Epigrama of a Pasado forgido

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7.0

• Band:
  Kexelür
• Duration: 00:30:00
• Available from: 04/18/2025
• Label:

• Sun & Moon

Streaming not yet available

“Epigrama of a Pasado forgido” is the debut album of the Chilean trio Kelexür, stationed in the capital Santiago, and active only a few years, during which it has already been known for some interesting demos.
The proposed music is an avant -garde black metal that fishing from different genres, more or less correlated, from doom to progressive metal, from psychedelia to jazz.
The most obvious reference is the Avantgarde Metal scene built in Norway in the nineties, and in particular the craziest works that arose in those years and in those places: a good example could be the most anarchist and extreme situations of “Neonism”, the second disc of the Solefald, but the personality and unpredictability of the Kelexür can refer to multiple other influences, even extra norwegians; More for the approach than for the results, also the local experimenters Ephel Duath could be mentioned.
The total duration is half an hour split, little for an album, but considerable for only three pieces, which, however, absolutely not bore, and this is the first, evident, arrow on the Chilean arch: the fact of being so indecipherable that it can be allowed to work on these distances, unlike many colleagues who, in addition to proposing very phone pieces, allow considerable minute.
It starts with the most varied and uncontrolled composition, “Vestigios of the Enajenado Por La Anthracita”, where we move from a ghostly and evocative introduction to the tremolo picking and blast-beat typical of Norwegian black; But it does not last long, because in the short turn of some lines, interesting solo ideas emerge, swept then away by a very rocky riff of Matrix Death Metal; All seasoned with a marked predisposition to jazz and progressive.
Overall, all this can remember the old Enslaveds, those of the first period of experimentation inaugurated by “Mardraum”, where the sacred monsters of Bergen tried to mix black, Death and Progressive Metal.
Curiously, but not too much, the subsequent “Ningun Resplandor will avoid El Final”, in his dreamlike and alienating evolution, refers to the subsequent work of the Norwegians, the psychedelic “monumension”, or to the most recent “Axioma Ethica Odini” or “e”, but always with that slightly naive attitude that characterized the period in which the Enslaveds were still looking for their way after their way. having left the Viking Setting Black Metal of the first records; away they then fully defined starting from “Below the Lights”, the first real sum of their particular style between black metal and progressive rock.
So the Kelexür seem at the beginning of a path that could bring them far away: a certain inexperience is tangible, but the Chileans manage to well disguise it behind their abstract, instinctive and experimental vein: the inaccuracies in sound and instrumental executions certainly do not go unnoticed, but they are understood considering that it is precisely a debut and, in addition to the inexperience, it can also come into the game, budget deficiency.
However, if this approach could be partially forgiven in the Black Metal groups thirty years ago, these are certainly not the basis on which to found an artistic career today, and the Chileans are expected to soon go to file the most angular features of their proposal.
The instrumental technique is not lacking, unfortunately sometimes the enthusiasm is too much and can only be partially hidden by the stylistic figure adopted.
The guitars, in their solo escapes in search of peculiar and displacement atmospheres, retrace certain chromatic stairs that can be felt for example in the Mastodon, especially on the second track; The battery does a great job to free oneself between blast-beat and changes of time, the bass tends to get lost in the mix, but when you feel it is also interesting; The song is eclectic and delusional at the right point, but it cannot be said that it goes beyond the simple accompaniment to the instrumental scores; Finally, appreciable the choice to express itself in Spanish.
The third and last song, “Epigrama of a Pasado forgido”, refers to the most experimental Mayhem, and is based on a dissonant arpeggio that instead of coming slowly tamed, tightens with massive doses of black metal, becoming increasingly disturbing and ultrasonic: a coherent and appropriate greeting by the trio of South America, which we are waiting It can confirm the good already expressed, perhaps with greater care in the registration and with a more solid mastery of one's own – considerable – capacity.

https://www.youtube.com/watch?v=ru8szovduz8