FAUSTTOPHEL "Sancta Simplicitas" 2016
/Another Side Records/

Tracklist:
1. Іде… Щось шукає… 01:28
2. Жребий Пустоты 04:46
3. Слово 05:42
4. Богу місце на Хресті 02:22
5. Больная Земля 05:53
6. Омут Абсурда 06:09
7. Песнь Прокажённого 09:11
8. Смотрящий на Луну 04:24
9. Круговерть скiнчується, де почалась 07:21
10. Black Tears (Edge Of Sanity cover) 03:17
Total playing time: 50:56

 

 

 

 

Remember when I mentioned in a previous review that I'd rather be listening Ukrainian black metal? Coincidence? I think not, true believers. Yes FAUSTTOPHEL are from that great nation but have no problem with showing their love of Scandinavian symphonic black metal. Though I wouldn't call em clones. FAUSTTOPHEL was founded in 1999. That's long before many of you little shits heard of black metal. Don't scoff, it's true and I'm old enough to be your dad. But anyways the band didn't release anything until recently with a debut full length in 2013. Sancta Simplicitas is their sophomore effort and while surface wise it might come off as generic, it's not.
The band takes the Scandinavian model and adds their own homey flair. Starting with the complex musical arrangements that break the monotony. The typical wall of keyboards of the sub-genre are tempered with elegant piano. There's acoustic passages thrown in for good measure as well as folk rooted styling. Was that an accordion I heard? The vocals are a mixed bag of death grunts and guttural ranting. Of course singing in their own language adds to it. All in all a decent release.

4/5
MR. WOLF (SCUMFEAST)

Обложка ATMOSFEAR 18Российская группа с украинскими корнями уже попадала в поле моего зрения после выпуска дебютного альбома. И теперь попала вновь, выпустив продолжение. Еще по дебюту стало понятно, что группа нестандартна и ищет какое-то собственное звучание, пытаясь никого не копировать. Также мне импонирует стремление к более глубоким текстам. На новом альбоме это проявилось в полную силу. Вообще интересен подход музыкантов к вокалам и лирике. Судите сами. Открывают и закрывают альбом вокальные вступление и окончание на украинском языке, также есть еще одна композиция на украинском. Остальная лирика русскоязычная, но тексты двух композиций не принадлежат к перу музыкантов группы. Ну и в качестве бонуса слушаем кавер на EDGE OF SANITY (единственная англоязычная композиция на альбоме). Теперь о музыке. Это мелодичный блэк с большим влиянием дэза. Используются хорошо звучащие простые рифы и много разных аранжировок. Очень достойное продолжение дебютного альбома.

8/10
Neophyte (ATMOSFEAR #18/2016)

This is a very interesting melodic black metal album with tons of musical arrangements, keyboard walls, and different atmospheres throughout the songs. Coming from Ukraine, the band was founded in 1999, but it seems like they are not very active until 2013, when debut album was released.
This year they relocated in Russia and present a very decent sophomore forged in totally holocaustic guitar riffs and pure sonic Armageddon. Of course, they have thick roots in Scandinavian black metal, making homage to old records from 90’s, but this band has a singular perspective of carnage melodies, and added some progressive elements, acoustic passages, symphonic details and an obscured miasma surrounding the entire album. Inclusive, I hear folk elements very well balanced with aggressiveness and good taste. I liked this album because shows a mature band that doesn’t follows the steps of famous bands; they are looking for their own. These guys know the ground where they are standing, and they produced an awesome album full of interesting melodic elements and fantastic black metal atmospheres. It’s highly recommended if you follow this side of the genre, coming from the North of that continent.

Victor Varas (https://zombieritualzine.wordpress.com/)

Rockcor 4 2016Эта группа стартовала в далёком 1999 году в городе Полтава, но в скором времени приостановила свою деятельность и возобновила ее уже в 2009 году в Обнинске. В 2013 году свет увидел дебютный альбом коллектива, а совсем недавно группа представила второй полноформатник “Sancta Simplicitas”. Fausttophel характеризуют свой стиль как melodic black metal с влиянием олскула. Композиции имеют сложную структуру, действительно заключая в себе мелодичный блэк с лёгким влиянием олдскула, неоклассики, симфонизма и немалым количеством нестандартных и свежих ходов, а прививка олдскула делает величественную и вдохновенную музыку Fausttophel гораздо более доступной и слушабельной, чем, скажем, у тех же Dimmu Borgir. Отдельного внимания заслуживает лирическая составляющая альбома. Тексты Fausttophel написаны на русском и украинском языках, а в треке “Больная Земля” звучат стихи Гумилёва, что, впрочем, не в новинку для команды: на дебютном альбоме также были представлены песни на стихи поэтов Серебряного века. Но в этот раз в треке “Больная земля” музыканты создали действительно потрясающий эпик мизантропии и нигилизма, добавив в него даже звучание аккордеона. В наше время уже никого не удивишь техникой исполнения или качеством записи, но за внешним лоском и великолепием, правильностью и “фирменностью”, увы, так часто теряется внутреннее содержание, глубина и собственно идея блэк-металла. Но этого отнюдь нельзя сказать о том, что, а главное как делает Fausttophel. Помимо традиционных блэк-проклятий на альбоме “Sancta Simplicitas” много как музыкальных, так и лирических открытий, но самое главное - эта команда действительно исполняет музыку, которую хочется слушать.

Алексей “Astarte Eel” Иринеев (Rockcor #4/2016)

ROCKHARD34Melodicky black metal je zaner, ktory vie oslovif sir- sie spektrum posluchacov. Ukrajinsky FAUSTTOPHEL vyvolal urcite vo mne zaujem о tento styl. Hr- dost па svoj rodny jazyk nepopiera ani tato kapela a clovek vni'ma, ze je to uz pomaly pravidlom u kapiel z undergroundoveho vychodneho bloku. FAUSTTOPHEL si vyberajii z kazdeho stylu nieco a vacsinou len to najlepsie. Naprfklad posledna skladba „Black Tears'je cover od EDGE OF SANITY. Dynamicka a dost chytfava vec. Druha skladba .Жребий пустоты' je pnkladom melodickeho black metalu. Gradujuce melodie, meniace sa tempo. Tretf pocin, skladba .Слово' je epicko - symfonicka a pripomi'na mi za- slu slavu OLD MAN'S CHILD. Dalsi stvrty song „Богу місце на хресті' nas nastartuje poriadnym nakle- pom a nesie sa skor v death metalovom duchu. Ako ci'tate, vidi'te rozdiely v skiadbach a takto by som mohol pokracovaf d'alej...Urcite zaujfmava kapela a stojfza vypocutie!

4,9/5
PAUEIMADOLA (Rock Hard #34)

LEGACY103Nachdem FAUSTTOPHEL 1999 in der ukrainischen Stadt Poltava gegründet wurden, existierte die Band durch ein tragisches Unglück und den Tod zweier Mitglieder nur ganze zwei Jahre. Erst 2009 entschloss sich das Gründungsmitglied Alexander Savinych, nachdem er seine musikalische Karriere in Russland weiter ausgebaut hatte, FAUSTTOPHEL wieder ins Leben zu rufen. Durch seine Tätigkeit bei Bands wie Doroga Vodana und Ravenant fand er in Valentin Samochin den richtigen Mitstreiter, so dass sich beide im April 2012 ans Werk machten, um das erste Album nach Neugründung fertigzustellen. Inzwischen haben die beiden ihr zweites Werk „Sancta Simplicitas“ eingespielt und kredenzen auf diesem Album vor allem Keyboard-lastigen Melodic Black Metal, den die Jungs durch Gebrauch verschiedenster Stilmittel und Instrumente variabel und unvorhersehbar aus den Boxen dringen lassen. Dabei setzt das Duo auf symphonische Eigenheiten, verträumte Piano Sequenzen, um im nächsten Moment das Tempo wieder anzuziehen und den Gitarren freien und schnellen Lauf zu lassen. Die ukrainischen und russischen Lyrics werden in schnelle und inbrünstige Growls gepackt und bieten somit ein auffälliges Gegenstück zum sanften Gebrauch von Ziehharmonika und den eingespielten weiblichen Wohlgesängen. Diesen Musikern kann man daher keine fehlende Kreativität vorwerfen. Jedes Lied beinhaltet verschiedenste Instrumente, variierende Tempi und wechselnde Stimmungen, so dass für Interessierte mehrere Hördurchläufe empfohlen werden, um dem gut produziertem Gesamtergebnis die Zeit zu geben, richtig wirken zu können. Wer auf Piano-lastigen, manchmal auch recht kitschigen und experimentellen Black Metal steht, darf somit also beruhigt nach Russland lauschen.

9 Punkte
STM (Legacy #103)

The melodic black metal band Fausttophel from Ukraine wasn’t born with a silver spoon up the excretory opening at the end of the alimentary canal. The band was started in the late ’90s, but was soon forced into a hiatus due to the very unfortunate event of fatality within the group. In 2009, ten years after its inception, the band was ready for a new start. In 2013, the debut Thirst Oblivion was finally released. The band, emerging as a quintet on Sancta Simplicitas, are now launching this sophomore album worldwide after it’s been available in their home country for about a month.
The band plays a vital melodic fusion of black metal and death metal, spiced with piano, poetry, and orchestral elements. The band is partly inspired by the Ukrainian-Russian writer and dramatist Nikolai Gogol. They have borrowed some lyrical stanzas from Russia’s poetic silver era of the late 1800s and a few decades into the 1900s, a time that followed almost a century after the golden era. Among others, declarations with melodic pronunciation are being used, in a spoken form of singing known as melodeclamation.
The music still builds on a well-known recipe, but the influence of external inspirations both creates individuality and musical substance. The intro opens with Russian recital, while a music box treat us to mournful melody, and the sounds of horse and carriage in hasty gallop give the feeling of flight. The music provides a sense of a concept album in several places, without that being the case, besides the literary leitmotif.
The lyrics are printed in English in the booklet, in addition to the original bilingual Russian/Ukrainian used in the music, apart from the closing “Black Tears”, a cover of Edge of Sanity. It can be revealed that among texts dealing with existential questions, suffering, philosophy, and so on, we also find deeply atheistic thoughts regarding religious criticism, formulated in a bit more subtle and civilized fashion than what black metal mongers have a habit of doing, yet still with rigorous rhetoric.
The music is very varied. Melodious and melody-losing sequences mingle naturally. Calm and raging parts rub shoulders effortlessly. Hard, black, and deadly metal, acoustic parts, black vocals and growls, piano, touches of female vocals, guitar solos, velvety violin, barbed-wire guitars, grand piano pieces, and backing vocals, are all ingredients in a 50-minute long refined work with strong melodies and very elaborate structures. The band knows not to overdo the use of instruments, but weaves them in where they are considered appropriate. In song number five, “Sick Earth” in English, we can for example find about 20 seconds with accordion and a short sequence of something that sounds like a harmonium (pump organ).
An example of just how exceptional Fausttophel can appear, without tipping over into oddity, is the last self-composed song, “The Whirl Ends Where it Began”, exceeding seven minutes. Trickling streams, crows, and other forest sounds appear and re-appear, but the concert grand piano and classic-operatic vocals pose the key elements throughout more than five minutes before strings and waves of rolling sea surface.
Only in the final minute, drums appear, building momentum via snare drums before blasting delightfully through a piece of beautiful melody that concludes with thunderbolts. An outstanding ending to an otherwise non-metallic song. Finally, the album truly ends on the aforementioned “Black Tears”, almost more reminiscent of Amorphis than Edge of Sanity, where the last 40 seconds are dyed as blood-red as the sunset with wonderful Hammond organ.
Fausttophel have with Sancta Simplicitas accomplished an exciting and good album, packed with diversity and memorable features.
Sancta Simplicitas was released by Another Side Records on May 6th.

(NO CLEAN SINGING)

The melodic black metal band Fausttophel from Ukraine wasn’t born with a silver spoon up the excretory opening at the end of the alimentary canal. The band was started in the late ’90s, but was soon forced into a hiatus due to the very unfortunate event of fatality within the group. In 2009, ten years after its inception, the band was ready for a new start. In 2013, the debut Thirst Oblivion was finally released. The band, emerging as a quintet on Sancta Simplicitas, are now launching this sophomore album worldwide after it’s been available in their home country for about a month.
The band plays a vital melodic fusion of black metal and death metal, spiced with piano, poetry, and orchestral elements. The band is partly inspired by the Ukrainian-Russian writer and dramatist Nikolai Gogol. They have borrowed some lyrical stanzas from Russia’s poetic silver era of the late 1800s and a few decades into the 1900s, a time that followed almost a century after the golden era. Among others, declarations with melodic pronunciation are being used, in a spoken form of singing known as melodeclamation.
The music still builds on a well-known recipe, but the influence of external inspirations both creates individuality and musical substance. The intro opens with Russian recital, while a music box treat us to mournful melody, and the sounds of horse and carriage in hasty gallop give the feeling of flight. The music provides a sense of a concept album in several places, without that being the case, besides the literary leitmotif.
The lyrics are printed in English in the booklet, in addition to the original bilingual Russian/Ukrainian used in the music, apart from the closing “Black Tears”, a cover of Edge of Sanity. It can be revealed that among texts dealing with existential questions, suffering, philosophy, and so on, we also find deeply atheistic thoughts regarding religious criticism, formulated in a bit more subtle and civilized fashion than what black metal mongers have a habit of doing, yet still with rigorous rhetoric.
The music is very varied. Melodious and melody-losing sequences mingle naturally. Calm and raging parts rub shoulders effortlessly. Hard, black, and deadly metal, acoustic parts, black vocals and growls, piano, touches of female vocals, guitar solos, velvety violin, barbed-wire guitars, grand piano pieces, and backing vocals, are all ingredients in a 50-minute long refined work with strong melodies and very elaborate structures. The band knows not to overdo the use of instruments, but weaves them in where they are considered appropriate. In song number five, “Sick Earth” in English, we can for example find about 20 seconds with accordion and a short sequence of something that sounds like a harmonium (pump organ).
An example of just how exceptional Fausttophel can appear, without tipping over into oddity, is the last self-composed song, “The Whirl Ends Where it Began”, exceeding seven minutes. Trickling streams, crows, and other forest sounds appear and re-appear, but the concert grand piano and classic-operatic vocals pose the key elements throughout more than five minutes before strings and waves of rolling sea surface.
Only in the final minute, drums appear, building momentum via snare drums before blasting delightfully through a piece of beautiful melody that concludes with thunderbolts. An outstanding ending to an otherwise non-metallic song. Finally, the album truly ends on the aforementioned “Black Tears”, almost more reminiscent of Amorphis than Edge of Sanity, where the last 40 seconds are dyed as blood-red as the sunset with wonderful Hammond organ.
Fausttophel have with Sancta Simplicitas accomplished an exciting and good album, packed with diversity and memorable features.
Sancta Simplicitas was released by Another Side Records on May 6th.

Islander (Extreminal Webzine)

Fausttophel are a band from Ukraine that has been featured before in this zine and plays a melodic mixture of black and death metal and this is a review of their 2016 album "Santa Simplicitas" which was released by Another Side Records.
A very dark keyboard intro along with some spoken word samples start off the album before going into more of a heavier musical direction along with some. melodic guitar leads and symphonic elements and when the music speeds up a great amount of blast beats and tremolo picking make their presence known on the recording.
Vocals are mostly high pitched black metal screams while a great amount of death metal growls can also be heard and the songs also bring in a great mixture of slow, mid paced and fast parts and you can also hear a great amount of melody in the guitar riffing and spoken word parts also return at times.
Elements of  thrash can be heard in some of the guitar riffing and all of the musical instruments have a very powerful sound to them and there is also a brief use of classical guitars as the album progresses along with a brief use of folk instruments while a couple of the tracks are very long and epic in length while a alter song uses melodic singing and they close the album with a cover of Edge of Sanity's "Black Tears".
Fausttophel creates another recording that takes symphonic and melodic black metal and mixes it in with death metal to create a very dark yet heavy recording, the production sounds very professional while t he lyrics are written in Ukrainian and cover dark themes.
In my opinion this is another great sounding recording from Fausttophel and if you are a fan of symphonic and melodic black/death metal, you should enjoy this album. RECOMMENDED TRACKS INCLUDE "The Die Cavities" "Sick Earth" "Song Of The Leper" and "Black tears".

8/10
OccultBlackMetal (A Different Shade Of Black Metal Zine)

Fausttophel's "Sancta Simplicitas" got at Top 10 Albums of the Month by Gorger's Metal.

The melodic black metal band Fausttophel from Ukraine wasn't born with a silver spoon up the excretory opening at the end of the alimentary canal. The band was started in the late 90s, but was soon forced into a hiatus due to the very unfortunate event of fatality within the group.
In 2009, ten years after its inception, the band was ready for a new start. In 2013, the debut Thirst Oblivion was finally released. The band, emerging as a quintet on Sancta Simplicitas, are now launching this sophomore album worldwide after it's been available in their home country for about a month.
The music still build on a well-known recipe, but the influence of external inspirations both creates individuality and musical substance. The intro opens with Russian recital, while a music box treat us to mournful melody and sounds of horse and carriage in hasty gallop gives the feeling of flight. The music gives a sense of concept album several places, without that being the case, besides from the literary leitmotif.
The lyrics are printed in English in the booklet, in addition to the original bilingual Russian/Ukrainian used in the music. Apart from the closing Black Tears, a cover of Edge of Sanity. It can be revealed that we among texts dealing with existential questions, suffering, philosophy and so on also find deeply atheistic thoughts regarding religious criticism, formulated a bit more subtle and civilized than what black metal mongers have a habit of doing, yet still with rigorous rhetoric.
The music is very varied. Melodious and melody-lose sequences mingle naturally. Calm and raging parts rub shoulders effortlessly. Hard, black and deadly metal, acoustic parts, black vocals and growl, piano, touches of female vocals, guitar solos, velvety violin, barbed wire guitars, grand piano pieces and backing vocals, are all ingredients in a 50 minute long refined work with strong melodies and very elaborate structure. The band knows not to overdo the use of instruments, but weaves them in where they are considered appropriate. In song number five, Sick Earth in English, we can for example find about 20 seconds with accordion and a short sequence of something that sounds like a harmonium (pump organ).
An example of just how exceptional Fausttophel can appear, without tipping over into oddity, is the last self-composed song, The Whirl Ends Where it Began, exceeding seven minutes. Trickling streams, crows and other forest sounds appear and re-appear, but the concert grand piano and classic-operatic vocals poses the key element throughout more than five minutes before strings and waves of rolling sea surface. Only in the final minute, drums appear. Building momentum via snare drums, before blasting delightful through a piece of beautiful melody that concludes with thunderbolts. An outstanding ending to an otherwise non-metallic song. Finally, the album ends on the aforementioned Black Tears, almost more reminiscent of Amorphis than Edge of Sanity, where the last 40 seconds are dyed blood red as the sunset with wonderful Hammond organ.
Fausttophel have with Sancta Simplicitas accomplished an exciting and good album, packed with diversity and memorable features.

Roger, aka Gorger (Gorger's Metal)

necromance 04-16FAUSTTOPHEL son una formación de death/black compuesta por miembros tanto de Ukrania como de Rusia, aunque basada en Rusia. Habiendo algunos de ellos trabajado ya antes en este proyecto (por allá por el ’99) la banda se disolvió debido en gran parte al fallecimiento del, por aquel entonces, batería. Más tarde, en 2009 miembros de la formación original decidieron reconstruirla creando la line-up actual y el sonido característico que muestran.
‘Santa Simplicitas’ es el segundo álbum de larga duración de esta banda y del que nos encargaremos.  Consta de 10 temas, siendo uno de ellos una cover de ‘Black Tears’, de HEAVEN SHALL BURN. Lo primero que cabe destacar de este trabajo es que las letras de todos los temas están hechas intercalando el ruso y el ucraniano (salvo el cover, claro está), lo cual da un poco más de personalidad al sonido de FAUSTTOPHEL. Las voces son bastante variadas, encontrándonos algunas más propias del black, guturales sucios, voces limpias, coros, voces femeninas…
En cuanto a la instrumental se puede notar cierta uniformidad en el sonido en cuanto a que adivinaríamos que todo pertenece al mismo grupo, sin embargo algunos temas son bastante dispares entre sí, por ejemplo en el caso de ‘Жребий Пустоты’ cuyo sonido es muy próximo al black, ‘Богу Місце На Хресті’ que recuerda a un death metal casi tirando al old school o ‘Омут Абсурда’ que suena totalmente a melodeath. La variedad resulta agradable pues aún notándose tantos estilos diferentes todos conservan el espíritu de FAUSTTOPHEL y la disparidad entre ellos queda bastante atenuada. El trabajo de batería es muy bueno en ‘Santa Simplicitas’; unas pistas muy trabajadas, poco monótonas y que toman protagonismo o pasan a un segundo plano cuando el tema lo necesita. Las guitarras son, sin duda alguna, el plato fuerte de este álbum. Los riffs son muy potentes y pegadizos, las armonías suenan de lujo e incluso en las partes limpias son hipnotizantes.
Sinceramente creo que ‘Santa Simplicitas’ habría sido un trabajo muy bueno quedándose en 9 temas y eliminando el cover final, pues además de que no cuadra nada con la banda en sí le han metido un rollo bastante extraño tirando más hacia el rock que lo deja más descolgado del resto del disco, si cabe.
A rasgos generales creo que FAUSTTOPHEL se han trabajado mucho su ‘Santa Simplicitas’, han sabido añadir variedad a su sonido, aunque siempre dejando claro que es su sonido, dando un enfoque diferente al death/black. Definitivamente un buen álbum que creo que agradará a los fans de estos géneros.

7/10
Gabriel Pastor Sánchez (NECROMANCE #04/16)

Now and then you find bands which have been totaly unnoticed by you until now. That is the way it went for me and Fausttophel from the Ukraine. They were already founded in 1999 but their debut album was released just in 2013. Unfortunately, the band history ist written in Cyrillic and not available for me but it seems there had been two deaths in the past causing a temporarily standstill of the band. However, now the guys offer "Sancta Simplicitas". Sinisterly, the music box in the intro resounds. The morbid scenario is accompanied by Ukrainian / Russian announcements. Sadly, I don't understand the text but it seems to work as a pretty sinister introduction. In the further course of the plate the guys mix black metallic guitar compositions with partially growly vocals in some titles and sections but it is mostly nagged classically. The accent of the language is a great aspect here. The Keyboard accompaniment has been well used for support and is not permanent in the foreground, except for some specific passages. Hereby, the folk-like mood is created. The tempo changes within the tracks are kept loose and varied. Added are harmonious solos which blend seamlessly without appearing contrived. In "God's Place Is On The Cross" the death metal aspect of the men breaks through completely. A truly wonderful banging, short and crispy and without taking prisoners. In "The Whirl Ends Where It Began" the about seven minutes keyboard atmosphere is a bit too lengthy and redundant for me, however. With the last track, a cover song, the Ukrainian band pays tribute to Edge Of Sanity. However, for my taste the voice could have been a bit punchier here. The recommendations represent a good insight into the versatility of the music. 
Conclusion: 
Powerful and formidable melodic black metal has been captured here. The guys have really great ideas and enjoy playing enormously. If your not hostile to a successful mixture of traditional and melodic Black Metal with death metal and slightly ambient-sprinklings, you should definitely listen to this disc. A great variety in the monotony of many publications.
Recommendations: The World, Sick Earth, Lunar Onlooker.

8,5/10
Blacky (Metal Only)

Fausttophel is a Ukrainian symphonic black metal band and this ‘…Sancta Simplicitas…’ is their second full-length album to date. Their debut ‘Thirst Of Oblivion’ was severely lacking in originality and therefore was not quite enjoyable. On ‘…Sancta Simplicitas…’ the band have ditched their most obvious copied elements and opted for a more individual approach, which works infinitely better. Still, this is symphonic black metal at heart and soul and therefore their influence still shine through. But with the addition of death and thrash metal riffing it all sounds not too saccharine. I’m glad that Fausttophel has stopped trying too hard to be an exact copy of their heroes, it makes for a far more enjoyable album.

70/100
Roel de Haan (Lords Of Metal)

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