Azziard is a Black/Death metal band formed in 2001 in France (lle de France). the band consits of:
Sagoth - Guitar
Zyule - Guitar
Eilkh - Vocals (Atramentum as Vurderlak, Norz Feuer as Yann),
Khynsk - Bass (ex-Cryoxyd)
Harold - Drums
Past members include:
they currently have two demos out. "Heaven Burn By Hatred"(2002) and "Eternal Remains"(2005) Read more on Last.fm
War was always a topic that complimented Black Metal, such as the thus titled track by Burzum, and Vésanie (a former French word for “insanity”) not only revives the tragedy, but also depicts the madness in which the main protagonist sank into, confined into an asylum after having fought on the front line.
Musically, however, Azziard evolves with this album to account for enrichment in Thrash, Death, and Black Metal elements. You’ll notice transitions from technical similarities of the 3 genres, and the fact that A.S.A.’s grunted shrieks are fit within each of them.
Upon first listen you’ll find all what distinguishes Versanie musically is its incorporation of various styles building its own structured ambience that is all heard in Allégorie. This album explores this style from its dark messy confines to impatient hatred, both of which you’ll find present together in many tracks amongst which is Ekphrasis and its introductory arpeggio shortly before the guitars rage in. This is one of the many songs that employed Death Metal influences mainly overall. The percussive precision of the drums and its placement of semi-blast beats or the exuberant use of double bass kicking in De lumière, D’Obscurité (another song with dominant Death Metal influences) leave Arkyon’s professionalism undoubted. One other thing that is not any less questionable is the creativity of the guitars that lead to the integration and variation of the songs from a genre to another. You’ll find the presence of Thrash serving the overall ambience of Black most apparent in the beginnings of Disjunction, Disgression, and Dans Ma Chairs, emerging from Thrash to Death/Black throughout the song.
Although that creativity is harshly mocked with the riff in the beginning of Dans Ma Chairs that sounds like Metallica’s No Remorse, its familiarity is ultimately unnecessary in the song.
And while the whole album is decorated with melodic tremolo riffs wisely, I feel that the songs in which they were best incorporated were compromised by their exaggeratedly long outros, such as Sur La Toile or Dyalise, a 3:20 long with exactly a one minute outro. I don’t see why this album feels the need to try and extract or prolong what is left of these two tracks, they’re fine without it.
In short, this album integrates elements of these three extreme genres and progresses through them in a coherent, intact, and non-repetitive manner that make this album definitely worth a listen.