Album Review – Forlet Sires / Holy (2019)

The “abandoned forefathers” of Switzerland continue their explorations of uneasy, heavy music with their excellent sophomore opus of Atmospheric Black and Doom Metal.

Brought into being in late 2013 in Winterthur, a Swiss city northeast of Zurich, near the German border, Atmospheric Black/Doom Metal unity Forlet Sires might have started out as a conventional Atmospheric Black Metal project, but soon the band started to incorporate influences from several distinct styles such as classic Black Metal, Doom Metal and even Progressive Metal, consolidating a new approach on the genre without any boundaries while keeping a grief aspect in every tone. Now in 2019 the band comprised of Kilian Schmid on vocals, Tobias Kalt and Sebastian Vogt on the guitars, Matthias Menzi on bass and Daniele Brumana on drums returns in full force with Holy, the follow-up to their 2016 debut album Journey Towards Ruin and a lesson in atmospheric and utterly dark music.

Recorded by Forlet Sires at Gaswerk Winterthur with assistance from Pascal Pendl and George Necola, mixed by Billy Anderson, mastered by Justin Weis and featuring a stylish artwork by Adam Burke that perfectly depicts the album’s sense of death, abandonment and hopelessness, Holy presents an evolved version of Forlet Sires (by the way, an old English expression that roughly translates to “abandoned forefathers”, expressing how mankind has lost its way in various aspects) continuing their explorations of uneasy, heavy music, creating an elusive net of insecurity and surpassing music barriers while following the band into their sonic abyss. These words might sound a bit too poetic for some of you, but as soon as you start listening to Holy I’m sure you’ll realize no words can effectively describe the dark and atmospheric poetry flowing from Forlet Sires’ music.

Melancholy permeates the air from the very first second in the opening track Carnage and Candor, with Tobias and Sebastian taking the lead with their somber guitar lines, suddenly exploding into visceral Atmospheric Doom Metal for our total delight with Kilian roaring like an infernal beast. Moreover, this multi-layered aria brings forward tons of progressiveness and obscurity, getting more and more infuriated as the music progresses with Daniele adding a touch of evil with his Black Metal blast beats, ending in a truly grim and vile manner just the way we like it in Doom Metal. Then in Where Nothing Shall Thrive we’re treated to a classic display of Atmospheric Black and Doom Metal that leans towards the most vicious form of Blackened Doom you can think of, all enhanced by the physiological and somber lyrics vociferated by Kilian (“You’re alive, alone. You’re afraid, you tried. Devils are in your mind, lining you up to die. Fade away, longing for more. Feel the void, mourn the waste of life. Youth was lost, faster than you thought. Midlife has passed, all you did was dreaming. Gently conditioned, ambition repressed by degrees.”). And to make things even better, the stringed trio Tobias, Sebastian and Matthias exhale heaviness and evil from their axes throughout the entire song, not to mention the lesson in intricacy and darkness given by Daniele on drums.

Dead Skin, a demonic hybrid of Progressive Metal and Blackened Doom by the quintet, sounds and feels as wicked as it can be,  with Kilian leading his horde with his demented growls and gnarls while the sound of guitars penetrates deep inside your skin and Matthias delivers tons of groove from his bass, resulting in a full-bodied composition that will please all fans of the genre without a shadow of a doubt. And lastly, the thunderous bass by Matthias together with Daniele’s drums generate a beyond aggressive atmosphere in We Roam This World Alone, the epitome of Atmospheric Doom Metal showcasing Stygian words that carry a message of anguish and grief growled by Kilian (“Cold sorrow claims all hope. Live on, for reasons unknown. Falling. Fallen. While I’m bleeding unappealing strands of purulence, I am feeding off a cyst on this dry cunt.”). Hence, keep banging your head nonstop to Tobias’ and Sebastian’s crushing riffage until the song’s climatic finale, overflowing desperation and evil.

It’s quite impressive how Forlet Sires are capable of crafting lengthy, complex and sorrowful compositions without sounding tiresome or repetitive; quite the contrary, each one of the four songs found in Holy, available in full on Spotify, will keep you mesmerized, dragging you into a downward spiral of darkness together with the band, which in the end means they were more than successful in their aforementioned duty of generating fresh and at the same time mournful music. If you want to show your true support to this talented Swiss army of doom, go check what they’re up to on Facebook and grab your copy of Holy from their BandCamp page, from Apple Music or from Amazon, preparing your blackened mind and soul for the most desolating and melancholic moments in life.

Best moments of the album: Where Nothing Shall Thrive and We Roam This World Alone.

Worst moments of the album: None.

Released in 2019 Cruel Bones

Track listing
1. Carnage and Candor 12:37
2. Where Nothing Shall Thrive 7:45
3. Dead Skin 8:59
4. We Roam This World Alone 11:23

Band members
Kilian Schmid – vocals
Tobias Kalt – guitars
Sebastian Vogt – guitars
Matthias Menzi – bass
Daniele Brumana – drums

Album Review – Mavradoxa / Nightmarrow (2019)

The final breath of dark and heavy sounds by a now extinct metal unity will take you on a journey of isolation and hopelessness through the realms of Atmospheric Black Metal.

Let me begin this review by saying that I was absolutely shocked when I read earlier this year that the beyond promising and talented Rochester, New York-based Atmospheric Black Metal band Mavradoxa was calling it quits after only a few years of existence. Fortunately for all of us, fans of dark and atmospheric music, the band left us with three excellent full-length albums, those being their 2016 debut opus Sojourners, their fantastic 2017 release Lethean Lament, and more recently Nightmarrow, released earlier this year via Hypnotic Dirge Records. Although related to the tonal atmosphere and character of their previous albums, Nightmarrow sees the band developing and intensifying their song-writing ability, crafting simultaneously cohesive yet unpredictable songs with a progressive hue that is still rooted in Atmospheric Black Metal.

Engineered by Nicholas Alan at Subterranean Studios, mixed by Stephen Parker (Pillorian, Maestus), mastered by Justin Weis at Trakworx Recording, and featuring a stunning artwork by American artist Dylan Garrett Smith, Nightmarrow represents a meditation on the isolation and hopelessness of our age (particularly in the realm of the urban), and the consequences of technology and voracious consumption of resources. Mavradoxa’s founding duo Zachary Smith, also known as Nival, and Monica Finger, also known as Lux, together with guitarist Tyler Stasierowski (from The Highest Leviathan) and bassist Josh Mason (from Wandering Oak and Acrylazea), perfectly depict that feeling of solitude and desperation in Nightmarrow, positioning the unfortunately now defunct band as one of the most creative and interesting bands of the underground scene in the United States.

Featuring guest vocals by Matt Greenwood and an additional guitar solo by Nicholas Alan, the opening track Maple begins in full force with the razor-edged riffs by Zach and Tyler and the intricate beats by Monica generating a rumbling ambience perfect for Zach’s anguished roars, sounding as powerful and grim just the way we like it in Atmospheric Black Metal. Furthermore, the song’s progressive ending flows smoothly into the even darker musical voyage entitled The Carrion Shade, where Josh and Monica make the earth tremble with their respective instruments while the entire band darkly intones the song’s cryptic lyrics (“Black sun, black moon / In shadows, entombed / Flame, gold, & rust / slowly coalesced / in the pale of the / last winter sunset”). This is Progressive Black Metal at its finest showcasing all band members in absolute sync, therefore delivering a crushing wall of blackened sounds for our total delight, in special Zach and Tyler with their flammable guitars.

Matt Greenwood returns in the title-track Nightmarrow, where the music gets closer to what was offered to us in Lethean Lament, presenting more introspective and atmospheric sounds and passages. Zach sounds utterly enraged and acid on vocals, with Monica’s gentle clean vocals bringing more balance to this dense and bold feast of extreme music. Then an acoustic, ethereal bridge named Rustling Leaves soothes our souls and warms up our senses for Black Crystal Snowfall, featuring guest vocals by Swamp and sheer poetry flowing from its lyrics (“Ancestral whispers beckon us back / to a starless womb, to a time before / this place where all is languishing, / where all is ensnared by the grasp / of synthetic hands, becoming, / and ripping our bones from within”), also bringing forward elements from Blackened Doom added to their core atmospheric music. Monica’s steady beats and Zach’s and Tyler’s crisp riffs will undoubtedly embrace your soul from start to finish, reaching a climatic and piercing grand finale that gently morphs into a melancholic outro titled Umbra, where Zach and Tyler deliver a passionate performance with their acoustic guitars, concluding Nightmarrow on a high and pensive note.

If Nightmarrow, which by the way is available in full on YouTube and on Spotify, is indeed the last breath of Atmospheric Black Metal by Mavradoxa no one knows for sure. The band might decide to come back from their “retirement” one day to smash our senses again with their somber music, who knows? Until that day arrives (if it arrives,  of course), you can keep in touch with Zach and Monica on Facebook, and purchase your copy of Mavradoxa’s final journey through the realms of atmospheric and extreme music from the Hypnotic Dirge Records’ BandCamp page (or click HERE for all details about the band and where to buy their music), as well as from your regular retailers such as Apple Music, Amazon, CD Baby and Discogs. Having said that, it’s with a heavy heart that I finalize this review (or maybe I should call it a tribute), as heavy, ominous and splendorous as the music by the now extinct Mavradoxa. Thank you for your music, Zah and Monica, and I’m sure we’ll be hearing from you two again in a not-so-distant future.

Best moments of the album: The Carrion Shade and Nightmarrow.

Worst moments of the album: None.

Released in 2019 Hypnotic Dirge Records

Track listing
1. Maple 7:41
2. The Carrion Shade 9:25
3. Nightmarrow 9:34
4. Rustling Leaves 1:45
5. Black Crystal Snowfall 10:57
6. Umbra 3:40

Band members
Zachary Smith – vocals, electric and acoustic guitars
Monica Finger – drums, vocals
Tyler Stasierowski – electric guitars, 12-string acoustic guitar
Josh Mason – fretless bass guitar

Guest musicians
Matt Greenwood – guest vocals on “Maple” and “Nightmarrow”
Swamp – guest vocals on “Black Crystal Snowfall”
Nicholas Alan – additional lead guitar on “Maple”

Album Review – NONE / Damp Chill of Life (2019)

Accept hopelessness and succumb to the brand new opus by this unknown entity from the Pacific Northwest, picking apart your psyche and destroying your seasonal optimism with their oppressively bleak atmosphere.

Since their introduction in the spring of 2017, the enigmatic and anonymous Atmospheric/Depressive Black Metal unity NONE, from Portland, Oregon, in the Pacific Northwest, has crafted disturbing and emotionally devastating music that have garnered the attention of many listeners of the genre. After having released their self-titled debut opus on April 11, 2017, a thick shroud of piercing guitar interwoven with haunting synth and tortured vocals marching in despair towards an empty void, followed by Life Has Gone On Long Enough exactly one year later, on April 11, 2018, developing its tortured personality further, NONE returned this spring like clockwork, once again on April 11, with their brand new effort entitled Damp Chill of Life, weaving visionary soundscapes with first-class Depressive Black Metal, picking apart your psyche and destroying your seasonal optimism with their oppressively bleak atmosphere.

As atmospheric and cold as possible, the intro Fade embraces our souls in darkness and sets the tone for the chilling and piercing sounds from the 10-minute aria The Damp Chill of Life, with its Doom Metal beats, melodic riffs and an ethereal background generating the perfect ambience for NONE’s desperate, raspy gnarls. In other words, this is a lesson in Depressive Black Metal, alternating between serene passages and aggressive and dense riffs and vociferations, and flowing majestically until its melancholic ending. Cease also begins as mournful as a lonely morning in the woods, with the music exploding into the most Stygian form of Atmospheric Black Metal you can think of after four minutes of pure serenity, all enfolded by beautiful piano notes and anguished vocals, once again showcasing a touching finale and building an instant connection with You Did a Good Thing, where the uncanny duo delivers more of their delicate but at the same time crushing music. Furthermore, eerie voices exhale anger, despair and the feeling of loss, matching flawlessly with the music to give the listener a true and deep melancholic taste.

It’s Painless To Let Go brings forward another visceral hybrid of Depressive and Atmospheric Black Metal, this time infused with Doom Metal and Blackened Doom nuances, with the duo delivering somber guitar lines, creepy vocals and endless obscurity for our total delectation; whereas I Yearn to Feel is a semi-acoustic composition by NONE that will penetrate deep inside your mind and take you on a journey through vast, gelid lands, always led by crystalline piano notes and showcasing an enfolding aura. And the music remains bold and inspiring, reverberating into A Chance I’d Never Have, beginning with acoustic guitar lines and growing in intensity and fear until an avalanche of dark and crisp sounds invades our ears. In my humble opinion, this is perhaps NONE’s record with the most introspective vocal lines, and this song is the perfect depiction of that, with its second half offering the listener sheer melancholy and rage in the form of top-of-the-line contemporary Depressive Black Metal.

I’ve already had the utmost pleasure of reviewing all albums released by NONE since the inception of such idiosyncratic and mysterious entity, and I must tell you NONE definitely know how to transform all the solitude, wilderness and bitterly cold winds of the Pacific Northwest into the best Depressive and Atmospheric Black Metal one can ever imagine, showing how connected they are with their homeland. Hence, you should take a good listen at Damp Chill of Life in full on YouTube (especially on your loneliest days), and grab your copy of such bitterly cold album of extreme music from the Hypnotic Dirge Records’ BandCamp or webstore (by the way, you can find all special bundles of the album and all of NONE’s previous releases by clicking HERE), as well as from Apple Music, Amazon, CD Baby or Discogs. Simply succumb to the music by NONE, accept hopelessness, and finally realize you are no one, nowhere, and nothing.

Best moments of the album: The Damp Chill of Life and It’s Painless To Let Go.

Worst moments of the album: None.

Released in 2019 Hypnotic Dirge Records

Track listing
1. Fade 1:58
2. The Damp Chill of Life 10:30
3. Cease 8:50
4. You Did a Good Thing 5:08
5. It’s Painless To Let Go 5:56
6. I Yearn to Feel 3:45
7. A Chance I’d Never Have 7:57

Band members
Anonymous – vocals
Anonymous – all instruments

Album Review – Waldgeflüster / Mondscheinsonaten (2019)

The perfect soundtrack for those crystalline winter, woodland walks, courtesy of a Bavarian heathen horde armed with their Folk-drenched Black Metal.

There’s nowhere like Germany in winter time. The forests, the castles, the markets and the “gluhwein” (a type of mulled wine from German-speaking countries made from red wine with cinnamon and other herbs and spices), all offer solace for the wandering winter soul, as well as the music as you’ll be able to enjoy in Mondscheinsonaten, the brand new opus by Munich, Bavaria-based Black/Folk Metal horde Waldgeflüster. Both the name of the band (German for “forest whisperings”) and the album name (which translates as “moonlight sonatas”) already give you a very good idea of how powerful their new Folk-drenched Black Metal eyries are, melting the coldest of hearts, but it’s after hitting playing and immersing yourself in their music that you’ll finally understand what Bavarian heathen music is all about.

Formed in 2005 as a one-man project by vocalist and multi-instrumentalist Winterherz (whose full name is Jan van Berlekom), Waldgeflüster evolved into a full-bodied band in 2014 when guitarists Dominik Frank and Markus Frey, bassist Arvagr and drummer Thomas Birkmaier joined Winterherz in his quest for metal music for good, after having played with him either as studio or live musicians in previous albums and concerts. Building strongly on the band’s heathen foundations, melding clean and harsh vocals seamlessly and integrating folk instrumentation sparsely enough to augment (but never over-embellish the exceptional blackened metal grounding), Mondscheinsonaten is perfectly pitched to fuel those crystalline winter, woodland walks with its immensely infectious melodies and haunting refrains, with the entire band sounding extremely crisp, mature and cohesive throughout the album’s over 60 minutes of stylish and enfolding music.

Embraced by the sound of the howling wind, the melancholic, acoustic Einleitung (“introduction”) warms up our hearts for the dense and thrilling Der Steppenwolf (“the steppenwolf”), with Winterherz growling deeply while Domink and Markus extract sheer darkness from their guitars. In other words, this is a journey through the realms of Atmospheric Black Metal and Blackened Folk Metal where the music keeps growing in intensity as time goes by, while Thomas, armed with his classic blast beats, makes sure not a single space is left empty. Then get ready for over twelve minutes of a flawless fusion of folk and extreme music entitled Gripfelstürme (“summit storm”), where the band’s guitar duo once again hypnotizes us with their scorching riffs and with Winterherz being on fire with both his demonic gnarls and his obscure clean vocals, also showcasing ethereal passages and backing vocals that add a touch of finesse to the overall result.  And Waldgeflüster continue to invade our minds and captivate our senses with the atmospheric Rotgoldene Novemberwälder (“red golden November forests”), uniting the most visceral elements from classic Black Metal with the melancholy of Atmospheric Black Metal, with strident guitar lines, intricate beats and pitch black darkness flowing nonstop from this bitterly cold aria.

In Und der Wind… (“and the wind…”), a serene intro explodes into sheer aggression and rage in the form of old school Black Metal with Thomas sounding bestial on drums while Arvagr delivers thunder through his bass lines. Moreover, your soul will certainly get lost throughout the song’s ten detailed and dense minutes; whereas in Von Winterwäldern und Mondscheinsonaten (“from winter forests and moonshine nights”) we’re treated to more flammable sounds flowing from all instruments, in special from Dominik’s and Markus’ guitars, with Winterherz roaring with all his strength while the music brings hints of Progressive Black Metal to make things even more entertaining. Then closing the regular version of the album we have the delicate Staub in der Lunge (“dust in the lungs”), beginning in the most serene way possible with its clean vocals and acoustic guitars dictating the rhythm before the entire band comes ripping one last time with their refined Black Metal sonority. In addition, Dominik and Markus once again steal the spotlight with their piercing guitar lines for our total delight. And if you acquire the black/grey double vinyl version of the album, you’ll also get the acoustic version for Der Steppenwolf as a bonus track, a beautiful and very delicate alternate rendering of one of the best songs of the album.

In case you’re already prepared to get lost in the heathen lands of Bavaria together with Waldgeflüster, you can enjoy Mondscheinsonaten in full  on YouTube and on Spotify, and purchase your copy of the album from the band’s own BandCamp page or from the Nordvis Produktion’s official webstore (as well as from several other locations by clicking HERE). In a nutshell, as aforementioned the “moonlight sonatas” by this talented horde of musicians hailing from the stunning Bavaria are the perfect soundtrack for a cold and pensive winter walk, proving once again Folkened Black Metal is more than just a subgenre of extreme music, but an intrinsic part of the lifestyle and culture of the coldest parts of earth.

Best moments of the album: Der Steppenwolf and Gripfelstürme.

Worst moments of the album: None.

Released in 2019 Nordvis Produktion

Track listing
1. Einleitung 3:08
2. Der Steppenwolf 7:51
3. Gripfelstürme 12:21
4. Rotgoldene Novemberwälder 6:28
5. Und der Wind… 10:52
6. Von Winterwäldern und Mondscheinsonaten 9:51
7. Staub in der Lunge 5:48

Black/Grey Double Vinyl bonus track
8. Der Steppenwolf (Acoustic version) 7:57

Band members
Winterherz – vocals, mandolin, keyboards
Dominik Frank – guitars, backing vocals
Markus Frey – guitars
Arvagr – bass, backing vocals
Thomas Birkmaier – drums

Guest musician
Johannes Schermaul – cello

Album Review – Angra Demana / Triptych Of Decay EP (2019)

From the the boundless darkness of hell, here comes an infernal Black Metal duo armed to the teeth with their sulfurous and violent new EP.

Formed in 2007 in the city of Karaj, Iran, but currently located in Innsbruck, capital of Austria’s western state of Tyrol, Ambient/Atmospheric Black Metal entity Angra Demana is unleashing upon humanity a brand new EP entitled Triptych Of Decay, marking a new beginning for the band such is the difference between this EP and the band’s debut full-length Dissolve Into Nothingness, released in 2012. For instance, the meaning of Angara Damana (which by the way was the band’s past name) is based according to Zoroaster’s book, stating there are four levels of hell, with the first three levels, Malicious, Scurrility and Malfesant, being the upper levels and beneath them is the boundless darkness, which is Angara Damana or “Angra Demana”.

Lead singer Atöm Krieg and guitarist and bassist Radman, together with guest drummers Jocke Wallgren (Amon Amarth) and Fredrik Widigs (Marduk), turned Triptych of Decay into a handful of surprises with their creativity, rage and dexterity, successfully avoiding to enter the mined fields of eccentricity or elitist avantgarde. Featuring a Stygian artwork by Vojtěch Doubek (Moonroot), Triptych Of Decay will lacerate your damned soul without a single drop of mercy, elevating the name of Angra Demana to new heights in the underground Extreme Metal scene, and leaving you eager for more of their intricate and vile Black Metal.

Brutal and raw from the very first second, Rupture is a true headbanging massacre featuring the demolishing Jocke on drums, or in other words, it’s a classic Black Metal composition where Radman fires sulfurous riffs from his guitar, not to mention how Stygian the lyrics vociferated by Atöm are (“Darkness emerged – enlightenment of my sight / It granted me a world , far beyond this life / To the seclusion atmosphere of flawless awareness / In resistance, transgression against this mortal breed / In a world of forgotten deserted mankind / I start a battle between glory and corruption”). And Jocke once again lends his refined technique to the ominous Erode, where the riffs by Radman will cut your skin deep while Atöm continues to bark rabidly, sounding wicked and diabolical from start to finish. Furthermore, its background keys give it an extra touch of obscurity, with the bass lines by Radman dictating the song’s lugubrious rhythm. Then it’s time for Fredrik to kick some ass on drums in Extinction, and the final result is a berserk onrush of Black Metal sounds. Radman sounds infernal on the guitar, as well as Atöm with his deranged roars and grim vocalizations, effectively giving life to the song’s apocalyptic words (“And the sickness will be erased / When the last scream drift away in the eternal cosmos / Peace through extinction of flesh and blood / And finally all is drenched in thy wisdom”). In my humble opninion, Angra Demana couldn’t have ended the album in a more hellish manner.

In a nutshell, the music by Angra Demana is evil, frantic, chaotic, ritualistic and sulfurous, exactly how we expect a good Black Metal band to sound, and Triptych Of Decay is the perfect depiction of their obscurity. With that said, let’s show our support to such distinct underground duo by following them on Facebook, and especially by purchasing their brand new EP directly from their BandCamp page, keeping the flame of devilish and atmospheric Black Metal burning bright for centuries to come, it doesn’t matter if it’s in Iran, in Austria or in any other part of our decaying world.

Best moments of the album: Extinction.

Worst moments of the album: None.

Released in 2019 Independent

Track listing
1. Rupture 7:06
2. Erode 5:55
3. Extinction 6:05

Band members
Atöm Krieg – vocals
Radman – guitars, bass

Guest musicians
Jocke Wallgren – drums on “Rupture” and “Erode”
Fredrik Widigs – drums on “Extinction”

Album Review – Dreams of the Drowned / Dreams of the Drowned I (2019)

Take a deep dive into the first full-length album by an Avantgarde Black Metal one-man band from France, representing years of wandering in a necromantic attempt to keep the fire of some long-time missing aesthetics burning.

Created in 2007 in Évreux, a commune in and the capital of the department of Eure, in the French region of Normandy, by vocalist and multi-instrumentalist Camille (from Smohalla and Stagnant Waters), Avantgarde Black Metal one-man band Dreams of the Drowned is finally releasing its debut full-length album, entitled Dreams of the Drowned I, a decade after the band’s 2018 debut demo and the 2019 EP Thanatotropic Principle. A mixture of Experimental Black Metal and anarchist European witchcraft, the music by Dreams of the Drowned is highly inspired by bands such as Ved Buens Ende, Killing Joke, Emperor, Blind Idiot God and Amebix, with Dreams of the Drowned I representing years of wandering in a necromantic attempt to keep the fire of some long-time missing aesthetics burning, dealing with obscure topics such as atypical mental states, the feeling of loss, the forest, and the will to reclaim long-gone connections and power from within.

Ominous, atmospheric sounds emerge from the crypts of Hades in the instrumental piece Dream I, setting the tone for the hypnotizing Conciliabules, where Camille beings extracting Stygian notes from his guitar and bass while his vocal lines couldn’t sound more avantgarde and grim, resulting in a sonic onrush of modern and thrilling sounds and tones that will certainly disturb your peace of mind. The Revolutionary Dead is even more atmospheric and eccentric than its predecessor, with Camille going full Black Metal on vocals, roaring and gnarling deeply and rabidly, accompanied by the nonstop rumbling sounds coming from all instruments.

In Real and Sound, the main riff feels like a modern and obscure version of Judas Priest’s classic “You’ve Got Another Thing Comin’”, sounding very experimental and not as Black Metal as the other songs, all boosted by its wicked lyrics (“Longtime buried, my inner worlds without ends / Real enough, as long as I feed them / Reconstruct through invisible, through immanence / Where seems there’s none, I’ll grow as many senses as I can / Swarms of wounders? Crutches of faith / I’ll wash my time of those void-filled taints which prevents it to be / Let the wanderers see what they chose to see / The wounded put the S back to their realities”), whereas in Vieilles Pierres our talented multi-instrumentalist Camille slows things down a bit and sounds as mournful and eerie as possible, delivering another solid fusion of Atmospheric Black Metal with more avantgarde nuances and ending in an ethereal way before he comes crushing with the pulverizing Avantgarde Black Metal hymn Crawl of Concretes,  with the poetic words flowing from his vocals exhaling madness, despair and rage (“Oh precious trees and smells, priceless paths / Sceneries of inner legends… / I knew it alive, I knew it lived in these green brown darknesses / Felt it swarming with earth magick, felt it thrive in harmonies”).

In the somber Danced there isn’t a single second of peace or hope for our minds, it’s just an avalanche of darkened sounds blasted by Camille in the form of Avantgarde Black Metal infused with hints of progressiveness, with a classic Black Metal aura generated by the song’s unstoppable blast beats. Furthermore, madness just keeps growing in intensity until the song’s slashing finale, setting the stage for Dreams of the Drowned’s cover version for the song Midnattskogens Sorte Kjerne, originally released by Norwegian Avantgarde Black Metal entity Dodheimsgard in their 1995 album Kronet Til Konge (take a listen at the original version HERE). Featuring Norwegian musician Aldrahn (from The Deathtrip, Thorns and Urarv) on vocals, who’s by the way the song’s original inceptor, this is indeed a sensational version by Dreams of the Drowned, maintaining the song’s primeval core essence intact while at the same time adding his own devilish twist, with the guitars sounding truly mesmerizing. And in order to give a proper conclusion to the album and beautifully close the circle, Camille offers the phantasmagorical instrumental outro Dream III, showcasing strident guitars and low-tuned bass that will pierce your skull ruthlessly.

In summary, although Avantgarde Black Metal might not be considered an easy listen to the average fan of rock and metal music, Dreams of the Drowned I ends up being a recommended album for newcomers to the cryptic and eccentric sounds of the genre, partially thanks to the above average production of the album, making its overall sound a lot clearer and sharp than several similar bands and albums, but mainly due to the undisputed creativity and dexterity presented by Camille in each and every song. Hence, don’t forget to pay Camille a visit on Facebook, subscribe to his YouTube channel, and if the music found in Dreams of the Drowned I truly soothes your soul and captivates your thoughts, you can purchase the album from the band’s own BandCamp page or from the Duplicate Records’ BandCamp page. Because, in the end, by showing your utmost support now to Camille and his Dreams of the Drowned, I’m pretty sure he won’t take another ten years to provide our avid ears more of his dark and enthralling music.

Best moments of the album: The Revolutionary Dead and Crawl of Concretes.

Worst moments of the album: Vieilles Pierres.

Released in 2019 Drowned Anthems Records/Cult Of Nine Records

Track listing
1. Dream I (Instrumental) 3:05
2. Conciliabules 6:32
3. The Revolutionary Dead 5:47
4. Real and Sound 6:28
5. Vieilles Pierres 6:48
6. Crawl of Concretes 6:57
7. Danced 9:22
8. Midnattskogens Sorte Kjerne (Dodheimsgard cover) 8:43
9. Dream III (Instrumental) 3:08

Band members
Camille – vocals, guitars, bass, drums, synths

Guest musician
Aldrahn – vocals on “Midnattskogens Sorte Kjerne”

Album Review – Illimitable Dolor / Leaden Light (2019)

Drenched in wistful melancholy and stirring up faded albeit rich memories, the new album by this Australian-based unity is an ambitious ode to all things doom.

New South Wales, Australia-based Atmospheric Doom/Death Metal masters Illimitable Dolor return from the darkest corners of the earth after the release of their highly acclaimed self-titled debut album in 2017 with a brand new opus, entitled Leaden Light, carrying on where they last left, drenched in wistful melancholy and stirring up faded albeit rich memories, sounding purer, more refined and clearer in expression than before, and lingering for long in your thoughts. With three artworks made by Indonesian artist Varises Otak for the CD, LP and box set editions exclusively (with layout and design by Australian graphic designer Pat Di Palo), this is an ambitious release from the band that features some of the best music in the style without overdoing any aspect of it.

Formed in 2014 in the city of Sydney, the band comprised of Stuart Prickett (The Slow Death, Horrisonous) on vocals, guitars and keyboards, Yonn McLaughlin (The Slow Death, Nazxul) on drums and vocals, Dan Garcia (The Slow Death) and Mat V. Newton (Lycanthia) on the guitars, Gavin Collison on bass and Guy Moore (Elysium) on keyboards offers in Leaden Light a raw and obscure fusion of Atmospheric Doom and Death Metal with Funeral Doom, influenced by renowned acts such as Skepticism, My Dying Bride and Officium Triste, beign therefore recommended for admirers of the music by Mournful Congregation, Evoken, The Slow Death and Chalice of Suffering, among others. Containing five extremely detailed, mournful and lengthy songs in the span of over 51 minutes, Leaden Light is not an easy listen for the lighthearted, consuming your soul and inviting you to join the band in darkness for all eternity.

A thunderstorm warns the listener darkness is upon us, before Yonn and his sluggish beats together with Guy’s phantasmagorical keys invade our senses in Armed He Brings The Dawn, showcasing a dense and heavy atmosphere from start to finish while Stuart vociferates the song’s Stygian words deeply through his low-tuned, devilish gnarls. In addition, the music flows like a river of darkness, alternating between purely somber passages and more piercing sounds, embracing the listener majestically. Soil She Bears is just as damned, lugubrious and grim as its predecessor, with deep and visceral roars permeating the air while the keys by Guy keep the ambience truly menacing. Not only that, Gavin and Yonn bring heaviness to the musicality with their respective punches and beats, dragging you to the bitterly cold crypts of the underworld.

Horses Pale And Four continues form where the previous song ended, building momentum and aiming at reaching a climatic stage where all instruments are darkly connected, with Stuart’s growls and the band’s guitar triumvirate’s riffs complementing each other flawlessly. Put differently, this is a bold and enfolding display of Atmospheric Doom Metal spiced up by Atmospheric Black Metal and Blackened Doom nuances tailored for lovers of the genre. Then the serene, melancholic piano notes by Guy kick off the utterly doomed and depressive Leaden Light Her Coils, where the guitars by Stuart, Dan and Mat feel like a delicate but extremely sharp knife cutting our skin deep. Furthermore, its rhythm is beyond mesmerizing, and you’ll certainly be stunned by how grandiose their music can be, with Guy, Gavin and Yonn giving a lecture in Doom Metal with their slow, steady and reverberating tones. And last but not least, the sextet morphs into their most Atmospheric Black Metal mode possible in 2.12.14 (which is probably the date when the band was created), feeling very touching, ethereal and melancholic, with Stuart, Dan and Mat taking the lead with their gentle guitar lines, followed by Yonn’s precise beats and all other grim instruments and sounds until the song’s dense ending.

As already mentioned, Leaden Light, available in full on Spotify, might not be an easy listen at first for the average rock fan, but it’s definitely worth a shot and a fantastic introduction to the world of modern-day Atmospheric Death and Doom Metal. Hence, you can show your true support to such idiosyncratic entity hailing from Australia by following them on Facebook, and specially by grabbing your copy of Leaden Light from several locations like their own BandCamp page or the Transcending Obscurity Records’ webstore in the US or in Europe (where by the way you can still purchase the beyond special gold CD or LP box sets), as well as from iTunes or Amazon. In other words, succumb to the most lugubrious side of music by joining Illimitable Dolor in pitch black darkness, and may your life be doomed forever and ever to the sound of their classy and extremely somber music.

Best moments of the album: Horses Pale And Four and Leaden Light Her Coils.

Worst moments of the album: None.

Released in 2019 Transcending Obscurity Records

Track listing
1. Armed He Brings The Dawn 14:50
2. Soil She Bears 7:18
3. Horses Pale And Four 11:27
4. Leaden Light Her Coils 13:48
5. 2.12.14 4:27

Band members
Stuart Prickett – guitars, vocals, keyboards
Dan Garcia – guitars
Mat V. Newton – guitars
Gavin Collison – bass
Guy Moore – keyboards
Yonn McLaughlin – drums

Album Review – Vessel of Iniquity / Void of Infinite Horror (2019)

Get ready for total annihilation, disembodiment and the disintegration of reality and existence in the form of a horrific strain of noise-infested black and death decimation.

Ritual black and death invocation. Terror noise-metal aimed at disintegrating one’s being and entire existence through the sheer force of hell in audial form. These are some of the words that can be used to describe the visceral music found in Void of Infinite Horror, the first full-length opus by British Black/Death Metal one-man sonic extermination entity Vessel of Iniquity. Formed in 2015 in Oxfordshire, a county in South East England, in the UK, Vessel of Iniquity is the brainchild of vocalist and multi-instrumentalist A. White, a talented musician who definitely knows  how to transform austere topics such as annihilation, disembodiment and the disintegration of reality and existence into a horrific strain of noise-infested black and death decimation.

Once again crafted and home-recorded in total seclusion, mastered by James Plotkin (Plotkinworks) and featuring layout and design by M. Alagna, Void of Infinite Horror offers the listener five unrelenting tracks of extreme music, sounding claustrophobic, abominable and twisted, all enfolded by a minimalist and dark cover painting by American artist Ellen Hausner named “Untitled (Monoprint series 1A)”. If you’re a fan of the massacring industrial noise scarification by entities like Gnaw Their Tongues, Sutekh Hexen and Abruptum, as well as the grandiose and bludgeoning sonic warfare of bands like Teitanblood and Impetuous Ritual, you’ll have a blast with Void of Infinite Horror, positioning this insanely heavy and wicked one-man army of darkness as one of the most promising names in the the vast but yet unexplored land of what can be labeled as “Terror Noise Metal”.

And the opening track of the album, beautifully entitled Invocation of the Heart Girt With a Serpent, is already the perfect depiction of that so-called Terror Noise Metal, offering our ears a disruptive, eccentric and dissident avalanche of sounds and noises by A. White, with its drums sounding like a machine gun perforating our skulls mercilessly. Babalon is even darker and more menacing, presenting low-tuned sounds and deep, obscure roars that feel more like whispers, resulting in a modern-day Blackened Doom feast tailored for fans of devilish music. Hence, this track could easily be used as part of a horror movie score due to its strength, range and potential to instill fear in our hearts.

A. White’s demented onrush of sounds and noises goes on in Void of Infinite Sorrow, blending the most Stygian elements from Black and Doom Metal in its sluggish beats, thunderous riffs and bass, and malevolent rhythm, also presenting a menacing aura that ends up boosting its impact even more. If you think A. White and his Vessel of Iniquity will have to slow down at a given point to let us breathe you’re absolutely wrong, as his hurricane of dementia only gets stronger and darker as the music flows in Mother of Abomination, being utterly insane from start to finish, before the music switches from total chaos to an atmospheric and ethereal vibe in Once More Into the Abyss, where A. White delivers to our perturbed minds an endless amount of hypnotizing and damned sounds. Furthermore, I’m not sure if this can be called Atmospheric Black Metal, Drone, Noise, none of these, or even all at once, proving how unique and vile Vessel of Iniquity’s music can be.

If I had to summarize the music found in Void of Infinite Horror in one word, that would certainly be “chaos”, and if chaotic music is exactly what you crave in underground metal you must give Vessel of Iniquity a chance and support such distinct one-man act by following him on Facebook, and obviously by purchasing your copy of the album from the Sentient Ruin Laboratories’ BandCamp, from the Xenoglossy Productions’ BandCamp (in a fancy, old school cassette format), from CD Baby or from Discogs. No one knows exactly what lies ahead for A. White and his Vessel of Iniquity, as it’s not an easy task to predict what type of madness and experimentation musicians like him might add to their compositions, but at least we can rest assured that, as long as this cryptic metal entity is alive, chaos will reign.

Best moments of the album: Invocation of the Heart Girt With a Serpent and Babalon.

Worst moments of the album: None.

Released in 2019 Sentient Ruin Laboratories/Xenoglossy Productions

Track listing
1. Invocation of the Heart Girt With a Serpent 3:50
2. Babalon 4:26
3. Void of Infinite Sorrow 4:59
4. Mother of Abomination 4:55
5. Once More Into the Abyss 6:07

Band members
A. White – vocals, all instruments