Review by Alex on May 2, 2019.

Inner consciousness tugs at the fading fabric of a beaten soul; it's will and spirit slowly diminishing until the last bit of twine withers away to an abysmal depth of dormancy and powerlessness. In this, an echoing cry to reawaken and more importantly repair that which was destroyed whilst in a sleeping state propelled by ignorance and the adopted falsehood of a spiritually broken life-form. The true makeup of existence resurfaces in an attempt to bring understanding and wisdom to the weary capsule carrying the cold mindless principles of fabricated divinities. Against the nature of false doctrines, what is interpreted as lust is applied to a socket in the characteristic tree, survival then takes its rightful place, the mechanics of self-preservation are activated; hence, Eudaimonia becomes a reality. No longer restrained by the wall of lies, the being can now stand free of the insurmountable desert dogmas. The pulse of rectification and amelioration calls out.

Continuing to strike at the center of untrue ideologies, Endless Spiritual Embodiment sees Sxuperion glorify the philosophy of self-ascendancy, the growth of one’s spirit by destroying the pillars of lies. This is a compassionate new step taken in the series; yet the sound is a familiar one, in that it remains within the vein of and can be perceived as a direct descendant of Cosmic Void. The instrumentation here is a bit more on the faster side of things, though temporary intervals of mid-paced riffing and drumming are featured. The melodies are just as enjoyable as on 2016’s effort, just as is Matthew’s drumming; meanwhile his vocals torrent over the lacerating instruments slowly disintegrating all mental barriers. Every song seems like a new phase or progressive state achieved in the quest for Godhead. Upon entering the “Sacred Chamber of the Enlightenment”, the listener is drawn closer to that which will join in communion with one’s self. With each new stride the boulder of mendacity crumbles bit by bit, the foundation of knowledge begins to overflow in-so drowning out the spiritual pestilence. Every step feels as though skin is being shed, such as a snake would from time to time. With each new passage traversed, a new subconscious is unlocked and made active as a progressive reward to carry through as a tool/weapon to aid in the feats of the next phase. 

At the “Phallic Point of Periapsis”, a new stage is awoken, the characteristics of a superior entity enters the mind and exterminates the parasite of obstruction. This track is a worthy representation of its title as the instrumentation truly blossoms here in providing an embrace that holds the listener with firm grasp to the bosom of the record’s purpose. Amalgamated with antipathy and congealed with that industrial galvanizing tone, “Phallic Point of Periapsis” embosses the concept of Endless Spiritual Embodiment.       

In an interview with Metalbite, it was stated by Matthew that Endless Spiritual Embodiment is a continuation of Cosmic Void. I can agree as Cosmic Void did close with much room left for exploration and given the themes of the music, it's not the kind of thing that ends at-all. This form of music is timeless, it does not aim to achieve only what was intentional but should the opportunity of new treasures being discovered present themselves along the journey, it proceeds to seek out such. Holding on to the concept of invoking beings beyond mankind's understanding still comes to surface when listening to material such as “Sacred Chamber of the Enlightenment” and “Endless Embodiment”. In spite of the music being so aggressive, you're still greeted by an air of mystique, an overlooking force reminding the listener of the lurking dangers of the quest. 

Having mentioned the ferocious speed in which the music is being played, there are some times I would have liked to hear a bit more difference in the structure of the compositions to add a thicker layer of depth. As a follow-up to the previous record and one that is connected to also, that feeling is present due to the unforgettable melodies manifested on Endless Spiritual Embodiment. Mathew’s drumming showcases more aggression this time, less down-paced moments exist and more of the boiling rage styled drumming takes control of the record. About the sound of the snare, they are not as loud as I would like them to be. That aspect needs a buff, perhaps in the vein of Valdur’s "Divine Cessation" or the implementation of a different tone as to give the music a bassier vibrancy. I see a greater deal of trance making its way unto Endless Spiritual Embodiment, in so creating a fluid stream that takes the listener through each segment wistfully. In addition to “Supposition Course” perhaps an instrumental similar to the likes of those heard on EON or Garden of Hesperides’ "Hymn of Forest Floor" EP, would have added an extra bit of profundity to Endless Spiritual Embodiment. However, all is still well when contemplating the effect of tracks such as “Negative Interior Intersection”, “Phallic Point of Periapsis” and “Infinite Ethereal Vault”, all of which manage to ensnare and enmesh the quiddity of Sxuperion. 

Supporters of Sxuperion's music will be very grateful for this new material, given it has been quite a while since Cosmic Void's release in 2016. Endless Spiritual Embodiment is yet another confident stride towards restoration of the self to the image and qualities as intended by the creators. 

"Gods never die"

Rating: 9 out of 10

Review by Fernando on August 8, 2023.

Australia’s black metal scene is an interesting one, while many would associate the subcontinent nation with blackened thrash, it’s as varied and eclectic as the US, mainly in the sense that there’s no definitive template sound unless you really like Deströyer 666 or Gospel Of The Horns. Regardless, what we have today is Runespell, a pagan black metal entity that has consistently released material like clockwork since 2017, and in 2023, mainman Nightwolf unleashes Shores Of Náströnd, once again through Iron Bonehead Productions.

Runespell for those not in the know, is the brainchild of multi-instrumentalist and denizen of the obscure Australian metal underground Nightwolf, who single handedly crafted this project on his own with four inevitable full-lengths and a handful of side releases. The sound of Runespell is deeply rooted not just in old school black metal from the Baltic countries, but also has various glimpses of classic heavy metal, and all rounded up with pagan leanings which give the music an epic and majestic aura. While the previous records were a complete solo show by Nightwolf, who did and excellent job with no real misses, for Shores Of Náströnd, Nightwolf has brought on new musicians to expand his music, and suffice to say he chose well, on drums it’s his countryman and also a veteran of the Aussie black metal underground Basilysk, of Pestilential Shadows and Temple Nightside fame, and on keyboards it’s Irrwycht of cult German band Baxaxaxa and Grabunhold. Nightwolf still carries the lion’s share of the instruments, handling everything else; the presence of these very talented brothers-in-arms have certainly added something new and fresh to the unmistakable sound of Runespell.

For starters and to reassure Runespell fanatics out there. The best qualities of the band are still here with a vengeance. The epic yet sorrowful riffs and acoustic melodies, the dark atmospherics and Nightwolf’s ability to make predominantly mid-paced black metal sound intense and engaging. But something that’s worth noting with this record and its preceding EP, is how Nightwolf’s music has been favoring the more melodic leanings and has also been improving the sound quality ever so slightly, this is actually the best produced Runespell record yet, and every single instrument is given enough space to shine, and on that note this is where the new members truly shine.

Obviously Basilysk is a major standout as he’s one of those drummers in black metal today that can be as fierce as he is technical, and he really displays it in this record, especially in the mid-paced songs, his drumming gives the music a groove and rhythm that evokes that classic heavy metal grit, but he also successfully manages to keep a primitive and primal intensity that’s in line with the pagan atmospheres of Runespell. On the complete opposite end of the spectrum however is Irrwycht, while his contributions on the keyboard aren’t as bombastic as Basilysk’s, he is still an indispensable part of this album’s whole, his keys not only enhance the atmospherics and offer a nice flourish to the riffs and melodies, but he is able to keep the album within the realm of black metal, it’s hard to describe without you just hearing the music for yourself, but the Irrwycht’s arrangements and flourishes give the album a mournful feel throughout, and when paired with Nightwolf’s acoustic guitars and Basilysk’s pounding drumming you can truly feel the sounds of the mythical shores in Hel where Nidhogg devours murderers and oathbreakers.

There’s very little I can add about Nightwolf since the man’s body of work already speaks volumes of his talent, but bringing new blood into his project has certainly granted him an opening to flex his guitar and bass skills, which he does with panache. The biggest display of how good the strings are is in the last track ‘Vigirdr Fields’, the song’s main riff is as triumphant and it is morose, which as a whole is a perfect encapsulation of the entire record. The only real issue I have is the midpoint of the record, while the record is consistent from beginning to end, the middle track ‘Specters Of War’, it’s not a bad track at all, but it feels longer than it actually is, and it’s not even the longest track in the album, and it actually starts great with blast beats before slowing down effectively, however my issue is in how it is arranged, as it switches back and forth from blast beats to mid-pace rhythm and that’s about it, and the last half of the song just blasts away until the end. Again, this is not a bad track, but it’s definitely the less adventurous as every other song has one clincher that makes them stand out, and the fact that this song is followed by the actually gorgeous instrumental acoustic and keyboard driven interlude ‘Unfurled Night’ makes the atmospheric closing break of the previous track a bit redundant, but that’s just me, and besides, the last half of the record completely makes up for one less-than-stellar track.

Overall, Runespell delivers yet again with some quality pagan black metal that feels timeless yet classic in sound, presentation and overall execution, and the expansion of the lineup certainly added some much welcomed dynamics that keep the music fresh, and even with the sluggish mid-point it doesn’t take away from how good the record is as a whole.

Best tracks: ‘Mirrors Of The Dead’, ‘Shores Of Náströnd’, ‘Vigirdr Fields’

Rating: 8 out of 10

Review by Michael on March 10, 2022.

Rotten Casket? Maybe not everybody knows about this band but I guess with this new 4-piece-EP called First Nail In The Casket released as a CD via Supreme Chaos Records this will soon change. The band already released two EPs in 2015 but in 2018 they disbanded and got reactivated with new members in 2020.

Starting off with 'Covid 119' you soon get aware of what the guys are about. The first really disgusting scream sounds like Martin van Drunen and surprise – it IS Martin van Drunen. With him is Asphyx drummer Stefan “Husky” Hüskens and so it is not the biggest surprise that you can hear some similarities to Asphyx. Other members are the only remaining founding member Frank Bergesson on the guitar, the new Sodom guitarist Yorck Segatz and Disabuse bass player Patrick van der Beeck from the wonderful Dutch city of Winterswijk. The biggest difference to their main band is that the Dutch-German collaboration left out the more doomy parts but give full speed in all the tracks which is at least for me very appealing. But it is not just a faster Asphyx version that we can find here but also some more Swedish death metal influences like in the middle part of 'Covid 119' or 'Coffin Birth' and some punkish vibes, especially what is concerning the drumming (just listen to the first riffs of 'Bonetomb Residents'.

The quality of the musicians is undeniable and all five guys are doing a very good job. Martin's vocals are yelling, sick and brutal as always and the sawing guitars underlines the death metal vibe. Not to forget Huskys drumming which is well-timed and very powerful. The production which was made in Tom Meier Studios in Enschede is very well done and leaves no room for complaints.

The tracks are very catchy and entertaining and I guess if you like Asphyx and similar bands like that Rotten Casket is going to be a must have for you. Unfortunately the EP is over after a short running time of 18:30 minutes so that you have to press the play button right away for another run. Let's hope that there will be a follow-up full-length album soon.

Rating: 8.5 out of 10