New full length release through Black Seed Productions, recorded along 2016 and released in 2017, Recorded at the Redrum studio, mixed and mastered at the Moontower, cover art by Alastor Nihilosatan.
The cover represents the toad-demon making the elder sign with his human-like hand as he holds the scepter of hell with his left one in a flooded church backing to a dead congregation.
This redording is my way to go back in time and get all the best of my own roots and making this nightmarish sound mayhem,,,
Enjoy your trip into Hell!
Though the name isn't entirely common in the underground, Akerbeltz has been active since 1996. In its early incarnation, it was a husband and wife duo; Akerbeltz himself and Lilith. However, sometime after 2001's full-length, Tabellae Defixionum, Akerbeltz decided to go at the endeavor alone. Believe it or not, Satànic is the seventh fully fleshed out offering that the solo project has produced, but it's the first one that has come about through BlackSeed Productions.
The majority of the songs on Satànic rely heavily on chaotic compositions that are in the vein of true old school black metal. "Red Dragon", "A Deed Without a Name", and "Ye Olde Hag" all scratch and claw their way inside your cranium with their seemingly helter-skelter style. On the other hand, there is also a lot of Countess-reminiscent orthodoxy at play; "The Crypt" and "Ludum Mortis" being the heavy hitters of this style. These two tracks feature riffs and tremolo picking that's reliant on distinctive catchy hooks, ear-pleasing solos, and drum patterns that compliment it all and bring it together.
Akerbeltz's strong, shrill black metal vocal style rings through the tracks with an overwhelming presence. It's deeply committed to a considerable amount of reverb, which further pushes the raw, occult vibes of the material. There are clearly different production values that separate the vocals from the instruments, the latter of which comes across a lot more straightforward and without any effects aside from standard treble-heavy distortion tones.
Where the guitar comes in with tons of treble, the bass and drums keep the material grounded with constant bassline assaults that stand out prominently. The drumming, in particular, is masterful, and it's filled with tons of double bass kicks and speedy hi-hat taps. Most of the blast beat goodness is saved for the end of Satànic, "Chaos" is just as its namesake describes; it's filled with anarchic blast beats and tremolo riffs, while still being sprinkled with small spurts of orthodoxy throughout it for good measure.
Truly, Satànic is one of the more unique and thoughtful black metal releases to come about in a number of years. Rather than attempting to resurrect the gods of old, Akerbeltz has managed to infuse his music with two types of traditional black metal and still maintain his own personal presence amongst the chaos. Simply put, it's a true black metal release with no bullshit attached; no synthesizers, no faux downgraded production, and no unnecessary features. If you were to tell me this was released in the '80s, I'd believe you, and I'd wonder why Akerbeltz wasn't more popular than Mayhem.
Sample: https://www.youtube.com/watch?...
