On the 23rd of April, 2016, I discovered a band from Minsk, Belarus, whose name was Eximperituserqethhzebibšiptugakkathšulweliarzaxułum and promptly wrote (here) about a newly released track from their debut album, the name of which, in truncated form, was:
Prajecyrujučy Sinhuliarnaje Wypramieńwańnie Daktryny Absaliutnaha J Usiopahłynaĺnaha Zła Skroź Šaścihrannuju Pryzmu Sîn-Ahhī-Erība Na Hipierpawierchniu Zadyjakaĺnaha Kaŭčęha Zasnawaĺnikaŭ Kosmatęchničnaha Ordęna Palieakantakta...
On our Facebook page a note was left explaining that, in English, this means “Projecting the singular emission ov the Doctrine ov Absolute and All-Absorbing Evil through the hexahedral prism ov Sîn-Ahhī-Erība upon the hypersurface ov zodiacal arc ov the cosmotechnical order ov paleocontact founders the utterly ancient hypostases ov pre-axes civilizations actuate the resonance transformer ov temporally similar to the eternity ov the future in the towers ov Nwn-Hu-Kek-Amon’s obcervatory embodying the ashes ov Alulim into the ethereal matter to the west ov exoplanet PSRB 1620-26b”.
As I wrote at the time, the song I had found kicked massive amounts of ass, even if its title, and that of the album, and that of the band, were guaranteed to defeat all efforts of the human mouth to shape the letters into sound.
More than one year later I found myself in the position of premiering a song from the band’s next release, an EP whose title was far briefer, though no less cryptic: W2246-0526.
And then after that, in 2019, Eximperitus (even with copy/paste functionality I’d rather use this shortened form) released a single named “Tahâdu” that I managed to overlook. “Tahâdu” is also the name of an Eximperitus track that we’re premiering today, and I’m okay using the term “premiere” because I haven’t attempted to determine (and may not be able to determine) whether this is the same song that appeared earlier or has been revised in some way. In any event, it comes from a new Eximperitus album named Šahrartu, which seems to be the Sumerian word for “Devastation”. It will be released by Willowtip on January 29, 2021.
While Eximperitus seem to have retreated from their prior use of mind-boggling and mouth-defeating assemblies of terms, names, allegories, epithets and metaphors, they have not abandoned the arcane conceptions that fuel their music. With respect to Šahrartu, they have written:
Antique tragedy in six acts, each of which is a chapter dedicated to a certain stage in the existence of being. “Šahrartu” is the other side of “Projecting the singular emission…” which is attested even by the cover of the album. Therefore, the conceptual constituent of the album it is an representing a side analysis of Existence phenomenology as well as a gradual cycle of Birth – Death.
Each lyrics is composed according to a specific form and consists of 11 lines. But despite the apparent simplicity and accessibility, this is an extremely conceptual work. The design of physical format contains a lot of connecting links, references and unique elements, without which a complete understanding of the release is impossible. The spells on the album noticed by a watchful listener serve the focus of Black Logos within microcosm. They are composed in so-called artlang, a constructed language for a work of art”.
So you see, Eximperitus have not abandoned the kind of occult thinking that inspires them, and as you’ll discover, they haven’t retreated from their brutalizing modes of musical expression either, though they’ve gotten even better at formulating their brand of esoteric death metal.
“Tahâdu“, for example, is both a slaughterer and a brain-twister, and a spine-tingler as well. Powered by a bullet-spitting snare-drum attack and mauling bass ravages, the song encompasses maniacal riffing that seems authentically deranged in the way it squirms and skitters. As ever, the vocals are cavernous and monstrous, and the music itself, as it changes, becomes more monstrous as well.
The drums vanish and the guitar slithers like a viper, and when a rhythm returns, the music becomes a dismal and poisonous thing. Eerie astral tones ring out. Chilling shrieks spear above darting fretwork. The drummer batters and thunders. The guitars moan and whine, jolt and jab, and seem to scream in agony.
The wondrous cover art for Šahrartu was created by Pär Olofsson, and it adorns the variety of formats in which Willowtip will release the album — CD, LP, and digital — and the accompanying apparel, all of which is available for pre-order now. Also available now, and included below, is a stream of another song from the new album, one named “Utpāda“.