Album Review: Eoth by Bael Kultus – A Blackened Odyssey Through Chaos and Fury
Let’s get straight to it. Eoth, the 2013 black metal beast from Bael Kultus, isn’t here to hold your hand or make you feel all warm inside. This is raw, unfiltered aggression with a side of existential dread. Released under the banners of Leviatan Ouroboro and Hammerbund in both the US and Germany, this album feels like an unholy union between two worlds that know how to crank out some serious darkness.
First off, let’s talk about "Dirge Of Infinite Hatred." If there was ever a track title that summed up what black metal should sound like, this might be it. From the opening seconds, you’re hit with blast-beat drums so relentless they could power a small city. The guitars screech and wail like banshees caught in barbed wire, while the vocals are pure venom spat into the void. What sticks with me most is how oppressive yet strangely hypnotic it feels. It’s not just noise—it’s chaos with intent, dragging you deeper into its abyss with every listen. You don’t just hear this song; you survive it.
Then there’s “Anti-Christ Terrorism/Satanic Glory,” which honestly sounds like exactly what you’d expect based on the name (and I mean that as high praise). This one stands out because it flips between moments of sheer speed-metal fury and slower, almost ritualistic passages. There’s something almost cinematic about it—like you’re witnessing the rise of some dark overlord. The riff around the halfway mark? Pure evil gold. It burrows into your brain and refuses to leave, kinda like a demonic earworm.
The other tracks—"Forsaken Grave Desecration," “Bleeding Light Of The Horizon” (which appears twice but slightly reworked), and the rest—keep the energy consistently brutal. But honestly, if you’re diving into Eoth, those first two tracks will give you the full experience without needing much else. They encapsulate everything Bael Kultus seems to stand for: uncompromising intensity, occult vibes, and enough hatred to fuel a thousand mosh pits.
What really strikes me about Eoth is how timeless it feels despite being a decade old. Black metal often leans heavily on nostalgia, but this record doesn’t feel stuck in the past. It’s got that primal edge that makes it feel alive, like it could have been recorded yesterday—or fifty years ago in some forgotten crypt.
Final thought? Listening to Eoth feels less like enjoying music and more like surviving a storm. And honestly, that’s kinda beautiful in its own messed-up way. Oh, and fun fact: I once tried humming “Dirge Of Infinite Hatred” at a party, and everyone thought I was having a coughing fit. Guess that says more about my singing than the album, huh?
