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ANUBI

Experimental/Post Metal • Lithuania


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Anubi biography
ANUBI are an experimental/avant garde black metal act formed in 1992 in Kaunas, Lithuania. The band released three demos in the years 1993 - 1995 before releasing the "Sutemus Skambes" EP in 1996. The band released their debut and sole full-length studio album "Kai pilnaties akis uzmerks Mirtis" in 1997. ANUBi split up in 2002 as lead vocalist and main driving force behind the band, Lord Ominous, died in a sailing accident on Lake Michigan in March 2002.

The inclusion of ANUBI into the Prog Archives database was approved by the Progressive Metal Team.

( Biography written by UMUR)

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ANUBI discography


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ANUBI top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

5.00 | 4 ratings
Kai pilnaties akis uzmerks Mirtis
1997

ANUBI Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

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4.00 | 1 ratings
Gods Pantheon
1993
5.00 | 1 ratings
Mastabos Dvelksmas
1994
5.00 | 1 ratings
Mirties Metafora
1995
5.00 | 1 ratings
Sutemus Skambes
1996

ANUBI Reviews


Showing last 10 reviews only
 Kai pilnaties akis uzmerks Mirtis by ANUBI album cover Studio Album, 1997
5.00 | 4 ratings

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Kai pilnaties akis uzmerks Mirtis
Anubi Experimental/Post Metal

Review by Jack A Lynn

5 stars Who would have expected a record like this in 1997 from a tiny country as Lithuania? This might be one of the very first avant-garde/progressive metal records ever... I'm not yet really into the genre (right now, I only listen to Negură Bunget and Thy Catafalque, apart from Anubi), but I'm quite sure that not many bands have been able to push forward so many boundaries. Still, the lone full length record of this Lithuanian duo (once again I'm reminded of Thy Catafalque because of the duo formula) is a criminally underrated one (and I mean criminally).

The music is incredibly eclectic, not only featuring the classic, popular mixture of black (and doom?) metal and dark ambient, but also showcasing then-unknown-to-the-genre melodies: spacious, eastern-tinged, even folksy ones, along with unexpected riffs, flashes, interludes, covering a wide range of genres and influences; also, instruments never heard before on a black metal album (namely, saxophone and accordion) are employed. What comes to my mind while listening to the record is a painted-face, long haired North European druid/alchemist wearing a mad scientist-like white coat, cutting and stitching random fragments of every kind of music. You have even short pieces of about 3 minutes in length with so many changes in mood, style, tempo, etc. that it would take an entire review to describe them! You also have some more atmospheric pieces, such as "Ir Saulė Neteko Savo Pusės Veido", which would be an excellent part of a soundtrack for a dark fantasy movie.

The charisma of vocalist/leader Lord Omnious (R.I.P.) dominates the whole record: we hear occult ritual-like chanting (sometimes, as in the opening track "Savo Kelyje", I'm reminded even of Magma - Lithuanian language is a very ancient one, as it has plenty of words coming from ancient Greek and Sanskrit... as weird as Kobaian? Maybe...), alongside black metal vocals, which sometimes, as in "Į Naują Galybę", happen to be almost melodic... how strange!

Multi-instrumentalist Sadlave's guitar, bass and programming are the real body of the record. I really love the guitar riffs and arpeggios here, as well as how the bass interacts with them: forget about a bass being buried under hundreds of guitar layers, it's quite often almost louder than the guitar and it doesn't merely follow the riffs or the insane programmed drums (I would have never thought they were programmed percussions if I hadn't read it), but it comes to the forefront, doing also some nice slapping in tracks such as "Kai Pilnaties Akis Užmerks Mirtis"... how could just one man come up with 3 totally different conceptions for 3 different instruments, making them sound as they are played by 3 different musicians? This man is simply a genius, haven't got any other answers.

Keyboardist Lady Sleep is far from symphonic/atmospheric black metal stereotypes: you hear a wide array of keyboards and styles ranging from funeral and dissonant organ to Keith Tippet-like piano [sic], dark, moody, atmospheric drones (check out the 15-minutes "droney" epic "Tarp Akmens Ir Veidrodžio"), almost-sci-fi key sounds, lush strings, random weird key sounds and more.

Some sax and accordion flourish here and there, as additional sparks of madness along the whole record.

Sound-wise, the production is quite raw, but since you can literally hear everything, and nobody would expect a first-rate production from an avant-garde black metal album, I don't give a damn!

My final rate is five stars, considering how this record was really ahead of its times and how it still sounds fresh and full of ideas.

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Thanks to UMUR for the artist addition.

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