Label: Mystic Art Productions / Nigra Mors
Date: May 23rd, 2025
I’ve taunted myself enough with this work. A song here, another one there and the whole time I’ve had the new Xerión full length record in my hands, waiting to unleash the magnetic tape!
As far as the basic information goes, “A mística arte da diferença” is the seventh long-playing album in Xerión’s long history, published on tape through Mystic Art Productions and awaiting the CD and vinyl issue later this year, via the band’s own Nigra Mors record label. Technical details might include the fact that we’re dealing with a duo from Galiza, region in northwestern Spain. The album was composed and recorded from 2022 to 2025 in Estúdios Breogám, long established home to Xerión’s music, back in Ourense. The album is adorned by a magnificent piece of art by Flemish painter from the seventeenth century, Cornelis Norbertus Gysbrechts. His “Vanitas Still Life”. The tape limited to just forty four (hand numbered) copies might already be gone by the time you get to read this review, but the said art will definitely shine brightest on the bigger mediums. Like an LP record that is waiting to happen.
But the painting is not the only reason for getting a hold on a copy of “A mística arte da diferença”. I got a bonus couple of small pyrographs, one with the band’s and the other with the label’s logo. What a cool present for select fandom! Oh, and there’s a sticker with the band’s logo for this album hidden in the booklet.
And there’s also music, so let me get to the point at last! “Xerión plays Galician extreme metal, exclusively!” In layman’s terms, this means that the duo has taken as much freedom as possible, but set the boundaries at extreme metal. Thematically, they revolve around the ancient spirit of their region, pagan and traditional legacy, autochthonous instrumentation and the soul of the land in which they’ve lain their roots. Whatever that may imply, since the score of influences they’ve taken, throughout their long career, spans from folk and ambient, to almost Gregorian and renaissance, which might just be an exaggeration on my part, but the band is extremely versatile in the layering of musical styles.
Now, these styles are all but toppings on an actual black metal foundation. On occasion crude and unrefined, aggressive and downright offensive, but altogether well-thought and solid in its role as a main carrier of Xerión’s performance. This time, however, they show a slightly different face, though still remaining in the set boundaries I’ve mentioned above. Might as well mention Emperor as a key to describing what happens on “A mística arte da diferença”. The keyboards used here, but also the guitar leads, call to attention the Norwegian masters and their early (golden) era. On the other hand, there’s the closing song, “Kyría Éleos” which could stand as a funeral doom representative, complete with a sublime organ work by Daga. A fittingly dark and gloomy closing one.
Yet, already to start with, the title track gives you an aggressive vibe of… Let’s say “Inno A Satana”. Then the “O doce cantar da Xácia” could call to mind early Satyricon or Kampfar, though again with a keyboard background to the guitar work that swerves from Ihsahn to Mr. Sakis Tolis. And then Daga’s keys elevate the composition to yet another level only to have it violently taken to conclusion only Xerión is capable of delivering.
“O deter das horas” is another almost completely slow, doomy black metal track, which brings along a distinct pagan motif of great value and a driving arrangement flowing through this almost five minutes long song. A short interlude performed on yet another antique instrument I’m unfamiliar with, opens the second half of the album with a classic Xerión track. “De Mouras e Meigalhos” is folk infused, pagan black metal worship in the best tradition. The next one’s title translates to “The last melody of the sleepers” which complete with the mentioned closer brings to attention that this just might be some sort of a concept album about the same theme the cover painting explores. The transience of earthly existence. I might be wrong though, since the whole thing is, as usual with this band, sung in their own language. The translations I’ve come up with could just be wrong to a degree (or completely, for that matter).
In any case, Xerión has found a way of reinventing themselves, without actually reinventing anything. This is a strong outing, perhaps even the most mature of their career and certainly one to look out for. I’ve been a fan for a long, long time, so now is definitely the time for you to join the ride.
