STEINMETAL (7/10)

Between the Satanic reign of the underworld to the very thin lined existence of the corroded society above, perusals of meaningful worship, gathering the followers under the banner of an unholy conjuring that will paint the world in red, a devilish mannerism to the one who deserves the tribute. Could be rendered as one of early bigots of Death Metal, following the genre's true entity of satanic / anti-religious ritualism and its mystical fortitude, ACHERON never exactly rose to the glory they deserved, lined up with counterpart INCANTATION, these guys, led by the veteran founder Vincent Crowley, have been providing the truest of Death Metal notes their entire career, unlike peer bands like the detached MORBID ANGEL that simply forgot what it was all about. Nearly four years ago ACHERON split up only to be reunited a few months afterwards, probably realizing the mistake behind the former decision. Newly signed to the French Listenable Records, along with the vehement INCANTATION, the demonic trio appears to be infuriated and lashed out with the fresh message of "Kult Des Hasses", all ready for the blood of the innocent to flow.

It is said that it is all in the wrist, that nicely thought phrase, however when it comes to that exact feeling that an artist wish to perpetrate, it takes more than just hitting the right notes. From end to end, ACHERON, better than any kind of Norse Black Metal band inspired by anti-Christianity beliefs and doctrines, have been having the ability in them to turn wine into blood, to enact the factual sensation of desecration and profanity, similar to producing a musical propensity that isn't suitable for every ear. It is not that the band's material is heavily complicated, as it is far from it while counting out the lead fretwork granted, yet believe it or not they remained loyal to their past legacy with the impression they enshrine, and within "Kult Des Hasses", the ambiance is well reserved.

Musically, as I commented, it is a presentation of a blackened kind of Death Metal. Art Taylor implemented well written rhythm guitar riffery, at times a bit reoccurring to the verge of lackluster, possibly one of the foremost reasons why the songs' length were somewhat unnecessarily prolonged without no apparent reason. Nonetheless, this haunting riff line, laid amongst the outlines of late 80's to early 90's Death with several SLAYER type Thrash vividness, set the charge for the impishness of the songs. Kyle Severn (INCANTAION) inspired with his drum work, forging slow tempo poundings a long side dynamic blast beating menace, everything clicks accurately. Frankly, Severn mighty not be that kind a wizard or the ultimate virtuoso, along with the drumming throughout the material being not overly composite, but also thanks to the production, his dominance and talent are felt. Vincent Crowley, the chief of this clan, is as always, contaminating with distinguishable growls, which always reminded me of ASPHYX's Martin Van Drunen, in an uncanny ability, letting the listener comprehend every bit. As this trio might be still powerful, their wild card was the session lead guitarist, Ricktor Ravensbruck, a rather unknown name hailing from several of bands that I honestly had no recollections of. Without this guy at the helm of the guitar melodies, ACHERON would have lost their grip with this release. Charging with dynamic arsenal of shred guitaring, the catalyst Ravensbruck landed a full scale war all the way through the songs with his soloing capabilities, stellar stuff from a crafty guy.

Captivated by the essence of old school Death Metal that dominated the material, I entered the realm of chaos, with stories of a darkened future, distorted past and tarnished fantasies and imagination. I was swept by "Raptured to Divine Perversion", a crooked ritualistic sexual deed slashing with enchanting lead guitar soloing and melodic licks, breaking with a double time tremolo action gripping hand, and coursing to the midst of slow tempo deadliness. "Devil's Black Blood", if you hadn't have your drink till now, is like an anthemic MOTORHEAD / TORMENT / SODOM trip through the alcoholic nation, call it a free spirited, simply riffed, old school Speed Metal plague, quite catchy and fantastic. The diverse, mostly instrumental, "Thy Father Suicide", and the foreboding "Concubina Do Diabo" are two diabolic Death / Thrash Metal tunes, crafty on the soloing and spikey on the riffing. ACHERON provided more than just a decent Death Metal experience of the old guard, I had higher expectation truth be told, but still "Kult Des Hasses" is a piece of solidness.

DANIEL FOX (9/10)

With over 14 releases since 1989, it is quite easy to call US blackened Death Metal band ACHERON veterans. For 24 years that also happened to include a shaky tenure, a 6 year gap void of releases and a tentative breakup in 2010, they mark their return with "Kult Des Hasses".  The best way I can describe it, is to imagine a hellish meeting of DEICIDE and DARKTHRONE, and the Satanism-fuelled furor to match both.

Straight to the point is the length and mature opening track, "Daemonum Lux", which graciously evolves from a rumbling dirge, to an even slower dirge at doom speeds that picks up with a unique blast-beaten section, where guitar tremolos are replaced with elegant, foreboding and melodic wails. Instrumentally, the track is a thought-fully constructed journey; lyrically, there are stanzas roared at strategic points within the song that mark turning points in the track's arrangement, and feel much more akin to occult chants as opposed to adhering to what is a conventional song structure. It is this kind of adventurous songwriting that I do not normally find in similar music. Showing further slight diversions in musical direction is "Raptured to Divine Perversion", beginning with a blistering series of solos and screaming leads. On this track especially, I notice Vincent's unique approach to extreme metal vocals, sounding like something that is halfway between Johan Liiva and Shagrath's early vocal work with DIMMU BORGIR. It therefore is able to rid itself of Black Metal clichés, but also leaves the lyrics audible and open to interpretation. Also in classic DIMMU BORGIR fashion are smatterings of clean guitar sections; points of reprieve between the pits of fire and brimstone.

Another track to stand out was "Thy Father Suicide" taking, what seemed like to me, more of a groove-driven approach to blackened Death Metal. At least, that is what I was lead to believe for about the first half of the track, for then I was met with delicious, progressive flourishes amidst crunching gallops; not to mention the return of virtuosic guitar solos, which again make a return later in the song, embroiling in fiery melodies which do nothing but enhance what is innately brutal music. "Whores and Harlots" turned out to be my favorite track on the album because its composition, I felt, best represented the band as a whole. The arrangement of the rhythm section is coarse, syncopated, discordant and stunted and creates disorienting cracks amidst the straightforward rolling thunder of the dominant riffs.

The kind of extreme metal that ACHERON create is unique in this day and age because of its meat-and-potatoes approach to honest, brutal and blackened Metal without being ashamed to allow the creeping in of extremely technical, yet melodic, guitar solos and marks an incredibly strong return for the band.