Album Review – Sathamel / Horror Vacui (2019)

A seething cauldron of fire and blood in the form of Blackened Death Metal made in the UK, feeding the primal fear that writhes in our souls.

Is there anything more terrifying to the human mind than the void? Is it not the emptiness that lies beyond our last breath that props up all our dreams of heaven? That’s what a Black/Death Metal band formed in 2012 in Leeds, a city in the northern English county of Yorkshire, under the name Sheol, but currently known as Sathamel, is going to tell us all in their brand new album entitled Horror Vacui, a concept in art that is approximately translated from Latin to “fear of empty spaces”, continuing the path of darkness from their previous releases after a two-year hiatus while creating a more cohesive sound, and with the title applied in a more literal sense in terms of the void felt while the entity that is Sathamel had halted all activity.

Mixed and mastered by Samuel Turbitt at Ritual Sound Studios, Horror Vacui is a seething cauldron of fire and blood, a declaration of war, an edict of domination and a sentence of death, all embraced by the fulminating and devilish sounds blasted by Sathamel’s brand new lineup comprised of vocalist Kruk, guitarists KVN and Cygnus, bassist Nadir and drummer Reykr, being therefore highly recommended for fans of the scorching music by Hate, Behemoth, Deicide and Marduk. Each song in Horror Vacui carries that touch of darkness from beyond the world and feeds the primal fear that writhes in our souls, powerfully representing all your fears unleashed in an unrelenting firestorm of terror.

In the opening tune Libera Me, a cinematic intro will enfold you in darkness until the music reaches a devilish level led by Kruk’s enraged roars, growing into modern-day Black Metal showcasing scorching riffs by KVN and Cygnus and the infernal blast beats by Reykr. Needless to say, this is not recommended for the lighthearted, being effectively spiced up by phantasmagorical background sounds and vocalizations. The title-track Horror Vacui is brutal and blasphemous in the vein of Behemoth, with its dense and sulfuric instrumental penetrating deep inside your skin while you can enjoy dark poetry flowing form its lyrics (“Together as one / A carrion beast and tyrant’s fist / to consume the stars with purest joy / and to feed on covenants of creation / I create a masterpiece of horror and ecstasy / My canvas – your hollow smile / The front line expands under mastro’s hands / Universe bends to painter’s will”); and it’s time for total devastation with Sathamel in Raise Flame From Ash, an explosion of Blackened Death Metal where the vocals by Kruk sound as bestial and deep as they can be, with a venomous stench reeking in the air during its two and a half minutes of darkened sounds smashing your brain mercilessly.

KVN and Cygnus, supported by the rumbling bass by Nadir, dictate the rhythm in A New Age Of Lycanthropy, a neck-breaking, malevolent tune presenting all elements we love in extreme music, including a truly obscure and evil aura, whereas in The Devil’s Hand we’re treated to another onrush of demonic words (“Alive but intimate in death / Like maggots we nest / Nest in dead flesh / Alive but dependant on death / Like red fields we blossom embracing the dead”) while the music is beyond infernal, bringing to our ears flammable riffs by the band’s guitar duo and an intricate drumming by Reykr to give the whole song an extra kick. Then Kruk growls and gnarls like a beast from the underworld in Whispers Of A Husk, where the vicious beats by Reykr will crack your skull mercilessly in a lesson in technique and obscurity in the name of Black Metal.

Blazing guitars ignite the also hellish Świt, a cult-like, headbanging hymn crafted by the band, with Nadir extracting sheer thunder from his bass while the background choir makes the whole song more epic and imposing, not to mention how Kruk’s vocals remind me of Unleashed’s own Johnny Hedlund. There’s no time to breathe as Sathamel keep haunting our souls with their fiendish Blackened Death Metal in There Where Is No Time, not as complex and vibrant as the rest of the album but still presenting the band’s characteristic riffage and harsh vocals, and you better get ready for almost eight minutes of virulent and Stygian sounds in Of Spilled Wine And Broken Glass, more rhythmic than all previous songs and full of breaks and variations, but obviously still unleashing pure evil on us, ending in a twisted and obscure way.

If your heart is as dark as the music by Sathamel, and if you do not fear being trapped for all eternity in the void, you can follow the band on Facebook, subscribe to their YouTube channel, and grab your copy of such otherworldly album, which by the way is available in full on Spotify, from their own BandCamp page or Big Cartel, as well as from Apple Music and Amazon. Sathamel’s onrush of darkness and void will leave you completely disoriented from start to finish, proving once and for all there’s nothing better than some first-class Blackened Death Metal hailing from our beloved United Kingdom to feed all of our inner demons and fears.

Best moments of the album: Horror Vacui, Raise Flame From Ash and Whispers Of A Husk.

Worst moments of the album: There Where Is No Time.

Released in 2019 Independent

Track listing
1. Libera Me 5:51
2. Horror Vacui 4:32
3. Raise Flame From Ash 2:38
4. A New Age Of Lycanthropy 4:20
5. The Devil’s Hand 3:55
6. Whispers Of A Husk 3:48
7. Świt 3:55
8. There Where Is No Time 3:53
9. Of Spilled Wine And Broken Glass 7:41

Band members
Kruk – vocal
KVN – guitar
Cygnus- guitar
Nadir – bass
Reykr – drums