I became familiar with Satta through IG as I follow a lot of dark artists suitable for band merch, Satta however has a classical approach to the style that outshines the rabble of common assets and lazy work ethic. His art is not just dark by subject, it embodies it fully, from conception to technique to completion. It’s a higher brow darkness. I also became familiar with the aussie OSDM band Aeon’s Abyss through instagram, who ended up commissioning Satta for their upcoming album Impenitent (Nov 1), a fortunate pairing sharing similar classic metal values. Here is an interview with the artist Satta in which we discuss influences, the upcoming album and living as an artist.
We kick the week off with the long awaited sophomore effort from Guttural Slug and it is in no way a sophomore slump, that’s for sure. In fact, it’s better than their debut, by a pretty big margin too. It has far better production, like seriously this album sounds massive. The riffs are crushingly heavy, and that awesome mix makes them sound larger than life. They also drop those stupid ass cricket vocals in exchange for these brutal gutturals and piercing screams. This is quality slam right here. Amazing album cover too. Big props to these guys.
This is one of those scenarios where you don’t understand Spanish but can identify enough words capable of setting a tone. Get ready for some psychedelic action from this Chilean doom trio that’s wet with distortion, I may have even heard an amp blow at some point – unless it’s a drum they’ve down tuned or a pedal effect. There’s a strange aspect to it that a lot of people would describe as “not music”, bordering on noise doom, but it works organically into the overall sound. It’s an interesting release made ever more so by its distinguishable album art created by the frontman Francisco Rivera who offered some insight to the story behind their art as well as their anti-fascist stance (included at the end).
I had an epiphany during the opening track, “Archaic Vision Of Despair”, that death doom is supposed to be a combination of death metal into doom metal but in reality it’s mostly death growls over doom instrumentals. Well in this case the instrumentation brings a strong sense of death riffery but with a sludgy twist. It feels old school, it reminds me of some solid shit out of the late 90s and early 00s of death doomdom. Like all good music, this sounds like descending into the mouth of madness. Well, madness is a mixed bag.
Vahrzaw are one of Australia’s longest running black metal acts having played under various names in the early 90s. While many bands have come and gone, Vahrzaw have marched on unable to be stopped by neither politics nor circumstance, leaving a long trail of releases featuring interesting artwork. Metalheads in need of an audio pummelling look no further. Their sound hasn’t been compromised in the face of an ever changing scene over the decades and after Husk, their ripper of a 2018 album, they are returning with a brand new album slated for 2020. I spoke to Vahrzaw guitarist Scott about it and the bands origin.