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Angry Metal Guy<p><a href="https://www.angrymetalguy.com/wyatt-e-zamaru-ultu-qereb-ziqquratu-part-1-review/" rel="nofollow noopener" target="_blank">Wyatt E. – Zamāru Ultu Qereb Ziqquratu Part 1 Review</a></p><p><i>By Killjoy</i></p><p>With so many bands vying for attention in this digital age, sometimes it takes something truly original to catch a listener’s eye. This is what fixed my attention on <em>Zamāru Ultu Qereb Ziqquratu Part 1</em> as it poked out of the fertile soil in the promo pit. <strong>Wyatt E.</strong><a href="https://www.angrymetalguy.com/wyatt-e-zamaru-ultu-qereb-ziqquratu-part-1-review/#fn-209602-1" rel="nofollow noopener" target="_blank">1</a> was originally founded in Belgium as an instrumental drone/doom group by guitarists Sébastien von Landau and Stéphane Rondia to portray the captured people of Jerusalem during the Babylonian Exile in 587 BCE. They made some bold alterations on this latest record to expand their sonic footprint, namely the addition of two drummers recorded simultaneously and collaborations with vocalists Nina Saeidi (<strong>Lowen</strong>) and Tomer Damsky. Did these creative shakeups succeed in enriching <strong>Wyatt E.</strong>’s sound?</p><p>A few of <strong>Wyatt E.</strong>’s more unconventional résumé entries have visibly impacted the development of <em>Zamāru</em>. Traces of the synth-heavy soundtrack they wrote for the 2022 film <em>Bowling Saturne</em> are scattered throughout, and the album has a distinct cinematic flair. They also teamed up with Tomer Damsky and <strong>Five the Hierophant</strong> for a specially commissioned performance at the 2022 Roadburn Festival titled <em>Atonia</em>.<a href="https://www.angrymetalguy.com/wyatt-e-zamaru-ultu-qereb-ziqquratu-part-1-review/#fn-209602-2" rel="nofollow noopener" target="_blank">2</a> <strong>Five the Hierophant</strong> is a convenient starting point for comparison with <strong>Wyatt E.</strong>, as they both rely on continuous repetition of key melodies embellished by a rich assortment of instruments. However, while the former favors wild saxophone passages, the latter prefers to lean on Middle Eastern instruments like the saz and sitar in a manner similar to last year’s <a href="https://www.angrymetalguy.com/black-aleph-apsides-review/" rel="nofollow noopener" target="_blank"><strong>Black Aleph</strong></a> release. With these accomplishments under its belt, <strong>Wyatt E.</strong> was primed to continue where the last album <em>Āl Bēlūti Dārû</em> left off with the intensity now cranked up to 11.</p><p></p><p>If we liken <em>Zamāru</em>’s structure to a sandwich, the 10-12 minute drone-laden treks bookending the album are the reliable bread that holds everything together. Opener “Qaqqari la târi Part I” begins with a single recurring note forming a rhythmic pattern underpinning the song as subtle fills are gradually layered on and the music suddenly erupts with sitar and percussion. It can’t be overstated how much drummers Jonas Sanders and Gil Chevigné boost the power and scope of the music. They sound positively thunderous when they play the same rhythm and in the finale of closer “Ahanu Ersetum” one anchors the steady beat while the other focuses on complex fills and dramatic crashes. If I had to nitpick, I’d say that a minute or so from the beginning of each of these two longer tracks could have been shortened, but it’s hard to complain much when the buildup and subsequent payoff are so compelling.</p><p>Of course, a good sandwich needs delectable filling, and the three middle tracks of <em>Zamāru</em> add tons of piquancy. Much of this comes from the stellar guest vocalists. Tomer Damsky’s singing in “Im Lelya” is nothing short of captivating, especially her vocal undulations at key moments. Likewise, Nina Saeidi’s hypnotic voice rises and falls like gigantic sand dunes in “The Diviner’s Prayer to the Gods of the Night” as she sings an ancient Akkadian poem. The guests don’t do all the heavy lifting, though. “Kerretu Mahrû” is a fascinating whirlwind of Middle Eastern instrumentation underscored by an elaborate drumming dance that all ends much too soon. In fact, this is my only real disappointment with <em>Zamāru</em> as a whole—it feels a bit incomplete. This isn’t exactly surprising, given that it’s titled Part 1, but I still can’t help but crave more after the 35 minutes are over.</p><p>It’s barely January, but I’d wager that <strong>Wyatt E.</strong> has fashioned one of the most unique records of 2025. The novelty factor may be what prompted me to investigate, but <em>Zamāru</em> more than stands on its own merits. <strong>Wyatt E.</strong> has mastered the tricky art of balancing the repetitive nature of drone with exotic exploration, making good use of the new resources available to hit several creative stretch goals with ease. This is a thoroughly engrossing experience that has earned my attention and rapt anticipation for Part 2.</p> <p><strong>Rating</strong>: 4.0/5.0<br><strong>DR:</strong> 6 | <strong>Format Reviewed:</strong> 320 kbps mp3<br><strong>Label:</strong> <a href="https://www.heavypsychsounds.com/" rel="nofollow noopener" target="_blank">Heavy Psych Sounds Records</a><br><strong>Websites:</strong> <a href="https://wyattdoom.bandcamp.com/" rel="nofollow noopener" target="_blank">wyattdoom.bandcamp.com</a> | <a href="https://www.facebook.com/Wyattdoom/" rel="nofollow noopener" target="_blank">facebook.com/Wyattdoom</a><br><strong>Releases Worldwide:</strong> January 10th, 2025</p><p><a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/40/" target="_blank">#40</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/belgian-metal/" target="_blank">#BelgianMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/black-aleph/" target="_blank">#BlackAleph</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/doom-metal/" target="_blank">#DoomMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/drone-metal/" target="_blank">#DroneMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/five-the-hierophant/" target="_blank">#FiveTheHierophant</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/folk-metal/" target="_blank">#FolkMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/heavy-psych-sounds-records/" target="_blank">#HeavyPsychSoundsRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/jan25/" target="_blank">#Jan25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/lowen/" target="_blank">#Lowen</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/wyatt-e/" target="_blank">#WyattE_</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/zamaru-ultu-qereb-ziqquratu-part-1/" target="_blank">#ZamaruUltuQerebZiqquratuPart1</a></p>
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#BlackAleph
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Angry Metal Guy<p><strong><a href="https://www.angrymetalguy.com/black-aleph-apsides-review/" rel="nofollow noopener" target="_blank">Black Aleph – Apsides Review</a></strong></p><p><i>By Dear Hollow</i></p><p><strong>Black Aleph</strong> is a sonic experiment devoted to ritual. Debut <em>Apsides</em>, while short, is nothing short of perplexing in its evasion of genre trappings, ultimately making some form of drone metal with folk instruments, imbued with post-metal’s metamorphic crescendos. However, the value lies behind these descriptors, with a distinct ritualistic heart beating beneath as its Middle Eastern modal traditions guide the movements—a divine and otherworldly experience. Don’t misunderstand, <em>Apsides</em> will still crush you, but just as much in its serenity as its dense guitar riffs—the weight it conjures is a suggestion and anticipation of punishment rather than a rod brandished. The result is haunting and unique, but brimming with more potential than it capitalizes upon.</p><p><strong>Black Aleph</strong> is a trio from Australia, its Sydney- and Melbourne-based members comprised other acts from the country’s weirder underground offerings. Aside from respective solo offerings, guitar and effects wizard Lachlan Dale hails from <a href="https://en.wikipedia.org/wiki/Maqam" rel="nofollow noopener" target="_blank">maqam-centric</a> acts like <strong>Hashshashin</strong> and the <strong>Arya Ensemble</strong>,<a href="https://www.angrymetalguy.com/black-aleph-apsides-review/#fn-205406-1" rel="nofollow noopener" target="_blank">1</a> cellist Peter Hollo lends his eerie drones in post-rock/electronic collectives like <strong>Tangents</strong>, <strong>Haunts</strong>, and <strong>FourPlay String Quartet</strong>, and dar player/setarist Timothy Johannessen plays in the folk-inclined <strong>Mehr Ensemble</strong>. Johannessen and Dale’s respective roots in Arabic, Iranian, and Persian folk music pronounce the motifs that <strong>Black Aleph</strong> utilizes. The trio has been compared to renowned experimental acts like <strong>Godspeed You! Black Emperor</strong>, <strong>Justin Broadrick</strong>, and <strong>Jesu</strong>, while associated with members of <strong>We Lost the Sea</strong> and <strong>Sunn O)))</strong>. However, <strong>Black Aleph</strong> plays more in line with <strong>Hashshashin</strong> or countrymates <strong>Omahara</strong> in the blurring of drone and folk, ever-punishing and ever-organic.</p><p></p><p><strong>Black Aleph</strong> deals in a style that balances weight, tension, and melody. Just as in <strong>Godspeed</strong>’s <em>Lift Your Skinny Fists…</em>, chord progressions throughout <em>Apsides</em> are layered with tension, bated breath between dissonance and harmony. While layered with ominous droning doom riffs (“Descent,” “Precession”), the crescendos within its micro-movements prove the most intriguing. Whether it be its dancing and complex rhythms (“Return”), climbing arpeggios (the “Ambit” duo), or gradual uses of volume and curious motifs (“Separation,” “Return”) the best uses of the percussive daf are utilized in quieter moments, creating a pulsing undercurrent of mystery and frailty rather than the punishing drums they pretend to be in the more droning cuts. These more gentle movements gradually increase in girth with post-rock intention, erupting in satisfying droning climaxes (“Ambit II (Aphelion),” “Return”). While droning guitars are relatively straightforward, their acoustic instruments—setar, daf, cello, and violin<a href="https://www.angrymetalguy.com/black-aleph-apsides-review/#fn-205406-2" rel="nofollow noopener" target="_blank">2</a>—provide <strong>Black Aleph</strong> an easy and effective bridge between droning metal and folk motifs, as the songs are constructed safely and neatly.</p><p></p><p><strong>Black Aleph</strong>’s voiceless music creates a greater impetus to focus on the songwriting, and unfortunately, <em>Apsides</em> suffers from moments of directionless meandering and awkwardly curtailed movements. In general, the lack of vocals is a critique depending on the listener. In a manner of songwriting, however, the best crescendo occurs in “Ambit II (Aphelion)” and no track following lives up to this peak, although others attempt to scale it (“Separation,” “Return”). While noodling occurs throughout (i.e. “Ambit I (Ascension)”), it overwhelms the moments of climax, leading tracks plummeting to the ground, especially in the limp closer “Occultation,” whose wonky rhythms and skronky setar rob the guitars of needed weight. Most frustrating with <strong>Black Aleph</strong> is that, although each track is neatly composed and competently executed, the album at large feels too short and abrupt. <em>Apisdes</em>’ thirty-minute runtime feels too short like <strong>Black Aleph</strong> missed the chance to adequately flesh out their ideas when eschewing drone metal’s tendency towards lengthy offerings.</p><p><em>Apsides</em> offers a unique sound, hindered by its own ambition. Although the songs are too short and performances can be shortsighted, <strong>Black Aleph</strong> has an endlessly intriguing premise and unique execution. Ritualistic rhythms, Middle Eastern motifs, droning riffs, and otherworldly drive collide in an album that largely succeeds. It’s good that I want to hear more of <strong>Black Aleph</strong>, because I think their next album will be better than <em>Apsides</em>.</p> <p><strong>Rating:</strong> 3.0/5.0<br><strong>DR:</strong> 8 | <strong>Format Reviewed:</strong> 320 kb/s mp3<br><strong>Label: </strong>Self-Released<br><strong>Websites:</strong> <a href="http://blackaleph.bandcamp.com" rel="nofollow noopener" target="_blank">blackaleph.bandcamp.com</a> | <a href="http://facebook.com/blackaleph" rel="nofollow noopener" target="_blank">facebook.com/blackaleph</a><br><strong>Releases Worldwide:</strong> October 25th, 2024</p><p><a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2024/" target="_blank">#2024</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/30/" target="_blank">#30</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/apsides/" target="_blank">#Apsides</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/arya-ensemble/" target="_blank">#AryaEnsemble</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/australian-metal/" target="_blank">#AustralianMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/black-aleph/" target="_blank">#BlackAleph</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/doom-metal/" target="_blank">#DoomMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/drone/" target="_blank">#Drone</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/drone-metal/" target="_blank">#DroneMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/folk/" target="_blank">#Folk</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/fourplay-string-quartet/" target="_blank">#FourPlayStringQuartet</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/godspeed-you-black-emperor/" target="_blank">#GodspeedYouBlackEmperor</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/hashshashin/" target="_blank">#Hashshashin</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/haunts/" target="_blank">#Haunts</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/jesu/" target="_blank">#Jesu</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/justin-broadrick/" target="_blank">#JustinBroadrick</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/mehr-ensemble/" target="_blank">#MehrEnsemble</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/noise/" target="_blank">#Noise</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/oct24/" target="_blank">#Oct24</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/omahara/" target="_blank">#Omahara</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/post-rock/" target="_blank">#PostRock</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/post-metal/" target="_blank">#PostMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/self-released/" target="_blank">#SelfReleased</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/sunn-o/" target="_blank">#SunnO_</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/tangents/" target="_blank">#Tangents</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/we-lost-the-sea/" target="_blank">#WeLostTheSea</a></p>
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