Review by Felix on October 21, 2019.

One of the greatest pleasures for me as heavy metal hunter is to discover really competent bands and sometimes it happens that a formation, which has been previously unknown to me, blows me away in a matter of minutes. Hate Manifesto, the name does not promise too much, celebrate an orgy of destructive energy and trample their imaginary foes into the grave joyfully. The deep, guttural and adequately monotonous voice comes from the musty vaults of death metal, the music mixes black, death and (trace elements of) thrash metal. But do not think of technical thrash, groovy death or mesmerizing black metal. As mentioned before, the band has chosen its moniker carefully. The guys attack with utter vehemence and their brutal, voluminous guitar work ensures that the sound does not suffer from any kind of weakness. This does not rule out rather slow sections. Inter alia the end of "The Arch of the Fallen" illustrates the violent beauty of the lumbering sections perfectly. The concise riff combines tragedy and grandeur so that it should be used as the soundtrack for the next funeral procession.

The playtime of less than 33 minutes cannot be described as opulent or overlong, but Hate Manifesto refuse to offer lame intros, interludes or any other crap. Superfluous elements do not occur. The music is focused on the essentials and just like a storm warning, it announces horrible things to come. Thus, the musicians sound the alarm right from the beginning. Blast beats and swirling mean riffs guarantee an intensive listening session. The sonic landscapes are cloaked in total darkness and no matter how often one lends an ear to the album, one will not be able to find any signs of clemency. I have no doubt that the dead who gracefully ornament the cover have been tortured with the sounds of this album. Okay, it is not surprising that some untrained listeners lose their life when facing numbers like "Disciples of the Iron Shield". Its high energy eruption after a more or less bearable mid-tempo part appears as a shock treatment. Yet already the opening title track demonstrates that these Hellenic preachers of destruction have a talent to stop a violent outburst by an abrupt break without hurting the flow or the lethal force of the composition.

There can be no doubt that the fascination of terrorizing sounds is unbroken as long as newcomers like these Greek realize their musical visions in such an overwhelming manner. And with that said, it does not matter that the production leaves room for improvement. The slightly dull mix does not fulfil the needs of hi-fi fetishists, but it’s cold and damp appearance emphasizes the sinister and almost inscrutable approach of the experienced duo. No doubt, these dudes are men of conviction, just see the thousands of bands in which they have already been involved. As a result, it does not make sense to pick out single tracks. Each and every piece calls for war and only if one intends to find the fly in the ointment, one can discuss about minor details like the slightly ill-defined ending of the already mentioned "Disciples of the Iron Shield". Instead of having a clear final point, it fades out in a pretty strange manner. Well, I guess there exist greater problems on earth. However, I am sure that legions of extreme metal fans miss a fanatic, uncompromising, and infernal feast if they do not check out To Those Who Glorified Death. Ravencult is still my number one from Greece in terms of extreme metal, but Hate Manifesto have the potential to usurp the throne of their compatriots. Brutality liaises with majestic despair and horror kisses contempt. Or, to say it with the band itself: "Primordial Barbaric Wrath" is presented. Maybe it will stimulate some wimps to glorify death while digging their own graves.

Rating: 9.2 out of 10

Review by Yener on July 14, 2019.

Here is an interesting album. Those of you who are familiar with this band know that they have a rare talent for bringing out their emotions in their music, in traditional black metal style. They do what they do, and they do it much better than most other bands in the genre. They have an uplifting yet raw sound, but also melodies so unique, so timeless, that it really sets them apart from other bands in the genre.

What we have here is something totally different, except not really. Drudkh have put away their electric guitars, amps and drums in favor of a more traditional folk sound. The music played here is done on acoustic guitars and flutes. This may come across as strange to some, or even a huge let down to fans, but for me personally, it works so much better than their black metal sound. Not to say that I do not appreciate the classic Blood in Our Wells, but this album here is very different, and in a way, much more appropriate for what Drudkh is all about.

The concept, theme, and general purpose for this album is to pay homage to their Ukrainian roots, and to take you back to that time period. Well, I must say that they did a damn good job, because from the very first seconds of “Sunset in Carpathians”, you can practically smell the grass and feel the warm wind on your face. This record is all about atmosphere and the transition of emotions, and it is all captured in a very unique manner.

One thing I like about this album is that the band did not focus too much on recording perfection. Here, everything is laid down to its bare core. You can hear the buzzing and scratching of acoustic guitar strings, and even breathing. This gives the album a very personal feel which simply could not have been captured in Pro Tools. Most of the time you get the image that the songs are being played in a huge grass field with a pale sunset rising in the horizon, and I get the feeling that that is exactly what the band had intended. 

Another thing that I love about this band, is that they don’t really care about the music or metal scene. They play what they want to play, and they enjoy it. For any single person who does get satisfaction from their albums, well, that’s just an added bonus. They do not give interviews, and they do not reveal their future plans. That is exactly what this form of music should be like. That is exactly what music should be like, period. But for this particular band, it fits in very well, as it leaves a haunting aurora of mystique around them, which I find fascinating. 

“Sunset in Carpathians” is the first track on the album, and it’s pretty uplifting. It is basically an acoustic guitar song complemented by sounds of nature, and some tasteful flute playing. It melds nicely with the next track, entitled “Tears of Gods.” As can be expected from the title, this track is a lot more sorrowful, led this time by a haunting acoustic guitar line. The section which starts at 01:56 is very sorrowful, but the song picks up once again with some more flute melodies.

Track three, “Archaic Dance”, is practically the same formula. The songs start with the sound of crackling fire, which again takes you to the vision of the band playing these songs on an open field. The flute is pretty dominant on this track, as well as some nice and even passages that seem to flow into each other with ease. Track four, “The Milky Way” is possibly my favorite song off of this album. It features only two acoustic guitars, but the atmospheres they create are very impressing. The melodies to be found here are each very unique, and they literally take you back in time. The song clocks in at just under ten minutes, so it is more like a ritual than a song. It’s very easy to close your eyes and just drift off to faraway lands.

Track five, “Why the Sun Becomes Sad”, is surprisingly uplifting, considering its title. Dual acoustic guitars, and the ever-apparent flute once again drive this track, and leads the way for track six, entitled “The Cranes Will Never Return Here.” For those of you familiar with past Drudkh releases, you will easily recognize this melody from their previous release, Blood in Our Wells. Actually, throughout the whole album, Drudkh revisit their previous works and revive some familiar themes. Very well done. A single acoustic guitar and some drone noises sets the perfect atmosphere for this song.

The final track on the album, called “Grey-Haired Steppe” is a triumphant way to end this album. Extraordinarily sorrowful acoustic and flute lines are played with passion and emotion, with no technical concern whatsoever. If there was one word I had to use to describe this song, it would be flawless.

And there you have it, a ritual which lasts for almost 35 minutes. Some people expected another black metal album in favor of this one, but I would personally prefer this any day of the week.

Rating: 9.6 out of 10