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”

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Metal Chick of the Month – Annick Giroux

Emmène-moi dans ton monde… De lumière et d’ombre… Emmène-moi dans ton monde… Car ma nuit est longue…

Born in May 1986 in Orléans, a suburb of Canada’s national capital Ottawa, in the province of Ontario, our metal chick of the month of June is much more than just your average metalhead. Not only she’s the lead singer for Montreal-based Heavy/Doom Metal band Cauchemar, but she’s also a bass player, the author of a fantastic book entitled “Hellbent for Cooking: The Heavy Metal Cookbook”, writer for UK’s Iron Fist magazine and for Morbid Tales fanzine, one of the promoters of the now defunct Wings of Metal festival in Montreal, and the co-founder of Temple of Mystery Records, not to mention she’s also a graphic designer who has already worked with the iconic Skyclad and countless underground bands. This might look overkill for any regular person, but not for the unstoppable Canadian superwoman Annick Giroux. Having said that, do you have what it takes to join Annick in her quest for metal music, good food and arts in general?

Annick’s life in metal and graphic design actually started when she was still a very young girl, at the age of 10, when her father brought home a floppy disk containing Paint Shop Pro 4.0, which she used with another software called Visual Page to make a primitive website about her favorite cartoon character. Almost at the same time, when she was 11 or 12 years old, she became pen-pals with a Vietnamese girl living in Belgium, who sent her some cassettes with the albums by Japanese Power Metal institution X-Japan. Annick immediately fell in love for their music, and that turned into an obsession to her to the point she even created an X-Japan fan site before eventually becoming a full metalhead. After that first contact with X-Japan, she started to properly explore the world of heavy music and to develop a deep passion for what she likes to call “Ancient Metal” (which includes Doom, Black, Speed, Thrash and NWOBHM), with bands such as Black Sabbath, Judas Priest, Pagan Altar, Saint Vitus, Pentagram, Anvil, Exciter, Mercyful Fate, Destruction, Sacrifice and Celtic Frost, among many, many others, changing the way she used to see music. She then started playing bass, joined a few different bands, designed their logos, demo layouts and flyers, ran the Morbid Tales fanzine for six issues, and even DJ’d weekly at a traditional Montreal metal/punk pub named Katacombes.

Owner of a potent voice, Annick founded the French-Canadian metal institution Cauchemar back in 2007 together with guitarist François Patry originally as a recording project, as performing live didn’t really appeal to them. Still, Cauchemar released in 2010 the five-track EP La Vierge Noire (which means “the black virgin” in English) and played live three Canadian shows before putting the band on hold in 2011 and embarking on an eighteen-month trip around the world. However, that plan lasted only until a friend of the band from Chile invited them to play in the country with local musicians, igniting their desire to keep the band alive and kicking and, consequently, taking them to the most distinct places like Peru, Japan, India and Thailand. All material they wrote during that insane trip ended up on their debut full-length album, entitled Tenebrario, released in 2013, and Annick even said in one of her interviews that trip was the richest and most inspiring experience of her life, as she had the unique pleasure of getting to know many different cultures, metal scenes, local cuisines, religions and social classes.

After Tenebrario, Cauchemar also released another full-length album, titled Chapelle Ardente (or “burning chapel” in English), in 2016, and as you might have already noticed Annick sings all songs from Cauchemar entirely in French, giving their music an extra touch of mysticism, delicacy and occultism. By the way, the name of the band, wihich means “nightmare” in English, stems from a series of violent nightmares Annick used to suffer, some described exactly like sleep paralysis. “I actually did some research into this in the past as some of my nightmares were rather troubling. In fact, the first meaning of the name Cauchemar, or cauquemaire, loosely translates to ‘ghost pressing down’, which surely derives from those very sleep paralyses. But I’m unsure if that’s what I experienced, I’ve been having dreams about dying ever since I was a child,” mentioned Annick in one of her interviews. If you want to feel that nightmare-sih vibe flowing from the music by Cauchemar and especially from Annick’s vocals, you should definitely take a listen at songs like Étoile D’Argent, Trois Mondes, Comme Un Poignard, Tête de Mort, and Le Fantôme, as well as several live performances by the band such as at the Nuclear War Now! Festival V in 2016, playing the song Sepolta Viva at the Magog, in Sherbrooke, in 2014 and the song L’Appel at Cafe Deckuf in Ottawa in 2013, and playing cover versions for Black Sabbath’s The Wizard at Montreal is Doomed in 2010 and Fleetwood Mac’s Green Manalishi in Montreal in 2016.

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Apart from her career with Cauchemar, you can also enjoy her bass punches and vocal lines in several other bands and projects from different parts of the world. For instance, in 2008 she played bass for Japanese Black/Thrash Metal act Barbatos during their live concerts, which ended up having Annick as their bass player in the 2008 Barbatos/Bastardator split live album Live in Montreal; you can also see her playing keyboards (yes, she can also play keyboards) on the introduction from the brand new album Destiny Calls, by Finnish Heavy/Speed Metal band Chevalier; and playing synths and/or doing female vocals on the songs Nordkarpatenland, Keď Svetlonosi Započnú V Močariskách Nazeleno Svícit, Nedlho Po Púlnoci Opacha Sa Doplazila Z Dzíry, and V Rujnovej Samote Pocichu Dumá Lovecký Zámek Zvlčilého Grófa, all from the album Nordkarpatenland, released in 2017 by Slovakian Black Metal horde Malokarpatan.

As you can see, Annick has already been involved in very distinct projects and bands in her career so far, and if you include in that mix her work as a graphic designer, then the list of bands and styles grows considerably. Having obtained a degree in Graphic Design before moving to Montreal with her then boyfriend (and now husband) François Patry, she mentioned in an interview that she actually earns a living as a freelance graphic designer, and as the co-owner of the aforementioned Temple of Mystery Records since 2016 she said she designs absolutely everything for the label’s releases. Furthermore, Annick said she has trouble listening to an album if the artwork is ugly, tasteless or uninspired, as in her opinion metal and graphic design have always been in symbiosis for her. Apart from the album design for Cauchemar’s Tenebrario and the artwork for their Chapelle Ardente album, you can also find Annick’s lines, colors and designs in the albums by tons of excellent underground bands like Anatomia, Venin, Night Demon, Metal Grave, Diabolic Force, Chevalier and Disforterror, just to name a few. For example, how not to enjoy the artwork she provided for the 2013 album Necheshirion, by Canadian Black Metal act Gevurah? When you listen to the music, it matches perfectly with the cryptic art by Annick, proving her point that the cover art is and will always be a crucial part of a metal album.

Despite being a talented musician and graphic designer, let’s say the metal community got to know Annick a lot better mainly due to her book entitled “Hellbent for Cooking: The Heavy Metal Cookbook”, which she signed as Annick “The Morbid Chef” Giroux, featuring a varied menu of over a hundred recipes from thirty countries, including Yorkshire Pudding from England, Beer Pizza Crust from Germany, Spaghetti Barracuda from Italy, Fårikål from Norway, Country Lamb Exohiko from Greece, Churrasco from Brazil, and Mushroom Steak à la Jack Daniel’s from the United States, among numerous other appetizer, breakfast, lunch, dinner, vegetarian, seafood, dessert and drink recipes, all with contributions by worldwide famous musicians from metal bands like Accept, Gwar, Tankard, Anthrax, Electric Wizard, Rotting Christ, Sepultura, Judas Priest, Thin Lizzy, Doro, U.D.O., Obituary, Mayhem, Gorgoroth, Uriah Heep, Kreator, Nuclear Assault, and a lot of underground acts. In the beginning, Hellbent for Cooking was just a section of the 6th edition of her Morbid Tales fanzine released in 2009, containing only around 20 recipes. However, the idea (originally conceived in 2007) for a metal cookbook by Annick became a reality when her editor Ian Christe picked up the 2009 fanzine and asked her if she was interested in having all recipes published as a book. Then for the pro-looking color cookbook itself that was released by Bazillion Points her deadline was only six months, and she took it seriously by dedicating herself entirely to research, writing, cooking, photographing and laying out the recipe pages. Our dauntless singer, bassist and chef said she contacted about 400 bands in total, and that she could never imagine that bands like Sepultura or Mayhem would actually respond to her. She even ended up discovering new bands during her research period, as for example a Death/Thrash Metal band from Pakistan named Dusk. Moreover, as an avid reader, Annick recommends apart from her own book a few other interesting Bazillion Points publications like Swedish Death Metal, by Daniel Ekeroth, Murder in the Front Row, by Harald Oimoen and Brian Lew, and and Only Death Is Real, by Tom Gabriel Fischer with Martin Eric Ain.

It was after her trip to different parts of the world, especially when she was in Europe and was able to enjoy many underground metal fests, that she returned to Montreal with the idea of organizing a festival of her own, naming it Wings of Metal. She said that as there was no such thing as an underground metal festival mixing styles in Canada, her idea was to do it in the European spirit with a lot of bands from overseas, focusing on the quality of sound and experience, and although the festival only lasted for four editions she’s still proud of her accomplishment. Known as somewhat of an archaeologist of obscure Canadian metal, Annick said that in her opinion Canadian metal often has a touch of something eccentric, mentioning renowned bands like Rush and Voivod as being uniquely bizarre, while other like Slaughter and Exciter are extremely violent, also mentioning that Montreal hosted the first ever international metal festival in North America, named World War III Festival, in 1985, featuring Voivod, Destruction, Celtic Frost, Possessed and Nasty Savage. In addition, when asked about the apparent division between Anglo-Canadians and French-Canadians in Montreal, Annick said she was not even aware of which local Anglophone bands were around, since they have their own shows and separate venues. However, she said that there’s no animosity between those two fronts, it’s just that people tend to stay in their own neighborhoods and feel more comfortable listening to music in their first languages. Well, it doesn’t actually matter if you’re an Anglo-Canadian, a French-Canadian or a complete foreigner to Montreal, whenever visiting the city try to stay updated about all metal concerts going on because, you know, you might be able to witness nightmares in the form of old school Doom Metal spearheaded by our multi-talented Annick Giroux.

Annick Giroux’s Official Instagram
Cauchemar’s Official Facebook page
Cauchemar’s Official BandCamp

“Canadian metal often has a touch of something eccentric. Being so far removed from the traditional music centres like New York City, Chicago, and LA made Canadian bands want to work even harder in developing something exceptional that could bring attention to them.” – Annick Giroux

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 – Funeral Hearse / In Devotion of… (2019)

A fantastic album of 80’s Hardcore and Crust Punk-infused Black Metal by a one-man army from Singapore, paying homage to the terrifying Aghori sadhus.

Hailing from Kovan, a neighborhood located within the town of Hougang, in the northeast region of Singapore, Black/Death Metal one-man army Funeral Hearse plays a diverse mix of 80’s Hardcore/Crust Punk-infused Black Metal with themes ranging from religion, politics, nuclear annihilation and society. Formed in 2016 as a two-piece outfit comprised of multi-instrumentalist Azrael (also known as Imran Manaff) and vocalist and lyricist Deadwax, who decided to leave the band in early 2018 leaving Azrael as the sole member, Funeral Hearse returns in full force with its first full-length album, entitled In Devotion of…, fresh off its 2017 successful double EP Heralding the Death Winds and The Fist, The Spit, The Sword, paying homage to the Aghori sadhus, a sect of Hinduism with left-hand path rituals, practices and philosophy towards life and death, bringing their attributes to life through a series of musical onslaught accompanied by sounds of nature interwoven to create a surreal journey.

Written, recorded and produced by Azrael himself, and featuring a dark, straightforward artwork by Czech artist Vojtech Doubek (Moonroot), In Devotion of… follows a similar pattern as the band’s 2017 releases by exploring a recurring theme of religion, this time focusing on the aforementioned Aghori sadhus. “The Aghori Sadhus theme was actually suggested by Deadwax, who was intrigued by this religious sect. He brought the idea to me and after reading more about them we became captivated and enthralled by these Aghoris who would display their devotion through indulging in left-hand practices such as residing on cremation grounds, acts of cannibalism and the list goes on,” explains Azrael on the theme of the album. Musically speaking, In Devotion of… is an ode to all things extreme music, inspired by iconic names such as Marduk, Immortal, Celtic Frost and Darkthrone, among others, leaving you completely disoriented after its infernal 37 minutes of music are over.

A ritualistic, tribal intro morphs into pulverizing sounds and tones in the opening track Into the Eye of the Serpent, where Azrael begins roaring like a demonic entity while at the same time he shreds his guitar chords in a dark and vile manner, not to mention how organic the programmed drums sound, with chaos reigning supreme from start to finish. And a classic Black Metal riffage dictates the rhythm in Burning Embers from a Funeral Pyre, an ominous and dense creation by Azrael that grows in intensity and rage as the music progresses, all enhanced by his visceral growling attack, and with the guitar sounds slashing our ears and minds mercilessly until the song’s cryptic finale; followed by In Worship of the Divine, which already begins at full speed with Azrael smashing his ax in great fashion, adding a touch of Atmospheric Black Metal to his already visceral sound. In summary, this is that type of storm of heavier-than-hell sounds we all love to hear in Extreme Metal.

Then delicate sounds kick off the also demolishing Under the Eclipse of a Pale Moon, where Azrael is on absolute fire delivering aggressive riffs and bass punches inspired by the greatest bands of the genre such as Immortal and Marduk, sounding at times like a dark waltz of extreme music. All that sonic havoc gives place to serene notes in Cleansing a Damned Soul, but that peace doesn’t last long as Azrael fires sheer violence and rage from his guitar lines and screams, with the music remaining obscure and sharp until the very end, proving our talented lone ranger loves extreme music from the bottom of his (blackened) heart. And last but not least, simply inhale and exhale deeply for a few seconds before Alternate State of Consciousness puts a ferocious ending to the album, with its old school Black Metal-inspired riffs being flawlessly accompanied by gruesome Death Metal vocal lines, flowing like an arrow in flames through the night, and with an acoustic passage giving us a chance to breathe before Azrael’s final onrush of crushing Black Metal.

I’m a huge fan of one-man bands, not only because it’s impressive how some people are capable of generating a full-bodied sonority all by themselves, especially in the Black Metal scene, but also because those lone wolves (and lone she-wolves, of course) are usually extremely creative when composing their music and writing their lyrics. Who else on earth would be able to bring forth an album of extreme music based on the practices and uniqueness of the Aghori sadhus if not a black metaller like Azrael? Having said that, please don’t forget to show your support to such talented musician by following Funeral Hearse on Facebook and, above all, by purchasing In Devotion of… from the band’s own BandCamp page or from the Spy Satellite Records’ BandCamp page, as well as from iTunes or from Amazon. It’s a world of cannibalism, religion, devotion, life and death in the form of top-of-the-line Black Metal. What else can you ask for in underground extreme music?

Best moments of the album: Burning Embers from a Funeral Pyre and Under the Eclipse of a Pale Moon.

Worst moments of the album: None.

Released in 2019 Spy Satellite Records

Track listing
1. Into the Eye of the Serpent 6:46
2. Burning Embers from a Funeral Pyre 7:01
3. In Worship of the Divine 4:39
4. Under the Eclipse of a Pale Moon 7:08
5. Cleansing a Damned Soul 4:57
6. Alternate State of Consciousness 6:20

Band members
Azrael – vocals, guitars, bass, drum programming

Album Review – Hiss From The Moat / The Harrier (2019)

A first-class album of Black and Death Metal made in Italy, inspired by the true harriers of our society such as politics, religion and dictatorship.

In case you’re not familiar with the brutality and rage of Italian Black/Death Metal horde Hiss From The Moat, the band was founded in 2006 by drummer James Payne (Vital Remains, Hour of Penance) with two Italian friends, bassist Carlo Cremascoli and guitarist Giacomo Poli, delivering a stream of very interesting releases since their inception, starting with their debut EP The Carved Flesh Message, in 2009, followed by their first full-length album Misanthropy, in 2013, eventually adding vocalist and guitarist Massimilano Cirelli to their lineup, and now their sophomore full-length opus The Harrier, in 2019. Regarding the album’s title, Mr. Payne says, “The Harrier refers to he who devastates. It’s not intended as someone whom we created to destroy, but rather to indicate everything that has devastated our history, like politics, religion and dictatorship etc. That’s why we used extracts of religious and political scripts in the lyrics.”

Based in the cities of Los Angeles (United States), London (England) and Milan (Italy), this multinational entity has recently issued a series of videos through their YouTube channel showing the band working on the recording of The Harrier in the city of Milan, therefore demonstrating their passion for what they do and a desire to be as honest and transparent as possible with their fans. Furthermore, regarding the album’s artwork designed by Stefano Bonora, Mr. Payne said that “the artwork of the album is defined by three elements: a head of a statue that represents the blind and apathetic attitude of mankind; the mechanical mask on top of the head that represents the institutions that oppress people (similar to the belt on the statue’s mouth and the crosses as blinders); and the alchemical circles that have the meaning of improving mankind through the mind and the body, to promote self-improvement without looking for external help,” just to give you an idea of how obscure and austere their music is.

The cryptic and serene intro The Badial Despondency suddenly explodes into the bestial title-track The Harrier, where the quartet begins pulverizing everything and everyone that crosses their path. Furthermore, James is unstoppable on drums, while Massimiliano roars the song’s dark lyrics manically from start to finish, and brutality and rage keep flowing from all instruments in I Will Rise, a beyond electrifying Melodic Black Metal tune where the guitars by both Massimiliano and Giacomo sound infernal, not to mention how fast, precise and ruthless James is on drums. Then some sort of “dark poem” is recited by Massimiliano before all hell breaks loose in The Passage To Hell, bringing not even a single second of peace for us to breathe, only sheer devastation in the form of classic Black Metal, with James once again hammering our heads with his hellish and intricate drumming.

Slaves To War is just as demonic as its predecessor, showcasing sick guitar riffs, endless violence and a sulfurous atmosphere only modern Black Metal can offer you, keeping the album on fire before the band comes ripping our hearts out with the magnificent Sine Animvs, a lecture in modern-day Melodic Black Metal infused with Death Metal nuances, close to the Blackened Death Metal blasted by the iconic Behemoth. Hence, it’s absolutely impossible to stand still to the incendiary riffs by the band’s guitar duo. In the interlude titled The Abandonment, acoustic guitars work as the “calm before the storm”, warming up our senses for The Allegory of Upheaval, another straightforward creation by those Italian metallers alternating between very complex and interesting moments and less inspired passages. It’s still a very good song though, proving how powerful the band always sounds.

Then we have another one of my favorite tracks, God Nephasto, and James himself had a few nice words to say about it. “The song is one of the most intense of the album as far as rhythm and atmosphere,” explained our talented drummer. “It has several parts of blast beats and breakdowns that combined with the dark atmosphere of the notes keep the song pretty nervous. This is to support the lyrics that have been taken from parts of the Enuma Elish and the Old Testament that talk about when the Gods mentioned in these scripts, ordered sacrifices in their honor.” Musically speaking, it’s a visceral sonic havoc that will please all fans of the genre, sounding crisp, thunderous and menacing, with highlights to Massimilano’s infernal growls and obviously to James’ demolishing beats. Their second to last Black Metal extravaganza, entitled Unperishing, is just as demonic and violent as the rest of the album, with its classic riffs and beats bringing endless heaviness to the overall musicality, while Carlo not only extracts thunder from his bass, but he also supports Massimiliano’s vociferations flawlessly with his backing vocals. And there’s still time for one final onrush of blackened sounds for our total delight, named The Decay of Lies, less frantic but as heavy as hell, working at times as a marching outro to such vile album. Needless to say, Massimiliano and Giacomo are absolutely demonic with their guitars from start to finish, ending the album on a high and obscure note.

There are several places where you can get your copy of such amazing album of Black and Death Metal, like the band’s own BandCamp page or Big Cartel, the M-Theory Audio’s webstore in regular CD or limited edition vinyl format, the Napalm Records’ webstore, iTunes, Amazon, and so on. Don’t forget to also follow Hiss From The Moat on Facebook, and to worship darkness to the sound of their crushing extreme music, always keeping a very good distance from all types of religion and from politics, the true destroyers of our decaying society. and that’s how you craft first-class extreme music, my friends. Music that not only makes you bang your head and raise your horns, but that above all that also makes you think.

Best moments of the album: I Will Rise, Sine Animvs and God Nephasto.

Worst moments of the album: The Allegory of Upheaval.

Released in 2019 M-Theory Audio

Track listing
1. The Badial Despondency 1:24
2. The Harrier 4:00
3. I Will Rise 3:56
4. The Passage To Hell 3:44
5. Slaves To War 4:35
6. Sine Animvs 3:48
7. The Abandonment (Interlude) 3:26
8. The Allegory of Upheaval 4:33
9. God Nephasto 4:12
10. Unperishing 4:46
11. The Decay of Lies 4:48

Band members
Massimilano Cirelli – vocals, guitar
Giacomo Poli – guitar
Carlo Cremascoli – bass, backing vocals
James Payne – drums

Interview – Anthony Kaoteon

In this exclusive interview, Lebanese vocalist and multi-instrumentalist Anthony Kaoteon talks about his brand new project Death Tribe, his already established band Kaoteon, and his always delicate connection to the Middle-East.

Anthony Kaoteon (Kaoteon, Death Tribe)

The Headbanging Moose: Let’s begin with a very simple question, and that is who’s Anthony Kaoteon? When did you begin your life in metal music, and who influenced you the most to follow that path?

Anthony Kaoteon: I am a Lebanese kid who grew up at the end of Civil War, witnessed the Syrian occupation, the religious hatred of my countrymen, the bombs in the streets of Beirut, the Israeli mass airplane attacks on the country to mention a few big events that scarred me as a child and made me realize that the world is blind and needs someone loud enough to hear the truth.

THM: What’s your goal with Death Tribe, and what’s the main difference from your already established band Kaoteon? Can you tell us more about the story behind Death Tribe and the reason for the band’s name?

AK: Death Tribe is more of a personal project where I am experimenting with Metal genres. It is not a side project but it has no restrictions or limitations as it has no genres, not one vocalist or one sound. The only restriction is me as the only fixed member in the band but working with new musicians opens my mind and allows me to explore areas I would have never explored otherwise. If I was a polyamorous guy, then KAOTEON would be my lover and Death Tribe my date.

Album Review – Death Tribe / Beyond Pain And Pleasure: A Desert Experiment (2019)

THM: Regarding your brand new album Beyond Pain and Pleasure: A Desert Experiment, how was the recording process of the album? Did everything go as planned, and do you think the final result sends the message you had in mind to the listener?

AK: The recording process was very lengthy, expensive and time consuming especially that it was recorded in several regions and studios around the world. The biggest impact on sound were the mixing engineer – namely Karim Sinno from The Audioloft in Lebanon. He brought everything together and kept it crystal clear.

THM: Beyond Pain and Pleasure features an array of excellent guest vocalists such as Walid Wolflust, Serge the Slave, Adnan Mryhij, Youmni Abou el Zahab and JM Elias. Apart from Walid Wolflust, who sings for your other band Kaoteon, are they all your personal friends? How did you invite each one of them to sing in the album?

AK: They are all personal and close friends of mine who have their great bands and I wanted to promote their sound through mine while promoting my sound through theirs. We come from a very talented region that is undiscovered and deserves much more support.

THM: My favorite songs from Beyond Pain and Pleasure are the title-track Beyond Pain and Pleasure, Neurotic Breakdown and Nuclear Hate. I personally think they’re very powerful and rebellious, which I believe is what you want the listener to feel while listening to the album. Having said that, what song from the album better represents yourself and your never-ending fight for freedom?

AK: That is the beauty of an album like BP&P, every person will have a different favorite. I enjoy Hollow, BP&P and Implode Explode a lot but this varies every now and then. The overall sound of the album is rebellious so I surely wanted that but what I really wanted is to deliver an eclectic album that brings all genres together under one record.

Anthony Kaoteon (Kaoteon, Death Tribe)

THM: I’m pretty sure the metal scene in the Netherlands, your current home, is a lot more developed than in your homeland Lebanon. Are there any bands you would recommend from the Dutch underground scene?

AK: I am still not very active in the scene due to a lot of shit happening in my personal life that I will not discuss but the bands here are very talented. I see a huge stoner metal movement. I cannot chose one band top of mind as it wouldn’t be just but there is definitely a lot of bands to check that won’t disappoint.

THM: Now talking about your connection to Lebanon and the Middle-East, how harmful do you think the combination of religion and politics is in that region not only to metal and non-metal music, but to all forms of art? And do you see an end to that in the future?

AK: It is detrimental and I am afraid I don’t see an end to it anytime soon. It is a deeply rooted plague that is still being nourished by the west to control its masses and use it when and where needed.

THM: Do you think one day you’ll be able to return to Lebanon and start making metal music again there? And what do your family and friends that are still in Lebanon think of the type of music you play?

AK: Most people don’t know what is metal unless they like it and play it. We live parallel lives so that we don’t get judged. I don’t see myself returning to Lebanon to play music any time soon.

Album Review – Kaoteon / Damnatio Memoriae (2018)

THM: What’s next for Anthony Kaoteon? Can we expect a new Kaoteon or Death Tribe album in a not-so-distant future, and do you have any plans for touring with any of your bands around Europe or in North America? I would love to see either Kaoteon or Death Tribe performing in Canada.

AK: For touring, KAOTEON is the horse of choice and we are releasing the 3rd album soon hopefully as we finished the recording with Adrian (Erlandsson) from At the Gates on drums and Linus (Klausenitzer) from Obscura on bass again. The mixing and mastering were finalized by Tue Madsen in Denmark at Antfarm Studios and the artwork is getting ready with Vincent Fouquet in France.

THM: Thanks a lot for your time, Anthony! It’s always a pleasure interviewing relentless musicians like you who keep the underground metal scene alive and kicking. Please feel free to send a final message to our readers, and anything else you would like to say to all fans of heavy music out there.

AK: Thanks a million for the opportunity to speak and promote the music Gustavo. People like you keep the dream alive and I hope you will keep it up. As for the readers and music lovers, if you want bands to keep making music – support them!

Links
Kaoteon Facebook | Instagram | YouTube | BandCamp
Death Tribe Facebook | Instagram | YouTube | BandCamp

Album Review – Vorga / Radiant Gloom EP (2019)

Combining modern Melodic Black Metal aesthetics with atmospheric and cosmic influences, this up-and-coming multinational horde is ready to bring us all chaos and devastation with their debut EP.

Formed by multi-instrumentalist Atlas back in 2016 in Scotland but currently located in the city of Karlsruhe, Germany, the multinational Black Metal unity known as Vorga aims at creating emotionally resonant music that could capture the spirit of dissonance, frustration and harm in the modern world, which is exactly what you’re going to feel while listening to their debut EP, entitled Radiant Gloom. With members from the UK, Bulgaria and Germany, Vorga’s intention has always been to create music that combined modern Melodic Black Metal aesthetics with atmospheric and cosmic influences, with a lyrical focus on looking at the world from an anti-anthropocentric stance.

Mixed and Mastered by Simon Jameson at Black Art Audio Studios, and featuring a dark and cryptic artwork by Bulgarian artist Georgi Georgiev (Moon Ring Design), Radiant Gloom is a powerful welcome card by this talented quartet comprised of Пешо Спейса on vocals, Volker on lead guitar, the band’s founder Atlas on rhythm guitar and bass, and Jervas on drums, leaving us eager for more of their music in the form of another EP or, even better, a full-length opus in a not-so-distant future. Hence, you better be prepared before hitting play and listening to Radiant Gloom, because although we’re talking about only four songs in the span of 22 minutes, it’s already more than enough to bring chaos and destruction to your twisted mind.

Jervas and his unstoppable beats ignite a feast of darkened sounds named The Black Age, before Пешо begins roaring like a demonic entity while Volker and Atlas sound infernal with their axes. Put differently, it’s fast, furious and heavy just the way we like it, blending the most powerful elements from old school Black Metal and contemporary Melodic Black Metal. Argil is another rhythmic and obscure creation by the quartet, showcasing rumbling bass lines, razor-edged guitars and a demonic aura, with Пешо’s growls getting more piercing and devilish as the music progresses, not to mention how bestial but at the same time precise Jervas is once again on drums, resulting in a top-notch Melodic Black Metal extravaganza for your metallic heart.

Divine brings forward a tornado of obscurity led by the crushing riffs by Atlas and Volker, sounding absolutely perfect for going mental inside the circle pit or banging your head nonstop. Furthermore, get ready to be consumed by the flames of hell in almost seven minutes of classic Black Metal, courtesy of this sulfurous entity that goes by the name of Vorga. Then sounding utterly menacing and mesmerizing from the very first second, Hunger showcases a neck-breaking rhythm boosted by Jervas’ pounding beats, while Пешо uses his hellish gnarls to vociferate the song’s austere words manically before the music fades into darkness, putting a beyond somber ending to the EP.

Enter the realm of Melodic Black Metal ruled by Vorga by listening to Radiant Gloom in full on YouTube and on Spotify, by following this promising new name of the underground scene on Facebook, and by purchasing a copy of the EP from their own BandCamp page, as well as from iTunes or Amazon. In a music genre that several people consider as already saturated, it’s always a pleasure seeing the birth of excellent bands like Vorga, shutting those unbelievers up with huge dosages of talent, hard work and loyalty to the foundations of Black Metal, with Radiant Gloom representing just their first of many steps in the right direction, no doubt about that.

Best moments of the album: The Black Age and Divine.

Worst moments of the album: None.

Released in 2019 Independent

Track listing
1. The Black Age 5:01
2. Argil 5:02
3. Divine 6:48
4. Hunger 5:17

Band members
Пешо Спейса – vocals
Volker – lead guitar
Atlas – rhythm guitars, bass
Jervas – 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

Album Review – Refusal / Epitome of Void (2019)

A straight-to-the-point album of Finnish Crust Old School Death Metal, as pulverizing, heavy and infernal as it can be.

Founded back in 2008 in the city of Helsinki, Finland by guitarist Tero Pirhonen and bassist Timo Pirhonen, before bringing in vocalist Niikka Lius, drummer Aleksi Roitto and more recently guitarist Kalle Kuosmanen to complete the band, the unrelenting squad that goes by the name of Refusal does not just play your regular Death Metal, but something they like to call “Finnish Crust Old School Death Metal”, smashing you like an insect with all their fury and heaviness without showing a single drop of mercy. After releasing several demos and their debut full-length album We Rot Within, in 2016, Refusal are back in action in 2019 with a brand new (and pulverizing) opus, beautifully titled Epitome of Void. Featuring a somber artwork by Finnish artist Sakke Vinko, Epitome of Void is highly recommended for fans of the music by iconic bands like Napalm Death, Nasum and Entombed, being absolutely perfect for slamming into the circle pit like there’s no tomorrow.

The distorted guitars by Tero and Kalle ignite the pulverizing opening track Suffocate, reminding me of the devilish sound by Turkish beasts Diabolizer, or in other words, a brutal slamming Death Metal extravaganza led by Niika and his deep, visceral growls. If you survive their initial onrush of extreme music get ready for the insanely heavy Hectic, showcasing an enraged Niikka on vocals while Aleksi decimates his drums in a precise and groovy manner, accompanied by Timo’s roaring bass; whereas Disregard brings forward a less frantic but still acid and violent version of the band, urging us all to bang our heads manically to the infernal riffs by Tero and Kalle while Timo smashes his bass chords nonstop.

Disgust is just as brutal as Death Metal can be, with Refusal inviting us all to crush our skulls into the circle pit while Niikaa vomits the song’s lyrics in a very traditional way; followed by Slaves, the darkest of all songs in Epitome of Void, showcasing hints of classic, obscure Black Metal added to their unrelenting music. Moreover, Tero and Timo bring some welcome balance to the sonic havoc going on with their crisp solos. Then it’s time for more demented slamming to the infernal beats by Aleksi in Exploit, while Niikka keeps growling and vociferating manically for our total delight. Put differently, this is the undisputed epitome of Refusal’s classic Death Metal, highly recommended for all fans of the genre.

If you think your neck will have a break from all the insane headbanging proposed by Refusal you’re absolutely wrong, as the band ignites their most demonic mode in the rip-roaring Bound, with their guitars and drums being in full destructive force. Then their second to last deranged Death Metal attack comes in the form of Futile, where all band members sound even more infuriated than ever, pleasing anyone who admires old school Brutal Death Metal from the bottom of their (blackened) hearts, setting the stage for the the thunderous and vile closing tune Void, where the smashing sounds of drums and bass provide Niikka the perfect atmosphere for his sick guttural vocals. There’s no escape from Refusal, and their most unfriendly, obscure and intricate creation beautifully represents all their fury and rage, ending the album on a very high note.

Do you have what it takes to face the demolishing Death Metal by Refusal? If your answer is yes, simply slam into the pit by listening to Epitome of Void in full on Spotify, by following the band on Facebook and by subscribing to their YouTube channel. In a nutshell, Epitome of Void, which by the way is on sale from Refusal’s own BandCamp page, from the Great Dane Records’ BandCamp page, from iTunes, from Amazon or from Discogs, will not change or revolutionize the underground metal scene at all; quite the contrary, it’s pure old school Death Metal, without any artificial elements nor any type of shenanigans, thoroughly crafted by five Finnish guys who are beyond loyal to the foundations of the genre, deserving all our admiration and support for keeping the flames of true Death Metal alive and kicking.

Best moments of the album: Hectic, Disgust and Exploit.

Worst moments of the album: None.

Released in 2019 Great Dane Records

Track listing
1. Suffocate 2:20
2. Hectic 2:51
3. Disregard 3:13
4. Disgust 3:27
5. Slaves 4:33
6. Exploit 1:48
7. Bound 4:14
8. Futile 4:10
9. Void 5:19

Band members
Niikka Lius – vocals
Tero Pirhonen – guitars
Kalle Kuosmanen – guitars
Timo Pirhonen – bass, backing vocals
Aleksi Roitto – drums