PYLAR: Decibel Magazine Streams âLÃmiteâ From Experimental Occult Drone/Doom Collective Featuring Members Of Orthodox And Teitanblood; LÃmyte Full-Length To See Release June 23rd Via Cavsas/Cyclic Law

Decibel Magazine is currently streaming âLÃmite,â from Spanish occult drone/doom collective PYLAR. The epic psalm comes off the bandâs haunting new full-length, LÃmyte, set for release on June 23rd via Cavsas/Cyclic Law. LÃmyte serves as PYLARâs seventh studio offering and the third and final chapter of the trilogy that began with Horror CÃ³smyco (219) and Abysmos (221).

PYLAR stands among the best kept secrets of the Spanish underground. The group was formed in Seville, Spain by members of Orthodox and Teitanblood. With imagery that feeds on occult sciences, the sacred (with special attention to pagan themes), and superstition, PYLAR navigates the depths of mysticism and cosmic horror evoking interdimensional and abyssal sound scenarios.

PYLAR incorporates percussion, guitars, keyboards, horn, violin/mandolin, and voice that intones texts from experimental writer and philosopher Francisco Jota-PÃ©rez, fragments extracted from occult sciences, and the cult vanguard grimoire, Cyclonopedia. Together, the bandâs participants cross genre boundaries fusing experimental doom metal, black metal, and psychedelia to forge a sound that is at once dense and textured recalling the stylistic elements of artists such as Blut Aus Nord, Swans, and Oranssi Pazuzu.

Notes the band of âLÃmite,â âThis track is a perfect example of how extramusical influences have a crucial weight in PYLAR when it comes to writing music. The music here follows the insane impulse of Lovecraft’s literary style making atmosphere override other rhythmic or melodic elements. Just as Lovecraft immersed the main characters of his stories in atmospheric and psychedelic paragraphs where thereÂ is no action, PYLAR here promotes the use of textures as a primary symbol over the epic construction of the track through spiral guitar melodies, voices coming from the core of the dream of unknown cultures and violins that intone forgotten scales. The guitar riffs here are transmuted into chords and melodic lines that stemmed from Sunn O)))’s ideas on White 1. The pulse mutates with drums and bass that adapt to the ever-changing atmosphere, inspired by Paul McCartney’s interpretation of âDear Prudenceâ and hidden rhythmic experiments in the Deathspell Omega discography based on the forgotten art of variation.

âThe Deathspell Omega and Blut Aus NordÂ arpeggios were an important source of influence for the central part of the theme, with a marked dreamlike character (as Elvin Jones was for the percussion) where we tried to make time disappear or curve, as it happens in the central part of The Savage Detectives by Roberto BolaÃ±o, or in the final stretch of Orbitor 1 by Mircea Cartarescu. To this contributes the hyperstitional intervention of CG Santos (Teitanblood) who collaborates on the album invoking a circularity that is irrevocably born from the use of the hurdy-gurdy and modular synthesis.

âThe return to the original pulse in the last third of the song plunges the band into an exhausting psychosis that corners us like an animal that feels the force of destiny for the first time. PYLAR sets out to develop a speculative metal, putting into practice a sacrilegious synthesis of elements and influences to push metal to its limit and thus peer into the abyss and contemplate what lies beyond.â

Stream PYLARâs âLÃmite,â now playing at Decibel Magazine, at THIS LOCATION.

LÃmyte will be released on limited CD, LP, and digital formats. In advance of its release, today PYLAR presents the recordâs eighteen-plus minute opening psalm, âLÃmite.â

Find physical preorders of PYLARâs LÃmyte at THIS LOCATION. Find digital orders at THIS LOCATION.

Poderoso Se Alza En My, released in 213, served as PYLARâs letter of presentation and went on to earn praise by Julian Cope. With his yearâs LÃmyte, PYLAR collaborated with renowned musician and producer CG Santos (Teitanblood, Emanation), who played hurdy-gurdies and modular synths, with the aim of being inserted into LÃmyte as an element from the outside, ultimately opening PYLARâs compositions outwards, towards a sort of hyper cacophony. The tension created through the overlapping of these elements causes cracks in the music through which what-is-beyond can be seen, while breaking with the linear narrative of traditional musical discourse. An expansion arises towards a collapse that does not imply the end but rather a rearrangement of the primary symbols used at an aesthetic level for a new beginning in an endless spiralâ¦

What would it mean to bring âthe creation of the newâ to its final horizon in metal with a reckless, uncompromising, and irresponsible tenacity? When you accelerate an artistic genre, you get its cutting edge. With LÃmyte, PYLAR yearns to push metal to its limits and ultimately break them, always moving forward towards the last frontierâ¦ Dwell outside, in the always-beyond, in beautyâs irrational and unknowable limits with metal as the ultimate tool to destroy and create in an endless cycle. PYLAR stands at the edge of the abyss in a non-place that persistently changes location. And that place is the limit, the only space where we can crack what separates us from the next non-place, the one that has not yet been explored.