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Based out of Singapore, Adarrak are a new band I’ve recently discovered after checking out one of the teaser trailers for their song Bereft featuring the legendary musician Marty Friedman whom everyone knows during his time with Megadeth, this album here is some top notch quality that is a paradise for any fans of death metal. Whether you love the progressive death metal undertones, technical death metal signatures, groove metal laden and hooks, and some thrash metal to a extent, Adarrak’s style is written all over the place having a branch of multiple genres combining into one gigantic release is really worth noting for a three piece band doing handy work is extremely impressive I’ll say. Ex Oriente Lux is released through Sathanas Records and is the official debut full-length by Adarrak which in this case, I’m already extremely impressed by how artistic, creative and visionary these musicians have created extreme metal to broadened their influences of different hybrids of metal is really worth noting that this album is full of wonders, captivation and originality which many artists need to work on more throughout as many generations are coming by.


I will say on certain songs such as Through The Fabric Of Time and Into The Abyss for example really shows the band incorporating some Gothenburg melodic death metal formulas giving it a Amon Amarth or Dark Tranquillity style sound where the tracks are able to connect with one another as the vocals and instrumentations provided sound fiercer, sharper and tighter than ever before. And I will say that the album’s production, mix and mastering by the legendary Dan Swanö himself really shows how much his dedication and efforts to make the album experimented and polished is such a highlight upon listening to the album front to back has gotten better both musically, lyrically and sonically. But in my humblest opinion, Ex Oriente Lux is one of the most abstracted, progressive, technical, melodic and professionally written metal albums I’ve heard in recent memory.




Let’s discover with Adarrak until where styles mixing can go.



Created in Singapore, the band is composed of Gustavo Valderrama (vocals), Emmanuel George Bi (guitar) and Zigor Munoz (bass). Their first album, Ex Oriente Lux, was mixed and mastered by the legendary Dan Swanö.



At first, I thought the band played some modern Melodic Death Metal with an Old School touch. But I was wrong. Whether their basis is anchored into this style and its swedish roots (partly sublimated by Dan Swanö), the band injects some Progressive Metal, Black Metal, Doom elements…

We begin with Final Ethos Demise, an energetic and brutal song full of massive howlings and sharp riffs, reminding us this effective and sometimes tearing style, while staying quite heavy. It’s with Into the Abyss and its clean voice that the band’s sound starts to unveil other shades, like this melancholy, this somehow Thrash explosion and this solo from Nicholas Chang (Boxchild). Heaviness is back on the final, then the band offers some Power and Heavy energetic influences on Mettle, before welcoming the legendary Marty Friedman (Metal Clone X, ex-Megadeth, ex-Vixen) on Bereft, an epic Death Metal oriented song. It sounds like Hansi Kürsch’s vocals on some parts, while the instrumental mesmerizes us into those melodic leads.

The band continues with Withering, a song that spotlights guitar harmonics before letting swedish influences come, contrasting with hypnotic parts, while Through the Fabric of Time is a rawer song. The track is shorter, but the melting between Melodic Death and energetic influences is still present, like on the groovy Beneath the Vault of the World. The song is seizing and effective, counting on a heavy rhythmic, vocals alternating between clean and saturated vocals, but also demonic leads before Fire Will Cleanse, the last song. Very Prog oriented, this instrumental song welcomes Edmund “Ed Quekstein” Quek (Üllermach) for some soaring leads added to the heady rhythmic.


Adarrak’s melting is sometimes surprising but always intense. Ex Oriente Lux is a rich, very rich album, that knows how to take advantage of every influence to offer some interesting and solid riffs, allowing solos and several vocal parts to easily find their way.




Adarrak is a new progressive death metal band founded by Singaporean guitarist extraordinaire Emmanuel George Bi and fleshed out by the talents of vocalist Gustavo “Kike” Valderrama (Sol De Sangre, Headcrusher) and bassist Zigor Munoz. Guest performers on their debut album, Ex Oriente Lux, include drummer Robin Stone (ex-The Amenta) and guitar soloists Nicholas Chang, Edmund “Quekstein” Quek, and the great Marty Friedman.


Moreover, the album was mixed and mastered by none other than Dan Swanö at Unisound Studios, who has commented: “Adarrak is truly progressive since they are not afraid to implement all kinds of metal into the mix, anything from epic leads to insane blast parts.”


And if all that information didn’t build some heated intrigue within your brain, the song we’re presenting today from Ex Oriente Lux surely will — though it might also send your mind into the sky and explode it like fireworks. The name of the song is “Withering“.


As Dan Swanö commented about the album as a whole, this particular song is a richly textured metal tapestry, incorporating a multitude of stylistic ingredients and morphing moods.


The track is announced with grand, momentous chords and the scintillating flicker of a lead guitar, eventually joined by a powerful, gritty, soaring voice. It’s a stirring introduction, but only a hint of the extravagance to come. The guitars begin to jolt and skitter, pulse and dart, as the vocals move into ferocious roars and scorching screams. The lead guitar performances in the song are themselves quite varied, but always seize attention, re-emerging with a shimmering vibrancy just before the band go on the attack in an assault of battering drums, feverish fretwork, and monstrous growls, and then swirling in spellbinding fashion, backed by a highly headbangable rhythmic sequence. But the best is saved for last, when a a spectacular, wailing and writhing, guitar solo gives the song a fantastic finale, even as the backing music slows and becomes sorrowful.




Singapore en metal: een combinatie die we niet zo vaak tegenkomen. En toch, check alvast het debuutalbum van Adarrak. ‘Ex Oriente Lux’ wordt fysiek uitgebracht op het Russische label Satanath Records en digitaal via Blood Blast Distribution. En vooral omdat ook Blood Blast Distribution mee in de dans springt, spitsen we graag onze oren. Adarrak is een samenwerking van vocalist Gustavo Valderrama, bassist Zigor Munoz en gitarist Emmanuel Georgi Bi. Als vaste drummer contacteerde het trio voor dit album Robin Stone terwijl een aantal gast gitaristen elk een solo mochten inspelen. Het eindresultaat mag duidelijk gehoord worden. Opener ‘Final Ethos Demise’ beukt meteen de deur open in stijl met kracht en agressie in een energiek en gedreven werkstuk waar de heren al voorzichtig experimenteren met tempo en ritmewisselingen. We willen de term progressive death metal nog niet ten volle gebruiken, maar je doet helemaal niets mis met die te laten vallen. Vooral het gitaarwerk van Emmanuel George Bi zorgt ervoor dat we al grote ogen trekken. ‘Into The Abyss’ volgt en hier spelen de heren met stops en tempo en ritmewisselingen dat het een lieve lust is. Toch straalt ook dit werkstuk kracht, agressie en brutaliteit uit. De weergaloze gitaarsolo is hier van Nicholas Chang. ‘Mettle’ bevestigt enkel maar, opnieuw zorgen de heren voor een heel knap opgebouwd werkstuk waar wisselingen in tempo en ritme aan de lopende band worden geproduceerd. En ook nu weer zullen gitaarfanaten hier enorm van smullen. Tijdens ‘Bereft’ trekt Gustavo alle registers open en horen we hem met zowel krachtige cleane stem als met rauwe grunts, als met diepe brullen. De gitaarsolo wordt hier verzorgd door niemand minder dan Marty Friedman (ex Megadeth). We zijn vier tracks ver en we hebben ons nog geen milliseconde verveelt. Met ‘Withering’ gaat het gezelschap gewoonweg op zijn elan verder. Met complexe tempo en ritmewisselingen, superbe gitaarwerk, overweldigende vocalen, diepe basslijnen en denderende drumpatronen zet Adarrak nog een nummer waar we gewoonweg de “K” van “grote Klasse” moeten bij vermelden. Ook voor ‘Through The Fabric Of Time’ komen we lofbetuigingen te kort. Daar doet ‘Beneath The Vault Of The World’ in niets voor onder. Gustavo speelt met zijn verschillende stemmen, de tempo en ritmewisselingen vliegen ons om de oren en het gitaarspel is gewoonweg verbluffend. De heren sluiten af met het energieke ‘Fire Will Cleanse’, een instrumentaal nummer waarvoor ze nog een laatste gast gitarist opriepen. Edmund “Ed Quekstein” Quek mag hier voor een sublieme gitaarsolo zorgen terwijl ook Emmanuel George Bi al lang heel goed weet wat hij moet als hij een gitaar in de hand heeft. Vanaf nu doen we heel zeker niet meer neerbuigend als we een metal band ontdekken uit een of ander “exotisch” metalland. Als Adarrak nog zoiets onze kant opstuurt voorspellen we dit gezelschap een fantastische muzikale carrière. Dit is alvast “de ontdekking van de maand” om niet te zeggen “de ontdekking van het jaar”! Echt vaak vallen we niet meer van onze stoel, maar om een album als dit ‘Ex Oriente Lux’ als debuut af te leveren, … daarvoor maken wij alvast een heel diepe buiging!



In Brazil, we have and old popular saying that states that ‘I had my tongue burnt’. It expresses that we had an idea or said something that time shows that we are wrong. Due the many reviews about Singapore Death Metal acts, personally I had the (wrong) idea that the bands from such genre from the country had to deal with problems and even with a naïve point of view that push back their works. But the trio ADARRAK burnt my tongue with “Ex Oriente Lux”.


Their musical work is based on a classic Death Metal model, but with many updates and elements that turns the band’s work something different from the usual (something that can remind the early days from Gothenburg Death Metal). Maybe it can be said that their energetic and catchy musical work has influences from other Metal genres (even melodies can be traced on some parts, as on the guitar solos and on “Mettle”) that aren’t often used or can be said that they belong to the genre. It means that they dare to create something of their own, that is filled with energy and that deserves applause from the listeners.


Wisely, the band brought the master Dan Swanö to mix and master the album (whose words are showing what I meant above: ‘ADARRAK is truly progressive since they are not afraid to implement all kinds of metal into the mix, anything from epic leads to insane blast parts’), so to say that things are sounding great, defined and in their due places, and with a wise choice for the instrumental tunes. Yes, everything is really excellent at this point. And by the way, they brought some guests, as the 6-strings ace Marty Friedman on the solo of “Bereft”, Nicholas Chang (guitarist of WITCHSEEKER) on the guitar solo of “Into the Abyss” and Edmund “Ed Quekstein” Quek on the guitar solo of “Fire Will Cleanse”.


“Final Ethos Demise” is a bone-crushing Death Metal song that shows a classic Death Metal insight and catchy energy (and what great work on bass guitar and drums), the Groove approach on some parts of “Into the Abyss” (some clean vocals are really fitting on the hard melodic instrumental parts, and excellent guitar riffs and solos can be heard), the hard weight and neck-destroying approach shown on “Bereft” (a modern and catchy outfit similar to the one used on Gothenburg Death Metal acts in the past, and what an amazing guitar solo) and on “Withering”, and the excellent work on the instrumental song “Fire Will Cleanse” (that shows a very good technical work from bass guitar and drums, and it isn’t on the album to fill some time left) are the ones to give to the listeners a taste of what “Ex Oriente Lux” is.


In the end of all, ADARRAK is just beginning their career (“Ex Oriente Lux” is just their first release), so their musical onslaught seems to be great in the future.




The forces behind a new entity rising from Singapore have now unleashed their debut offering titled Ex Oriente Lux. This brutal exercise in melodic precision, which is named after the phrase meaning “out of the east, light comes,” shows ADARRAK entering the scene with assertive musicianship and songwriting that pushes the outer fringes of their genre. Grand emanations abound in a euphoric atmosphere crafted from epic leads, crushing riffs, and a diverse combination of other elements as ADARRAK seizes the essence of the dawning light. This power is directed into Ex Oriente Lux with uncompromising will and vigor to deliver an expansive work of modern Death Metal.


            Brutalization commences with the pummeling wall of blasts, screams, and dense tremolo riffing that initiates “Final Ethos Demise.” Harmonizing melodies converge into crushing rhythms, and the lead melody of another transition carries into the first of many engaging solos. The tone changes with doom-laden riffing for the aptly titled “Into the Abyss,” along with the first appearance of clean vocals. These persist as fretboard intricacies signal the shift between multiple chugging grooves and riffs that build toward the track’s lead. Visceral tremolo melodies further its epic impact before doom returns with the compounding heaviness of deep gutturals. Leading melodies convey a spaced-out splendor on “Mettle,” and spoken words come through as muted riffing expands into complex arrangements with soaring clean vocals. Alternations with the harsher variety add a vicious contrast before soloing takes hold and drives an elevating intensity that continues until the end. The force of speed riffs and blasting launches “Bereft” into a frenzy of intricate melodies that shift and mutate along with an exchange of clean and guttural vocal deliveries. A hook merges with the striking power of chords and double bass to form a chorus passage, and the track culminates with compelling fretboard wizardry from Marty Friedman, notable for his work in bands like MEGADETH, which takes the melodic grandeur even higher.


            Entrancing arpeggiations lead the attack on “Withering,” and a melodic transfer broods over rhythmic chugging that shifts to the accented notes of a driving riff. Vocal dynamics compliment these transitions as they advance toward an interlude of tapping fury, and the riffing yields to memorable closure by another vehement progression of solos. “Through the Fabric of Time” follows with an imposing mass of doom that breaks into mid-paced rhythm, and pinch harmonics appear as it evolves into a sinister force with the chilling effect of arpeggiated notes. An evocative display of soloing recurs over crushing developments that cross over to “Beneath the Vault of the World,” where further technical excursions occur within the heavy continuum. The ferocity densifies with a descent into doom territory while a solo capitalizes on the foregoing riff dexterity. Cosmic effects lead into a final demonstration of epic melody on the instrumental “Fire will Cleanse,” and the haunting majesty that manifests is eclipsed by a procession of leads for a sublime finale.


            The title’s meaning, “out of the East, light comes,” doesn’t only apply to light, but implies deeper spirituality, wisdom, and culture also rise from the East as opposed to the Western world. A contrast between these two civilizations appears on the cover art, and inferences of the West being where these cultural qualities decay are supported on “Final Ethos Demise” with the increasingly ruinous influence of darkness “before the sun sets.” Another disturbing realization on “Into the Abyss” questions leadership from the powers that be, and whether we are “at the mercy of whatever pain they’re free to inflict.” Overcoming adversity is the focus of “Mettle,” and “Bereft” involves the conflicting nature of instincts to kill and survive, with a fear that ultimately ends through death.


            Time as an illusion and the transient state of “truth” are ideas portraying the emptiness of existence on “Withering.” This goes further on “Through the Fabric of Time,” and various time dimensions are also depicted with “vanishing hues of what once was, never will be, might-have-beens.” Suffering and the drive for vengeance against those responsible are expressed on “Beneath the Vault of the World” while declaring a resistance toward enslavement. Deeper meanings are clearly present in the lyrics, but contextual obscurities make some of them difficult to pinpoint. Many reflect the impact of rampant primal instincts, corruption, and how other tormenting elements of the human condition correlate with societal degeneration, along with hopes for renewal before the ultimate cure takes effect.


             Ex Oriente Lux is an impressive debut that exemplifies potent songwriting with an emphasis on melodic elements and solos without compromising the brutal essence of Death Metal. The substance behind these compositions often induces a rapturous effect that makes them instantly memorable. Harmonious transitions from blasting force to various mid-paced rhythms and crushing doom further elevate their structural immensity along with the range of vocal dynamics and technical proficiency. It will be interesting to see how ADARRAK continues their progression on future releases, but for now, Ex Oriente Lux is a fine display of epic shreddery that commands high regard among the Death Metal hordes.





Algo que me llama la atención es cuando una banda dice que tiene toques o que mezcla progresivo a su género. Adarrak es una banda de death metal con sede en Singapur que presenta una mezcla de músicos establecidos (Headcrusher, Norse, The Amenta, Dispiteous, Sol de Sangre, Somnium Nox) y emergentes, tanto locales como globales.


Formados en 2016, su álbum debut “Ex Oriente Lux“, que se lanzará el 27 de Mayo, fue mezclado y masterizado por el único Dan Swanö en Unisound Studios y en sus propias palabras: “Adarrak es verdaderamente progresista ya que no tienen miedo de implementar todo tipo de metal en la mezcla, desde pistas épicas hasta partes explosivas locas”.  “Ex Oriente Lux” cuenta con las apariciones especiales de Marty Friedman de la fama de Megadeth, así como de otros músicos locales (Üllermach, Boxchild). Para los fanáticos de lo extremo pero progresivo con un toque del sonido de Gotemburgo.



La primera pista de este álbum es “Final Ethos Demise” el cual llega con mucha potencia tanto en las guitarras como en la batería, podemos percibir dos tipos de voces ambas llenas de brutalidad no podemos negar que en esta pista tiene una esencia muy clásica del género . Continuamos con “Into the Abyss” en mi punto de vista la considero la pista más floja del álbum ya que no hay tanta intensidad, pero sí tiene grandes detalles que demuestran la buena técnica.


“Mettle” es una de la piezas que sobresalen de este álbum, en la cual podemos apreciar un riff más lleno de melodía, la ejecución de de las dos vocales son algo a destacar de este tema, “Bereft” nos brinda demasiadas cosas conforme va avanzando esta , la voz limpia la cual suena de una gran manera alternando con la guturales, el trabajo que realiza la guitarra es algo a destacar el solo a cargo de Marty Friedman, de igual manera la batería nos da un doble pedal que va reventando cabezas con cada remate en ella.



“Withering” se presenta con mucha melodía en la guitarra  acompañada de de una voz limpia , posteriormente se incorpora una gutural agresiva que engalana esta pieza la cual esta muy completa con ese riff demoledor sin pensarlo mi pieza favorita de este álbum. “Through the Fabric of Time” es una pieza en la cual hay que admirar la ejecución de la guitarra la cual nos brinda muchos detalles de gran calidad. El cierre de este álbum es con el tema “Beneath the Vault of the World”:  la combinación de las voces guturales y limpian se acoplan de una gran manera con cada riff agresivo que tiene la pieza.


Cuando escuché el sencillo de esta banda me atrapó por completo y realmente cumplió mis expectativas con “Ex Oriente Lux” , Adarrak llega de una gran manera a la escena del metal con este gran álbum que hará las delicias para los fanáticos del Death Metal Progresivo.




Debutto assoluto per gli Adarrak, band con base in quel di Singapore, nazione di provenienza del fondatore, il chitarrista Emmanuel George Bi, il quale si avvale di compagni provenienti da Spagna (il bassista Zigor Muñoz), Colombia (il cantante Gustavo Valderrama) e Australia (il batterista session Robin Stone, già Somnium Nox, Virulent Depravity, Norse e ex-The Amenta). Licenziato da ben tre etichette - Satanath Records ed Astaka Arungan per il support fisico, Blood Blast Distribution per il digitale - "Ex Oriente Lux" è un lavoro che cerca di abbracciare a 360° le componenti Progressive e Melodic del Death Metal, riuscendoci anche tutto sommato, ma con il risultato che questa opera prima degli Adarrak risulta a tratti un po' troppo confusionaria. Basta vedere le enormi differenze tra l'opening track "Final Ethos Demise", brano che si muove tra un feroce Black/Death à la Belphegor e le invettive melodiche di gruppi come At the Gates e The Black Dahlia Murder, e la seguente "Into the Abyss", traccia che sembra letteralmente suonata da un'altra band per differente uso delle vocals e per sonorità totalmente diverse che rimandano al Progressive Death moderno dei Fractal Universe e, in parte, possono ricordare anche i Nevermore in certo frangenti, salvo poi 'indurirsi' sul finale in maniera non così tanto fluida. Sinceramente, la sensazione che gli Adarrak stiano ancora cercando la loro strada definitiva è forte durante tutto l'ascolto di questo debut album che può comunque vantare una buonossima produzione e che ci mostra una band che sa COME suonare ma, appunto, probabilmente ancora non sa COSA. Si fanno in ogni caso notare i singoli "Bereft" - il cui assolo è opera di mr. Marty Friedman, artista che non ha bisogno di alcuna presentazione - e "Withering".

Gli Adarrak sembrano trovarsi a proprio agio soprattutto quando le proprie sonorità - melodiche o meno, progressive o meno - sembrano farsi più dure: è forse più su quelle, insieme all'unire in maniera fluida Progressive e Melodic, che i Nostri dovrebbero concentrarsi maggiormente per il futuro. "Ex Oriente Lux" è una partenza discreta per la band asiatica, ma il potenziale per fare di più nel prossimo futuro ci sono tutte.





Como dije muy a principios de año cuando reseñé Crudified, el segundo álbum de la banda de black metal Eibon, Singapur lentamente está tomando cada vez más relevancia en la escena del metal del Sudeste Asiático, algo bastante llamativo considerando su tamaño diminuto. Y para demostrar que este es un proceso que todavía continúa, vamos cerrando el año hablando acerca de otra banda singapurense, en este caso el trío Adarrak, que en mayo editó su debut Ex Oriente Lux a través del sello Satanath Records, con la edición física siendo editada en conjunto con el sello malasio Astaka Arungan Musik.


La verdad es que decir que Adarrak es un grupo de Singapur vendría con unas grandes comillas a los lados, siendo que está formado por el guitarrista singapurense Emmanuel George Bi, el bajista español Zigor Muñoz (estos dos residentes en la ciudad-estado) y el cantante colombiano Gustavo Valderrama, quien también presta sus cuerdas vocales a Headcrusher y Sol de Sangre. Un verdadero proyecto internacional, de esos que sólo nuestra era de la Internet puede crear.


Si uno busca información acerca del grupo, la etiqueta que más se utiliza para definirlos es “death metal”. Y apenas “Final Ethos Demise” da rienda suelta al álbum con un blast beat y una avalancha de guitarras distorsionadas hasta el hartazgo, esa parecería ser la categoría más acertada para describirlos. Sin embargo, a medida que va rotando el plástico y el resto de las canciones se van revelando, se hace cada vez más obvio que reducir lo hecho por Adarrak a esas dos únicas palabras no es suficiente.


Está claro que tanto la antes mencionada “Final Ethos Demise” como “Mettle” y “Bereft”, que tiene como invitado a nada menos que Marty Friedman (ex Megadeth) en el solo, tienen una alta dosis de blast beats, pero escuchando el resto nos encontramos con que esta técnica es más la excepción que la regla, con la batería (a cargo del músico de sesión australiano Robin Stone) enfocándose en ritmos más tradicionales en el resto de los tracks. E incluso en esas canciones, es bastante llamativo que Adarrak le pongan mucho más énfasis a la melodía que a la brutalidad primitiva típica del death, con la mezcla de riffs clásicos y la combinación de voces guturales y limpias por parte de Valderrama cruzando más de una vez la barrera y metiéndose de lleno en terrenos de la escena del melodeath de Gotemburgo.


Canciones como “Mettle”, “Withering” y “Beneath the Vault of the World” recuerdan mucho tanto a la obra de In Flames y Dark Tranquillity como al Carcass de Heartwork, por citar ejemplos clásicos del death melódico. Como dijimos antes, Valderrama va intercambiando entre los gritos brutales y las voces limpias, aunque hay aclarar que estas últimas no son de ese estilo ultra limpio, como para avisarle a la gente que tiene cierto prejuicio contra esas mezclas. Estas voces tienen más relevancia de la que uno podría llegar a esperar, con “Into The Abyss” teniendo largos periodos de voces inteligibles antes de volver a la guturalidad.


Todo muy lindo hasta acá, pero nada de esto resultaría sin las canciones indicadas. Y es reconfortante poder decir que Ex Oriente Lux no aburre a lo largo de sus 37 minutos, siempre y cuando uno sea fan del melodeath. “Mettle” se lleva el premio a mi canción favorita del álbum, con ese riff poderoso al principio como para escuchar con el puño en alto, mientras que el instrumental final “Fire Will Cleanse” es una inyección de adrenalina que cierra muy bien todo el trabajo. Bi es un guitarrista con mucha técnica pero que prioriza el riff por sobre todas las cosas, lo que ayuda a que las canciones no se sientan como un simple rejunte de notas aceleradas.


Otro punto a favor del álbum es el que tenga una mezcla limpia y clara, algo que se debería esperar al tener detrás de la consola a un maestro del sonido como el sueco Dan Swano. Aunque me hubiera gustado que el bajo fuera un poco más prominente, todo el resto tiene un sonido bien profesional y cuidado.


La única contra que le podría llegar a encontrar a Ex Oriente Lux es que es claramente un disco sólo para fans de este estilo. Todo lo que intenta hacer lo hace muy bien pero nada es muy original, y todos los clichés del estilo están bastante presentes, con sus riffs melosos y su dualidad vocal. Pero esos son clichés porque son elementos ya probados y atrayentes, y si uno es fan de toda esa movida sueca de los noventas y tiene sed de escuchar ese sonido, entonces el debut de Adarrak es una muy buena opción para saciarla.





Presenciamos mais uma estreia musical. Desta vez, surge das longínquas terras de Singapura e do trio Adarrak. “Ex Oriente Lux” é o nome do trabalho em questão e cai dentro do grande universo do death metal, apesar de que num recanto bastante específico. A sonoridade deste álbum é uma de cariz épico e orientado para o melódico e mais pensado, isto é, não é uma explosão constante de agressividade e de “barulho” aleatório. Este trabalho é detentor de um cariz exploratório muito pouco comum, na medida em que se fôssemos ouvir cada uma das suas faixas separadamente, dificilmente diríamos pertencerem todas ao mesmo conjunto de músicas. Por outras palavras e a fim de exemplificar, este é um álbum que tanto está em modo brutal como está em modo mais melancólico com os seus vocais mais limpos. Acredito que será esse aspeto que se dividiram as opiniões em relação a este álbum. As partes melódicas relembram, ocasionalmente, menor inspiração e menor motivação por parte de quem as ouve. Por isso, é um bom álbum com os seus obstáculos.





27 мая 2021 года на питерском лейбле «Satanath Records» вышел альбом «Ex Oriente Lux» сингапурской прогрессив-дэт-метал команды Adarrak, которая была образована в 2016 году участниками таких групп, как Headcrusher, Norse, The Amenta, Dispositous, Sol de Sangre и Somnium Nox.


Диск был был сведен и смикширован легендарным шведским продюсером Дэном Сванё на «Unisound Studios» и, по его собственным словам: «Adarrak действительно прогрессивны, поскольку они не боятся внедрять все виды металла в микс».


В записи пластинки приняли гостевое участие Марти Фридман из Megadeth (его соло можно услышать в песне «Bereft»), а также другие местные музыканты (Üllermach, Boxchild).


«Oriente Lux» — это древняя латинская фраза, которая дословно переводится, как «из восточного света». Ее значение заключается в том, что восточные религии/спиритуализм более «духовны», чем «материалистический» Запад.


На обложке, созданной Маттиасом Нореном, изображены западный и восточный берега мира – первый погружен во тьму, а другой озарен светом.


Как можно догадаться, лирика тоже несет в себя глубокий смысл и является философской. Все тексты написаны Зигором Муньосом и Густаво Вальдеррамой.


Материал, представленный на «Ex Oriente Lux, вероятно, придется по душе всем поклонникам экстремального, но прогрессивного звучания с элементами гетеборгской школы дэта.


Эти парни не боятся экспериментировать и успешно внедряют в свою музыку, основанную на классической модели дэта, новые прогрессивные элементы, а также используют заимствования из других стилей. Например, в композиции «Into the Abyss», в записи которой отметился Николас Чанг (гитарист Witchseeker), ощущается сильное влияние грува.


Чистый вокал вполне органично вписывается в общее музыкальное полотно.


Заключительный инструментал «Fire Will Cleanse», в котором солирует Эдмунд "Quekstein" Квек, демонстрирует очень хорошую техническую работу бас-гитары и ударных.


Конечно, на шедевр эта работа не тянет, но, в целом, довольно интересный релиз получился.








Multinational band Adarrak are out with the album "Ex Oriente Lux", and metal is the style explored on this production. The orientation of choice is extreme metal, and in this case a rather dynamic variety of the form. The constant element throughout here is a high level of intensity, while the variable constants are tempo and instrument details. Ranging from slow, pondering doom metal landscapes through to a succession of mid to high tempo sequences with subtle or more distinct differences in instrument roles, this is an album with a clear progressive intent in that specific context, with hammering as well as flowing arrangements alongside several instances combining aspects of both of these types of manners to execute the material. The vocals provide just as much variety, with a handful or so of different vocal styles ranging from clean singing to growls and a few using elements of both. An album to seek out by those who like well made and well produced extreme metal with an emphasis on dynamic features and with a bit of a progressive swagger.




Adarrak arrive de Singapour, « Ex Oriente Lux » est son premier album et il paraît directement sur Satanath Records, de quoi titiller la curiosité.

Malheureusement, même si le trio évolue principalement dans un registre death metal légèrement progressif, il est aussi souvent à la frontière d’éléments plus « core » (breaks et autres arythmies) voire power metal (le chant clair très Dearly Beheaded, Machine Head, etc.). En soi, cela n’a rien de rebutant, loin de là, mais ces changements de style récurrents donnent plutôt l’image d’un groupe qui cherche encore son identité bien que cela puisse sembler normal pour une formation débutante.


D’ailleurs, si je devais donner mon avis, je dirais que c’est justement lorsque Adarrak reluque le plus le metal des 90’s qu’il s’avère le meilleur et le plus intéressant, les versants death (mélodiques qui plus est), sonnant encore trop comme monsieur et madame tout le monde.


Ne désespérons pas, cette formation pourrait bien nous surprendre à l’avenir.





Pojem melodický death metal na sebe během bezmála tří dekád nabalil spoustu variací a významových odstínů od melodicky dochuceného old schoolu po masově přístupnou limonádu s pouhým nádechem původního inspiračního zdroje. Mezi tím se vytvořil široký prostor pro nejrůznější hokusy pokusy včetně základu pro současný metalcore a deathcore. Mezinárodní band ADARRAK, mající základnu v Singapuru, je dokladem mého tvrzení. ADARRAK však uchopili death metal a melodiku z toho serióznějšího konce, není jim cizí styly nesvázaná progresivní linka, která se v různou intenzitou objevuje v každé ze skladeb „Ex Oriente Lux“, jejich prozatím posledním albu.


„Ex Oriente Lux“ by se rozhodně neztratilo vedle AT THE GATES a HYPOCRISY v polovině devadesátých let, ze švédské melodiky prvního vrhu ADARRAK jednoznačně čerpají, v jejich případě to však tak jednoduché není - ještě aby, to bych tu teď neseděl a nesepisoval. Onen progresivní ocásek, který se mrská v každé ze skladeb, dává vzpomenout na končiny podstatně více na jihu starého kontinentu (co třeba MISANTHROPE???). Výsledný mix pak dělá z ADARRAK podstatně zajímavější kapelu, která minimálně stojí za pozornost, což je pro začátek dost na to, aby ve mně probudily zvědavost, zdali tam třeba nenajdu ještě víc. Zpočátku se „Ex Orinente Lux“ jeví jako ničím prudce výjimečné album, které se jaksi seklo v čase na přelomu tisíciletí. To však nemusí být vždycky pouze nevýhoda a odpuzovadlo na milovníky novinek a žhavých trendů. Paradoxně právě tahle skutečnost může být docela silným tahákem a puncem jisté výjimečnosti ADARRAK v kontrastu se současnou moderní produkcí. ADARRAK nejsou tak přepáleně intenzivní a techničtí až na hranici běžným uchem stěží pobratelnou. Všeho si berou tak akorát a společně tvoří jednotlivé roviny (brutální, technická a melodická) harmonický a vyvážený celek, udržující si potřebnou hrubost a nebojím se říci dílem i akademickou noblesu, aniž by se zlomili do uživatelsky odtažitého módu. Sekané riffy dohromady s melodickými pasážemi, notoricky známé zásluhou bezpočtu metalocorových smeček pak zní dosti odlišně a rozhodně ne jako x-krát zkopčená šablona, aby se vyplnilo místo, krom toho jsou do skladeb zasazeny s maximální funkčností, takže nikde okatě netrčí.


„Ex Oriente Lux“, jak to ze začátku vůbec nevypadá, je velmi košaté a vícevrstevné album. Nejsem nijaký všeznalec, abych někomu radil, ale u této desky bych dosti důrazně doporučil vydržet a dopřát ji dostatek soustředěného poslechu, jinak je dojem poloviční. A to by byla škoda, protože ač toto schéma není nic převratného, ADARRAK se ho chopili stylem, který veškeré protiargumenty postavené na archaismu, nepůvodnosti a hře na jistotu staví na hlavu. Skladby v sobě mají dost svébytné atmosféry a vnitřního napětí na to, aby nebyly vnímány pouze jako solidně odvedená technická práce. Obsah poráží formu a to bych viděl jako zásadní argument, pro který by tohle album nemělo ležet bez pozornosti ladem.





I always have a keen eye for records from Asia. While you can arguably argue about the dominance of Slam and Brutal Death Metal in South-East Asia - finding other genres is not so difficult after all. Adarrak, an international death metal band based in Singapore, promises intense riffs with grooves and epic leads. Their album “Ex Oriente Lux” has been out now for a while, and I am here to discuss about it.

The opening track “Final Ethos Demise” showcases intense tremolo riffs with grooves on drums. With melodic guitar leads layering, the track precisely sets up the atmosphere of the album prevalent throughout its run-time. “Into The Abyss” seems like an amalgamation of two songs - one with doomy, sludgy riffs and chanting clean vocals; the other being catchy to its core,with radiating vibes of metalcore and melodic death metal. Add some melodic guitar solos to make it more spicy!



“Mettle” immediately reminds you of cheesy metalcore intros used almost two decades ago. With grooves reminiscent of Lamb of God and riffs like As I Lay Dying, the latter half showcase some intense solo and shred actions on guitar.  “Berift” almost uses the same song-structure as of its preceding track, with the stellar attraction being a Marty Friedman guitar solo along the halfway. “Withering” almost picks up where “Berift” left, continuing with slow arpeggiated sweeping pattern as the main riff, small elements of dissonance are added before flowing into intense groovy rhythm sections. A rather slow paced song - this might be the catchiest song of the album.


I can’t help but talk about the intro riff to “Beneath the vault of the World” that carries an uncanny resemblance to “Holy Diver” (I know my mind and my ears are just messing with me at this point !) The track just builds up on its technical proficiency and intensity with each passing second - being almost crazy with its guitar solo in the latter half. Instrumental tracks are my favorite for some reason - and the guys dedicatedly put an instrumental brings joy on my face. Epic lead sections and groovy rhythm, even some guitar sections - this one becomes the staple for the band’s musicality showcase.



Production wise, the album dates somewhere around late 90s to early 2000s - having an old-school vibe with the guitar tones, while also having metalcore song-writing. Dan Swano, with the production duties of the album, adds flavor to the melodicism of the album, making the album a nice listening experience.  With the eight songs being equally appreciable, a question of memorability remains. With many song-writing tropes used multiple times across different tracks - this might throw off some listeners mid album. In Spite of all the minor bits and pieces, Adarrak proves their quality with a memorable record “Ex Oriente Lux” added to their discography.




Del otro lado del mundo se están gestando cosas buenas en cuanto a bandas emergentes que día a día surgen con un trabajo entre manos y que hacen voltear a verlas a los aficionados , coleccionistas críticos y medios del metal a nivel mundial, tal es el caso de esta banda de Singapur que lanzó su álbum debut de 8 canciones con un promisorio impacto en diferentes publicaciones ya que las reseñas se han visto congratulantes en cuestión de su trabajo y si lo hacen, es porque hay de que hablar pues “Into the Abyss” te engancha, “Befeft”, “Withering” lo afirman y “Fire Will Cleanse (Instrumental) lo confirman, que el death metal de esta banda tiene futuro y esta blindado contra cualquier crítica, pues is bien la influencia de las bandas de la old school es innegable, lo mismo pasa con su buena empatía para darnos este buen death metal.




Sin I - Guitar/Bass: Frantic riffs – with a complex/technical composition


Sin II - Vocals: Monstrously growls/clean vocals


Sin III - Drums: Full throttle rhythmic aural battering & beats


Sin IV - Overall: I welcome you all to ‘Adarrak’ with their debut release of approximately (over) thirty-seven minutes of the runtime of seven track and outro


Soon as the listener presses that play button, one is welcome to the opening track “Final Ethos Demise”, which welcomes the listener with an energetic sound of brutal & frantic riffage, drumming and monstrously growls -follow close behind an atmosphere and sound of progressive, melodic & modern death metal which carries throughout the album.


Following suit with the second track, “Into the Abyss”, and the remaining six tracks, which provide the listener with fantastic musicianship and craftsmanship and provides the listener with a truly encompassing experience… At the same time, ‘Ex Orient Lux’ is a complex/technical release, which made it hard to review (but dam enjoyable at the same time) due to the album having this “showcase of death metal that shifts between styles throughout the release” which are Swedish old-school death metal, progressive metal, slow doom/romantic gothic-doom moments, death-doom, black metal, & melodic metal. Simultaneously, the album also provides the listener with moments in the music that feature characteristics such as vocals alternating between clean and saturated vocals/brutal-howling growls, a tint of thrash explosion/tearing moments, powerful and heavy sections, head-nodding moments, -Esque tone of  Kataklysm/Amon Amarth, – while the guitar craftmanship/composition is an excellent complex/technical of solid razor-sharp/clean riffs (at times dark) melodic/melancholy leads and rhythmic (epic) solos/slamming chords.


Bringing the listener to the closing of the album, with the closing piece “Fire Will Cleanse”, an epic guitar/drum instrumental closing


“Ex Oriente Lux” is an entertaining, excellent & fresh death metal – for any melodic death/extreme metal fan


Entertaining, excellent & fresh – for any melodic death/extreme metal fan.


Sin V - Artwork: Strong. “The Latin phrase “Ex Oriente Lux” stands for “out of the east, light comes.” Civilization, like light, originates in the east, just as the sun rises from the East. Light is the keyword for understanding the Orient and the overlapping cultures of the Middle East.”


Sin VI - Outstanding: The whole album, guest members, the excellent guitar work, artwork, the shifting between genres/styles. Especially the tracks “Bereft” & “Withering”


Sin VII - Dislikes: None




Today’s review is of Singaporean Progressive Death Metal band Adarrak’s debut album.


This release offers a melodically complex concept with enough of an aggressive element as to also appeal to fans of straightforward Death Metal. With virtuous solos and passages combined with a brutal aggression that is well mastered in the region, the result mixes clear vocals and ominous parts with fast paced and gruesome aspects in a correctly structured way that reeks of modernity and freshness while conserving the essence of the genre, often leaning as well towards a Melodic Death Metal approach.


As aforementioned, it is a decent full-length in the eyes of a purist, but listeners of more technical genres may also find some additional layers of depth that synchronize well with their aura. Notably, some songs also have an almost Doom feeling that makes the whole a lot heavier. My personal highlights are “Final Ethos Demise” and “Mettle”.


I recommend this album to fans of Death Metal, especially of Melodic Death Metal and Progressive Death Metal.