The ‘Human Ability to Endure’ – A review of the album “Mochari” by Machukha5 min read
Hitting stores in 2024, the debut record for Berlin’s Machukha (Ukrainian – Stepmother), Mochari (Mothers) announced the arrival of a new and ambitious music group. Using the darkness of black-metal and aggressiveness of hardcore, the band produces a unique and emotional piece of art, all while singing in frontwoman Natalya’s native Ukrainian. With a potential new album projected for this year, what was this band able to accomplish with its first release?
Debut albums can be tricky. Many times, they are, at best, uneven affairs that showcase a band’s potential rather than being a fully formed and concise artistic statements. However, some debuts both capture the sound a group is pursuing while also conveying the excitement of artists trying to ‘make it.’ These instances can produce some of the finest albums of their generation. Pearl Jam’s Ten, Interpol’s Turn on the Bright Lights, and Nas’ Illmatic are all examples of phenomenal debuts. While not reaching the commercial success of those projects, Machukha’s Mochari is nevertheless a debut album that matches their musicality and execution.
While being based in Berlin, frontwoman Natalya sings exclusively in Ukrainian. As their biography states on their website, the group first performed live in 2023 and has played a number of festivals and opened for a number of bands. This included opening for black metal band, and underground darlings, Agriculture in 2025. With live shows that have drawn praise for their intensity and showmanship, the band appears to be gaining more attention from crowds and critics.
This increased exposure serves as an excellent launching point for their anticipated 2026 release. Though not officially announced, the band has made an informal statement on one of their YouTube videos that hints of a release this year. This then is an excellent time to look back on the debut album that launched this group into the underground metal scene.
Eclectic Yet Focused
Despite only having in at 7 songs and clocking in at 38 minutes, the Mochari is still able to present a fully fleshed out and ambitious sound. Combining elements of black metal, hardcore punk, and post-metal, the album’s eccentricities all serve to craft a unique and engaging sound.
The musicianship on display is undeniable as each instrument works to craft and enhance each individual track. Alongside Natalya’s vocals, Bláthin’s and Ilya Thainovich’s guitars provide both frenetic and intense energy but also the space for more atmospheric and sparse moments. The rhythm section also shines. M. Schütte’s drumming is not only technically proficient, but his musicality adds an additional layer to the songs. Vrohdo’s bass gives the songs depth and anchors them throughout their twists and turns.
Of course, with any project that takes inspiration from these genres, there are plenty of instances of sheer, unbridled aggression. From the onset, the opening track Trymatys’ (the album’s songs are titled with English transliterations of Ukrainian), opens with the intense screams of Natalya backed by tremolo-picking guitars and blast beat drumming. Throughout the album, these characteristics are prominent. Tracks such as Bezpliddya, Kvit, and Dykhay all alternate between faced-paced aggression and heavy, hardcore-inspired sections.
However, where the album stands out is in the softer and more atmospheric moments. Songs such as the aforementioned Dykhay, Tsyu tayemnytsyu duzhe vazhko berehty, and Nezrushnist’ incorporate quiet and rather sparse moments. Often, simple melodies or ambient background noise are all that can be heard. The avant garde song Inodi padaye snih tak lahidno krizʹ sosnovu khvoyu takes this to the extreme – consisting largely of a simple arpeggiating guitar line and the occasional percussive sound. The star of this track is, undoubtedly, Natalya’s vocals. Ranging from furious shouts of rage to almost frightened whimpers, she uses her voice to convey and evoke truly heartfelt emotions.
Lyrics
While the instrumentation and songwriting is undoubtedly a highlight, the lyrics also play a crucial role. The group has been open about the meaning behind the project. On their website, they describe the album as, “[evoking] resilience and the human ability to endure atrocities… Natalya uses her voice as an outlet for genuine anguish.”
This is expressed explicitly in instances such as the opening lyrics to Bezpliddya, “Ти сам штовхнув мене у пекло Дивись тепер як я горю (You pushed me into hell Now witness how I burn).” Also, in Inodi padaye… “але вона красива і дивовижна ззовні, хоча мертвіша за тишу всередині (yet it’s beautiful and wondrous from the outside, though deader than the silence within).”
Combined with this anger, is introspection and a desire to push through the pain. This again is displayed, on inodi padaye…, “Збудувати таку загадку-лабіринт, яку навіть всесильній смерті не розгадати (To construct such an enigmatic labyrinth that not even omnipotent death can unravel),” and Tsyu tayemnytsyu… “Коли змішавши кров із землею Спочину (After combining blood with earth, Then I will have my rest).”
An Ambitious Debut
Despite the shifts in tones, sounds, and atmospheres, Mochari effectively maintains a sense of coherence. For one, each track seamlessly blends into the next. Secondly, the band does an excellent job of having the songs incorporate various sounds and themes, rather than having dedicated songs for single emotions. While the album does lose steam after the emotional high of Tsyu tayemnytsyu…, the two proceeding, and final, tracks Kvit and Nezrushnist’ are still enjoyable and effectively bring the theme of the project to a close.
The artistry is further enhanced by an ambitious music video (NSFW warning) that was released and encompasses the tracks Bezpliddya, Inodi padaye…, and Tsyu tayemnytsyu… The nearly 18-minute-long film features obscured individuals in a violent dog pile being viciously torn from each other; a figure lamenting in a boggy marshland; and a masked figure finally ripping away their skin. The film was shot by guitarist Bláthin and the costumes, based on traditional Ukrainian garb, were designed by vocalist Natalya. With a performance from Croatian visualist “the Ljilja,” the visuals add to the anger, tension, and release of the three songs.
It can be difficult to find the words to effectively convey the emotions associated with trauma. The sense of anger, despair, and loneliness and alienation can be hard to convey to those who have not suffered to such an extent. Thankfully projects like this exist that can provide both a release and a window for the listener. Anyone with an interest in metal or extreme music should keep an eye on this ambitious group.
Key Tracks:
Bezpliddya
Inodi padaye snih tak lahidno krizʹ sosnovu khvoyu
Tsyu tayemnytsyu duzhe vazhko berehty
Listen here: https://open.spotify.com/album/2jZ12nW9LhyVo3y2gHGiKz?si=xyfyaCOZTuq0xdkqBOX7qQ
