I believe I first happened upon the work of Aksatzul while in a deep dive into YouTube, but I cannot currently find the original. However it happened I was immediately entranced by the dark, ambient, black metal-esque nature of this Finnish musician. It was difficult for me to choose between Mirrorsphere and their other album Noneverse (linked below) when I was preparing for this blog post. Both albums are spectacular. Noneverse encompasses more of the ambient-noise-music feel on which I normally focus while Mirrorsphere drifts closer to the industrial and black-metal genres. Overall, I tend to describe the music of Aksatzul as akin to being back stage at a concert and listening to the glorious haze of music drifting in through the walls.
Mirrorsphere has a sense throughout that the standard timbres of a metal band (guitars, bass, drums and perhaps keyboards) are all present but go through significant levels of distortion, to points where the tones are almost completely destroyed. This mutation, distortion, and evolution of timbres creates a feel of progression and motion even when the elements of each track (rhythm/harmony/melody) are remaining static. Many of the tracks maintain some level of rhythmic structure through out while Havock and Serpentkosmos do not include strict rhythm and present more of the ambient and noise music styles present in Noneverse.
Fricktion is formally structured around a heavy, heart-beat percussive pattern which continuously evolved through an A section by adding layers and expanding the breadth of noise that is present. This noise builds to chaos around the 4:40 point where the underlying percussive pattern begins to shift to a new pattern which becomes fully present shortly thereafter. This new pattern underlies the B section which gradually decays and destroys the tones before finally being overtaken by pure noise.
Due to the heavy pulse of the kick drum, Subjeckt presents a sound that is reminiscent of a goth/industrial club. The form feels like a constant pulse which drifts in and out of noisy chaos. Over the first minute and a half various elements and themes are introduced then allowed to settle into one another. This leads to a fairly consistent sense of conversation between the sweeps and warbles which were initially introduced above which the drum pulse keeps a solid base. This track presents a clear example of the use of timbral destruction/distortion as a means of formal development. Overall the alterations of the conversation develop and distort organically before finally drifting away.
Dekonstruction holds true to its name. After presenting a short simple theme made up of high tempo drum and bass, the timbres of the instruments are almost immediately smashed to pieces and each element of the individual sounds and notes seems to be pulled forward as the track progresses until the initial theme is almost unrecognizable. Everything driving up to but not fully reaching complete destruction. The sense that the initial theme triggers or initiates the distortion is feels fairly obvious when listening and holds the track together even when the theme has been so distorted it seems to no longer be present.
Havock embodies the ambient nature present in Aksatzul's other album and, though not a relaxed or comforting track, is the perfect contrast to Dekonstruction. Never Fully developing any clear thematic statement, this track pulls the listener through a cacophony of drones and long sustained dissonances. A feeling is present through out of watching a significant event, like a fatal car crash, slowed to emphasize evert minute detail, every ripple and bend in the metal and every line of cracks spreading through glass.
Serpentkosmos: Woven into the white noise of the background radiation of the known universe, a subtle yet unimaginably massive form snakes its timbre through the mass of sound. Minimal and deep at first this serpent weaves its way to perceptibility, changing and warping the noise we heard initially. Never fully revealing itself we only know of its passing by the sudden return of the ambient noise we heard initially, before the beast seems to turn and devour us.
After a brief reprieve into the ambient noise music style Deletion returns to the gradual introduction of recognizable themes that mutate and vary into interactions with each other. Asymmetrical but regular rhythms permeate the track as the drum feel shifts timbres while various other elements pop in and out of the texture. Some elements are slow and drone-like while others are sharp and pointed. The rhythm falls back into a common time over which the other aspects cut out suddenly and then are sharply added back, a harsh variation from prior tracks which would slowly mutate the sounds.
Presenting a much more industrial feel than many of the other tracks, Hauling drives at a steady but unrelenting pace. Taking advantage of the brutal noise to create quasi-melodies and progression while simultaneously using the tempo as a means of instilling variety. In spite of the homophonic structure typical of the industrial genre, this track allows significant noise and ambience (though harsh and angular) to fill in spaces and moments creating an excellent hybrid of the various styles present on this album.
Overall, Mirrorshpere is an excellent album. Every track presents something different and unique while keeping a similar style, showing Aksatzul's mastery of genre integration and significant diversity of technique. You should follow them on Band Camp. I, personally, can't wait to see what is next on the agenda.
If you want to take a listen to their other album, here is the link to Noneverse:
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