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Angry Metal Guy @[email protected] · 2025-01-13 · 17:35 UTC

Wyatt E. – Zamāru Ultu Qereb Ziqquratu Part 1 Review

By Killjoy

With so many bands vying for attention in this digital age, sometimes it takes something truly original to catch a listener’s eye. This is what fixed my attention on Zamāru Ultu Qereb Ziqquratu Part 1 as it poked out of the fertile soil in the promo pit. Wyatt E.1 was originally founded in Belgium as an instrumental drone/doom group by guitarists Sébastien von Landau and Stéphane Rondia to portray the captured people of Jerusalem during the Babylonian Exile in 587 BCE. They made some bold alterations on this latest record to expand their sonic footprint, namely the addition of two drummers recorded simultaneously and collaborations with vocalists Nina Saeidi (Lowen) and Tomer Damsky. Did these creative shakeups succeed in enriching Wyatt E.’s sound?

A few of Wyatt E.’s more unconventional résumé entries have visibly impacted the development of Zamāru. Traces of the synth-heavy soundtrack they wrote for the 2022 film Bowling Saturne are scattered throughout, and the album has a distinct cinematic flair. They also teamed up with Tomer Damsky and Five the Hierophant for a specially commissioned performance at the 2022 Roadburn Festival titled Atonia.2 Five the Hierophant is a convenient starting point for comparison with Wyatt E., as they both rely on continuous repetition of key melodies embellished by a rich assortment of instruments. However, while the former favors wild saxophone passages, the latter prefers to lean on Middle Eastern instruments like the saz and sitar in a manner similar to last year’s Black Aleph release. With these accomplishments under its belt, Wyatt E. was primed to continue where the last album Āl Bēlūti Dārû left off with the intensity now cranked up to 11.

If we liken Zamāru’s structure to a sandwich, the 10-12 minute drone-laden treks bookending the album are the reliable bread that holds everything together. Opener “Qaqqari la târi Part I” begins with a single recurring note forming a rhythmic pattern underpinning the song as subtle fills are gradually layered on and the music suddenly erupts with sitar and percussion. It can’t be overstated how much drummers Jonas Sanders and Gil Chevigné boost the power and scope of the music. They sound positively thunderous when they play the same rhythm and in the finale of closer “Ahanu Ersetum” one anchors the steady beat while the other focuses on complex fills and dramatic crashes. If I had to nitpick, I’d say that a minute or so from the beginning of each of these two longer tracks could have been shortened, but it’s hard to complain much when the buildup and subsequent payoff are so compelling.

Of course, a good sandwich needs delectable filling, and the three middle tracks of Zamāru add tons of piquancy. Much of this comes from the stellar guest vocalists. Tomer Damsky’s singing in “Im Lelya” is nothing short of captivating, especially her vocal undulations at key moments. Likewise, Nina Saeidi’s hypnotic voice rises and falls like gigantic sand dunes in “The Diviner’s Prayer to the Gods of the Night” as she sings an ancient Akkadian poem. The guests don’t do all the heavy lifting, though. “Kerretu Mahrû” is a fascinating whirlwind of Middle Eastern instrumentation underscored by an elaborate drumming dance that all ends much too soon. In fact, this is my only real disappointment with Zamāru as a whole—it feels a bit incomplete. This isn’t exactly surprising, given that it’s titled Part 1, but I still can’t help but crave more after the 35 minutes are over.

It’s barely January, but I’d wager that Wyatt E. has fashioned one of the most unique records of 2025. The novelty factor may be what prompted me to investigate, but Zamāru more than stands on its own merits. Wyatt E. has mastered the tricky art of balancing the repetitive nature of drone with exotic exploration, making good use of the new resources available to hit several creative stretch goals with ease. This is a thoroughly engrossing experience that has earned my attention and rapt anticipation for Part 2.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Heavy Psych Sounds Records
Websites: wyattdoom.bandcamp.com | facebook.com/Wyattdoom
Releases Worldwide: January 10th, 2025

#2025 #40 #BelgianMetal #BlackAleph #DoomMetal #DroneMetal #FiveTheHierophant #FolkMetal #HeavyPsychSoundsRecords #Jan25 #Lowen #Review #Reviews #WyattE_ #ZamaruUltuQerebZiqquratuPart1

#belgianmetal #blackaleph #doommetal #dronemetal #fivethehierophant #folkmetal

Angry Metal Guy @[email protected] · 2025-01-13 · 17:35 UTC

Wyatt E. – Zamāru Ultu Qereb Ziqquratu Part 1 Review

By Killjoy

With so many bands vying for attention in this digital age, sometimes it takes something truly original to catch a listener’s eye. This is what fixed my attention on Zamāru Ultu Qereb Ziqquratu Part 1 as it poked out of the fertile soil in the promo pit. Wyatt E.1 was originally founded in Belgium as an instrumental drone/doom group by guitarists Sébastien von Landau and Stéphane Rondia to portray the captured people of Jerusalem during the Babylonian Exile in 587 BCE. They made some bold alterations on this latest record to expand their sonic footprint, namely the addition of two drummers recorded simultaneously and collaborations with vocalists Nina Saeidi (Lowen) and Tomer Damsky. Did these creative shakeups succeed in enriching Wyatt E.’s sound?

A few of Wyatt E.’s more unconventional résumé entries have visibly impacted the development of Zamāru. Traces of the synth-heavy soundtrack they wrote for the 2022 film Bowling Saturne are scattered throughout, and the album has a distinct cinematic flair. They also teamed up with Tomer Damsky and Five the Hierophant for a specially commissioned performance at the 2022 Roadburn Festival titled Atonia.2 Five the Hierophant is a convenient starting point for comparison with Wyatt E., as they both rely on continuous repetition of key melodies embellished by a rich assortment of instruments. However, while the former favors wild saxophone passages, the latter prefers to lean on Middle Eastern instruments like the saz and sitar in a manner similar to last year’s Black Aleph release. With these accomplishments under its belt, Wyatt E. was primed to continue where the last album Āl Bēlūti Dārû left off with the intensity now cranked up to 11.

If we liken Zamāru’s structure to a sandwich, the 10-12 minute drone-laden treks bookending the album are the reliable bread that holds everything together. Opener “Qaqqari la târi Part I” begins with a single recurring note forming a rhythmic pattern underpinning the song as subtle fills are gradually layered on and the music suddenly erupts with sitar and percussion. It can’t be overstated how much drummers Jonas Sanders and Gil Chevigné boost the power and scope of the music. They sound positively thunderous when they play the same rhythm and in the finale of closer “Ahanu Ersetum” one anchors the steady beat while the other focuses on complex fills and dramatic crashes. If I had to nitpick, I’d say that a minute or so from the beginning of each of these two longer tracks could have been shortened, but it’s hard to complain much when the buildup and subsequent payoff are so compelling.

Of course, a good sandwich needs delectable filling, and the three middle tracks of Zamāru add tons of piquancy. Much of this comes from the stellar guest vocalists. Tomer Damsky’s singing in “Im Lelya” is nothing short of captivating, especially her vocal undulations at key moments. Likewise, Nina Saeidi’s hypnotic voice rises and falls like gigantic sand dunes in “The Diviner’s Prayer to the Gods of the Night” as she sings an ancient Akkadian poem. The guests don’t do all the heavy lifting, though. “Kerretu Mahrû” is a fascinating whirlwind of Middle Eastern instrumentation underscored by an elaborate drumming dance that all ends much too soon. In fact, this is my only real disappointment with Zamāru as a whole—it feels a bit incomplete. This isn’t exactly surprising, given that it’s titled Part 1, but I still can’t help but crave more after the 35 minutes are over.

It’s barely January, but I’d wager that Wyatt E. has fashioned one of the most unique records of 2025. The novelty factor may be what prompted me to investigate, but Zamāru more than stands on its own merits. Wyatt E. has mastered the tricky art of balancing the repetitive nature of drone with exotic exploration, making good use of the new resources available to hit several creative stretch goals with ease. This is a thoroughly engrossing experience that has earned my attention and rapt anticipation for Part 2.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Heavy Psych Sounds Records
Websites: wyattdoom.bandcamp.com | facebook.com/Wyattdoom
Releases Worldwide: January 10th, 2025

#2025 #40 #BelgianMetal #BlackAleph #DoomMetal #DroneMetal #FiveTheHierophant #FolkMetal #HeavyPsychSoundsRecords #Jan25 #Lowen #Review #Reviews #WyattE_ #ZamaruUltuQerebZiqquratuPart1

#zamaruultuqerebziqquratupart1 #wyatte_ #reviews #review #lowen #jan25

Angry Metal Guy @[email protected] · 2025-01-13 · 17:35 UTC

Wyatt E. – Zamāru Ultu Qereb Ziqquratu Part 1 Review

By Killjoy

With so many bands vying for attention in this digital age, sometimes it takes something truly original to catch a listener’s eye. This is what fixed my attention on Zamāru Ultu Qereb Ziqquratu Part 1 as it poked out of the fertile soil in the promo pit. Wyatt E.1 was originally founded in Belgium as an instrumental drone/doom group by guitarists Sébastien von Landau and Stéphane Rondia to portray the captured people of Jerusalem during the Babylonian Exile in 587 BCE. They made some bold alterations on this latest record to expand their sonic footprint, namely the addition of two drummers recorded simultaneously and collaborations with vocalists Nina Saeidi (Lowen) and Tomer Damsky. Did these creative shakeups succeed in enriching Wyatt E.’s sound?

A few of Wyatt E.’s more unconventional résumé entries have visibly impacted the development of Zamāru. Traces of the synth-heavy soundtrack they wrote for the 2022 film Bowling Saturne are scattered throughout, and the album has a distinct cinematic flair. They also teamed up with Tomer Damsky and Five the Hierophant for a specially commissioned performance at the 2022 Roadburn Festival titled Atonia.2 Five the Hierophant is a convenient starting point for comparison with Wyatt E., as they both rely on continuous repetition of key melodies embellished by a rich assortment of instruments. However, while the former favors wild saxophone passages, the latter prefers to lean on Middle Eastern instruments like the saz and sitar in a manner similar to last year’s Black Aleph release. With these accomplishments under its belt, Wyatt E. was primed to continue where the last album Āl Bēlūti Dārû left off with the intensity now cranked up to 11.

If we liken Zamāru’s structure to a sandwich, the 10-12 minute drone-laden treks bookending the album are the reliable bread that holds everything together. Opener “Qaqqari la târi Part I” begins with a single recurring note forming a rhythmic pattern underpinning the song as subtle fills are gradually layered on and the music suddenly erupts with sitar and percussion. It can’t be overstated how much drummers Jonas Sanders and Gil Chevigné boost the power and scope of the music. They sound positively thunderous when they play the same rhythm and in the finale of closer “Ahanu Ersetum” one anchors the steady beat while the other focuses on complex fills and dramatic crashes. If I had to nitpick, I’d say that a minute or so from the beginning of each of these two longer tracks could have been shortened, but it’s hard to complain much when the buildup and subsequent payoff are so compelling.

Of course, a good sandwich needs delectable filling, and the three middle tracks of Zamāru add tons of piquancy. Much of this comes from the stellar guest vocalists. Tomer Damsky’s singing in “Im Lelya” is nothing short of captivating, especially her vocal undulations at key moments. Likewise, Nina Saeidi’s hypnotic voice rises and falls like gigantic sand dunes in “The Diviner’s Prayer to the Gods of the Night” as she sings an ancient Akkadian poem. The guests don’t do all the heavy lifting, though. “Kerretu Mahrû” is a fascinating whirlwind of Middle Eastern instrumentation underscored by an elaborate drumming dance that all ends much too soon. In fact, this is my only real disappointment with Zamāru as a whole—it feels a bit incomplete. This isn’t exactly surprising, given that it’s titled Part 1, but I still can’t help but crave more after the 35 minutes are over.

It’s barely January, but I’d wager that Wyatt E. has fashioned one of the most unique records of 2025. The novelty factor may be what prompted me to investigate, but Zamāru more than stands on its own merits. Wyatt E. has mastered the tricky art of balancing the repetitive nature of drone with exotic exploration, making good use of the new resources available to hit several creative stretch goals with ease. This is a thoroughly engrossing experience that has earned my attention and rapt anticipation for Part 2.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Heavy Psych Sounds Records
Websites: wyattdoom.bandcamp.com | facebook.com/Wyattdoom
Releases Worldwide: January 10th, 2025

Show 2 footnotes

Surprisingly, not the band I’ve reviewed with the most unusual name during my short tenure thus far as an AMG writer. ↩
Recordings of the performance can be found here and here. ↩

#2025 #40 #BelgianMetal #BlackAleph #DoomMetal #DroneMetal #FiveTheHierophant #FolkMetal #HeavyPsychSoundsRecords #Jan25 #Lowen #Review #Reviews #WyattE_ #ZamaruUltuQerebZiqquratuPart1

#belgianmetal #blackaleph #doommetal #dronemetal #fivethehierophant #folkmetal

David Cantrell 🏏 @DrHyde · 2025-01-08 · 13:57 UTC

@wyatt #systemd on Debian but only because I have to; #Devuan (Debian bug-fixed to get rid of systemd); #IllumOS (specifically #OmniOS); #WindowsXP because of #GURPS #GCA, the one application that needs Windows

#systemd #devuan #illumos #omnios #windowsxp #gurps

David Cantrell 🏏 @[email protected] · 2025-01-08 · 13:57 UTC

@wyatt #systemd on Debian but only because I have to; #Devuan (Debian bug-fixed to get rid of systemd); #IllumOS (specifically #OmniOS); #WindowsXP because of #GURPS #GCA, the one application that needs Windows

#systemd #devuan #illumos #omnios #windowsxp #gurps

David Cantrell 🏏 @[email protected] · 2025-01-08 · 13:57 UTC

@wyatt #systemd on Debian but only because I have to; #Devuan (Debian bug-fixed to get rid of systemd); #IllumOS (specifically #OmniOS); #WindowsXP because of #GURPS #GCA, the one application that needs Windows

#systemd #devuan #illumos #omnios #windowsxp #gurps

David Cantrell 🏏 @[email protected] · 2025-01-08 · 13:57 UTC

@wyatt #systemd on Debian but only because I have to; #Devuan (Debian bug-fixed to get rid of systemd); #IllumOS (specifically #OmniOS); #WindowsXP because of #GURPS #GCA, the one application that needs Windows

#gca #gurps #windowsxp #omnios #illumos #devuan

hypocaust @[email protected] · 2024-11-02 · 23:18 UTC

Wyatt-Hodge bowled by Garth for 4 (2).

Hurricanes in early trouble at 8/2 (1.2) after electing to bat.

#WBBL10 #T20
#cricket #womencricket
https://cricket.com.au/matches/CA:20826/melbourne-stars-women-hobart-hurricanes-women-weber-wbbl-10

#wbbl10 #t20 #cricket #womencricket

MLB Network 🤖 @[email protected] · 2024-09-04 · 03:43 UTC

Wyatt Langford got the crowd at Globe Life Field on their feet with this
𝙒𝘼𝙇𝙆-𝙊𝙁𝙁
𝙂𝙍𝘼𝙉𝘿
𝙎𝙇𝘼𝙈!

NTT #BallparkCam | @[email protected] | #StraightUpTX

#ballparkcam #straightuptx

The Hockey Writers @[email protected] · 2024-08-28 · 19:18 UTC

Wyatt Kaiser: A Key Piece in the Blackhawks’ Rebuild

Wyatt Kaiser is quickly becoming a promising figure in the Chicago Blackhawks' defensive lineup. Known for his mobility, puck-handling skills, and hockey IQ, Kaiser has garnered attention as a player who could potentially be a cornerstone for the Blackhawks' future defensi...

#BlackhawksProspects #ChicagoBlackhawks #WyattKaiser
#NHL #Hockey

#blackhawksprospects #chicagoblackhawks #wyattkaiser #nhl #hockey

The Hockey Writers @[email protected] · 2024-08-28 · 19:18 UTC

Wyatt Kaiser: A Key Piece in the Blackhawks’ Rebuild

Wyatt Kaiser is quickly becoming a promising figure in the Chicago Blackhawks' defensive lineup. Known for his mobility, puck-handling skills, and hockey IQ, Kaiser has garnered attention as a player who could potentially be a cornerstone for the Blackhawks' future defensi...

#BlackhawksProspects #ChicagoBlackhawks #WyattKaiser
#NHL #Hockey

#blackhawksprospects #chicagoblackhawks #wyattkaiser #nhl #hockey

The Hockey Writers @[email protected] · 2024-08-28 · 19:18 UTC

Wyatt Kaiser: A Key Piece in the Blackhawks’ Rebuild

Wyatt Kaiser is quickly becoming a promising figure in the Chicago Blackhawks' defensive lineup. Known for his mobility, puck-handling skills, and hockey IQ, Kaiser has garnered attention as a player who could potentially be a cornerstone for the Blackhawks' future defensi...

#BlackhawksProspects #ChicagoBlackhawks #WyattKaiser
#NHL #Hockey

#blackhawksprospects #chicagoblackhawks #wyattkaiser #nhl #hockey

Benjamin Hollon 🇺🇸🇲🇾🇮🇳🇦🇫 @benjaminhollon · 2023-04-22 · 00:40 UTC

@Wyatt @codemonkeymike
Yessss

#FrameworkCult anyone? ;)

#frameworkcult

World Concert Hall @[email protected] · 2024-03-23 · 02:00 UTC

Right now, #Wyatt with himself #Rachmaninov with Son and #Strauss from #Perth https://buff.ly/4cnKUxD #wch

#wyatt #rachmaninov #strauss #perth #wch

World Concert Hall @[email protected] · 2024-03-23 · 01:40 UTC

In 20 minutes, #Wyatt with himself #Rachmaninov with Son and #Strauss from #Perth https://buff.ly/4cnKUxD #wch

#wyatt #rachmaninov #strauss #perth #wch

World Concert Hall @[email protected] · 2024-03-22 · 16:05 UTC

Today, #Wyatt with himself #Rachmaninov with Son and #Strauss from #Perth https://buff.ly/4cnKUxD #wch

#wyatt #rachmaninov #strauss #perth #wch