#tzompantli — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #tzompantli, aggregated by home.social.
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¡Monroy en San Ildefonso! 🗣️ La exposición "Tzompantli" de Gustavo Monroy se inaugura en el Colegio de San Ildefonso. Infórmate sobre esta noticia en el artículo. #Tzompantli #GustavoMonroy #Cultura #Espectáculos
Infórmate: https://zurl.co/KOPrS
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¡Monroy en San Ildefonso! 🗣️ La exposición "Tzompantli" de Gustavo Monroy se inaugura en el Colegio de San Ildefonso. Infórmate sobre esta noticia en el artículo. #Tzompantli #GustavoMonroy #Cultura #Espectáculos
Infórmate: https://zurl.co/KOPrS
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¡Monroy en San Ildefonso! 🗣️ La exposición "Tzompantli" de Gustavo Monroy se inaugura en el Colegio de San Ildefonso. Infórmate sobre esta noticia en el artículo. #Tzompantli #GustavoMonroy #Cultura #Espectáculos
Infórmate: https://zurl.co/KOPrS
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¡Monroy en San Ildefonso! 🗣️ La exposición "Tzompantli" de Gustavo Monroy se inaugura en el Colegio de San Ildefonso. Infórmate sobre esta noticia en el artículo. #Tzompantli #GustavoMonroy #Cultura #Espectáculos
Infórmate: https://zurl.co/KOPrS
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#tzompantli (Nahuatl pronunciation: [t͡somˈpant͡ɬi]) or skull rack was a type of wooden rack or palisade documented in several Mesoamerican civilizations, which was used for the public display of human skulls, typically those of war captives or other sacrificial victims. It is a scaffold-like
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#tzompantli (Nahuatl pronunciation: [t͡somˈpant͡ɬi]) or skull rack was a type of wooden rack or palisade documented in several Mesoamerican civilizations, which was used for the public display of human skulls, typically those of war captives or other sacrificial victims. It is a scaffold-like
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AMG’s Unsigned Band Rodeö: Kalaveraztekah – Nikan Axkan
By Dolphin Whisperer
“AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.”
The Rodeö is full of surprises. Today’s potential riff trap hails from the arid lands of Aguascalientes, Mexico, known most famously for its array of hot springs and National Museum of Death. Yes, in death Kalaveraztekah revels, and not just in a death metal groove indebted to the jagged scrawl of Morbid Angel or the destructive howl of early Behemoth. With a healthy inclusion of pre-Hispanic, indigenous instrumentation alongside their chunky and pinch-addled drive, Nikan Axkan churns and tumbles through chants and thunderous drum roll to shine a light on the Mexica culture and history of sacrifice and spirit world. To excavate the wonders that the adventurous Kalaveraztekah holds hidden in the underground, we’ve assembled a crack Rodeö crew, including an appearance from The Man, The Myth, The AMG Himself. Surely that means that everyone followed the word count, right? – Dolphin Whisperer
Kalaveraztekah // Nikan Axkan [May 2nd, 2025]
AMG Himself: Kalaveraztekah’s Nikan Axkan represents hopes and dreams that I have harbored for years. When will we finally get the seminal piece of Aztec-influenced extreme metal that will whet my appetite for both death metal and Mesoamerican history?1 With aplomb, these astonishingly unsigned Aguascalientes-ites2 do the fine job of balancing two equally vital parts of a single sound. Kalaveraztekah hits like a ton of bricks, dealing in death metal that’s neither old nor school, it’s just brutal and grindy, tempered only by peyote-fueled excursions into the netherworld. The core of their sound is brutal Mexican death metal replete with blasts and machine gun kicks, neck-damaging riffing, pig-squealing guitars, brutal growls (and occasionally less-brutal screamies) synced with the snare, and an intensity that I associate with writing reviews of bands like Vomitory or Crypta. It’s got the riffs and intensity with just a touch of melody, and I bask in its brutality and shreddy, squealy solos. Kalaveraztekah’s particular innovation in this sphere is the successful inclusion of traditional folk elements from the indigenous people located throughout Mexico, but which is today used almost exclusively for the Mexica people of Tenochtitlan (which is modern-day Mexico City).3 Kalaveraztekah’s focus on “Aztec Cosmogony” lends itself perfectly to the second part of their unique sound: dreamy folk soundscapes that they adapt seamlessly—and convincingly—when they shift gear. Driven by reverb-soaked soundscapes, Spanish guitars,4 and what I assume is a tlapitzalli (flute), the band lends atmosphere and dynamics that are necessary to offset a style of death metal that at times can risk monotony. And when they meet, these two sounds crash into each other like storm fronts, creating something beautiful and terrible to behold, simultaneously brutal and thoughtful, grindy and melodic, atmospheric and immediate. I fuckin’ love this shit.
Next up on my befolkened death metal bucketlist: the Olmecs! 4.0/5.0
Dear Hollow: What’s great about Kalaveraztekah is their ability to channel their heritage into an homage to the Mexica that sounds ancient, cosmic, and brutal. Featuring a blend not unlike the formidable shaman-themed Hell:on, the lethal fusion of cutthroat death metal and folk instruments offers balance: wild guitar solos, haunting flutes, terrifying death whistles, and ritualistic drums shine amid the no-frills Sulphur Aeon-esque riffs. While similarities to other Mexico-based Aztec- or Mayan-themed groups are unavoidable, Pre-Hispanic folk instrumentation is not mere novelty like it is for Ocelotl or Eunoë, nor is it an atmospheric saturation of bloody sacrifice in the manner of Aztlan or Cemican – rather, Kalaveraztekah uses ritualistic and ceremonial elements to amplify the cyclical cosmic grandiosity of the Five Suns in an album of both creation and devastation. Nikan Axkan offers riffs galore (“Tlazolteotl,” “Xiuhtekuhtli Weweteotl”), haunting overtures with spoken word that recall sacrificial ecstasy and the vast rotting realms of the gods (“Yowaltecuhtli,” “Illwikatl Meztli”), and just enough techy flavors of soaring intensity and dissonant menace to warrant diversity and complexity (“Xolotl Axolotl,” “Xiuhmolpili”). While the album is a tad overlong at nearly fifty minutes, Kalaveraztekah’s approach straddles the line between violently visceral and gloriously colossal – truly “el amanecer del nuevo sol” indeed. 4.0/5.0
Iceberg: I love it when an album requires me to do some research to unwrap its mysteries. Before I came across Nikan Axlan I had precious little knowledge of Aztec mythology. But now, thanks to Aguascalientes natives Kalaveraztekah, I can confidently tell my Xolotls from my Axolotls. Kalaveraztekah’s sonic template skews more groove than death metal, but the inclusion of a host of traditional instruments keeps the music refreshing and thoroughly unnerving. The tribal drums and wind instruments maintain a constant otherworldly atmosphere, and the extraneous vocal additions are excellent (the frantic spoken word of “Yowaltekuhtli” and the Wilhelm screams of “Xolotl Axolotl”). Kalaveraztekah aren’t content to sit in any one corner with their instruments either. The trebly blues tone of “Yowaltekuhtli” feels ripped from a Los Lonely Boys album, and the sweeping neoclassical riff that forms the backbone of “Xiuhmolpilli” screams symphodeath BOMBAST.5 The biggest drawback for me here is that in leaning so far into the groove metal style, the BPM goes stale in its mid-paced swagger. Given everything else that Kalaveraztekah unleashes on Nikan Axkan, I’m left wondering what this band would sound like if they really stepped on the gas and hit that NOS button (although the opening riff of “Wewekyotl” gets pretty damn close). That quibble aside, Nikan Axkan is a compelling and replayable record, and a great trip into the dark, bizarre world of Aztec mythology. I highly recommend this album for those looking for some tasty groove metal with a bit of strange on the side. 3.5/5.0
Alekhines Gun: Move over Tzompantli, there’s a new band in town. Channeling the instrumental flourishes of Nechochwen filtered through something adjacent to The Zenith Passage in production,6 Kalaveraztekah have presented a slab of agave scented folky melodic death so meticulously constructed and well produced that I’m actually stunned it’s an independent release. From the triumphant flourishes dotting the leads in “Yowaltekuhtli” to the thunderous tribal percussion-laced breakdowns in “Xiuhtekuhtli Weweteotl”, Nikan Axkan never wants for a variety of gripping moments. A sense of propulsion flows through the album, rendering the occasional interludes atmospheric rather than momentum-killing. Songs like “Xolotl Axolotl” feature heaps of skronk and tawngy tech only to instantly be offset by indigenous instruments and melodic atmospherics in equal measure. True, each individual track feels a bit long in the tooth and seem as though they could benefit from some editing, and I wish the bottom end didn’t sound so artificial. Nevertheless, every time I found myself thinking such thoughts I was suddenly blown away by some excellent new riff or lovely melody from wood instruments or percussion, slotting neatly into the album’s reasonable runtime. Nikan Axhan is an album with a remarkably matured and well-executed vision, and has been a gripping, engaging listen with each spin. Support this album. 3.5/5.0
Thyme: Most bands continually seek ways to bring originality into their work. For Aguascalientes, Mexico, five-piece death metal outfit Kalaveraztekah, that originality comes in the form of heaving helpings of Mesoamerican folk instrumentation, expertly woven into the deathly fabric of their sophomore album Nikan Azkan. Right off the bat, I felt transported to the middle of a Mexican rainforest as tribal drums and folkish guitar lines cede their delicate grip to Behemoth-like death riffs and a hellish vocal attack that rivals Nergal’s (“Nikan Axkan (El Aquí y El Ahora)”). When Nikan Azkan isn’t channeling Demigod levels of viciousness, its hybrid form of folk death conjures Roots-era Sepultura with sludgily dirty riffs, primitive death chants, and a plethora of indigenous instruments ranging from ocarinas to Aztec death whistles (“Xiuhtekuhtli Weweteotl (El Fuego Ancestral),” “Wewekoyotl (El Coyote Viejo)”). Kalaveraztekah brings loads of atmosphere to Nikan Axkan, especially on “Yowaltekuhtli (Un Sueño En La Oscuridad),” with its haunting instrumentation—the guitar work is top notch here—and the desperate, breathless pleas of the narrator conjuring tons of dramatic tension. On repeated spins, the magic within Nikan Axkan continues to unravel. While the meshing of Kalaveraztekah‘s death metal—standard as it may be—with its folk-forward instrumentation tends to blur tracks together, enjoyment didn’t dissipate the more I listened. Fans of what Tzompantli are doing would be hard-pressed to miss this, and I suggest they don’t. 3.0/5.0
Show 6 footnotes
- Tzompantli doesn’t count ’cause they’re from California and they’re only “good.” ↩
- I believe we call them Aguascalentenses. – Dolph ↩
- Interesting to note that the band is from Aguascalientes, because the region was, in fact, the home of the Chichimeca groups, which, according to my deep research (yup, doin’ my own research just like RFK Jr. told me to!) became a kind of archetype of “noble savages” for both the Spaniards and the Mexica (Aztecs) in the 1500s. Rather than being a single group with a shared language, the Chichimeca groups were spread throughout central Mexico, and following the discovery of silver, they were war-crimed into a decades-long conflict and eventual decline, and by the beginning of the 1600s, they “disappeared as distinguishable cultural entities” (Schmal, 2019). Seven tribes would be the basis of a mighty seven-album conceptual cycle, my dudes. I’m just sayin’. ↩
- Is that ironic? ↩
- It really makes you wonder how far is heaven. – Dolph ↩
- Surely, scooped tone production existed before The Zenith Passage. – Dolph ↩
#AngryMetalGuySUnsignedBandRodeo #AngryMetalGuySUnsignedBandRodeo2025 #Aztec #Behemoth #Crypta #DeathMetal #FolkMetal #GrooveMetal #HellOn #IndependentRelease #Kalaveraztekah #LosLonelyBoys #May25 #MexicanMetal #MorbidAngel #Nechochwen #NikanAxkan #ProgressiveDeathMetal #Review #Reviews #SelfRelease #Sepultura #SulphurAeon #Tzompantli #Vomitory
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AMG’s Unsigned Band Rodeö: Kalaveraztekah – Nikan Axkan
By Dolphin Whisperer
“AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.”
The Rodeö is full of surprises. Today’s potential riff trap hails from the arid lands of Aguascalientes, Mexico, known most famously for its array of hot springs and National Museum of Death. Yes, in death Kalaveraztekah revels, and not just in a death metal groove indebted to the jagged scrawl of Morbid Angel or the destructive howl of early Behemoth. With a healthy inclusion of pre-Hispanic, indigenous instrumentation alongside their chunky and pinch-addled drive, Nikan Axkan churns and tumbles through chants and thunderous drum roll to shine a light on the Mexica culture and history of sacrifice and spirit world. To excavate the wonders that the adventurous Kalaveraztekah holds hidden in the underground, we’ve assembled a crack Rodeö crew, including an appearance from The Man, The Myth, The AMG Himself. Surely that means that everyone followed the word count, right? – Dolphin Whisperer
Kalaveraztekah // Nikan Axkan [May 2nd, 2025]
AMG Himself: Kalaveraztekah’s Nikan Axkan represents hopes and dreams that I have harbored for years. When will we finally get the seminal piece of Aztec-influenced extreme metal that will whet my appetite for both death metal and Mesoamerican history?1 With aplomb, these astonishingly unsigned Aguascalientes-ites2 do the fine job of balancing two equally vital parts of a single sound. Kalaveraztekah hits like a ton of bricks, dealing in death metal that’s neither old nor school, it’s just brutal and grindy, tempered only by peyote-fueled excursions into the netherworld. The core of their sound is brutal Mexican death metal replete with blasts and machine gun kicks, neck-damaging riffing, pig-squealing guitars, brutal growls (and occasionally less-brutal screamies) synced with the snare, and an intensity that I associate with writing reviews of bands like Vomitory or Crypta. It’s got the riffs and intensity with just a touch of melody, and I bask in its brutality and shreddy, squealy solos. Kalaveraztekah’s particular innovation in this sphere is the successful inclusion of traditional folk elements from the indigenous people located throughout Mexico, but which is today used almost exclusively for the Mexica people of Tenochtitlan (which is modern-day Mexico City).3 Kalaveraztekah’s focus on “Aztec Cosmogony” lends itself perfectly to the second part of their unique sound: dreamy folk soundscapes that they adapt seamlessly—and convincingly—when they shift gear. Driven by reverb-soaked soundscapes, Spanish guitars,4 and what I assume is a tlapitzalli (flute), the band lends atmosphere and dynamics that are necessary to offset a style of death metal that at times can risk monotony. And when they meet, these two sounds crash into each other like storm fronts, creating something beautiful and terrible to behold, simultaneously brutal and thoughtful, grindy and melodic, atmospheric and immediate. I fuckin’ love this shit.
Next up on my befolkened death metal bucketlist: the Olmecs! 4.0/5.0
Dear Hollow: What’s great about Kalaveraztekah is their ability to channel their heritage into an homage to the Mexica that sounds ancient, cosmic, and brutal. Featuring a blend not unlike the formidable shaman-themed Hell:on, the lethal fusion of cutthroat death metal and folk instruments offers balance: wild guitar solos, haunting flutes, terrifying death whistles, and ritualistic drums shine amid the no-frills Sulphur Aeon-esque riffs. While similarities to other Mexico-based Aztec- or Mayan-themed groups are unavoidable, Pre-Hispanic folk instrumentation is not mere novelty like it is for Ocelotl or Eunoë, nor is it an atmospheric saturation of bloody sacrifice in the manner of Aztlan or Cemican – rather, Kalaveraztekah uses ritualistic and ceremonial elements to amplify the cyclical cosmic grandiosity of the Five Suns in an album of both creation and devastation. Nikan Axkan offers riffs galore (“Tlazolteotl,” “Xiuhtekuhtli Weweteotl”), haunting overtures with spoken word that recall sacrificial ecstasy and the vast rotting realms of the gods (“Yowaltecuhtli,” “Illwikatl Meztli”), and just enough techy flavors of soaring intensity and dissonant menace to warrant diversity and complexity (“Xolotl Axolotl,” “Xiuhmolpili”). While the album is a tad overlong at nearly fifty minutes, Kalaveraztekah’s approach straddles the line between violently visceral and gloriously colossal – truly “el amanecer del nuevo sol” indeed. 4.0/5.0
Iceberg: I love it when an album requires me to do some research to unwrap its mysteries. Before I came across Nikan Axlan I had precious little knowledge of Aztec mythology. But now, thanks to Aguascalientes natives Kalaveraztekah, I can confidently tell my Xolotls from my Axolotls. Kalaveraztekah’s sonic template skews more groove than death metal, but the inclusion of a host of traditional instruments keeps the music refreshing and thoroughly unnerving. The tribal drums and wind instruments maintain a constant otherworldly atmosphere, and the extraneous vocal additions are excellent (the frantic spoken word of “Yowaltekuhtli” and the Wilhelm screams of “Xolotl Axolotl”). Kalaveraztekah aren’t content to sit in any one corner with their instruments either. The trebly blues tone of “Yowaltekuhtli” feels ripped from a Los Lonely Boys album, and the sweeping neoclassical riff that forms the backbone of “Xiuhmolpilli” screams symphodeath BOMBAST.5 The biggest drawback for me here is that in leaning so far into the groove metal style, the BPM goes stale in its mid-paced swagger. Given everything else that Kalaveraztekah unleashes on Nikan Axkan, I’m left wondering what this band would sound like if they really stepped on the gas and hit that NOS button (although the opening riff of “Wewekyotl” gets pretty damn close). That quibble aside, Nikan Axkan is a compelling and replayable record, and a great trip into the dark, bizarre world of Aztec mythology. I highly recommend this album for those looking for some tasty groove metal with a bit of strange on the side. 3.5/5.0
Alekhines Gun: Move over Tzompantli, there’s a new band in town. Channeling the instrumental flourishes of Nechochwen filtered through something adjacent to The Zenith Passage in production,6 Kalaveraztekah have presented a slab of agave scented folky melodic death so meticulously constructed and well produced that I’m actually stunned it’s an independent release. From the triumphant flourishes dotting the leads in “Yowaltekuhtli” to the thunderous tribal percussion-laced breakdowns in “Xiuhtekuhtli Weweteotl”, Nikan Axkan never wants for a variety of gripping moments. A sense of propulsion flows through the album, rendering the occasional interludes atmospheric rather than momentum-killing. Songs like “Xolotl Axolotl” feature heaps of skronk and tawngy tech only to instantly be offset by indigenous instruments and melodic atmospherics in equal measure. True, each individual track feels a bit long in the tooth and seem as though they could benefit from some editing, and I wish the bottom end didn’t sound so artificial. Nevertheless, every time I found myself thinking such thoughts I was suddenly blown away by some excellent new riff or lovely melody from wood instruments or percussion, slotting neatly into the album’s reasonable runtime. Nikan Axhan is an album with a remarkably matured and well-executed vision, and has been a gripping, engaging listen with each spin. Support this album. 3.5/5.0
Thyme: Most bands continually seek ways to bring originality into their work. For Aguascalientes, Mexico, five-piece death metal outfit Kalaveraztekah, that originality comes in the form of heaving helpings of Mesoamerican folk instrumentation, expertly woven into the deathly fabric of their sophomore album Nikan Azkan. Right off the bat, I felt transported to the middle of a Mexican rainforest as tribal drums and folkish guitar lines cede their delicate grip to Behemoth-like death riffs and a hellish vocal attack that rivals Nergal’s (“Nikan Axkan (El Aquí y El Ahora)”). When Nikan Azkan isn’t channeling Demigod levels of viciousness, its hybrid form of folk death conjures Roots-era Sepultura with sludgily dirty riffs, primitive death chants, and a plethora of indigenous instruments ranging from ocarinas to Aztec death whistles (“Xiuhtekuhtli Weweteotl (El Fuego Ancestral),” “Wewekoyotl (El Coyote Viejo)”). Kalaveraztekah brings loads of atmosphere to Nikan Axkan, especially on “Yowaltekuhtli (Un Sueño En La Oscuridad),” with its haunting instrumentation—the guitar work is top notch here—and the desperate, breathless pleas of the narrator conjuring tons of dramatic tension. On repeated spins, the magic within Nikan Axkan continues to unravel. While the meshing of Kalaveraztekah’s death metal—standard as it may be—with its folk-forward instrumentation tends to blur tracks together, enjoyment didn’t dissipate the more I listened. Fans of what Tzompantli are doing would be hard-pressed to miss this, and I suggest they don’t. 3.0/5.0
#AngryMetalGuySUnsignedBandRodeo #AngryMetalGuySUnsignedBandRodeo2025 #Aztec #Behemoth #Crypta #DeathMetal #FolkMetal #GrooveMetal #HellOn #IndependentRelease #Kalaveraztekah #LosLonelyBoys #May25 #MexicanMetal #MorbidAngel #Nechochwen #NikanAxkan #ProgressiveDeathMetal #Review #Reviews #SelfRelease #Sepultura #SulphurAeon #Tzompantli #Vomitory
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AMG’s Unsigned Band Rodeö: Kalaveraztekah – Nikan Axkan
By Dolphin Whisperer
“AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.”
The Rodeö is full of surprises. Today’s potential riff trap hails from the arid lands of Aguascalientes, Mexico, known most famously for its array of hot springs and National Museum of Death. Yes, in death Kalaveraztekah revels, and not just in a death metal groove indebted to the jagged scrawl of Morbid Angel or the destructive howl of early Behemoth. With a healthy inclusion of pre-Hispanic, indigenous instrumentation alongside their chunky and pinch-addled drive, Nikan Axkan churns and tumbles through chants and thunderous drum roll to shine a light on the Mexica culture and history of sacrifice and spirit world. To excavate the wonders that the adventurous Kalaveraztekah holds hidden in the underground, we’ve assembled a crack Rodeö crew, including an appearance from The Man, The Myth, The AMG Himself. Surely that means that everyone followed the word count, right? – Dolphin Whisperer
Kalaveraztekah // Nikan Axkan [May 2nd, 2025]
AMG Himself: Kalaveraztekah’s Nikan Axkan represents hopes and dreams that I have harbored for years. When will we finally get the seminal piece of Aztec-influenced extreme metal that will whet my appetite for both death metal and Mesoamerican history?1 With aplomb, these astonishingly unsigned Aguascalientes-ites2 do the fine job of balancing two equally vital parts of a single sound. Kalaveraztekah hits like a ton of bricks, dealing in death metal that’s neither old nor school, it’s just brutal and grindy, tempered only by peyote-fueled excursions into the netherworld. The core of their sound is brutal Mexican death metal replete with blasts and machine gun kicks, neck-damaging riffing, pig-squealing guitars, brutal growls (and occasionally less-brutal screamies) synced with the snare, and an intensity that I associate with writing reviews of bands like Vomitory or Crypta. It’s got the riffs and intensity with just a touch of melody, and I bask in its brutality and shreddy, squealy solos. Kalaveraztekah’s particular innovation in this sphere is the successful inclusion of traditional folk elements from the indigenous people located throughout Mexico, but which is today used almost exclusively for the Mexica people of Tenochtitlan (which is modern-day Mexico City).3 Kalaveraztekah’s focus on “Aztec Cosmogony” lends itself perfectly to the second part of their unique sound: dreamy folk soundscapes that they adapt seamlessly—and convincingly—when they shift gear. Driven by reverb-soaked soundscapes, Spanish guitars,4 and what I assume is a tlapitzalli (flute), the band lends atmosphere and dynamics that are necessary to offset a style of death metal that at times can risk monotony. And when they meet, these two sounds crash into each other like storm fronts, creating something beautiful and terrible to behold, simultaneously brutal and thoughtful, grindy and melodic, atmospheric and immediate. I fuckin’ love this shit.
Next up on my befolkened death metal bucketlist: the Olmecs! 4.0/5.0
Dear Hollow: What’s great about Kalaveraztekah is their ability to channel their heritage into an homage to the Mexica that sounds ancient, cosmic, and brutal. Featuring a blend not unlike the formidable shaman-themed Hell:on, the lethal fusion of cutthroat death metal and folk instruments offers balance: wild guitar solos, haunting flutes, terrifying death whistles, and ritualistic drums shine amid the no-frills Sulphur Aeon-esque riffs. While similarities to other Mexico-based Aztec- or Mayan-themed groups are unavoidable, Pre-Hispanic folk instrumentation is not mere novelty like it is for Ocelotl or Eunoë, nor is it an atmospheric saturation of bloody sacrifice in the manner of Aztlan or Cemican – rather, Kalaveraztekah uses ritualistic and ceremonial elements to amplify the cyclical cosmic grandiosity of the Five Suns in an album of both creation and devastation. Nikan Axkan offers riffs galore (“Tlazolteotl,” “Xiuhtekuhtli Weweteotl”), haunting overtures with spoken word that recall sacrificial ecstasy and the vast rotting realms of the gods (“Yowaltecuhtli,” “Illwikatl Meztli”), and just enough techy flavors of soaring intensity and dissonant menace to warrant diversity and complexity (“Xolotl Axolotl,” “Xiuhmolpili”). While the album is a tad overlong at nearly fifty minutes, Kalaveraztekah’s approach straddles the line between violently visceral and gloriously colossal – truly “el amanecer del nuevo sol” indeed. 4.0/5.0
Iceberg: I love it when an album requires me to do some research to unwrap its mysteries. Before I came across Nikan Axlan I had precious little knowledge of Aztec mythology. But now, thanks to Aguascalientes natives Kalaveraztekah, I can confidently tell my Xolotls from my Axolotls. Kalaveraztekah’s sonic template skews more groove than death metal, but the inclusion of a host of traditional instruments keeps the music refreshing and thoroughly unnerving. The tribal drums and wind instruments maintain a constant otherworldly atmosphere, and the extraneous vocal additions are excellent (the frantic spoken word of “Yowaltekuhtli” and the Wilhelm screams of “Xolotl Axolotl”). Kalaveraztekah aren’t content to sit in any one corner with their instruments either. The trebly blues tone of “Yowaltekuhtli” feels ripped from a Los Lonely Boys album, and the sweeping neoclassical riff that forms the backbone of “Xiuhmolpilli” screams symphodeath BOMBAST.5 The biggest drawback for me here is that in leaning so far into the groove metal style, the BPM goes stale in its mid-paced swagger. Given everything else that Kalaveraztekah unleashes on Nikan Axkan, I’m left wondering what this band would sound like if they really stepped on the gas and hit that NOS button (although the opening riff of “Wewekyotl” gets pretty damn close). That quibble aside, Nikan Axkan is a compelling and replayable record, and a great trip into the dark, bizarre world of Aztec mythology. I highly recommend this album for those looking for some tasty groove metal with a bit of strange on the side. 3.5/5.0
Alekhines Gun: Move over Tzompantli, there’s a new band in town. Channeling the instrumental flourishes of Nechochwen filtered through something adjacent to The Zenith Passage in production,6 Kalaveraztekah have presented a slab of agave scented folky melodic death so meticulously constructed and well produced that I’m actually stunned it’s an independent release. From the triumphant flourishes dotting the leads in “Yowaltekuhtli” to the thunderous tribal percussion-laced breakdowns in “Xiuhtekuhtli Weweteotl”, Nikan Axkan never wants for a variety of gripping moments. A sense of propulsion flows through the album, rendering the occasional interludes atmospheric rather than momentum-killing. Songs like “Xolotl Axolotl” feature heaps of skronk and tawngy tech only to instantly be offset by indigenous instruments and melodic atmospherics in equal measure. True, each individual track feels a bit long in the tooth and seem as though they could benefit from some editing, and I wish the bottom end didn’t sound so artificial. Nevertheless, every time I found myself thinking such thoughts I was suddenly blown away by some excellent new riff or lovely melody from wood instruments or percussion, slotting neatly into the album’s reasonable runtime. Nikan Axhan is an album with a remarkably matured and well-executed vision, and has been a gripping, engaging listen with each spin. Support this album. 3.5/5.0
Thyme: Most bands continually seek ways to bring originality into their work. For Aguascalientes, Mexico, five-piece death metal outfit Kalaveraztekah, that originality comes in the form of heaving helpings of Mesoamerican folk instrumentation, expertly woven into the deathly fabric of their sophomore album Nikan Azkan. Right off the bat, I felt transported to the middle of a Mexican rainforest as tribal drums and folkish guitar lines cede their delicate grip to Behemoth-like death riffs and a hellish vocal attack that rivals Nergal’s (“Nikan Axkan (El Aquí y El Ahora)”). When Nikan Azkan isn’t channeling Demigod levels of viciousness, its hybrid form of folk death conjures Roots-era Sepultura with sludgily dirty riffs, primitive death chants, and a plethora of indigenous instruments ranging from ocarinas to Aztec death whistles (“Xiuhtekuhtli Weweteotl (El Fuego Ancestral),” “Wewekoyotl (El Coyote Viejo)”). Kalaveraztekah brings loads of atmosphere to Nikan Axkan, especially on “Yowaltekuhtli (Un Sueño En La Oscuridad),” with its haunting instrumentation—the guitar work is top notch here—and the desperate, breathless pleas of the narrator conjuring tons of dramatic tension. On repeated spins, the magic within Nikan Axkan continues to unravel. While the meshing of Kalaveraztekah’s death metal—standard as it may be—with its folk-forward instrumentation tends to blur tracks together, enjoyment didn’t dissipate the more I listened. Fans of what Tzompantli are doing would be hard-pressed to miss this, and I suggest they don’t. 3.0/5.0
#AngryMetalGuySUnsignedBandRodeo #AngryMetalGuySUnsignedBandRodeo2025 #Aztec #Behemoth #Crypta #DeathMetal #FolkMetal #GrooveMetal #HellOn #IndependentRelease #Kalaveraztekah #LosLonelyBoys #May25 #MexicanMetal #MorbidAngel #Nechochwen #NikanAxkan #ProgressiveDeathMetal #Review #Reviews #SelfRelease #Sepultura #SulphurAeon #Tzompantli #Vomitory
-
AMG’s Unsigned Band Rodeö: Kalaveraztekah – Nikan Axkan
By Dolphin Whisperer
“AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.”
The Rodeö is full of surprises. Today’s potential riff trap hails from the arid lands of Aguascalientes, Mexico, known most famously for its array of hot springs and National Museum of Death. Yes, in death Kalaveraztekah revels, and not just in a death metal groove indebted to the jagged scrawl of Morbid Angel or the destructive howl of early Behemoth. With a healthy inclusion of pre-Hispanic, indigenous instrumentation alongside their chunky and pinch-addled drive, Nikan Axkan churns and tumbles through chants and thunderous drum roll to shine a light on the Mexica culture and history of sacrifice and spirit world. To excavate the wonders that the adventurous Kalaveraztekah holds hidden in the underground, we’ve assembled a crack Rodeö crew, including an appearance from The Man, The Myth, The AMG Himself. Surely that means that everyone followed the word count, right? – Dolphin Whisperer
Kalaveraztekah // Nikan Axkan [May 2nd, 2025]
AMG Himself: Kalaveraztekah’s Nikan Axkan represents hopes and dreams that I have harbored for years. When will we finally get the seminal piece of Aztec-influenced extreme metal that will whet my appetite for both death metal and Mesoamerican history?1 With aplomb, these astonishingly unsigned Aguascalientes-ites2 do the fine job of balancing two equally vital parts of a single sound. Kalaveraztekah hits like a ton of bricks, dealing in death metal that’s neither old nor school, it’s just brutal and grindy, tempered only by peyote-fueled excursions into the netherworld. The core of their sound is brutal Mexican death metal replete with blasts and machine gun kicks, neck-damaging riffing, pig-squealing guitars, brutal growls (and occasionally less-brutal screamies) synced with the snare, and an intensity that I associate with writing reviews of bands like Vomitory or Crypta. It’s got the riffs and intensity with just a touch of melody, and I bask in its brutality and shreddy, squealy solos. Kalaveraztekah’s particular innovation in this sphere is the successful inclusion of traditional folk elements from the indigenous people located throughout Mexico, but which is today used almost exclusively for the Mexica people of Tenochtitlan (which is modern-day Mexico City).3 Kalaveraztekah’s focus on “Aztec Cosmogony” lends itself perfectly to the second part of their unique sound: dreamy folk soundscapes that they adapt seamlessly—and convincingly—when they shift gear. Driven by reverb-soaked soundscapes, Spanish guitars,4 and what I assume is a tlapitzalli (flute), the band lends atmosphere and dynamics that are necessary to offset a style of death metal that at times can risk monotony. And when they meet, these two sounds crash into each other like storm fronts, creating something beautiful and terrible to behold, simultaneously brutal and thoughtful, grindy and melodic, atmospheric and immediate. I fuckin’ love this shit.
Next up on my befolkened death metal bucketlist: the Olmecs! 4.0/5.0
Dear Hollow: What’s great about Kalaveraztekah is their ability to channel their heritage into an homage to the Mexica that sounds ancient, cosmic, and brutal. Featuring a blend not unlike the formidable shaman-themed Hell:on, the lethal fusion of cutthroat death metal and folk instruments offers balance: wild guitar solos, haunting flutes, terrifying death whistles, and ritualistic drums shine amid the no-frills Sulphur Aeon-esque riffs. While similarities to other Mexico-based Aztec- or Mayan-themed groups are unavoidable, Pre-Hispanic folk instrumentation is not mere novelty like it is for Ocelotl or Eunoë, nor is it an atmospheric saturation of bloody sacrifice in the manner of Aztlan or Cemican – rather, Kalaveraztekah uses ritualistic and ceremonial elements to amplify the cyclical cosmic grandiosity of the Five Suns in an album of both creation and devastation. Nikan Axkan offers riffs galore (“Tlazolteotl,” “Xiuhtekuhtli Weweteotl”), haunting overtures with spoken word that recall sacrificial ecstasy and the vast rotting realms of the gods (“Yowaltecuhtli,” “Illwikatl Meztli”), and just enough techy flavors of soaring intensity and dissonant menace to warrant diversity and complexity (“Xolotl Axolotl,” “Xiuhmolpili”). While the album is a tad overlong at nearly fifty minutes, Kalaveraztekah’s approach straddles the line between violently visceral and gloriously colossal – truly “el amanecer del nuevo sol” indeed. 4.0/5.0
Iceberg: I love it when an album requires me to do some research to unwrap its mysteries. Before I came across Nikan Axlan I had precious little knowledge of Aztec mythology. But now, thanks to Aguascalientes natives Kalaveraztekah, I can confidently tell my Xolotls from my Axolotls. Kalaveraztekah’s sonic template skews more groove than death metal, but the inclusion of a host of traditional instruments keeps the music refreshing and thoroughly unnerving. The tribal drums and wind instruments maintain a constant otherworldly atmosphere, and the extraneous vocal additions are excellent (the frantic spoken word of “Yowaltekuhtli” and the Wilhelm screams of “Xolotl Axolotl”). Kalaveraztekah aren’t content to sit in any one corner with their instruments either. The trebly blues tone of “Yowaltekuhtli” feels ripped from a Los Lonely Boys album, and the sweeping neoclassical riff that forms the backbone of “Xiuhmolpilli” screams symphodeath BOMBAST.5 The biggest drawback for me here is that in leaning so far into the groove metal style, the BPM goes stale in its mid-paced swagger. Given everything else that Kalaveraztekah unleashes on Nikan Axkan, I’m left wondering what this band would sound like if they really stepped on the gas and hit that NOS button (although the opening riff of “Wewekyotl” gets pretty damn close). That quibble aside, Nikan Axkan is a compelling and replayable record, and a great trip into the dark, bizarre world of Aztec mythology. I highly recommend this album for those looking for some tasty groove metal with a bit of strange on the side. 3.5/5.0
Alekhines Gun: Move over Tzompantli, there’s a new band in town. Channeling the instrumental flourishes of Nechochwen filtered through something adjacent to The Zenith Passage in production,6 Kalaveraztekah have presented a slab of agave scented folky melodic death so meticulously constructed and well produced that I’m actually stunned it’s an independent release. From the triumphant flourishes dotting the leads in “Yowaltekuhtli” to the thunderous tribal percussion-laced breakdowns in “Xiuhtekuhtli Weweteotl”, Nikan Axkan never wants for a variety of gripping moments. A sense of propulsion flows through the album, rendering the occasional interludes atmospheric rather than momentum-killing. Songs like “Xolotl Axolotl” feature heaps of skronk and tawngy tech only to instantly be offset by indigenous instruments and melodic atmospherics in equal measure. True, each individual track feels a bit long in the tooth and seem as though they could benefit from some editing, and I wish the bottom end didn’t sound so artificial. Nevertheless, every time I found myself thinking such thoughts I was suddenly blown away by some excellent new riff or lovely melody from wood instruments or percussion, slotting neatly into the album’s reasonable runtime. Nikan Axhan is an album with a remarkably matured and well-executed vision, and has been a gripping, engaging listen with each spin. Support this album. 3.5/5.0
Thyme: Most bands continually seek ways to bring originality into their work. For Aguascalientes, Mexico, five-piece death metal outfit Kalaveraztekah, that originality comes in the form of heaving helpings of Mesoamerican folk instrumentation, expertly woven into the deathly fabric of their sophomore album Nikan Azkan. Right off the bat, I felt transported to the middle of a Mexican rainforest as tribal drums and folkish guitar lines cede their delicate grip to Behemoth-like death riffs and a hellish vocal attack that rivals Nergal’s (“Nikan Axkan (El Aquí y El Ahora)”). When Nikan Azkan isn’t channeling Demigod levels of viciousness, its hybrid form of folk death conjures Roots-era Sepultura with sludgily dirty riffs, primitive death chants, and a plethora of indigenous instruments ranging from ocarinas to Aztec death whistles (“Xiuhtekuhtli Weweteotl (El Fuego Ancestral),” “Wewekoyotl (El Coyote Viejo)”). Kalaveraztekah brings loads of atmosphere to Nikan Axkan, especially on “Yowaltekuhtli (Un Sueño En La Oscuridad),” with its haunting instrumentation—the guitar work is top notch here—and the desperate, breathless pleas of the narrator conjuring tons of dramatic tension. On repeated spins, the magic within Nikan Axkan continues to unravel. While the meshing of Kalaveraztekah’s death metal—standard as it may be—with its folk-forward instrumentation tends to blur tracks together, enjoyment didn’t dissipate the more I listened. Fans of what Tzompantli are doing would be hard-pressed to miss this, and I suggest they don’t. 3.0/5.0
#AngryMetalGuySUnsignedBandRodeo #AngryMetalGuySUnsignedBandRodeo2025 #Aztec #Behemoth #Crypta #DeathMetal #FolkMetal #GrooveMetal #HellOn #IndependentRelease #Kalaveraztekah #LosLonelyBoys #May25 #MexicanMetal #MorbidAngel #Nechochwen #NikanAxkan #ProgressiveDeathMetal #Review #Reviews #SelfRelease #Sepultura #SulphurAeon #Tzompantli #Vomitory
-
AMG’s Unsigned Band Rodeö: Kalaveraztekah – Nikan Axkan
By Dolphin Whisperer
“AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.”
The Rodeö is full of surprises. Today’s potential riff trap hails from the arid lands of Aguascalientes, Mexico, known most famously for its array of hot springs and National Museum of Death. Yes, in death Kalaveraztekah revels, and not just in a death metal groove indebted to the jagged scrawl of Morbid Angel or the destructive howl of early Behemoth. With a healthy inclusion of pre-Hispanic, indigenous instrumentation alongside their chunky and pinch-addled drive, Nikan Axkan churns and tumbles through chants and thunderous drum roll to shine a light on the Mexica culture and history of sacrifice and spirit world. To excavate the wonders that the adventurous Kalaveraztekah holds hidden in the underground, we’ve assembled a crack Rodeö crew, including an appearance from The Man, The Myth, The AMG Himself. Surely that means that everyone followed the word count, right? – Dolphin Whisperer
Kalaveraztekah // Nikan Axkan [May 2nd, 2025]
AMG Himself: Kalaveraztekah’s Nikan Axkan represents hopes and dreams that I have harbored for years. When will we finally get the seminal piece of Aztec-influenced extreme metal that will whet my appetite for both death metal and Mesoamerican history?1 With aplomb, these astonishingly unsigned Aguascalientes-ites2 do the fine job of balancing two equally vital parts of a single sound. Kalaveraztekah hits like a ton of bricks, dealing in death metal that’s neither old nor school, it’s just brutal and grindy, tempered only by peyote-fueled excursions into the netherworld. The core of their sound is brutal Mexican death metal replete with blasts and machine gun kicks, neck-damaging riffing, pig-squealing guitars, brutal growls (and occasionally less-brutal screamies) synced with the snare, and an intensity that I associate with writing reviews of bands like Vomitory or Crypta. It’s got the riffs and intensity with just a touch of melody, and I bask in its brutality and shreddy, squealy solos. Kalaveraztekah’s particular innovation in this sphere is the successful inclusion of traditional folk elements from the indigenous people located throughout Mexico, but which is today used almost exclusively for the Mexica people of Tenochtitlan (which is modern-day Mexico City).3 Kalaveraztekah’s focus on “Aztec Cosmogony” lends itself perfectly to the second part of their unique sound: dreamy folk soundscapes that they adapt seamlessly—and convincingly—when they shift gear. Driven by reverb-soaked soundscapes, Spanish guitars,4 and what I assume is a tlapitzalli (flute), the band lends atmosphere and dynamics that are necessary to offset a style of death metal that at times can risk monotony. And when they meet, these two sounds crash into each other like storm fronts, creating something beautiful and terrible to behold, simultaneously brutal and thoughtful, grindy and melodic, atmospheric and immediate. I fuckin’ love this shit.
Next up on my befolkened death metal bucketlist: the Olmecs! 4.0/5.0
Dear Hollow: What’s great about Kalaveraztekah is their ability to channel their heritage into an homage to the Mexica that sounds ancient, cosmic, and brutal. Featuring a blend not unlike the formidable shaman-themed Hell:on, the lethal fusion of cutthroat death metal and folk instruments offers balance: wild guitar solos, haunting flutes, terrifying death whistles, and ritualistic drums shine amid the no-frills Sulphur Aeon-esque riffs. While similarities to other Mexico-based Aztec- or Mayan-themed groups are unavoidable, Pre-Hispanic folk instrumentation is not mere novelty like it is for Ocelotl or Eunoë, nor is it an atmospheric saturation of bloody sacrifice in the manner of Aztlan or Cemican – rather, Kalaveraztekah uses ritualistic and ceremonial elements to amplify the cyclical cosmic grandiosity of the Five Suns in an album of both creation and devastation. Nikan Axkan offers riffs galore (“Tlazolteotl,” “Xiuhtekuhtli Weweteotl”), haunting overtures with spoken word that recall sacrificial ecstasy and the vast rotting realms of the gods (“Yowaltecuhtli,” “Illwikatl Meztli”), and just enough techy flavors of soaring intensity and dissonant menace to warrant diversity and complexity (“Xolotl Axolotl,” “Xiuhmolpili”). While the album is a tad overlong at nearly fifty minutes, Kalaveraztekah’s approach straddles the line between violently visceral and gloriously colossal – truly “el amanecer del nuevo sol” indeed. 4.0/5.0
Iceberg: I love it when an album requires me to do some research to unwrap its mysteries. Before I came across Nikan Axlan I had precious little knowledge of Aztec mythology. But now, thanks to Aguascalientes natives Kalaveraztekah, I can confidently tell my Xolotls from my Axolotls. Kalaveraztekah’s sonic template skews more groove than death metal, but the inclusion of a host of traditional instruments keeps the music refreshing and thoroughly unnerving. The tribal drums and wind instruments maintain a constant otherworldly atmosphere, and the extraneous vocal additions are excellent (the frantic spoken word of “Yowaltekuhtli” and the Wilhelm screams of “Xolotl Axolotl”). Kalaveraztekah aren’t content to sit in any one corner with their instruments either. The trebly blues tone of “Yowaltekuhtli” feels ripped from a Los Lonely Boys album, and the sweeping neoclassical riff that forms the backbone of “Xiuhmolpilli” screams symphodeath BOMBAST.5 The biggest drawback for me here is that in leaning so far into the groove metal style, the BPM goes stale in its mid-paced swagger. Given everything else that Kalaveraztekah unleashes on Nikan Axkan, I’m left wondering what this band would sound like if they really stepped on the gas and hit that NOS button (although the opening riff of “Wewekyotl” gets pretty damn close). That quibble aside, Nikan Axkan is a compelling and replayable record, and a great trip into the dark, bizarre world of Aztec mythology. I highly recommend this album for those looking for some tasty groove metal with a bit of strange on the side. 3.5/5.0
Alekhines Gun: Move over Tzompantli, there’s a new band in town. Channeling the instrumental flourishes of Nechochwen filtered through something adjacent to The Zenith Passage in production,6 Kalaveraztekah have presented a slab of agave scented folky melodic death so meticulously constructed and well produced that I’m actually stunned it’s an independent release. From the triumphant flourishes dotting the leads in “Yowaltekuhtli” to the thunderous tribal percussion-laced breakdowns in “Xiuhtekuhtli Weweteotl”, Nikan Axkan never wants for a variety of gripping moments. A sense of propulsion flows through the album, rendering the occasional interludes atmospheric rather than momentum-killing. Songs like “Xolotl Axolotl” feature heaps of skronk and tawngy tech only to instantly be offset by indigenous instruments and melodic atmospherics in equal measure. True, each individual track feels a bit long in the tooth and seem as though they could benefit from some editing, and I wish the bottom end didn’t sound so artificial. Nevertheless, every time I found myself thinking such thoughts I was suddenly blown away by some excellent new riff or lovely melody from wood instruments or percussion, slotting neatly into the album’s reasonable runtime. Nikan Axhan is an album with a remarkably matured and well-executed vision, and has been a gripping, engaging listen with each spin. Support this album. 3.5/5.0
Thyme: Most bands continually seek ways to bring originality into their work. For Aguascalientes, Mexico, five-piece death metal outfit Kalaveraztekah, that originality comes in the form of heaving helpings of Mesoamerican folk instrumentation, expertly woven into the deathly fabric of their sophomore album Nikan Azkan. Right off the bat, I felt transported to the middle of a Mexican rainforest as tribal drums and folkish guitar lines cede their delicate grip to Behemoth-like death riffs and a hellish vocal attack that rivals Nergal’s (“Nikan Axkan (El Aquí y El Ahora)”). When Nikan Azkan isn’t channeling Demigod levels of viciousness, its hybrid form of folk death conjures Roots-era Sepultura with sludgily dirty riffs, primitive death chants, and a plethora of indigenous instruments ranging from ocarinas to Aztec death whistles (“Xiuhtekuhtli Weweteotl (El Fuego Ancestral),” “Wewekoyotl (El Coyote Viejo)”). Kalaveraztekah brings loads of atmosphere to Nikan Axkan, especially on “Yowaltekuhtli (Un Sueño En La Oscuridad),” with its haunting instrumentation—the guitar work is top notch here—and the desperate, breathless pleas of the narrator conjuring tons of dramatic tension. On repeated spins, the magic within Nikan Axkan continues to unravel. While the meshing of Kalaveraztekah’s death metal—standard as it may be—with its folk-forward instrumentation tends to blur tracks together, enjoyment didn’t dissipate the more I listened. Fans of what Tzompantli are doing would be hard-pressed to miss this, and I suggest they don’t. 3.0/5.0
#AngryMetalGuySUnsignedBandRodeo #AngryMetalGuySUnsignedBandRodeo2025 #Aztec #Behemoth #Crypta #DeathMetal #FolkMetal #GrooveMetal #HellOn #IndependentRelease #Kalaveraztekah #LosLonelyBoys #May25 #MexicanMetal #MorbidAngel #Nechochwen #NikanAxkan #ProgressiveDeathMetal #Review #Reviews #SelfRelease #Sepultura #SulphurAeon #Tzompantli #Vomitory
-
🔊 #NowPlaying on #KEXP's #VarietyMix
Tzompantli:
🎵 Tlayohuallihttps://listen.20buckspin.com/track/tlayohualli
https://open.spotify.com/track/73w5v531ZJmWSMbpW8cfGk
🎶 show playlist 👇
https://open.spotify.com/playlist/6G4PaS9BNkIuGqMo44rbfZ🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg -
🔊 #NowPlaying on #KEXP's #VarietyMix
Tzompantli:
🎵 Tlayohuallihttps://listen.20buckspin.com/track/tlayohualli
https://open.spotify.com/track/73w5v531ZJmWSMbpW8cfGk
🎶 show playlist 👇
https://open.spotify.com/playlist/6G4PaS9BNkIuGqMo44rbfZ🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg -
🔊 #NowPlaying on #KEXP's #VarietyMix
Tzompantli:
🎵 Tlayohuallihttps://listen.20buckspin.com/track/tlayohualli
https://open.spotify.com/track/73w5v531ZJmWSMbpW8cfGk
🎶 show playlist 👇
https://open.spotify.com/playlist/6G4PaS9BNkIuGqMo44rbfZ🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg -
🔊 #NowPlaying on #KEXP's #VarietyMix
Tzompantli:
🎵 Tlayohuallihttps://listen.20buckspin.com/track/tlayohualli
https://open.spotify.com/track/73w5v531ZJmWSMbpW8cfGk
🎶 show playlist 👇
https://open.spotify.com/playlist/6G4PaS9BNkIuGqMo44rbfZ🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg -
🔊 #NowPlaying on #KEXP's #VarietyMix
Tzompantli:
🎵 Tlayohuallihttps://listen.20buckspin.com/track/tlayohualli
https://open.spotify.com/track/73w5v531ZJmWSMbpW8cfGk
🎶 show playlist 👇
https://open.spotify.com/playlist/6G4PaS9BNkIuGqMo44rbfZ🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg -
https://unescowhstamps.blogspot.com
Chichen Itza, Mexico - UNESCO World Heritage Site
#UNESCO #PatrimonioMundial #WorldHeritage #Welterbe #Philately #Filatelia #Sellos #Stamps #Timbres #Philatelie #Briefmarken #UNESCOWorldHeritage #ChichenItza #Tinum #Yucatan #ElCastillo #Tzompantli #ElCaracol -
https://unescowhstamps.blogspot.com
Chichen Itza, Mexico - UNESCO World Heritage Site
#UNESCO #PatrimonioMundial #WorldHeritage #Welterbe #Philately #Filatelia #Sellos #Stamps #Timbres #Philatelie #Briefmarken #UNESCOWorldHeritage #ChichenItza #Tinum #Yucatan #ElCastillo #Tzompantli #ElCaracol -
Tzompantli – Beating the Drums of Ancestral Force Review
By Dolphin Whisperer
Art is culture. Culture needs representation. These two things often align with metal in ways we don’t realize, whether it’s the new death metal band that wants to play old-school death metal to continue to push for the representation of simpler times in death metal, or the cinephile who longs to see their niche amongst the swarms of various niche interest metal bands out there. Everyone wants to be seen and accepted for who they are, and the majesty of this metal realm we inhabit is such that artists can do just that. In the case of Tzompantli and their sophomore release Beating the Drums of Ancestral Force, this collective of California-based musicians—a pool of eleven performers from bands of all extremities, including Xibalba, Teeth, Civerous—wishes to express their reverence for the brutal nature worship of the Aztec/Mexica people and history. But never fear, this new and furious outing is far from a dissertation.
True to its namesake, Beating the Drums of Ancestral Force comes loaded with indigenous percussion, shrill flute shrieks, and piles and piles of deathly riffs. With a ferrous scent and sanguine splatter, the guitar ensemble that powers Tzompantli churns buzzsaw riff to Peaceville droning harmony with ease. And as the serenity of those moments dissipates in the wake of sacrifice, beatdown approximating segues crush space like the crack of macuahuitl to its unfortunate foe. In many ways Beating whips about with greater intensity than this act’s debut outing a couple of years back—time has allowed nuance to settle.
As such, Beating at its most impressive and brutal assaults stirs battle-lust in a manner that only this sound-nook can. No proper volume exists for sections like the skull-splitting opening fifteen seconds of dramatic flute wail and warrior chant or the recalled alert that swells to a primal throb on “Tetzavitzli.” Testament to Tzompantli’s eclectic nature, this pattern of tension and release reminds me most of both the ritualistic crescendo aim of aggressive Neurosis works (think “Through Silver and Blood” or “Under the Surface“) and the long-form low-end abuse of Evoken. However, compared to both of those acts, the crew that composes Tzompantli skews death and hardcore, so many songs find a way back to the grounded realms of down-tuned tremolo runs and tempo-tugging shuffles.
Despite the impressive number of people involved in the creation of Beating, rarely does the album feel like the result of a tribe in unison. Now, you may be thinking that that shouldn’t matter, that the number of people on paper doesn’t always have to present in total sound construction. While that’s true, Tzompantli does indeed crash in waves as one, like the fireside call and response of “Tlaloc Icuic” that lights the path for a Conan-sized drop or the heavily layered percussion that propels “Tetzaviztli.” And in these explosive displays of collective power, Tzompantli makes its mark not only as unique and affecting death/doom band but as a realization of their mission statement. It’s a wonder to behold and a shame that the link amongst these peaks renders as merely good slow, chugging death metal.
In the atmospheric realm, Tzompantli’s trademark “Tzomp-Stomp” lands like a breath of scorching hot air. Yet that same force poses an issue in this tightly interwoven tapestry of oscillating moods that Beating the Drums of Ancestral Force swings. It’s tough to temper the twitch of might and the pulse of bravado that engorges throughout these tales of might, triumph, war, and loss. The comedown ambience can simply be too unsettling. But with many passages in the Nauhatl language helping engross the audience in ancient glory, Tzompantli, at least, succeeds in sharing their reverence for their chosen and deeply personal subject matter. And with as many bodies that compromise this unique and promising band, it’s anyone’s guess as to how impacting their continued statements will be.
Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: 20 Buck Spin | Bandcamp
Website: facebook.com/tzompantlidoom
Releases Worldwide: May 17th, 2024#20BuckSpin #2024 #30 #AmericanMetal #AtmosphericDeathMetal #BeatingTheDrumsOfAncestralForce #Civerous #Conan #DeathMetal #deathDoomMetal #DoomMetal #Evoken #May24 #Neurosis #Review #Reviews #Teeth #Tzompantli #Xibalba
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Tzompantli – Beating the Drums of Ancestral Force Review
By Dolphin Whisperer
Art is culture. Culture needs representation. These two things often align with metal in ways we don’t realize, whether it’s the new death metal band that wants to play old-school death metal to continue to push for the representation of simpler times in death metal, or the cinephile who longs to see their niche amongst the swarms of various niche interest metal bands out there. Everyone wants to be seen and accepted for who they are, and the majesty of this metal realm we inhabit is such that artists can do just that. In the case of Tzompantli and their sophomore release Beating the Drums of Ancestral Force, this collective of California-based musicians—a pool of eleven performers from bands of all extremities, including Xibalba, Teeth, Civerous—wishes to express their reverence for the brutal nature worship of the Aztec/Mexica people and history. But never fear, this new and furious outing is far from a dissertation.
True to its namesake, Beating the Drums of Ancestral Force comes loaded with indigenous percussion, shrill flute shrieks, and piles and piles of deathly riffs. With a ferrous scent and sanguine splatter, the guitar ensemble that powers Tzompantli churns buzzsaw riff to Peaceville droning harmony with ease. And as the serenity of those moments dissipates in the wake of sacrifice, beatdown approximating segues crush space like the crack of macuahuitl to its unfortunate foe. In many ways Beating whips about with greater intensity than this act’s debut outing a couple of years back—time has allowed nuance to settle.
As such, Beating at its most impressive and brutal assaults stirs battle-lust in a manner that only this sound-nook can. No proper volume exists for sections like the skull-splitting opening fifteen seconds of dramatic flute wail and warrior chant or the recalled alert that swells to a primal throb on “Tetzavitzli.” Testament to Tzompantli’s eclectic nature, this pattern of tension and release reminds me most of both the ritualistic crescendo aim of aggressive Neurosis works (think “Through Silver and Blood” or “Under the Surface“) and the long-form low-end abuse of Evoken. However, compared to both of those acts, the crew that composes Tzompantli skews death and hardcore, so many songs find a way back to the grounded realms of down-tuned tremolo runs and tempo-tugging shuffles.
Despite the impressive number of people involved in the creation of Beating, rarely does the album feel like the result of a tribe in unison. Now, you may be thinking that that shouldn’t matter, that the number of people on paper doesn’t always have to present in total sound construction. While that’s true, Tzompantli does indeed crash in waves as one, like the fireside call and response of “Tlaloc Icuic” that lights the path for a Conan-sized drop or the heavily layered percussion that propels “Tetzaviztli.” And in these explosive displays of collective power, Tzompantli makes its mark not only as unique and affecting death/doom band but as a realization of their mission statement. It’s a wonder to behold and a shame that the link amongst these peaks renders as merely good slow, chugging death metal.
In the atmospheric realm, Tzompantli’s trademark “Tzomp-Stomp” lands like a breath of scorching hot air. Yet that same force poses an issue in this tightly interwoven tapestry of oscillating moods that Beating the Drums of Ancestral Force swings. It’s tough to temper the twitch of might and the pulse of bravado that engorges throughout these tales of might, triumph, war, and loss. The comedown ambience can simply be too unsettling. But with many passages in the Nauhatl language helping engross the audience in ancient glory, Tzompantli, at least, succeeds in sharing their reverence for their chosen and deeply personal subject matter. And with as many bodies that compromise this unique and promising band, it’s anyone’s guess as to how impacting their continued statements will be.
Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: 20 Buck Spin | Bandcamp
Website: facebook.com/tzompantlidoom
Releases Worldwide: May 17th, 2024#20BuckSpin #2024 #30 #AmericanMetal #AtmosphericDeathMetal #BeatingTheDrumsOfAncestralForce #Civerous #Conan #DeathMetal #deathDoomMetal #DoomMetal #Evoken #May24 #Neurosis #Review #Reviews #Teeth #Tzompantli #Xibalba
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Tzompantli – Beating the Drums of Ancestral Force Review
By Dolphin Whisperer
Art is culture. Culture needs representation. These two things often align with metal in ways we don’t realize, whether it’s the new death metal band that wants to play old-school death metal to continue to push for the representation of simpler times in death metal, or the cinephile who longs to see their niche amongst the swarms of various niche interest metal bands out there. Everyone wants to be seen and accepted for who they are, and the majesty of this metal realm we inhabit is such that artists can do just that. In the case of Tzompantli and their sophomore release Beating the Drums of Ancestral Force, this collective of California-based musicians—a pool of eleven performers from bands of all extremities, including Xibalba, Teeth, Civerous—wishes to express their reverence for the brutal nature worship of the Aztec/Mexica people and history. But never fear, this new and furious outing is far from a dissertation.
True to its namesake, Beating the Drums of Ancestral Force comes loaded with indigenous percussion, shrill flute shrieks, and piles and piles of deathly riffs. With a ferrous scent and sanguine splatter, the guitar ensemble that powers Tzompantli churns buzzsaw riff to Peaceville droning harmony with ease. And as the serenity of those moments dissipates in the wake of sacrifice, beatdown approximating segues crush space like the crack of macuahuitl to its unfortunate foe. In many ways Beating whips about with greater intensity than this act’s debut outing a couple of years back—time has allowed nuance to settle.
As such, Beating at its most impressive and brutal assaults stirs battle-lust in a manner that only this sound-nook can. No proper volume exists for sections like the skull-splitting opening fifteen seconds of dramatic flute wail and warrior chant or the recalled alert that swells to a primal throb on “Tetzavitzli.” Testament to Tzompantli’s eclectic nature, this pattern of tension and release reminds me most of both the ritualistic crescendo aim of aggressive Neurosis works (think “Through Silver and Blood” or “Under the Surface“) and the long-form low-end abuse of Evoken. However, compared to both of those acts, the crew that composes Tzompantli skews death and hardcore, so many songs find a way back to the grounded realms of down-tuned tremolo runs and tempo-tugging shuffles.
Despite the impressive number of people involved in the creation of Beating, rarely does the album feel like the result of a tribe in unison. Now, you may be thinking that that shouldn’t matter, that the number of people on paper doesn’t always have to present in total sound construction. While that’s true, Tzompantli does indeed crash in waves as one, like the fireside call and response of “Tlaloc Icuic” that lights the path for a Conan-sized drop or the heavily layered percussion that propels “Tetzaviztli.” And in these explosive displays of collective power, Tzompantli makes its mark not only as unique and affecting death/doom band but as a realization of their mission statement. It’s a wonder to behold and a shame that the link amongst these peaks renders as merely good slow, chugging death metal.
In the atmospheric realm, Tzompantli’s trademark “Tzomp-Stomp” lands like a breath of scorching hot air. Yet that same force poses an issue in this tightly interwoven tapestry of oscillating moods that Beating the Drums of Ancestral Force swings. It’s tough to temper the twitch of might and the pulse of bravado that engorges throughout these tales of might, triumph, war, and loss. The comedown ambience can simply be too unsettling. But with many passages in the Nauhatl language helping engross the audience in ancient glory, Tzompantli, at least, succeeds in sharing their reverence for their chosen and deeply personal subject matter. And with as many bodies that compromise this unique and promising band, it’s anyone’s guess as to how impacting their continued statements will be.
Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: 20 Buck Spin | Bandcamp
Website: facebook.com/tzompantlidoom
Releases Worldwide: May 17th, 2024#20BuckSpin #2024 #30 #AmericanMetal #AtmosphericDeathMetal #BeatingTheDrumsOfAncestralForce #Civerous #Conan #DeathMetal #deathDoomMetal #DoomMetal #Evoken #May24 #Neurosis #Review #Reviews #Teeth #Tzompantli #Xibalba
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#MetalInjection
Album Review: TZOMPANTLI Beating The Drums Of Ancestral Force
"Backdrops and inspirations aside, this is music for rumbling the depths of the soul."https://metalinjection.net/reviews/album-review-tzompantli-beating-the-drums-of-ancestral-force
#albumreview #deathdoom #tzompantli #ancestralforce #skullracks #aztecempire #heavyhardcore #deathmetal #sludge #folkmetal
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#TheMetalDogArticleList
#MetalInjection
Album Review: TZOMPANTLI Beating The Drums Of Ancestral Force
"Backdrops and inspirations aside, this is music for rumbling the depths of the soul."https://metalinjection.net/reviews/album-review-tzompantli-beating-the-drums-of-ancestral-force
#albumreview #deathdoom #tzompantli #ancestralforce #skullracks #aztecempire #heavyhardcore #deathmetal #sludge #folkmetal
-
#TheMetalDogArticleList
#MetalInjection
Album Review: TZOMPANTLI Beating The Drums Of Ancestral Force
"Backdrops and inspirations aside, this is music for rumbling the depths of the soul."https://metalinjection.net/reviews/album-review-tzompantli-beating-the-drums-of-ancestral-force
#albumreview #deathdoom #tzompantli #ancestralforce #skullracks #aztecempire #heavyhardcore #deathmetal #sludge #folkmetal
-
#TheMetalDogArticleList
#MetalInjection
Album Review: TZOMPANTLI Beating The Drums Of Ancestral Force
"Backdrops and inspirations aside, this is music for rumbling the depths of the soul."https://metalinjection.net/reviews/album-review-tzompantli-beating-the-drums-of-ancestral-force
#albumreview #deathdoom #tzompantli #ancestralforce #skullracks #aztecempire #heavyhardcore #deathmetal #sludge #folkmetal
-
#TheMetalDogArticleList
#MetalInjection
Album Review: TZOMPANTLI Beating The Drums Of Ancestral Force
"Backdrops and inspirations aside, this is music for rumbling the depths of the soul."https://metalinjection.net/reviews/album-review-tzompantli-beating-the-drums-of-ancestral-force
#albumreview #deathdoom #tzompantli #ancestralforce #skullracks #aztecempire #heavyhardcore #deathmetal #sludge #folkmetal
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15 New Songs Out Today
https://www.brooklynvegan.com/new-songs-out-today-13/#brooklynvegan_category_music #Music #Adeem_the_Artist #Adversarial #Blu_DeTiger #Courting #Cult_Leader #Doechii #Eat_Defeat #IDK #joey_badass #JT #Kaitlin_Butts #lola_kirke #Lost_Dog_Street_Band #Magalena_Bay #Melkbelly #mozzy #New_Songs #New_Tracks #sofia_bolt #Stella_Donnelly #Tzompantli
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15 New Songs Out Today
https://www.brooklynvegan.com/new-songs-out-today-13/#brooklynvegan_category_music #Music #Adeem_the_Artist #Adversarial #Blu_DeTiger #Courting #Cult_Leader #Doechii #Eat_Defeat #IDK #joey_badass #JT #Kaitlin_Butts #lola_kirke #Lost_Dog_Street_Band #Magalena_Bay #Melkbelly #mozzy #New_Songs #New_Tracks #sofia_bolt #Stella_Donnelly #Tzompantli
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15 New Songs Out Today
https://www.brooklynvegan.com/new-songs-out-today-13/#brooklynvegan_category_music #Music #Adeem_the_Artist #Adversarial #Blu_DeTiger #Courting #Cult_Leader #Doechii #Eat_Defeat #IDK #joey_badass #JT #Kaitlin_Butts #lola_kirke #Lost_Dog_Street_Band #Magalena_Bay #Melkbelly #mozzy #New_Songs #New_Tracks #sofia_bolt #Stella_Donnelly #Tzompantli
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15 New Songs Out Today
https://www.brooklynvegan.com/new-songs-out-today-13/#brooklynvegan_category_music #Music #Adeem_the_Artist #Adversarial #Blu_DeTiger #Courting #Cult_Leader #Doechii #Eat_Defeat #IDK #joey_badass #JT #Kaitlin_Butts #lola_kirke #Lost_Dog_Street_Band #Magalena_Bay #Melkbelly #mozzy #New_Songs #New_Tracks #sofia_bolt #Stella_Donnelly #Tzompantli
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15 New Songs Out Today
https://www.brooklynvegan.com/new-songs-out-today-13/#brooklynvegan_category_music #Music #Adeem_the_Artist #Adversarial #Blu_DeTiger #Courting #Cult_Leader #Doechii #Eat_Defeat #IDK #joey_badass #JT #Kaitlin_Butts #lola_kirke #Lost_Dog_Street_Band #Magalena_Bay #Melkbelly #mozzy #New_Songs #New_Tracks #sofia_bolt #Stella_Donnelly #Tzompantli
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These guys are #broootal 🤘🏻
Tlazcaltiliztli from Tzompantli
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These guys are #broootal 🤘🏻
Tlazcaltiliztli from Tzompantli
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CW: Death Religion The Laundry Files
Seen today in Museo Nacional de Historia, Mexico City: authentic Acolhua #tzompantli discovered in 1993 with five skulls of Spanish conquistadores and seven skulls of their Cempolteca allies
#death #religion #sacrifice #TheLaundryFiles #TheNewManagement
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CW: Death Religion The Laundry Files
Seen today in Museo Nacional de Historia, Mexico City: authentic Acolhua #tzompantli discovered in 1993 with five skulls of Spanish conquistadores and seven skulls of their Cempolteca allies
#death #religion #sacrifice #TheLaundryFiles #TheNewManagement
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CW: Death Religion The Laundry Files
Seen today in Museo Nacional de Historia, Mexico City: authentic Acolhua #tzompantli discovered in 1993 with five skulls of Spanish conquistadores and seven skulls of their Cempolteca allies
#death #religion #sacrifice #TheLaundryFiles #TheNewManagement
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CW: Death Religion The Laundry Files
Seen today in Museo Nacional de Historia, Mexico City: authentic Acolhua #tzompantli discovered in 1993 with five skulls of Spanish conquistadores and seven skulls of their Cempolteca allies
#death #religion #sacrifice #TheLaundryFiles #TheNewManagement
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CW: Death Religion The Laundry Files
Seen today in Museo Nacional de Historia, Mexico City: authentic Acolhua #tzompantli discovered in 1993 with five skulls of Spanish conquistadores and seven skulls of their Cempolteca allies
#death #religion #sacrifice #TheLaundryFiles #TheNewManagement
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Hoy le pedí a ChatGPT redactar un ensayo sobre el tzompantli de Tenochtitlan. El resultado es algo repetitivo, a veces sesgado. No cabe duda que, a medida que aprenderá este transformer, su precisión mejorará y podría dejar a quienes no tienen la preparación adecuada. Además ChatGPT no propone citas ni bibliografía.
#ethics #IA #ChatGPT #archaeodons #arqueodons #tzompantli #mesoamerica