Many years have passed since a full act of devilry was cast by the eminent QUIJA, and now a cosmic vortex broods over Spain as they resurface with the next chapter of their immortal legacy. This manifestation forms the gateway to liberate a mighty and terrible pantheon upon our earthly sphere, which was first portended on the 2021 EP titled Selenophile Impia, and that hostility develops completely among the currents of Fathomless Hysteros. Its hymns possess the unmistakable identity from past glories, but with proper amounts of progression observed among the cold fury, and aural dynamism expands by merging these elements with a detailed multitude. QUIJA thrives across this expanse, where untold entities surge along the path toward materialization, and a marked impact becomes through immersion with its nihility.
Something bleak and catastrophic is perceived in tremolo distortions issuing from the title track, and their sense of urgency is driven by distinct rhythmic forms, with some prominent cymbal work observed among the percussive details. Blast beats arise for points of calculated upheaval, and a grooved alteration breaks the storm while culminating with heightened vocal torments. The harsh primeval fury of this inception continues evolving on “Bestia Negra,” and a rocking transition occurs amid its course, which ultimately succumbs to blasting intensity alongside raw and dismal progressions. The mass of a blackened void expands when ambient keys entwine with accented riff patterns, and the wrathful allure here is contrasted by a slower melancholic approach on “I See You Without Eyes.” This pace forwards a different songwriting dynamic, and it highlights many structural intricacies as evocative auras unfold over a series of passages. There are noted harmonies that ascend toward planes of lead melodic despair, along with fleeting shapes embedded in another dissonant riff, and the magnitude of a heavy stride punctuated by arpeggiations is particularly striking. Grandiosity swells further in the midst of other atmospheric traces, and its sustenance endures until a solo fades into unbeing.
Detailed melodic forces advance on “The Fifth Rider,” with the combined intricacies of a heavier layer and tremolo counterpart exemplifying refined songcraft, and scenes of raging forth on horseback are readily invoked by its aura. This majestic tone is matched by grim riff masses with areas of pulsating dissonance, which are all enhanced by percussive maneuvers that verge on turbulence, and atmospheric qualities also resound before delving into further enchantment on “Hijo Del Caido.” That essence becomes a prime complement to its grand and vehement orchestrations, especially during a section with pronounced vocal commands, and such expressions display the aural impact of variants to Midgard’s distinguished rasps. An intensity is also sustained across quickened paces here, and they restore a balance that shifts again to revitalize past rites on “Adversary,” where melodies extend toward infinity alongside rocking heavy rhythms. Other elements gather into a glorification of unbounded darkness, and this decisive conjuration is finalized with a return to ancient times through “Unbridled Transylvanian Passion.” Its contemporary and classic fusion brings the journey full circle, and a steadfast spirit ultimately remains despite the relentless continuum of time.
Darkness permeates every aspect of this work, including the cover art’s deathly portrayal of a womb and black hole amalgam, and the lyrical medium likewise commences by exploring this manifestation on “Fathomless Hysteros.” A cosmic realm devoid of life and death is formed, with “Nothing is born from its turn” depicting the barren vortex of interest, and distorted states are perceived within “Flames of black fire” that “Just feels cold.” An “Acid breath” is also emitted from its “Bottomless corridors,” where a “Great winged dragon” resides, and this creature fulfills its role by drawing the observer into “The most turbulent infinity.” Two of these hymns are scribed in the band’s native language, and approximate translations reveal an infernal potency on “Bestia Negra (Black Beast),” along with the entity spawned to bring humanity’s demise. Monstrous encounters continue on “I See You Without Eyes,” a title suggesting altered awareness, and this is confirmed in “I am dying, I am dreaming.” Perversity is joined with diabolism through “Demons’ phallic shades” and “Virgins with bleeding cunts,” and the ancient Greek character of “Voracious harpies” further enriches this scene. A “Queen of the Night” also appears here as the “Creator of emptiness,” whose lead “Down the dark spiral” recalls another reference to black holes.
The apocalypse is brought about on “The Fifth Rider,” with the arrival of a “Storm” that “Will scourge with a thousand plagues,” and at its head is the demon king, Pazuzu, who comes to collect a “Claim for blood.” His personality is captured as he “Laughs from his throne” and “Spits gall wrapped in honey among larvae flies,” which is followed by sounds of “The sharpening of his old scythe,” and death reaps when “Its steel caress” and “Cut your neck.” The fall from grace after an unholy rebellion is contained within “Hijo Del Caido (Son of the Fallen),” and “Adversary” serves as a proper and seething continuation, where Lucifer appears as the “Enemy of their faith” while his “Army awaits for the last siege.” These passages shouldn’t be unfamiliar, but they are worth revisiting in the context of this new work, especially when considering the last devilish acts carried out on “Unbridled Transylvanian Passion.” The “Carpathian excelsi majesty” still resonates among rites drenched in vampiric sensuality, along with a “Nocturnity” in its “Blood dream” that extends “To immortality…,” and the collective material likewise traverses time and space with a variety echoing immeasurable regions.
The void has found a suitable incarnation through Fathomless Hysteros, and it delivers on the promise of Selenophile Impia to seize a striking return for QUIJA. Melodic techniques become central to this whirl of arrangements, which are driven by rhythmic formations of parallel complexity, and several captivating encounters are produced from the interactions between different riff layers. The grand and grim energies conjured throughout are also notable, with lead and atmospheric features enhancing those auras, and this is achieved while maintaining a harsh vitality. One minor complaint could be that only six of the eight songs are completely new, but the two revivals here still capture intrigue and show an evolving craft that doesn’t stray too far off course. A dense and essential blackness is defined within Fathomless Hysteros, and its infinity should easily inspire a lasting allure, along with hopes for QUIJA to continue and unleash a timely follow-up.
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