Another split, this one from Black Dragon Productions, features four bands from four different countries. Eutanos seems to be the key here, with James Peterson being the man behind the Black Dragon Label as well as behind Eutanos. How the other bands got involved is a mystery. James is currently based in Maryland, though originally Eutanos graced the terra firma of República del Ecuador. The tracks on this split all fall into a black metal framework, giving a consistency to the overall release. Subtle stylistic characteristics between the four bands give each personality a chance to stand out to the right listener, especially since the quality of the different productions is all at a similar standpoint. Significant attention was paid to the booklet, giving each band a section of the six-panel insert. Unfortunately, my copy did not come with the jewel case back insert because there are no song titles with my cover, if in fact there ever were song titles provided.
An intro, two full minutes of what sounds like a wooden train whistle duet, is definitely unique and original to my ears. It seems intended to invoke the original Mezoamerican cultures that inhabited the continent. It is no musical harbinger of things to come, though. "The Satan God" offers the first glimpse into Eutanos' unmasked sound. A solid production greets us at the door mat; chunky bass, strong guitars, clear and punchy drums. James Peterson's vocals are the odd component here. His vocal style is in line with Eyehategod's Mike Williams which, when paired with Eutatnos' modern thrashy black metal, adds frustration and desperation to Eutanos' attacks. Bassist German Mora is an absolute monster on these four tracks. Mixed perfectly with the thinner guitars, he adds not only low end, but a lot of character to the songs which are otherwise forgettable structurally and melodically. As a full entity, Eutanos doesn't do anything new or overwhelmingly innovative, but what they offer sounds professional and thought-through. More modern black metal fans might enjoy Eutanos but they don't offer me much. "Guillotina De Sangre" is their most impressive construction.
Peruvians Anal Vomit follow Eutanos with their own serving of black metal, this time coated with some speed metal and thrash elements which gives them a distinctively South American black metal sound which I liken to Mystifier. Slayer is a definitive influence as well. Vocalist Possessor carries a good harsh rasp in his bellows and retains appropriate levels of disgust balanced with emotion. Their five songs blitz by quickly which emphasizes the fact that each has different production levels and design, but somehow assists in keeping a heightened level of interest. There is no stagnation. "Sandero Siniestro" is easily my favorite of the five tracks they offer. The track is fast, intense, and aggressive relying on memorable riffs, particularly the chuggy half-time riff midway through the track. Their five tracks include a Sarcofago cover of INRI which is done especially well, likely out of a sense of personal obligation to the South American legends. Honestly, though I think their band name is puerile, their quick violent assault impressed me.
Aka Funeral, Brazilians, provide a second-wave black metal style in line with Emperor's later work and Immortal. I believe the three songs they offer here are from their debut album, Stormy Tides, and include the album title track as well as "Faceless" and "The Eternal Hourglass of Existence," which follow in succession on the album. It's like a three song preview of their debut, really. Aka Funeral excellently blend interesting and unexpected transitional phrases and melodic shifts into their songs, as evidenced in "Faceless." All three songs are interesting and dynamic. Vocalist Algol has a dry painful rasp and does his best to add theatricality as well. The songs are purposefully constructed and intentional. "The Eternal Hourglass of Existence" is an impressive track, built on an ever-escalating tension formed from continuously falling back into the E-minor scale from riffs rooted lower down in the scale. The song has a phenomenal musical break two thirds of the way through with an evocative guitar solo over slow powerful bass notes. A highlight for sure.
Final band present is Luciferian, a Columbian outfit, playing a fairly typical style of Black Metal. Elements of Dissection, Immortal, etc... Their overall sound is more modern and polished than the other bands and comes across as oily. I'm not sold on the generic elements nor the predictable flow their music takes through their songs. "The Chalice of Sovereignty" is their best song here, namely for the second half of the song after a spacious patient transitional section with interesting bass fills courtesy of four-stringer Demiurge. Objectively, their performances are all great, the production is stellar (as previously mentioned), and they present well put together songs. Vocalist and guitarist Hector Carmona is rigid in his delivery of standard black metal screams over the tracks, if passionate. Unlike previous band Aka Funeral, Luciferian lack the dynamics which keep tracks and songs interesting. For me, I'll be vigilant for the first Aka Funeral and Anal Vomit records after this split; these two bands appeared to offer me the closest to what I'm on the hunt for.
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