ALBUM REVIEW: Ulthar – Anthronomicon / Helionomicon

Lovecraftian Black Death Metallers ULTHAR are back with not one, but two new albums. A massive concept spanning a more “typical” record and one consisting of two huge epics. To be released together via 20 Buck Spin on February 17th. Their previous two full-lengths have been excellent, so my regard and thus the bar is set very high. It is time to be lost within the abyss.

Anthronomicon

Frugal with introductions in the start (some ominous ones to appear as we venture on), the dissonant warps of malignant Death Metal riffs fire in on all cylinders with this gritty bass and snapping drums that convey the headlong plunge into darkness that this record sets out to be. I much prefer this over weird soundscapes that turn you off before the music begins, in fact this immediately grips me from the very first few seconds. Although coated in an ichor of oddities, the blackened yet visceral riffs have an old school charm without being remotely derivative in any sense. There is a serpentine way in which all of the instruments and vocals weave in and out of each other with labyrinths of cosmic lore being injected into each moment. “Now, as the baying of that dead, fleshless monstrosity grows louder and louder…”, indeed this Lovecraft quote puts into words perfectly how the extremity and intensity grows and contorts in a formless and yet inescapable manner. Although employing many diverse sounds, such as slower string raking or doom-laden darkness, the Black-Death Metal at the core of their sound is always executed in a manner that is fierce and unforgiving with seemingly infinite appearances. The music is, by virtue, unforgiving and uncomfortable and yet it’s difficult not to be bewitched by the frenzied and bizarre apparitions that each of the trio brings to the table. The manner in which these musicians craft obliterating musical conjurations is truly impressive and clearly the work of a symbiosis that is rarely achieved to such grandiose and unusual effect.

To play such an otherworldly take on music is a difficult feat. But to incorporate very traditional Black and Death Metal ideas within this makes for a release that holds its influences in the highest regard yet takes everything into new territories. Now this is magnificence that cannot be overstates. The reverberate vocals tie a lot of the instrumentation together and with this very rich production, it must be acknowledged how important that is. A lot of the frantically natured compositions need some grounding to not become a mess of entangled failures, which thankfully is avoided. Instead we see some utterly wondrous developments and progressions that are unfathomably experimental and yet unpretentious, feeling purposeful along every step of the eldritch journey. Those alien guitars and sinister rhythm sections work to haunting effect and yet the narrative vocals propel them to new heights with inhuman sounds that are as varied as they are powerful. There is a way in which the guitar and bass sometimes go in opposite directions that sort of spasm across each other that Ulthar have used to achieve a really jarring effect that takes the intensity and discomfort even higher. This often falls into a thrashing rage or some spacey riff, always evolving and keeping you on your toes. I must note that although introductions can be a drawback, there has been a few and the fact the first song didn’t have one really helped the record put its strongest foot forward. This said, the short ambient moments give the brain a moment to appreciate what is happening and don’t drag on, thus they definitely have a place here. Everything here just feels so inventive, exciting and really well thought out. Upon culmination of this hostile and truly insane journey the awe sets in and I wonder what awaits on the partner of this malicious and magnificent piece…

Helionomicon

Starting an album with bizarre guitars, again, this one kicks in just as ferociously as its twin. I was expecting more of a “slow burn” approach, but no, Ulthar are far more capable of starting insane and then giving context it seems. I think the sheer urgency and bizarre songwriting should be enough the pique anyone with a shred of curiosity but those willing to experience this record in full will have to withstand a real battering of feral progressions. Taking the blackened elements a bit further, this psychedelic and yet immediately visceral, barbaric and hideous music has so much force that it rips the minds eye to shreds within minutes. Lumbering forward with steps that could pulverise cities, this gargantuan deformity is mangled and out to destroy. Blending a huge amount of Voivodian angles into the Lovecraftian Black/Death soundscape is a match made in Yuggoth. Most impressive of all, aside from that they even thought of these strange compositions, is the ability to put them together in a way that is actually satisfying to listen to. Over-progression can turn to nonsense for people who aren’t the artist, but there are moments of clarity utilised often enough that we can get our bearings. Although like none other in existence, this still feels like an Extreme Metal record at the end of the day, which is a good thing of course. That said, you will need your wits to navigate it in a way that you’ll survive.

Continuing until the closing moments, this is not a record that is easy to make sense of. It has everything you’d want such as varied drumming, impeccable riffs and demonic vocals but put together in such a way that is like melting stars into the ear and hoping for notes to sing melodies of other worlds. Indeed the “green, sticky spawn of the stars” sounds hellish and brilliant in all of its mind-bending glory. Yet at the heart of this, is a Death Metal core that is so profoundly excellent, as is necessary to build upon like this. Ulthar have given us one of those releases that is likely never going to be replicated with any success nor is it a duplication of one that already exists. No, “Helionomicon” is a beast in its own category that may have less appeal to some than its twin, but for the more musically expansive inclined yields a cinematic, disturbing and surreal world of true horrors. All of this may sound impressive enough, but the actual playing of the trio is more than enough to show for itself how skilled they are. Similarly the production has such a natural radiance to it, that nothing here seems forced or for the sake of creating. To the contrary, I feel this is the magnum opus that Ulthar had to create.

The way in which these two records come together to paint a tapestry of cosmic monstrosities is truly magnificent. The prior feels an infinitely growing array of swarming oddities and critters whereas the second is like a lumbering titan of the great ones. Yet both meet to give us a grandiose and multi-faceted experience that encapsulates the perfect sonics to convey Lovecraftian horror with artwork equally as mesmerising for you to be transported into. Each has its place and value which grants a unique experience but playing them back to back is unmatchable. A ravaging, all-encompassing out-of-body experience that propels you into the cosmos with all the strange entities out there coming to greet you. Yet, along with this, the earth and sepulchral grit gives the balance of a very grounded feeling when it is needed. This charnel angle then going into ascension to the further plains seems to cover everything to stand as one of the mightiest Lovecraftian pieces and equally one of the most fascinatingly memorable Black / Death Metal albums too.

“There will always be a small percentage of persons who feel a burning curiosity about unknown outer space, and a burning desire to escape from the prison-house of the known and the real into those enchanted lands of incredible adventure and infinite possibilities which dreams open up to us…” -H.P. Lovecraft