MetalMatters: The Best New Heavy Albums of November 2021

The Temple – The Temple (Profound Lore)

The Temple is a new, mysterious entity arriving from New Zealand. The duo of guitarist/bassist/vocalist P.K. and drummer/lyricist J.W. focuses on the intersection of death and black metal. Given the barrage of cult black/death bands out there, the expectation would be another record glorifying the early visions of the likes of Blasphemy. Or, maybe a lo-fi production leading to an impenetrable ambiance. However, both notions would be wrong. The Temple does reside in the black/death sphere, but the duo traverses their own path.

The Temple are a different beast altogether. Instead of focusing on simple speed and ferocity, the duo make the groove their foundation. It is an unwavering adherence, bringing an altogether fervent and punishing experience. The mid-tempo death metal stampede of “Prophecy Omega” sees this vision come together, as the Temple veil themselves in this blackened shroud. Further dropping the tempo, reaching an almost doom state does wonders for the duo in “Pale Horse of Pestilence”. Within this setting, a twisted sense of melody can arise. The Temple do not fear to stand away from the genre’s orthodoxy. They instead allow the lead work to awaken majestic sentiments, and at times such as closer “Void of Scars”, they open up towards an even emotive space.

Still faster aspects persist, the duo morphing into a quickened state. But their mentality does not follow the tradition of olds. It is within such moments that the typhonic dissonance finds a home, slithering through the procession. The sentimental start to “Void of Scars” transforms into an unforgiving rampage. It is an essence that arrives with a primal sense, the animalistic brutality giving rise to exquisite moments like “Martyr of the Tyrant”. Yet, the Temple do not wander too outwards, and they set certain boundaries. It feels like a very well-performed, controlled experiment. Allowing their dissonant self to come forwards, but they always keep it under control. It just appears in key moments to augment the experience. “Hell Incarnate” sees the cacophony coming forth, achieving peak brutality. Similarly, closer “Void of Scars” calls the eerie black metal sense, allowing for a hair-raising ambiance to rise. It is this meticulous mentality that lifts the vision of The Temple and also differentiates them from the rest of the pack. – Spyros Stasis

Treha Sektori – Rejet (NoEvDia)

Treha Sektori have been exploring the underbelly of darkness since the late 2000s. The project was formed by graphic designer Vincent Petitjean aka Dehn Sora, who is also known for his black metal project Throane. While with Throane Dehn Sora explores the harshness of industrialized black metal, Treha Sektori looks to the otherworldly dark ambient realm. This is not a new endeavor for Dehn Sora, with Treha Sektori having released albums through renowned labels like Cyclic Law and Consouling Sounds. Yet, this latest invocation Rejet, arrives with a particular poignant quality.

From the very start, it feels that you are in the presence of darkness incarnate. Treha Sektori moves through various facades. The classic, nerve-wracking start with “Servorh Deh Armenh” screams of the dark ambient ethos. The slithering quality and unearthly procession of “Dehoh Nerveh Hahn” further enhances this unyielding core, as the fleeting voices appear through this veil of fog. And then there is the pure nightmarish dread, as the dissonance and havoc of “Virhdemh” come forwards. The striking foundation Treha Sektori built upon is one of a laid-back characteristic, providing a degree of comfort. The ebbs and flows of Rejet feel natural as if you are wilfully gliding through some bizarre dream. The scenery keeps changing, the industrial machinations of the opener giving way to the sickening minimalism of “Vorah” and the incredible tension of “Neh Ehn Ravh”. 

The other side is the deep and unmoving ambiance. The percussive sounds of “Devarhahn” awaken this quality, as they grind and explode in the minimal space. It provides a further processional sense, a ceremony of old, long forgotten, and lost, that somehow still resonates through the millennia. Chants make an appearance, tilting the process towards a slow, tribal rhythmic side in “‘Vehemah Mereh Tahermah”. And as the work unfolds, this rhythm becomes more and more primal. Angrier yet still ritualistic, it speaks to the Bacchian element, producing an animalistic onslaught in “Seh Anh Teh Veriah” and then going for a crazed, drunken dance in “Kareh Neh A Kehreh Va Nah”. It is a trip through the dark side, into the unknown of the subconscious mind and Dehn Sora is the perfect guide. – Spyros Stasis

Various Artists – MILIM KASHOT VOL. 3 (Independent)

For the uninitiated, Machine Music is one of the most awesome and wholesome music sites/zines/blogs/whatever on the web dedicated to covering metal and metal-adjacent spheres. Run by Israeli Ron Ben-Tovim, it features astute and quite on point writing about the genre, often showcasing outfits that you will not read about anywhere else. Milim Kashot (“harsh words” in Hebrew) is their ongoing series of compilations dedicated to the music they love with additional motive found in supporting various charities.

The third volume of the compilation features new songs by artists who are also MetalMatters favorites such as Inter Arma, ZAÄAR, Nero di Marte and Myrdød plus a bunch of other excellent stuff from lesser-known musicians and groups. Like the writing on the blog, it is a superbly curated list of music, with all proceeds this time around going to an Israeli animal sanctuary called For the Wildlife. Great music? Check. Helping furry friends? Check. Win-win! – Antonio Poscic