Abort Magazine

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Nearly 4 years since the release of their self-titled demo, Vancouver, Canada’s Kymatica have unleashed their self-titled, full-length debut. Featuring eight distinct songs that merge elements from many different styles including black, symphonic and progressive metal, this carefully crafted, genre-bending album was well worth the wait.

Founded by Luke Kaea (guitar/vocals) in 2008 as a solo project, Kymatica has since acquired an ever-growing fanbase. The band draws its lyrical and visual imagery from concepts in spirituality, mythology and the interconnection of all things within the universe. Musically speaking, the result of Kymatica’s inspirations is a dynamic sensorial onslaught that shifts between brutally aggressive and beautiful, with heavy and somber undertones throughout.

“This Hallowed Sleep” introduces the album with a captivating and tragic cello melody that leads right into “Bled Dreams.” This track, which includes a guest appearance from Omega Crom’s Johnny Ketlo, gives a taste of the driving riffage found throughout the album. Things get really interesting with “Give Her Man”: heavy riffs, killer guitar solos, deliciously catchy vocal parts and pronounced keyboard melodies, make this one a stand-out track. Other standout tracks include “For Lilith” and “Finger Carrion.”

Listeners keen on metal that pushes against the invisible boundaries of genre divisions should definitely give this one a listen. Kymatica is scheduled for an online release on March 18, 2014

By Alxs Ness

Global Metal Apocalypse



Just utter the genre and you will raise an eyebrow. Symphonic Extreme Metal might be a paradox in terms of how the opposites of the metal scale collide on Kymatica's self-debut album, but it certainly leaves an ever-lasting taste for more.



Metal Titans

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Haven’t heard of this band, they are a Vancouver based band, that has been creating and doing shows for awhile now. They previously had a self titled demo, and now they are here with their first debut album. Take a chance, give it a listen. What you are going to get here is a mixture of different styles, which encompasses black, progressive, melodic with some added Death Metal, giving it their own unique flare.

Back in 2008 Luke Kaea founded the band as his own, but after many shows locally they seem to be growing. The lyrics are more along the lines of enlightenment, supernatural, and the connections between all that is in the universe. There is a guest on this album, Omega Crom’s Johnny Ketlo, giving the album a little more driving power. There are some horns in the air riffs to bang along to, some pretty good solos here as well. All in all, there is something unique and definitely different for the listeners.

You might find some similar sounds here to other bands, but where don’t you find some, so many bands, so many riffs, but you need to listen to each and every song, to pick out Kymatica’s discerning sound. Go ahead, give them a listen, you will find that they are unique in song and lyrics. Giving them the edge.

The Monolith

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Taking their name from “Kyma” (translated from Greek as “wave form” or “energy”) and “Matica” (translated from Slovak as “matrix” or “source”), Kymatica play a unique brand of progressive blackened death metal – or “deathened” black metal if you will – boasting a plethora of intriguing dualities in their sound and concept that match the dual heritage of their name.

If you’ve been fortunate enough to catch one of their rare live performances, you might expect to be blown away by a tidal-wave of metallic energy from the first note of their self-titled debut album – but instead you get “This Hallowed Sleep“; a lush, sombre, neoclassical piece – think Rachmaninov meets Godspeed You! Black Emperor – including strings, piano, distant guitars and samples.

This is only temporary, however. “Ladder to Manna” goes for the jugular with the rolling double kicks of drummer Kyle Sheppard and the signature shrieked, raspy vocals and sinister guitars of Kymatica’s mastermind Luke Kaea – but it also goes for the mind; its almost jazzy Cynic-esque leads and the abrupt changes are not unlike legendary Japanese avant-garde metallers Sigh, including Archspire guest bassist Jaron E Vil’s short solo towards the end of the track.

Speaking of low-end, Shawn Hillman’s fretless bass stands out for praise, particularly in the intro of “You’re Me“, a progressive and psychedelic foray into darkness with excellent instrumentation and passages juxtaposed by slow heavy riffing with double-time drums. It’s a great example of what this band is capable of: great riffs, superb musicianship, interesting arrangements, hauntingly surreal atmospheres, and the ability to keep you guessing.

Thanks to keyboardist Anna Kuchkova, there’s a strong neoclassical flourish to tracks like “Give Her Man“; flourishes which are at times reminiscent of Soulblight-era Obtained Enslavement and vintage Arcturus. There#s certainly a Norwegian feel to this track in particular, with some welcomed blast beats and creative, pummelling drumming by Sheppard, who has a Hellhammer-esque (Mayhem, Arcturus, etc.) approach on the kit. His expertise is also apparent in “Bled Dreams“, with its polyrhythmic cymbal work combining with a fantastic bridge of dual melodic guitar leads. There’s a clever, dreamy sort of atmosphere to this one, which I’m sure was intentional.

Segueing nicely, the cosmic cover artwork by Allan Heppner (Lethal Halo) of Azzurri Design really suits the mystical mood of the record, whose vibe becomes heavily exotic and eastern sounding with the opening of “Finger Carrion.“ Similarly, “Fate, Doom“‘s gothic flair, with its poetic spoken word intro and strings, add extra touches outside the raw attack and lush tones, which are brought out beautifully the production of Blue Light Studio’s Kevin Thiessen.

Fans of vintage Cradle of Filth and more symphonic raw black metal like early Arcturus and Emperor will eat this album up. Conversely, fans of more contemporary acts like Abigail Williams and recent Enslaved could get into the nocturnal, progressive nature of Kymatica.