Album Review – Apocalyptian / Citizens Of The Apocalypse EP (2020)

A short and pulverizing soundtrack to the apocalypse by a ruthless Death Metal unity from Down Under.

Crafted from a mutual love for Death Metal from the late 90’s and early 2000’s by members of the underground Australian bands He Who Seeks Vengeance, Maleficium, Death Masque and Conscious Control, Melbourne-based three-piece horde Apocalyptian has been working hard since their inception to bring some first-class Old School Death Metal to our avid ear, culminating with the release of their debut EP entitled Citizens Of The Apocalypse now in 2020. Comprised of Scott Masson on vocals (who’s also the lead singer for Metalcore act He Who Seeks Vengeance, whose album They Will Speak Of The Ghosts That We Became was reviewed at The Headbanging Moose in 2019), Allan Butt on the guitars and Jacob Capper on bass, Apocalyptian are ready to pulverize your senses with the 18 minutes of classic Death Metal found in their newborn spawn, being therefore highly recommended for fans of bands such as Cannibal Corpse, Deicide, The Black Dahlia Murder, Monstrosity and Suffocation, among countless others.

The Wretchedness Within is raw, vile and berserk from the very first second, with Scott welcoming us all to the world of Apocalyptian with a demented roar before his bandmates start smashing their instruments just the way we like it in classic Death Metal, with nuances of Deathcore added to make it even more electrifying. Then we have Wage War On A Dying Planet, as sick and violent as the opening track, where Allan and Jacob are on absolute fire with their stringed weapons while Scott gets more and more demented on vocals as the music progresses, living up to the legacy of giants like Cannibal Corpse and Six Feet Under, and let’s keep slamming into the circle pit to the sound of Scorched Wasteland, with Allan delivering razor-edged riffs for our total delight while Jacob’s bass punches are in total sync with the song’s insane beats. Needless to say, Scott is once again venomous with his deep guttural barks, which is also the case in the title-track Citizens Of The Apocalypse, as devastating as its predecessors, bringing forward infernal riffs and beats and inspiring us to bang our heads to the vicious riffage by Allan, with Jacob adding an extra touch of heaviness to the music with his low-tuned bass.

If you’re searching for a good (and extremely heavy) soundtrack for the end of days that seem to be approaching us all faster than we could have ever imagined, you should definitely check what Apocalyptian are up to on Facebook and purchase your copy of Citizens Of The Apocalypse (available for a full listen on Spotify, by the way) from the band’s own BandCamp page or from Amazon. Citizens Of The Apocalypse might be short in duration, but it’s indeed a solid and pulverizing album of classic Death Metal thoroughly crafted by three talented musicians from Down Under that points to a great future ahead of them. As long as the apocalypse doesn’t happen in the coming months or years, of course.

Best moments of the album: The Wretchedness Within.

Worst moments of the album: None.

Released in 2020 Independent

Track listing
1. The Wretchedness Within 4:40
2. Wage War On A Dying Planet 4:07
3. Scorched Wasteland 5:58
4. Citizens Of The Apocalypse 3:41

Band members
Scott Masson – vocals
Allan Butt – guitars
Jacob Capper – bass

Album Review – Coldflesh / Phantasmagoric Realms EP (2020)

Enter the phantasmagoric realms of Death Metal ruled by four skillful and ruthless musicians from the underground Norwegian scene.

Forged in 2014 in the fires of Oslo, the capital of the always alluring country of Norway, when guitarist Audun Melbye brought in some songs from his former band Pieces, the up-and-coming Death Metal squad known as Coldflesh started recording their first studio album back in 2016 (when they settled on the band name, by the way), but after several vocalists and inadequate conditions to record it (resulting in tracks that were not showing the band’s full potential), the album was reduced to a four-track EP entitled Phantasmagoric Realms and postponed to a March 2020 release. However, the band now comprised of vocalist and guitarist Robin Berg Pettersen, guitarist Audun Melbye, bassist Magnus Slettebø and drummer Laszlo Juhos nailed it in their debut endeavor, delivering a high-end fusion of old school Death Metal with more contemporary Extreme Metal sounds and, therefore, pointing to a bright future for this Norwegian horde.

The opening track Deficiency already begins in full force, with Robin and Audun’s heavy riffage together with Laszlo’s pounding beats generating a reverberating atmosphere, blending classic Death Metal with the Melodic Death Metal from the Gothenburg scene, not to mention Robin’s demonic, deep growling. Then we have the title-track Phantasmagoric Realms, a solid tune full of classic beats, soulful guitar solos and endless rage that keeps inviting us all to slam into the mosh pit, with Robin and Audun, supported by the massive bass punches by Magnus, slashing our ears mercilessly; followed by Aeons Absorbed, another crushing Death Metal extravaganza led by Laszlo’s rhythmic drums and Robin’s wicked roars, sounding perfect for banging your head nonstop and reminding me of some of the creations by the mighty Unleashed (but with a darker twist). And the final act by Coldflesh comes in the form of Eradicate The Futile, a mid-tempo, hammering tune where the bass by Magnus sounds infernally heavy, with Laszlo bringing forth a warlike ambience perfect for the band’s guitar duo to kick ass with their shredding, effectively ending such short but very entertaining album of extreme music.

In summary, although Coldflesh were forced to shorten their debut installment due to unforeseen reasons, those Norwegian metallers managed to do a really good job in Phantasmagoric Realms, showcasing all their talent, dedication and passion for Death Metal in the 18 minutes of music found in the EP. Hence, go check what this new name from the underground Norwegian scene is up to on Facebook, and of course go show your true support to independent metal by purchasing your copy of Phantasmagoric Realms from the band’s own BandCamp page. As aforementioned, Coldflesh have a promising future ahead of them based on this short and sweet sample of how crushing their Death Metal can be, and it’s only a matter of time until we hear form those guys again, hopefully with an absolutely demolishing full-length spawn.

Best moments of the album: Phantasmagoric Realms.

Worst moments of the album: None.

Released in 2020 Independent

Track listing
1. Deficiency 5:18
2. Phantasmagoric Realms 4:36
3. Aeons Absorbed 4:28
4. Eradicate The Futile 3:50

Band members
Robin Berg Pettersen – vocals, guitar
Audun Melbye – guitar
Magnus Slettebø – bass
Laszlo Juhos – drums

Album Review – Holycide / Fist to Face (2020)

A ruthless attack of pure Thrash Metal in its most intense and aggressive form by one of the most talented an fun squads of the Spanish underground scene.

Madrid, Spain-based Thrash Metal platoon Holycide is back with their sophomore album Fist to Face, the follow-up to their awesome 2017 debut opus Annihilate… Then Ask!, and an album that’s likely to become one of the best Thrash Metal albums of 2020. Showcasing a ruthless attack of pure Thrash Metal in its most intense and aggressive form while at the same time being technical and catchy as hell, the excellent Fist to Face, which was recorded at Cadillac Blood Studios in Spain and features a classic, in-your-face artwork designed by Brazilian artist Alberto Quirantes (Akirant Illustration), who has already worked with bands like Blaze Bayley, Hyperion and most of the current art for Iron Maiden’s Legacy of the Beast theme, proves once again that the band comprised of Dave Rotten on vocals, Miguel Bárez and Salva Esteban on the guitars, Dani Fernández on bass and Jorge Utrera on drums is on the right path to stardom, crushing everything and everyone who dares to go against their thrashing way of life.

Intrump might be one of the funniest intros I’ve ever seen in my life, as mocking such “unique” character like Donald Trump is obviously something most metal bands enjoy a lot, setting the tone for Dave and his horde to hit us hard in the title-track Fist to Face, with both Miguel and Salva being demolishing with their riffs and solos while Jorge doesn’t stop hammering his drums like a maniac. After such rebellious start, we have the also great Empty Cyber Life, presenting meaningful and austere lyrics growled by Dave (“You think you’ve got lots of friends on your profile / You think you’ve got a truly successful life / You think you’ve got a great power of influence / You think you’ve got an interesting life to share / Come on, wake up! / You’ve got nothing at all / Everything around you / It’s false”) while the music remains fast, furious and raw as good Thrash Metal always demands.

Dani’s thunderous bass punches and Jorge’s classic beats dictate the rhythm in Vultures, a headbanging tune perfect for enjoying a beer or slamming into the pit where Dave’s raspy, devilish gnarls are effectively supported by the song’s entertaining backing vocals, and they keep blasting pure Thrash Metal  to our ears in Nuclear Fallout, a high-octane creation where Dave is once again bestial on vocals while the band’s guitar duo deliver sheer adrenaline through their incendiary strings. In the acid Trapped by the Crappy Trap you’ll notice how much the guys from Holycide hate all that nasty, fake and boring trap music stuff, with Dave beautifully vociferating the song’s funny words, whereas Mentality Packs is another good thrashing song, albeit not as powerful as the rest of the album, but of course bringing the band’s trademark circle pit-generator vibe and Dave’s infernal growls and roars.

Then Holycide bring forth a vicious cover version for The Aftermath, released in 1988 by a defunct American Thrash Metal band from Los Angeles named Recipients of Death (check the original version HERE), and let me tell you that Holycide’s version sounds just as devastating and evil, bringing elements from the demented sound crafted by Slayer and Exodus in their early years. Miguel, Salva and Dani generate an unrelenting hurricane of Thrash Metal with their stringed weapons in Napalm Sweet Napalm, a brutal tune that couldn’t have sounded faster and more electrifying than this, providing Dave all he needs to shine with his enraged Thrash and Death Metal-inspired screams; followed by Innocent Hate, where the band keeps the pedal to the metal in their thrashing machine showcasing spot-on backing vocals, rumbling bass lines and endless violence flowing from their riffs and beats. Lastly, there’s no better way to end the album than with more pulverizing sounds in the form of Fake Libertarian, where Jorge is vicious and very melodic at the same time on drums while Miguel and Salva bring a touch of insanity to the music with their sick guitar solos.

If you want to thrash like there’s no tomorrow together with the guys from Holycide, you can simply follow them on Facebook and on Instagram, and obviously purchase your copy of Fist to Face (available for a full listen on YouTube and on Spotify, by the way) from their own BandCamp page, from Xtreem Music’s BandCamp page or webstore in CD and other formats and bundles, from Apple Music, from Amazon or from Discogs. There’s no excuse to not put your hands on such high-octane, insurgent and well-crafted album of Thrash Metal, and just in case you don’t support Holycide I guess you know you’ll get nothing more, nothing less than a huge fist directly to your face.

Best moments of the album: Fist to Face, Vultures, Napalm Sweet Napalm and Innocent Hate.

Worst moments of the album: Mentality Packs.

Released in 2020 Xtreem Music

Track listing
1. Intrump 1:32
2. Fist to Face 3:26
3. Empty Cyber Life 4:32
4. Vultures 3:53
5. Nuclear Fallout 3:24
6. Trapped by the Crappy Trap 4:00
7. Mentality Packs 3:58
8. The Aftermath (Recipients of Death cover) 3:33
9. Napalm Sweet Napalm 4:56
10. Innocent Hate 3:18
11. Fake Libertarian 3:49

Band members
Dave Rotten – vocals
Miguel Bárez – guitar
Salva Esteban – guitar
Dani Fernández – bass
Jorge Utrera – drums

Album Review – Architectural Genocide / Cordyceptic Anthropomorph (2020)

A sickening, slamming and brutal album of Death Metal from the always fertile breeding ground of Texas, courtesy of an up-and-coming band ready to unleash hell upon humanity.

Texas has always been a fertile breeding ground for the most brutal extremes of Death Metal, and Houston’s own Architectural Genocide have been proving themselves a match for all the illustrious, gore-soaked names who have gone before them since their inception in 2017, unleashing hell upon humanity with their debut full-length opus entitled Cordyceptic Anthropomorph, the sound of sheer brute force within a maelstrom of violence and pulverized flesh. Mixed and mastered by renowned Italian drummer Davide “BrutalDave” Billia (Beheaded, Antropofagus, Hour Of Penance), and featuring a brutal and Stygian artwork by American musician and designer Jon Zig (Images of Violence, Deeds of Flesh, Relics of Humanity, Viral Load), Cordyceptic Anthropomorph is highly recommended for fans of the absolute chaos blasted by bands like Disentomb, Gorgasm and Visceral Disgorge, showcasing all the undeniable talented of lead singer Daniel Brockway, guitarist Jonathan Blake, bassist Matt Day and drummer Nat Conner, and of course their deep passion for what people like to call “Brutal Texan Death Metal”.

It’s time to slam into the circle pit like there’s no tomorrow to the sound of the opening track Spires of Mangled Tissue, bringing to our ears brutal devastation from the very first second, with Nat sounding infernal with his blast beats and fills while Daniel barks like a rabid beast, resulting in a freaking heavy extravaganza from start to finish. Then in Hallucinogenic Demise an ominous intro led by Jonathan’s wicked guitar lines and Matt’s low-tuned bass evolves into modern and furious Death Metal with Daniel’s inhuman screeches adding a touch of dementia to the overall result, with Nat once again crushing his drums manically; and they continue their onrush of dark and hellish sounds in Dominate and Proliferate, where Jonathan extracts sheer violence from his stringed axe in great Brutal Slamming Death Metal fashion. And the title-track Cordydeptic Anthropomorph lives up to the legacy of both old school and modern-day Death Metal, sounding and feeling as brutal and technical as it can be thanks to the amazing job done by the band’s stringed duo, not to mention Nat’s demented and intricate beats.

And the boys from Architectural Genocide keep smashing our skulls and spinal cords with the visceral and infuriated Gorge on Deceased, the perfect depiction of how vile but at the same time melodic and technical the quartet can be, offering a few interesting breaks and variations while Daniel’s deep guttural roars continue to reverberate in the air. Then Nat takes the lead once again in the berserk Pleasure Induced by Agony, sounding like a stone crusher on drums in what’s perhaps the heavier and most vicious of all songs from the album, with Jonathan and Matt showing no mercy for their strings (nor for our necks, of course). The second to last blast of malevolent Death Metal by this skillful four-piece horde comes in the form of Abolishment of Human Existence, where Matt and Nat are in absolute sync with their respective bass punches and demonic beats and fills, providing Daniel all he needs to shine with his deep vociferations, whereas Burgeoning Necrosis is a fantastic and pulverizing closing tune, or in other words, the epitome of everything the band stands for, showcasing the classic, hammering drums by Nat and the always brutal shredding by Jonathan.

If you have what it takes to face the Brutal Texan Death Metal assault fired by Architectural Genocide in their debut installment, all you have to do is go to Comatose Music’s BandCamp or webstore, as well as to Discogs, to put your hands on such ruthless album of extreme music. Hence, don’t forget to show your true support to the guys from Architectural Genocide by following them on Facebook and on Instagram, and by listening to their music on Spotify. The architect of genocide is among us to bring us all a whole new level of sickening, slamming and brutality with Cordyceptic Anthropomorph, proving once again why the underground is and will always be the dark lair (and consequently our endless source) for ass-kicking Death Metal, and if you’re in Texas then the awesomeness coming from that is even higher, no doubt about that.

Best moments of the album: Hallucinogenic Demise, Cordydeptic Anthropomorph and Pleasure Induced by Agony.

Worst moments of the album: None.

Released in 2020 Comatose Music

Track listing
1. Spires of Mangled Tissue 4:51
2. Hallucinogenic Demise 5:48
3. Dominate and Proliferate 4:21
4. Cordydeptic Anthropomorph 5:06
5. Gorge on Deceased 3:56
6. Pleasure Induced by Agony 5:42
7. Abolishment of Human Existence 5:19
8. Burgeoning Necrosis 5:03

Band members
Daniel Brockway – vocals
Jonathan Blake – guitar
Matt Day – bass
Nat Conner – drums

Metal Chick of the Month – İlkim Oulanem

Doomsday is not so far… See you in hell, İlkim!

Every single time we at The Headbanging Moose decide to honour a woman in Black Metal in our metal chick of the month segment, we have a really hard time finding most details about that specific woman most probably due to all the secrecy, mystery and obscurity that are inherent to such distinct subgenre of heavy music. Having said that, it couldn’t have been any different with our metal lady on the month of March, as almost everything related to İlkim Oulanem is about her career in Black Metal, with very few, rare interviews and other articles being available about her personal life. However, thanks to my superior “detective” skills, I managed to find a very interesting side of our Turkish Valkyrie that might be a surprise to most people that have already had any contact with İlkim’s work in the Black Metal scene, and as any good journalist I’ll save that distinct side of our metal lady for the end of this tribute, how about that? I’m sure you’ll love both her more aggressive and infernal Black Metal side, and her more recent endeavours in music.

Born in the year of 1989 in Ankara, Turkey’s cosmopolitan capital, sitting in the country’s central Anatolia region, İlkim began her career in Black Metal around 2005, when she formed a pure Black Metal band called Messershmit in Ankara. After performing as a vocalist and bassist for Messershmit until 2008, with whom she recorded a split album titled Split Way of Life in 2005 together with Turkish Black Metal band Satanic Verses, as well as an unlisted demo entitled Beyond the Wall of Sleep, İlkim formed her own one-woman Black Metal project self-titled İlkim Oulanem back in 2008, recording all vocals and instruments (and being also responsible for all lyrics) in all of her releases under the now defunct project. In addition, if you’re not familiar with the music by İlkim Oulanem, let me tell you that her sound suffered a few changes through the years, evolving from a raw Black Metal sonority to what can be called Melodic Black Metal or even Black n’ Roll.

As the one-woman band İlkim Oulanem (which you might also find under the name İlkim2), she released the two-track demo The Alarm, in 2005, gathering considerable interest from critics and fans in her homeland (which led her to tour around İstanbul, Gaziantep and Eskişehir), the EP Iblisbilim, in 2009, and her only full-length opus Girdap, in 2011, not to mention the split albums Pentagram, Legions of the Black Ice Fires, Unholy Culture and Sixth Hell of the East IV, all released in 2009, and BPMTh and International Black Scene Vol.1, both from 2010, with some amazing underground bands such as Storm of Darkness, Lux Serpent of Eden, Oculus Sathanas, Solus, Diabolis Interriym, Sirannon, Moderix and Ambient Fabric, among others. Hence, if you want to have a very good taste of the rawness and obscurity flowing from her music under her İlkim Oulanem moniker, you can listen to songs like Asil Varoluş, Hey Kukla and İblisbilim, all sung in her mother tongue Turkish, by the way, and always about controversial topics such as war and destruction.

Apart from her work with İlkim Oulanem, our talented metaller has also been involved with a band named Karabudun (albeit there’s nothing from this band available anywhere online), played drums for Mexican Black Metal band Demonic Forest in 2008, participated as a guest drummer in the 2009 demo titled 191919…, by Turkish all-female Death/Black Metal band Ancestry (previously known as War Ancestry), and was a guest vocalist and lyricist in the song Screams of Lost Horrors, from the 2010 album The Dark… the Withered…, by Colombian Depressive Black Metal band Asbel. Furthermore, after the end of her one-woman Black Metal project, she started playing pop and rock music under the name İlkim, but the only material you’ll find anywhere from that project is the official video for a song titled Melekler Hatırına.

Highly influenced by underground Black Metal, Death Metal and Grindcore bands, with Immortal being one of her biggest idols in extreme music, İlkim sees (or at least used to see) Black Metal as more than just music, being an essential part of her life it doesn’t matter if she’s simply walking down a street or drinking a cup of coffee. When asked about the Norwegian Black Metal scene and all the events that took place in the 90’s involving the infamous members of Mayhem and Burzum, she said that although she considers Norway the birthplace and a great nation for Black Metal, you can be a successful Black Metal musician anywhere in the world despite your age, sex or anything else, complementing by saying she doesn’t like to label different strands of Black Metal such as National Socialist Black Metal, Christian Black Metal (also known as Unblack Metal) or Anti-Human Black Metal, saying that for her there’s only one type of Black Metal, period. Moreover, she also mentioned in one of her interviews that she considers the Satanic imagery commonly used by Black Metal bands as a metaphor for individualism and personal freedom as the best option indeed, much better than any God imagery.

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As a one-woman Black Metal band in a country like Turkey, where extreme music is the underground of the underground, İlkim said the Turkish metal scene is very active and robust despite all the hassles that the Turkish society might impose to the musicians from the scene, also saying there’s a lot of room for creativity and that there are several underground venues where bands share their expertise, their stories and music. Regarding her writing process, İlkim mentioned that she doesn’t follow a strict or structured process to compose her music and write her lyrics, as everything comes straight from her heart and personal experiences and struggles, complementing by mentioning that although she has already used and consumed alcohol, cigarettes and even drugs in her life, she enjoys writing and recording her songs with a clean mind and a healthy body, without any external substances impacting her train of though.

Last but not least, as mentioned in the beginning of this tribute, there’s a very distinguished side of İlkim that I’m sure most people know nothing about, especially due to her “departure” from the Black Metal world back in 2011. As a matter of fact, while she was still playing Black Metal, İlkim mentioned in an interview that she loved listening to underground Black Metal and classical music, and it’s classical music what might have influenced her the most in her decision to step away from extreme music and venture through the realms of rock and pop music. However, even that pop period of İlkim seems a little shady, with nothing truly solid happening from 2011 until more recent years, and after searching and searching online for more information on her current career it was with great surprise that I found out İlkim is now known as İlkim Yılmaz, a music director and the chief orchestral conductor for Bilintur Women’s Chamber Orchestra and Muzed Music Teachers’ Orchestra during the 2019-2020 season. Unless she has an identical twin, a clone or there’s someone out there that looks exactly like her and uses her exact same name, our underground black metaller became a classical musician. Interesting, isn’t it?

If İlkim Yılmaz is indeed our İlkim Oulanem, and I’m pretty sure she is, she graduated from the Department of Composition and Music Theory at Başkent University State Conservatory in 2017 with  High Honor Degree and Secondary Degree, continuing her studies between 2017 and 2019 with the distinguished conductor Işın Metin. In addition, during her bachelor degree, she attended Burak Tüzün and Rengim Gökmen’s lessons at Hacettepe University Ankara State Conservatory between 2015 and 2017 as a guest, also conducting during that same period the youth chamber orchestra as a guest conductor. Furthermore, right after her graduation in 2017, İlkim became the assistant conductor for the Middle East Technical University Fine Arts Ensemble Choir, and in the spring of 2018 she served as the music director and conductor for the Middle East Technical University Fine Arts Orchestra, performing four concerts with them, three of which at the famous METU Kemal Kurdaş Hall. There are several other concerts, workshops and events she has already participated through the years in the classical and orchestral music scene in Turkey (and you can always know more about her work and events by following her on Facebook), and perhaps that’s exactly where she should be in spite of her undeniable contribution to Black Metal in Turkey. I’m quite sure she’s not ashamed of her past as a metalhead, and that deep inside her heart she still nurtures a great passion for Black Metal. And who knows, maybe one day İlkim Oulanem will arise from the ashes like a Black Metal phoenix for our total delight, right?

Album Review – Lutharö / Wings of Agony EP (2020)

Bringing a fresh take on Heavy Metal to listeners around the world, this up-and-coming Canadian band returns with a darker yet still very melodic sound in their brand new (and excellent) EP.

Founded in 2014 under the name Incarnadine in Hamilton, a Canadian port city on the western tip of Lake Ontario, the Melodic Heavy/Death Metal powerhouse now known as Lutharö aims at bringing a fresh take on Heavy Metal to listeners around the world with their unique and diverse sound loaded with catchy riffs, blazing solos and vocals ranging from vicious growls to clean passages that will send a chill down your spine, being therefore highly recommended for fans of the music by iconic bands like Arch Enemy, Unleash the Archers, Amon Amarth and Behemoth. Over the years, Lutharö have grown into their distinctive sound, emerging with a heavy and dark formula that gets fans moving, culminating in 2018 with the release of their debut EP Unleash The Beast and now in 2020 with the release of their sophomore opus Wings of Agony.

Stepping out of their comfort zone for their new album, the Canadian quintet comprised of Krista Shipperbottom on vocals, Victor Bucur and John Raposo on the guitars, Chris Pacey on bass and Duval Gabraiel on drums (although the drums in the EP were recorded by session musician Cale Costello) promises to be more innovative and imaginative than in Unleash The Beast, being the perfect introduction to the new era of Lutharö that, albeit darker than before, still sounds and feels very melodic and embodies the same amount of energy their fans have learned to enjoy. Featuring a stylish cover art designed by Romanian artist Costin Chioreanu (twilight13media.com), Wings of Agony will bring to your metallic ears 25 minutes of classic yet at the same time modern metal music, positioning Krista and the boys as one of the most promising and interesting names of the current Canadian underground scene.

Ominous, ethereal sounds kick off the opening track Barren, before the band’s guitar duo Victor and John start slashing their strings beautifully and Krista begins blasting her high-pitched, enraged screams, bringing forward elements from a myriad of styles such as Thrash, Death and even Black Metal. Needless to say, the EP couldn’t have started in a better way, and things get even better in Diamond Back, leaning towards the Melodic Death Metal played by some of their biggest influences such as Arch Enemy and The Agonist. The intricate and flammable beats by Cale are effectively complemented by the crisp riffs fired by both guitars, all embraced by another brutal performance by Krista with both her strident clean vocals and she-wolf roars. And a touch of epicness spices up the intro to the also high-octane Blood Lightning, where the quintet puts the pedal to the metal in a hybrid between classic Thrash Metal and modern-day Melodic Heavy Metal, also featuring awesome guitar solos delivered by Victor as the icing on the cake.

Will to Survive is a brilliant headbanging tune by Lutharö where the guitars sound furious just the way we like it in extreme music, while Chris’ rumbling bass and Cale’s frantic beats keep the atmosphere dense and thunderous from start to finish. In addition, Krista is once again superb on vocals, and in my humble opinion this is a beautiful and exciting path I would love to see Lutharö follow in their future releases. Last but not least, closing the EP we have the title-track Wings of Agony, more melodic and modernized than its predecessors, offering the listener another feast of razor-edged riffs, blast beats and menacing bass punches, not to mention the song’s catchy chorus powerfully declaimed by Krista (“Go on and wake from this sleep / Let distant light unbind your wings / Go on and soar / Forever more / Into a journey of pain”), with the music flowing into a dark and serene ending.

When I saw Lutharö live for the very first (and so far the only) time in 2018 opening for the almighty Canadian metal heroes Striker and Unleash The Archers here in Toronto, I instantly knew I was witnessing the rise of a future beast of Canadian metal, with Wings of Agony, which is available from the band’s own BandCamp page (and soon from other locations and platforms), cementing their name in the local scene. Hence, if you want to know more about Lutharö and listen to more of their music, simply follow them on Facebook and on Instagram, subscribe to their YouTube channel, and stream their previous and new releases on Spotify  as much as you want. Krista and her henchmen are undeniably talented, crazy for metal music and extremely focused on what they do, spreading their wings all over Canada and soon the world with their breathtaking music for our total delight.

Best moments of the album: Diamond Back and Will to Survive.

Worst moments of the album: None.

Released in 2020 Independent

Track listing
1. Barren 5:21
2. Diamond Back 4:31
3. Blood Lightning 4:41
4. Will to Survive 5:09
5. Wings of Agony 6:02

Band members
Krista Shipperbottom – vocals
Victor Bucur – guitars, backing vocals
John Raposo – guitars
Chris Pacey – bass
Duval Gabraiel – drums*

Guest musician
Cale Costello – drums (session)

*Drums recorded by Cale Costello.

Album Review – Vulcano / Eye In Hell (2020)

A hellish and incendiary fusion of Thrash, Death and Black Metal blasted by an obstinate veteran squad from Brazil that loves extreme music above all things.

Forged in the distant year of 1981 under the name Astaroth in the fires of Santos, a coastal city in southern Brazil’s São Paulo state, Black, Death and Thrash Metal veterans Vulcano are back in action with a brand new album titled Eye In Hell. Produced by the band’s own guitarist Zhema Rodero together with Ivan Pelliciotti at O Beco Estúdio in Curitiba, Brazil and featuring a classic artwork by Italian artist Roberto Toderico (Paganizer, Pestilence, Sodom, Tygers Of Pan Tang), the album is a bold statement by this five-piece act comprised of vocalist Luiz Carlos Louzada, guitarists Zhema Rodero and Gerson Fajardo, bassist Carlos Diaz and drummer Bruno Conrado, proving why not only they were one of the first influences for their countrymen Sepultura, but also why they attained together with other fellow Brazilian bands like Sarcófago and Mutilator a worldwide cult legend status among some of the most extreme practitioners in heavy music, Norway’s feared Black Metal inner circle of the early 90’s.

And the band begins smashing our heads mercilessly in Bride of Satan with their old school Thrash Metal infused with Death Metal elements, with Bruno sounding insane on drums while Zhema and Gerson give a lecture in shredding. I must say this tune is a fantastic welcome card by Vulcano, and there’s still a lot more to come in the form of an avalanche of scorching riffs and crushing beats in Cursed Babylon, spearheaded by Luiz Carlos and his aggressive roars, and ending in a frantic and violent Slayer-inspired manner for our total delectation. There’s no time to breathe as they fire another bestial tune entitled Evil Empire, where Carlos’ rumbling bass and Bruno’s blast beats bring groove and rage to the musicality. In other words, it’s pure old school extreme music spiced up by the crisp riffs and solos by the band’s guitar duo; and blending the most furious elements from Thrash and Death Metal the band offers us all the wicked Struggling Beside Satan, where Luiz sounds even more demented on vocals while the rest of the band hammers their instruments with sheer brutality from start to finish.

Following the same Bay Area Thrash pattern as its predecessors, Sinister Road is a fantastic option for slamming into the circle pit like a maniac or for some sick headbanging, with Zhema and Gerson being on absolute fire with their stringed axes, whereas in Devil Bloody Banquet the band once again shows they’re never tired of delivering fast and furious metal to the masses. Not only all band members are ruthless with their respective instruments, but if you’re a fan of the early days of Slayer and Exodus you must listen to this excellent composition. Then Bruno doesn’t stop pounding his drums not even for a single second in Sirens of Destruction, another demolishing creation by Vulcano with highlights to the amazing sync between the guitar riffs and Carlos’ groovy bass punches, followed by Dealer of My Curse, a brutal and very melodic hybrid between old school Thrash Metal and contemporary Groove Metal where the amazing riffage by both Zhema and Gerson makes sure the energy level doesn’t go down at all, keeping their music absolutely far from being obsolete or flat.

Rev up your engines as Vulcano are about to kill in the berserk Mysteries of the Black Book, a demolishing aria of thrash where Luiz leads the horde with his rabid roars, not to mention the insanity flowing from their riffs and demented drumming, while Inferno sounds and feels like their personal tribute to all things Thrash Metal, with Carlos and Bruno making the earth tremble with their rumbling weapons. Put differently, don’t waste a single second and go crush your skull into the pit together with the Vulcano boys. In Cybernetic Beast the band gives another lesson in shredding and brutality, showcasing the band’s guitarists’ dexterity while maintaining their core violence intact, followed by When the Days Falls, the second to last song in the album, leaning towards classic Black Metal and sounding heavier than its predecessors (albeit not as fiery nor  as exciting), with Luiz bursting his lungs screaming. Lastly, closing the album the band offers our avid ears the title-track Eye in Hell, pulverizing our senses while Luiz sounds infernal on vocals. Furthermore, it’s interesting how they managed to add elements from Doom, Stoner and Southern Metal to their classic sound, and the final result is not only awesome but also extremely sharp and vile.

There’s an infinite number of locations where you can purchase Eye In Hell in different formats, including TargetShop (CD and vinyl), Nuclear Blast (CD and vinyl), Season of Mist (CD and vinyl), Record Shop X (CD and vinyl), Apple Music and Amazon, and don’t forget to give the band a shout on Facebook and to stream their flammable music on Spotify. One might be asking how a band like Vulcano has managed to survive for so many decades in the underground scene, against all odds, never giving up nor selling out, and the answer to that is quite simple. They love Thrash, Death and Black Metal from the bottom of their hearts, with their new album Eye In Hell perfectly depicting all that passion, obstinance and electricity, and that’s all we always ask for in heavy music.

Best moments of the album: Struggling Beside Satan, Sinister Road, Mysteries of the Black Book and Inferno.

Worst moments of the album: When the Days Falls.

Released in 2020 Mighty Music

Track listing
1. Bride of Satan 3:25
2. Cursed Babylon 2:57
3. Evil Empire 3:15
4. Struggling Beside Satan 2:56
5. Sinister Road 3:14
6. Devil Bloody Banquet 2:53
7. Sirens of Destruction 3:35
8. Dealer of My Curse 3:50
9. Mysteries of the Black Book 2:45
10. Inferno 3:14
11. Cybernetic Beast 3:29
12. When the Days Falls 2:59
13. Eye in Hell 4:07

Band members
Luiz Carlos Louzada – vocals
Zhema Rodero – guitar
Gerson Fajardo – guitar
Carlos Diaz – bass
Bruno Conrado – drums

Album Review – Konvent / Puritan Masochism (2020)

A dark, primeval and absolutely stunning fusion of Death and Doom Metal masterfully crafted by four unrelenting women hailing from Denmark.

If you’re craving a dark and primeval fusion of Death and Doom Metal in the same vein as renowned acts such as Candlemass, Paradise Lost, Cult of Luna and Black Breath, who all unleashed the bleakest horror on mankind in the early 90’s, you’ll certainly fall in love with the “Primitive Death Doom” blasted by four talented and hardworking Danish women collectively known as Konvent. Formed in 2015 in the charming city of Copenhagen, this all-female band currently comprised of Rikke Emilie List on vocals, Sara Helena Nørregaard on the guitars, Heidi Withington Brink on bass and Julie Simonsen on drums is ready to haunt our souls with their debut full-length opus entitled Puritan Masochism, the brilliant follow-up to their 2017 demo, conjuring up a deserved revival for the whole death doom genre.

As obscure as the pits of hell from the very first second, the title-track Puritan Masochism comes ripping mercilessly, with Rikke barking the song’s acid lyrics in great fashion (“You pathetic, worthless subject / Submission keeps you erect / Ignorant as you wait / There are enemies at the gate / Slaughter the peacocks / Set fire to the lawns / Now the Queen shall hang”) while Julie sounds thunderous with her sluggish and damned beats, followed by The Eye, where Sara continues to masterfully slash her strings, therefore generating a menacing ambience complemented by Julie’s pounding drums and Heidi’s rumbling bass punches in another solid and visceral display of our good old Doom Metal. And in Trust we face a gargantuan amount of darkness, dementia and rage flowing from all instruments with Rikke being once again bestial with her she-demon growling, living up to the legacy of the genre without a shadow of a doubt.

Stygian clouds are all over us in World of Gone, with Sara and Heidi delivering minimalist but extremely sharp guitar lines and bass jabs respectively, inspiring us to break our necks headbanging in solitude while their music penetrate deep inside our psyche. Then blending elements from the grim music crafted by Black Sabbath, Candlemass and Tryptikon, the quartet fires another round of doomed riffs and beats simply titled Bridge, getting heavier and heavier as the music progresses thanks to the venomous beats by Julie, whereas the absolutely metallic and devilish bass lines by Heidi ignite the incendiary Waste, featuring guest vocals by Danish singer Tue Krebs Roikjer (from Atmospheric Black Metal band Morild), and let me tell you that Rikke and Tue make an infernal vocal duo throughout the entire song, turning it into one of the best and most demonic moments of the entire album.

Kicking off the last batch of songs from Puritan Masochism, Julie will smash your skull with her beats while Sara keeps extracting pure evil form her strings in Idle Hands, all embraced by the cryptic, poetic lyrics vociferated by Rikke (“These idle hands full of will / Go into the field / I will yield / Only dust and dew where they grew / Empty bags / Working mill / Go into the field / I will yield”). And closing the album we have Ropes pt. I, the first part of a double-the-pain extravaganza which begins in a mournful and cadaverous way thanks to the crisp guitar lines by Sara, with its ending being just as somber and captivating as its beginning, flowing smoothly into Ropes pt. II, an epic fusion of the slow and lugubrious sounds of Doom Metal with the enraged growls from Death Metal where Sara, Heidi and Julie are in perfect sync, providing Rikke all she needs to crush our minds with her deep guttural vocals. Put differently, this is what I call a breathtaking closure to such amazing album of extreme music.

In a nutshell, the girls from Konvent nailed it in Puritan Masochism, offering fans of both old school and contemporary Doom Metal a powerful lesson in heaviness and obscurity over the span of 48 minutes of music found in their newborn spawn, consequently pointing to a fantastic future for the band. Hence, go check what Konvent are up to on Facebook, including their tour dates, and of course don’t forget to show your true and honest support to those amazing metallers by purchasing Puritan Masochism directly from their BandCamp page, or click HERE for all locations where you can buy and stream the album in its entirety. The (under)world of doom will never be the same after Puritan Masochism, an album that can already be considered a new classic of such distinct genre, and albeit it has set the bar absurdly high for Rikke, Sara, Heidi and Julie in their future installments, I’m sure that’s exactly what those four amazing Danish girls wanted to achieve with the album, showing the entire world they’re among us to stay, their passion for a good challenge and, above all, that they’ll keep praising the riff and the horrors of doom for years to come.

Best moments of the album: Puritan Masochism, Trust, World of Gone and Waste.

Worst moments of the album: None.

Released in 2020 Napalm Records

Track listing
1. Puritan Masochism 4:41
2. The Eye 3:25
3. Trust 5:17
4. World of Gone 5:57
5. Bridge 6:30
6. Waste (feat. Tue Krebs Roikjer) 4:59
7. Idle Hands 5:22
8. Ropes pt. I 4:36
9. Ropes pt. II 7:21

Band members
Rikke Emilie List – vocals
Sara Helena Nørregaard – guitars
Heidi Withington Brink – bass
Julie Simonsen – drums

Guest musician
Tue Krebs Roikjer – vocals on “Waste”

Metal Chick of the Month – Julie Simonsen

The Bridge of Light gives wings… Lead into the sea where you’ll be joining me…

Are you ready for some old school, dark and heavy-as-hell Doom Metal on The Headbanging Moose this month of February? If doom is what you love, I’m sure you’ll have a blast with our metal chick of the month, the badass, raven-haired Julie Simonsen, drummer for one of the most infernal and Stygian bands of the current European scene, the unrelenting all-female Doom Metal entity known as Konvent, an up-and-coming act that will surely become a driving force of primeval doom not only in their homeland Denmark, but anywhere else where obscure and devilish extreme music is properly appreciated. Having said that, fasten your seat belts and enjoy our humble tribute to a woman who albeit might be taking her first steps in her music career, has all it takes to conquer the hearts of metalheads form all over the world with her unique charisma and undeniable talent behind the drums.

Born and raised in Frederiksværk, a small town in the Halsnæs Municipality on Zealand, in Region Hovedstaden in Denmark, but currently residing in Søborg, a neighbourhood in Gladsaxe Municipality, located some 10 km northwest of central Copenhagen, Julie said she was feeling bored at school before joining Konvent. She said that after she moved to Søborg she attended some sort of “left-wing hippie music college” (which I believe is a school called Det frie Gymnasium) where she was supposed to play angry punk music, therefore getting more involved in the local punk and metal scene. After her graduation, she worked at H&M and even in the zoo where she sold ice cream, and now apart from her career with convent she is also currently working in a warehouse for an online clothing store.

Julien mentioned in one of her interviews she started playing drums when she was around 12 or 13 years old, getting her first drums from her parents and then starting taking lessons. Her father introduced her to the music by Kiss when she was a little girl, when she was only around 6 or 7 years old, and she instantly fell in love for it, saying she thought at that time Eric Singer was really cool with the makeup and everything else. As a matter of fact, that was actually the real reason that inspired her to play the drums. A few years later, after she started playing drums, Julie also started taking guitar lessons, which by the way it’s still a thing for her, but of course drums have always been her top priority.

It was at the end of November 2017 when our dauntless drummer joined Konvent, the all-female Doom Metal sensation formed in 2015 in Copenhagen following in the footsteps of Candlemass, Paradise Lost, Cult of Luna and Black Breath, who all unleashed the bleakest horror on mankind in the early 90’s, having already appeared with the band at several festivals such as Aalborg Metal Festival, Metal Magic, When Copenhell Freezes Over and Roskilde Festival. Kovent are currently comprised of Rikke Emilie List on vocals, Sara Helena Nørregaard on the guitars, Heidi Withington Brink on bass and, obviously, Julie Simonsen on drums, having released a demo in 2017 (still with their original drummer Mette Marie List), and just a few days ago their debut full-length opus entitled Puritan Masochism, via Napalm Records, a massive extreme metal highlight of early 2020 (which will obviously be reviewed at The Headbanging Moose soon) conjuring up a deserved revival for the whole death doom genre. Julie said the four girls in the band already knew each other from the Copenhagen metal scene, as the scene in the city is not actually really big, with most people knowing each other from concerts and other events. In addition, Julie said that when Konvent first got together, they didn’t want to commit to any specific genre, simply deciding to call their music “Primitive Death Doom” due to the slow rhythms and riffing combined with Rikke’s Death Metal-like vocals.

When asked about the recording process for Puritan Masochism and what lessons the band learned from their live performances that were applied to the album, Julie said that the whole recording got better and better as they got more and more comfortable with their instruments, having more control and more creativity while writing music, consequently becoming more fun, more relaxed and more instinctual. She also said it was indeed a very lengthy process at the beginning, especially due to all the concerts and rehearsals happening at the same time they were writing and recording material for the album. The girls had a very strict deadline, saying they wrote the last song for the album on the last day before the recordings, but that after all the pressure somehow contributed to their creative thinking and they were happy with what they took with them from the studio. If you want to get a very good (and infernal) taste of Konvent’s undisputed doom from their new album, with Julie smashing her drums beautifully, take a very good listen at the songs Trust and Ropes Pt. II, and don’t forget to also purchase their music directly form their BandCamp page. I’m beyond certain you’ll get addicted to their devilish creations.

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Highly influences by some of the most obscure and talented bands and artist from the extreme music universe such as Anaal Nathrakh, King Diamond, Candlemass, Mantar, Monolord, Alunah, Solbrud, Dirt Forge and Black Breath, Julie was questioned if she still feels the influence of Metallica’s own Lars Ulrich around Copenhagen and in Denmark in general. well, she said there will always be a comparison to Lars due to the fact she’s a drummer from his homeland Denmark, but she doesn’t really know if that’s a compliment. There’s this “love-hate” feeling due to Lars’ arrogance, but she still likes him and his style, saying he’s some sort of “goofy uncle” for all drummers, complementing by saying that he’s still a big celebrity in Denmark and that he’s not seen in public that often, as opposed to the guys from Volbeat who are always around town.

Julie and the other girls from Konvent were also inquired about the current state of the Danish metal scene, being asked about which bands from Copenhagen they would love to play with or see live, and their answers included several incredible bands from the beautiful capital of “Danevang” such as Dirt Forge, Solbrud, Alkymist, Møl, Afsky, Morild and Dying Hydra, among others, which by the way they said all made them feel very welcome to the scene, especially Dirt Forge with whom they had the pleasure to play with several times in the past few years. They complemented by saying the Danish scene is a very familiar one, as most bands know each other in some way and everyone is extremely friendly and helpful, also saying there are countless concerts happening everyday at different small venues and mentioning other Danish bands like Konvent that are branching out to the world and getting more and more attention such as Baest, Slægt and Møl. Hence, if you live in Copenhagen or if you’re visiting the city in the near future you should definitely try some of their best venues for some first-class underground doom and other heavy styles, including Ungdomshuset, which is the local youth house in Copenhagen, as well as the bigger venues such as Vega or Pumpehuset, also referred to as “The Bomb House”, whenever they put on metal, and Loppen, at the freetown Christiania in the middle of Copenhagen (which by the way Julie doesn’t feel one hundred percent safe as in the rest of the city), where Konvent has already taken their stage by storm.

As we’re talking about the Danish scene and venues for live metal performances, it’s obvious that Julie and the other girls love to play their music live and tour as much as they can, something that’s expected form any good metalhead. For instance, one of their biggest dreams was to perform at the biggest music festivals organized in their homeland, the exceptional Copenhell and Roskilde Festival, which they ended up doing in the same year, in 2019. Julie said it was truly unreal to be part of both festivals, saying they were extremely nervous and restless before the shows, and also mentioning that because they were supposed to play at a really early spot, at around 2pm, they didn’t think there were going to be so many people attending their concert. She also said they’re absolutely pumped for their first round of international concerts, including shows in Germany, Sweden and Norway, as well as international festivals such as Gefle Metal Fest in Gävle, Sweden, In Flammen Open Air in Torgau, Germany and the HRH Vikings – Chapter III in Sheffield, England. When asked about which countries or festivals apart from the aforementioned ones they would love to play, our stunning drummer said they definitely want to play at the 70,000 Tons of Metal cruise, also citing other major festivals like Brutal Assault, Sweden Rock, Hellfest and Eindhoven Metal Meeting. In addition to all that, Julia also mentioned Konvent have been receiving tons of positive feedback form all over the world, from countries and regions like the United States, Canada, Japan, Eastern Europe and South America, with the fans from the United States and Eastern Europe being the most excited with their music so far. If you would like to witness the power and obscurity of Konvent live, go check some YouTube videos such as their performance of the songs No End and Bridge at the Kaldet Fra Dybet III festival at Ungdomshuset, in Copenhagen, in February 2018; playing the song Puritan Masochism at Copenhell in 2019; and their full performance at When Copenhell Freezes Over at Vega in January 2018, where you can enjoy Julie smashing her drums in songs like Chernobyl Child, Tracks and Squares. Also, don’t forget to check their short and sweet “tour report” from their 2018 mini-tour in Germany as a support act for the bands Monolord and Firebreather, and Julie herself inviting us all to join them at the 2018 edition of Metal Magic.

When Konvent are not doing music, the girls like to do some distinct and fun activities either by themselves or together, with their curiosity about the world inspiring them to take walks in the nature, listen to science podcasts, travel the world, spend quality time with their friends and family and read books by authors like Dennis Jürgensen, Dan Turèll, and Patty Smith. As none of the girls smoke weed, they can only recommend some traditional Danish dishes to us fans, such as their famous Smørrebrød, an open-faced sandwich made with rye bread with loads of different toppings on it, and the Danish pastry called Snøfler. And lastly, when asked if they’re worried about all the work that Konvent might generate for them, Julie said that all the girls are trying their best to align their tasks and responsibilities as a band to their non-Konvent work and studies, and that of course one day they hope they can make a living from Konvent. In my humble opinion, based on the fantastic job done by the band so far with both their demo and their newborn full-length spawn they’re on the right path to stardom, and I can’t wait to see Julie and her bandmates slamming our heads with their pulverizing doom in North America in a not-so-distant future.

Julie Simonsen’s Official Facebook page
Julie Simonsen’s Official Instagram
Konvent’s Official Facebook page
Konvent’s Official Instagram
Konvent’s Official YouTube channel

Album Review – The Spirit / Cosmic Terror (2020)

The soundtrack to the fear of vast nothingness in the form of melodic and progressive Black and Death Metal made in Germany, beautifully dragging the listener into a musical catharsis.

As far-reaching as the literary, philosophical and psychological meanings behind the term Cosmic Terror might be, for German Black/Death Metal trio The Spirit naming their sophomore full-length album with this title opens up a world of its own. They do not want to explain anything nor to analyze their lyrics, characterized by misanthropy and social criticism, having only one simple goal in mind, which is to let their music speak for itself. The result is a bold and breathtaking album containing seven raging tracks that blend and bend Black and Death Metal, extensive instrumental passages and some of the most face-ripping riffs you’ll hear, which apparently even attracted nearby snakes to the studio’s terrace during the recording according to the band members themselves.

Formed in 2015 in Saarbrücken, the capital and largest city of the state of Saarland in the always beautiful and vibrant Germany, The Spirit are currently comprised of MT on vocals and guitars, AT on bass and MS on drums, a talented and unrelenting trio of fairly anonymous musicians who have been making a name for themselves in the underground scene since the release of their debut opus entitled Sounds from the Vortex, in 2017, being highly recommended for fans of bands like Dissection, Satyricon and Naglfar, among others. Finalized with a unique cover artwork by French artist Valnoir (Metastazis), Cosmic Terror tears the listener into a musical catharsis, with the band once again crafting their own soundtrack to the fear of vast nothingness.

The trio wastes no time and begin blasting their crisp and incendiary Black Metal in Serpent As Time Reveals, offering over six minutes of classy and vicious extreme music for our avid ears where MS is a true beast on drums, while MT growls the song’s beautiful lyrics in great fashion (“The ability to spread agony / A sick craft you truly master / The enduring thirst for power and dominion / Poison, obsessional voracity / Dangerous strength to the perverted insane / Unleash hell to enhance pathetic egotism”); and they continue their obscure and melodic attack in Strive For Salvation, with MT’s heavier-than-hell riffs and AT’s fulminating bass lines generating the perfect ambience for the enraged gnarls by MT while MS keeps pounding and smashing his drums manically. Then drinking form the same infernal fountain as renowned acts like Marduk, Immortal and Mayhem, the trio explodes our senses with the fantastic Repugnant Human Scum, a lesson in Black Metal infused with Death Metal and Melodic Black Metal nuances.

A melancholic and somber intro morphs into a mid-tempo headbanging feast titled The Path Of Solitude, where all band members are in absolute sync and with MT sounding diabolical with both his roars and riffs, resulting in an ode to darkness and solitude in the form of ass-kicking Black Metal. After such dense tune, it’s time for more disruptive and Stygian sounds by The Spirit in Pillars Of Doom, where MT sounds possessed with his demonic riffage while AT and MS make the earth tremble with their respective weapons of mass destruction. In The Wide Emptiness the band doesn’t stop hammering their instruments and consequently our heads, showcasing classic Black Metal with more contemporary nuances, not to mention how impressive it is that only three guys can generate such bold and hellish sound, with MT’s soulful solo serving as the icing on the cake. Lastly, the title-track Cosmic Terror comes as an arrow piercing our ears and minds, concluding the obscure Black Metal journey by the trio that started “long time ago” with the opening track. However, despite being an amazing display of extreme music, the fact that it’s only an instrumental song takes away a little of its rawness and energy, but that’s just my opinion as I truly enjoy MT’s harsh vocals.

In a nutshell, the excellent Cosmic Terror, which is available from the AOP Records’ BandCamp page, from the EMP webstore, from IndieMerchstore.com in CD or 12” vinyl format, as well as from several other locations which you can check by clicking HERE, not only points to a bright future for The Spirit, positioning the band as one of the most promising names of the German extreme music scene, but it’s also a mandatory listen for fans of the more contemporary wave of Black and Death Metal bands with a huge focus on progressiveness, melodies and atmospheric passages. Hence, don’t forget to give The Spirit a shout via their official Facebook page, and let the cosmic terror flowing form their wicked creations penetrate deep inside your damned soul.

Best moments of the album: Repugnant Human Scum, The Path Of Solitude and The Wide Emptiness.

Worst moments of the album: Cosmic Terror.

Released in 2020 AOP Records

Track listing
1. Serpent As Time Reveals 6:38
2. Strive For Salvation 4:34
3. Repugnant Human Scum 5:18
4. The Path Of Solitude 8:07
5. Pillars Of Doom 5:51
6. The Wide Emptiness 6:13
7. Cosmic Terror 6:32

Band members
MT – vocals, guitars
AT – bass
MS – drums