In the recording history of ESOCTRILIHUM, "Annochiül Xar Sorthïlazur" is a unique and special work. It stands out from its predecessors not only for its more pronounced symphonic vein or for the abundant use of falsetto and quasi-operatic vocals enriching Asthâghul's mystical black/death metal, but also because here the French musician fuses his personal and complex mythology with the esoteric studies he's long pursued, which also flow into the digital grimoire that accompanies the album. The artist calls it all Annochiül Magic: "A tool for self-knowledge connected to hidden entities veiled behind names, enabling magic sealed through pacts and fostering inner catharsis," as Asthâghul himself explains.
In compositions as complex and elaborate as Gothic architecture, ESOCTRILIHUM depicts infinite worlds within infinite worlds within infinite worlds. These are not songs, but spells and invocations, prayers and odes, that allow Asthâghul—and therefore the listener—to draw new energy from outer dimensions and reveal new horizons to explore within the self.
Shaog and the other terrifying cosmic, malevolent entities we are told about are projections of anxiety, depression, melancholy, schizophrenic anger, suicidal instincts and negative thoughts to be exorcised through music. Each track is like a miniature universe, harnessed in notes that incessantly oscillate between disturbing hypnotic melodies, brutal and paroxysmal metal aggressions, meditative ambient passages and sumptuous orchestral arrangements.
As esoteric, psychedelic and delirious as the extraordinary cover art created specifically by Roberto Diaz, ESOCTRILIHUM's "Annochiül Xar Sorthïlazur" is an act of powerful nocturnal magic, an alchemical journey of transmutation aimed at liberating consciousness. It's the inner vertigo that assails the artist as he battles the ghosts of his psyche—and loses.
