Sathamel

After what seemed like an infinite period of waiting (at least from somebody who knew the band in its first incarnation under the moniker of Sheol), the Leeds-based death metal outfit have finally released their first EP. I’ll cut straight to it: it’s been worth the wait, and Sathamel effectively represent their entire mission statement in 6 tracks.

The core of the album is rooted in a very sinister death metal sound. This imposing quality - created by playing downtuned and tremolo-picked riffs over furiously pounding drums – runs through the album as a backbone, and is reminiscent of the groovier tunes of Behemoth and Vader (fitting contemporaries, considering the singer’s nationality). To build upon this fundamental structure, Sathamel create with their dual guitars what I would describe as “jumpy” riffs – that is, incredibly fast and accurately played reverse galloping – and often harmonize these in such a unique manner that it assists in making Sathamel immediately identifiable as an innovative band. Valdr’s double bass drums frequently mimic the guitar gallops beneath their sonic force, adding an incredible flow to the music and again showcasing that this is a band incredibly conscious of precision and accuracy (and thus incredibly skilled musicians).

Songs such as Scorch Blind Faith and Abaddon have an unashamedly catch main riffs and drum beats (their heaviness amplified by Deimos’ pounding bass that lies beneath forebodingly), though no musical passage throughout ever outstays its welcome and Sathamel are eager to show their progressive tendencies. This is perhaps most evident on the album’s most epic masterpiece: Venus, Morning Star. With obscure occult lyrics and majestic pseudo-doom riffs leading this song, this truly is a spectacle to behold. Valdr’s double bass drums pound furiously like hammers for the majority of this song, an impressive feat considering its 7-minute length. It is in this song that Valdr shows off his drumming skill the most, with a variety of unique and interesting fills being utilised and elevating the drums during certain sections to more of a solo-based instrument rather than a rhythm-keeping one).

The guitar solos rip and shred throughout, often contrasting and thus complimenting each other nicely. This is perhaps most prominent in Scorch Blind Faith; KVN’s solo (the first one) is based around a minor scale with semi-arpeggiated mini sections coming together, creating a melodic feel, whereas the succeeding solo (Baal’s) is built around the G# Dominant Phrygian mode. Kruk’s vocals are furious from the onset, combining viscerally guttural growls and hateful shrieked vocals to truly empower the music. His annunciation is excellent, and many lyrical passages are entirely distinguishable.

Overall, an excellent release. Even the introduction, a doomy yet subtle orchestral piece, is a refreshing change from the numerous sampled introductions many bands use nowadays. Particular passages to look out for:

1. The solos and preceding section in Scorch Blind Faith.
2. The fittingly-placed breakdown in Venus, Morning Star.
3. Pretty much all of Abaddon.

9/10.