Demo 2007

Track One utilises a large variety of riffs and rhythms throughout. From powerful blasting to frequent time changes and syncopation, even briefly slowing for a simple, yet emotive section with choir-like vocal harmonies. Other vocals are lightly interspersed within the song, being used more as a textural effect compared to similar material.

The second track is far more single minded in nature and heavily features vocals as part of the music. Beginning acoustically, the chords are introduced in a spirited fashion before giving way to the main body of the song. The slow, monolithic nature may initially seem at odds with the rest of the demo, but this is soon dispelled as the guitars are warped, shattered and mangled from the midway point to the end.

Track Three is the most playfully chaotic, incorporating disjointed riffs, ear piercing tones, polyrhythms and a single vocal that solidifies the somewhat ridiculous nature of the song.

The shortest track is left for last, yet it displays by far the most groove. It will no doubt be developed further for the forthcoming album, but still manages to hold its own as a fitting conclusion to the demo.

Taking the name of the ancient Celtic goddess of summer and fertility, the music represents a similarly positive force, despite its aggressive nature. Created in 2006 as a secondary outlet for Achenar composer, Duncan Hemingway, it takes inspiration from a wide range of extreme metal acts, wielding their power and intricacy to create its own take on modern music. Vocals are employed only when necessary, allowing the riffs and evolving structures to take precedence in the ear of the listener. They are also the only ‘real life’ instrument used. The guitars and bass are composed using physical modelling software, which also simulates the effects and amps.