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██▌ Artist...: Misticia ░▐██▌
░▐██ Album....: XVA ░██▌░
▓▐██ Year.....: 2018 ▓▐██▓
▓▐██ Rel.Date.: 2020-10-04 ░▐██▓
▐██ Genre....: Death Metal ██▌░
░ ██▌ Label....: Sylphorium Records ██▌
▐██ Source...: CD ▐██
░▐██▌ Type.....: Album ▐██▌░
▓▄████ Quality..: VBR, 44.1kHz, Joint Stereo ████▌░
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1. Suacha 4:13
2. Aperrear 2:29
3. Mallku 3:12
4. Yohualli 3:54
5. Marrichiweu 6:04
6. Buruka Ccosi 0:16
7. La Chucua 2:45
8. Thanksgiving Day 5:48
9. Haza±as Sanguinarias 0:57
10. Sin Tu Dios 6:09
11. Ally Shamushka 1:00
12. Delay de las Indias 1:34
13. Metalero (Darkness cover) 5:13
------
43:34
Misticia, a band originally from the Andes, Suacha, Colombia, were
founded in 1999 and incorporate everything from traditional folklore,
Latin and pre-Hispanic, right through to sludge, doom and death metal
and everything in between. They were one of the founders of native
Spanish and English lyrical combinations.
Now based out of Germany and Spain, their work, to date, includes EP
æWelcome To UtopiaÆ, album æSickness Of The EarthÆ, (with mastering by
Andy Klassen, Krisum, Belphegor, Holy Moses, Legion Of The Damned) and
this year, theyÆre releasing a 3rd album, entitled æXVAÆ, featuring
Daniel Bergstrand (Meshuggah, Behemoth, Dark Funeral, In Flames, Syl and
more). Mastering by Jamie Gomez Arellano, at Orgone Studios, UK.
æXVAÆ is inspired by Sun, the God of the Muiscas, an original Andean
people, from Central Colombia. Boasting a great deal of linguistic
inspirations and artistic creative cultures, æXVAÆ is a 12 track concept
album, with myths and legends, as well as the conquest of America at its
heart. Vocalising hitherto unheard voices, within the metal scene, it
creates its own self protective construct out of that.
The albumÆs cover art refers to various Muisca Gods, for instance, æThe
FrogÆ Rain God, The Snake and The Lartija. Showing, symbolically, the
seal of Misticia, (oka The æFrailejonÆ, an indigenous plant, over 2000
years old, grown only in the Paramos.
The very first Colombian metal band to record in Europe in 2002/3,
Misticia did so at the Stonehenge Studio, Bonne, Germany.
Their live gigs are known for dazzling light shows, video screen
introÆs, traditional Andean dress and the sharing of coca leaves with
the audience.
Lately, theyÆve been touring to promote æXVAÆ, during which, theyÆve
opened for Venom Inc, in Bogota and wowed the crowds, around Pereira,
Ibague, Villavichencio, Zipaquira and Suacha. They played to a rapturous
audience, at sold-out shows.
Still astounding the fans, on the European tour, ready to share the
stage with renowned German thrash band Exumer. During 2018, they also
toured with Argentinian band A.N.I.M.A.L., completing their new album
with well-known producer Daniel Bergstrand, at the helm, at Dugout
Studio, Uppsala, Sweden. Their way of recording is to do so in the
traditional analogue way, which Misticia have always done.
As early founders of Latin native metal, Misticia have a strong
foundation of live experience behind them and are prepared to continue
the same path.
Suacha û A crash of drums introÆs, with a buzzing riff and vivid death
vocals. ItÆs a big sound, from the start. Slamming walls of sound
surround this track, enclosing it in complex darkness. Lots of very
involved directions and techniques interweave, with the overriding sense
of heavy industrial darkness. It packs a great deal into its delivery.
Aperrear û Banging drum opening. Unfolding onto a scene of carnage and
visual explosions of atmosphere. A shorter track, with similarly gravel
encrusted vocals and a strong grime emphasis.
Mallku û More measured, mid-paced drum rolls intro. A sense of impending
doom infiltrates the riffs and lyrics. Some screechy riffs and a driving
metal core feel. Drums speeding up, a cloak of blackness covers the
track, as it reaches an end.
Yohualli û Powerful heavy concrete intro, with a phalanx of warriors
entering. A ritual chant fits over the top of the persistently grimy
rhythm. Growing ritualistically stronger, this isnÆt a sound you want to
hear late at night, in a darkened room. Ending on a few insistent drum
hits, itÆs patently aggressive.
Marrichiweu û A more AIC-esque grungy intro here, this is certainly more
relatable. Moving the groove down, into a æCheck My BrainÆ-esque manner.
Still much heavier than your average band of this nature. Again, that
menacing mantra overlays it, with murderous intent. Even in another
language, the intention is everything and is well conveyed. A stop start
section bridges it, just before the end, which is bashed out heavily, by
the drums.
Burukaccossi û An electrified, high-pitched riff introÆs, followed by an
extremely brief, blackened vocal and then itÆs over.
La Chucua û A melodic acoustic riff opens, flowing downwards, in perfect
formation. Surprisingly mellow. Fretwork picking out those notes
beautifully, bringing in a flamenco-esque section, joined by panpipes,
evoking a Peruvian atmosphere, of exquisite beauty. Gentle and pure,
itÆs an instrumental, reflecting notable quality.
Thanksgiving Day û Once more, the solid industrial machinery returns.
Deathy, black vocals follow, in monster form. Fading in and out, in
intriguing fashion. Always consistent, in lyrical emphasis. A repeating
rhythmic pattern reveals itself, within the accompaniments, in an almost
mesmeric manner. A longer track, with a heap of strategies thrown into
it.
Hazanas Sanguinarias û Neatly executed drum hits intro, moving into a
busy section, packed with aggression. More monster vocals. A very brief
track.
Sin lu dios û A scary vocal intro youÆd want to run from, if it was
chasing you. ThereÆs an immense determination about this whole album and
itÆs particularly prevalent here. Very raw and cutthroat. Vicious and
frighteningly intense. A lot of strength embodies the lyrics, relentless
and incessant. Packing loads of drive into the drums, as it slithers
towards an end, the overwhelming message seems to be danger and itÆs
certainly very plausible. Fading out, on a final, well-controlled riff,
lingering in your mind.
Ally Shamushka û A much more defined, straight out heavy-metal intro,
with a slightly unexpected Lemmy-esque vocal. Quickly moving down, into
an accompanying beat, but then itÆs over. Definitely an abrupt edge to
some of these tracks.
Delay de las Indias û A spoken intro, with a fairly gentle tone, but
with just as much conviction accompanies the softer riffs, in a closing
melody.
Overall û Deeply unusual and highly complex, æXVAÆ showcases a vast
wealth of cultural references, drawing on a lot of resources to do so.
An intelligent structure, with countless in-depth arrangements, thereÆs
a real depth and profundity to it, that shakes things up and diverts
away from the mainstream. What you might call a æthinking personÆs
albumÆ, æXVAÆ defies perception and crosses boundaries. One-of-a-kind.
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