Review by Felix on January 6, 2021.

It was the mid-nineties when every self-respecting black metal musician had to at least sleep in a bed from a Scandinavian furniture store if their albums were to be taken seriously. Those days are gone. Norway is in a deplorable state, Finland has taken on a life of its own and Sweden lies somewhere in between, but far from the dominance of earlier years. So Malakhim's debut comes just in time. Admittedly, I was sceptical at first, since the release of Theion was via Iron Bonehead. Sometimes sounds come from this house that at best only partially meet my understanding of music. But lo and behold, Malakhim are not the next heralds of pure noise. They wield a fine blade. Those who like the creepy malevolence of Denouncement Pyre will quickly become friends with 'There Is a Beacon', the opener of Theion. Malakhim create a great mixture of an ominous depth and powerful metal riffs. It's not one of those stereotypical openings where the listener is immediately beaten senseless by the protagonists, only to shift down a gear afterwards. Instead, there are sublime riffs, intense tempo changes and an accusatory yet raw, powerful voice to be heard. Greatness meets meanness and the result sounds wonderful.

At best, openers have two functions. They should be among the highlights and stylistically represent the album. Both are the case here. Theion is filled to the brim with vile melodies that have mostly chosen the mid-tempo parts as their biotope. Complementing this are fast eruptions, well-dosed bursts of violence which remind everyone that you're not there to have fun. I already mentioned Denouncement Pyre and yes, somehow Malakhim have an Australian touch in their sound. The viciousness of Deströyer 666 permanently shines through and like the unfortunately long since disbanded Assaulter, the Swedes don't need the most absurd degrees of harshness to demonstrate their evil attitude. This is not least due to the production, which constantly spreads negative vibes while at the same time giving the songs a sound that is not overly clear but massive. Especially in the fast-paced passages, the mix is convincing, because there is never any mushy noise - and presumably each of us knows enough discs where the snare drum dissolves into thin air during the speed excesses. Titles like the fanatic and fantastic 'His Voiceless Whisper' or the intense 'Hammer of Satan' prove that it can be done differently.

Malakhim do not show any serious weakness. Not every song is perfect in all parts, but a surprising amount is done right here. No one has to fear a drop in quality. 'The Splendour of Stillborn Stars' blows the smell of decay into the living room just like the first tracks. The shiver of death is paired with a majestic melody and although Malakhim neither use classic song patterns nor attach too much importance to catchy or even repetitive parts, Theion finds its way into my long-term memory without detours. Or at least into its antechamber. For the rest of the day, I do nothing but listen to this record a few more times. When my eyes close, I go to bed. Fortunately, it's not a Scandinavian one.

Rating: 8.4 out of 10

Review by Alex Grindor on December 29, 2023.

A relatively new band, Karkosa established their presence in 2018 with the EP Harvest Of The Adept, which drew some attention. Now, almost 6 years later, they spawn their first LP Esoterrorcult. As soon as it starts, it is clear that this is quite the beast, wasting no time in ripping and tearing through your speakers.

With barely any sort of warning, dissonant harmonies open the gates of Esoterrorcult, as the first track 'Encorcelled Spirits' displays a furious barrage of blackened death expertly executed. In this single track we are treated to everything the album has to offer; machine-gun drums, ravaging guitar riffs and a wide variety of vocals, ranging from hellish growls to clean vocals. Music wise, the album is a furious display of black death with a palatable rage in every aspect of the album. The guitars cut through with furious, monstrous riffs and harmonies that never seem to cease, as well as a dash of dissonant work that adds to the atmosphere of the album. The drums are maniacal in their delivery, with constant blasts and changes in rhythm without losing any aggression in their delivery. The bass guitar, as it is the norm in this style, is barely perceptible. It does show at moments and its weight is sort of present but it's lost in the mix with the rest of the instruments. The vocals have quite the range and shift at every possible moment, sometimes even harmonizing between them.

Production-wise, there is little to note here. It is well recorded and mixed and there are virtually no mistakes to take note of. Whoever was in charge of the studio did an excellent job, as did the band in their performance. The only minor complaint would be the bass buried in the mix but this is common in extreme metal bands, even more recent ones. That aside, I did find the clean vocals to be a bit odd being included amidst the chaos of the music. This issue is quickly addressed though, as they are well performed and add another layer of chaos and despair to the overall sound, while not being overly featured.

Karkosa has crafted an excellent record with little to no issues to be noted. Their unhinged blackened death is executed to utmost perfection, showcasing a band that has completely grasped the vision of where they want to take their music. In 10 tracks they deliver everything, from apocalyptic frenzy to horrific atmosphere, and I hope that Karkosa only improves as time goes on. The album is set to be released in February 2024 and I would suggest checking it out as soon as it is released. This is one hell of a maniacal album and deserves your attention, as Esoterrorcult blurs the line between melodic black metal and brutal death metal, threading in a space I can confidently say is their own.

Rating: 9.4 out of 10