A few months after the release of “Pandaemorthium”, ESOCTRILIHUM’s celebrated sophomore album, French musician Asthâghul summons his creature back from the abominable realms of chaos it inhabits, to deliver a new chapter in his personal odyssey into fear and madness.
If the previous album opened 2018 in the name of the most majestic Lovecraftian extreme metal, “Inhüma” ends the year with an even more violent trip of hallucinatory music, a mind-bending vertigo of mystical black death metal of the heaviest kind, filtered through visionary and apocalyptic psychedelia. Once again, ESOCTRILIHUM works as a bridge to unparalleled dimensions of horror, terrifying mental planes where monstrous deities dominate over abstruse worlds in ruin, and where humanity is subjugated and enslaved.
Musically, “Inhüma” is a new and bold step forward in ESOCTRILIHUM’s fast growth. More conscious of his capabilities, sole member Asthâghul has even successfully integrated a real violin within the band’s typical paraphernalia of guitars, bass, drums and synths. The songwriting is compact and mature, equally brutal and reflective, and each track is a hymn to cosmic death, a flux of vivid nightmares from the deranged minds of ancient gods dying, with screams and growls augmenting the insane aura of Asthâghul’s compositions.
Arcane and indecipherable, ESOCTRILIHUM’s “Inhüma” offers intricate and intoxicating geometries of pain, beauty, mysticism and violence that find a perfect counterpart in Jef Whitehead’s amazing cover painting.