Tzelmoth are quite an ‘old’ formation from the Medellin region (Colombia), with two full lengths, some EP’s, and a hand full of split contributions (with e.g. Behalf Fiend, Black Angel Dagon, Black Abyss or Nox) on their roster.
At the very end of 2015, Hycha Nutabe Rex from Colombia released a CD-edition (200 copies are available) of a new demo (which includes older stuff, as well as material for an upcoming release, if I am not mistaken), called Rehearsal XII – I – MMXV, which actually was released on tape earlier that year by some other labels. In comparison to the former editions, there’s one additional track on it, and for that alone, this release is quite special. And since it sort of fits to a rehearsal, the sound sucks. But a sucking sound, sometimes it isn’t but excellent. And indeed, in this case it is. Despite the badly-mixed result, the production totally strengthens the filthiness and underground-attitude of this formation. So, let’s ignore the sound (or even otherwise: let’s praise it)!
The material on this stuff exhales the purity of the Old School, and then I am referring to the huge Eighties-era rather than the one from the Nineties; although there is quite some ‘Nordic’ stuff going on as well. Tzelmoth’s Black Metal is of the thrashiest kind, quite fast and energetic, with quite an important role for both leads and rhythms. The main structures are hugely guitar-based, with grandiose guitar melody lines that, from time to time, come with an epic touch of victory. Yet at least as important is the ‘spine’ of the tracks, heavily represented by a forceful rhythm section. Especially those thunderous drum patterns are hugely convincing, and no matter when they appear in a blasting-fast, then again a slower piece; whole of the time they pound and hammer. And I may not forget about the vocals: cool! Seriously, I am sure they are not adapted in one way or another, but these ones are pure. These screams breath venom and sulphur, like if the Dark One’s throat was audible for our poor human’s ears. On top of it, a couple of times there are choir-like chants, which add, once again, a subtle feeling of epic and glorious greatness.
In essence, Tzelmoth are the opposite of ‘original’ (example: the ‘necessary’ acoustic and instrumental interlude Interludio). In spirit however, Tzelmoth represent the essence of the old styled majesty, so there is no need to be ‘original’ whatsoever. It’s the quality that counts, that could make the difference. In this case, the final result is of a highly qualitative result, and therefore I cannot but recommend this material to whoever who pretends to be an Old School adept.
(FYI: coming up next, in a near future: the review for Blestema’s Los Elogios Noctambulares)