Review by Adam on June 29, 2001.

Diablerie create a sound on their debut release Seraphyde which is very difficult to be pin down. It is not exactly black metal but it has the elements. The album also contains industrial and techno elements as well. To be honest with you, it gaves me a headache just trying to think of a metal subgenre to place it in. The best way to describe the music contained on this disc is to use the term "avantgarde" and apply it to the metal genre. This would mean that the artists develop new and experimental concepts in heavy metal music, which is exactly what these guys do.

First lets analyze some of the songs. The record can be broken down to having three types of songs. The first is a dark sounding type of song with hints of black and industrial metal. The second is a more technoish yet atmospheric sort of sound as displayed on the albums two instrumental tracks 'Float' and 'Oppression'. The third is just an odd type of sound that I can only really describe as avantgarde metal.

The other nine tracks which are not instrumentals are all pretty heavy and have their own unique style. The additional vocals on two of this album's tracks by Karoliina Kallio share quite a haunting resemblance to Lacuna Coil's Cristina Scabbia. The vocals displayed by the band's lead singer are stylistically varied in such a way that he can jump from hardcore sounding sreams to darker, more black metalish type screeches in a matter of seconds. The production on this record is a huge plus with the drum sound standing out the most.

The one thing I do not care for on this release are the guitars. Their are two guitarists in this band, but when you listen to the cd it just sounds like one, and to me that defeats the whole purpose of having two guitarists anyway. The guitars, when not accompanied by blaring drums, seem lost and dry sounding. All in all, the songs are nice, dark, metal tunes with some electronic and techno elements thrown into the mix.

Bottom Line: If you are metal fan searching for something new and interesting within the genre, then Diablerie's Seraphyde is for you.

Rating: 7 out of 10

Review by Adam on June 29, 2001.

Diablerie create a sound on their debut release Seraphyde which is very difficult to be pin down. It is not exactly black metal but it has the elements. The album also contains industrial and techno elements as well. To be honest with you, it gaves me a headache just trying to think of a metal subgenre to place it in. The best way to describe the music contained on this disc is to use the term "avantgarde" and apply it to the metal genre. This would mean that the artists develop new and experimental concepts in heavy metal music, which is exactly what these guys do.

First lets analyze some of the songs. The record can be broken down to having three types of songs. The first is a dark sounding type of song with hints of black and industrial metal. The second is a more technoish yet atmospheric sort of sound as displayed on the albums two instrumental tracks 'Float' and 'Oppression'. The third is just an odd type of sound that I can only really describe as avantgarde metal.

The other nine tracks which are not instrumentals are all pretty heavy and have their own unique style. The additional vocals on two of this album's tracks by Karoliina Kallio share quite a haunting resemblance to Lacuna Coil's Cristina Scabbia. The vocals displayed by the band's lead singer are stylistically varied in such a way that he can jump from hardcore sounding sreams to darker, more black metalish type screeches in a matter of seconds. The production on this record is a huge plus with the drum sound standing out the most.

The one thing I do not care for on this release are the guitars. Their are two guitarists in this band, but when you listen to the cd it just sounds like one, and to me that defeats the whole purpose of having two guitarists anyway. The guitars, when not accompanied by blaring drums, seem lost and dry sounding. All in all, the songs are nice, dark, metal tunes with some electronic and techno elements thrown into the mix.

Bottom Line: If you are metal fan searching for something new and interesting within the genre, then Diablerie's Seraphyde is for you.

Rating: 7 out of 10

Review by Adam on June 29, 2001.

Diablerie create a sound on their debut release Seraphyde which is very difficult to be pin down. It is not exactly black metal but it has the elements. The album also contains industrial and techno elements as well. To be honest with you, it gaves me a headache just trying to think of a metal subgenre to place it in. The best way to describe the music contained on this disc is to use the term "avantgarde" and apply it to the metal genre. This would mean that the artists develop new and experimental concepts in heavy metal music, which is exactly what these guys do.

First lets analyze some of the songs. The record can be broken down to having three types of songs. The first is a dark sounding type of song with hints of black and industrial metal. The second is a more technoish yet atmospheric sort of sound as displayed on the albums two instrumental tracks 'Float' and 'Oppression'. The third is just an odd type of sound that I can only really describe as avantgarde metal.

The other nine tracks which are not instrumentals are all pretty heavy and have their own unique style. The additional vocals on two of this album's tracks by Karoliina Kallio share quite a haunting resemblance to Lacuna Coil's Cristina Scabbia. The vocals displayed by the band's lead singer are stylistically varied in such a way that he can jump from hardcore sounding sreams to darker, more black metalish type screeches in a matter of seconds. The production on this record is a huge plus with the drum sound standing out the most.

The one thing I do not care for on this release are the guitars. Their are two guitarists in this band, but when you listen to the cd it just sounds like one, and to me that defeats the whole purpose of having two guitarists anyway. The guitars, when not accompanied by blaring drums, seem lost and dry sounding. All in all, the songs are nice, dark, metal tunes with some electronic and techno elements thrown into the mix.

Bottom Line: If you are metal fan searching for something new and interesting within the genre, then Diablerie's Seraphyde is for you.

Rating: 7 out of 10

Review by John B. on January 16, 2022.

Yes, they are named after a South American hallucinogenic plant. And yes, one song is about shrooms. But no, if you’re looking for something fun to listen to while taking drugs, Ayahuasca is not for you. Huayra is transcendental in a bestial, inhuman way. It’s angry, ferocious, at times terrifying death/thrash with an occasional native Amazonian tinge.

What really makes these guys unique is the vocal delivery. Inguetuzca sounds like a blend of Mille Petrozza on the low end, and Sacrifice’s Rob Urbinati on the high end, but faster and more pissed-off than either. They also use some of the best group vocals at times. Where this technique is often cheesy, Ayahuasca do it in a way that really fits the atmosphere. It comes out as a distant echo; and especially on the psilocybin mushroom-themed song 'Teonanacatl' it produces a fever-dream type effect that’s deeply unsettling. Psychedelic, yeah, but not all “trippy” - this is frightening stuff.

Guitarists Bituima and Mohan, and bassist Porras capture a special mix of raw aggression and Amazonian culture too. They play with that chainsaw sound and prominent low-end we loved in early Sepultura; and manage to make a simple 2-minute (and 2-word) blast like 'Revoluto' work just as well as a more complete song like 'Guasabara'. The latter’s tremulous gallop would not be out of place alongside such classics as Kreator’s “Command Of The Blade”. And yet, Ayahuasca’s section loses nothing when they tone it down for the soft instrumentals either. 'Wayra' and 'Chacruna' both feature what could be relaxing Latino acoustic guitars floating down some murky tributary, were it not for the menacing anaconda of Parros’ thick bass slithering below. Even the uncredited flutist and jungle animal samples don’t allow to let your guard down past the dangerously-too-quiet stage. You’re still on edge waiting for the ferocious electric guitars to smack you again.

Album credits do mention “percussion” along with regular “drums”, but I’m not sure whether that means there are native percussion instruments used too. Either way, there is a certain looseness - though absolutely don’t read that as a criticism! - that helps drummers Ramirez and Lulomoy fit into the wild atmosphere of Huayra too. In the same way Stiny Plamenu banged on random pipes to accent their “sewers metal”, there’s something about Ayahuasca’s drums that feel like they could be playing on fallen logs in the rainforest.

Rating: 8.5 out of 10

Review by John B. on January 16, 2022.

Yes, they are named after a South American hallucinogenic plant. And yes, one song is about shrooms. But no, if you’re looking for something fun to listen to while taking drugs, Ayahuasca is not for you. Huayra is transcendental in a bestial, inhuman way. It’s angry, ferocious, at times terrifying death/thrash with an occasional native Amazonian tinge.

What really makes these guys unique is the vocal delivery. Inguetuzca sounds like a blend of Mille Petrozza on the low end, and Sacrifice’s Rob Urbinati on the high end, but faster and more pissed-off than either. They also use some of the best group vocals at times. Where this technique is often cheesy, Ayahuasca do it in a way that really fits the atmosphere. It comes out as a distant echo; and especially on the psilocybin mushroom-themed song 'Teonanacatl' it produces a fever-dream type effect that’s deeply unsettling. Psychedelic, yeah, but not all “trippy” - this is frightening stuff.

Guitarists Bituima and Mohan, and bassist Porras capture a special mix of raw aggression and Amazonian culture too. They play with that chainsaw sound and prominent low-end we loved in early Sepultura; and manage to make a simple 2-minute (and 2-word) blast like 'Revoluto' work just as well as a more complete song like 'Guasabara'. The latter’s tremulous gallop would not be out of place alongside such classics as Kreator’s “Command Of The Blade”. And yet, Ayahuasca’s section loses nothing when they tone it down for the soft instrumentals either. 'Wayra' and 'Chacruna' both feature what could be relaxing Latino acoustic guitars floating down some murky tributary, were it not for the menacing anaconda of Parros’ thick bass slithering below. Even the uncredited flutist and jungle animal samples don’t allow to let your guard down past the dangerously-too-quiet stage. You’re still on edge waiting for the ferocious electric guitars to smack you again.

Album credits do mention “percussion” along with regular “drums”, but I’m not sure whether that means there are native percussion instruments used too. Either way, there is a certain looseness - though absolutely don’t read that as a criticism! - that helps drummers Ramirez and Lulomoy fit into the wild atmosphere of Huayra too. In the same way Stiny Plamenu banged on random pipes to accent their “sewers metal”, there’s something about Ayahuasca’s drums that feel like they could be playing on fallen logs in the rainforest.

Rating: 8.5 out of 10