Album Review – Sophist / Betrothal To The Stone: Conception of Mephisto (2019)

Inspired by some of the greatest names of the Black Metal and Grindcore scene, this Canadian duo is ready to disturb our peace of mind with their unholy and blistering fast creations.

soph·ist·ry
/ˈsäfəstrē/
noun
the use of fallacious arguments, especially with the intention of deceiving.

Conjured in June of 2019 in the city of Edmonton, capital of the Canadian province of Alberta, Black Metal/Grindcore duo Sophist has put their blackened hearts and souls into the making of their debut EP entitled Betrothal To The Stone: Conception of Mephisto, a frantic blend of extreme styles inspired by bands such as Anaal Nathrakh, Mayhem and Napalm Death in order to create a sound that is unholy as it is blistering fast. Both veterans in the local music scene, Michael Sparks (bass, guitars) and Davis Hay (vocals, programming) kept the writing process fairly simple, with Davis defining the drums and song structure followed by Michael’s overlay of bass and guitar. Engineered, mixed and mastered by Davis himself, and featuring an obscure artwork by Unexpected Specter, Betrothal To The Stone: Conception of Mephisto deals with the esoteric and the occult, with much of the inspiration for the lyrics on the album coming from an alchemical text called Hermaphrodite Child of the Sun and Moon (which you can find available in full HERE).

Musically speaking, Betrothal To The Stone: Conception of Mephisto is a feast of violent and blasphemous sounds, as already mentioned, with the title-track Betrothal to the Stone: Conception of Mephisto​ exploding into raw, obscure Black Metal after a short and creepy intro. Moreover, Davis roars and gnarls manically while Michael shreds his guitar chords nonstop in this lesson in bestiality, reminding me of truly old school Mayhem. Faster and more demented, Choke on Your Own Bile is infused with Grindcore and Hardcore elements, with Davis and Michael extracting pure hatred from their instruments. Not only that, albeit the drums are programmed, they do sound really organic, bringing even more ferocity to the music. Then get ready for total anarchy in the form of visceral Black Metal blasted by the Canadian duo in A Captive of Saturn’s Scythe, where the insanity flowing from their riffs and beats is perfect for Davis to keep vociferating like a demon, inviting us all to slam into the circle pit with them. And as a beyond special and interesting bonus, the duo offers us the instrumental versions of all three songs of the EP, showcasing the same rage and heaviness but obviously without Davis’ demonic growls.

If you enjoy exploring the darkest pits of extreme music and are addicted to the most visceral and unholy forms of Black Metal available out there, then Betrothal To The Stone: Conception of Mephisto will undoubtedly satisfy your cravings. Hence, go show your support to Sophist and to underground Black Metal in general by following the duo on Facebook, by subscribing to their YouTube channel, and by purchasing their flammable debut EP from their own BandCamp page or from other locations like Apple Music. And, of course, this is just the beginning for Sophist, as I’m pretty sure Davis and Michael will return with more of their razor-edged, blasphemous creations in a not-so-distant future, carving their names even deeper onto the darkened walls of Canadian extreme music.

Best moments of the album: Choke on Your Own Bile.

Worst moments of the album: None.

Released in 2019 Independent

Track listing
1. Betrothal to the Stone: Conception of Mephisto​ 3:16
2. Choke on Your Own Bile 5:10
3. A Captive of Saturn’s Scythe 2:53

Bonus tracks
4. Betrothal to the Stone: Conception of Mephisto​ (Instrumental version) 3:16
5. Choke on Your Own Bile (Instrumental version) 5:10
6. A Captive of Saturn’s Scythe (Instrumental version) 2:53

Band members
Davis Hay – vocals, programming
Michael Sparks – bass, guitars

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Album Review – The Promise Of Plague / The Tomb Of Lost Lovers (2019)

The debut album by this American quartet is an obscure fusion of black, industrial, punk and electronic, and you’ll simply love this style known as “Electro Black”.

Featuring members and ex-members of bands like Abominant, Fatal Step, Astrum Empyrean Asunder, Absence of Faith, Märcoda and Assisting Sorrow, the Louisville, Kentucky-based four-piece Industrial Black Metal entity known as The Promise Of Plague is back in 2019 with their debut full-length opus entitled The Tomb Of Lost Lovers, a huge step forward for the band in terms of creativity, strength and overall sound production compared to their 2016 demo Sleepwalking Into Armageddon. Comprised of Jim Higgins and Ashley Vega on vocals, Jerry Barksdale on guitars, keys and programming, and Chris Dalton on bass, The Promise Of Plague play an obscure and piercing fusion of Black and Industrial Metal infused with Punk Rock and electronic elements, or as some people like to say, they play a fairly new style called “Electro Black”.

And their Electro Black becomes already crystal clear in the opening track You Became My Noose, ignited by cutting guitars and electronic beats intertwined with whimsical keys, with Jim alternating between demonic roars and clean, anguished vocals and also presenting symphonic nuances in the background as a welcome add-on. Tim keeps gnarling in great Black Metal fashion in The Quiet, while Jerry slashes his guitar and Ashley brings some finesse to the music with her vocals in a short and sweet display of modern Industrial Black Metal; followed by These Stones Were Meant To Be Thrown, where its imposing and rockin’ vibe reminds me of the primeval days of the unparalleled Cradle of Filth. Furthermore, Jerry and Chris are ruthless with their stringed weapons, while Jim and Ashley make an amazing duet once again exhaling anger, passion, melancholy and darkness from their vocal lines, sounding at the same time furious and doomed. And what can I say about their cover version for Venom’s Warhead? It’s just as raw and infernal as the original one released in 1984 (check it out HERE), showcasing a great job done by Jerry with his scorching hot riffs and the hints of Doom Metal added to the musicality to make it more demonic.

Then leaning towards the classic Doom Metal played by Black Sabbath and Celtic Frost we have Insolent, sounding and feeling considerably different from the previous songs of the album and presenting another spot-on performance by both Jim and Ashley on vocals. In other words, it’s dark, heavy and damned, ending in the most melancholic and beautiful manner you can think of. Chris’ low-tuned bass lines fill every empty space in the somber Mine Is A Place Called Hell, where Ashley’s clean vocals make a very interesting paradox with Jim’s hellish screeches in what’s perhaps the most electronic of all songs, perfectly depicting what Electro Black is all about. And lastly, the title-track Tomb Of Lost Lovers is a rumbling and dancing hybrid of classic Black Metal with electronic music, with Jerry bringing tons of epicness with his keys. Not only that, it should work really well at a dark electro party, with all band members delivering sheer aggression and electricity form their respective instruments.

I guess after reading this humble review of The Tomb Of Lost Lovers you got really curious about what Electro Black is, right? If your answer is yes, go check what The Promise Of Plague are up to on their official Facebook page, and grab your copy of the album directly from the band’s own BandCamp page. In a nutshell, The Promise Of Plague might not be reinventing the wheel with their fusion of metal and non-metal styles, but they have certainly unleashed an interesting and entertaining beast of heaviness, fury and darkness with their debut album, pointing to a very healthy future for the quartet and, who knows, inspiring more underground musicians who are starting their careers in heavy music to venture through the realms of Electro Black, a subgenre of metal that will never go mainstream without any doubt, and we’ll always love it that way.

Best moments of the album: These Stones Were Meant To Be Thrown and Insolent.

Worst moments of the album: None.

Released in 2019 Independent

Track listing
1. You Became My Noose 3:54
2. The Quiet 1:53
3. These Stones Were Meant To Be Thrown 4:38
4. Warhead (Venom cover) 3:03
5. Insolent 5:44
6. Mine Is A Place Called Hell 3:18
7. Tomb Of Lost Lovers 3:50

Band members
Jim Higgins – vocals
Ashley Vega – vocals
Jerry Barksdale – guitar, keys, electronics
Chris Dalton – bass

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

Metal Chick of the Month – Romana Kalkuhl

I was born to burn! Maiden of steel!

After a short and sweet break, The Headbanging Moose returns in full force with our metal chick of the month of July, elevating the temperature in the always hot summer in the Northern Hemisphere. If you’re a diehard fan of old school Heavy and Power Metal the likes of Warlock, Judas Priest, Accept, Manowar and Grave Digger, I’m quite sure you already know our metal lady, but in case you’re still not familiar with her refined technique and deep passion for heavy music here’s a good chance for you to go after the music from her ass-kicking bands Burning Witches and Atlas & Axis. Hailing from the metallic lands of the charming and beautiful Switzerland, here comes the talented Swiss guitarist Romana Kalkuhl, ready to take the world of heavy music by storm armed with her inseparable stringed axe for our total delight.

Born in 1990 in Switzerland, Romana, whose full name is Romana Eskić-Kalkuhl (as she’s married to Swiss guitarist Damir Eskić, from the bands Destruction and Gomorra), comes from a family of musicians who have always supported her decision to become a professional guitar player. For instance, her father Meinolf Kalkuhl is an opera singer in Zurich, Switzerland, while her mother is a piano teacher. All that support resulted in the formation of her first professional band in 2009 while she was still in university. That band is Aargau-based Heavy Metal act Atlas & Axis, with whom Romana has already recorded two full-length albums, those being March of the Night, in 2011, and Confrontation, in 2014, not to mention all concerts the band has already played live. You can enjoy the Iced Earth-inspired sound of Atlas & Axis and Romana’s incendiary shredding on YouTube by listening to songs like Power and Might, Elements, To Violence and These Words, among many others, as well as the song Winter played live at the Dynamo in Zurich in 2014. Unfortunately, due to her current commitment to Burning Witches, our blonde warrior doesn’t have the necessary time to focus on Atlas & Axis at the moment, which means the band is on hold until further notice.

It was in the spring of 2015 in the city of Brugg, a municipality in the Swiss canton of Aargau, when Romana founded Heavy/Power Metal unity Burning Witches, following her personal dream of performing on stage with an all-female metal band. Earlier that year she started looking for talented women for her new project, with her longtime friend, bassist Jeanine Grob, becoming the band’s first official member. Then during a party at a festival she met vocalist Seraina Telli, from bands like Dead Venus, Rizon and Surrilium, starting a very healthy and productive partnership between them, with Seraina’s ideas and experience from her studies at the Music Academy and her bands being exactly what Romana wanted for Burning Witches. Having the one and only Schmier, vocalist and bassist for German Thrash Metal institution Destruction, as their producer and consultant (and a personal friend of Romana, by the way), and with drummer Lala Frischknecht and guitarist Alea Wyss completing the lineup after an intensive search and several auditions, Romana and her Burning Witches were finally ready to crush with their classic metal music.

Since the band’s inception, Romana and the girls have already released two full-length albums (their self-titled debut album in 2017, and Hexenhammer in 2018), one four-track live album named Burning Alive, recorded on September 30, 2017 at Z7 in Pratteln, Switzerland, and now in 2019 they re-released Burning Witches / Burning Alive as a combo under Nuclear Blast. If you want to feel the power of their metal sword, simply go to Spotify or to YouTube and enjoy some flammable Heavy Metal anthems such as Wings Of Steel, Black Widow, and Executed, or many other live footage from Romana and the girls slaying everything and everyone that crosses their path like their flammable performance at Sweden Rock Festival in 2019; their concert in 2018 in Mannheim, a city in southwest Germany; and their powerful pocket show at Salzhaus Brugg in 2018.

Sadly for all fans of the band, lead singer Seraina Telli left the band earlier this year for personal reasons, being replaced by Dutch vocalist Laura Guldemond, from bands like Shadowrise and Synergy Protocol, and of course Romana had a few words to say about that change to her band. “This is, of course, a very sad moment for all of us. We have been very close for the last years and have reached a lot together. With great sadness we have to accept that Seriana wants to move on and we wish her the best of luck for that! Your time with the Witches will never be forgotten! For us as a band, it is important now to look into the new challenges and the new record — the show must go on!”, complementing her thoughts by saying that “we are super thrilled that we have found Laura so quick over our Dutch connection Sonia. We know it is impossible to replace a great voice in exact the same way; that is why Laura is the perfect choice for us. She will bring in her own strength and personality into the Witches! We will not change the identity of the band; we will continue playing the music we love! Laura is an experienced and crisp vocalist with a big range and a crazy enough personality to be one of us! Please give her a warm welcome — she has already won many metalhearts at our first show with her at the Sweden Rock Festival! We will continue to spread the magic of the witches — thanks for all the support over the years!”

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Regarding the fact that the band has become more international with the addition of Laura to their lineup, the second Dutchwoman in the band, Romana said that the collaboration between them is quite dynamic, with the Dutch girls flying to Switzerland over the weekend for rehearsals and concerts, while the rest of the time everyone practices their music from home. She also mentioned in one of her interviews that her main goal when she started Burning Witches was to have fun with the band, not because of success itself, complementing by saying that if one day that pleasure of playing with Burning Witches is over, then the band will also be over. In addition, when asked about how she keeps the band as independent and feminine as possible even with the influences of Damir and Schmier, she said that their help is based on their experience, something the girls from Burning Witches don’t have enough yet, and that Damir’s support was crucial to make everything happen, always keeping in mind the band was going to be (and will always be) an all-female metal band.

Romana’s list of idols and influences can easily be felt in the music by Burning Witches, with her favorite styles ranging from Heavy, Thrash, Death and Black Metal to Hard Rock and even Progressive Rock. According to Romana herself, the bands that have influenced her the most (and the entire band, of course) are Judas Priest, Iron Maiden, Manowar, Saxon, Accept, Dio and several other renowned acts from the NWOBHM. Also, in regards to her equipment, Romana has always played Charvel and Jackson USA guitars, since the beginning, saying those are the best ones in her opinion, and although she’s endorsed also by Fender (apart from Charvel and Jackson, of course) she doesn’t use it when playing live just because she has so many instruments of the other two manufacturers. And before I forget, did you know she also plays classical guitar? Our dauntless metalhead is not only a shredder, but as you can see she’s also a woman who adds a touch of finesse to her guitar lines.

When questioned about the differences and disparities between men and women not only in Heavy Metal, but in music in general, Romana said that it might look easier to be an all-female group at first, attracting a lot of attention form the media and the fans (especially when all band members are beautiful like the ladies from Burning Witches), but it only gets harder and harder as time goes by due to the systemic sexism found everywhere, complementing by saying that many people will see them as just “pretty faces” and think that it’s a man who’s doing all the job in the background. Romana also said that one of the very positive effects of her all-female band is serving as the inspiration for other women to attend their concerts and start their lives in metal, which in my opinion is indeed an amazing change to a music genre mostly dominated by men, whereas the more sexist metal fans ended up reacting very negatively to their music. Who on earth wouldn’t enjoy watching five talented women kicking some serious ass on stage, playing old school metal music? You have to be really stupid, and not just sexist, to think the Burning Witches are not a great metal band.

Anyway, as aforementioned, Romana is married to Damir Eskić, guitarist for Destruction and Gomorra (which was previously called Gonoreas), and it was actually during a Gonoreas’ concert that the couple met, with Damir having a huge influence on Romana’s playing style as he was the one who taught her a lot about the instrument (albeit she already knew how to play it from her school years). On a side note, Romana said she was impressed by Miriam Zehnder, who played the rhythm guitar at Gonoreas at that time, also saying her stage presence fascinated her a lot, showing how connected Burning Witches and Gomorra are not only because of Romana and Damir. In addition to that, Romana said her relationship with Damir is quite healthy, dynamic and fun, with Damir being for example the music collector while she’s more interested in clothes, and so on. Damir considers himself the coach, the moral preacher and the main supporter of the Burning Witches, keeping the girls happy and motivating them even in difficult situations, all confirmed by Romana who also said Damir also makes sure he gives them a motivating speech before every concert, getting them ready to rock on stage.

Both Romana and Damir seem to be extremely busy professionals, and when asked about how they manage all their duties and their relationship, including their music lessons as both are teachers at different music schools (Romana works at three different schools while Damir works at two schools and at the conservatory in Winterthur), she said although they don’t actually have time for anything else, they still manage to have a normal life as a couple, as all those things have already become a part of their everyday life. Furthermore, the couple might not have real rings, but the dates tattooed on their fingers already say it all, showing a lot of mutual respect and admiration between them, with Romana saying that although they’ve already been together for over a decade seeing each other pretty much daily, they still miss each other when they’re on tour in different parts of the world, mentioning for example how difficult it was during the two week Damir was away with Destruction this year. She wasn’t really complaining about that because she understands how hard it is to be part of a band that tours a lot and how lucky both are for being in successful bands, but let’s face it, it’s indeed tough to be away from your loved one no matter what, even if it’s in the name of our good old Heavy Metal.

Romana Kalkuhl’s Official Facebook page
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Burning Witches’ Official Facebook page
Burning Witches’ Official Instagram
Burning Witches’ Official Twitter
Burning Witches’ Official YouTube channel

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”

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