There are times in life when certain forces align, their energies colliding and creating events that seem like pure chance, especially when they occur beyond our control. This review is the product of one of those occasions. It seems, and this is somewhat of a personal matter, that I'm experiencing a manifestation of something I said I wanted to do some time ago: delve even deeper into the immense abyss that is the Colombian underground black metal scene. A scene to which I've always had a superficial exposure, mainly through acquaintances from many years ago. But after meeting true Hellmanos and Hellmanas from that beautiful land (you know who you are, and we love you all dearly), that exposure has become almost a firsthand experience, in every sense of the word, through both active and passive engagements. Of the many bands—because, I insist, they shine in abundance—one that particularly caught my attention is the one we're discussing today: SANIUS. Under that name, Agarthic, who would later also be part of other bands like Thy Endless Wrath and Radagond, channeled all his earthly and otherworldly concerns back in 1993, a year now etched in the memory of ordinary mortals. Always operating in the shadows from Armenia, capital of the Quindío district, in the heart of Colombia's coffee region. At that time, only two demos and a split with Mephiztophel materialized, which, from 1997 onward, comprised Sanius's entire trajectory before vanishing into the fog of eternal night. There was still so much more to show. A final work that didn't see the light of day until much later, in 2022. It wasn't until that recent date that Sanius's first proper LP, Cantìcum Eternum, could be released. This release was more than just the unveiling of a work that was entirely new until then. It also involved the joining of forces between Agarthic and Tophel, who, having previously worked together in Thy Endless Wrath, would become the permanent drummer for Sanius, perfectly balancing his duties with Utuk Xul. This would be solidified with the release of the album we're discussing today: Astros y Sabios (Stars and Sages), Sanius's latest assault. With a career so steeped in almost primordial times, more specifically the second wave of Black Metal, one might expect, at the very least, the hallmarks and customs of that golden age… Well, the first thing Astros y Sabios does is grab you by the jaw and, with a sudden jerk, pull you straight into that era, that atmosphere, that same darkness, as solemn as it is menacing. From his very throne (De Mio Thronus), Agarthic envelops everything within sight in darkness with only the evocative notes of an organ that stifle all possible light. This is merely an introduction, a first call to this ancient knowledge, before the "Evocation" itself fully materializes in its most absolute intensity. It is at this point that we can see the artistry of Agarthic and Tophel in all its exquisite detail. Voices that howl at the ruling stars summon the true energies, while a sonic display spares no melodic nuances or force, achieving a perfect sonic balance that exudes both esoteric darkness and epic warfare from every pore. All of this unfolds in distinct passages, yet they are united by a subtle thread that keeps you oriented. This feeling of continuity, not repetition, is seen in "Astros y Sabios" itself, after an introduction by an acoustic guitar that takes us by the hand through a dreamlike passage, so that we can better concentrate on the subsequent illuminating trance that the theme itself represents, channeling ancestral knowledge in order to perceive both wisdom and strength towards Victory.
The creative process behind this album, this return, this invocation, is an amalgamation of diverse elements and energies. This is evident in both its technical and esoteric aspects, as both methodologies were extensively employed in its creation. Regarding the technical aspect, I can attest to the immense effort involved in recording and mastering the work. The recording took place at Sound Blast Studios, located in Armenia, Colombia, and owned by Mauricio Gallón, guitarist of Internal Suffering. This arduous and laborious process spanned a full year, from April 30, 2023, to the same date in 2024. Following this, and further connecting Colombia and Spain in its genesis, the renowned Empty Hall Studio in Madrid handled the mastering phase in May 2024. Finally, and perhaps most importantly, there is the aforementioned esoteric aspect: the foundational chords were created by Agarthic himself. Through a ritual process atop a mountain, the Great Serpent is materialized, using an acoustic guitar as a conduit. Understanding all of this explains why such power, such energy, reaches us in such a clean and pure way, in perfect natural balance. This is followed by a "Dialogue with the Ancient Serpent," which delves deeper into the formula already shown in the "Evocation" of this entity, thus releasing its strength and making us one with it. In this somewhat unusual way, we reach the first half of the LP. And while it's not exactly short, approaching 40 minutes in total duration, each track is more than just enjoyable and interesting to listen to. It even feels like the perfect length, despite being true anthems averaging around 7 minutes each. That's not counting the instrumental tracks, of course. Obviously, this means the total number of tracks is quite manageable. Seven tracks in total, including “De Mio Thronus,” an outro, and a brief interlude before “Gladius Immortalitis.” This follows a similar structure to their previous album, Canticúm Eternus. And what can be said about “Gladius Immortalitis,” the Sword of Immortality… Tophel interweaves martial rhythms with more melodic and forceful passages. The cadence is always firmly marked at a mid-tempo. It reflects the essence of that ancient blade as Agarthic's verses, both in prose and riffs, unfold one by one. As that immortal fire illuminates us from the hands of warriors from bygone eras of these dark black metal arts, we become one with that power, restored in a ritualistic display where the honor to these arts is more than present, alive and with a conquering spirit. A true climax within the LP itself, and if you ask me personally, if I had to choose just one track from this work, it would be mine, without in any way diminishing the rest of the album. And returning once more to the darkness with this "Outro," until the next assault, which I personally suspect won't be long in coming, concludes this offering from Sanius to the pantheon of the Dark Arts, which for now crowns the pinnacle of the audio temple that Agarthic has been building for over 30 years based on the purest Dark Arts. I can say little more about a project, one of many, that, originating from Colombian soil, is a beacon among the many lights within the firmament that makes up its underground scene, returning to what I mentioned at the beginning of this very review you're reading right now. However, and until proven otherwise, I wouldn't hesitate to say that the light that Sanius projects, his own star, so to speak, is worthy of a ruling star. Waiting, of course, for even more Initiates to corroborate the impressions expressed and discover for themselves the power of this gem.
Sample:
youtube.com/watch?v=9DAUyCwZ7sE&list=RD9DAUyCwZ7sE&start_radio=1
