Unique black metal that fuses theatricism of the macabre with a gothic sense of grandeur.
flag of the United States Yamatu - Shurpu Asaru (2000)
Shurpu Asaru
Production: Varied but mostly cavernous with presence.

Review: Enchanted ride of disconnected awareness through experiences distant and mystically linked to the core of life in continuity of the self to its becoming, the music grows into dramatic tragedy in which will against the forces of reality results in darkness and a fall of order, to become synthesized into one through natural process as explained by ancient orders once again superseding the knowledge of a "modern" time. Haunting gothic reverberations in vocals ride minimal guitars which tremelo stream a series of tones forming the riffs serving chorus or verse functions, forming a linear encapsulation of sound in texture which supports the permutation of voice.


1. The Waters of Egura Stir (3:21)
2. Summoning of the Warriors (Ascending the Unlit Chambers) (3:56)
3. Flight to Ashariludu (1:46)
4. The Sixth Gate Shines No More (3:32)
Shakugu Shahar (1994)
5. of Blood & Stone... (4:52)
6. Gathering the Serpentines of Gid (6:05)
7. Akakharu (3:48)
Ishkur Egishnugal (1994)
8. Dalkhu Zilittu (4:24)
9. Enki Adu En I, invocat rectificando (7:30)
10. I. Ishkur Egishnugal - harsag zalazalag
11. II. Ishkur Egishnugal - ashariludu (11:27)
Anna Shi, Asatta (1998)
12. Apsu: gitmalu sinnu nagiru suluppu ma nanna (2:25)
13. Maklu Ina Shi Abnu, Asaru: eribu, Ningishzidda (6:50)
14. Ina Margidda: Ningishzidda sanu ina utukagaba ina mu mummu Absu (4:28)
15. Isten Belet: ina abnu usemi libbu (5:43)
Length: 70:09

Yamatu Shurpu Asaru - black metal 2000 Yamatu
Copyright © 2000 Yamatu

Like black wings of apostate angels riffs sweep motion of the song into a gradual shifting of melodic potential between points, a fog of distortion melding melody and harmonization into enduring tones capturing space with their presence of motion to filter future sounds through their structure. Inventive and often playful in melody, borrowing scales and notions of harmony from older cultures, these songs each create the basis of a mood in introductory material and then develop it like a cinema noire, with a darkly foregone conclusion played out in anticlimax amid the subsidiary chaos of its genesis. Baroque in anticipation of shadow and time, ritual cadences emerge throughout song tempo fluctuations as inducted accompaniment.

Highlighting passages where transition is the agenda, keyboards accent root notes of themes and provide some counterpoint in structure as guides to the action. Unique to each other and the world, core melodies unify concept with the elemental components of phrasing in rhythm and tonal motion, articulating transferrence in songs poetically distinct in both content and method of immediate theory behind construction. Offerings of beauty and noise embedded within majestic pieces whisk listener focus between reference point configurations and outgrowths of variation to leave a mood of contrast and vast openness in difference and potential, with allure in the ancient power of death and its mages.

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