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ENOID - LIVSSYKLUS & DODSSYKLUS – SATANATH  
Bornyhake has been around the underground for two decades plus and obviously paid his dues six hundred and sixty six times over. Livssyklus & Dodssyklus is the clever title for the re-release of the act’s first two albums from a decade ago on one CD - minus an intro and a cover version – and it is mostly high-quality brutal black metal. The weakness of the ‘life and death cycles’ here is the pathetic drum machine, but admittedly the man/band has done a good job of making the darned machine less irritating than usual. It does become quite irritating on a track like Trom, but be that as it may one has heard far worse. The shrieks and growls that are the vocals, the tremolo riffing, the velocity and grim image make these high contenders and a good package to pick up. The language of the songs and their titles is not something mere mortals would understand, unless one can read both backwards and French, and strangely the man credits himself for drums on the CD’s liner notes, but fans of supreme malevolence and bands like Tsjuder, 1349 and Dark Funeral have no reason to hesitate with this. It is a solo act, and the skulls of the three long killed members are on the cover, but do not be put off. Go for it. The disc does. – Ali “The Metallian”

ENOID – NEGATION DU CORPS – SATANATH  
Enoid is the work of one Bornyhake who makes it look easy given how he keeps throwing off albums with both Enoid and his two dozen other projects. They should all be silly and diluted by now, and who knows for they may be, but this whole business of ‘negating the body’ is still quite good.
Matter of factly, there is not a whole lot of originality in this or anything else, but seriously who cares? When the material is so viciously metallically furious any novelty will either stink or veer away from metal and, unless you work for one of the bigger commercial websites with articles on Band-Maid, Babymetal and Soulfly, would therefore be undesirable.
Negation Du Corps is a cross between Burzum when it was a little scaredy racist boy playing metal and before he became a little scaredy racist boy playing electronic flatulence and Circle Of Salt when it was active – had to add that to make the sentence rhyme – which are two bands that coincidentally are solo acts like Enoid. Tremolo picking mixes with mostly fast, but sometimes mid-paced distortion to brew one strong and extreme atmosphere. Long instrumental passages embody the darkness and the man excludes keyboards and other irrelevant, nonsense and trendy instrumentation to also demonstrate that he both understands what metal is and that he can create his chosen moods and melodies without resorting to inferior means. With that said, the ghoulish vocals are all over this and aid the largely simple compositional attacks. Excellent tempo changes, rhythmic wrecking ball, oozing atmosphere and claustrophobic music to perfectly imperfect music is what this is.
Est-ce Mon Corps? Est-ce Mon Visage? begins very fast, is then is just fast and ends with a slower riffing and drumming that takes the listener to doom lands. Je N’existe Que Dans La Souffrance begins with riffing that sounds like an extreme version of Strapping Young Lads Relentless. It ends like the Rhyme Of The Ancient Mariner. The albums closing cut Le Regard Blanc has arguably the strongest atmosphere here. This becomes doom and is dismal.
Obviously the lyrics are in French and admittedly this reviewer had not delved into them yet. This will happen, but it would be too late for this review. Finally, the artist claims the cover artwork includes some of his own blood. Whether it is true or not is between the man and his conscience, but either way this is no ordinary demo on the cover. It is equal to the task of representing the band’s music. – Ali “The Metallian”