Khthoniik Cerviiks was formed in 2013, by members of Ignis Uranium and Zuul, when both bands split up. Since its beginning, the band has “weird” written all over the place (the “good kind of weird”, don’t worry), starting with their name, the associated logo, the covers of each of their releases and the weird, but amazing and unique, type of Death/Black Metal they play.
Currently as a three-member group, since the addition in 2020 of Gharmonboziia on drums, the German band has its presence already strongly cemented on the obscure underground world, due to the uniqueness of their sound, displayed over a reasonable number of physical releases, with the help of their label, Iron Bonehead (IBP – also from Germany), responsible for the discovery of so many obscure and great bands.
After two DIY outputs (“Rehearsal 2013” and “Promo 2014”), IBP grabbed them and released their debut demo in 2014 with the title “Heptaëdrone”, consisting of seven tracks (four of them from their previous promos) that paved the way for what was to be expected from the band. And, leaving no one with the feeling the demo was some kind of “accident”, the band (again with IBP as the label) released their debut full length two years later (February 2016), titled “SeroLogiikal Scars (Vertex of Dementiia)”, further solidifying the image of a band that was not following any already-known formula, instead choosing to create their own, totally unique form of Death/Black metal, which totally went hand-in-hand with their imagery and weirdness.
Four long and silent years later – with the exception of a split LP release with their comrades Howls of Ebb (during the summer of 2017) – the band announced their sophomore album, not surprisingly, again with Iron Bonehead and with another almost unpronounceable title: “Æequiizoiikum”.
Consisting of eight tracks (two of them serving as the introduction and outro to the musical madness in between), “Æequiizoiikum” continues the weird listening journey, precisely where the previous work left off, but with notoriously better production, musicianship and composition skills, adding another uncanny layer to their already perplexing and distinctive sound. The complex guitar riffs are the center of the craft displayed by the band, perfectly aligned with an intricate rhythm section, capable of leading anyone into questioning their own saneness and lucidness while, at the same time, leaving the listener in the position of immediately pressing the “play” button again, as soon as the record finishes, as if the band had managed to hypnotize him/her, now controlling their mind through their music. (Antonio)