It's true that we're reviewing this disc a bit late - 2012 came out in 2008 as the first offering from Vyrmn, mostly a solo project by R. Ashley III. But the EP is a promising glimpse of a sound that will hopefully continue to develop in the studio, a cold space rendition of black metal with plenty of ambient elements, a handful of keyboard sounds and some riffs and chord progressions that lend the songwriting a searching quality, like the songs themselves are actively navigating a seamless mix of some disparate genres.

As a solo project, you gain programmed drums, the opportunity for one person's vision in songwriting and sound to develop across several pieces; the downside is that the uniformity can be overbearing. This is hardly a problem with 2012 - the relatively short running time allows 5 songs the chance to expand between black metal passages and areas introducing industrial elements, proggy keyboards and ambient sound. Even the most straightforward of the black metal on this disc is slightly tweaked with some cold production, extended harmonies and warped vocal effects, and it gives each song some memorable moments. In some ways, you can hear traces of later Enslaved, but with that band's warmer psychedelia replaced by an ominous, more aggressive stunt double. Credit is given to Jack Aragon, who apparently provided help with production and ambient layering, and the production here, while not spectacular, maintains a focus on evoking a distance between the sound and the listener throughout the disc. The consistency is nice, and doesn't feel forced as an undercooked "conceptual" gimmick. The namesake of the album comes from the impending apocalypse in 2012 that the Mayan calendar foretold - and suitable to the concept of complete, violent destruction (possibly by giant Jaguars?), the music has a present aggression that propels the music skyward, and beyond.

One hopes that Mr. Ashley can continue work on this project, if only to see where else it might go. The songwriting is strong, and the curious elements are well integrated, well mixed - even the drum programming is interesting. I hope to see a full length from Vyrmn that gives Ashley and his collaborator a chance to stretch out. - two of the five songs are over 5 minutes, and they demonstrate a capable desire for going epic. So we're a little late to post this review. Add us to the already positive tally of critics hoping to see more.

Adam Matlock

Copywrite 2008 BlackMetalJim

Written By Jamie Goforth

VYRMN-[2012]

The one man New Mexico based black metal entity that is Vyrmn (formerly known under the moniker of Descending) could easily teach some of the young upstarts blundering blindly into the scene a few handy lessons on how to craft a memorable song.
Where these newcomers fail is in their misguided attempts to come over supremely evil and as infinitely black as they think they can possibly be with only rudimentary knowledge of the genre they are toying with.

Older and wiser and with a far better grasp on the skill of song writing than those who sacrifice substance and depth for speed or a blatant attempt to mimic the rage of the forefather, Vyrmn AKA Robert Ashley III makes for compelling listening with the demo release [2012].
Just short of half an hour long and composed of five tracks of diversity this foundational opus has the genre of black metal nestled deep within its core whilst surrounding this with layers of progressive and industrial.
Futuristic, apocalyptic and curiously melodic and dissonant at the same time Vyrmns [2012] is a grand vision for a first up demo.

The odyssey begins with 'Time/Space (Per)version' and its assortment of chilly tremolo phrasings and vocal techniques.
Thought provoking lyrics are dealt out in a style which though chiefly a prime recognisable black metal cadence often morph into deeper utterances occasionally booming eerily resonantly. And the music is delivered in long loping lines akin to Old Mans Child.
Captivating lead breaks skitter over a platform of galloping percussion and some barbed riffs cycle in warped repetitions.

'Malignant Gravitational Presence' introduces some more melodic facets albeit in transitory passages, these gossamer threads of tune slithering among the colder feel of the main body of the track.
USBM it may well be but this work seems to share more similarities with material created by Scandinavian and European acts than either of the main black metal styles currently holding court in the North American regions.
The vocals here are sinister and sibilant and to me very pleasing for the type of music swirling hypnotically around them.
Part way through the tracks mood undergoes a shift which sees a Celtic Frost like swagger come sauntering in, slower than the previous flash of wrath and one that borders on laidback thrash.

Industrial vibes puncture a mechanical spike through some of the other tracks, most prominently during the space age flurry of '(Machinery Of The) Bleeding Platinum Vortex'.
Its one of the most melodic of all the songs this one, and subdues the aggressive elements somewhat in favour of mystical programming, weird ambience and cyber metal sounds, occasionally reminiscent of Red Harvest in a pensive state of mind.
Again the voice sizzles with a blackened grate and though laden with demonic tones all lyrics are completely understandable and audible which makes a refreshing change from some of the garbled gibberish being passed off as vocals by an array of other talent stunted acts.

'Extinction Level Event' wanders into thrashy type territory, tossing out a handful of excellent riff patterns with squealing whammy bar plunges and tremolo frost battling against harsh vocals and wicked guitar speeds.
Slower patches of deeper riffery instil a nice sense of menace and wailing leads struggle to push out and over the claustrophobic fat weight of the tracks motion.

The demos finale is eight and a half minute epic 'Other Colder Hells'.
Hosting a variety of tempos it is at first thrash like and emphatic with an onslaught of percussive rattle and glowering vocals, spinning a weave of thin fragments of melody through its structures.
These melodic inflections persist during the entire running time of the song, often stamping a stronger authority on the instrumentation when being flung out in long angular lines and at other times being appropriately pulled back to allow the cold raging freeze to flourish and expand.
The mid section grinds out in a unhurried marching procession of sound where hellish vocals abound spitting out more of the intelligent and profound lyrics we've become accustomed to hearing from Vyrmn by this stage.

Threes none of the hollow posturing and Satanic imagery heavily relied upon by the grimmer than thou hordes located in these works, these are visions of vast universe sprawls and apocalyptic cyber futures delivered as potently as any hail to dark gods and the like.

More than a simple black metal act churning out raucous offerings just for the sake of it Vyrmn is extreme music for the thinking soul.
[2012] is not a flawless creation, it is a debut recording after all but by that same token it is a pretty damn good one.
Expanding these concepts and musical abilities into a full length album is something I fervently hope Vyrmn pursues.

Track Listing

1. Time/Space (Per)version
2. Malignant Gravitational Presence
3. (Machinery Of The) Bleeding Platinum Vortex
4. Extinction Level Event
5. Other Colder Hells

Robert Ashley III-All music, lyrics, artwork and concepts

Written By Jamie Goforth
©2008 BlackMetalJim
Reprinted with the kind permission of Mr. J. Goforth