Atl Tlachinolli

What might initially read as a Kesey-esque hallucinatory figment is instead a context free translation of ancient Tenochtitlan based Mexicas’ (Aztecs) primary god of war. Hurler of spears and vibrating with the dark energy of the ‘left’ side of the world Huītzilōpōchtli is himself the Sun locked in an eternal battle with his brothers (celestial bodies) and sister (the moon); His very conception was believed to have been through immaculate means, a point of rage for his siblings that’d incite creation and posit the constancy of war represented through the cycle of night and day. Though historians don’t always agree on the role of Huītzilōpōchtli prior to Itzcoatl (1428–1440) he would incontestably become the primary god of war and a major point of worship for the rise of Aztec religion and culture across the entirety of the Nahuas (indigenous Mexican and Salvadoran peoples). As militarism consumed central american culture so persisted the bloodiest, most torturous sacrificial rites at that point in history. In the minds of the Mexicas the belief was that to strengthen Huītzilōpōchtli was to strengthen Tenochtitlan and prevent the cyclical apocalypse that threatened the world every fifty-two years. Southern California pagan black/war metal project Blue Hummingbird on the Left arrive at their debut in serious invocation of ancestral warrior culture and bearing ‘Atl Tlachinolli’, a ‘difrasismo’ representative of the collision of blood and fire into third entity, a signet to represent the coming and constancy of sacred war.

Although indigenous central american themed extreme metal has a long and brilliant history today few black metal circles receive as much notoriety as the Black Twilight Circle of southern California (Long Beach) who generally focus on atmosphere, dissonance, and obscurae in their brutal worship of ancient Mexica culture. Though not all use traditional instrumentation or rhythmic influence all call upon thick and weaving darkness in channeling their tribute to warrior culture. Split releases with groups such as The Haunting Presence and Bone Awl have helped to bring to light the stunning works of bands like Muknal, Volahn, and now we’re served with this debut from Blue Hummingbird on the Left. At the center of just about every band you could mention within the Circle you’ll find musician Volahn (Eduardo Ramírez) aka Yayauhqui who has been active in the southern California black metal scene since the early 2000’s starting with the fairly underrated Ashdautas. Though you will no doubt see and hear the lineage of the Black Twilight Circle in Blue Hummingbird on the Left‘s debut full-length, this is a step into greater clarity and aggression markedly different than the other Volahn lead output so far.

With Volahn handling both the drumming and rhythm guitar interactions the concept of the albums sound and structure should be immediately obvious. The crossover between the obscuration of modern war metal and ancient pagan black metal is stunning but it is vocalist/flutist Tlacaelel who immediately brings personality to Blue Hummingbird on the Left. It wasn’t as if he was void on ‘Bloodflower’ (2014) EP but here on ‘Atl Tlachinolli’ he growls and echoes his bloody warrior mantras with the voice of leadership, quite the feat considering the compelling weave of Volahn‘s songwriting. Howls, yips, chants, and delay soaked roars all contribute to a primal and energetic record that never dips in its expressive quality. The guitar work itself surprisingly lifts up from the muck of war metal you might’ve expected after their splits with Volahn and Kallathon and towards the primal scrimmage of Mortuary Drape and spiked fury of early Katharsis. No doubt the less thoughtful war metal fandom will want more punkish blood and the pagan metal crowd will yearn for melody and restful interlude but folks well indoctrinated with the grimier side of Vrasubatlat and Rhinocervs releases should easily grasp the unhinged appeal of ‘Atl Tlachinolli’.

The echoing delay of the vocals is at once distinctive and a bit of a cliche in certain smaller war metal sects and though Von, Revenge and Beherit have had tryst with savage echo it will certainly invoke the experimental barks of Sect Pig. “Blood Flower” and “Hail Huitzilopochtli” are all the more memorable for that performance but once the disorienting psychedelic thrill of the vocal effects wears a bit, the guitar work is what truly shines on Blue Hummingbird on the Left‘s debut; “Storm” is exactly that, a perfect whirling gust of wailing riff and vomited rhythmic bark. Much of this will be expected as several of these songs have appeared in nascent form on the bands EP and split releases but the middle of the record is where things take a more interesting turn; “Rain Campaign” is surprisingly intricate and melodic as it offers true highlight to the experience when set next to the atmospheric reminiscence of “Tenochtitlan”. The tracklist is surely littered with ideas that will meet the expectations of Volahn/Black Twilight Circle fandom but there is no denying that this debut is far more accessible in terms of melodic interest, ‘clean’ presentation and aggressive rhythmic appeal. It is a sharp debut from an inspired project and I can recommend it with some reasonable enthusiasm. Moderately high recommendation. For preview “Blood Flower” is a clear ‘hook’ and a grand entrance but the pairing of “Rain Campaign” / “Tenochtitlan” should convince most to try the full record.

Attribution: https://grizzlybutts.com/2019/02/15/blue-hummingbird-on-the-left-atl-tlachinolli-2019-review/

At last after so many years since their formation back in 2010, and while fellow Black Twilight Circle bands like Arizmenda and Volahn were busy issuing plenty of recordings (some of them albums but mostly demos and split recordings), Blue Hummingbird on the Left finally released their debut album "Atl Tlachinolli" in 2019 on the Iron Bonehead Productions label. This represents a big advance into the alternative metal mainstream since up until now most BTC bands were releasing work on the Crepusculo Negro label. We can hope that IBP might find other BTC bands' work worth releasing since (to be honest) BHOTL are not one of the more interesting acts in this scene, playing fairly straightforward raw BM compared to the other bands that play fusion extreme BM psychedelia.

In keeping with the BTC aesthetic of honouring the bands' indigenous Mexican heritage, BHOTL introduce their album with instrumental whistling flute and drum music before throwing themselves and listeners straight into their maelstrom of fusion BM thrash and native Mexican musical elements. Track titles suggest the musicians are keen on exploring those aspects of Aztec mythology that revolve around the cycle of life, death and rebirth, and how aspects of Aztec life - even the ritual sacrifices that horrified the Spanish conquistadores back in the 1500s and which gave them an excuse to crush Aztec culture by representing it as cruel, bloodthirsty and savage - can be explained by the mythology. The singing is hard to follow - it's like a mix of alien reptile voices that echo and which seem to run into each other - and the music is dense, busy and fast, so listeners should just treat the vocals as another layer (though a significant one) in the music and follow the whole flow of rhythm, melody and singing as the one entity it all is. Compared to what I heard of BHOTL's last release "Bloodflower" which was back in 2013 (what, that long ago?!), the music here has a very clean and clear production, every instrument can be heard clearly, the sound overall is heavy and meaty if not raw and sharp, and the presentation is very professional.

In the first half of "Atl Tlachinolli", BHOTL don't stray far from their melodic blackened death metal style, concentrating on banging up a dense layered storm of tremolo guitar, heavy grinding bass and hard-hitting percussion topped off by those demonic gabbling vocals. While there are passages of instrumental indigenous music, these aren't integrated with the BM songs. If the band had included some flute music as part of their BM style, the songs here could have had distinct identities. As it is, the melodies and riffs aren't individual enough, nor are they repeated enough, to set the songs off from each other.

But listeners should hang in on there, as after the halfway point or the fifth song "Rain Campaign", the music goes into another realm that almost seems prehistoric, as the musicians start pouring in everything they've got and the derangement that I always associate with BTC bands starts appearing in the music and the singing. Now the guys are really going out on every limb they can find and cut down (while they're still hanging off it!) and going into the abyss. Going from "Life Death Rebirth" into "Tenochtitlan", BHOTL balance on a tightrope between melodic restraint and running off on a melodramatic tangent that features some searing lead guitar runs. They keep going with forays into extreme blast-beat aggression and solid chunky blackened death war metal (at last the guys manage to fit in war flute trills in amongst the battery of guitars and drums) all the way to the end.

The album ends on a real high though some listeners might wish the band could have been just as intense and extreme in the first half of the album as in the second half. Though I guess in keeping with the recording's concept, the music needs to work steadily, as in a ritual, up to that critical point where the consciousness can become transformed and the musicians find release and freedom only after reaching that state. But even after achieving transformation, the musicians still seem to be restrained in how far they can go, as the songs are not very long and the instrumental sections whiz by all too fast. I'd have loved to hear more extended tracks in this part of the album, where the guys can be let loose on playing emotionally intense music.

Here's wishing Blue Hummingbird on the Left success with this debut and Iron Bonehead Productions signing up more BTC bands to its roster.