YHWH — Khatha Review
YHWH is a International (Blegium/Thai) extreme metal entity. On 12 December 2025, YHWH released their second devastatingly punishing five-track EP, Khatha though WormHoleDeath Records.
YHWH, Khatha Review: This review will evaluate every aspect of the album, from its intricate musical composition to its production.
The First Three Sins, The Summary
The First Sin, The Strings/Keys: Tremolo-picked riffs claw relentlessly, welded to dissonant structures that refuse resolution. Black metal’s frostbitten cruelty is fused with death metal’s blunt-force weight. The Second Sin, The Vocals: elivers a dual-throated assault &— guttural growls rupture the low end while shrieks flay the surface — layered and cavernous. The Third Sin, The Percussions: Blast beats detonate without pause, double kicks hammer like industrial machinery, and the low-end impact crushes anything attempting to breathe beneath it.
The Fourth Sin, Overall Discussion
Hell On Earth
This three-piece devilmanship consists of composer Schem HaMephorash and her sister C. Bones, who together form the cryptic and enigmatic heart of the project. Guitarist S.M. Goat Ritual joined later in June 2024 to complete the lineup.
The instrumentals are crafted within a raw and underground aesthetic — infusing the sound and recording with an added layer of intensity. The entire production is delivered with precision; the composition and arrangements are flawlessly constructed. YHWH’s instrumentation and vocal style on Khatha are intentionally minimalistic, yet every component is pushed to its limits to heighten the ritualistic atmosphere.
Five Hymns, No Mercy
S.M. Goatritual’s guitar work features tremolo-picked riffs that dominate, frequently combined with death metal chugging and dissonant chord progressions. The tone is frigid and abrasive, engineered to wound rather than seduce — lacking warmth or polish, crafted to pierce the listener’s senses. Schem HaMephorash’s bass riffs follows closely, distorted and oppressive, reinforcing the guitar patterns to ensure the sound never thins. There is no escape route in the mix — only pressure.
Khatha‘s drums are unyielding, producing machine-like bursts that propel the faster hymns. The double kick delivers a dense, thumping low end that brings a death metal heaviness.
Bone’s vocals are fierce, featuring guttural growls intertwined with piercing shrieks — a dual attack that embodies both death metal and black metal traditions. Vocals are often doubled to create a cavernous roar that feels less like expression and more like invocation.
Production: Stripped to the Bone
Khatha is a raw, punishing blackened death metal experience. Rigidly proportioned, purposefully rough, unpolished to retain ceremonial savagery; captured with skeletal accuracy. The mix is harsh by design, stripped of excess, sharpened only for impact.
The atmosphere of Khatha is both ritualistic and stark, stripping any embellishments to present listeners with unfiltered intensity. The mixing prioritizes clarity of aggression — guitars cut like rusted blades, drums batter with mechanical indifference, and vocals sit raw and exposed in the mix. The clarity here is not for beauty — it is for impact.
Each hymn embodies confrontation — take Hell on Earth (The Root of All Evil), as an example, which fuses extreme metal rage with lyrics that challenge speciesism and factory farming. Khatha thrives on duality: ‘Hell on Earth’ suffocates with prolonged doom invocation, while ‘Deathrash’
detonates as a hostile scar. Confrontation here is both torment prolonged and incision sudden.
The Cryptic Triad
This three-piece devilmanship consists of composer Schem HaMephorash and her sister C. Bones, who together form the cryptic and enigmatic heart of the project. Guitarist S.M. Goat Ritual joined later in June 2024 to complete the lineup.
The instrumentals are crafted within a raw and underground aesthetic — infusing the sound and recording with an added layer of intensity. The entire production is delivered with precision; the composition and arrangements are flawlessly constructed. YHWH’s instrumentation and vocal style on Khatha are intentionally minimalistic, yet every component is pushed to its limits to heighten the ritualistic atmosphere.
Instrumentium of Desecration
S.M. Goatritual’s guitar work features tremolo-picked riffs that dominate, frequently combined with death metal chugging and dissonant chord progressions. The tone is frigid and abrasive, engineered to wound rather than seduce — lacking warmth or polish, crafted to pierce the listener’s senses. Schem HaMephorash’s bass riffs follows closely, distorted and oppressive, reinforcing the guitar patterns to ensure the sound never thins. There is no escape route in the mix — only pressure.
Khatha‘s drums are unyielding, producing machine-like bursts that propel the faster hymns. The double kick delivers a dense, thumping low end that brings a death metal heaviness.
Bone’s vocals are fierce, featuring guttural growls intertwined with piercing shrieks — a dual attack that embodies both death metal and black metal traditions. Vocals are often doubled to create a cavernous roar that feels less like expression and more like invocation.
Profane Benediction
Overall, Khatha is not entertainment but manifestation — grim, savage fruit of art, profane scripture hurled at a decaying world, demanding immersion and submission.
In its ugliness and ferocity, Khatha transcends the idea of an EP. It becomes a weapon — crude, deliberate, and effective. For those who require comfort, melody, or mercy, this release offers nothing. For those who seek confrontation, punishment, and absolute refusal, Khatha delivers in full.
Closing: Fading into the Darkness
The EP ends with Krasue, dissolving into darkness without resolution or forgiveness. Credit is due to WormHoleDeath Records for unleashing this filth into the world, and granting us the honour of reviewing YHWH‘s latest EP — a weaponised rite, a scar that festers long after the final note dissolves into silence.
The Fifth Sin, The Memorabilia
For me, Khatha is unforgettable precisely because it does not soften itself. Its minimalism strips away distraction, leaving only aggression, intent, and ritual repetition. Every hymn scars in its own way. It is memorable not because it comforts, but because it confronts — a release that etches itself into memory through its starkness and ferocity. This is not a record that grows on you. It brandsyou.
The Sixth Sin, The Artwork
The artwork is a sigil, a ceremonial seal binding sound to spirit. Its jagged geometry wounds like ritual blades, its stark palette strips away mercy, its central placement dominates like an altar. This is not decoration; it is ritual architecture.
The Seventh Sin, Disrelish
If the EP has a weakness, it is the opening pig squall — harmless enough through speakers, but on headphones it verges on distraction. Even so, this irritation feels almost appropriate, another act of hostility in an already unforgiving rite. Yet, this minor blemish should not deter you from embracing the release in its entirety — after that squall, hell is fully unleashed.
The Hymns
01. Hell on Earth (The Root of all Evil)
02. Murderer of Illusions
03. Deathrash
04. Night Terror
05. Krasue
YHWH
C. Bones — All Instruments, Vocals
Scherm HaMephorash – Bass
S.M. Goatritual – Guitars