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Táltos > Érezd hogy élsz > Reviews
Táltos - Érezd hogy élsz

Liminal experience - 85%

we hope you die, September 19th, 2022

The latest EP from this Hungarian outfit presents a rich sonic brew of dissonant black metal, tribal rhythms, throat singing, didgeridoos, and unusual percussive philosophies, at least within a metal setting. It takes seriously the folk and regional connections forged by extreme metal movements over the decades, and embeds them into the very DNA of the music. The result is a reminder that a lot of “folk” elements worked into metal are often a sanitised retelling of said traditions. “Authentic” folk music can often be extremely jarring for clinical modern tastes.

Táltos wipe the gloss away from this veneer, and present a stilted, discordant, rhythmically ponderous form of ritualistic black metal, creating a space that requires considerable effort on the part of the listener to truly enter their minds into. Seen from this angle, the actual metal elements across this EP begin to look like merely incidental furniture, a textual flourish deployed to flesh out the body of this work, part post-2000 Tom Waits, part primalist jazz fusion, part folk collective jam session.

The vocals still sit within the black metal milieu, albeit with a pronounced conversational orientation. Guitars jolt from fairly basic black metal to staccato dissonance with ease, but remain the chief connecting thread between the music of ‘Érezd hogy élsz’ and anything that once resembled metal. The percussion is perhaps the most fascinating element of this EP. I say percussion deliberately, because although a drumkit is featured throughout, it is used in a very un-rockist manner to deliver cyclical bursts of ritual dance, repetitive pulses, and angular patterns of disjointed fluidity in a manner rarely seen outside of certain forms of groove metal, alongside an array of other percussive instruments.

But within this setting the groove is deployed to bolster the infectious notion of ceremony. A sincere and largely successful attempt to render the trancelike experience of pagan ritual, with all its intoxicating undertones, randomness fashioned into internal logics through the perspective of raw experience into sonic form. What can at first seem inexplicable, without coherence, coalesces into a phenomenon with sui generis meaning, one that collapses upon contact with the cold light of day, but by inserting oneself into the experience of ‘Érezd hogy élsz’, it brings to solidity a representation of those liminal experiences and grants them a sense of permanence.

Originally published at Hate Meditations