Xibalba

Ah Dzam Poop Ek (1994)

Ah Dzam Poop Ek is an album with a strong nocturnal atmosphere supported by the band’s use of Mayan (tribal) cosmological themes. There is a real sense of ancient spirituality that pervades through this album, a real searching for a link to the past, a way of getting close to the ancient Gods as way of making sense of the inherent chaos of existence. Like Graveland’s Thousand Swords album released in the same year it is an introspective look at the ancient spirit, what it means to face the darkness of death and the chaos of life. Whilst Xibalba is not directly trying to make battle inspiring music like Graveland, there is a real violent battle feeling in these songs.

Musically there is a strong influence from bands like Bathory (and according to the band themselves Celtic Frost) and also the strong Norwegian Black Metal scene of the day. For instance there is a clear influence from Burzum’s self-titled album (and hints of other Norwegian bands such as Darkthrone, and perhaps Ildjarn). A cliff notes description of the album may be something along the lines of the sound of Burzum (album) structured more like Thousand Swords (with the battle interaction between the riffs) and played with that ancient feel of The Chasm (note this album predates The Chasm).

What we have then are lengthy riffs that are looped, to build tension and cycled with two or three other riffs. Eventually there are changes in tempo in these cycles, fast and slower versions of the same riffs (or sometimes subtle changes) that creates a mesmerising or trance-like effect (like the best of the Norwegian Black Metal). Xibalba are masters of using really minor variations that you barely notice within their music. There are a few various styles of riffs used. Such as galloping riffs played with a minor key tremolo strum that end in a jangly arpeggio w/ “punkish” drumming or ancient sounding minor key arpeggios that are played with a fast tremolo strum that are similar to self-titled album Burzum, but played with the Mayan feel The Chasm would later use on Deathcult For Eternity: The Triumph. Occasionally dual guitar harmonies like those found on Burzum with slower minor key arpeggios played harmonically dissonant 'semi-muted' washed out chords to create a more dream-like atmosphere. Sometimes a jangly fastly picked arpeggio then a tremolo made up of fast minor key chords. Some of the riffing is more upbeat and sounds similar to a call to war.

These kinds of riff styles are played with varying time signatures. They are subtly shifting, unsettled, complex, and create an ominous feeling. There are times where the rhythm (and the song) settles into a cadence, like a chant to the darkness, then later becomes more dynamic and shifts between tempos. A key to pulling this off is the drumming, which is dynamic and varied, and not just comprised of blasting like a lot of the more ambient focused Black Metal. The highlight is that beat that runs like a spine down the brilliant Bolontiku Vahom. It creates a sense that you are surrounding by a massive summoning in the middle of the night, with tribal sticks slamming percussively all around, shaking with fervour. Augmenting this are a few mini-interludes scattered throughout the album with tribal instrumentation and wooden percussion that are used to further harness the dream-like or cosmic aura.

The worth of this album therefore is no doubt found in its often meditative, spiritual leaning nature and its ability to create of both conflict and awe within this approach. There are definitely moments within the music that come forth over time, subtle little features, that reward repeat listening.