The Worst Is Yet To Come [www.crossfire-metal.de]

Ein deutscher Bandname, aber ein englischer Albumtitel? Als ob das nicht schon komisch genug wäre, kommt dieses Ein-Mann-Projekt auch noch aus Israel! Im Gründungsjahr 2007 gab es direkt zwei Demos. Es folgten bis heute zwei EPs und neun reguläre Alben. Trotzdem habe ich von diesem Projekt noch nie etwas gehört. Der zweiminütige Opener beginnt mit Keyboards. Ein fadendünne Gitarre und ein steriler Drumcomputer gesellen sich dazu. Letzterer stört gar nicht mal so sehr, sondern verleiht der Musik eine frostige Kälte. Diese wird jedoch von der auffällig harmonischen Leadgitarre wieder aufgehoben. Dafür klingt der Kreischgesang richtig fies. Die Entweihung klingt stellenweise wie eine rockige Variante von Darkthrone, Burzum oder Gorgoroth, die Melodien kommen dagegen schon mal orientalisch rüber. Landsleute wie Arallu oder Melechesh haben wohl nicht zufällig Eindruck hinterlassen. Auch wenn die Ansätze eigentlich ganz gut sind: So richtig zünden will das nicht. Das liegt vor allem daran, dass die Kombination der verschiedenen Elemente etwas unbeholfen klingt. „The Worst Is Yet To Come“ ist bereits das neunte Album, klingt aber eher wie ein Home-Demo, um Ideen nicht zu vergessen. Aber ich mag den obskuren Kauzfaktor. Die passende Kassette, die es auch gibt, halte ich für die angebrachteste Variante, wenn man das Album im heimischen Schrank stehen haben will.

Note: 6.5 von 10 Punkten
Autor: Daniel Müller

 

The Worst Is Yet To Come  [OccultBlackMetalZine]

 

Die  Entweihung  are  a  solo  project  from  Israel  that  has  had  music  reviewed  before  in  this  zine  and  on  this  recording  plays  a  mixture  of  black  and  dark  metal  and  this  is  a  review  of  his  2018  album  "The  Worst  Is  Yet  To  Come"  which  will  be  released  as  a  joint  effort  between  Wings  of  Destruction  and  More  Hate  Productions.

  Atmospheric  sounding  synths  start  off  the  album  which  also  mixes  into  the  heavier  sections  of  the  music  at  times  while  the  riffs  also  add  in  a  great  amount  of  melody  along  with  all  of  the  musical  instruments  having  a  very  powerful  sound  to  them  as  well  as  the  solos  and  leads  being  done  in  a  very  melodic  style.

  Vocals  are  mostly  grim  sounding  black  metal  screams  while  death  metal  growls  can  also  be  heard  briefly  along  with  the  faster  sections  of  the  songs  also  adding  in  a  great  amount  of  blast  beats  as  well  as  a  great  portion  of  the  tracks  being  very  long  and  epic  in  length,  elements  of  middle  eastern  music  can  also  be  heard  as  the  album  progresses.

  The  slower  riffs  also  add  in  influences  of  doom  metal  while  some  tracks  also  show  an  influence  of  thrash  and  traditional  metal,  along  with one  song  being  an  instrumental  as  well  a  some spoken  word  parts  also  being  heard  briefly  and the  album  closes  with  a  cover  of  Doro's  "Long  Lost  For  Love".

  On  this  album  Die  Entweihung  changes  his  musical  style  keeping  some  of   the  black  metal  side  but  adding  in  some  elements  of  doom,  thrash,  middle  eastern  and  traditional  metal  to  create  his  own  form  of  melodic  dark  metal,  the  production  sounds  very  professional  while  the  lyrics  cover  death,  depression,  darkness,  sorrow  and  pain  themes.  

  In  my  opinion  this  is  another  great  sounding  recording  from  Die  Entweihung  and  if  you  are  a  fan  of  melodic  black  and  dark  metal,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "The  Holy  Land"  "Nailed  To  The  Worthless  Fate"  and  "Not  For  Devil  Anymore".  8  out  of  10.

 

 

 

 

Neverending Terrorism [Traumatic Static Webzine]

 

I.) MEGALOMANIA:

"Neverending Terrorism" is DIE ENTWEIHUNG's first release to abandon

the raw Black Metal style that was the primary focus of previous releases.

Solo member Denis Tereschenko even went so far as to abandon his previous

stage name during this rebirth of the project's style. Here we find DIE

ENTWEIHUNG adopting a melodic Dark Metal style. Still raw and unpolished

overall, but still much smoother than previous efforts. Although this style

was present during moments of previous albums, This is the first time it's

been the main focus for the act. "Megalomania" intro's the album with a

cinematic score featuring beautifully hand picked acoustic guitars along

with stunning piano melodies over hauntingly flowing synth strings. The

melody is intoxicating and every instrument is perfectly in tune and in

time. Various movements take place making for a great introductory piece.

A little more "uplifting" at times than what I usually prefer, But with

enough dark and doom-ridden tones weaved within it's passages to make for

an enjoyable track for those more inclined to menacing or depressing themes.

 

II.) DEATH IS PRIMA DONNA:

Following is a mid-paced guitar based groove. Programmed drums, Lead guitars

that bring to mind early to mid TIAMAT and bass guitars that compliment the

piece without wandering too far from the initial structure. The vocals start

out as deep and rough grunts in a traditional 90's Death/Doom style. Think

early ANATHEMA/PARADISE LOST/DARK TRANQUILITY/KATATONIA/Ect. Clean vocals

are present on the chorus but feel a bit too lazy and uninspired to me...

But this is common with this style of Metal. The lead guitars are just as

excellent as on the previous album I reviewed by DIE ENTWEIHUNG, And at

times perhaps even more skillfully executed. The drum machine programming

sounds a little more refined this time around as well. Soaring leads lift

us up and drop us back off into the pre-chorus/chorus which is pretty badass

and catchy in a good way that you rarely hear from Metal bands these days.

There is a really weird, But awesome synth segment that plays along with

another guitar solo as heavy mid-tempo riffs play on. Some interesting

drum tricks are added to make this a solid track overall. 

 

III.) 9/11-24/7:

Although the track title here is kind of goofy, It does recall the old

Political commentary tracks of 1980's Thrash Metal bands. The song itself

is similar to the previous one but slightly more menacing and gritty in

tone. There are some badass riffs featured that bring to mind early MERCY-

FUL FATE, GROTESQUE (Pre AT THE GATES) and many other great releases that

most people have long forgotten, So it is truly great to see this style on 

a release that is less than a year old. A synth piano/violin interlude brings

fatigued and miserable atmospheres. Mid paced drums and slow, Melodic lead guitars

take us into a passage that recalls early MY DYING BRIDE and KATATONIA. An excellent

demonstration of the original Dark Metal and Death Doom sounds with close attention

paid to melody, Flow and feeling...Something that a lot of underground music seems

to lack these days. We return to the doom laden MERCYFUL FATE style riffs and once 

again we are headbanging in slow motion. Violins return and add a very Progressive

Metal vibe to the song which I really liked. The synths are not the most high end

in terms of sound or tone but they do the job and show off DIE ENTWEIHUNG's skills

in terms of composition.

 

IV.) REQUIEM FOR A LIVING:

First era MORTIIS and second era BURZUM style synth flutes open this instrumental

piece. Soon after we are greeted by slow/mid-paced rhythm guitars/Bass/Drums and

beautiful soaring leads. This is definitely my favorite track on the record so far

when it comes to musicianship. The leads are slightly similar to ANATHEMA and the

following rhythm guitar chug is as well. The following leads however are closer to

early KATATONIA demos in their flow and notation. Delay/reverb is utilized without

being used as a method to hide behind. All the settings are crisp and clearly heard.

Many underground Metal bands these days hide behind walls of sound generated from

their effect pedals being cranked up to ten, But Denis Tereschenko possesses the

skill to really shine without needing too much extra help. Once again, Something

that is far too rare in the underground Metal scene nowadays.

 

V.) LIFELONG SUFFERING:

"Lifelong Suffering" is another instrumental interlude that actually works pretty

well. Typically too many instrumentals one after another can be pushing it, But

this is not really the case here. Finger picked acoustics glide over piano notes

that are both deep and brittle. Resonant and warm tones play along with more 

meditative and Folk oriented cord progressions. The overall feel is sort of similar

to ULVER's acoustic work on their second studio album. Although this is not nearly as

dark sounding as the name suggests, It does send one into a daydream like state

of contemplation which can be just as powerful and effective when exploring such

themes as lifelong suffering and agony. In fact the track comes across as a funerary

ballad or dirge. An audio obituary if you will. Whether it be intended to mourn the

loss of a loved one or a loss of quality and enjoyment of one's own life, Only

Denis Tereschenko can truly know. 

 

VI.) GOD'S GREEN NAME:

The next two tracks feature a return of vocals. Perfect timing that makes for

great and thematic album pacing. "God's Green Name" is your standard Metal

song about people being fucked up and fucking up the world around them in

the name of greed and religion...So nothing groundbreaking there, But it is

still a pretty solid track regardless. We're still in mid-tempo as we have

been for at least 90% of the album. Not necessarily a bad thing. The guitars

are smooth and almost bluesy on this one. Clean guitars are added and we go

into a doomy, Melodic ballad featuring whispered rasps and chilling cord

progression's. This kicks into heavy melodic Death Doom that is about as

true to the genres sound as you can get. Warm synth string arrangements

joined by emotive leads fill the air with a sorrowful chill that is enhanced

even more when the drums and whispered vocals return. The heavier moments on

this one really remind me a lot of the early days of DARK TRANQUILITY. Early

90's Doom Metal done right. Interesting shifts and changes keep this one going

strong. Probably my favorite track on the album overall. Slow pounding double

bass drums under killer leads, Rich rhythm guitar tone and simple, Yet effective

riffing, Synths in the right places and a steady bass throb, And a little more

diversity vocally all make this one a stand out track. Basically think early

MY DYING BRIDE covered by early DARK TRANQUILITY and you'll have an idea of

what this one sounds like. There is also an interesting synth interlude at

the end of the track that has a bit of an early OPETH sort of sound to it.

All around a great track.

 

VII.) SMARTHPHONE MAN:

I must admit that the title of this one made me laugh but it is relevant to the

world we live in. Consumerism, Greed and a lack of overall intelligence among

humanity today are the key themes of this record. Thrashy riffs are joined by

a lead melody that is a little too "happy" to my ears. It's not bad, Just a bit

too playful for my taste. Strong vocals and sinister tremolo picking make up for

it though. The drums are particularly well placed on this one. Definitely a toe

tapper. The main/opening riffs are repeated along with choir synths and it makes

for a perfect combination. Moments of this track are twice as fast as most of the

album. Still not Speed Metal by any means but a nice pick up in pace. Epic/Symphonic

moments really shine through here as well as hints of traditional Middle Eastern scales

that glide over crunchy power chords. Elements of traditional Heavy Metal are also present

and the combination of all of the above mentioned is quite stellar. That one riff that bugged

me makes a return that I could do without but hey, That's just me...And it's not something that

should stop one from enjoying a song that is arranged and executed this skillfully. Again we

have moments that tend to have a Progressive Metal quality to them. Especially on the later

half of the track. A strong end wraps this one up and takes us into the finale.

 

VIII.) SEDATION:

"Sedation" closes things and comes on fragile and beautifully acoustic strings. 

Once again finger picked. This one flows fluidly and has a very 1970's Folk

sound to it. Short but enjoyable. A nice closer for sure.

 

RECOMMENDED FOR FANS OF EARLY 90'S DEATH/DOOM AND DARK METAL BANDS LIKE: PARADISE LOST/

MY DYING BRIDE/TIAMAT/ANATHEMA/KATATONIA/THE GATHERING/DARK TRANQUILITY/ETC:

 

7.5/10

-ABATTOIR-

 

 

 

Die Entweihung - Neverending Terrorism [https://wyrdwordsandeffigies.wordpress.com/]

 

It’s been a long time since I’ve sat down and actually reviewed an album, so I was pretty psyched when I was sent Neverending Terrorism by Die Entweihung, a one man dark metal band from Israhell. (See what he did there?)

Fronted by Herr Entweiherr, the themes that Die Entweihung explore within this new album differ to those he was focusing on the last time I reviewed his music a few years back. The themes used to be predominantly focused on death, depression and darkness, but with this latest release, he has made the decision to focus on the modern world and its sad reality.

The last time I listened to Die Entweihung I was reviewing his 2013 album The Cage. I can still recall the impact that this release had on me. I gave it ten out of ten after being blown away by the sheer amount of diversity.

Die Entweihung was putting out black metal music when I last caught up with the project, but there has been a slight adaptation to the band’s style since then, and hard rock and heavy metal has been stirred into the mix.

The song titles – like the lyrics – do much to intrigue. While reading the lyrics, I found myself thinking ‘hell, actually, that’s a really interesting way to see that particular issue…’ Take the track 9/11 – 24/7 for example, ‘What happened on September Eleven, soon it’ll be going on 24/7. Good and bad aren’t differed, mixed in one, as the blood coloured clouds obscure the sun forever…and ever.’

The first track Megalomania has a surprisingly catchy vibe from the word go, and I find myself nodding along pretty much straight away. There’s a sound to this song that’s almost impossible to categorise – but I like it. Despite the fact that there is a hell of a lot going on, the track is really well balanced, with, at one moment, a beautiful layer of soft female chorals. Which, though unexpected, work amazingly well. It’s an excellent start to the album, though I am none the wiser as to what I can expect to hear next.

Death is Prima Donna is a world away from the first track. There’s a raw, crunchy black metal bombardment which mingles with a sound that’s jovial, even almost folkish. The vocals are rasping and strong, and everything layered together ensures another really interesting listen. There’s some unexpected clean vocals which, I have to say remind me somewhat of Corey Taylor, but they really add to the mix and prove, once again, the diversity that Herr Entweiherr is capable of providing. Once again the lyrics are on top form. I like the following lyric in particular. ‘Putin and Obama, they’re playing their own drama that was performed already many times before them.’It’s hard to believe that it’s just one man behind all of this. There’s some powerful and epic guitar solos in this track that wouldn’t be out of place on a stage in an arena.

9/11 – 24/7 is another raw offering that sounds like it was recovered in a cave. The rawness doesn’t stop it from being catchy though, and once again I find myself nodding along and, well, really enjoying myself! It’s an interesting song on many levels. With the majority of the material from Die Entweihung, it sounds as though it was recorded directly onto tape into the early 90’s. I can recall writing in my previous interview how surprising it was this the music was so raw but still so catchy and this is the case again here.

Requiem for a Living is an instrumental, synth heavy track that takes us down yet another road that is in no way likened to the one before. To start with I feel as though I’m actually inside a computer game. Then languid guitars roll in and are followed by a real heavy metal vibe. One thing I ought to mention is how Herr Entweiherr has mastered the laying exquisitely. Everything is well balanced, making for a thoroughly enjoyable listening experience. Mid way through the track, things start to really pick up pace, and I feel my heart beating that little bit faster. I have a sudden urge to head bang. As it turns out, this is my favourite track on the album.

Lifelong Suffering takes a little bit longer to get into. It has quite a mid paced start, that doesn’t quite grab my attention like the previous songs have. But after a few minutes, changes start. Whispered vocals emerge and really fucking unnerve me. The song becomes heavier and darker and obtains more substance. It most definitely recovers from its rather flat start.

God’s Green  Name grabs my attention from the word go and does not let up. There’s an epicness to this track which hasn’t really been heard in the previous song, combined with some really interesting lyrics. It’s a song which is packed with diversity and strength.

Smartphone Man is a really original track, the likeness of which has never been heard before! I’m digging the harsh vocals and the quick pace. Once more, there’s a lot going on, but it never seems to be too much. I was unable to predict anything in this track, so once again everything came as a real surprise.

The final track VIII Sedation is the most unexpected of them all. It’s a beautiful acoustic instrumental, which, in all honesty, I could listen to all day. It’s a perfect way to finish things off.

Well, what can I say? What a fucking excellent ride! The diversity within Neverending Terrorism is astounding. There wasn’t a split second where I felt even the tiniest bit bored. Though I think you’ll need to listen to it a few times to fully appreciate all of the layers.

Herr Entweiherr isn’t afraid to experiment, and I really respect him for that. If you are struggling to find music which satisfies you on multiple levels, I highly recommend you get your hands on Neverending Terrorism.

For information on how to get your hands on a copy, head here.

 

Katie Metcalfe

 

 

 

Die Entweihung - The Last Shelter [From thatshowkidsdie.com]

 

Israel’s Die Entweihung is the longest-running of the four bands featured here, yet The Last Shelter comes up a bit short in comparison to the other three. That isn’t to say it’s bad, but Die Entweihung simply isn’t as weird as Dunnock or Xarkrinur, nor as thoughtfully crafted as Behold Darkness, which means that in spite of being a fine collection of songs on its own, it just doesn’t stand out. Granted, according to the Psalm 88 Bandcamp page these are among the project’s earliest recordings, so it’s totally possible that The Last Shelter represents the foundations of a project that developed into something great and I’m just not aware of it as yet.

It might sound like I’m dogging Die Entwiehung, but that’s not my intention. There’s some great lo-fi punky black metal to be found here, although the best track is “Honey For My Wounds,” a totally bizarro cover of Ukrainian doomsters Mournful Gust, which is another band I’m embarrassed to admit to not being at all familiar with. My favorite part of this compilation is the off-kilter guitar solos, and I wish more under-produced, ultra-grim black metal bands would incorporate this kind of stuff.

Hell, forget everything I said in the first paragraph; Die Entwiehung’s mix of fucked up leads, a burly guitar tone and trashcan computer drums is actually pretty darn awesome, and it’s evident that I need to check out their back catalog for a better frame of reference re: this tape.

 

 

 

Die Entweihung - Despair Divison, A Tribute to Joy Division Review[Temple Of Darkness Zine]

7/10

 

Musicians that play black metal draw influences from thousands of different places. Sounds around them, the beauty of nature, their hatred towards religion, anything and everything could be used as an influence on one’s music. Obviously, other music is usually the main influence to a musicians sound. However, within black metal, punk music is not a typical influence unless you’re Die Entweihung. Their unique blend of black metal sounds with punk aesthetics is quite intriguing and unique. The latest release, Despair Division, is a tribute to Joy Division. Joy Division is a punk band that was formed in England in 1976 and broke up a mere 4 years later. While their career was short lived, they did impact the music scene back then. Die Entweihung took a collection of Joy Division songs and made them into his own, adding a raw black metal sound to punk songs, creating a very strange blend of two genres.

The drumming as very punk-oriented. Most of the beats are standard for that era’s music with a few little twists of extreme metal drumming thrown in for good measure. The two different styles of drumming fit surprisingly well together and you barely notice the transitions in between them. The sound of the kit is what you would expect for a raw black metal release. The cymbals sound very distant and the kick is right up front blasting away. The guitarist took the old Joy Division riffs and added quite a bit of distortion on them. They have a lot more melody than black metal usually does and just like the drums, switch between styles. The tone of the guitar is quite good and it stands out on most songs. There are some keys that present themselves in a few tracks which add a nice touch to the atmosphere of the music. Vocal wise, this release is quite weak. Typically, the vocals are hidden in the mix and are inaudible. At the points where they stand out, they just aren’t as strong as they should be. Sometimes, I praise releases that aren’t too vocal oriented because it gives the music more chance to speak for itself but in this case, the music is quite simple and gets boring after a while.

Die Entweihung is a band I have followed for a bit now and I must say, this was my least favorite release that they’ve put out. That is by no means saying that this release is bad, but I am not a huge fan of punk in any form and I think that their original material stands out more than this does. I do commend them for paying tribute to a band that has had an influence on them because that is not an easy thing to do. If you are looking for a unique release and a different approach to black metal, check this album out and see what you think!

 

 

 

DIE ENTWEIHUNG Despair Division: A Tribute To Joy Division (Acephale Winter Productions) [www.aquariusrecords.org]

 

Two strange releases on this week's list from local black metal label Acephale Winter Productions, the other is a twisted tape of blackened industrial ambience from a UK outfit called Synsophony, and this one, which somehow might be even weirder, a collection of Joy Division covers from an Israeli black metaller called Die Entweihung, who manages to transform these classic tunes into something slightly blacker, but only slightly, just check out his version of "Love Will Tear Us Apart", which minus the raspy vokills, and the programmed drum machine rhythms, is not that far removed from the original, in fact, the chorus is even clean vocal crooned, but the bridge does get a metallic makeover, and there are little flurries of robotic double kick drum, so ultimately it's a pretty faithful rendition, with some blackened filigree, which is fine with us. And that said some of the other covers do get a bit more far out, the metallic component cranked on some, the synths getting a bit krautrocky on others, and one or two get almost punky, sped up and frenzied, the synths all swirly and way up in the mix. "Warsaw" is furious and blackly grim, so is "They Walked In Line", those tracks balanced by some of the others, since clean vocals are far more prevalent than the howled demonic rasp, so it's sort of split right down the middle, the perfect balance between faithful renditions, and warped weirdo reworkings, both of which we ended up digging a bunch.

 

 

 

Die Entweihung "Despair Division: Tribute To Joy Division + One Shot In April" [https://www.lalegionunderground.com/]

 

Die Entweihung est un one man band Israélien formé en 2007, qui a sorti en 2014 son 7ème opus, "Despair Division: A tribute to Joy Division", réédité en 2017 avec en ajout "One shot in april", sorti également en 2014,  hommage à Kurt Cobain.

 

Alors moi qui adore Joy Division, j'ai été intriguée par le fait qu'un projet black reprenne ces titres... mais l'adaptation est une bonne surprise car c'est bien réussi, mêlant chant black et "classique", les morceaux sont parfaitement reconnaissables par qui connaît les originaux.

 

L'album est composé de 9 titres de Joy Division, une intro au piano et une outro. On y retrouve les titres parmi les plus connus: "Love will tear us apart", "She's lost control", "Warsaw", "Atmosphere", "Transmission"...

 

Sur "Day of the lords", il est dommage que les instruments prennent le pas sur le chant, défaut que l'on retrouvera sur la reprise de "Come as you are" dans la "seconde partie" de "Despair Division"

 

"One shot in april " est décliné en trois versions: anglais, electro et russe, cette dernière faisant partie en un seul titre de "Come as you are" avec un interlude entre les deux. Il est rythmiquement simple mais efficace, sans fioritures mais bénéficie de variations. Je n'ai pas trop accroché à la version electro, qui était  dispensable et pas une vraie réussite, assez vite lassante contrairement à l'original et la version russe.

 

Au final une prod sympa à écouter et qui ne manque pas d'originalité, un pari osé mais réussi, la preuve que l'on peut être dans un registre black metal sans faire que du black.

 

Note : 16/20

 

Vanessa

 

 

 

The Cage [headbanger.ru] 

4/10 - Пётр Фатеев

 

За 10 лет существования данный one-man-band выпустил уже не один альбом, а целых восемь, и сабжу суждено было стать шестым в этой довольно обширной дискографии. Конечно, наличие единственного участника хоть и означает отсутствие ограничений, в то же время их налагает – и данный проект стал совершенно ди-ай-уайным атмосферик-блэк-металом с драм-машинами и сырым звуком, при этом не лишенным своей «эстетики отвратительного». Здесь на удивление много мелодий, пусть странных, но тем не менее, местами в духе Summoning, чей кавер завершает сей релиз. Мастермайнд Энтвайгерр использует много синтезаторов, гитар и даже слов – тексты, читаемые со скоростью хип-хопа, практически невозможно воспринять на слух. Из-за обилия мелодий и масштабности треков создается впечатление и псевдопрогрессивности и сходства с теми же Summoning – все-таки надо отдать автору должное хотя бы за попытку выйти за рамки главенствующего в данном стиле примитивизма. Иногда действительно создается ощущение насыщенного и прогрессивного хэви-метала, грамотно стилизованного под блэк. Да и композиции вышли на удивление разнообразными – слушать их из-за ди-ай-уайной специфики и периодической какофонии непросто, особенно неподготовленному слушателю, однако любителям атмосферного и андеграундного блэк-метала здесь многое придется по вкусу. Хотя бы это не дает мне права назвать "The Cage" полной хренью, хотя желание было. Прослушав релиз разок-другой, я все-таки свыкся с мыслью, что просто не готов любить подобную музыку, что не позволяет игнорировать факт наличия в ней действительно хороших идей. Просто не везде они получили удачную, на мой взгляд, реализацию. Тем не менее, проекту удалось сохранить музыкальную цельность на протяжении всего альбома. Возможно, господину Энтвайгерру стоило бы обратить внимание на прочие стили или выйти на новый уровень качества, как тот же наш проект Lauxnos. Ибо местами мне показалось, что попытка воплотить весь этот материал в сырой и отвратительный блэк – худшее, что могло с ним произойти.

 

 

 

The Cage [Destructive-music.com]

10/10

 

Die Entweihung is a one man black metal band from Israel, fronted by Herr Entweiherr. This is my first encounter with Entweiherr’s music, but from the looks of things, he’s one hell of a busy bloke. The Cage, released via Acephale Winter Productions is his sixth full-length release since 2008.

The first track, The Train To Nowhere sounds like it was recorded sometime between 1993 and 1997 and reminds me a bit of Mortiis Era 1 only slightly less morose. The synth heavy sound is soon layered over with a simplistic but majorly effective riff. The simplicity, low-fi production and improvised sound really works in this track’s favour and ensures a really solid start.

The title track The Cage has a significantly gloomier into, and the vocals creep up on you like a night stalker. They’re raw, inhuman and fucking excellent. It’s quite a surprise just how catchy the music has been up to now, what with it being so unrefined. At times, this track sounds quite progressive, but there is still that hint of an early 90’s ambient feel still there. I’m already feeling pretty certain that this is going to be a release I’ll return to multiple times.

The vocals in the interestingly titled Where’s That Life are harsh enough to tear skin. He’s really utilising the underproduced sound, though still manages to be variable and create unexpected moments. The guitar work isn’t over complicated, but it’s hugely satisfying, and I allow myself to be absorbed. The doomy tempo that’s been active for the first half ,and made the blood in my veins sluggish, lifts when we’re mid-way, and gets more insistent and commanding. There is no piss taking where timing is concerned. When the track ends it feels natural.

World Resurrection’s Sympathy has one of those intros that makes you slap your thigh so hard it stings for half an hour afterwards. The riff gets under my scalp and pushes through my skull. It’s not overly complicated by any means, but is one which will be imbedded in my head for the foreseeable future. Imagine drowning, then imagine hearing voices while your life is slipping away, that’s what these vocals are like. It’s unlike any black metal that I’ve heard in fucking ages. There’s an ambience to it too, that’s deeply disturbing.

Martyrs kicks off with another catchy riff. Every track so far on this album is hugely memorable. Entweiherr does a better job at producing a rewarding album than bands who’ve polished their work so you’re distracted by the shine. The rhythm and tone isn’t stereotypical black metal, it’s more of a progressive step, but one that works in every sense of the word. There’s a definite middle-eastern feel to the track at times, though, I have to say, it’s slightly too long.

When the vocals emerge, in Time they’re almost a whisper and are quite unnerving. The layering in this track is masterful, and the heaviness doesn’t take away that almost otherworldly feel. This is black metal that’s pushing boundaries. Entweiherr isn’t staying safe. He’s exploring avenues that many other musicians would quite simply avoid.

Lugburz is my favourite song by Summoning, so I was a bit anxious before hearing this cover. I really didn’t want him to screw it up. But I needn’t have worried. Entweiherr has taken a classic, and has given it chance to breathe again.

There are albums that hit you like a ton of bricks. Then there are albums which hit you like ten tons of bricks. The Cage was a ten ton smash. It absolutely pulverised me, and left me greedy for more.

 

Katie Metcalfe

 

 

 

The Cage ["Black Metal and Brews" blog]

 

Die Entweihung is the solo project of an Israeli musician who proves that even regions not known for having a particularly prominent metal community can generate talented artists. This album is apparently his sixth(!) and it certainly sounds like the work of a determined and ambitious musician. The production is slightly more cleaned up than Infera Bruo's, yet the music still hits pretty heavily. Synths are dominant sources of melody on this album, and while some of the synth voices become a bit cheesy, they work nicely to accent the guitar melodies without overpowering them. While the first track might make the album seem a bit more like a traditional heavy metal album with little black metal elements, the rest of the album delivers a bludgeoning yet melodic approach to black metal that resembles little else I've heard before. Tracks like "Where's That Life?" showcase Die Entweihung's style quite nicely, with solid riffs and some excellent changes of pace thrown in. The only real critique I'd like to raise is that I can see the vocals being an issue for some listeners. I can't tell if they're manipulated or just heavily layered, but they initially threw me off track. Still, the songwriting is strong enough to carry this release onward, with lengthy tracks really allowing the space to show off without it feeling bloated or self-indulgent. Closing the album is a bonus cover of Summoning's "Lugburz," which is enjoyable, although I'll admit to only being mildly familiar with Summoning's material. Snag this if you're into epic songwriting and tunes that feel like journeys.

 

 

 

The Cage [Aristocrazia Web-Zine]

 

Una delle cinquanta copie del nastro di "The Cage" è il mio primo contatto con la one-man band Die Entweihung, da Israele (anche se Herr Entweiherr, all'anagrafe Denis T., pare sia di origine russa); ciò significa una conoscenza estremamente parziale dell'ormai corposo cammino del progetto, che consta di sei album e due demo in poco più di un lustro di attività.

La definizione "raw black metal" che ne dà il web, tuttavia, all'ascolto di questo album, suona piuttosto azzardata. La cassetta pubblicata dalla californiana Acephale Winter, infatti, contiene sette brani di black melodico, strutturato e suonato più che discretamente, nonostante l'approccio lo-fi. Una serie di elementi piuttosto lontana dalla furia cieca e grezza che solitamente contraddistingue le uscite di matrice "raw". Anzi, la presenza di una cover di "Lugburz" dei Summoning è piuttosto indicativa dei suoni e delle caratteristiche propri di Die Entweihung, o almeno di questo specifico album: brani tendenzialmente lunghi (si va dai cinque minuti della traccia che porta il titolo del disco agli oltre undici di "Time"), tastierine midi, drum machine e addirittura degli assoli ("The Cage"). La chitarra non è gelida e graffiante, bensì piuttosto morbida e sporca, ma orientata alla melodia e all'orecchiabilità più che alla rabbia e alla velocità a tutti i costi.

Una peculiarità dell'operato di Herr Entweiherr risiede poi nello scarso utilizzo della voce: il growl profondissimo e bestiale di cui il musicista fa uso è quasi secondario rispetto all'enorme presenza degli strumenti, tanto che non è raro imbattersi in lunghi passaggi in cui non viene fatto alcun uso del microfono. Il primo, ad esempio, è un brano di quasi sei minuti totalmente strumentale, con grandi influssi atmosferici e una robusta dose di tastiere, mentre la già citata "Time", se da una parte contiene l'unico esempio di voce pulita dell'album, dall'altra viaggia per lunghi minuti senza che venga proferita parola.

Il risultato ultimo del lavoro di Denis T. è comunque un album piacevole, costruito con perizia e senza voler strafare, ma in grado di intrattenere per tutta la sua durata; la produzione povera e il formato su nastro contribuiscono a creare un'atmosfera che si sposa ottimamente con la drum machine e il sound "retrò" (leggi: "ancora più povero") delle tastiere; l'impressione finale è di un disco divertente, non particolarmente impegnativo, però assolutamente godibile, di cui potete farvi un'idea direttamente dalla pagina Bandcamp dell'etichetta.

 

 

 

The Cage [Traumatic Static Webzine]

 

The Cage is the sixth album from the one man Metal project DIE ENTWEIHUNG

and apparently the last of his albums to focus on a primarily Black

Metal styled sound. Sole member H. Entweiherr went on to create music

under more of a Dark Metal/Doom Metal banner after this record and even

composed/included dark, brooding and mournfully moody Neo-Classical arrangements

in much of his work. (Some of which is present on this release as well.) This is

a reissue of The Cage and includes a cover of the classic SUMMONING song "Lugburz."

This project is somewhat of an enigma as all of the information available points 

towards this being an Israel based project, However the lyrics are in Russian.

(English translations are included in the insert.) The opener,"Train To Nowhere" 

takes us into a melodic medieval string arrangement with a hint of sorrow that is

very reminiscent of the instrumentals on the early BURZUM records. Rhythm and lead

guitars soon follow along with a healthy bass guitar groove and cold/inhuman programmed

drums. There are some pretty cool pipe organ type keyboards that give this a bit of an

early 90's secondwave Black Metal atmosphere. Similar to GEHENNA at times. Guitar solos

are also included to really amp up the oldschool appeal. There are many breaks and changes

to keep things interesting that also give this a 1980's Thrash edge. Overall it's a pretty

solid intro track. The production is somewhat gritty and lo-fi which I prefer. When Metal

sounds to clean it tends to lose it's fury in my opinion. "The Cage" opens with a sorrowful,

Yet menacing twin guitar segment and quickly heads into a mid-paced Black Metal stomp. The

vocals are a mass of semi distorted/treated rasps and grunts that appear to be layered as

there is a "daemonic" or unearthly quality to them. The main melody throughout the song is

strong and catchy but I wish the guitars had a bit more power to them in terms of tone. The

scales/harmonies used come across like a Blackened rendition of the classic IRON MAIDEN style

with a 90's UK Doom Metal tone emanating from them. Fans of early SATYRICON, GRAVELAND, and other's from the classic camp will surely find something they like. The formula laid out be

artists like DARKTHRONE, EMPEROR and ENSLAVED is present here although DIE ENTWEIHUNG tends to stay around the epic/bombastic side of things. At times this could be classified as Progressive Metal. "Where's That Life" builds on deep bass lines and tremolo picking. Semi-harmonic but a little moodier than the previous tracks. Next it kicks into a slow Death/Doom crawl with soaring lead melodies and heavy rhythm guitars. A low/high vocal combo enhances the style which is similar to early MY DYING BRIDE, PARADISE LOST, THE GATHERING, ANATHEMA, Etc. Elements of Funeral Doom are also included which

make for a great atmosphere. To be honest I haven't heard many albums pull off these styles other than the original innovators, So DIE ENTWEIHUNG did a decent job of carrying on the tradition...Especially being that this is a one man project. In terms of composition this is excellent stuff. Both skill and technicality show off here. The solo work is pretty damn solid too. "World  Resurrection's Symphony" has a bit of a Folk/Viking/Medieval Metal flair to it. The vocals seem kind of overpowering and rushed at times and there are moments that can feel slightly sloppy, But not really enough to make the song suffer too great of a loss. Not my favorite track on the album, But I've definitely heard much worse. There is a simple power chord riff featured that has a cool second wave vibe to it and the distortion is thick and crunchy giving this a nice chunky tone. Once again the solos scream and keep that killer classic Metal style going. More melodic moments are similar to early TIAMAT and KATATONIA, So again the best traditions of Heavy Metal are very much alive in DIE ENTWEIHUNG. Drum fills take us into an early GORGOROTH style groove to finish things off strong. "Martyrs" is another instrumental/interlude that has some cool thrashy moments. I wouldn't call any of this original but the riffs and song writing are all quite excellent. DIE ENTWEIHUNG does shine strongly when it comes to the flow of arrangements, Particularly how well timed and placed the guitar/keyboard segments are and how well they synch up with one another. Synth choirs/flutes are added to enhance the epic/warrior feel of the piece and the guitar solos are great here too. Not too bad. "Time" is the last proper album track and opens on a melancholic piano melody joined by cymbals and a heavy kick drum throb. Spoken vocals bring that gloomy 90's Doom sound back and add a sense of loss, Misery and personal torment. When the rhythm guitars come in it's powerful stuff. Emotive with a nostalgic quality. Symphonic keys, Dark riffs and blackened rasps really make this a badass track. My personal favorite on the album. The lead guitars bring in more of a Funeral Doom sound. This is a track that just gets better as it goes on. Piano/drum interludes send a chill into the air and the following crazed rasps are chilling. Chamber Music elements via synth strings/violins are added as well to enhance the gloom. After a heavy segment we go into a palm muted chug against a backdrop of piano that reminds me of early THEATER OF TRAGEDY. Blast beats and screaming melodies give this one a strong finish. The cover of SUMMONING's "Lugburz" included as a bonus track stays close to the original. Personally, I always prefer covers that stray from the path and offer more of an original take but this is a good rendition regardless. It's well played and sounds like the song it's supposed to be so I guess there isn't anything to complain about. The addition of thunderclaps and heavy storm samples is cool. All in all it's a good version.

 

OLDSCHOOL BLACK AND DOOM METAL WORSHIP WITH A THRASHY EDGE AT TIMES.

SUPPORT THE UNDERGROUND AND INDEPENDENT LABELS AND CHECK IT OUT:

 

7/10

-ABATTOIR-

 

 

 

Die Entweihung: "At The Bottom" [http://unholyblackartofritual.blogspot.co.il]

 

Bei DIE ENTWEIHUNG handelt es sich um ein Solo-Projekt aus Israel, welches 2007 gegründet wurde und seitdem zwei Demos, zwei EPs und acht Alben aufgenommen hat. Recht produktiv war man also bisher auf jeden Fall.  Hier vorliegendes Album stammt ursprünglich aus dem Jahr 2012 auf dem Italiener Label This Winter Will Last Forever, welches seine Veröffentlichungen meist in digitaler Form veröffentlicht. Seither wurde das Werk auch mehrfach von anderen Labels auf CD und Kassette veröffentlicht. Wolfmond präsentiert nun seit letztem Monat die aktuellste CD-Version...

  

Erst einmal kurz zur Aufmachung: die Pro-CDr kommt in einem Jewelcase samt Beiheft, welches auch alle Texte umfasst (jeweils auf israelitisch und englisch). Das Cover-Artwork stammt von Martin Lang (TODESSTOß). Musikalisch geht es hier recht experimentell zu: so wird hier kein wirklicher Black Metal geboten, eher etwas, was ich als Dark Metal umschreiben möchte. Auch lässt man hier sehr viel Platz für Dark Ambient, was nicht immer zum Vorteil gereicht, wie schon das Intro zeigt. Solche Art elektronische Musik assoziere ich eher mit alten Computerspielen, denn mit seriösem Metal. Instrumental gibt man sich aber doch recht solide, vor allem das recht melodiöse Gitarrenspiel gefällt mir. Ein Cover der kultigen Dark Wave-Band JOY DIVISION lässt sich in Form von "She's Lost Control" finden. Das Original stammt aus dem Jahr 1979 und ich finde es um Längen besser, da es einfach ehrlicher und intensiver klingt, wenn auch die Black Metal Vocals von DIE ENTWEIHUNG etwas für sich haben. Den Abschluss bildet der Coversong "Sign Of The Wolf", im Original von APRAXIA aus Belarus, die getrost dem NS-Pagan zugeordnet werden können, musikalisch nicht das schlechteste Stück - hier wurde die Atmosphäre des Originals sogar recht gut eingefangen.

 

Fazit:

Herr Entweiherr (...) präsentiert mit seinem "At the Bottom" nun wirklich kein Werk, welches ich unbedingt haben muss. Solide Ansätze sind vorhanden, aber insgesamt klingt mir das ganze doch zu unausgegoren. Die beiden Cover können auch nur bedingt überzeugen. Limitiert auf 100 Exemplare, wer eins haben möchte, wende sich vertrauensvoll an Wolfmond Production.

 

Halbgarer Mix aus Dark Wave, Ambient und Dark Metal... muss ich nicht haben.

 

 

 

Die Entweihung - At The Bottom [https://metalviewer.wordpress.com/]

 

Woran man Workaholics erkennt? Bei dem werten israelischen Einzelgänger Herr Entweiherr sieht man das relativ schnell, wenn man sich die Anzahl der Alben anschaut, die der werte Herr seit 2007 unter dem Namen Die Entweihung unters Volk bringt. 9 Jahre Black Metal, 8 Alben, 2 Demos und 2 EPs. Ist nicht das fleißigste Bienchen, dass das Genre zu bieten hat, aber nichts desto trotz eine beachtliche Leistung, auch wenn man bedenkt, dass Israel hierzulande weniger für Black Metal bekannt ist, auch wenn das Land ein paar vorzuweisen hat.

 

„At the Bottom“ erschien ursprünglich 2012, seitdem erschienen also bereits 3 weitere Alben, nichtsdestotrotz wurde das Album vor kurzem von Wolfmond Production wiederveröffentlicht. Das auffälligste Merkmal des Albums sind sicher die Keayboards, die sich wohl zwischen Phantom der Oper und einer Ufo-Landung in einem alten Film bewegen und so dem Album sowohl etwas übersinnliches als auch düsteres Feeling mit auf den Weg geben. Dazu gesellt sich sehr melodischer und düsterer Black Metal, der immer wieder mit einigen lichten Riffs gespickt wird. Dazu gibt der relativ rohe Sound einen ordentlichen trveness-Kick und eine diabolische Aura, der sich die grimmigen und echt gut performten Vocals nahtlos anschließen. Auch auf instrumenteller Ebene schleichen sich keine groben Schnitzer ein, der Herr Entweiherr versteht sein Handwerk was sich besonders in dem melodischen Gitarenspuren bemerkbar macht. Die bleiben dennoch geschmackssache, denn für die einen passen sie nicht zur restlichen Atmosphäre, für die anderen fügt es eine erhabenen, leicht melancholischen Aspekt zum Gesamtbild hinzu, das dann z.B. in „Incinerated, Blind & Forgotten“ in einem wundervollen Klavier-Outro mündet. Zum Ende des 50-minütigen Albums werden noch 2 Cover (1x Joy Division, 1x Apraxia) zum Besten gegeben, die sich musikalisch doch sehr vom Rest des Albums abweichen, aber recht ordentlich dargeboten werden.

 

 

Die Entweihung und dem Mastermind dahinter gelingt es trotz hoher Outputrate eine ordentliche Qualität abzuliefern, die dazu noch sehr eigenständig klingt und ordentlich dargeboten wird. Der Sound ist roh ohne beschissen zu klingen und die Riffs sind stellenweise einfach nur verdammt episch. Demzufolge kann man sich „At the Bottom“ ruhig mal reinziehen ohne es zu bereuen.

 

 

 

Die Entweihung: "The Hallucinations" [metallibrary.ru]

 

Die Entweihung стал третьим, после Frostgrave и Tangorodrim, известным мне проектом из Израиля, который играет чёрный метал. Как и вышеуказанные формации, Die Entweihung основан эмигрантом из России. Исполняет он нечто очень сырое и специфическое, напоминающее работы Moloch, но с гораздо меньшей концентрацией страдания. О специфичности проекта говорит, скажем, его кавер на бессмертный хит "Я убью тебя, лодочник!" Профессора Лебединского. Это надо слышать. Что касается непосредственно альбома "The Hallucinations", оценить его сложно. Это очень странная вещь, явно созданная немного безумным разумом. Вроде бы всё просто, авангардом не пахнет, однако описать то, как звучит альбом, крайне тяжело. Это медленные диссонантные сырые риффы, это редущие слух писклявые соло, это ядовитый вокал из ниоткуда, это совершенно макабрические клавишные партии. Возможно, я преувеличиваю насчёт безумия Herr Entweiherr, и он во время записи был попросту пьян, но всё равно результат любопытный. Кстати, третья композиция – кавер на Draconian, но чёрт меня побери, если кто-то догадается об этом, не заглядывая в буклет. "The Hallucinations" я порекомендую любителям всяческих нестандартностей и безумств. Название альбома отлично его описывает – это действительно глючная вещь, критериев для оценки которой не существует.

 

F!$her

 

 

 

Die Entweihung:"The Hallucinations" [Dark Front Label & Distro]

 

Еврейский суровый блэк метал суров.По понятным причинам играющая блэк команда родом откуда-нибудь из стран Азии(в нашем случае это one-man-band из Израиля ни много ни мало) с ходу привлекает больше интереса,нежели норвежская,или финская группа,ибо там-то подобного счастья куры не клюют.Однако интерес этот весьма нездорового толка.Да куда они руки свои тянут,выродки косоглазые?!Арабский блэк - и про что они поют,про Синдбада-морехода?А про негров славящих Перуна там ничего не слышно? Всякий интересующийся вопросом наверняка не раз натыкался на подобные колкости в адрес формаций не из Европы от людей,убеждённых, что труЪ норвегиан блэк метал был,есть и будет единственной возможной формой чёрного искусства.Правы ли они в самом принципе - вопрос сложный и неоднозначный.А вот насколько альбом интересен сам по себе,и стоит ли тыкать в него носом фанатов норвежского чёрного круга - на это ответить гораздо проще.
Ах, ты ж,режьте меня,демоны! Твари подкоряжные пасть мою зашейте!Сырые проникновенные мрачные мелодии - пусть гитары иногда уж слишком пестрят дисторшном,пусть барабаны иногда лезут вперёд непойми зачем - они всё равно хороши. Неизменно тёмная, атмосфера переливается от дребезжания осколков стёкол в только что разорённой семинарии,до плесени и запустения загаженных совдеповских подъездов,растворяясь затем в космическом холоде редких амбиентных вставок.Звенящая резкая музыка так и подстёгивает жажду: ещё злее, ещё мрачнее, ещё депрессивнее, чтобы от каждого гитарного запила оставались ссадины! И всё бы было замечательно (ну, по крайней мере хорошо),если бы не вокал. Глухой и перегруженный до полной упоротости, он явно диссонирует с музыкой. И не сказать ведь, что вокал плох сам по себе - вовсе нет,даже наоборот.Просто такой он тотально не к месту.
Так стоит ли при вопросе"умеют ли в Азии играть настоящий блэк?" вспоминать данный альбом? Наверное, всё-таки, нет. Но вот следующий релиз Die Entweihung - вполне может статься. А в целом слушать, конечно, стоит.

 

(С)Miamortu

 

 

 

Hypnotic Dreams [Metal-archives.com]

70/100

 

It's pretty interesting that Smell the Stench released this album. STS are well known for releasing tons and tons of demos, mostly noise/ambient/power electronics, but with some black metal releases now and then. They tend to represent the absolute bottom of the underground, some of the most raw, simplistic and D.I.Y. music available and, while it does have it's obvious charm, they usually feature questionable musicianship and underdeveloped songwriting.

Die Entweihung, on the other hand, whilst obviously not sounding like Immortal, are certainly not on the same D.I.Y. level as their French contemporaries. The compositions here are obviously well thought out, it's clear that a lot of work has gone into writing this album, and there's actually a pretty clean production job unlike the obvious straight-to-tape sound of Luca Mertz many demos. Heck, this is actually somewhat professional, and it's good too, so it does surprise me that STS released this on cd-r as (no offense to the label) it's above their normal standards.

Die Entweihung plays melody yet heavy black metal with a doomy feel, and with some long ambient interludes. During the metal parts, we have two fuzzy guitars harmonising slow, melancholic riffs, sometimes with a layer of ambience over the top as Entweiherr rasps the lyrics (the drums are non-intrusive and sound programmed). The focus here is on the melodies though, that repeat hypnotically and seem to get better and better the longer they loop. On first listen I wasn't really taken in by this disc, but on more recent spins the riffs really have drawn me in and I've realised how well written the compositions are. Not that it's perfect at all, there is the occasional more experimental riff that sounds a tad awkward, but there are some really great moments on Hypnotic Dreams. The ambient parts are similar to the metal in the sense of them being repetitive and hypnotic, the ambient parts actually remind me of Canadian black metal band Tomhet.

The production isn't perfect. It's not bad at all, but the quality of the songs deserve a better guitar production as the one employed here gives off a slightly amateurish feel, whereas the compositions themselves are highly professional. I'd still recommend this though, to fans of that slow, fuzzed out hypnotic style black metal. It's good, and copies are cheap and easily obtainable. This was a big surprise for me and I'm very impressed with this album. Entweiherr is currently in the process of writing a third album so here's to hoping that that album's just as good as this or perhaps even better. Die Entweihung hint at genius on this album, and I don't think that they've hit their peek just yet. Keep your ears peeled.

 

Muloc7253

 

 

 

Hypnotic Dreams [Metal-archives.com]

50/100

 

Imagine you play music, compose some decent riffs and motives, are also able to arrange them neatly together with the result of having a decent structure of arrangements, but then you begin to feel uncomfortable with it and you begin to fill it with ambient/noise stuff. This is what has happened to the music of Die Entweihung on Hypnotic Dreams in some respect. Four songs with a combined length of forty-four minutes appear on this release and one gets the impression that less would have been better.

Die Entweihung's music cannot be limit to some sort of black metal, as there are a good deal of other elements in the music as well. Ambient interludes and occasionally appearing keyboard textures in the background enrich the music and try to distract from the monotonous and repetitive style of the music; the title track for instance offers a interlude of several minutes. Accordingly, and this can also be examined in the arrangements of the motives and riffs, can the songs easily be separated into several segments; which makes it easy to get the idea behind them but leads to some amount of predictability. An aspect that makes matters worse is the reluctance of the band to use transitions between the motives and therefore follows one idea after an another one; sometimes also gapless!

In terms of the tempo Die Entweihung offers fast and slow parts, while the latter ones are not limited to ambient interludes, also guitars motives are offered in such a fashion. Dominating is the second approach though and the guitars excessively repeat the riffs over the length of the compositions. Being minimalist and of an endless tremolo-picking kind, the music reaches very fast the point of being dull and boring; especially when one idea is played over a course of several minutes. This can be observed on all songs and the outcome should be obvious. Of the vocals can be said that there is something wrong with them or unique; it may be different from the point of view of another person. The listener easily get the impression that they switch very fast from one speaker to the other one; something which leaves the listener puzzled over this strange experience; especially as this effect does not occur in terms of the instruments. As the vocals offer only this one kind of distorted form screaming/speaking, with hardly a variation in tempo and the like, the degree of dullness already created by the guitars is only fostered. Luckily, the drum-computer does not have a negative impact on the music; which is rather due to the mix in the background and the minimalism of the motives. You hear this instrument, but it has little impact on the way the art is perceived.

This music lacks of a good amount of ideas and variation; a better production would also be neat. Somehow annoying are the vocals with their strange switching from one speaker to the other one. Die Entweihung is playing underground black metal with some amount of keyboards and ambient parts. These work nice of the music, but fail in their attempt to raise the quality level to a higher stage. It all sounds a little bit like being glued together and nice transitions and ideas in the song-writing cannot to be found here. It can be listened to easily, but Hypnotic Dreams fails to fascinate in the long run. The songs are too long, too monotonous and too simplistic in their approach. Less of everything would have a positive effect on the music.

 

Oneyoudontknow

 

 

 

Осквернение 

SiN

7/10

 

К материалу израильского проекта DIE ENTWEIHUNG, я отнесся с долей скептицизма и нескрываемым интересом. Лично для меня, слышать музыку антихристианской направленности из стен иудейского оплота - абсурд, но... Данный one-man band показал обратное. Альбом настолько сильно заряжен богохульной напористой энергетикой, что на территориальное происхождение невольно закрываются глаза. "Осквернение" - дебютная полноформатная работа этого проекта в жанре raw black metal, изданная в 2008 году лэйблом Satanarsa Records.

Звук гитар очень плотен - яростная волна скоростных риффов и тягучих задумчивых пассажей разрывает мозг слушателя на куски. Зацикленная, но далеко не примитивно забитая, драм-машина не дает загаснуть дьявольскому пламени вплоть до финального Outro. Низкий полу-скримовый вокал разборчиво вещает русскоязычную лирику с декадансовым уклоном. Таким образом, в музыкальном плане, мы получаем мощную боеголовку, начиненную безудержным драйвом и агрессией. Помимо 5 авторских композиций альбом включает в себя кавер-версию группы SINFUL "Свет бездны".

А вот оформление релиза оставляет желать лучшего. Хотя, может быть я, чего-то недопонял и это такая авторская задумка, но цветовые гаммы фонового рисунка и шрифта весьма близки друг другу, из-за чего текст на обложке трудно читаем, а мрачность красок только усугубляет ситуацию. Единственное, что могу сказать напоследок, по сравнению с предыдущими работами DIE ENTWEIHUNG, этот диск стал большим шагом вперед, и если бы не затянутость некоторых вещей на альбоме, оценка была бы выше. Остальные слова излишни.

 

 

 

The Last Nail [Николай Сикерицкий]

6/10

 

И так, спешу представить, неординарное и противоречивое творение израильского one-man бэнда Die Entweihung – демо-альбом “The last nail”. Данный материал был записан в 2007 году и вышел в свет благодаря усилиям лэйблов Satanarsa Records и Smell The Stench, на дисках и в виде интернет релиза, соответственно. Альбом содержит 2 кавер-версии и 4 авторские вещи. Замечу, что именно трэк-лист и подогрел мой интерес к данной работе. Но об этом чуть позже…

“The last nail” уготовил слушателю цепную волну драйвовых взрывных raw black metal боевиков. В целом, музыкальная составляющая выполнена довольно самобытно. Гитарное “мясо” из четких мощных риффов сочетается с зацикленными примитивными партиями ударных. Низкий скриминг подчеркивает общую энергетику, честно говоря, я думаю, что любой другой тип вокала не подошел бы для подобной музыки. В первой вещи даже встречается гитарный перебор, исполненный в чистом звуке. А вот сведение выглядит несколько сыроватым, складывается такое чувство, что альбом либо микшировался на скорую руку, либо автора не особо заботил этот процесс, хотя, может, это было эдакой особенной изюминкой, которую я не понял.

Особенный шарм диску добавили 2 трэка. “Satan's Girlfriend” – бесовская перепевка небезызвестного хита Аврил Лавин. На самом деле вещь сделана весьма неплохо, но уж как ни крути, а слушать такое извращение без улыбки просто не получается. Ну а под конец альбома уготован просто сокрушительный финал – кавер на песню Лебединского “Я убью тебя лодочник”, это что-то… Даже не буду ничего писать на этот счет, лучше один раз услышать!

Оформление выполнено так же в довольно самобытном ключе, красно-черные тона обложки, простенький буклет.

Диск слушается на одном дыхании, жаль, конечно, что качество записи оставляет желать лучшего. Думаю, что с более хорошим звуком и грамотной миксовкой альбом смотрелся бы более выигрышно, хотя и у этого варианта есть один большой плюс – душевность исполнения видна невооруженным глазом. Рекомендовать “The last nail” не буду, слишком уж он на любителя, но однозначно, релиз найдет своего благодарного слушателя.

 

 

 

Demo 2007 [OccultBlackMetalZine]

 

Die Entweihung are a 1 man band from Israel that plays a very raw and primitive form of black metal that is very hateful and this is a review of their self released and self titled 2007 demo.

Drums range from slow, mid paced to fast drumming with a good amount of brutal blast beats being thrown into the music, while the bass playing has a very strong and powerful tone with primitive riffing that dominates throughout the recording, as for the accordians which are only used on the last song they bring a folk music feeling to the music.

Rhythm guitars range from slow, mid paced to fast black metal riffs that are very dark, raw and primitive sounding while the lead guitars when they are utilized are very raw and primitive sounding black metal guitar solos and leads with some dark sounding melodies being thrown into the music at times, as for the acoustic which are only utilized briefly they use finger picking in a raw and primitive manner.

Vocals are mostly high pitched hateful black metal screams with a brief use of deep growls and mournful sounding cries, while the lyrics cover death, depression, pain, darkness, sorrow and anti christian themes, as for the production it has a very dark, raw and primitive sound to it while you can still hear all of the musical instruments that are present on this recording.

In my opinion Die Entweihung are a very great sounding raw and primitive hateful black metal band and if you are a fan of this style, you should check out this band. RECOMMENDED TRACKS INCLUDE "Your Denial" and "The Unholy Precept". RECOMMENDED BUY.