(written by Islander)
What is “pagan death metal”? It might be death metal that lyrically honors and celebrates old pre-Christian mystical belief systems, or current non-theistic ones, without much other connection between the music and what inspires the lyrics. Or the connection might be deeper than the words. Or the words might open doors to an imaginary cosmos of recent origin but ancient trappings, accompanied by music designed to reveal what lies beyond the door.
Which brings us to the Italian “pagan death metal” band Alzhagoth. Thematically, they have created their own cosmogony, a vast cosmogony of chaos and even monstrosity, and a cult devoted to the dark god whose name is the name of the band. As for the music, they’ve explained in a recent interview:
“For us, chaos isn’t merely random, but filled with potential. Each element can become part of a subtle order, crystallizing into a track that reflects the darkness of Alzhagoth. In this way, the music becomes an attempt to capture eternity in a single moment, transforming turmoil into something sublime, in the romantic sense of the word.”
What this means in more concrete terms is revealed in Alzhagoth‘s debut album Ad Finem, which will be released tomorrow through Inertial Music, and which we’re now revealing in its entirety.
In that same interview the band disclosed their songwriting process:
“The writing process unfolds through melodic death riffs, enriched with keyboard parts and orchestrations. We strive to create unique harmonizations, with moments where each instrument follows its own path, only to come together in explosive climaxes. This is the aim of our composition.”
Blazing and barbaric melodic death metal does provide the core framework of the music on Ad Finem, but embellished with symphonic and chamber-music trappings that help create differing atmospheres and moods. The album opener “Sermons of the Blind” is an example of what these methods have produced — but only an example, because Alzhagoth take different songs in different directions.
In that first song they charge headlong, with ferocity pouring from every pore, from the hammering drums to fiery riffing that brazenly blazes and frantically spasms, from savage guttural growls to haughty gang cries (like warriors preparing for an assault) and berserk screams.
The fleet-fingered fretwork, both guitars and bass, is fierce, channeling moods of bloody-minded feverishness, but the band also create moments of soaring glory with vividly dancing and swirling keys, a deliriously spectacular guitar solo, and impassioned singing.
Aside from the windy closing moments of that song, it’s a blood-rushing extravaganza, as melodically rich as it is hell-for-leather in its intensity. And that’s true, in greater and lesser degress, of all the other songs yet to come, but as foretold above, Alzhagoth also create changes of atmosphere and mood.
For example, “Herald of Chaos” is near-Baroque in its classically-influenced and dexterous instrumental filigrees (and far from the only song that does that), but also ecstatic in its wild energies and sublime in both its lilting acoustic interlude and the spellbinding extended guitar solo (augmented by piano keys) that follows, which seems tailor-made made for a large arena.
On the other hand, “Grievous Diorama” begins with hallowed choral voices and then fashions a towering musical monument of daunting grandeur before opening the throttle for a high-octane burst of savagery. Here too, a symphonic overlay creates grandeur of a different kind, like the brilliance of a sky-spanning sunrise, and jolting blows create the underpinning for rippling keys and yet another jaw-dropping guitar solo.
By now it will become apparent to listeners that Alzhagoth are devoted to creating musical spectacles, remarkably elaborate sonic epics in which their goal seems to be exploding hearts and heads while transporting people to ancient ages (or ages that never existed except in the imagination) of barbarism and bombast, of head-spinning sorcery and awe-inspiring majesty.
And repeatedly, the band bring in varying keyboard and string motifs and melodies whose intricacy and elegance remind us of their attachment to Baroque and Romantic classical traditions (especially the former).
They also constantly pepper the songs with catchy melodic hooks, propulsive bass-throbs, battering-ram blows, and infectiously thrashy riffage, and while the multiply-layered guitar and keyboard work, along with those extravagantly savage vocals, seizes attention over and over again with their technical pyrotechnics and emotional power, the rhythm section are equally adept and nuanced. (It’s worth a second listen just to focus on the drumwork, which is really stunning.)
And so when Alzhagoth “dial things back”, as they occasionally (but rarely) do, it’s a relative term. What is “subdued” for Alzhagoth is still eye-popping for most bands. And when the moods darken, it still feels like we’re witnessing daunting and distressing events on a godly scale. “Over the top” is where Alzhagoth live, and where they obviously love to take us.
Before we provide the album stream (at long last), we also want to share Alzhagoth‘s own introduction to Ad Finem:
Ad Finem represents for us a deep and intricate sonic journey, where Pagan Death Metal expresses its most authentic essence. Our goal is to explore new sounds, allowing each member to bring their own musical uniqueness, creating atmospheres that blend power and complexity.
“Through the use of four-instrument harmonizations and arpeggios, we have crafted compositions that alternate between moments of intensity and more melodic passages. Tracks like “Sermons of the Blind,” “Herald of Chaos,” and “Ultramonsters” were conceived with the intent of combining strong technical elements with a musical narrative that moves between melodic death, thrash, and influences from classic metal and groove, where the lyrics lay the foundation for the pagan genre, creating a new imaginary cosmos dedicated to the creatures of the Alzhagoth universe.
“Our aim is to create an album that not only reflects our musical identity but also offers an engaging experience to all those who love complex and powerful sounds. We believe that death metal enthusiasts, especially those drawn to the Swedish scene, will find in this album an evocative and impactful sound, capable of leaving a lasting impression with each listen.
“With this work, we strive to strengthen our presence in the metal scene, delivering a sound that combines technical complexity with strong emotional impact.”
Matteo – Vocals
Michele – Guitar
Nicolò – Guitar
Marco – Bass
Antonio – Drums
Raffaele – Keyboards
Ad Finem was produced by Alzhagoth, and mixed and mastered by Daniele Ferretto. Paintings on the cover and in the accompanying booklet were made by Eva Zivkovic, with additional graphics by Matteo Ventura and IM Team. It’s recommended “for fans of bands like Amon Amarth, Eluveitie, and those who appreciate keyboard elements reminiscent of Children of Bodom.”
MORE INFO (AND TO ORDER):
https://www.inertial-music.com/
https://alzhagoth.bandcamp.com/album/ad-finem
https://linktr.ee/alzhagoth
https://www.instagram.com/alzhagoth/
https://www.facebook.com/alzhagoth
https://www.facebook.com/inertialmusiclabel