Album Review – Invocation / Attunement to Death EP (2020)

Let this vile and demonic breath of Ritualistic and Hypnotic Black and Death Metal from the infernal pits of Chile reach deep inside your damned soul.

Forged in the fires of Valparaíso, Chile in 2015, Black/Death Metal horde Invocation is unleashing upon humanity a sulfurous and absolutely obscure EP entitled Attunement to Death, the follow up to their highly acclaimed 2016 demo Seance Part. I and their 2018 EP The Mastery of the Unseen, offering fans of extreme music a short but fulminating blast of what the band itself likes to call “Ritualistic and Hypnotic Black and Death Metal” in the form of six original compositions. Comprised of Sense of Premonition on vocals and guitars, Sense of Clairvoyance on bass and Sense of Clairaudience on drums, Invocation reached a hellish harmony with their classic South American diabolism with Attunement to Death, while at the same time imbuing it with a deeper and more unique aspect that bountifully displays their authentic grounding in the occult, setting the tone for a very promising and infernal future for such talented band.

Ominous, cryptic noises permeate the air in the opening track Oppression, a phantasmagorical intro that will drag you to the pits of the underworld before the trio begins blasting their instruments mercilessly in Flying Ointments, exhaling pure evil and heaviness, and with the gruesome vociferations by Sense of Premonition being complemented by his own demonic riffs and Sense of Clairaudience’s intricate and sulfurous beats. After such demented start to the EP, scorching riffs and rumbling, metallic bass lines dictate the rhythm in the also Stygian and infernal Divine Transition, presenting a solid fusion of the darkness of Black Metal with the raw sounds of Death Metal, offering to our avid ears pure devastation in the form of music from start to finish, without of course a single second of peace just the way we like it in extreme music.

A putrid roar by Sense of Premonition kicks off the Death Metal extravaganza entitled The First Mirror, showcasing a great sync between Sense of Clairvoyance and Sense of Clairaudience with their respective bass punches and beats and fills, resulting in a true headbanging tune that lives up to the legacy of the genre. Then get ready for over seven minutes of obscurity and rage in The Officiants, where the classic riffage by Sense of Premonition gets even more impactful accompanied by Sense of Clairaudience’s infernal drums, whereas its vocals couldn’t have sounded more disturbing and visceral. And last but not least, Invocation summon all creatures of the dark in their most detailed and devilish creation, the heavy-as-hell Secret Tongues, uniting elements from Black and Death Metal in the name of evil. In addition, its guitar sounds will certainly darken your mind, while Sense of Clairaudience continues to crush our skulls without a single drop of mercy in this multi-layered aria that sounds absolutely ritualistic.

In a nutshell, while Invocation (hopefully) get ready for their debut full-length opus in a not-so-distant future, there’s a lot to savor in their brand new EP, which as already mentioned might be short in duration but reeks of violence and obscurity. Having said that, simply let the dark and demonic sounds blasted by this awesome Chilean horde penetrate deep inside your soul by following them on Facebook and by purchasing your copy of Attunement to Death from the band’s own BandCamp page, from Record Shop X, or from other locations as soon as the album is officially released in February, celebrating all things evil in the name of our good old Black and Death Metal.

Best moments of the album: Flying Ointments and Secret Tongues.

Worst moments of the album: None.

Released in 2020 Iron Bonhead

Track listing
1. Oppression 0:56
2. Flying Ointments 5:05
3. Divine Transition 7:46
4. The First Mirror 5:06
5. The Officiants 5:29
6. Secret Tongues 6:29

Band members
Sense of Premonition – vocals, guitars
Sense of Clairvoyance – bass
Sense of Clairaudience – drums

The Year In Review – Top 10 Hard Rock/Heavy Metal Albums of 2019

“Those who can make you believe absurdities can make you commit atrocities.” – Voltaire

The year of 2019 might be reaching its inevitable end in the blink of an eye for most of us, but if there’s one thing we must admit is that it has been indeed a year of countless events, episodes and changes with a huge impact on how pretty much everything works in our Heavy Metal universe. For instance, 2019 was the year where we unfortunately witnessed the ultimate campaign by Thrash Metal titans Slayer, who at the same time left an undisputed and brilliant legacy to Heavy Metal and a giant hole in our hearts and in the global Thrash Metal scene. Do you think there’s any band that can fill that gap created by the end of Slayer? In my humble opinion, although I love bands like Exodus, Testament and Death Angel, I doubt anyone can claim Slayer’s throne as the meanest, most demonic and most pulverizing band of all time, but that doesn’t mean Thrash Metal is dead and gone. Quite the contrary, it’s still alive and kicking, with many of the underground bands reviewed at The Headbanging Moose contributing to keep the flame of such distinct subgenre of heavy music burning bright.

In addition, 2019 was also the year we lost many of our rock and metal icons, including André Matos (vocalist of Angra, Shaman and Viper), Larry Wallis (former guitarist of Motörhead), and Timi Hansen (former bassist of Mercyful Fate and King Diamond), as well as several talented musicians from non-metal styles like Marie Fredriksson (lead singer and keyboardist of Roxette), Keith Flint (frontman of The Prodigy), and the “King of the Surf Guitar”, Mr. Dick Dale. However, even with all those significant losses, we can say 2019 was a productive year for rock and metal music, with many iconic and underground bands delivering some fantastic albums for our total delectation, and that’s why here we are again with The Headbanging Moose’s Top 10 Hard Rock/Heavy Metal Albums of 2019, excluding EP’s, best of’s and live albums, to prove once and for all that heavy music will never, ever die. Having said that, enjoy our list of top metal albums for this year that’s coming to an end, and keep raising your horns high together with us in 2020!

1. Rammstein – Rammstein (REVIEW)
A magnificent lecture in Neue Deutsche Härte from the bottom of the flaming hearts of the pioneers of the genre.
Best song of the album: Deutschland

2. Necronomicon – UNUS (REVIEW)
Canadian powerhouses of Blackened Death Metal return with the heaviest, most obscure and most infernal opus of their career.
Best song of the album: Infinituum Continuum

3. Rotting Christ – The Heretics (REVIEW)
It’s time to burn in the fires of the dark and occult Black Metal crafted by the greatest Greek institution in the history of heavy music.
Best song of the album: Fire God and Fear

4. Soilwork – Verkligheten (REVIEW)
Swedish Melodic Death Metal masters return in full force with a fresh, groovy and addictive album of first-class heavy music.
Best song of the album: Stålfågel

5. The Agonist – Orphans (REVIEW)
Canadian juggernauts of Melodic Death Metal return with a brand new album that’s more extreme, more melodic and more exciting than ever.
Best song of the album: Blood as My Guide

6. Helevorn – Aamamata (REVIEW)
Embrace darkness and melancholy with the breathtaking new opus by one of the most interesting names from the current Spanish scene.
Best song of the album: Aurora

7. Slipknot – We Are Not Your Kind (REVIEW)
The world’s most famous masked metallers are back with a fantastic album that proves once again why Heavy Metal is our kind of music.
Best song of the album: Unsainted

8. Amon Amarth – Berserker (REVIEW)
Raise the shield wall, hold your hammers high, and unleash the berserker that lives inside you together with Amon Amarth.
Best song of the album: Shield Wall

9. Target – Deep Water Flames (REVIEW)
Let’s all dive into the incendiary deep waters of Technical and Progressive Death Metal ruled by this amazing band from Chile.
Best song of the album: Oceangrave

10. Singularity – Place of Chains (REVIEW)
The emotions of being wrongfully imprisoned turned into an ass-kicking hybrid of Technical Death Metal and Symphonic Black Metal.
Best song of the album: Ritual of Regret

And here we have the runner-ups, completing the top 20 for the year:

11. Grand Magus – Wolf God (REVIEW)
12. Hiss From The Moat – The Harrier (REVIEW)
13. Lucifera – La Caceria De Brujas (REVIEW)
14. Alunah – Violet Hour (REVIEW)
15. Dö – Astral Death Cult (REVIEW)
16. Rifftera – Across the Acheron (REVIEW)
17. Rage Of Light – Imploder (REVIEW)
18. Rexoria – Ice Breaker (REVIEW)
19. HerezA – Death Metal Drunks (REVIEW)
20. Aephanemer – Prokopton (REVIEW)

Also, let’s not forget about some of the best albums which, although might be short in duration, they did bring to our ears an endless amount of heaviness, speed and harmony this year, accrediting them to be part of our Top 10 EP’s of 2019. As you can see, those EP’s were recorded by the most diverse types of bands and artists from all over the world, becoming some sort of “tasting sample” of what we can expect from those metallers in a not-so-distant future.

1. Eleine – All Shall Burn (REVIEW)
2. Quilombo – Itankale (REVIEW)
3. Master’s Call – Morbid Black Trinity (REVIEW)
4. Violent Life Violent Death – Sadness Rains (REVIEW)
5. Angra Demana – Triptych Of Decay (REVIEW)
6. Vorga – Radiant Gloom (REVIEW)
7. Shuulak – Citrinitas (REVIEW)
8. Moanaa – Torches (REVIEW)
9. Exuviated – Déliquescence (REVIEW)
10. Sophist – Betrothal To The Stone: Conception of Mephisto (REVIEW)

Do you agree with our list? What are your top 10 albums of 2019? And, as usual, don’t forget to tune in every Tuesday at 10pm BRT on Rádio Coringão to enjoy the best of classic and underground metal with Jorge Diaz and his Timão Metal, and every Thursday at 8pm UTC on Midnight Madness Metal e-Radio for the best of underground metal with The Headbanging Moose Show!

Metal Xmas and a Headbanging New Year! See you in 2020!

And before The Headbanging Moose takes a well-deserved break to recover our energies and return in full force in 2020, how about we enjoy what’s probably one of the best and most detailed “Christmas” songs of all time, the fantastic Valhalleluja, recently released by Italian Heavy/Power Metal outfit Nanowar of Steel? This is the perfect soundtrack for your Christmas night with your loved ones, especially if you give someone anything from IKEA as a Christmas gift. Well, simply watch the official video below and follow the lyrics to understand what I’m talking about. Having said that, let’s all pray to Odin, drink beer and sing Valhalleluja together with Nanowar of Steel, my friends!

Album Review – Sun Of The Dying / The Earth Is Silent (2019)

A driving force of Doom Metal from Spain is ready to show us all how solitude, grief and serene landscapes can be translated into first-class extreme music.

There’s nothing like a good dosage of Death and Doom Metal to make any Friday the 13th even darker and more enjoyable, don’t you agree? And that’s exactly what Madrid, Spain-based six-piece horde Sun Of The Dying is offering us all with their sophomore full-length opus The Earth Is Silent, the follow-up to their 2017 debut album The Roar of the Furious Sea. Formed in the year of 2013 as a side project between former vocalist Lavin Uruksoth (from CrystalMoors) and guitarist Daniel Fernández Casuso (from Apocynthion), Sun Of The Dying is highly recommended for fans of My Dying Bride, Paradise Lost, Katatonia and Anathema, among others, blending their 90’s-rooted doom music with a more modern sound taken from bands like Shape of Despair, Ahab and Swallow the Sun, with the 45 minutes of extreme music found in The Earth Is Silent being a must-listen for admirers of such distinct style.

And the band now comprised of the aforementioned Daniel together with lead singer Eduardo Guilló, guitarist Roberto Rayo, bassist José Yuste, keyboardist David Muñoz and drummer Diego Weser really stepped up their game in their new album, featuring a minimalist and straightforward cover picture by Spanish photographer Miguel Urbaneja (Dissociated), and recorded, mixed and mastered at The Empty Hall Studio in Madrid. From grim, atmospheric passages to heavier-than-hell moments, The Earth Is Silent is a powerful statement that Sun Of The Dying are not just an average band, but a driving force of Doom Metal from the Spanish underground scene that’s ready to penetrate deep inside your soul and show you how solitude, grief and serene landscapes can be translated into first-class extreme music.

The sound of the waves give a raw touch to the somber intro The Earth Is Silent, darkening the skies for the Stygian anthem A Dying Light, which begins in a lugubrious way to the keys by David while Eduardo delivers a huge dosage of melancholy through his deep, clean vocals. In addition, Diego smashes his drums slowly and steadily in great Doom Metal fashion, with Eduardo’s cavernous roars bringing darkness to their crushing musicality. Speeding things up a bit and enhancing their background epicness and obscurity, the band offers us all A Cold Unnamed Fear, where the stringed trio Daniel, Roberto and José sound almost full Black Metal with their incendiary riffs in another brutal display of extreme music, with a delicate touch coming from David’s keys; and they continue their voyage through desolate and cold lands in Orion, where the sound of the guitars by Daniel and Roberto will mesmerize your mind throughout the song’s over eight minutes of solitude and ethereal passages, while Diego keeps the rhythm as sluggish and nocturnal as possible.

Showcasing lyrics that exhale hopelessness darkly vociferated by Eduardo (“When the morning came / There was no hope / There was no joy / When the morning came / The sun was white / Behind the clouds”), When the Morning Came brings forward an interesting paradox between the rumbling bass punches and whimsical keys generated by José and Davi, respectively, with the song’s last part being a brilliant ode to silence and nature; followed by Monolith, offering our ears an imposing an ominous background while at the same time leaning towards Blackened Doom, or in other words, a spine-chilling creation by the band filling every single space in the air with its phantasmagorical keys, flammable guitars and endless heaviness, not to mention its bitterly cold words declaimed by Eduardo (“Another day of calm and cold in this ship / waiting for a sign of mercy of our god / Meanwhile the ice bright like a silver knife / Behind the mist I suppose I see something dark / A cyclopean stone with many lights like stars”). And finally, the piano notes by David kick off the closing tune, entitled White Skies And Grey Lands, before Eduardo’s smooth vocals bring serenity to the music, with all instruments uniting in a climatic and thrilling sound exhibiting the strength of Doom Metal spiced up by the beauty of classical music.

If you’re a longtime fan of the grim and somber fusion of Doom and Death Metal played by bands like Sun Of The Dying, go show your support to those talented Spanish metallers by following them on Facebook, by listening to The Earth Is Silent in full on YouTube and on Spotify and, above all that, by purchasing your copy of the album from their BandCamp page, from Indiemerchstore.com (in CD or vinyl format), or simply click HERE for each and every location where you can find this excellent opus of extreme music. In a nutshell, Sun Of The Dying are not among us to bring happiness nor hope. Quite the contrary, the music found in The Earth Is Silent is the perfect representation of the harsh future that awaits us all in our decaying world, and of course that could only be done through the Stygian and cryptic sounds of our beloved Doom Metal.

Best moments of the album: A Cold Unnamed Fear, When the Morning Came and Monolith.

Worst moments of the album: None.

Released in 2019 AOP Records

Track listing
1. The Earth Is Silent (Intro) 1:39
2. A Dying Light 8:23
3. A Cold Unnamed Fear 5:41
4. Orion 8:09
5. When the Morning Came 5:21
6. Monolith 8:47
7. White Skies And Grey Lands 7:22

Band members
Eduardo Guilló – vocals
Daniel Fernández Casuso – guitars
Roberto Rayo – guitars
José Yuste – bass
David Muñoz – keyboards, backing vocals
Diego Weser – drums

Album Review – Crest of Darkness / The God of Flesh (2019)

Expanding the feel, variety and depth of their music, this talented Norwegian Black Metal triumvirate returns with the heaviest, darkest and most personal album of their undisputed career.

Conceived in the mid-nineties, more specifically in 1993 in the city of Gjøvik, Norway, by vocalist and bassist Ingar Amlien (when his former band Conception was still at its peak) as a product of his own passion for sheer sonic brutality and devotion to the satanic ideology according to Anton LaVeys’ Church Of Satan and the Satanic Bible, Atmospheric Black Metal horde Crest of Darkness is moving barriers once again with their brand new opus entitled The God of Flesh, expanding the feel, variety and depth of their music, showing to be as much at home with more progressive elements as they are with the aggressive and dark, brutal side for which they are known. In other words, get ready to be dragged into pitch black darkness together with Ingar and his henchmen Rebo on the guitar and Berhard on drums, not to mention guest keyboardist Kristian Wentzel, in what’s the heaviest, darkest and most personal album of their undisputed career.

Arising from the pits of the underworld, Crest of Darkness comes crushing our souls in the opening track The God Of Flesh, where Bernhard slams his drums manically while Ingar fires his Marduk-inspired demonic gnarls in a pulverizing display of old school Norwegian Black Metal. If that wasn’t infernal enough to you, it’s time for The Child With No Head with its psychological, grim lyrics (“Forever it will stay alive / This memory has filled your mind / Forever it will drag you down / Happiness you cannot find / Selfish greed / Religious views / The smell of death / The sound of thunder / No forgiveness / No escape / You know your world is going under”) and absolute madness and evil flowing form all instruments, with Rebo sounding absurdly satanic with his riffs, followed by Endless Night, where a more serene, melancholic atmosphere evolves into a mid-tempo ode to hell, with Ingar vociferating the song’s Stygian words while blasting his bass chords at the same time, supported by the rhythmic drumming by Bernhard.

Enhancing their aggressiveness and rage with hints of classic Death Metal added to their crude sonority, the band offers our avid ears the disturbing The Spawn Of Seth, a full-bodied creation by Crest of Darkness where Rebo is on fire with his razor-edged riffs and solos, also showcasing demonic lyrics as usual (“You are walking the earth as ghosts / You are flying on the wings of death / The human race is your host / As long as it can draw its breath”). And blending obscurity, despair and sadness, the ominous and ethereal bridge Forgotten sets the tone for Euthanasia, a neck-breaking, incendiary tune led by Rebo’s hellish riffage and Ingar’s Mephistophelian roars, perfect for headbanging like a bastard in the name of darkness while Bernhard’s pounding drums bring even more violence to the overall result.

Blood, one of their most ritualistic creations, unites the sulfurous blasphemy of traditional Black Metal with the harmony and intricacy of contemporary Melodic Black Metal, sounding at times as if Danzig went full extreme, and after such fantastic exhibit of extreme music, the trio from the netherworld captivates our senses once again with more of their Stygian sounds in Godless Evil Eyes, again presenting cutting riffs and classic beats, spearheaded by Ingar and his harsh, crude vocals. And last but not least, Salvation In Hell brings forward total devastation in the form of Black Metal to close the album on a high note, with all band members demolishing their instruments mercilessly, in special Bernhard with his complex and vibrant beats and fills.

Featuring a profane, cult-like artwork by Norwegian artist Marius Engli Andersson, and available for a full listen on Spotify, The God of Flesh is another solid and electrifying pillar in the satanic church of Black Metal built by Ingar and his horde, pointing to a bright (or maybe I should say completely dark) future for such amazing traditional act hailing from the beautiful Norway. Hence, don’t forget to follow them on Facebook, to purchase The God of Flesh from their own BandCamp page (or click HERE for all options available in the market), and also to watch Ingar himself commenting about each and every track from the album on YouTube in three special videos (Part 1, Part 2 and Part 3). In a nutshell, darkness is upon us thanks to this bloodthirsty, talented Norwegian triumvirate, proving once and for all evil always results in first-class extreme music.

Best moments of the album: The Child With No Head, The Spawn Of Seth and Blood.

Worst moments of the album: Endless Night.

Released in 2019 My Kingdom Music

Track listing
1. The God Of Flesh 4:08
2. The Child With No Head 3:45
3. Endless Night 5:40
4. The Spawn Of Seth 5:06
5. Forgotten 2:24
6. Euthanasia 5:40
7. Blood 4:13
8. Godless Evil Eyes 3:47
9. Salvation In Hell 4:24

Band members
Ingar Amlien – vocals, bass
Rebo – lead and rhythm guitar
Bernhard – drums

Guest musician
Kristian Wentzel – keyboards

Album Review – Hellsodomy / Morbid Cult (2019)

Unleashing their most lethal form of sonic detonation, this Turkish squad is ready to crush with their unrelenting new album of Blackened Deathrash.

Formed in 2011 in Kadıköy, a neighborhood on Istanbul’s Asian shore, in Turkey, the unrelenting Death Metal squad known as Hellsodomy can be considered a study in patience and perseverance, having taken around three years after the band’s inception before the release of their first demo, Masochistic Molestation, in 2014. However, after that demo things started to happen for the band, with the release of the EP Sodomy Is Nigh, in 2015, and their debut full-length opus, titled Chaostorm, in 2016, retaining the rawness of their earlier work with a more finessed expression of such and, therefore, positioning the band as one of the most promising names of the Turkish scene. Now three years later it’s time for the horde comprised of Nekro Kasil on the guitar and vocals, Destroyer D also on the guitar, Necrolepsy on bass and A.D.B on drums to explode our ears once again with their sophomore opus, entitled Morbid Cult, unleashing their most lethal sonic detonation yet in the form of what the band likes to call “Blackened Deathrash”.

An onrush of violent and berserk sounds led by Nekro and Destroyer’s demonic riffs in the instrumental intro Into Perversion warms up our senses for Endless Demise, offering the listener total devastation in the form of Death Metal and bringing a Hardcore feeling that makes it even more aggressive, with the infernal blast beast by A.D.B and the harsh vociferations by Nekro turning it into a must-listen for fans of the genre. Then hitting us hard with their riffage and rhythmic beats, the quartet blasts sheer insanity the likes of Krisiun and Deicide in Pestilence of Black Blood, showcasing a beyond visceral name and the always putrid growls by Nekro, followed by Charged to Kill, where they add elements from our good old Thrash Metal to their core sonority, resulting in a wicked circle pit-generator. Furthermore, while the band’s guitarists slash their strings manically, A.D.B brings groove and devastation at the same time with his unstoppable, visceral drums.

And there’s no time to rest or breathe in From the Seed to the Grave, a classic Death Metal extravaganza that will disturb your peace of mind, with Necrolepsy not only providing great backing vocals, but his bass lines are as metallic and evil as they can be; whereas in Hateclan, perhaps the most devastating of all songs, A.D.B sounds absolutely pulverizing on drums, providing Nekro all he needs to darkly shine with his enraged harsh vocals, being therefore highly recommended for slamming into the pit like a beast. And Divided Souls is another crushing creation by Hellsodomy displaying all elements we love in Death Metal, feeling like Nekro is getting more and more rabid as the album progresses while A.D.B adds endless stamina to the music with his thrashing beats.

Continuing their path of gruesome devastation, Mortem in Comfort presents a well-balanced fusion of sheer aggressiveness with more melodic sounds where Nekro, Destroyer and Necrolepsy can’t stop mutilating their stringed weapons in great fashion, and get ready to headbang like there’s no tomorrow to the frantic hybrid of Death and Thrash Metal by Hellsodomy entitled Dazed Victims, inspired by some of the sickest creations by Death Metal titans Cannibal Corpse. Their second to last breath of ruthless aggression, named Furious Chants, reminds me of the demented sound by Croatian act HerezA, with A.D.B blasting sheer rage through his drums while Nekro keeps growling like a demonic entity and shredding his guitar fiercely. In addition, its ending couldn’t have been more violent and ravenous, building an instant connection with the closing tune Souls Devoured, where all band members generate a thunderous and vile atmosphere with their hellish instruments, smashing our heads and cutting our skin deep until the song’s classic finale, all embraced by a sick guitar solo to make things even more tasteful.

The gates to the underworld have just opened in Turkey thanks to the flammable Morbid Cult, the brand new album of old school Death Metal crafted by the talented musicians from Hellsodomy featuring a Stygian cover art by Turkish artist Zezeah (Big Baboli Print House), and in order to join them in their path of pure devastation and rage go check what they’re up to on Facebook, listen to more of their music from their own BandCamp page, and grab your copy of such sulfurous album from the Saturnal Records’ webstore. Nejro Kasil, Destroyer D, Necrolepsy and A.D.B are eager to welcome you to their blasphemous cult of Death and Thrash Metal, with their new opus perfectly representing all the energy and fire coming from the underworld of their homeland.

Best moments of the album: Endless Demise, Charged to Kill and Hateclan.

Worst moments of the album: None.

Released in 2019 Saturnal Records

Track listing
1. Into Perversion 1:26
2. Endless Demise 3:18
3. Pestilence of Black Blood 4:51
4. Charged to Kill 2:58
5. From the Seed to the Grave 3:23
6. Hateclan 3:54
7. Divided Souls 2:57
8. Mortem in Comfort 3:15
9. Dazed Victims 2:49
10. Furious Chants 4:08
11. Souls Devoured 5:41

Band members
Nekro Kasil – guitars, vocals
Destroyer D – guitars
Necrolepsy – bass, backing vocals
A.D.B – drums

Album Review – Hyperomm / Transcendence (2019)

Dealing with otherworldly, cultural ideas, thoughts and systematic overviews of postmortem life, the sophomore album by this one-man Russian army will teach you a lesson in Melodic Death Metal.

Founded in 2016 in Moscow, Russia by multi-instrumentalist, sound producer and designer Anton Trubin, Melodic Death Metal one-man project Hyperomm has just unleashed upon humanity his sophomore full-length album entitled Transcendence, a follow-up to his 2017 full-length opus From Nothing to Eternity and his 2016 debut EP …Death, once again highly influenced by iconic names of the scene such as Children Of Bodom, Kalmah, Omnium Gatherum and In Flames, but bringing to our avid ears Anton’s own fresh and more technical twist. Featuring a dark cover art created by Anton himself, and with lyrics written by Demether Grail (from bands like Arcanorum Astrum, Grailight, Skylord and Zmey Gorynich), Transcendence is about otherworldly, cultural ideas, thoughts and systematic overviews of postmortem life, thematically devoted to various forms of life after death and dealing with the eternal existence of the soul.

“Transcendence was recorded in my home studio. The process itself was different from traditional bands because I use MIDI drums. The sound of drums is the foundation of a good metal mix, so sampling drums is one of the most important parts of my work on the overall sound. I start by recording one track and mixing it at once. First I get a sound that suits me, after that, when I compose and record songs, I hear almost the final result at the same time. It helps me with the arrangements,” commented Trubin on his creative process, also adding a few comments about the overall sound of the album.  “I tried to achieve a more aggressive sound than on the first album. The sound of drums is leaning more towards a modern metal sound, but there is still a lot of classic melodic death metal in the guitars and melodies. Many use the drop tuning, but I’m playing in standard tuning. I’m trying to do the hard sound without using any low tuned guitars, but by composing good riffs.”

Portal is in fact an intro that’s not just an intro, but a short and sweet display of modern and melodic metal music by Anton presenting his piercing shredding and roars, setting the stage for Weighing of the Heart, where Anton definitely feels like a full-bodied band right from the start, with his scorching riffs and damned beats living up to the legacy of bands like In Flames and Soilwork, not to mention the whimsical keys in the background bringing more balance to the music. And an epic and symphonic intro explodes into sheer speed, rage and progressiveness in Metempsychosis, an amazing display of Anton’s dexterity as a multi-instrumentalist showcasing poetic lyrics darkly vociferated by our one-man army (“On dying the soul flies off / Into the original world / Into the aerial trough / And then reborn on the mold”).

Sounding closer to what In Flames are doing nowadays, but of course with Anton’s own personal touch, Patala is another feast of classic riffs and pounding beats perfect for breaking your neck headbanging, followed by the excellent Eternal Feast, where it’s interesting to witness how the keys make the whole song sound and feel very futuristic and experimental, while the other instruments bring forward traditional metal elements, resulting in what’s perhaps Anton’s closest creation to classic Progressive Metal. In Charnel Wraith, a shredding extravaganza supported by old school drums and ethereal keys, we face more of Anton’s wicked lyrics (“Without goodness your black life was dwelled / You die in torment, eaten by demons / And thrown into the grave without farewell / Tormented self-gnawing genie”), whereas Illusory State is very vibrant and groovy from start to finish thanks to the amazing job done by Anton on bass and drums, exhaling melody and intricacy and exploding into a sonic havoc at times, all spiced up by a beautiful keys solo by guest Sergey Shulzhenko (from Sunless Rise).

In Vortex of Hell, Anton shreds his stringed axe in great fashion while at the same time hammering his drums mercilessly in a fusion of old school and modern-day Melodic Death Metal that will certainly please all fans of the genre; then after the wicked instrumental bridge Transcendence, Anton returns for one final blast of his hybrid of modernity and rage in The Story, once again presenting a solid balance between heavy riffs and stylish keys, with the music flowing as smoothly and detailed as possible until the very end. In addition, some versions of the album will contain two sick bonus tracks, the first being Living in a Cage, offering the listener over five minutes of Hyperomm’s trademark sound, while in 3000 we’re treated to a pop song by Ukrainian singer and DJ Ivan Dorn, from the 2014 album Randorn (check out the original one HERE), turned into ass-kicking metal music.

It’s truly impressive how only one musician was capable of crafting a multi-layered and thrilling album like Transcendence, which is available for a full listen on YouTube and on Spotify, and on sale from the project’s own BandCamp page or from several other locations by clicking HERE, all by himself, and such humongous amount of hard work, focus, talent and tenacity must be praised by all of us metalheads by following Anton and his Hyperomm on Facebook and on VKontakte. Having already released two outstanding albums and one EP, there’s nothing but a brilliant path ahead of Anton armed with his multiple instruments, positioning him not only as an example of what DIY is really all about, but also as a role model for any musician from the underground metal scene, with Transcendence being the perfect depiction of how powerful the music by lone rangers like Anton can sound.

Best moments of the album: Metempsychosis, Eternal Feast and Vortex of Hell.

Worst moments of the album: The Story.

Released in 2019 Independent

Track listing
1. Portal 1:53
2. Weighing of the Heart 4:30
3. Metempsychosis 3:20
4. Patala 3:53
5. Eternal Feast 4:04
6. Charnel Wraith 3:49
7. Illusory State 5:01
8. Vortex of Hell 5:19
9. Transcendence 1:30
10. The Story 4:15

Bonus tracks
11. Living in a Cage 5:11
12. 3000 (Ivan Dorn cover) 2:56

Band members
Anton Trubin – vocals, guitars, sampling, drums

Guest musician
Sergey Shulzhenko – keys solo on “Illusory State”

Album Review – ADE / Rise of the Empire (2019)

Armed with their furious and technical Death Metal, they came, they saw and they conquered, beautifully narrating the epic rise of the Roman Empire.

Focusing on the past and the origin of the customs of their homeland Italy, inspired by the ancient Greek music mainly used by Romans in war situations, fusing it with modern Death Metal with lyrics written in English and Latin, and also featuring traditional instruments which give their technical music a strong epic touch, Ancient Roman Death Metal army ADE is back in action with a brand new album entitled Rise of the Empire, aiming at educating the listeners a little more on the ancient history of Rome, more specifically on the age of Caesar. In case you have never heard of ADE before, I highly recommend you grab your sword and shield and get ready to head into the battlefield together with the band, because that’s the only way you can enjoy Rise of the Empire to the fullest.

Produced by Stefano Morabito at 16th Cellar Studios and featuring a stylish artwork by Italian artist Fabio Timpanaro (Storm.Studio), Rise of the Empire is still entrenched in traditional old school Death Metal, however presenting a more mature yet aggressive sound suitable for old and new generations of fans interested in the Ancient Rome and Epic and Technical Death Metal. Now comprised of guitarist and only remaining founding member Fabivs, together with newcomers Diocletianvs on vocals, Nerva on the guitar, Cornelivs on bass and Decivs on drums, this talented band formed in 2007 in Rome is on fire in the follow-up to their 2016 album Carthago Delenda Est, sounding a lot more refined, more pulverizing and, consequently, more exciting than ever.

The cinematic intro Forge the Myth warms us up for the war that’s about to begin in Empire, bringing forward tons of heaviness with epic elements in the background and poetic lyrics based on historical facts (“Pieces of the world were born in Rome / Seeping into memories like water in the loam / From the mind of Caesar, seed of the empire / Far from the senate and its opulent liars”). Decivs sounds utterly furious on drums, while Diocletianvs roars and growls like a beast, resulting in a beyond fantastic way to kick off the album. In The Gallic Hourglass the band continues to march into the battlefield led by Fabivs’ and Nerva’s slashing riffs, with all folk elements adding an extra touch of mystery to their pulverizing Death Metal while at the same time sounding very cohesive and dense from start to finish; whereas Diocletianvs’ roars get deeper and darker in Chains of Alesia, a mid-tempo, utterly heavy chant by ADE showcasing razor-edged riffs and intricate beats, not to mention the flammable solos by Fabivs and Nerva.

Even more imposing and obscure, Once the Die Is Cast presents a gargantuan amount of progressiveness added to the band’s core Death Metal, where Cornelivs and Decivs, armed with their respective bass and drums, couldn’t sound more thunderous and incendiary, or in other words, simply bang your heads nonstop to this lesson in extreme music infused with pure epicness. And ADE keep blasting their whimsical sounds in Gold Roots of War, a neck-breaking tune where Fabivs and Nerva decimate their strings in great fashion, followed by Ptolemy Has to Fall, where the band gets back to a rawer and more direct sonority while still presenting all of their trademark background elements, pulverizing beats and crisp guitar solos, all embraced by the warrior-like vociferations by Diocletianvs. ADE never get tired of smashing their instruments, always with a lot of harmony, precision and feeling, resulting in enfolding extreme creations like Suppress the Riot, where Decivs is absolutely ruthless with his venomous drums.

Veni Vidi Vici, by far one of the most electrifying of all songs in Rise of the Empire and my favorite moment of the album, brings forward the enraged growls by Diocletianvs while the rest of the band delivers a stunning fusion of demolishing Death Metal with folk and percussion sounds, and following a similar pattern tribal beats ignite the enigmatic The Blithe Ignorance, alternating between semi-acoustic and introspective moments and the traditional rage from Death Metal, with its guitar riffs cutting your skin deep mercilessly. Lastly, in Imperator we’re treated to an amalgamation of heavy styles such as Progressive and Epic Metal spearheaded by Decivs’ fulminating drums, while Fabivs, Nerva and Cornelivs are in absolute sync with their stringed weapons, putting a beautiful and climatic ending to the album.

In a nutshell, Rise of the Empire, available for a full listen on Spotify and on sale from several locations such as ADE’s own BandCamp and Big Cartel (in digipack format or as a special pack containing the digipack CD plus an exclusive T-shirt), the Rockshots Records’ webstore, Apple Music and Amazon, is an excellent choice for fans of extreme music that also enjoy a good story behind all the devastation being blasted from the guitars, bass and drums, positioning ADE as one of the most interesting names of the current underground scene in Italy (needless to say, you should start following them on Facebook for news, tour dates and other awesome shenanigans) and, more important than that, keeping the flames of the always grandiose Roman Empire alive through their thrilling and technical music. They came, they saw, and they conquered, no doubt about that.

Best moments of the album: Empire, Once the Die Is Cast and Veni Vidi Vici.

Worst moments of the album: Gold Roots of War.

Released in 2019 Extreme Metal Music/Rockshots Records

Track listing
1. Forge the Myth 1:28
2. Empire 4:25
3. The Gallic Hourglass 3:42
4. Chains of Alesia 3:33
5. Once the Die Is Cast 4:48
6. Gold Roots of War 3:14
7. Ptolemy Has to Fall 5:07
8. Suppress the Riot 4:22
9. Veni Vidi Vici 4:31
10. The Blithe Ignorance 5:14
11. Imperator 3:28

Band members
Diocletianvs – vocals
Fabivs – guitars
Nerva – guitars
Cornelivs – bass
Decivs – drums

Concert Review – Cannibal Corpse (The Opera House, Toronto, ON, 11/15/2019)

Over 30 years of evisceration, torture, mutilation, killing, blood and cannibalism in an awesome night of first-class Death Metal in Toronto.

OPENING ACTS: Perdition Temple and Thy Art Is Murder

I can’t describe in words how happy I am whenever a metal concert is scheduled for a Friday or Saturday night in Toronto, especially when the music in question is old school Death Metal. I mean, we need at least one full day to recover from all the insanity going on in the circle pits, right? And that’s probably why all fans at The Opera House this Friday, November 15 went the extra mile in terms of energy, rage and madness, slamming like it was their last night on earth to the sound of Perdition Temple, Thy Art Is Murder and my favorite Death Metal band of all time, the almighty Cannibal Corpse, pulverizing everything and everyone that crossed their path on a cold but fantastic night in Toronto.

It took forever for the concerts to start, probably because of the huge line that was formed at the door, with security even doing the checks while people were still in line and not right at the entrance. That was an indication that The Opera House was going to be jam packed (and it actually was), and after tons of non-metal songs played by the house DJ for a reason beyond my understanding (well, at least when he played Toto’s classic Africa some metalheads had a good time singing it), the first attraction of the night, Tampa, Florida-based Black/Death Metal horde PERDITION TEMPLE, finally hit the stage and began their short but solid setlist. Formed in 2009 by guitarist Gene Palubicki (from old school cult act Angelcorpse), the trio comprised of Gene together with bassist and vocalist Alex Blume and drummer Ronnie Parmer played a well-balanced setlist including songs from all of their releases, with songs like To Bleed at War, The Tempter’s Victorious and Goddess in Death already igniting some decent circle pits in the floor section. I personally enjoyed their performance a lot, and if you’re curious to know how the music by those Ameircan metallers sounds, simply check their official BandCamp page and, who knows, you might end up adding one of their albums to your devilish collection.

Setlist
The Tempter’s Victorious
Plague Camp
Testament to Annihilation
To Bleed at War
Goddess In Death

Band members
Alex Blume – vocals, bass
Gene Palubicki – guitars, vocals
Ronnie Parmer – drums

After a short break where most fans went either to the bar to grab some cold beer or to the bathroom to make room for more beer,  it was time for Sydney, Australia-based Deathcore outfit THY ART IS MURDER to show Toronto what they got, giving a lesson in slamming with their heavy-as-hell and politicized compositions. Comprised of vocalist Chris “CJ” McMahon, guitarists Sean Delander and Andy Marsh, bassist Kevin Butler and drummer Jesse Beahler, this excellent Deathcore unity from Down Under blasted a demolishing setlist including songs from their newest album Human Target, such as Make America Hate Again and New Gods, which by the way I thought sounded amazing live, with older hits like Reign of Darkness, Fur and Claw and Puppet Master, driving the fans nuts while crushing their skulls inside the humongous mosh pit that dominated the entire floor section as soon as the band began their show. I must say CJ McMahon is not only an extremely talented vocalist, delivering his trademark deep, guttural growls and his inhuman screeches, but he’s also a very charismatic and humble guy, making it visible to everyone at the venue how happy and impressed he was with the reception by his Torontonians fans. After all was said and done, I was able to confirm Thy Art Is Murder is indeed one of the best bands hailing from the current metal scene in Australia, both in studio and when on stage, and after witnessing them live for the first time ever I can’t wait to see when those guys will get back to Toronto for another round of their unrelenting Deathcore.

Setlist
Death Squad Anthem
Make America Hate Again
Fur and Claw
Slaves Beyond Death
Holy War
No Absolution
Human Target
The Son of Misery
New Gods
Reign of Darkness
Puppet Master

Band members
Chris “CJ” McMahon – vocals
Andy Marsh – lead guitar
Sean Delander – rhythm guitar
Kevin Butler – bass
Jesse Beahler – drums

CANNIBAL CORPSE

The wait for the one and only Death Metal institution CANNIBAL CORPSE was finally over when it was getting close to 9:30pm, and from the very first note of the opening track Code of the Slashers, from their latest opus Red Before Black, released in 2017, until the closing moments from their gruesome all-time classic Hammer Smashed Face, it was pure Armageddon in the form of ass-kicking Death Metal. The unstoppable vocalist George “Corpsegrinder” Fisher (I still don’t know how he can headbang like a beast for so long), guitarists Rob Barret and Erik Rutan (the lead singer and guitarist for Hate Eternal who is filling in on guitar during this tour due to the arrest of guitarist Pat O’Brien), the phenomenal bassist Alex Webster, and the precise drummer Paul Mazurkiewicz set The Opera House on fire with their visceral and absolutely perfect Death Metal, playing “horror classics” from almost all of their albums (which you can find on sale from their own BandCamp page), including my favorite Cannibal Corpse song of all time, Devoured by Vermin, from their 1996 album Vile, and the sensational Kill or Become, from their 2014 album A Skeletal Domain, where you could see several fans “firing up their chainsaws” together with Corpsegrinder. It was so insane I could barely take my phone out for some decent pictures.

Every single time I watch Alex Webster live I get more and more impressed with his technique, feeling and groove, proving why he’s in my opinion the best extreme music bassist of all time. As a matter of fact, how many Death, Thrash and Black Metal bands have bassists that you can actually listen to in detail while performing live? Not only that, but the band’s setlist was also impressive as already mentioned, and that’s probably one of the reasons why Alex and the guys were so brutal and awesome on stage this Friday. Songs like Red Before Black, Gutted, Make Them Suffer and Stripped, Raped and Strangled were the catalyst of some of the most demented circle pits you can imagine, while Scourge of Iron and the demonic Evisceration Plague were perfect for breaking our necks headbanging like maniacs. Another thing that was really entertaining during the band’s flawless performance were all the jokes by Corpsegrinder, showing that behind that brutal headbanging beast there’s a very kind and fun guy. When he offered “NOTHING” from the bottom of his heart to the fans we could see how excited he was with the warm and violent reception from the crowd. And what to say about his personal intro in I Cum Blood, where he dared the fans to try to headbang like him (and, of course, we would all fail miserably in his own words)? That’s what I call a frontman, my friends, never letting the energy go down and always reminding us why the band has been on the road alive and kicking since 1988. When the show was over, you could see many, many fans dripping wet of their own (and others’) sweat and beer leaving the venue without a jacket when the temperature was around -5oC, mostly due to the adrenaline still flowing through their veins, and you know what? That’s when you know there was a damn good Death Metal night in Toronto, obviously spearheaded by our beloved Cannibal Fuckin’ Corpse.

Setlist
Code of the Slashers
Only One Will Die
Red Before Black
Scourge of Iron
Staring Through the Eyes of the Dead
The Wretched Spawn
Devoured by Vermin
Unleashing the Bloodthirsty
Gutted
Kill or Become
A Skull Full of Maggots
Evisceration Plague
Firestorm Vengeance
Death Walking Terror
I Cum Blood
Make Them Suffer
Stripped, Raped and Strangled
Hammer Smashed Face

Band members
George “Corpsegrinder” Fisher – vocals
Erik Rutan – lead guitar
Rob Barrett – rhythm guitar
Alex Webster – bass
Paul Mazurkiewicz – drums

Album Review – Ploughshare / Tellurian Insurgency EP (2019)

Feeding on sickness, unbearable oppression and blind violence, here comes a cryptic Australian entity armed with their new EP blending a multitude of influences and sounds.

Feeding on sickness, unbearable oppression and blind violence, the brand new EP by Australian Black/Death Metal entity Ploughshare, entitled Tellurian Insurgency, is the perfect depiction of what this mysterious band hailing from Canberra, the capital city of Australia, stands for, always with open arms to a multitude of influences and sounds in order to serve a greater purpose, including Black, Death and Doom Metal mixed with Noise Rock, Post-Punk and even the darkest offshoots of Electronic Ambient. In the span of a little over 22 minutes, Ploughshare’s music flows impetuous and intense in Tellurian Insurgency, the natural follow-up to their 2018 full-length album In Offal, Salvation. Recorded and mixed by Elliot Johnson and Max Napier, mastered by MR and featuring a demonic artwork and layout by JR and RT, the new EP by this idiosyncratic Australian horde is not an easy listen at all for the average rock and metal fan, representing the band’s urge to reinvent themselves and bring something new to the listener with each and every album released, never sticking to a specific formula or style. “Ploughshare is what occurs when we come together as a band,” they explain. “We all bring material, but this will always undergo transformation once we’re together. The music emerges contingently, and in a manner that makes it impossible to inscribe our wills into it. We might all contribute, but we are equally all caught up in it.”

Ominous noises explode into sheer madness and chaos in the opening track Abreactive Trance, a demented voyage through the realms of Experimental Black Metal showcasing enraged vociferations, slashing guitar riffs and infernal blast beats, reeking of desperation and insanity while the music lives up to the legacy of modern-day extreme music. Then we have Indistinguishable Beast of Flight, even more experimental and progressive, with its vocal lines reaching a new level of dementia while the guitars sound utterly strident and piercing, or in other words, get ready for a multi-layered metal extravaganza that will please all fans of heaviness and noise, all spiced up by the gargantuan amount of intricacy flowing from the song’s beats and fills. In Offal, Salvation (Andrew Nolan Re-mix), a new and interesting version for the title-track of their 2018 full-length opus, the disturbing and roaring sounds blasted by the band are infused with electronic noises and tones, resulting in a fresh and futuristic musical experiment albeit a the same time maintaining the core violence of the original version, whereas Xeno-Chemical Insider is another eerie composition by the band that sounds a lot more electronic than metal, which I’m pretty sure was the band’s original goal with this song.  Simply close your eyes and let Ploughshare penetrate deep inside your skin with their deranged screams, rhythmic beats and endless obscurity until the song’s ethereal and somber finale.

Although Ploughshare might be considered an unknown creature by many, you can still get in touch with them on Facebook to let them know how crazy you think their music is, and in order to show your support to this eccentric squad hailing from Australia you can purchase Tellurian Insurgency directly from their own BandCamp or from several other locations in different formats, such as the I, Voidhanger Records’ BandCamp, the Brilliant Emperor Records’ BandCamp and Big Cartel, and the Metal Odyssey webstore. It’s almost impossible to predict what’s next for Ploughshare, but judging by the creativity and cohesiveness of the music found in the short but extremely diverse and thrilling Tellurian Insurgency, we can rest assured those metallers from Down Under won’t stop impressing us with their demented creations in the coming years.

Best moments of the album: Indistinguishable Beast of Flight.

Worst moments of the album: None.

Released in 2019 I, Voidhanger Records/Brilliant Emperor Records/Night Rhythms Recordings

Track listing
1. Abreactive Trance 6:16
2. Indistinguishable Beast of Flight 5:22
3. In Offal, Salvation (Andrew Nolan Re-mix) 6:01
4. Xeno-Chemical Insider 4:10

Band members
*Information not available*

Guest musician
VS – additional vocals on “Abreactive Trance”

Album Review – Verthebral / Abysmal Decay (2019)

The abysmal decay of mankind and religion through the eyes of a ruthless Paraguayan Death Metal horde.

Formed in 2013 in Ciudad del Este, a city on the Paraná River in Paraguay, South American Death Metal unity Verthebral is a reminder of the potency of Death Metal coming from their continent, blasting our ears with their ruthless creations without a single drop of mercy. From the traditionally-rooted riffing to the relentless percussive hammering with savage and barked out vocals, Verthebral execute with utter savagery and precision each and every track form their newborn opus Abysmal Decay, tempering it with unpredictable tempo changes and whiplashing breakdowns, proving this is not just mindless brutality, but a well thought out extreme album that must not be taken lightly, being highly recommended for fans of hellish acts like Krisun, Rebaelliun, Morbid Angel, Deicide, Slayer, Death, Sarcófago, Malevolent Creation and Hate Eternal, among others.

Featuring a classic and absolutely incendiary artwork by Brazilian artist Marcos Miller (who has already worked with bands like Exterminate and Mental Horror), and layout by Finnish artist Turkka G. Rantanen (Paganizer, Demilich), Abysmal Decay is a natural and exciting follow-up to their 2017 demolishing album Regeneration, once again dealing with several controversial topics like anti-religion, philosophy, human conduct and death, all embraced by a violent and very detailed sonority brought forth by Christian Rojas on vocals and bass, Daniel Larroza and Alberto Flores on the guitars, and Denis Viveros on drums. Put differently, after you start listening to Abysmal Decay, you’ll undoubtedly feel your head, mind and ears tremble, exactly the way we all love in old school Death Metal.

Get ready to be smashed form the very first second in the opening track Ancient Legion, highly inspired by bands like Krisiun and Cannibal Corpse and with Christian delivering his trademark growling attack supported by the demented drums by Denis, sounding solid and pulverizing form start to finish. The quartet keeps hammering our heads in The Art of Perversion, a rhythmic, multi-layered Death Metal extravaganza led by the razor-edged riffs by Daniel and Alberto that will certainly inspire you to crack your skull into the circle pit, not to mention its amazing sinister break halfway through it; followed by the title-track Abysmal Decay, another brutal display of Death Metal slightly slower than its predecessors but heavy-as-hell, with the band’s guitar duo not only slashing our ears with their riffs but also with their crisp solos, resulting in a perfect choice for banging your head like a maniac.

Then it’s time for an absolutely demolishing display of extreme music by this talented band entitled Isolation Room, alternating between frantic moments and sheer brutality and heaviness where Christian continues to roar and bark like a true beast, elevating the overall quality of the album even more. Coronation of Envy already begins in full force, inspiring us all to slam into the pit like berserk metalheads, with Denis being unstoppable on drums and consequently building a thunderous stage for Daniel and Alberto to shine with their strident guitar solos, whereas in Absence of a God we face almost five minutes of crushing Death Metal made in Paraguay. It’s quite impressive how they never get tired of delivering the most rumbling and disruptive sounds possible, with the music living up to the legacy of bands like Deicide, Krisiun and Death.

Christian leads his horde with his deep, enraged gnarls in Sweet Home Illusion, a classy Death Metal onrush featuring demonic and intricate blast beats and metallic bass punches while Daniel and Alberto keep firing scorching sounds from their stringed weapons, before the instrumental bridge Obsidian Tears enhances our senses for the pulverizing My Dark Existence, a mid-tempo, disturbing chant led by the band’s infernal guitarists where Danis sounds like a sledgehammer on drums, feeling dense and obscure from start to finish (albeit not as creative as all previous songs). And closing the album the band adds tons of progressiveness to their evil music in Testimony of Hate, piercing our minds and ears with their visceral riffs and deranged growls, with the sounds from all instruments growing in intensity and rage until the song’s climatic and vile ending.

If you consider yourself a diehard Death Metal fan and true supporter of the underground, don’t forget to get in touch with the guys from Verthebral on Facebook, and to purchase your copy of Abysmal Decay from the band’s own BandCamp page, or from the Transcending Obscurity Records’ webstore in digipak CD format, in a digipak CD and T-shirt combo, or in an outstanding CD box set including an 8-panel digipak CD with metallic effect, an autographed card, an album artwork coaster, an album artwork fridge magnet, a gloss finish badge and a silver logo patch. Having said all that, I’m beyond happy to witness the healthy and vibrant rise of South American Death Metal in the past few years, with bands like Verthebral proudly waving the flag of Paraguayan extreme music everywhere they go through their destructive, heavy and anti-religious creations, or in other words, everything we love (and want) in our good old Death Metal.

Best moments of the album: The Art of Perversion, Isolation Room and Sweet Home Illusion.

Worst moments of the album: My Dark Existence.

Released in 2019 Transcending Obscurity Records

Track listing
1. Ancient Legion 3:38
2. The Art of Perversion 4:44
3. Abysmal Decay 4:26
4. Isolation Room 4:17
5. Coronation of Envy 3:39
6. Absence of a God 4:52
7. Sweet Home Illusion 5:33
8. Obsidian Tears 1:19
9. My Dark Existence 4:32
10. Testimony of Hate 4:25

Band members
Christian Rojas – vocals, bass
Daniel Larroza – guitars
Alberto Flores – guitars
Denis Viveros – drums