ANZV: ‘KUR’ Album and ‘Shamash’ Single Invoke Mesopotamian Death Ritual Themes

Portuguese extreme metal act ANZV is set to release their second full-length album, ‘KUR,’ on May 30, 2025, through Edged Circle Productions. Building on the momentum of their 2022 debut ‘Gallas,’ this new release draws heavily from ancient Sumerian mythology to explore themes of death, transcendence, and cosmic ritual. Introduced through the lead single ‘Shamash,’ ‘KUR’ positions ANZV at the forefront of conceptually rigorous metal acts emerging from the Iberian Peninsula.

Founded in Porto in 2019, ANZV entered the underground metal scene with a self-released debut, ‘Gallas,’ later reissued in 2023. Characterised by their partial anonymity, the members operate under initials rather than names, reinforcing the group’s abstract identity and deliberate withdrawal from personal branding. The band’s thematic focus—centered around ritual, mysticism, and ancient cosmology—has served to differentiate them within Portugal’s metal circuit, which remains largely shaped by gothic and blackened traditions. Their partnership with Edged Circle Productions situates ANZV in an expanding network of independent European labels that support high-concept metal acts beyond the commercial mainstream.

Album Overview: ‘KUR’

ANZV’s sophomore album, ‘KUR,’ presents a cohesive conceptual framework rooted in Sumerian cosmology. Named after the ancient Mesopotamian underworld, ‘KUR’ extends the group’s preoccupation with mythological structures while refining the compositional intensity introduced in their debut. The album comprises a sequence of tracks titled after specific figures and sites from Mesopotamian religion—such as ‘Ekur,’ ‘Lamashtu,’ and ‘Shamash’—each contributing to a broader narrative architecture that revolves around death, descent, and transcendence.

The record will be released in digital, vinyl, cassette, and CD formats, with distribution managed by Edged Circle Productions. The label’s promotional material describes ‘KUR’ as “an abyssal descent through ancient rites and mythic forces,” a characterization that aligns with the band’s documented interest in historical ritualism and esoteric symbology. Unlike many concept albums that merely suggest thematic unity, ‘KUR’ is constructed as a full-length work where subject matter, arrangement, and atmosphere are treated as interdependent.

The album departs from improvisational structures, favoring deliberate arrangement and compositional restraint. Within the framework of black and death metal, it avoids ornamental excess, instead relying on repetition, tonal density, and measured layering. Each track is shaped with structural precision, reinforcing the thematic order at the core of the record’s mythological foundation.

Lyrical Themes and Mythological Referencing

The lyrical content of ‘KUR’ is anchored in Mesopotamian religious and cosmological texts, with particular emphasis on underworld mythologies and divine hierarchies. Drawing from Sumerian sources, ANZV constructs a mythopoetic landscape populated by ancient deities such as Shamash, the solar god associated with justice and illumination, and Lamashtu, a demoness linked to death and disease. Each track on the album functions as a standalone invocation, while collectively contributing to a conceptual framework grounded in descent and confrontation with metaphysical forces.

Rather than relying on familiar religious or occult motifs common in extreme metal, ANZV’s adoption of Mesopotamian references distinguishes the project within a field often dominated by Norse, biblical, or Lovecraftian imagery. The band’s engagement with this material is not superficial. According to statements accompanying the release, the mythology is treated with “reverence,” suggesting an approach that prioritizes fidelity to source material over symbolic appropriation.

This thematic decision further positions ‘KUR’ within a growing body of metal works that draw upon historical, often pre-classical, narratives as vehicles for philosophical or existential inquiry. The lyrical voice throughout the album appears less interested in narrative clarity than in evoking an archaic atmosphere through fragmentary, incantatory phrasing—creating a sense of ritual performance rather than direct storytelling.

Musical Structure and Sonic Characteristics

‘KUR’ advances ANZV’s sonic architecture with a deliberate fusion of black and death metal components, structured to reflect the thematic gravity of its mythological subjects. The production is dense, favoring layered textures over raw minimalism. Guitars alternate between tremolo-driven dissonance and ritualistic chime motifs, while the rhythm section maintains a mechanical precision that anchors the album’s otherwise volatile tonal palette.

The album avoids genre tropes such as overextended soloing or excessive tempo shifts, opting instead for compact compositions that emphasize repetition and atmospheric development. Vocals are split between guttural roars and high-register shrieks, often presented in overlapping layers to simulate a choral effect. This duality—mirroring the dialectic between illumination and obscurity present in the album’s mythology—contributes to an immersive auditory environment.

Critics have noted an increased clarity in ANZV’s arrangements compared to their debut ‘Gallas,’ particularly in the separation of instrumental layers and the pacing of transitions. Where ‘Gallas’ often veered toward saturation, ‘KUR’ demonstrates restraint without sacrificing intensity. The band’s use of dissonance remains central, yet it is now balanced with tonal motifs that suggest thematic continuity across tracks, such as recurring percussive patterns or melodic phrasings resembling ritual cadences.

Overall, the album’s musical direction supports its conceptual underpinnings: each track functions not only as a sonic assault but as a structural component in a tightly controlled ritual framework.

The Lead Single: ‘Shamash’

Released in advance of the full album, ‘Shamash’ serves as ‘KUR’’s introductory statement, both musically and conceptually. Named after the Sumerian solar deity associated with truth, law, and divination, the track is structured to reflect the dual nature of its namesake—invoking both revelation and judgment. It opens with layered ambient textures and chime-like guitar patterns, establishing an atmosphere that reviewers have described as “ceremonial” and “deliberately hypnotic.”

As the composition progresses, it introduces distorted rhythm guitar, blast beats, and vocal layering that culminate in a convergence of dissonance and clarity. Midway through the piece, harmonic shifts and subtle melodic insertions evoke a form of sonic illumination, aligning with the track’s thematic anchoring in the symbolism of light. This progression from tonal restraint to full-spectrum intensity appears deliberately staged to parallel the narrative arc of divine descent and judgment.

The single was accompanied by an official video, premiered through Invisible Oranges on April 4, 2025. Visually, the video features abstract ritual imagery, including hooded figures, monochromatic lighting, and a stark spatial setting devoid of concrete narrative. The direction emphasizes void-like environments and symbolic gesture, reinforcing the band’s non-personal presentation and thematic immersion. According to the label, the video aims to depict “the descent into the abyss,” an interpretation consistent with the lyrical and musical content.

Critics have characterized ‘Shamash’ as a representative distillation of ‘KUR’’s stylistic ambitions, noting its balance of aggression and atmosphere, and its capacity to function independently as well as within the context of the album’s full narrative.

Video Direction and Symbolism

The visual representation of ‘Shamash’ complements ANZV’s broader aesthetic direction, adhering to a style that prioritises abstraction, ritual formalism, and symbolic minimalism. Directed in-house and released via Invisible Oranges, the video avoids narrative exposition in favour of stark, slow-moving imagery—an approach consistent with the band’s emphasis on esotericism and anonymity.

The setting is marked by high-contrast lighting and void-like backdrops, in which silhouetted figures, likely members of the group, are seen performing repetitive gestures under narrow beams of light. The absence of identifiable features or settings serves to detach the viewer from temporal or geographic context, reinforcing the timeless and otherworldly nature of the album’s mythological themes.

Light and shadow operate as visual analogues to the lyrical subject of Shamash, the solar deity. Rather than depicting the god directly, the video constructs a symbolic framework in which light is intermittently revealed and obscured, suggesting judgment, revelation, and the transitory nature of truth. The interplay between visual restraint and sonic intensity mirrors the structure of the song itself, which similarly shifts between meditative ambiance and percussive force.

The aesthetic choices—monochrome palette, slow motion, and absence of human identifiers—are consistent with established conventions in ritual-themed extreme metal visual production, but here they are deployed with a precision that suggests a cohesive conceptual strategy rather than stylistic mimicry. The result is a visual artifact that reinforces the album’s philosophical orientation without diluting its interpretive ambiguity.

Statements from the Band and Label

Direct communication from ANZV remains limited, in keeping with the group’s cultivated anonymity and minimal public presence. However, statements issued through Edged Circle Productions in support of ‘KUR’ and ‘Shamash’ provide insight into the conceptual priorities shaping the release. The label describes the album as a “plunge into the abyss, where ancient rites and mythic forces collide,” framing ‘KUR’ as an immersive work that extends beyond conventional album structure into the realm of ritualized narrative.

In promotional materials, the band identifies the thematic arc of ‘KUR’ as one of “despair, awe, pride, and submission”—an emotional and philosophical spectrum aligned with the descent myth common to Sumerian cosmology. The figure of Shamash, and by extension the album’s guiding principle, is interpreted as both retributive and revelatory—a being who “rises to the highest point to rule, then descends into the abyss to judge.” This cyclical descent and return forms the structural logic of the album, according to the band’s written material.

Though no formal interviews have been published to date, the inclusion of these thematic directives within official statements suggests that ANZV views ‘KUR’ as a complete work—one in which visual, lyrical, and musical components function as integrated channels for a single philosophical inquiry. The decision to withhold personal identifiers and commentary further supports the group’s intention to shift attention away from authorial persona and toward the interpretive content of the material itself.

Critical and Peer Reception

Early reception of ‘KUR’ and its lead single ‘Shamash’ has been largely positive within the international metal press, particularly among platforms focused on black, death, and experimental subgenres. Publications such as Invisible Oranges and No Clean Singing have highlighted the release for its conceptual clarity, sonic depth, and restrained yet immersive presentation.

Early responses to ANZV’s ‘Shamash’ have highlighted the band’s ability to evoke a ritualistic atmosphere through their music. No Clean Singing described the track as creating “daunting esoteric grandeur,” noting its dark and expansive nature that looms while also seductively ringing like sorcerous chimes. The publication further commented on the song’s piercing, chime-like quality that persists and grows more disturbed, portraying splendor and thriving as it elevates into higher octaves.

Reviewers have remarked on ANZV’s rejection of overused thematic material, citing the band’s engagement with Mesopotamian mythology as a measured and informed alternative to more conventional sources. This distinction has drawn comparisons to acts that prioritize historically rooted narrative over genre tropes, placing ANZV within a growing subset of concept-driven extreme metal projects that blend scholarly interest with genre conventions.

Peers within the Portuguese underground have also responded with interest, viewing ‘KUR’ as a potential catalyst for broader recognition of the country’s newer extreme acts. While previous generations of Portuguese metal were defined by gothic and symphonic stylings, ANZV’s methodical, esoteric approach signals a shift toward academically structured and visually disciplined forms of expression.

Scene National Positioning

ANZV’s emergence contributes to the growing visibility of Portugal’s extreme metal scene, which in recent years has expanded beyond its historical association with gothic metal, exemplified by internationally recognised acts such as Moonspell. Based in Porto, the group represents a newer wave of artists engaging with black and death metal not merely through sonic intensity but via conceptual discipline and aesthetic restraint.

Within the national context, ANZV stands apart for its rejection of both local folklore and European occult conventions in favour of a broader mythological framework rooted in Sumerian theology. This approach aligns them with a contemporary international trend among metal acts that draw on non-Western religious and philosophical systems to explore existential or historical themes. Though not based in Portugal, the Luso-Colombian project Aemaerth—whose work in technical death metal integrates orchestral arrangements with Mesopotamian myth—demonstrates a similar thematic orientation. In contrast to peers such as Gaerea, who emphasize emotional introspection and anonymity within black metal, ANZV’s specificity and narrative cohesion present a more historically grounded engagement with mythological material.

The band’s association with Edged Circle Productions, a Norway-based label with a catalogue of European underground metal, further situates ANZV within a wider continental infrastructure that supports high-concept, independently produced releases. This partnership enables greater distribution and access to critical networks outside the Lusophone market, enhancing their potential reach and reinforcing the position of Portuguese metal within the broader European scene.

Locally, ANZV’s rise is viewed as a contribution to a diversifying cultural landscape in Portuguese heavy music—one that increasingly reflects not only stylistic pluralism but also a willingness to address deeper historical and mythological narratives through disciplined composition and cohesive audiovisual strategy.

Mesopotamian Symbolism in Metal

The decision to structure ‘KUR’ around Mesopotamian mythology positions ANZV within a specific lineage of extreme metal artists who incorporate historical cosmologies to shape thematic and aesthetic frameworks. While references to Norse, Christian, or Greco-Roman systems remain prevalent in black and death metal, the invocation of Sumerian theology—particularly the underworld concept of ‘Kur’ and deities such as Shamash, Lamashtu, and Anzû—represents a deliberate turn toward less commonly explored mythological sources.

In Sumerian tradition, ‘Kur’ refers to both a geographical and metaphysical space: an underworld realm of silence, exile, and judgment. The narrative arc of descent into ‘Kur’—as seen in the myth of Inanna—is among the earliest recorded religious texts and establishes a precedent for death-rebirth cycles later echoed in Abrahamic and classical traditions. By referencing Kur directly, ANZV aligns the album with one of the foundational stories of human spiritual inquiry, bypassing later interpretations in favour of a primary cosmological structure.

The band’s name, derived from the mythic figure Anzû—a storm demon or lion-headed eagle that defies divine order—further supports this alignment. Rather than adopting the name as mere symbolism, ANZV appears to embed it into their conceptual identity, reflecting themes of defiance, divine conflict, and cosmic judgment.

Bands such as Nile and Melechesh have also engaged with ancient Near Eastern religious systems, often incorporating regional or political perspectives. ANZV’s approach contrasts in its absence of cultural commentary or reinterpretation. ‘KUR’ treats mythology as a closed metaphysical system, conveyed through composition and form rather than through explicit narrative.

This interpretive method situates ANZV’s work at the intersection of music, theology, and historical imagination—suggesting a form of conceptual engagement that prioritizes internal coherence and textual fidelity over allegory or critique.

Conclusion

With ‘KUR,’ ANZV delivers a thematically unified and compositionally focused work that extends the possibilities of extreme metal beyond sonic aggression into the realm of structured mythological expression. Anchored in Mesopotamian cosmology and supported by a restrained yet immersive audiovisual presentation, the album underscores the potential of historically grounded narratives within contemporary metal production.

The advance release of ‘Shamash’ demonstrates the group’s capacity to translate complex religious symbolism into accessible yet layered musical forms, earning attention from critics and reinforcing their standing within both national and international scenes. While maintaining anonymity and aesthetic discipline, ANZV has succeeded in aligning their work with a broader movement of concept-oriented metal acts who reject superficial thematics in favour of sustained historical inquiry.

In the context of Portugal’s heavy music culture, ‘KUR’ stands as a distinctive release—marked by its conceptual precision and alignment with international movements in mythologically oriented metal. More than a conventional entry in the genre, the album engages with ancient theological frameworks through disciplined structure and aesthetic control. ANZV thereby asserts itself not as a stylistic adherent, but as a practitioner of historically grounded, intentionally composed artistic work.

Have you followed ANZV’s journey or experienced their music live? Share your impressions, interpretations, and thoughts on how their work resonates with you—your insights help enrich the ongoing conversation.