Review by Alex on June 28, 2018.

There has been many a whisper surrounding Ellorsith since the release of their debut ep 1959; in which gave a musical account of The Dyatlov Pass incident involving 9 ski hikers who passed away mysteriously between the 1st and 2nd of February, 1959 in the northern Ural Mountains of what was at that time the Soviet Union. With that release, Ellorsith shot themselves through the stratosphere of black/death metal. Since then, a keen eye has been vigilant for more conceptual, musical mysticism by them. Some may think that once a concept has been decided upon, the music should easily follow and fall into place; I disagree. I believe a concept album is perhaps the most difficult to undertake as there is much room for error. The task of conveying the presence of imminent danger, hopelessness, panic and otherworldly fright in one cohesive body of work is not easy. Also to make the listener develop a sense of empathy for the individuals/individual involved in the story is a separate and much more difficult undertaking, which relies solely on how well the band can handle the aforementioned. 

The story of Netta Fornario is eerie and unforgettable once hearing of it. Apparently, she departed London during the summer of 1929 to the island of Iona, in which she encountered much trouble (beyond logical comprehension). As a practitioner of the occult, she endeavored to make telepathic contact with the spirits who dwelled on the island of Iona. Then came the frightening enigmatic events following the utilization of her occult knowledge.

"Circumambulation" begins with a ritualistic, dungeon gut, echoing, cult-like chanting. Ellorsith waste no time in preparing the climate to supplement the dark trek ahead. The blast beat following the uncanny incantation, rushes startlingly from nowhere, like someone being chased through the forest in the blackness of night by some foul spirit. "Circumambulation" has a catchy ring to the tune throughout each section of its 5:56 trance-like guitar work. Heed the word "trance". Here, Ellorsith uses semi-structured black metal landscapes and soaring rhythmic riffs to emphasize Netta Fornario's various mental states during the expansion of her pineal gland/third eye in an attempt to contact the spirits of the island; (an attempt that would constitute fatal results).

“Psychic-Self Defence” sees Ellorsith demonstrate more bestiality in their musical structure. They take a short break from the blackened death metal form of drumming and shift the course of the journey to war metal. Rightfully so, as it is with this track Ellorsith portrays Netta’s tale of battling the supposedly evil psychological forces she had made contact with by means of telepathic concentration. The drumming here tells of an onslaught by a vicious spiritual army, versus the mentally skilled but dangerously outnumbered and physically disadvantaged state of Netta. The listener is bombarded with a sense of Netta’s progressive metaphysical exhaustion and deterioration as she trades punches in her attempt to repel the restless crusade of psychic attacks by unknown entities. The guitar work on “Psychic Self-Defence” accurately demonstrates and plays along to Netta’s disoriented and collapsing supernormal psyche. The riffs are semi-dynamic on this track (and throughout the album), they alter in structure but remain attached to the primary rhythmic idea of Netta's mental and bodily erosion, whilst fragmenting itself into catchy breakdowns and euphoric landscapes.

"Exposure To The Elements" shows the listener the results of the psychic attack inflicted upon Netta. It carries a triumphant and warning sound as though it wishes to convey the message that the spirits had rejoiced in a reprimanding fashion after conquering Netta's fortification. The tempo throughout the song is moderate and appealing (as such is every song on Orbhàis). From the 3:51 mark the listener is greeted with a persistent buzzsaw guitar melody, fast one-dimensional (in a good way) black metal blasts' which arouses an atmosphere of grief and disbelief that Netta's journey had ended so quickly and tragically.

The production of Orbhàis is clean enough to hear every aspect of the music. The drumming, vocal work, and guitars give each other enough time to shine and strike the listener in such a way, that he/she has no alternative but to sit in paralytic awe and experience first hand this exposure to excellence.

What Ellorsith has done exceedingly well, is take a concept, appoint it to their brand of black/death metal and let the theory take precedence, thus resulting in an imbuing bond of music, mysticism and malign. It is here that many bands fail due to the music being vastly asymmetrical to the narrative. The outlining factor of the final fruit should not be the Idea, rather; it should be the execution and presentation of the idea.

Rating: 10 out of 10

Review by Alex on June 28, 2018.

There has been many a whisper surrounding Ellorsith since the release of their debut ep 1959; in which gave a musical account of The Dyatlov Pass incident involving 9 ski hikers who passed away mysteriously between the 1st and 2nd of February, 1959 in the northern Ural Mountains of what was at that time the Soviet Union. With that release, Ellorsith shot themselves through the stratosphere of black/death metal. Since then, a keen eye has been vigilant for more conceptual, musical mysticism by them. Some may think that once a concept has been decided upon, the music should easily follow and fall into place; I disagree. I believe a concept album is perhaps the most difficult to undertake as there is much room for error. The task of conveying the presence of imminent danger, hopelessness, panic and otherworldly fright in one cohesive body of work is not easy. Also to make the listener develop a sense of empathy for the individuals/individual involved in the story is a separate and much more difficult undertaking, which relies solely on how well the band can handle the aforementioned. 

The story of Netta Fornario is eerie and unforgettable once hearing of it. Apparently, she departed London during the summer of 1929 to the island of Iona, in which she encountered much trouble (beyond logical comprehension). As a practitioner of the occult, she endeavored to make telepathic contact with the spirits who dwelled on the island of Iona. Then came the frightening enigmatic events following the utilization of her occult knowledge.

"Circumambulation" begins with a ritualistic, dungeon gut, echoing, cult-like chanting. Ellorsith waste no time in preparing the climate to supplement the dark trek ahead. The blast beat following the uncanny incantation, rushes startlingly from nowhere, like someone being chased through the forest in the blackness of night by some foul spirit. "Circumambulation" has a catchy ring to the tune throughout each section of its 5:56 trance-like guitar work. Heed the word "trance". Here, Ellorsith uses semi-structured black metal landscapes and soaring rhythmic riffs to emphasize Netta Fornario's various mental states during the expansion of her pineal gland/third eye in an attempt to contact the spirits of the island; (an attempt that would constitute fatal results).

“Psychic-Self Defence” sees Ellorsith demonstrate more bestiality in their musical structure. They take a short break from the blackened death metal form of drumming and shift the course of the journey to war metal. Rightfully so, as it is with this track Ellorsith portrays Netta’s tale of battling the supposedly evil psychological forces she had made contact with by means of telepathic concentration. The drumming here tells of an onslaught by a vicious spiritual army, versus the mentally skilled but dangerously outnumbered and physically disadvantaged state of Netta. The listener is bombarded with a sense of Netta’s progressive metaphysical exhaustion and deterioration as she trades punches in her attempt to repel the restless crusade of psychic attacks by unknown entities. The guitar work on “Psychic Self-Defence” accurately demonstrates and plays along to Netta’s disoriented and collapsing supernormal psyche. The riffs are semi-dynamic on this track (and throughout the album), they alter in structure but remain attached to the primary rhythmic idea of Netta's mental and bodily erosion, whilst fragmenting itself into catchy breakdowns and euphoric landscapes.

"Exposure To The Elements" shows the listener the results of the psychic attack inflicted upon Netta. It carries a triumphant and warning sound as though it wishes to convey the message that the spirits had rejoiced in a reprimanding fashion after conquering Netta's fortification. The tempo throughout the song is moderate and appealing (as such is every song on Orbhàis). From the 3:51 mark the listener is greeted with a persistent buzzsaw guitar melody, fast one-dimensional (in a good way) black metal blasts' which arouses an atmosphere of grief and disbelief that Netta's journey had ended so quickly and tragically.

The production of Orbhàis is clean enough to hear every aspect of the music. The drumming, vocal work, and guitars give each other enough time to shine and strike the listener in such a way, that he/she has no alternative but to sit in paralytic awe and experience first hand this exposure to excellence.

What Ellorsith has done exceedingly well, is take a concept, appoint it to their brand of black/death metal and let the theory take precedence, thus resulting in an imbuing bond of music, mysticism and malign. It is here that many bands fail due to the music being vastly asymmetrical to the narrative. The outlining factor of the final fruit should not be the Idea, rather; it should be the execution and presentation of the idea.

Rating: 10 out of 10

Review by Maciek on August 11, 2019.

Quite recently I've developed a taste for some bands that skillfully mix calm, peaceful music with some more extreme elements. That's how I discovered Numenorean, Rivers of Nihil and been listening to In Mourning or October Tide for a while. Wrvth seems to be in a similar category with some elements that are typical only to this particular band. 

So, to describe their style it's good to browse few bands I mentioned above to get the idea of those more peaceful passages. It's similar in riffs but also in sound that guitars have during them. The livelier riffs remind me mostly of VI because of chords used as well as that kind of dirty sound, unpolished. Also, the vocalist sounds almost always as if he was behind some wall or as if he was screaming in some large room. And that's definitely unique to Wrvth - vocalist is always screaming. And he's screaming his lungs out. No matter how peaceful and calm the music might be, he's giving all he's got. The drumwork is perfectly adjusted to all of these changes in atmosphere, the rhythms are inventive and definitely not boring. The dirty sound makes it on one hand a cacophony of sounds, but on the other it's not that big challenge to hear each instrument. So, in my opinion, the production is carried out by someone really skilled. 

The material is fairly balanced between aggressive, fast-paced, quite often tremolo-picking riffs and calm, peaceful, rock elements. Compared to previous album the calm passages are more frequent. Most often if you think that the track will be whole just peaceful, easy-listening song, you will be surprised. Sooner or later blast-beats wake you up and the eerie screams of the vocalist make sure you remain in quite uneasy mood and stay alert. 

The only downside of this album to me is that all song constructions are a bit repetitive to me. As soon as you discover the "key" used for composing songs for No Rising Sun, you start listening to the song and just wait for another sudden switch in tempo. It definitely has that kind of mantric repetition of certain melody lines, almost putting you in a trance, frequently interrupted by some fast riffing. The album also has quite a few disharmonies that are quite interesting and are breaking that feeling of monotony. The tracks are quite long and the whole album listened in one go is the option to go for in my opinion.

Album definitely for fans of incorporating psychedelic and progressive elements in the music, but with only extreme vocals. Well, there are some female clean vocals, but most of the time it's just Thomas and his lungs. Good position this year, worth checking out, helps you expand your musical horizons. Although I still prefer their self-titled album from 2015, reason being that I still prefer the balance of the music to tip mostly towards those extreme elements. 

Rating: 7 out of 10

Review by Maciek on August 11, 2019.

Quite recently I've developed a taste for some bands that skillfully mix calm, peaceful music with some more extreme elements. That's how I discovered Numenorean, Rivers of Nihil and been listening to In Mourning or October Tide for a while. Wrvth seems to be in a similar category with some elements that are typical only to this particular band. 

So, to describe their style it's good to browse few bands I mentioned above to get the idea of those more peaceful passages. It's similar in riffs but also in sound that guitars have during them. The livelier riffs remind me mostly of VI because of chords used as well as that kind of dirty sound, unpolished. Also, the vocalist sounds almost always as if he was behind some wall or as if he was screaming in some large room. And that's definitely unique to Wrvth - vocalist is always screaming. And he's screaming his lungs out. No matter how peaceful and calm the music might be, he's giving all he's got. The drumwork is perfectly adjusted to all of these changes in atmosphere, the rhythms are inventive and definitely not boring. The dirty sound makes it on one hand a cacophony of sounds, but on the other it's not that big challenge to hear each instrument. So, in my opinion, the production is carried out by someone really skilled. 

The material is fairly balanced between aggressive, fast-paced, quite often tremolo-picking riffs and calm, peaceful, rock elements. Compared to previous album the calm passages are more frequent. Most often if you think that the track will be whole just peaceful, easy-listening song, you will be surprised. Sooner or later blast-beats wake you up and the eerie screams of the vocalist make sure you remain in quite uneasy mood and stay alert. 

The only downside of this album to me is that all song constructions are a bit repetitive to me. As soon as you discover the "key" used for composing songs for No Rising Sun, you start listening to the song and just wait for another sudden switch in tempo. It definitely has that kind of mantric repetition of certain melody lines, almost putting you in a trance, frequently interrupted by some fast riffing. The album also has quite a few disharmonies that are quite interesting and are breaking that feeling of monotony. The tracks are quite long and the whole album listened in one go is the option to go for in my opinion.

Album definitely for fans of incorporating psychedelic and progressive elements in the music, but with only extreme vocals. Well, there are some female clean vocals, but most of the time it's just Thomas and his lungs. Good position this year, worth checking out, helps you expand your musical horizons. Although I still prefer their self-titled album from 2015, reason being that I still prefer the balance of the music to tip mostly towards those extreme elements. 

Rating: 7 out of 10