Review: Esoctrilihum - Döth-Dernyàlh

Painting by: Asthâghul; Visual design by: Francesco Gemelli

Style: Experimental black/death metal, folk (mixed vocals)
Recommended for fans of: The Ruins of Beverast, Oranssi Pazuzu, Blut Aus Nord, Leviathan (the Wrest one)
Country: France
Release date: 20 September 2024

Asthâghul is one of metal’s most mystifying presences. Solo project Esoctrilihum is written entirely in a self-made up language and its lyrics (allegedly) speak of the occult. The person/entity/musical force with a shadowy lore is extremely prolific, too, releasing up to two albums a year chock full of dense arrangements across the experimental black/death metal spectrum. Four years ago, the hype for Eternity of Shaog also reached my corner of the internet, and I was enthralled by its suffocating, yet mystifying atmosphere and emotionally potent use of violin. I cannot say I’ve kept up with all their releases, but I was happy to tackle the newest release, Döth-Dernyàlh.

To get the biggest hurdle out of the way first, let’s talk about length. Asthâghul has seldom been one to keep their records short, and at a chunky eighty minutes, Döth-Dernyàlh is no exception. Compared to earlier releases, however, Döth-Dernyàlh is far less oppressive as melodic elements are pushed to the forefront of the mix and its extreme metal aspects largely reside in the background. Its cavernous, reverb-laden mix is light on the ear, as if you heard the band playing from a distant chamber instead of witnessing it from up close. For those reasons, Döth-Dernyàlh is not at all fatiguing to listen to despite its length—from a sonic perspective at least.

None of this means that Döth-Dernyàlh is in any way gentle. Asthâghul’s tortured screams echo through layers of reverb while spooky 90s black metal synths fill the air as faint tremolo riffs, pulsating blast beats, and double pedal work remind us that this is indeed a metal record. What makes Döth-Dernyàlh so captivating, though, is how Asthâghul develops the atmosphere around a consistent rhythmic motive, creating immersive sections in which a variety of instruments play around a pulsating rhythm that last for minutes before moving onto the next idea. Traditional songcraft is largely eschewed for stream of consciousness compositions that take the listener on a trip through the astral plane where emotions flow in and out of existence at seemingly random levels of intensity.

The most interesting addition to Esoctrilihum’s sound this time around lies in the exploration of psychedelia and folk music. Acoustic guitar frequently takes the lead, providing melody and color to balance out the abrasive aspects in a manner ranging from straightforward campfire folk a la Falkenbach to Kaatayra-esque sections where acoustics dance over otherwise extreme metal instrumentation. A general pagan aesthetic is also achieved through a constant pulse of dreamy, somewhat ominous synths interwoven by melancholic melodies from the nyckelharpa, and frequent chants from Asthâghul. Even in the album’s most cavernous, abrasive moments, the resulting soundscape is enthrallingly magical.

Normally, this is where I’d enter my criticism paragraph, but there’s nothing I can really point to that goes wrong on Döth-Dernyàlh. It’s the kind of record that you put on while working and then lose track of time as you enter a flow state until eventually it peters out of existence but it still lingers on in your mind for a few minutes after it’s done as you come to realize that you barely remember anything that happened except for the vague sensation that it was a pleasant experience. I guess if anything, I’m missing standout moments. The album isn’t completely formless—the tracks do all come with their own identity—but there is a homogeneity to the sound that prevents individual moments from shining through, and I’m lacking some of the emotional catharsis that Asthaghul did manage to achieve on earlier albums.

Overall though, I enjoyed Döth-Dernyalh. While it lacks stand-out moments, the atmosphere is thoroughly compelling, and the fact that its eighty minute runtime flew by like it did is a testament to that. Do not look here for a conventional experience; this is a journey through the dreams of a mad musical entity that is as fascinating as it is strange, and a fitting addition to Asthaghul’s mystifying catalog.

Recommended tracks: Atüs Liberüs, Murzaithas
You may also like: Kaatayra, Bekor Qilish, Vauruvã
Final verdict: 7/10