Review by Alex on July 12, 2020.

Pleasantly confused is how you'd feel once hearing this schizophrenic release of black/death metal. You won't know what hit you once you've started playing the latest title from Khthoniik Cerviiks, Æequiizoiikum. Frighteningly unorthodox yet enjoyable, the sum of the album leaves the listener within a domain of hysteria and delirium. No two tracks sound the same or are saturated with the commonalities of the genre. I don't want to say this is experimental, though it would be the obvious adjective; that word only dilutes what you get on Æequiizoiikum, however, the more applicable term would be fucked-up.

Just by the song titles I was beginning to question what Khthoniik Cerviiks were about to demonstrate and the artwork does not reveal too much or give any particular clear insight into what the heck this is, hence, the blind folded route seemed fitting.

Wasting no time to make the listener feel uncomfortable, an ambient piece 'KC Exhalement 4.0 (Welcome to HAL)' enters before 'Odyssey 3000' emerges from the misty labyrinth. Now wait for the surprise following its 2nd wave black metal structure. Spontaneous segments of altering guitar chords manifest in the catchiest of ways that sound like a spiraling descent into a vacuous realm. Still in shock and awe from the sudden flash of unorthodoxy, 'Æequiizoiikum (Mothraiik Rites)' appears immediately after and uses its melodious guitar structure to paralyze and reel in the listener before once again derailing the music by jumping into black/death/war metal territory.

Not to be mistaken for some haphazard jump around jamboree, though intrusive at times, the rhythmic diversions hold a decent amount of connection to the main riffs or structure of any selected song. Like a tunnel that has many routes that all lead to the same end, you'll find that applies, as the musical departure is often short lived and is quickly rerouted to the main song structure.

Khthoniik Cerviiks manage to keep up the sharp alterations through the flow and tuneful compositions, you'd rarely feel like there's a disconnect or filler used. I think that is the main strength of the band aside from being able to conjure a poisonous atmosphere. You'd get to 'Para-Dog-Son - Demagorgon' and 'Kollektiing Koffiin Naiils (Délire des Négations Sequence 1.0)' and fail to realize you're nearly at end of the record due to how well the band offers a reward in each entry; there's always some element that occupies your interest, inturn creating a false sense of time. Khthoniik Cerviiks are true geniuses at confluxing such diverse tempos and rhythms into sensible compositions. Whether they be irate or calm the band does an exemplary job of musical amalgamation.

Æequiizoiikum is similar to a quadrilateral equation/problem handed out by your professor that seems simple at first glance but upon attempt you quickly realize the many sub-levels that have to be traversed before acquiring the correct answer.

Rating: 8.6 out of 10

Review by Fernando on June 25, 2019.

Misþyrming are the most recent and acclaimed band to come out of the impressive metal scene of Iceland and for good reason which is their 2015 opus Söngvar elds og óreiðu.

This album is considered a modern masterpiece and I for one very much agree with that sentiment. With this album, founder and multi-instrumentalist D.G. has created one of the most dynamic, bold and forward thinking album in black metal and the results speak for themselves. The album starts at eleven with 3 relentless tracks which display the full extent of D.G.’s talent and vision, these tracks are both a tribute to the black metal of old while also containing bold experimentation in the melodic and ambient department. All the instruments except for the drums are handled by D.G. and he makes full use of his skills, flexing his musical chops to the fullest extent. The drumming by H.R.H. is also excellent and worth noting, he displays the mandatory fast and aggressive blast beats while also switching his drum patterns for the slower and more morose sections of the album, keeping the beat and maintaining the pace.

This careful balance between raw aggression and experimentation is what best describes this album as a whole, it seamlessly switches from chaotic riffing and tremolo picking to complex and layered melodic dirges. The opening track “Söngur heiftar” is easily one of the best tracks and displays that balance I mentioned earlier. D.G.’s guitar playing is the standout here alongside his howling vocals which take the album into a whole different level, the guitar playing itself is more than just the tremolo picking fest most expect from black metal and it shows, songs like “Söngur uppljómunar” take a very folk like direction and plays a lot with distorted melodies. Another very interesting aspect about this album are the two dark ambient tracks that in D.G.’s own words serve as an interlude and epilogue which bind the album together, these tracks enrich the already excellent album with each serving as a break from the chaos and madness created by the music and unlike some other uses of interludes they are full and complete tracks that can be heard on their own. 

Despite having a full band for live performances, this is D.G.’s project and creative vision through and through and as a whole this album is proof of that laser focus vision fully made manifest. Misþyrming is a force to be reckoned with and show the most promise out of all the Icelandic scene.

Best tracks: "Söngur heiftar", "Friðþæging blýþungra hjartna", "Ég byggði dyr í eyðimörkinni".

Rating: 10 out of 10