The Peruvian reality most pigeonholed for all intents and purposes in funeral doom is the fruit of the inspiration of Christian Díaz Del Olmo, best known to fans for what he has done under the moniker Sepultus Est but who, it should not be forgotten, laid the groundwork previously with two other bands he led, Ayashinan and Serpentis Ensemble. Luna de los Muertos, Ayashinan’s debut demo, was released in 2009, and in that case Diaz headed a group of musicians with whom he offered a slowly lilting, keyboard-driven sound and a wheeze susceptible to improvement; although minimal and perfectible, the nearly forty minutes of music were suggestive of a fast-growing talent, despite the fact that he was already over 30 at the time. The following year’s release of The Martian Face under the name Serpentis Ensemble exhibited a noticeable improvement, probably also due to Christian’s ability to do everything himself, except availing himself of a session on drums: the sound of the keyboards had become much more enveloping and better defined, the vocals more appropriate while the guitar performed a task of mere accompaniment, avoiding the perfectible solo parts (played by others) heard with Ayashinan: a good test, which was followed in 2011 by a new demo, Offrande A La Mort, another convincing release founded on sorrowful and airy atmospheres. Having deemed these two experiences closed, except for re-releasing in 2016 the two demos in the split Feretrum Dismissum, the musician from Lima gives life to what will become his main project, namely Sepultus Est, releasing in 2012 a first full length entitled Apocalyptic Trumpets Act I, a work in which a consistent progress compared to what was heard previously is evident: the melodic structures are better defined by more effective and deep keyboards, as well as the use of vocals with the support of a sober and effective female vocalist as it should always be. The sound is very melodic and atmospheric, anticipating what will be the trademark of the band led by the one who from then on assumes the nickname Lord Sepultus surrounded by a handful of good musicians. The four parts of Apocalyptic Trumpets flow very well and are enriched (or weighed down, depending on one’s point of view) in the GS Productions reissue by two other long tracks that are in my opinion superfluous, the corny El Atardecer Llora Sobre Mi Tumba and the superfluous recording of what I think is an exorcism, Anal A La Virgen María, a rather overused gimmick whose re-presentation in a musical guise we can only forgive to the brilliant Eno/Byrne duo in Jezebel Spirit.

2012 – Independent