalem a muzyką Bliskiego Wschodu. W dodatku, oprócz świetnej muzyki, udało się stworzyć zajebisty klimat. Dla mnie 10/10 i kandydat do najlepszych płyt tego roku.
https://www.facebook.com/echoexperiment/
Video review.
https://www.youtube.com/watch?v=9Lng7fHT7Ao
AKHENATEN is a black/death metal band from Colorado; they formed in 2012. Their latest album, "The Emerald Tablets of Thoth" is their fourth full length album. They have also releases an EP and a compilation.
The band rides that sometimes thin line between death and black metal but have influences of the middle eastern folk variety as well. NILE or MELECHESH is probably what comes to mind the most from that paragraph but AKHENATEN don't sound anything like those bands. I find their sound to be refreshing and exciting, actually. The middle eastern side of their music gives their black metal sound a more ancient and arcane atmospheres. Those same sounds offsets some of the brutality from their death metal influences and makes it much more grandiose and poetic. There are four instrumentals on the album that bridge the gaps between the metallic carnage. These are flavorful and really earn their places on the album—exceptionally well done and better quality than most other interludes I come across.
"Neferkapta's Tomb" begins with ambient noises that quickly develop into music that, in turn, turns into blackened riffs and death growls. The music here is focused yet adventurous and the song has a great flow to it. The keys add just the right amount of flair to the proceedings while the drums ensure the death metal is never too far away. There are some killer riffs within the song such as the 4:06 mark: powerful enough to stand on their own but well written enough to push the music forward.
Orchestration starts "Hybrid of the Gods" on a classical and tasteful foot. But while you come for the variety of sounds, you'll stay for the vocals and riffs which settle into an effective cadence that shows the band can play blackened death and still keep it within the confines of their sound. "The Black Land" is an unique song that trades it's time between their more symphonic side and their extreme metal side. The harsh vocals use the backdrop of the orchestral layers as the perfect spring board to launch a deadly attack. This song displays just how well this dichotomy can work with death and black metal without contradicting each other or taking away what the other one brings to the table.
"Priests of the Jackal" is a huge sound with a large scope and the band backs it up with hard hitting riffs, unrelenting drums. In the middle part of the song, the eastern sounds hang in the air for a minute before the band drops the hammer and it is just amazing. This is slick, well done extreme metal album that uses outside influences in bold ways. Anyone looking for unique metal that doesn’t rely on the same old tropes could do worse by checking out AKHENATEN’s “The Emerald Tablets of Thoth.”
http://www.metal-temple.com/site/catalogues/entry/reviews/cd_3/a_2/akhenaten-the.htm
Déstabilisant. Dans le bon sens, ne vous méprenez pas. Une écoute à l'aveugle, et on se croirait en Égypte, bercés par les flots huileux du Nil, harassés par une chaleur accablante, un inutile éventail en jonc tressé à la main, regardant au loin les halos vaporeux des silhouettes de chameliers se rendant en ville. Akhenaten, de son petit nom Amenhotep IV, est le pharaon de cette Égypte ancienne et veille sur les âmes du fleuve sacré. Stop. Le fleuve sacré est en fait le Colorado, dans l'état du même nom. C'est sûr, en guise de dunes, on a Pikes Peak et sa fameuse course de côte, on se pèle grave l'hiver et on a bien chaud l'été. Un bonheur de climat à mille lieues de celui de la patrie des pyramides. Certes, ce n'est pas le Midwest de très peu, mais ce n'est pas non plus le Middle East.
En plein cœur des États-Unis, là où la plupart des habitants hors agglomérations situent Paris quelque part dans un comté voisin, comment deux jeunes frères pouvaient avoir cette idée d'Akhenaten au temps des pharaons ? Rien de public ne permet de lier les Houseman Bros à l'égyptologie. Alors j'avoue ne connaître leur side-project Helleborus que de nom, n'ayant qu'un goût très limité pour le black d'outre Atlantique, en euphémisant un peu. Mais je vais sans coup férir m'y pencher, sait-on jamais, la surprise est inattendue par définition. Si la fratrie est aussi inspirée de ce côté-là, il serait fort dommage de le rater. Après, en voyant les choses de manière pragmatique, on se dit que le côté US permet d'avoir une production plus riche que la plupart des groupes moyen-orientaux, et il est vrai qu'elle est plutôt avantageuse, cette production. Claire, ambiante, organique, oui, une certaine réussite, et c'est heureux, car les différentes facettes de la musique sont très bien poussées sur la scène.
Les instrumentaux (ou quasi-instrumentaux) qui émaillent l'album, tels "Of Emerald and Alchemy", "Cult of Kukulkan", "Tabula Smaragdina" et " Fall of the Living Gods" sont parfaitement sonorisés, à tel point qu'on pourrait penser qu'ils sont nés de Nile, Scarab est consorts. À ceci près que Akhenaten y ajoute un soupçon de tribalité et une grosse dose de "Dead Can Dancité" par son côté folk lancinant parfois mystique. C'est très prégnant sur "Of Emerald and Alchemy", ou encore sur l'intro de "The Black Land". Il ne faut néanmoins pas se fourvoyer, Akhenaten ne fait pas dans le dark folk gothique, mais bien dans un death metal mid-tempo oriental, plutôt progressif, mêlant puissance et agressivité à des sonorités résolument folk et orientales. Les voix ondulent entre le black sur "The Atlantean", "Priest of the Jackal" ou "Neferkapta's Tomb" et le death plus gras ailleurs. Les compositions restent assez denses, les blasts beats côtoyant des éclaircies mélodiques a l'instar des premiers Septic Flesh ("Neferkapta's Tomb" notamment). Je me suis même surpris à y trouver du The Project Hate MCMXCIX dans "Halls of Amenti", sur la rythmique, la basse et les growls du début. Et que dire de ces cris magnifiques sur "Priest of the Jackal" ?
Déstabilisant. Avez-vous saisi pourquoi ? Vous avez de la chance, moi, je suis encore en équilibre instable. Je ne comprends pas encore et je ne comprendrai peut-être jamais. Les frères Houseman ont réussi à m'embarquer dans leur délire de metal extrême oriental depuis leur Colorado natal. J'admets volontiers avoir un penchant maladif pour ces déviances arabisantes (ou hébraïsantes également), mais là, je suis bluffé. C'est gravement réussi, ça prend les tripes, et c'est ensorcelant, alors que c'est clinique et parfois froid, il faut insister. Et plus je m'y frotte, plus je m'y pique, je me dis que je vais encore plus y entrer, mais je me heurte à cette relative puissance froide. Et pourtant, je vogue sur le Nil, par 40° à l'ombre, sur la barge funéraire d'un Pharaon. Merde, quel bonheur d'indécision, le Jackal m'a attrapé.
http://www.leseternels.net/chronique.aspx?id=18663
Some CD love for a change. Definitely one of my favorite albums of the year, go figure since I'm a sucker for Egypt theme death metal but very rarely do bands do it right and Akhenaten did it pretty fucking good. The atmosphere on this album is incredible, such a huge soundscape of ambience and middle-eastern instrumentation which is mixed perfectly making this album more Egyptian sounding rather than death metal like other bands who use this theme. In short this kicks ass, I love it front to back I just hope a vinyl pressing can be done because the artwork is sick and would look killer on 12". Props to the Houseman brothers who hail from Manitou Slrings Colorado!
https://www.instagram.com/p/CUofzQZLWwP/
Review.
https://www.metalhead.it/album/akhenaten-the-emerald-tablets-of-thoth/
If you want your black-death metal folkier with including Melechesh style melodies, Septicflesh like vocals here you go, you have an ancient eastern demon at your hands. After their successful Golden Serpent Record, Akhenetan puts out another solid record that will take you to the hanging gardens of Babylon.
Kicks in with oriental, eastern melodies ‘’Neferkapta’s Tomb’’ which cuts after by strong guitar riffs. Orchestral elements coming from everywhere, vicious harmonies with impressive vocals gets this journey to hanging gardens of Babylon. But in this Babylon, you may encounter some ancient eastern demons.
Then we are visiting the ‘’Halls of Amenti’’ with sick vocals continuously comes forward to us, perfectly mastered atmospheric folk elements accompany to magnificent guitar riffs. A short but excellent solo ends this splendidly crafted song.
Calming, folk fully instrumental ‘’Of Emerald and Alchemy’’ Prepares us for the hurricanes we will get through. Steady but speedy mumakil-like riffing come to your ears with Easterlings again in ‘’A Hybrid Of The Gods’’ Headbanging pace continues with a flawlessly crafted solo. Mumakils trying to destroy your town after the oriental interlude in ‘’The Atlantean’’ Pace goes to the top with surrounding crushing riffs and soul-crushing vocals. Preserving its pace till it ends. Completely an astonishing song to Akhenaten discography.
We are going deep into the woods to explore the ‘’Cult of Kukulkan’’ almost Sepultura-like tribal melodies that meet with eastern symphonic elements.
Probably the darkest one ‘’Priest Of The Jackal’’ creates a cautiously filthy atmosphere, continues with banging riffs. The instruments at their strongest level from beginning to end and leaves you behind in this ancient eastern World.
Overall, It is another solid effort for Akhenaten, even though the oriental elements sound a little bit overused, there are lots of banger moments crafted tastefully and have fascinating melodies.
https://fullblackreviews.blogspot.com/2021/05/akhenaten-emerald-tablets-of-thoth.html
Další spřízněné duše, kterým učaroval starý Egypt, řekl jsem si, když jsem narazil na tyto dva týpky z druhé strany Atlantiku. AKHENATEN nejsou za velkou louží se svou zálibou sami, jistě vám nemusím příliš představovat NILE, jméno za dvacet let známé prakticky všem, kteří přičichli k extrémnímu metalu. Oproti nim jsou AKHENATEN výrazněji do melodiky, více nasměrovaní k black metalovému výrazivu. Kromě tematiky textů se jedná o dvě naprosto rozdílné kapely, jedinou (byť silnou) spojnicí je silná a věrně zachycená atmosféra dávných časů.
Kdysi mi můj šéf říkal, že pokud existuje něco jako minulé životy, ta konkrétně já jsem musel být písařem nebo kýho šlaka u dvora některého z faraonů nebo jsem v dalším životě padl u Charkova či Stalingradu (ve srandě tak reagoval na mou vášeň pro dvě historické etapy - Egypt a druhou světovou). AKHENATEN na tom jsou patrně podobně, jak jsou na tom s tím druhým světovým konfliktem samozřejmě netuším. „The Emerald Tablets Of Thoth“ je rozhodně zajímavým albem, a není to způsobeno pouze staroegyptskou stylizací. Album má velmi zajímavý zvuk, vymykající se běžné současné produkci, bohužel trpící značnou unifikací. AKHENATEN jsou řezaví, hutní, téměř zvukově přesně na půl cesty mezi black a death metalovým pojetím kytar. Výsledkem je spolu s masivní orchestrací mohutná zvuková stěna, která působí poměrně dosti svébytně a naštěstí pro mě nezapadá do běžné šablony symfonicko metalových definic. Album mimoto zcela postrádá rychlé pasáže, plyne v hypnotickém pomalejším rytmu a ve střeních tempech jako podkres k obřadům v Amonově chrámu. Po zjištění, že „The Emerald Tablets Of Thoth“ takto jede v podstatě na jedné vlně od začátku do konce, jsem si nebyl úplně jistý, zda ho zvládnu poslouchat do konce na jeden zátah a zdali si AKHENATEN neukousli přece jen příliš velké sousto na to, aby mu dali přesvědčivou formu. Napoprvé jsem album opravdu v jednom kuse nedal, chtělo to více trpělivosti, než se mi podařilo naladit na odpovídající vlnovou délku. „The Emerald Tablets Of Thoth“ každopádně není album, které si vaše mamina můře pustit odpoledne k žehlení (i když…nepodceňujme naše maminy). Chvíli potrvalo, než jsem začal specifickému hudebnímu jazyku AKHENATEN rozumět, do té doby mi připadali jako protřelí hráči na efekt, postavit bombastickou fasádu a co je za ní, na to už se nekouká.
„The Emerald Tablets Of Thoth“ není technicky vzato příliš složité album, jedná se spíše na atmosféře skladeb postavenou desku, kterou je potřeba chápat jako komplexní celek. Album samotné na mě působí jako takový metalový soundtrack k filmu ze starého Egypta, případně k výpravnému dokumentu na stejné téma. Celková atmosféra alba a i jeho struktura tomuto mému pocitu vysloveně nahrává - některé ze skladeb plní spíše roli předělů, přemostění mezi jednotlivými částmi děje. Stačí pak jen přivřít oko (a nemusí být ani Horovo) a fantazie jede na plné obrátky. To už je myslím dost na to dopřát „The Emerald Tablets Of Thoth“ sluchu.
Akhenaten was een farao die tussen 1353-1336 of 1351-1334 voor Christus het oude Egypte leidde en vooral opviel doordat hij bij zijn volgelingen het Atenïsme introduceerde: de verering van de god Aten als almachtig wezen in plaats van wat de Egyptenaren voordien deden: een heel legertje aan goden aanbidden. Akhentaten was zijn tijd ver vooruit met zijn monotheïsme maar in tegenstelling tot de mensheid in latere tijden, waren ze in Egypte snel klaar met Aten nadat Akhenaten eenmaal was overleden: herinneringen aan de farao werden letterlijk gewist, zijn opvolgers lieten geschiedschrijvers noteren dat hij ‘de vijand’ en ‘de crimineel’ was en alle oude bekende goden werden weer uit de kast getrokken.
Akhenaten anno 2022 is een Amerikaanse death/blackmetalband die – het zal u niet verbazen – invloeden uit het Midden-Oosten in het algemeen en Egypte in het bijzonder meeneemt in de muziek. Voor fans van Septicflesh, Melechesh, Absu en… u voelt hem aankomen… Nile inderdaad. Binnen dit hoekje van de extreme metal wordt over het algemeen goed gemusiceerd en Akhenaten vormt daarop geen uitzondering. Het album klinkt werkelijk als een klok: de Oosterse muzieklijnen zijn perfect verwerkt in de Westerse bruutheid, waardoor er een uiterst fijne samensmelting van twee stijlen is ontstaan die soms aan de bombast van Dimmu Borgir in betere tijden doet denken. De vocalen van Wyatt Houseman zijn om door een ringetje te halen: de oudste van de twee broers (die ook actief zijn in Helleborus) heeft een heerlijk volle, krachtige grunt die je zonder meer toe durft te schrijven aan de farao van zo lang geleden als hij nu net zoals in een film op zou staan om de mensheid lastig te vallen.
Het is trouwens niet voor niets dat ik fantaseer over een mummyfilm, want Akhenaten laat op The Emerals Tablet’s of Thoth je verbeelding op hol slaan. Waar black metal goed is als het lukt de koude en kilte van de Noordse gebieden over te brengen, lukt het deze Amerikanen een beeld voor te schotelen van lang vervlogen tijden. Wat dat precies is, voelt voor iedereen anders, maar ik zie de klassieke beelden van woestijnen, oases, piramides, muurschilderingen, hitte en hiërogliefen voor mijn geestesoog verschijnen.
Heerlijke afleiding dus, The Emerald Tablet’s of Thoth, gemaakt door twee uiterst getalenteerde broers die nota bene nabij Glacier National Park in de staat Montana wonen: een gebied met bergen en sneeuw maar het gevoel van het oude Egypte geweldig weten over te brengen. Jammer dat dit plaatje vorig jaar al is uitgebracht en nu pas wordt opgepakt door het Nederlandse Vidar Records, want het was op zeker in mijn Jaarlijst verschenen.
https://zwaremetalen.com/albumrecensies/akhenaten-the-emerald-tablets-of-thoth