A leak of raw power from sessions guided by the ecstatic channeling of aeonic dark magick this debut full-length album from Athens, Greece-based thrashing dark death metal quartet ELEVENTH RAY offers a spiritually sincere alternative to the naive “shock rock” satanism of the mid-to-late 80’s extreme metal phenomenon, taking their own path through occult and idiosyncratic readings of the ageless ways. More a portal to fiery primacy than any sort of cartoonish, retro-minded extraction ‘Reviving Tehom‘ evokes the specificity of typhonian alchemical conjure beside a ritualized vision of the not-yet-specified mid-to-late 80’s age of thrashing and doomed death-and-black metal at its meanest and most riff-obsessed stages. To the insatiable worshippers of the old cult it’ll be an impressively stylized portal reopened and rethought, and a uniquely stated riff record to all else.

Eleventh Ray formed somewhere nearby 2022 as guitarist Y.K.’s songwriting sessions for black metal band Serpent Noir took their own turn. Those already distinct ideas became a separate entity over time and based on what we’d heard a handful of years ago when they’d posted a three song rehearsal (‘Rehearsal‘, 2022) online that foundation was entirely integral to what ‘Reviving Tehom‘ would become. You could hear the ‘Morbid Tales’-era Celtic Frost on those early versions of those three pieces, all of which make it onto the album, but the deeper underground ear should’ve recognized shades of earlier Sodom with some of the cadence found within early 90’s Hellenic black metal as well. The exact fusion of early black metal, nascent extreme thrash (as in post-‘Hell Awaits‘) and the still developing death metal ideal is naturally avoidant of any separation of forms in hand as the band translates those demo-level dark thrashing ways, dragging them through a ritualistic vision of the primordial extreme metal soup of the mid-80’s.

Though I don’t want my admiration for the development of sub-genre to suggest that Eleventh Ray prescribed this sound outright with such specificity they’ve noted that ‘Reviving Tehom‘ and its creation was for the sake of creating what wasn’t available, unheard of sounds for this day and age. With that in mind you can approach this album expecting something multifaceted, invoking both nostalgia as well as their own inspired vision of ancient spiritually driven death metal. The best references which fit the greater span of their work should probably begin with the first Samael record, (early) Acheron and of course their appreciation for the avant-garde spiritual birth that took place on Therion‘s third LP which they’ve referenced perhaps more for its blustering qualities (see: “Ha Illan Ha Hizon TrianAdohi”) and serious lyrical focus rather than symphonic death style. As you’ll find right from the start this doesn’t cover it all and we’ll have to pull back to the very roots of black and death metal with them on these otherwise simply stated, entertaining riff-built thrashing pieces.

Going in blindly and getting kicked in the jugular by opener “Nightside of Damascus” was a brilliant introduction to Eleventh Ray‘s style which applies an extreme right hand attack to a well modified version of what we’d heard on the band’s rehearsal tape. This version has been developed with far more riffs in hand, a distinct change from the ‘To Mega Therion‘ readiness of their initial versions while also emphasizing the bones of extreme metal in reveal, veering hard between ‘Obsessed by Cruelty‘ stoked rhythms toward the late 80’s hardcore punk sized declarations which arrive ~2:48 minutes in. They’ve done well to avoid sounding like a band fixated on worshipping or recreating the past too closely and this’ll become more obvious as we carry on through the full listen.

“Starring Eyes” doesn’t necessarily sound like Flames (Greece) nor the necrotic quasi-grind path of Death Courier‘s first EP but it does achieve a slower-stepped groove one might’ve found in the earlier days of black and death metal in the Hellenic, or just broader early European, second wave (see also: “Pan Noctifier”.) Those biggest steps taken beyond earliest and ugliest evil speed metal don’t necessarily amount to a puzzled and theatric thrash-dirge in most hands but in the case of Eleventh Ray their own voice is most obvious on this piece, particularly when their mantra arises ~2:24 minutes in and carries on as a major part of the song. It serves one of the more ear-catching moments on the full listen and primes the ear for this initial high-momentum run of three songs outright. The capstone on that thought is key single “Ha Illan Ha Hizon TrianAdohi” which surprises via its for its psychedelic rock inspired step and melodic intro as they tear through its death-thrashing roll, communicating the simpler stated late 80’s death metal spiritus of the band as well as a sort of scaling arabesque motif which carries through much of the album’s remainder.

The only part of ‘Reviving Tehom‘ I’m not all that sure about is the adventure it takes through wonderment and gloom within its middle-third. I like that the instrumental “Path of the Bellator” gives respite and trails toward the harder grooves of “IGUL” though the follow-up of “Kokkini Apocalypsi” calls in another instrumental, this one bearing an early Amorphis-esque roll through its core melody. Don’t get me wrong I like this part of the album quite a bit in theory yet it feels like it hits at the wrong time, diffusing some of the record’s momentum for the sake of dividing the record into two halves. If we consider the design specifically for vinyl there is technically no issue, flipping the record at that time makes sense but on CD it creates a sleepier gap in the action. More of a nagging though than a criticism, the instrumental pieces are brief enough. “IGUL” is otherwise one of the more laid back movements on the full listen, again pulling from earlier black metal and inhabiting that headspace where dark 80’s extreme metal focused on gloomed-over but imposing riff driven work. This is also another rehearsal era track worth comparing to its demoed version, probably the one that’d undergone the biggest transformation on its final cut.

Apart from the album opener “ZODAMRAN NOX” is probably the most vital carrier of the riff here on ‘Reviving Tehom‘ if you keep in mind my tendency toward darker thrash metal interest as this song almost reminds me of Sepultura covering “Procreation of the Wicked” and especially Final Conflict in the mid-90’s, big riffs that have some surreal urgency to sort out within their hard chopped grooves. This type of strong is Eleventh Ray‘s biggest strength and it hits all that much harder after the prior three songs took a more sedate approach. This is the real strength and wallop of Side B outright, every song hits that same sweet spot where aggression, memorable thrashing grooves and more kinetically charged energy make for a believably primordial ‘old school’ black/death metal sound and style. From my point of view it is an admirable achievement in terms of giving me that classic feeling without the existential dread associated with one’s desperate feasting on the bloated entrails of better days.

For true underground ears only. — In an era of remastered revisionism applied to all classics with even the most minor classics-era releases getting its ass wiped of all personality the production values applied to ‘Reviving Tehom‘ are refreshingly callous, subterranean but not cavernous in their velveted crypt-borne tone. There are yet shadows, blunt and raw edges available to this recording which is imperfectly set but attuned to the best tradition. I’d enjoyed the render of this record though I figure some will find it muffled, over-shaded to some degree even if it suits the album as a whole. The image of the red dragon via artwork from L.G.N Nekropropaganda echoes some of the descriptors I’d use to describe Eleventh Ray‘s sound, evocative in shape but obscured in ways that send the ear (or, eye) searching while also bearing its own dark illustrative hand.

Since the band’ve suggested this is not a one-off side project or a dumping of castoffs and leftovers we can assume they’ll continue down this path having realized the vision of their initial idea. From my point of view ‘Reviving Tehom‘ represents the amorphous realities of 80’s underground extreme metal uncertainty of form but strong certainty of personality. Eleventh Ray impress most for the decisive performative quality of these songs, a well-built voice and capability applied to a new scenario that’d obviously arisen from passion for these niche forms, there is conviction applied to these pieces whether they’re dabbling in surreal movements or focusing on hailed-down riffcraft. A very high recommendation.

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