Melinoë

Extreme metal music ultimately depicts the tragedy of existence as a primary purpose. It's only a matter of picking a particular facet of that suffering and translating it into an art form. Akhlys seems to work from the perspective of the other side of the mirror: the emotions and motivations associated with the dark subconscious. The part typically associated with the notion of sinful nature, hidden from society's pressures and conventions. It's the fantasy of possessing ultimate power. It's pursuing one's perverse desire and giving it life through imagination.

Tremolo picked lows entangled with highs over perforating blast beats, skillfully wielding chromatic terror with melodic sorrow and seamlessly rendering their boundaries blurry or even a distant distraction. The vocal shrieks that can likely only be described as venomous, particularly vicious to be sure, might bring to mind the figurative image of the artist vomiting - the purging and violent expulsion of waste plaguing their organism and by extension, their existence. The grueling passion is simply tangible here, as the danger feels either imminent during the drum rested sequences between the songs or utterly ghastly when the songs come by, almost like an eerie accident catching the listener off-guard each time.

As often with this sort of avant-garde modern black metal, there's the metallic tint or perhaps aftertaste of industrial metal pervading the whole album, not so much with actual textures within songs; although there are traces of ambient synths during the intermissions, and 'Ephialtes' does contain forceful electronic drum samples at the start, heavy tom-like impacts; but rather in the feel of the production more broadly. The record sounds organic and natural but there's also a precision in the guitar tone and a distinctly modern compression character to the drums and overall sound that give this a sonic aura somewhat similar to that of a Blut Aus Nord. Of course both bands are on the same label, Debemur Morti Productions, so that will explain part of this.

In case you haven't looked it up, Melinoë in Greek mythology is a nymph, bringer of nightmares, and the Goddess of madness. The quickest glance at the record's cover art - and no, it isn't recommended to stare at it too long - and then a brief sit-down of a couple of minutes listening to the music will establish the direct connection between the concept of nightmare and what's going on here. She is the daughter of Zeus, and Persephone (Goddess of death, destruction). So saying this album dwells in the underworld and emerges from beneath, at least based on its initial inspirations, would be a correct statement.

To get deeper into what this album actually is in its essence, beyond the black metal onslaught, here's one perspective that might claim some relevance to the artist's original concept. After listening to the full album a parallel could be drawn with the actual real life experience of a live (bad) dream. The album starts with a quiet buildup, similar to the state of entry into the dreamworld. The pandemonium suddenly begins as we reach a deeper level into the obscure scenery and oppressive atmosphere, and as the spectator we're left defenseless against the chaotic forces we meet. The music describes the images of pain through horror on one hand, but also our faint vulnerability with deep sorrow as the rear side, both these aspects being the twofold essence of nightmare fundamentally. First the more vivid psychedelic visions that our minds pull out of our innermost fears that scare and shock; these are the sharks, the murderers, the gore horror scenes with decapitated heads and blood-cooling stares from dilated eyes, the graphic violence and trauma; and then the more subtle yet just as devastating bouts of profound tragedy where the dreamer (or listener) gets a moment to feel the burden of existence represented through familiar faces and voices and preoccupying tensions, allegorically imploring them to change, and to save themselves. In other words: one, the panic and terror, two, the sadness/remorse. Then, after the storms have passed, the album closes with a hint of hope and sunlight shining through in the form of an aspiring major chord on a synth pad, like the subconscious releasing its unyielding grip and letting go of the mind. The sleeper (or listener) returns to sunlight and reality, after having gone through these hallucinatory - yet merciless - lessons.

Finally, it isn't a novelty for Akhlys to tinker with the theme of dreams of course. The previous release is called 'The Dreaming I' and off the five tracks on there, one is called 'Tides of Oneiric Darkness' and another 'The Dreaming Eye'. However it must be said the chorus on the first song "Dream, dream, dream. Dream of the night !" is masterful at nailing exactly what this sort of nightmarish modern black metal is all about with a refrain definitively carved in stone for anyone who's given this but a couple of listens. And chances are the dark addictive magic at work here won't allow one to only tune in twice and leave that easily.