viernes, 6 de enero de 2012

Hrizg... Inferno

In July 26th of 2011, Moribund Records released "Inferno" MCD world wide. This happened some months after of the release of Hrizg's second album, called "Anthems to Decrepitude". Despite the short time between both works, they were recorded with two years of difference, and you can hear the evilution between them.

"Inferno" was breeded in The Old Hermitage, a new location for the infamous Khazad-Dûm Studios, owned by Hrizg himself, in 2010.

Everything you can hear or see on this MCD is done by an only mind. The creator shows all his dedication in this new stuff, giving a new dimension in the production. More dry and clear this time.

Inferno I - The Awakening
Inferno II - To Yield Below the Frozen Sky
Inferno III - Shadowshield
Inferno IV - Ars Goetia
Inferno V - Conqueror of this Wooden Abyss

Hrizg 2007

Inferno II - To Yield Below the Frozen Sky

Inferno V - Conqueror of this Wooden Abyss

More info at:

Some reviews:
Hailing from Spain, Hrizg is a one-man musical venture designed to restore black metal to its primitive, satan-worshipping roots and with a deal with respected label Moribund records on the table and EPs of the quality of ‘Inferno’ it seems that he is likely to succeed on his mission. With a battle cry of ‘War and hate’, this is the blackest of metal, heavily influenced by Pagan themes and imbued with a crushing sense of purpose and it will undoubtedly ignite the enthusiasm of fans of bands such as Darkthrone and Emperor with its stately, intelligent and puritanical take on the genre.
Opening with ‘Inferno I – The awakening’ it is very much business as usual with high speed guitars pitched against cacophonous drums and, very much at the forefront of the recording, Hrizg’s vocals themselves which are a simple atonal gargle shot through with the furious determination of a musician who knows exactly what he wants each element of the music to portray. With the guitars trebly yet distinct, there is much to admire, not least the stately, epic nature of Hrizg’s song-writing which is emboldened by the deeper production that he has opted for this time out which, despite still being admirably raw, has a greater clarity than before. ‘Inferno II – To yield below the frozen sky’ reaffirms this view with the music hinting at a vast, ancient lineage that harks back to the days when the halls of men were lit with flaming brands and where random acts of violence were commonplace and celebrated. It is this sense of the ancient, the primitive and the ungodly that makes Hrizg so utterly compelling, and the depth of his ability truly shines through on these five, all-too-brief tracks with antiquated melodies rising from the searing blackness of the tracks to create a genuine sense of atmosphere.
‘Inferno III – shadowshield’ continues the underlying theme of violence and disillusion with a crushing central riff and symphonic flourishes that recall an army marching to war before the stair-stepping guitars of ‘inferno IV – Ars goetia’ take things in a deathly My Dying Bride direction with somnambulant drums and hell-torn vocals rubbing shoulders with the Gregorian chants of the damned. Recalling the early period of MDB (think ‘as the flower withers’) it’s a litany of despair and hatred that sounds amazing as a centrepiece to this remarkable EP with Hrizg really pushing himself both vocally and musically. Final track ‘inferno V – Conqueror of this wooden abyss’ opens with an  acoustic section which sounds like it was recorded in a storm before the guitars crash in to create an epic finale which recalls the bleak nature of classic Burzum material.
This is an excellent EP. Like all black metal it is an acquired taste thanks to the raw nature of the production and uncompromising nature of the music on offer, but for adherents to the genre Hrizg offers up a refreshingly old-school approach that is beautifully played, intelligently written and gloriously atmospheric. A remarkable and passionate performance from an artist whose work demands to be heard. 

Those of you who speak Orcish will quickly realize that Hrizg means “pain.” And if linguistics is not your thing, you will soon infer pain, particularly with the band’s new EP, Inferno (Moribund Records). A follow up of sorts to the band’s sophomore full-length studio CD, Anthems to Decrepitude, Inferno consists of five compositions, which total just over 27 minutes. The one-man band plays old-school black metal influenced by the majestic and the orchestral.

The EP kicks off with “Inferno 1. The Awakening,” and right up front is the blackened dissonance expected from cult black metal. Mastermind Hrizg handles everything, and he’s quite an accomplished musician. Percussion is restrained, at times erupting full force to quicken the pace, but for the most part it remains caged, seething. Guitars are distorted and dissonant, their structures majestic and filling the heart with fury. And then there are Hrizg’s vocals, which combine the high and low to inject sorrow and anger into the screams. Keyboards add to the orchestral vibe, as do sustained guitar riffs.
“Inferno II. To Yield below the Frozen Sky” kicks off by showing some of Hrizg’s guitar range, but it quickly reverts to chaos, with the guitars chained into discordance while the vocals reign supreme. Pace is quick on this one, but there’s also plenty of density, so that you feel taken under in a swamp lined with vegetation and mud. A nice touch is to use keyboard stings to inject melody into the maelstrom.
“Inferno III. Shadowshield” sets the mood by starting off slow but building toward vehemence, the salted wounds left behind sure to sting for some time. Hrizg’s vocals are held low here, giving them a demented quality, as are the guitars, which resonate even as the percussion thunders across the abyss. Leads are slow and are given a chance to harmonize, contrasting with the riffs and percussive bursts. 
A showcase of effective and streamlined guitar work is the strength of “Inferno IV. Ars Goetia,” which also shows some progressive streaks in its approach to the vocals (adding chants and mournful screams into the mix for melody). Percussion is also different (with the whole kit used to good effect), and the song closes with some effective bass thumps. This is the heart of the album, in my opinion.
The closer, “Inferno V. Conqueror of this Wooden Abyss,” begins with a thunderstorm and an acoustic guitar, setting the mood, before all hell breaks loose. An undercurrent of NWOBHM, styled after the mighty Bathory, makes this track another gem.
Those of you who still cling to the roots of black metal should pick up this EP immediately, as it is a perfect introduction into the world of Hrizg. Progressive but defiantly old school, Hrizg walks the walk, and Inferno is sure to find its way back to your CD platter again and again. Those of you who bleed black need this in your world.

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