Review by Felix on September 24, 2023.

On their more or less mediocre album called „Suomi Finland Perkele“, Impaled Nazarene´s lead vocalist asked us the simple question: Do you want total war? Körgull the Exterminator does not hesitate to answer with an equally simple “yes”. After the release of the already devastating “War of the Voivods”, the here reviewed full-length marks another declaration of war. Melodies are viewed as a necessary evil. Acoustic breaks are totally overrated. Varied vocal lines do not make sense as long as you are able to scream. Finally, the Spanish horde avoids egomaniacal guitar solos or extraordinary drumming. As far as I can see, the only goal of the record was to create a sonic terrorist attack. Congratulations, the band has attained its objective.

Körgull operate on the border between primitiveness and insanity. I do not think that they know the meaning of the words “harmony” or “aesthetics”. Instead, they are very familiar with terms such as “pressure”, “intensity” and “violence”. That´s not much, but they do not need to know more in order to deliver an exciting full-length. While being focused on these minimalist guidelines, the band is able to form gripping songs. Körgull want to blow you away and they will certainly be successful. One reason for this is their compositional cleverness. Despite the continuous demolition, they are able to create dynamic songs. For example, listen to “Wild Forces”. It surprises with a very lively middle-part that forces its way through the acoustic realm of horror.

The constant screaming of a lady with the carefully chosen name “Lilith” sounds as feminine as an elongated belch of Tom Angelripper. Her performance is a typical case of “love it or hate it”. Viewed objectively, her throaty voice does not deliver any exceptional features. From my point of view, the vocals suit the music in a very good way. But I admit that critics may call the approach of Lilith one-dimensional.

The dense and powerful production supports the almost stubborn approach of the band in an appropriate manner. A thin sound would have been a disaster for the musical violence. Its effect depends not least of all on how well the producer succeeds in putting the songs in the right light. But the band itself also delivers an important contribution to the positive overall impression of the album. Songs like the title track stand out because of their hymnal chorus so that the necessary minimum of catchiness is ensured. Nevertheless, the most programmatic song title is “Battallion of Punishment (Under a Bullet Storm)”. The first part characterises the band, the words in brackets describe the situation of the audience while listening to the album.

The members of Körgull stay true to themselves and to their philosophy of extreme metal. Their mixture of black metal, grindcore and thrash metal will not disappoint those of you who appreciated “War of the Voivods”. Conversely, Körgull will not gain a lot of new fans. Their sound reminds me strongly of - surprise - early Voivod. In particular, the vibes of "Killing Technology" come back to life. With regard to its relentlessness, the music will only appeal to a small target group. But this is precisely what makes the band all the more likeable.

Rating: 8.3 out of 10

Review by Alex on October 9, 2019.

Norwegian progressive metal band Sarpedon appeared on my radar as yet another recommendation to feed my latest prog craving. As with each prior recommendation, I approached this one no differently, with the utmost skepticism and hopes of it being at least of a decent quality. Formed in 2005, with only 2 demos (2006, 2008) and a full length titled Atomic Nation put out in 2014 the band have summoned the courage to take up the banner once again with Before the Nightingale Sings released September 27th, 2019 independently. As a preparation I consciously barred myself from whatever progressive metal I may have been listening to and those I would encounter potentially; thus after absorbing the tuneful atmosphere of Sarpedon’s sophomore full length record I am content with what I have heard, I will even go as far as saying Before the Nightingale Sings is my 3rd favorite progressive metal record of 2019 thus far, falling just a tad bit short of Noveria and the new Vision Divine records.

Sarpedon have all the tools at their disposal, and usually with time it is only expected a band becomes more skillful and adept with their apparatus. Hence I can say that after listening to their 2014 output I am pleased that such is the case with the musicianship of Sarpedon. Atomic Nation was a relatively strong album in the band’s discography; however, the material featured on Before the Nightingale Sings is superior to that of anything by them on their debut full-length effort. ‘Spiritual War’, ‘Creeping Chaos’, ‘The Enemy’ and onward speak of a band risen and open to the possibilities of their skill. Inherently progressive metal, Before the Nightingale Sings builds into a blissful crescendo as the songs cover ground; hence, noticeable is the character behind each musician slowly striding toward highlight moments. Göran Nyström‘s vocals are a thing of splendor instantly reminding me of Roy Khan’s (Conception era); I know I have given that reference to vocalists within the progressive metal genre before, but that is just how fantastic his and those mentioned prior are. He conveys a sense of both passion and frustration through his sonic verbal reach. His performance on each track shows of steadfast commitment, with his best performance materializing on the final track ‘The Nightingale’ adequately ameliorating the music in flaring fashion.

The guitar work and keyboarding truly begin to shine with the inception of ‘The Enemy’ as if they were shyly hiding but mounting the courage to stand amidst the determined vocals of Göran. ‘The Maelstrom’ revels Sarpedon's best song writing effort on Before the Nightingale Sings, lengthwise it is their most ambitious song yet being the longest they have recorded, beating 2014’s ‘My Mysteries Unwind: Part II’ by a quarter minute or so. Excellently placed in the track order and features highlighting moments on the record buy fusing the gratifying drumming of Carl M. Engstrøm, complimenting and tuneful keyboards of Daniel Hemstad altogether supplying memorable hooks and transitions to ensemble and event; a maelstrom if you may. Though almost 10 minutes in length ‘The Maelstrom’ flies by relatively quickly and does not lean towards a showing of filler nor is it befitting of a drag-on label. It brings the album to a pivot that is brought to an applauding close by the final track ‘The Nightingale’.

Though I don’t have access to the lyrics; through what I could make out vocally, Before the Nightingale Sings appeared to be focused on the subject of summoning self-confidence and rising to the occasion in the midst of massive adversity; I think. The title of the tracks in harmony with Göran’s vocals and the guitaring touch Daniel Iversen provided; that sensation as if trying to unshackle ones-self of some binding fear or challenge by going head to head with the feat. Before the Nightingale Sings is progressive metal by heart, offering a shot of strength to the enfeebled.

Rating: 8 out of 10

Review by Alex on October 9, 2019.

Norwegian progressive metal band Sarpedon appeared on my radar as yet another recommendation to feed my latest prog craving. As with each prior recommendation, I approached this one no differently, with the utmost skepticism and hopes of it being at least of a decent quality. Formed in 2005, with only 2 demos (2006, 2008) and a full length titled Atomic Nation put out in 2014 the band have summoned the courage to take up the banner once again with Before the Nightingale Sings released September 27th, 2019 independently. As a preparation I consciously barred myself from whatever progressive metal I may have been listening to and those I would encounter potentially; thus after absorbing the tuneful atmosphere of Sarpedon’s sophomore full length record I am content with what I have heard, I will even go as far as saying Before the Nightingale Sings is my 3rd favorite progressive metal record of 2019 thus far, falling just a tad bit short of Noveria and the new Vision Divine records.

Sarpedon have all the tools at their disposal, and usually with time it is only expected a band becomes more skillful and adept with their apparatus. Hence I can say that after listening to their 2014 output I am pleased that such is the case with the musicianship of Sarpedon. Atomic Nation was a relatively strong album in the band’s discography; however, the material featured on Before the Nightingale Sings is superior to that of anything by them on their debut full-length effort. ‘Spiritual War’, ‘Creeping Chaos’, ‘The Enemy’ and onward speak of a band risen and open to the possibilities of their skill. Inherently progressive metal, Before the Nightingale Sings builds into a blissful crescendo as the songs cover ground; hence, noticeable is the character behind each musician slowly striding toward highlight moments. Göran Nyström‘s vocals are a thing of splendor instantly reminding me of Roy Khan’s (Conception era); I know I have given that reference to vocalists within the progressive metal genre before, but that is just how fantastic his and those mentioned prior are. He conveys a sense of both passion and frustration through his sonic verbal reach. His performance on each track shows of steadfast commitment, with his best performance materializing on the final track ‘The Nightingale’ adequately ameliorating the music in flaring fashion.

The guitar work and keyboarding truly begin to shine with the inception of ‘The Enemy’ as if they were shyly hiding but mounting the courage to stand amidst the determined vocals of Göran. ‘The Maelstrom’ revels Sarpedon's best song writing effort on Before the Nightingale Sings, lengthwise it is their most ambitious song yet being the longest they have recorded, beating 2014’s ‘My Mysteries Unwind: Part II’ by a quarter minute or so. Excellently placed in the track order and features highlighting moments on the record buy fusing the gratifying drumming of Carl M. Engstrøm, complimenting and tuneful keyboards of Daniel Hemstad altogether supplying memorable hooks and transitions to ensemble and event; a maelstrom if you may. Though almost 10 minutes in length ‘The Maelstrom’ flies by relatively quickly and does not lean towards a showing of filler nor is it befitting of a drag-on label. It brings the album to a pivot that is brought to an applauding close by the final track ‘The Nightingale’.

Though I don’t have access to the lyrics; through what I could make out vocally, Before the Nightingale Sings appeared to be focused on the subject of summoning self-confidence and rising to the occasion in the midst of massive adversity; I think. The title of the tracks in harmony with Göran’s vocals and the guitaring touch Daniel Iversen provided; that sensation as if trying to unshackle ones-self of some binding fear or challenge by going head to head with the feat. Before the Nightingale Sings is progressive metal by heart, offering a shot of strength to the enfeebled.

Rating: 8 out of 10