#thycatafalque — Public Fediverse posts

Since releasing Magnum Opus four years ago, Philadelphia’s IATT has refined their songwriting toolkit to incorporate an even wider array of ideas and sounds. New platter Etheric Realms of the Night demonstrates a compositional leap as IATT weaves a grandiose concept into music—specifically, exploring the deconstruction of consciousness as wakeful awareness decays amongst the capricious environs of the subliminal. This abstract notion is rife with potential, offering boundless possibilities for artistic exploration. Broadly speaking, IATT follows a fascinating trajectory, covering a lot of ground with each release and honing their craft remarkably since their debut. With their latest offering, can IATT send us into Etheric Realms of delight?

Etheric Realms of the Night surges with ideas and instrumentation, entwining ephemeral beauty and scathing dissonance into a fugue-like fever dream. Prior albums Nomenclature and Magnum Opus reference stalwarts Opeth, Enslaved, and Dissection, melding melody with brutality to wondrous effect. Etheric Realms of the Night retains the core of IATT’s sound while expanding it even further into flamboyantly progressive territory à la Ihsahn and Thy Catafalque, and it’s this pivot that unites Etheric Realms’ music and concept so cohesively. The flute, performed by Didier Malherbe, sets the tone at the beginning of lead track “Drift Away.” Light, airy, and flitting, its inclusion is a masterstroke in evoking dreams’ fleeting substance. Piano lines weave in and out of the compositions, enriching the gorgeously textured cascades of IATT’s dense soundscape with vague impressions of a lullaby. Yet no matter how busy any particular moment is, each facet plays in service to the whole, engendering an astonishing coherence through Etheric Realms despite the diversity of components.

The overarching narrative on Etheric Realms of the Night follows the mind’s state of consciousness as sleep erodes the physics of reality, sending us deep into the impenetrable murk of unfiltered inputs and perceptions. “Drift Away” begins with a tandem of acoustic strumming played under a lilting flute, leading to a VoiceOver thought exercise that establishes a loose framework for Etheric Realms.1 From there, the track launches into harsh vocals alongside soaring strings that give way to heartfelt cleans, a groovy drum shuffle, punchy bass countermelodies, and sprightly piano flourishes. It’s the perfect introduction for what IATT accomplishes throughout Etheric Realms, as atmospheres consistently dart and lurch in unexpected directions. This approach synchronizes perfectly with the ephemeral temperament of dreams, where paradigms are kaleidoscopic, and no foothold lasts longer than a breath. So, too, does IATT’s songwriting shift and evolve throughout Etheric Realms’ runtime, with themes and motifs fading and reemerging in altered forms.

Etheric Realms’ success hinges on performances that can support the concept IATT sets in motion, and here, too, they deliver in spades. The guitars feature prominently on Magnum Opus, frequently stepping out to deliver showy licks and sure-fingered solos. On Etheric Realms, guitarists Joe Cantamessa and Alec Pezzano are no less capable and still deliver electrifying leads and riffs. Yet it’s their restraint that works best, giving room for other parts to dazzle. Paul Cole’s drumming hypnotizes as he adopts different styles throughout, including a dance-ready samba pattern on “Pavor Nocturnus” and a Portnoyesque rumble toward the back end of “Somniphobia.” Meanwhile, bassist/vocalist Jay Briscoe unleashes the best performance of his career so far, issuing a variety of black metal rasps and lower register roars along with effective cleans. Briscoe’s stately bass lines deserve praise as well, sauntering into the spotlight or supporting with gravelly grooves as needed. Also, the saxophone on “Walk Amongst,” played by Jørgen Munkeby (Emperor, Shining), wails with such emotion and moxie that I get goosebumps every time I listen. Every moment on Etheric Realms feels well-considered and expertly crafted, and the way it all fits together is transcendent.

Etheric Realms of the Night is an unabashed triumph. In my time at AMG, this is the only review I’ve tarried on because I didn’t want to stop listening to the album. IATT supplies an arresting three-quarters of an hour that sets my dopamine release valve to ‘GUSH,’ and Etheric Realms claims a residency in my gray matter that haunts me day and night. Every time “Hypnos” concludes, I’m left mesmerized and enamored with IATT’s swirling moods and seamless conglomeration of ideas. While it’s too early for me to think about list season,2 the subconscious pull Etheric Realms possesses only grows stronger with each visit, and I dare to dream of writing about it again.

Rating: Excellent!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Black Lion Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 8th, 2026

Since releasing Magnum Opus four years ago, Philadelphia’s IATT has refined their songwriting toolkit to incorporate an even wider array of ideas and sounds. New platter Etheric Realms of the Night demonstrates a compositional leap as IATT weaves a grandiose concept into music—specifically, exploring the deconstruction of consciousness as wakeful awareness decays amongst the capricious environs of the subliminal. This abstract notion is rife with potential, offering boundless possibilities for artistic exploration. Broadly speaking, IATT follows a fascinating trajectory, covering a lot of ground with each release and honing their craft remarkably since their debut. With their latest offering, can IATT send us into Etheric Realms of delight?

Etheric Realms of the Night surges with ideas and instrumentation, entwining ephemeral beauty and scathing dissonance into a fugue-like fever dream. Prior albums Nomenclature and Magnum Opus reference stalwarts Opeth, Enslaved, and Dissection, melding melody with brutality to wondrous effect. Etheric Realms of the Night retains the core of IATT’s sound while expanding it even further into flamboyantly progressive territory à la Ihsahn and Thy Catafalque, and it’s this pivot that unites Etheric Realms’ music and concept so cohesively. The flute, performed by Didier Malherbe, sets the tone at the beginning of lead track “Drift Away.” Light, airy, and flitting, its inclusion is a masterstroke in evoking dreams’ fleeting substance. Piano lines weave in and out of the compositions, enriching the gorgeously textured cascades of IATT’s dense soundscape with vague impressions of a lullaby. Yet no matter how busy any particular moment is, each facet plays in service to the whole, engendering an astonishing coherence through Etheric Realms despite the diversity of components.

The overarching narrative on Etheric Realms of the Night follows the mind’s state of consciousness as sleep erodes the physics of reality, sending us deep into the impenetrable murk of unfiltered inputs and perceptions. “Drift Away” begins with a tandem of acoustic strumming played under a lilting flute, leading to a VoiceOver thought exercise that establishes a loose framework for Etheric Realms.1 From there, the track launches into harsh vocals alongside soaring strings that give way to heartfelt cleans, a groovy drum shuffle, punchy bass countermelodies, and sprightly piano flourishes. It’s the perfect introduction for what IATT accomplishes throughout Etheric Realms, as atmospheres consistently dart and lurch in unexpected directions. This approach synchronizes perfectly with the ephemeral temperament of dreams, where paradigms are kaleidoscopic, and no foothold lasts longer than a breath. So, too, does IATT’s songwriting shift and evolve throughout Etheric Realms’ runtime, with themes and motifs fading and reemerging in altered forms.

Etheric Realms’ success hinges on performances that can support the concept IATT sets in motion, and here, too, they deliver in spades. The guitars feature prominently on Magnum Opus, frequently stepping out to deliver showy licks and sure-fingered solos. On Etheric Realms, guitarists Joe Cantamessa and Alec Pezzano are no less capable and still deliver electrifying leads and riffs. Yet it’s their restraint that works best, giving room for other parts to dazzle. Paul Cole’s drumming hypnotizes as he adopts different styles throughout, including a dance-ready samba pattern on “Pavor Nocturnus” and a Portnoyesque rumble toward the back end of “Somniphobia.” Meanwhile, bassist/vocalist Jay Briscoe unleashes the best performance of his career so far, issuing a variety of black metal rasps and lower register roars along with effective cleans. Briscoe’s stately bass lines deserve praise as well, sauntering into the spotlight or supporting with gravelly grooves as needed. Also, the saxophone on “Walk Amongst,” played by Jørgen Munkeby (Emperor, Shining), wails with such emotion and moxie that I get goosebumps every time I listen. Every moment on Etheric Realms feels well-considered and expertly crafted, and the way it all fits together is transcendent.

Etheric Realms of the Night is an unabashed triumph. In my time at AMG, this is the only review I’ve tarried on because I didn’t want to stop listening to the album. IATT supplies an arresting three-quarters of an hour that sets my dopamine release valve to ‘GUSH,’ and Etheric Realms claims a residency in my gray matter that haunts me day and night. Every time “Hypnos” concludes, I’m left mesmerized and enamored with IATT’s swirling moods and seamless conglomeration of ideas. While it’s too early for me to think about list season,2 the subconscious pull Etheric Realms possesses only grows stronger with each visit, and I dare to dream of writing about it again.

Rating: Excellent!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Black Lion Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 8th, 2026

Since releasing Magnum Opus four years ago, Philadelphia’s IATT has refined their songwriting toolkit to incorporate an even wider array of ideas and sounds. New platter Etheric Realms of the Night demonstrates a compositional leap as IATT weaves a grandiose concept into music—specifically, exploring the deconstruction of consciousness as wakeful awareness decays amongst the capricious environs of the subliminal. This abstract notion is rife with potential, offering boundless possibilities for artistic exploration. Broadly speaking, IATT follows a fascinating trajectory, covering a lot of ground with each release and honing their craft remarkably since their debut. With their latest offering, can IATT send us into Etheric Realms of delight?

Etheric Realms of the Night surges with ideas and instrumentation, entwining ephemeral beauty and scathing dissonance into a fugue-like fever dream. Prior albums Nomenclature and Magnum Opus reference stalwarts Opeth, Enslaved, and Dissection, melding melody with brutality to wondrous effect. Etheric Realms of the Night retains the core of IATT’s sound while expanding it even further into flamboyantly progressive territory à la Ihsahn and Thy Catafalque, and it’s this pivot that unites Etheric Realms’ music and concept so cohesively. The flute, performed by Didier Malherbe, sets the tone at the beginning of lead track “Drift Away.” Light, airy, and flitting, its inclusion is a masterstroke in evoking dreams’ fleeting substance. Piano lines weave in and out of the compositions, enriching the gorgeously textured cascades of IATT’s dense soundscape with vague impressions of a lullaby. Yet no matter how busy any particular moment is, each facet plays in service to the whole, engendering an astonishing coherence through Etheric Realms despite the diversity of components.

The overarching narrative on Etheric Realms of the Night follows the mind’s state of consciousness as sleep erodes the physics of reality, sending us deep into the impenetrable murk of unfiltered inputs and perceptions. “Drift Away” begins with a tandem of acoustic strumming played under a lilting flute, leading to a VoiceOver thought exercise that establishes a loose framework for Etheric Realms.1 From there, the track launches into harsh vocals alongside soaring strings that give way to heartfelt cleans, a groovy drum shuffle, punchy bass countermelodies, and sprightly piano flourishes. It’s the perfect introduction for what IATT accomplishes throughout Etheric Realms, as atmospheres consistently dart and lurch in unexpected directions. This approach synchronizes perfectly with the ephemeral temperament of dreams, where paradigms are kaleidoscopic, and no foothold lasts longer than a breath. So, too, does IATT’s songwriting shift and evolve throughout Etheric Realms’ runtime, with themes and motifs fading and reemerging in altered forms.

Etheric Realms’ success hinges on performances that can support the concept IATT sets in motion, and here, too, they deliver in spades. The guitars feature prominently on Magnum Opus, frequently stepping out to deliver showy licks and sure-fingered solos. On Etheric Realms, guitarists Joe Cantamessa and Alec Pezzano are no less capable and still deliver electrifying leads and riffs. Yet it’s their restraint that works best, giving room for other parts to dazzle. Paul Cole’s drumming hypnotizes as he adopts different styles throughout, including a dance-ready samba pattern on “Pavor Nocturnus” and a Portnoyesque rumble toward the back end of “Somniphobia.” Meanwhile, bassist/vocalist Jay Briscoe unleashes the best performance of his career so far, issuing a variety of black metal rasps and lower register roars along with effective cleans. Briscoe’s stately bass lines deserve praise as well, sauntering into the spotlight or supporting with gravelly grooves as needed. Also, the saxophone on “Walk Amongst,” played by Jørgen Munkeby (Emperor, Shining), wails with such emotion and moxie that I get goosebumps every time I listen. Every moment on Etheric Realms feels well-considered and expertly crafted, and the way it all fits together is transcendent.

Etheric Realms of the Night is an unabashed triumph. In my time at AMG, this is the only review I’ve tarried on because I didn’t want to stop listening to the album. IATT supplies an arresting three-quarters of an hour that sets my dopamine release valve to ‘GUSH,’ and Etheric Realms claims a residency in my gray matter that haunts me day and night. Every time “Hypnos” concludes, I’m left mesmerized and enamored with IATT’s swirling moods and seamless conglomeration of ideas. While it’s too early for me to think about list season,2 the subconscious pull Etheric Realms possesses only grows stronger with each visit, and I dare to dream of writing about it again.

Rating: Excellent!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Black Lion Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 8th, 2026

Since releasing Magnum Opus four years ago, Philadelphia’s IATT has refined their songwriting toolkit to incorporate an even wider array of ideas and sounds. New platter Etheric Realms of the Night demonstrates a compositional leap as IATT weaves a grandiose concept into music—specifically, exploring the deconstruction of consciousness as wakeful awareness decays amongst the capricious environs of the subliminal. This abstract notion is rife with potential, offering boundless possibilities for artistic exploration. Broadly speaking, IATT follows a fascinating trajectory, covering a lot of ground with each release and honing their craft remarkably since their debut. With their latest offering, can IATT send us into Etheric Realms of delight?

Etheric Realms of the Night surges with ideas and instrumentation, entwining ephemeral beauty and scathing dissonance into a fugue-like fever dream. Prior albums Nomenclature and Magnum Opus reference stalwarts Opeth, Enslaved, and Dissection, melding melody with brutality to wondrous effect. Etheric Realms of the Night retains the core of IATT’s sound while expanding it even further into flamboyantly progressive territory à la Ihsahn and Thy Catafalque, and it’s this pivot that unites Etheric Realms’ music and concept so cohesively. The flute, performed by Didier Malherbe, sets the tone at the beginning of lead track “Drift Away.” Light, airy, and flitting, its inclusion is a masterstroke in evoking dreams’ fleeting substance. Piano lines weave in and out of the compositions, enriching the gorgeously textured cascades of IATT’s dense soundscape with vague impressions of a lullaby. Yet no matter how busy any particular moment is, each facet plays in service to the whole, engendering an astonishing coherence through Etheric Realms despite the diversity of components.

The overarching narrative on Etheric Realms of the Night follows the mind’s state of consciousness as sleep erodes the physics of reality, sending us deep into the impenetrable murk of unfiltered inputs and perceptions. “Drift Away” begins with a tandem of acoustic strumming played under a lilting flute, leading to a VoiceOver thought exercise that establishes a loose framework for Etheric Realms.1 From there, the track launches into harsh vocals alongside soaring strings that give way to heartfelt cleans, a groovy drum shuffle, punchy bass countermelodies, and sprightly piano flourishes. It’s the perfect introduction for what IATT accomplishes throughout Etheric Realms, as atmospheres consistently dart and lurch in unexpected directions. This approach synchronizes perfectly with the ephemeral temperament of dreams, where paradigms are kaleidoscopic, and no foothold lasts longer than a breath. So, too, does IATT’s songwriting shift and evolve throughout Etheric Realms’ runtime, with themes and motifs fading and reemerging in altered forms.

Etheric Realms’ success hinges on performances that can support the concept IATT sets in motion, and here, too, they deliver in spades. The guitars feature prominently on Magnum Opus, frequently stepping out to deliver showy licks and sure-fingered solos. On Etheric Realms, guitarists Joe Cantamessa and Alec Pezzano are no less capable and still deliver electrifying leads and riffs. Yet it’s their restraint that works best, giving room for other parts to dazzle. Paul Cole’s drumming hypnotizes as he adopts different styles throughout, including a dance-ready samba pattern on “Pavor Nocturnus” and a Portnoyesque rumble toward the back end of “Somniphobia.” Meanwhile, bassist/vocalist Jay Briscoe unleashes the best performance of his career so far, issuing a variety of black metal rasps and lower register roars along with effective cleans. Briscoe’s stately bass lines deserve praise as well, sauntering into the spotlight or supporting with gravelly grooves as needed. Also, the saxophone on “Walk Amongst,” played by Jørgen Munkeby (Emperor, Shining), wails with such emotion and moxie that I get goosebumps every time I listen. Every moment on Etheric Realms feels well-considered and expertly crafted, and the way it all fits together is transcendent.

Etheric Realms of the Night is an unabashed triumph. In my time at AMG, this is the only review I’ve tarried on because I didn’t want to stop listening to the album. IATT supplies an arresting three-quarters of an hour that sets my dopamine release valve to ‘GUSH,’ and Etheric Realms claims a residency in my gray matter that haunts me day and night. Every time “Hypnos” concludes, I’m left mesmerized and enamored with IATT’s swirling moods and seamless conglomeration of ideas. While it’s too early for me to think about list season,2 the subconscious pull Etheric Realms possesses only grows stronger with each visit, and I dare to dream of writing about it again.

Rating: Excellent!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Black Lion Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 8th, 2026

Since releasing Magnum Opus four years ago, Philadelphia’s IATT has refined their songwriting toolkit to incorporate an even wider array of ideas and sounds. New platter Etheric Realms of the Night demonstrates a compositional leap as IATT weaves a grandiose concept into music—specifically, exploring the deconstruction of consciousness as wakeful awareness decays amongst the capricious environs of the subliminal. This abstract notion is rife with potential, offering boundless possibilities for artistic exploration. Broadly speaking, IATT follows a fascinating trajectory, covering a lot of ground with each release and honing their craft remarkably since their debut. With their latest offering, can IATT send us into Etheric Realms of delight?

Etheric Realms of the Night surges with ideas and instrumentation, entwining ephemeral beauty and scathing dissonance into a fugue-like fever dream. Prior albums Nomenclature and Magnum Opus reference stalwarts Opeth, Enslaved, and Dissection, melding melody with brutality to wondrous effect. Etheric Realms of the Night retains the core of IATT’s sound while expanding it even further into flamboyantly progressive territory à la Ihsahn and Thy Catafalque, and it’s this pivot that unites Etheric Realms’ music and concept so cohesively. The flute, performed by Didier Malherbe, sets the tone at the beginning of lead track “Drift Away.” Light, airy, and flitting, its inclusion is a masterstroke in evoking dreams’ fleeting substance. Piano lines weave in and out of the compositions, enriching the gorgeously textured cascades of IATT’s dense soundscape with vague impressions of a lullaby. Yet no matter how busy any particular moment is, each facet plays in service to the whole, engendering an astonishing coherence through Etheric Realms despite the diversity of components.

The overarching narrative on Etheric Realms of the Night follows the mind’s state of consciousness as sleep erodes the physics of reality, sending us deep into the impenetrable murk of unfiltered inputs and perceptions. “Drift Away” begins with a tandem of acoustic strumming played under a lilting flute, leading to a VoiceOver thought exercise that establishes a loose framework for Etheric Realms.1 From there, the track launches into harsh vocals alongside soaring strings that give way to heartfelt cleans, a groovy drum shuffle, punchy bass countermelodies, and sprightly piano flourishes. It’s the perfect introduction for what IATT accomplishes throughout Etheric Realms, as atmospheres consistently dart and lurch in unexpected directions. This approach synchronizes perfectly with the ephemeral temperament of dreams, where paradigms are kaleidoscopic, and no foothold lasts longer than a breath. So, too, does IATT’s songwriting shift and evolve throughout Etheric Realms’ runtime, with themes and motifs fading and reemerging in altered forms.

Etheric Realms’ success hinges on performances that can support the concept IATT sets in motion, and here, too, they deliver in spades. The guitars feature prominently on Magnum Opus, frequently stepping out to deliver showy licks and sure-fingered solos. On Etheric Realms, guitarists Joe Cantamessa and Alec Pezzano are no less capable and still deliver electrifying leads and riffs. Yet it’s their restraint that works best, giving room for other parts to dazzle. Paul Cole’s drumming hypnotizes as he adopts different styles throughout, including a dance-ready samba pattern on “Pavor Nocturnus” and a Portnoyesque rumble toward the back end of “Somniphobia.” Meanwhile, bassist/vocalist Jay Briscoe unleashes the best performance of his career so far, issuing a variety of black metal rasps and lower register roars along with effective cleans. Briscoe’s stately bass lines deserve praise as well, sauntering into the spotlight or supporting with gravelly grooves as needed. Also, the saxophone on “Walk Amongst,” played by Jørgen Munkeby (Emperor, Shining), wails with such emotion and moxie that I get goosebumps every time I listen. Every moment on Etheric Realms feels well-considered and expertly crafted, and the way it all fits together is transcendent.

Etheric Realms of the Night is an unabashed triumph. In my time at AMG, this is the only review I’ve tarried on because I didn’t want to stop listening to the album. IATT supplies an arresting three-quarters of an hour that sets my dopamine release valve to ‘GUSH,’ and Etheric Realms claims a residency in my gray matter that haunts me day and night. Every time “Hypnos” concludes, I’m left mesmerized and enamored with IATT’s swirling moods and seamless conglomeration of ideas. While it’s too early for me to think about list season,2 the subconscious pull Etheric Realms possesses only grows stronger with each visit, and I dare to dream of writing about it again.

Rating: Excellent!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Black Lion Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 8th, 2026

Zur Feier des Tages erstmal ne Runde #ThyCatafalque

https://www.youtube.com/watch?v=COTJ7oF5wrI

#metal #ungarn

Zur Feier des Tages erstmal ne Runde #ThyCatafalque

https://www.youtube.com/watch?v=COTJ7oF5wrI

#metal #ungarn

https://www.europesays.com/es/308983/ LYNYRD SKYNYRD no descartan un nuevo disco con material de Gary Rossington. THY CATAFALQUE en Bilbao. Debut de WICKED LEATHER. #Entertainment #Entretenimiento #ES #España #LYNYRDSKYNYRD #Music #Música #Spain #THYCATAFALQUE #WICKEDLEATHER

Great announcements recently

#TesseracT #EinarSolberg #CradleofFilth #Threshold #Periphery #DerWegEinerFreiheit #Perturbator #ThyCatafalque #ChelseaGrin #Katatonia

Great announcements recently

#TesseracT #EinarSolberg #CradleofFilth #Threshold #Periphery #DerWegEinerFreiheit #Perturbator #ThyCatafalque #ChelseaGrin #Katatonia

Great announcements recently

#TesseracT #EinarSolberg #CradleofFilth #Threshold #Periphery #DerWegEinerFreiheit #Perturbator #ThyCatafalque #ChelseaGrin #Katatonia

Great announcements recently

#TesseracT #EinarSolberg #CradleofFilth #Threshold #Periphery #DerWegEinerFreiheit #Perturbator #ThyCatafalque #ChelseaGrin #Katatonia

Thy Catafalque cancela gira sudamericana | vía #iRock

https://www.irock.cl/thy-catafalque-cancela-gira-sudamericana/?utm_source=rss&utm_medium=rss&utm_campaign=thy-catafalque-cancela-gira-sudamericana

#conciertos #internacional #rock #thycatafalque

Thy Catafalque cancela gira sudamericana | vía #iRock

https://www.irock.cl/thy-catafalque-cancela-gira-sudamericana/?utm_source=rss&utm_medium=rss&utm_campaign=thy-catafalque-cancela-gira-sudamericana

#conciertos #internacional #rock #thycatafalque

Thy Catafalque cancela gira sudamericana | vía #iRock

https://www.irock.cl/thy-catafalque-cancela-gira-sudamericana/?utm_source=rss&utm_medium=rss&utm_campaign=thy-catafalque-cancela-gira-sudamericana

#conciertos #internacional #rock #thycatafalque

Thy Catafalque cancela gira sudamericana | vía #iRock

https://www.irock.cl/thy-catafalque-cancela-gira-sudamericana/?utm_source=rss&utm_medium=rss&utm_campaign=thy-catafalque-cancela-gira-sudamericana

#conciertos #internacional #rock #thycatafalque

Thy Catafalque cancela gira sudamericana | vía #iRock

https://www.irock.cl/thy-catafalque-cancela-gira-sudamericana/?utm_source=rss&utm_medium=rss&utm_campaign=thy-catafalque-cancela-gira-sudamericana

#conciertos #internacional #rock #thycatafalque

Throwback to 📍 #Alcatraz

🎥 By: Sethpicturesmusic
ℹ️ Captured for: #whiteroomreviews

🗓️ 8/8/2025
🌱 #thycatafalque
💿 #seasonofmistofficial

Tamás Kátai
.
.
.
#concertphotography #concertphotographer #musicphotography #musicphotographer #bandphotographer #bandphotography #seasonofmist #seasonofmistrecords #sethabrikoos #sethpicturesmusic

🤘✌️

Throwback to 📍 #Alcatraz

🎥 By: Sethpicturesmusic
ℹ️ Captured for: #whiteroomreviews

🗓️ 8/8/2025
🌱 #thycatafalque
💿 #seasonofmistofficial

Tamás Kátai
.
.
.
#concertphotography #concertphotographer #musicphotography #musicphotographer #bandphotographer #bandphotography #seasonofmist #seasonofmistrecords #sethabrikoos #sethpicturesmusic

🤘✌️

Throwback to 📍 #Alcatraz

🎥 By: Sethpicturesmusic
ℹ️ Captured for: #whiteroomreviews

🗓️ 8/8/2025
🌱 #thycatafalque
💿 #seasonofmistofficial

Tamás Kátai
.
.
.
#concertphotography #concertphotographer #musicphotography #musicphotographer #bandphotographer #bandphotography #seasonofmist #seasonofmistrecords #sethabrikoos #sethpicturesmusic

🤘✌️

Throwback to 📍 #Alcatraz

🎥 By: Sethpicturesmusic
ℹ️ Captured for: #whiteroomreviews

🗓️ 8/8/2025
🌱 #thycatafalque
💿 #seasonofmistofficial

Tamás Kátai
.
.
.
#concertphotography #concertphotographer #musicphotography #musicphotographer #bandphotographer #bandphotography #seasonofmist #seasonofmistrecords #sethabrikoos #sethpicturesmusic

🤘✌️

My top 10 bands of Alcatraz Open Air day 2 🗓️ 8/8/2025

1) #ThyCatafalque
2) #DyingFetus
3) #Hypocrisy
4) #Thrown
5) #Winterfylleth
6) #Mastodon
7) #CrystalLake
8) #Chemicide
9) #Conjurer
10) #Messa

📽️ by me
full photo report online soon!
.
.
.
#kortrijkbelgium #kortrijk #metalbands #festivalseason #metalfestivals #metalfest #alcatrazfest #alcatrazfestival #metalbands #sethabrikoos #sethpicturesmusic

My top 10 bands of Alcatraz Open Air day 2 🗓️ 8/8/2025

1) #ThyCatafalque
2) #DyingFetus
3) #Hypocrisy
4) #Thrown
5) #Winterfylleth
6) #Mastodon
7) #CrystalLake
8) #Chemicide
9) #Conjurer
10) #Messa

📽️ by me
full photo report online soon!
.
.
.
#kortrijkbelgium #kortrijk #metalbands #festivalseason #metalfestivals #metalfest #alcatrazfest #alcatrazfestival #metalbands #sethabrikoos #sethpicturesmusic

My top 10 bands of Alcatraz Open Air day 2 🗓️ 8/8/2025

1) #ThyCatafalque
2) #DyingFetus
3) #Hypocrisy
4) #Thrown
5) #Winterfylleth
6) #Mastodon
7) #CrystalLake
8) #Chemicide
9) #Conjurer
10) #Messa

📽️ by me
full photo report online soon!
.
.
.
#kortrijkbelgium #kortrijk #metalbands #festivalseason #metalfestivals #metalfest #alcatrazfest #alcatrazfestival #metalbands #sethabrikoos #sethpicturesmusic

My top 10 bands of Alcatraz Open Air day 2 🗓️ 8/8/2025

1) #ThyCatafalque
2) #DyingFetus
3) #Hypocrisy
4) #Thrown
5) #Winterfylleth
6) #Mastodon
7) #CrystalLake
8) #Chemicide
9) #Conjurer
10) #Messa

📽️ by me
full photo report online soon!
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#kortrijkbelgium #kortrijk #metalbands #festivalseason #metalfestivals #metalfest #alcatrazfest #alcatrazfestival #metalbands #sethabrikoos #sethpicturesmusic

Good listen to Thy Catafalque today (thank you @yourfutureex for the original introduction).

The melding of influences gave just a few flashes of listening to Yugo rock with folk influences over the years.

XII: A Gyönyörü Álmok Ezután Jönnek from Thy Catafalque

https://thycatafalqueuk.bandcamp.com/album/xii-a-gy-ny-r-lmok-ezut-n-j-nnek

#ThyCatafalque #metal #FolkMetal

Good listen to Thy Catafalque today (thank you @yourfutureex for the original introduction).

The melding of influences gave just a few flashes of listening to Yugo rock with folk influences over the years.

XII: A Gyönyörü Álmok Ezután Jönnek from Thy Catafalque

https://thycatafalqueuk.bandcamp.com/album/xii-a-gy-ny-r-lmok-ezut-n-j-nnek

#ThyCatafalque #metal #FolkMetal

Good listen to Thy Catafalque today (thank you @yourfutureex for the original introduction).

The melding of influences gave just a few flashes of listening to Yugo rock with folk influences over the years.

XII: A Gyönyörü Álmok Ezután Jönnek from Thy Catafalque

https://thycatafalqueuk.bandcamp.com/album/xii-a-gy-ny-r-lmok-ezut-n-j-nnek

#ThyCatafalque #metal #FolkMetal

Good listen to Thy Catafalque today (thank you @yourfutureex for the original introduction).

The melding of influences gave just a few flashes of listening to Yugo rock with folk influences over the years.

XII: A Gyönyörü Álmok Ezután Jönnek from Thy Catafalque

https://thycatafalqueuk.bandcamp.com/album/xii-a-gy-ny-r-lmok-ezut-n-j-nnek

#ThyCatafalque #metal #FolkMetal

Good listen to Thy Catafalque today (thank you @yourfutureex for the original introduction).

The melding of influences gave just a few flashes of listening to Yugo rock with folk influences over the years.

XII: A Gyönyörü Álmok Ezután Jönnek from Thy Catafalque

https://thycatafalqueuk.bandcamp.com/album/xii-a-gy-ny-r-lmok-ezut-n-j-nnek

#ThyCatafalque #metal #FolkMetal

*need* to see these again. it's like three shows in one. it's amazing how are they able to pull this off which such a consistent quality

what do they put into water in hungary so that their prog scene is so good

https://www.youtube.com/watch?v=b1o3VpocMq0

#ThyCatafalque #AvantGuardeMetal #Metal

*need* to see these again. it's like three shows in one. it's amazing how are they able to pull this off which such a consistent quality

what do they put into water in hungary so that their prog scene is so good

https://www.youtube.com/watch?v=b1o3VpocMq0

#ThyCatafalque #AvantGuardeMetal #Metal

*need* to see these again. it's like three shows in one. it's amazing how are they able to pull this off which such a consistent quality

what do they put into water in hungary so that their prog scene is so good

https://www.youtube.com/watch?v=b1o3VpocMq0

#ThyCatafalque #AvantGuardeMetal #Metal

*need* to see these again. it's like three shows in one. it's amazing how are they able to pull this off which such a consistent quality

what do they put into water in hungary so that their prog scene is so good

https://www.youtube.com/watch?v=b1o3VpocMq0

#ThyCatafalque #AvantGuardeMetal #Metal

*need* to see these again. it's like three shows in one. it's amazing how are they able to pull this off which such a consistent quality

what do they put into water in hungary so that their prog scene is so good

https://www.youtube.com/watch?v=b1o3VpocMq0

#ThyCatafalque #AvantGuardeMetal #Metal

Aujourd'hui sur Blog à part –

Thy Catafalque: XII: A Gyönyörü Álmok Ezután Jönnek

Parmi les sorties tardives de cette fin d’année, il y a le nouvel album de Thy Catafalque, XII: A Gyönyörü Álmok Ezután Jönnek. On va dire XII.

#avantGarde #blackMetal #Hongrie #ThyCatafalque #traditionnel

https://wp.me/ppneF-b2z

omg people doing #GroupMetalAOTY2024, tooting great albums, and i'm slowly working my way through 2022 stuff. here are 5 new records that made this grumpy asshole happy in 2024 so far, no particular order:

Thy Catafalque - XII: A gyönyörü álmok ezután jönnek
Oranssi Pazuzu - Muuntautuja
The Obsessed - Gilded Sorrow
Exist - Hijacking The Zeitgeist
Ulcerate - Cutting the Throat of God

honorable mention: Deep Purple =1. the new guitarist is fire and gillan's voice as good as it ever was

#ThyCatafalque #OranssiPazuzu #TheObsessed #Exist #Ulcerate

omg people doing #GroupMetalAOTY2024, tooting great albums, and i'm slowly working my way through 2022 stuff. here are 5 new records that made this grumpy asshole happy in 2024 so far, no particular order:

Thy Catafalque - XII: A gyönyörü álmok ezután jönnek
Oranssi Pazuzu - Muuntautuja
The Obsessed - Gilded Sorrow
Exist - Hijacking The Zeitgeist
Ulcerate - Cutting the Throat of God

honorable mention: Deep Purple =1. the new guitarist is fire and gillan's voice as good as it ever was

#ThyCatafalque #OranssiPazuzu #TheObsessed #Exist #Ulcerate

omg people doing #GroupMetalAOTY2024, tooting great albums, and i'm slowly working my way through 2022 stuff. here are 5 new records that made this grumpy asshole happy in 2024 so far, no particular order:

Thy Catafalque - XII: A gyönyörü álmok ezután jönnek
Oranssi Pazuzu - Muuntautuja
The Obsessed - Gilded Sorrow
Exist - Hijacking The Zeitgeist
Ulcerate - Cutting the Throat of God

honorable mention: Deep Purple =1. the new guitarist is fire and gillan's voice as good as it ever was

#ThyCatafalque #OranssiPazuzu #TheObsessed #Exist #Ulcerate

omg people doing #GroupMetalAOTY2024, tooting great albums, and i'm slowly working my way through 2022 stuff. here are 5 new records that made this grumpy asshole happy in 2024 so far, no particular order:

Thy Catafalque - XII: A gyönyörü álmok ezután jönnek
Oranssi Pazuzu - Muuntautuja
The Obsessed - Gilded Sorrow
Exist - Hijacking The Zeitgeist
Ulcerate - Cutting the Throat of God

honorable mention: Deep Purple =1. the new guitarist is fire and gillan's voice as good as it ever was

#ThyCatafalque #OranssiPazuzu #TheObsessed #Exist #Ulcerate

omg people doing #GroupMetalAOTY2024, tooting great albums, and i'm slowly working my way through 2022 stuff. here are 5 new records that made this grumpy asshole happy in 2024 so far, no particular order:

Thy Catafalque - XII: A gyönyörü álmok ezután jönnek
Oranssi Pazuzu - Muuntautuja
The Obsessed - Gilded Sorrow
Exist - Hijacking The Zeitgeist
Ulcerate - Cutting the Throat of God

honorable mention: Deep Purple =1. the new guitarist is fire and gillan's voice as good as it ever was

#ThyCatafalque #OranssiPazuzu #TheObsessed #Exist #Ulcerate

Thy Catafalque - XII: A Gy​ö​ny​ö​rü Álmok Ezut​á​n J​ö​nnek
https://thycatafalqueuk.bandcamp.com/album/xii-a-gy-ny-r-lmok-ezut-n-j-nnek

#avantGarde #experimental #progressive #metal #folk #ThyCatafalque #pouetRadio #tootRadio #np #nowPlaying

Thy Catafalque - XII: A Gy​ö​ny​ö​rü Álmok Ezut​á​n J​ö​nnek
https://thycatafalqueuk.bandcamp.com/album/xii-a-gy-ny-r-lmok-ezut-n-j-nnek

#avantGarde #experimental #progressive #metal #folk #ThyCatafalque #pouetRadio #tootRadio #np #nowPlaying

Thy Catafalque - XII: A Gy​ö​ny​ö​rü Álmok Ezut​á​n J​ö​nnek
https://thycatafalqueuk.bandcamp.com/album/xii-a-gy-ny-r-lmok-ezut-n-j-nnek

#avantGarde #experimental #progressive #metal #folk #ThyCatafalque #pouetRadio #tootRadio #np #nowPlaying

3/3

Nobody else in my mind is capable of making music as heavy, dirty, grimy as Thy Catafalque (see linked video, taken from one of their much older albums).

Yet the thousand tons of metal are not there to create indigestible sound walls. They are melodic, give way to some of the most beautiful voices of Hungary.

Every song by Thy Catafalque is a unique journey. Who cares about the destination. I don't want to get off Thy Catafalque's ride.

https://youtu.be/AW8AKhiXMNA

#thycatafalque #music

2/3

Not only is Tamás Kátai still making music after 26 years, but it's still as enjoyable to me as it was back in the day.

XII is an esoteric spiritual journey through the Hungarian plains, drum beats reminiscent of the sound a train makes as it rolls on the tracks, while you watch the landscape.

Which other band knows how to perfectly balance clean and dirty singing, hard metal and soft rock, with a touch of every other genre you can think of?

https://youtu.be/T87BXWOTHbU

#thycatafalque #music

1/3

Thy Catafalque released their XIIth album.

Hungarian band with no defined genre other than "whatever Tamás Kátai comes up with this time", cross-stitching his heavy and brutal metal roots with softer electronica, hungarian folk, and more.

Their sound is hypnotizing. It's unique, and deserves to be more known. Few other bands get me hyped for new material like they do. I'm glad I traveled to Kortrijk earlier this year to watch them.

https://youtu.be/fHFYwiSb9AY

#thycatafalque #music #hungary

Thy Catafalque – XII: A gyönyörū álmok ezután jönnek

By Ferox

Angry Metal Guy’s Guide to Not Sucking Anymore is a manual for surviving n00bdom and a window into the mind of our founder. In seventy-nine pages of psychologically revealing prose, this actual book whipped my class into form by teaching us to structure our reviews with one or maaybe two paragraphs describing a band’s sound. How could you ever pull that off with Tamás Kátai’s prolific Thy Catafalque? ”Piros Koksi, Fekete Ej,” the opening track of new album XII, kicks off with a rock riff that evokes New Order before segueing into a long section capturing Primordial’s sweep and grandeur. Heavy sections and parts where a woman sings “nah-nah-nah” fight their way in, before it resolves into an acoustic outro. That’s one song! Thy Catafalque has been attempting the musical equivalent of free solo climbs for two decades. They should have plummeted to earth years ago, but Kátai and his rotating band of collaborators reach the summit every time. Can they do it again, or is XII the “splat” that awaits every glory hound?

XII finds Thy Catafalque retreating from the heaviness of last year’s excellent Alföld. The metal sections dominate here and there, but Kátai’s wandering muse often takes up with folk and prog. Classical and acoustic instruments add warmth and a sense of nostalgia. Over twenty musicians contribute to XII, including singers and frequent collaborators Attila Bakos and Martina Veronika Horväth. The album ends with soothing bird tweets. It’s a lot–and for the first time ever, Kátai brings in an outside producer in Gábor Vári to help him wrestle it all to the deck. They mostly pull it off. XII is less cohesive and urgent than Thy Catafalque’s best work, but there are thrilling highs along the way.

XII plays like a journey, one where lots of things go as hoped but there are missed connections and maybe a pickpocketing or two along the way. Those who prize atmosphere will find wispy sections to get lost in. Songs like “Villagnak Vilaga,” the aforementioned “Piros Koksi, Fekete Ej” and the duet “Lydiához” conjure a sense of place and a mood of reflection. “Vakond” opens with a whistled passage before engaging playfully with the folk traditions of Kátai’s native Hungary. That nostalgic vibe is not all about the gauzy and gorgeous, despite that sun-drenched cover. “Vakond” segues into a synths-dominated section that feels like it’s evoking Kátai’s memories of some long-shuttered Budapest nightclub. Banger “Vasgyár” is an ode to the rotting ironworks that once fueled Hungary’s economy and still haunt its landscapes. If you give XII some time and attention, you’ll come away feeling like you just took a vacation in Tamás Kátai’s memory palace.

You will not come away from XII with a melted face. If you want to get Wormed or Replicant-ed, have your passport stamped elsewhere–XII is just not that committed to being a metal album. The heavy songs and passages that do pop up are cathartic and fun. “Mindenevo” drops the first harsh vocals into the mix, and it roars and stomps before it falls completely silent for a while and then does a dungeon synth kind of thing. That track segues into the killer “Vasgyár.” The two songs, taken together, are my favorite section of the album–but I can be a knuckle-dragger like that. “Alahullas” engages with Thy Catafalque’s black metal roots to stirring effect. Still and all, you’re not booking passage on 70000 Tons of Metal here. The metal songs are day trips that enliven a calmer journey than adrenaline junkies might be seeking.

Angry Metal Guy’s Guide to Not Sucking Anymore teaches us to conclude with a summary that finds pathos, if timid and underfed n00bs can scrape some up in our hearts.1 With XII, Tamás Kátai has followed his muse (he always does) into some very personal places (that’s where it always goes). I appreciate his restless spirit and I was mostly happy to take the trip with him. There are some unfortunate hiccups–closer “A Gyonyuro Almok Ezutan Jonnek,” with its handclaps and cloying attempts to rouse, is a lowlight in Thy Catafalque’s catalog. It’ll take some time for XII to find its place in the band’s incredible discography, But a few dips in quality and focus, combined with the smaller portions of metal doled out, mean that I’ll remember other journeys with the band more fondly than I will XII.

Rating: Good!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Season of Mist
Websites: thycatafalque.bandcamp.com| thy-catafalque.hu
Releases Worldwide: November 15, 2024

#2024 #30 #AvantGardeMetal #HungarianMetal #NewOrder #Nov24 #Primordial #Replicant #Review #Reviews #SeasonOfMist #ThyCatafalque #Wormed

Thy Catafalque – XII: A gyönyörū álmok ezután jönnek

By Ferox

Angry Metal Guy’s Guide to Not Sucking Anymore is a manual for surviving n00bdom and a window into the mind of our founder. In seventy-nine pages of psychologically revealing prose, this actual book whipped my class into form by teaching us to structure our reviews with one or maaybe two paragraphs describing a band’s sound. How could you ever pull that off with Tamás Kátai’s prolific Thy Catafalque? ”Piros Koksi, Fekete Ej,” the opening track of new album XII, kicks off with a rock riff that evokes New Order before segueing into a long section capturing Primordial’s sweep and grandeur. Heavy sections and parts where a woman sings “nah-nah-nah” fight their way in, before it resolves into an acoustic outro. That’s one song! Thy Catafalque has been attempting the musical equivalent of free solo climbs for two decades. They should have plummeted to earth years ago, but Kátai and his rotating band of collaborators reach the summit every time. Can they do it again, or is XII the “splat” that awaits every glory hound?

XII finds Thy Catafalque retreating from the heaviness of last year’s excellent Alföld. The metal sections dominate here and there, but Kátai’s wandering muse often takes up with folk and prog. Classical and acoustic instruments add warmth and a sense of nostalgia. Over twenty musicians contribute to XII, including singers and frequent collaborators Attila Bakos and Martina Veronika Horväth. The album ends with soothing bird tweets. It’s a lot–and for the first time ever, Kátai brings in an outside producer in Gábor Vári to help him wrestle it all to the deck. They mostly pull it off. XII is less cohesive and urgent than Thy Catafalque’s best work, but there are thrilling highs along the way.

XII plays like a journey, one where lots of things go as hoped but there are missed connections and maybe a pickpocketing or two along the way. Those who prize atmosphere will find wispy sections to get lost in. Songs like “Villagnak Vilaga,” the aforementioned “Piros Koksi, Fekete Ej” and the duet “Lydiához” conjure a sense of place and a mood of reflection. “Vakond” opens with a whistled passage before engaging playfully with the folk traditions of Kátai’s native Hungary. That nostalgic vibe is not all about the gauzy and gorgeous, despite that sun-drenched cover. “Vakond” segues into a synths-dominated section that feels like it’s evoking Kátai’s memories of some long-shuttered Budapest nightclub. Banger “Vasgyár” is an ode to the rotting ironworks that once fueled Hungary’s economy and still haunt its landscapes. If you give XII some time and attention, you’ll come away feeling like you just took a vacation in Tamás Kátai’s memory palace.

You will not come away from XII with a melted face. If you want to get Wormed or Replicant-ed, have your passport stamped elsewhere–XII is just not that committed to being a metal album. The heavy songs and passages that do pop up are cathartic and fun. “Mindenevo” drops the first harsh vocals into the mix, and it roars and stomps before it falls completely silent for a while and then does a dungeon synth kind of thing. That track segues into the killer “Vasgyár.” The two songs, taken together, are my favorite section of the album–but I can be a knuckle-dragger like that. “Alahullas” engages with Thy Catafalque’s black metal roots to stirring effect. Still and all, you’re not booking passage on 70000 Tons of Metal here. The metal songs are day trips that enliven a calmer journey than adrenaline junkies might be seeking.

Angry Metal Guy’s Guide to Not Sucking Anymore teaches us to conclude with a summary that finds pathos, if timid and underfed n00bs can scrape some up in our hearts.1 With XII, Tamás Kátai has followed his muse (he always does) into some very personal places (that’s where it always goes). I appreciate his restless spirit and I was mostly happy to take the trip with him. There are some unfortunate hiccups–closer “A Gyonyuro Almok Ezutan Jonnek,” with its handclaps and cloying attempts to rouse, is a lowlight in Thy Catafalque’s catalog. It’ll take some time for XII to find its place in the band’s incredible discography, But a few dips in quality and focus, combined with the smaller portions of metal doled out, mean that I’ll remember other journeys with the band more fondly than I will XII.

Rating: Good!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Season of Mist
Websites: thycatafalque.bandcamp.com| thy-catafalque.hu
Releases Worldwide: November 15, 2024

#2024 #30 #AvantGardeMetal #HungarianMetal #NewOrder #Nov24 #Primordial #Replicant #Review #Reviews #SeasonOfMist #ThyCatafalque #Wormed

Thy Catafalque – XII: A gyönyörū álmok ezután jönnek

By Ferox

Angry Metal Guy’s Guide to Not Sucking Anymore is a manual for surviving n00bdom and a window into the mind of our founder. In seventy-nine pages of psychologically revealing prose, this actual book whipped my class into form by teaching us to structure our reviews with one or maaybe two paragraphs describing a band’s sound. How could you ever pull that off with Tamás Kátai’s prolific Thy Catafalque? ”Piros Koksi, Fekete Ej,” the opening track of new album XII, kicks off with a rock riff that evokes New Order before segueing into a long section capturing Primordial’s sweep and grandeur. Heavy sections and parts where a woman sings “nah-nah-nah” fight their way in, before it resolves into an acoustic outro. That’s one song! Thy Catafalque has been attempting the musical equivalent of free solo climbs for two decades. They should have plummeted to earth years ago, but Kátai and his rotating band of collaborators reach the summit every time. Can they do it again, or is XII the “splat” that awaits every glory hound?

XII finds Thy Catafalque retreating from the heaviness of last year’s excellent Alföld. The metal sections dominate here and there, but Kátai’s wandering muse often takes up with folk and prog. Classical and acoustic instruments add warmth and a sense of nostalgia. Over twenty musicians contribute to XII, including singers and frequent collaborators Attila Bakos and Martina Veronika Horväth. The album ends with soothing bird tweets. It’s a lot–and for the first time ever, Kátai brings in an outside producer in Gábor Vári to help him wrestle it all to the deck. They mostly pull it off. XII is less cohesive and urgent than Thy Catafalque’s best work, but there are thrilling highs along the way.

XII plays like a journey, one where lots of things go as hoped but there are missed connections and maybe a pickpocketing or two along the way. Those who prize atmosphere will find wispy sections to get lost in. Songs like “Villagnak Vilaga,” the aforementioned “Piros Koksi, Fekete Ej” and the duet “Lydiához” conjure a sense of place and a mood of reflection. “Vakond” opens with a whistled passage before engaging playfully with the folk traditions of Kátai’s native Hungary. That nostalgic vibe is not all about the gauzy and gorgeous, despite that sun-drenched cover. “Vakond” segues into a synths-dominated section that feels like it’s evoking Kátai’s memories of some long-shuttered Budapest nightclub. Banger “Vasgyár” is an ode to the rotting ironworks that once fueled Hungary’s economy and still haunt its landscapes. If you give XII some time and attention, you’ll come away feeling like you just took a vacation in Tamás Kátai’s memory palace.

You will not come away from XII with a melted face. If you want to get Wormed or Replicant-ed, have your passport stamped elsewhere–XII is just not that committed to being a metal album. The heavy songs and passages that do pop up are cathartic and fun. “Mindenevo” drops the first harsh vocals into the mix, and it roars and stomps before it falls completely silent for a while and then does a dungeon synth kind of thing. That track segues into the killer “Vasgyár.” The two songs, taken together, are my favorite section of the album–but I can be a knuckle-dragger like that. “Alahullas” engages with Thy Catafalque’s black metal roots to stirring effect. Still and all, you’re not booking passage on 70000 Tons of Metal here. The metal songs are day trips that enliven a calmer journey than adrenaline junkies might be seeking.

Angry Metal Guy’s Guide to Not Sucking Anymore teaches us to conclude with a summary that finds pathos, if timid and underfed n00bs can scrape some up in our hearts.1 With XII, Tamás Kátai has followed his muse (he always does) into some very personal places (that’s where it always goes). I appreciate his restless spirit and I was mostly happy to take the trip with him. There are some unfortunate hiccups–closer “A Gyonyuro Almok Ezutan Jonnek,” with its handclaps and cloying attempts to rouse, is a lowlight in Thy Catafalque’s catalog. It’ll take some time for XII to find its place in the band’s incredible discography, But a few dips in quality and focus, combined with the smaller portions of metal doled out, mean that I’ll remember other journeys with the band more fondly than I will XII.

Rating: Good!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Season of Mist
Websites: thycatafalque.bandcamp.com| thy-catafalque.hu
Releases Worldwide: November 15, 2024

#2024 #30 #AvantGardeMetal #HungarianMetal #NewOrder #Nov24 #Primordial #Replicant #Review #Reviews #SeasonOfMist #ThyCatafalque #Wormed