Label: Nigra Mors
Date: December 21st, 2023
Long have I stopped counting the reviews I’ve written for this band. Not to mention the pieces of their long career that adorn my shelves. I’m embarrassed to say that the long years have diluted my memory to a point where I cannot recall exactly when did I first come across Xerión, but it wasn’t long before the duo became much more than just my accomplices in the fight for the underground scene of the most macabre of metal genres. Coming up with ways to congratulate them, on each release and their reluctance to give way, is a task few can endure. So, if my words are repeating or my praise seems out of place, don’t take it the wrong way. I love these people and Xerión remains among my all-time personal favourites.
This three-track long material, clocking in at under fifteen minutes, comes as a continuation of Xerión’s “Demos do Kaos” series, where they celebrate two decades of the band’s existence. Enriching the series are the “guest stars”, the band’s friends. I can’t help but brag about being part of the previous one on bass guitar. This time though, another one of cult characters of Galizian metal scene, and another friend of mine, Txomy (Strangled With Guts, Corteza Inhumana, Desolate, Frenopatiko venue and music shop, Loita Underground label…) helped the band by beating the drums to hell and back.
And I mean literally to hell and back. Most prominently in the slower segments, where the drums are way too loud in the final mix. I definitely wouldn’t like to be on the receiving end of that merciless pounding. Then again, blast beating is a regular occurrence in Xerión, and black metal in general, but it’s the other patterns of Txomy’s drumming that are not often heard in Xerión. Txomy brought with him a raggedy crust punk drumming style that happens only on one occasion, but perfectly fits the crude black metal guitar tone that Xerión is known for. It’s a neat refreshment we didn’t even know we needed.
Other than that, it is noticeable that the keyboards are almost completely absent from “Sombras nas pedras do Dragom do Tempo”. Apart of somewhat disharmonic and not all that uncontrolled introduction of “Orvalho no silêncio”.
Despite that, Xerión is still masterfully building a dense atmospheric wall of impenetrable, ages old, misty and suffocating woodlands. Untouched by the manmade concept of time, it exists beyond care for the basic mammal instincts, thus getting a hold of unforgiving eternity.
Out of the depths of Xerión, once again there shines a dim light upon the chosen ones to take it all in.
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