Album Review – Rotting Christ / The Heretics (2019)

Heretics, atheists and rebels, it’s time to burn in the fires of the dark and occult Black Metal masterfully crafted by the greatest Greek institution in the history of heavy music.

“Since man cannot live without miracles, he will provide himself with the miracles of his own making. He will believe in any kind of deity even though he may otherwise be a heretic, an atheist, and a rebel.” – Fyodor Dostoyevsky

It is not a coincidence that our review number 666 exhales blasphemy, heresy and, above all, first-class occult Black Metal and a lot of fire. Hailing from Athens, the capital of the beautiful Greece and the heart of Ancient Greece, here comes the greatest Greek metal institution of all time, the almighty Rotting Christ, spitting fire upon humanity with their fantastic and very atmospheric new opus, entitled The Heretics, their thirteenth studio album and a beautiful follow-up to their excellent 2016 release Rituals.  Recorded at Pentagram Studios in Athens, mixed and mastered at Fascination Street Studio in Örebro, Sweden, and featuring a stunning artwork by Ukrainian designer Vyacheslav Smeshko and cover art by Greek artist Maximos Manolis, Rotting Christ’s new album is absolutely incendiary, going against all types of religion, church and creed.

And when I say incendiary I’m not exaggerating, as pretty much every single song from The Heretics mentions the world “fire”, proving the band’s mastermind, vocalist and multi-instrumentalist Sakis Tolis and his brother, drummer Themis Tolis, knew exactly what they were doing when turning what it truly means to be a heretic into their unparalleled Dark Metal. All lyrics are obscure, austere and rebellious, which together with all beautiful intonations by guests Stelios Steele and Dayal Patterson, as well as an array of guest musicians such as Irina Zybina (vocalist for Russian Pagan/Folk Metal bands Alkonost and Грай), Alexis Karamelis and Melechesh Ashmedi, makes the experience of listening to The Heretics truly hypnotizing, enfolding our souls in darkness and fire while the music remains as heavy, intricate and epic as we got used to from the Tolis Brothers. In other words, are you ready to burn in the purifying fires of the Dark Metal blasted by the one and only Rotting Christ?

The imposing In the Name of God brings forward a very atmospheric start, with the words by Russian philosopher Fyodor Dostoyevsky spoken by guest Stelios Steele setting the stage for the crushing wall of sounds created by the Tolis Brothers, always in the name of fire, not to mention how its headbanging riffs will inspire you to break your neck in half, while Vetry Zlye, also called “Ветры злые” (which translates as “evil winds” from Russian), is another beautiful composition by those Greek metallers with the help of guest vocalist Irina Zybina and her mesmerizing voice, getting closer to what the band did in Rituals and with the drums by Themis sounding as imposing and demolishing as we like it in classic extreme music. “The mind is universe and can make a heaven of hell a hell of heaven”, and it’s with those words by English poet John Milton that Rotting Chirst kick off another thrilling hymn titled Heaven and Hell and Fire, showcasing austere, cryptic lyrics (“Beyond the burning fire, heaven and hell / Today I give you choices: life or death / I offer you desire, I sentence you to death / Today I give you a choice, I give you Hell”) that perfectly match with the song’s flammable, classic and very melodic musicality, with Sakis once again being a beast with his riffs and unmatched roars.

Hallowed Be Thy Name is a mesmerizing and extremely obscure hymn by led by Themis’ pounding beats, with Sakis extracting those low-tuned, Stygian sounds we love so much from his guitar and bass. Put differently, join their mass and burn with them, also savoring the words by William Shakespeare powerfully declaimed by Stelios, putting a majestic end to the song. Following such enfolding tune we have Dies Irae, where Sakis’ work on the guitar is the perfect example of how heavy and harmonious a riff can be at the same time, as well as the song’s background choir bringing even more thunder to this already potent song; whereas in I Believe (or “Πιστεύω”), which is based on a poem by Nikos Kazantzakis, a giant of modern Greek literature, the instrumental pieces are a bit too “polluted”, but nothing that makes the song boring or not enjoyable. Moreover, it should work a lot better live as it has the potential to generate huge circle pits due to its frantic pace. Back to a more visceral mode, we have the fabulous Fire God and Fear, with the words by French philosopher Voltaire (“Those who can make you believe absurdities can make you commit atrocities.”) generating a stunning paradox with the birds gently chirping in the background in the beginning, before the scorching riffs and thunderous drums by the Greek brothers of metal urge us all to bang our heads nonstop. Hence, this is by far one of my favorite songs of the entire album, where we can savor that classic Rotting Christ sonority with a welcome contemporary twist.

Rotting Christ The Heretics Box Collector

The Voice of Universe is another song that will reach deep inside your mind and soul, with Sakis vociferating its insurgent words (“The angel, I won’t serve again / I won’t have a place anymore in heaven / It’s my own soul, it’s my own mind / And can make a heaven of hell, a hell of heaven.”) while Themis keeps blasting his trademark tribal beats, and when you think those Greek metallers couldn’t sound more mesmerizing and brutal at the same time they deliver the excellent The New Messiah, featuring an excerpt from Matthew 24:11 (“And many false prophets will arise and lead many astray.”), with the guitars and all background elements and voices filling out all spaces in the air. And lastly, as the icing on the cake we have the magnificent, somber and ferocious The Raven, based on what’s probably the most famous poem by the iconic american writer Edgar Allan Poe, offering our ears over five minutes of cutting riffs, Black and Doom Metal drums, and endless poetry, with highlights to the sensational job done by Stelios Steele, giving life to Poe’s renowned lines. Actually, if you have some spare money to purchase any of the special editions of the album, you’ll also be able to enjoy the bonus tracks The Sons of Hell and Phobos (also called “The Sons of Hell, Pt. 1 & 2” by some people), two dark and demolishing tunes that make it worth the additional investment, or in other words, two excellent samples of modern-day Black Metal infused with epic and atmospheric elements.

In summary, The Heretics, available for a full listen on YouTube and on sale from several locations such as the band’s own BandCamp page and the Season of Mist webstore (and if I were you, I would go for the limited edition deluxe wooden boxset as it comes with several awesome perks), is definitely an album that will touch your heart and soul, taking you on a fascinating musical ride through the woes of religious wars, Zoroastrianism and the eternal war between good and evil. That’s what the unrelenting Rotting Christ offer us in their top-of-the-line new opus, and may Sakis and his horde continue to burn us all heretics, atheists and rebels with their dark and occult Black Metal for many decades to come.

Best moments of the album: Heaven and Hell and Fire, Hallowed Be Thy Name, Fire God and Fear and The Raven.

Worst moments of the album: I Believe.

Released in 2019 Season of Mist

Track listing
1. In the Name of God 4:13
2. Vetry Zlye 3:14
3. Heaven and Hell and Fire 4:52
4. Hallowed Be Thy Name 5:06
5. Dies Irae 3:45
6. I Believe 3:42
7. Fire God and Fear 4:49
8. The Voice of Universe 5:22
9. The New Messiah 3:07
10. The Raven 5:23

Deluxe Edition/ Limited Edition Deluxe Boxset bonus track
11. The Sons of Hell 4:18

Limited Edition Deluxe Boxset bonus track
12. Phobos 4:12

Band members
Sakis Tolis – vocals, guitars, bass, keyboards, percussion
Themis Tolis – drums

Guest musicians
Giannis Kalamatas – guitars (live)
Van Ace – bass (live)
Stelios Steele – poem intonation on “In the Name of God”, “Hallowed Be Thy Name” and “The Raven”
Alexis Karamelis – backing vocals on “I Believe”
Stratis Steele, Alexandros Louziotis, Giannis Stamatakis & Theodoros Aivaliotis – vocals (choirs)
Nikos Velentzas, Stamatis Ampatalis, Vasilis Koutsoyflakis & Manos Six – percussion
Irina Zybina – female Vocals on “Vetry Zlye”
Dayal Patterson – intonation on “Heaven and Hell and Fire” and “Fire God and Fear”
Melechesh Ashmedi – vocals on “The Voice of Universe”

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Album Review – Et Moriemur / Epigrammata (2018)

Transcending the perceptions of the death and doom styles and bringing back forgotten elements from the past, the new opus by this talented Czech band perfectly depicts our attempt to cope with the death of those we loved.

Founded in 2008 in Prague, in the Czech Republic, Atmospheric Black/Death/Doom Metal supergroup Et Moriemur, featuring members of legendary bands like Dissolving of Prodigy, Self-Hatred and Silent Stream of Godless Elegy, has been spreading what they like to call “Existential Doom” all over the world ever since. The name of the band, which is Latin for “and we will die”, already says a lot about how obscure and damned their music sounds, with their brand new album Epigrammata, the third in their already solid career, transcending the perceptions of the death and doom styles and bringing back forgotten elements from Gregorian chanting, delving into the rich European history and using Latin and ancient Greek to convey their message. Featuring an array of amazing guest musicians, Epigrammata has all of its song names in Latin taken from the Requiem Mass, notable for the large number of musical compositions that it has inspired, including settings by Mozart, Verdi, Bruckner, Dvořák, Fauré and Duruflé. Originally, such compositions were meant to be performed in liturgical service, with monophonic chant.

The band, comprised of Zdeněk Nevělík on vocals, piano and keyboards, Aleš Vilingr and Pavel Janouškovec on the guitars, Karel Kovářík on bass and Michal “Datel” Rak on drums, had a few interesting words to say about their new album. “Epigrammata represents our attempt to cope with the dying or death of those we loved. To create a solemn and classical atmosphere we used lyrics in ancient Greek (the title itself means epigrams) and in Latin, more precisely from the Mass for the dead – the album follows the typical Requiem structure, i.e. Introitus, Requiem Aeternum, Dies Irae etc. – and of course the traditional, unisono male Gregorian chant. In any case we tried not to do a uni-dimensional record. So apart from the inevitable grief there is gratitude as well for having had the chance to share our life with them and hope that they are well – wherever they are.”

Whimsical waves invade our senses in Introitus (or “prelude”), with guest Kostas Panagiotou bringing epicness to the intro with his enigmatic words before a massive wall of sounds crushes us all in Requiem Aeternam (“eternal rest”), with the doomed, sluggish beats by Datel and the imposing background choir generating a truly Stygian ambience. Furthermore, Zdeněk sounds as demonic as he can be, not to mention the potency of the music coming from the violin and cello. Then the piano by Zdeněk kicks off a Blackened Doom extravaganza titled Agnus Dei (“lamb of god”), a song that reeks of sheer darkness where cavernous growls get deeper and deeper in a delicate paradox with the smother background elements. In addition, Guest musicians Labrini Karousou and Vangelis Mertzanis provide another anguished and eccentric narration, feeling more doomed than atmospheric, and absolutely haunting and dense from start to finish. And their somber mass of Doom and Black Metal goes on with another fantastic hymn titled Dies Irae (“day of wrath”), with the band’s stringed trio Aleš, Pavel and Karel being extremely precise with their scorching, damned riffs and punches, and with the keyboards by Zdeněk sounding beautifully eccentric and wicked.

In Offertorium (“offering”) we’re treated to a Phantom of the Opera-like vibe blended with the band’s otherworldly sounds and tones, with Datel simply smashing his drums slowly and flawlessly while the choir keeps mesmerizing our minds, remaining dark and vibrant until its grand finale; whereas in the slightly faster and more piercing Communio (“communion”), Et Moriemur continue to fire their low-tuned, demonic tones intertwined with the church-like choir and a huge dosage of melancholy, maintaining the album at a vibrant and perturbing level. And in Libera Me (“rescue me”) an eerie organ together with the cavernous growls by Zdeněk generate a truly enfolding atmosphere, evolving into a lecture in Blackened Doom infused with church music elements. Furthermore, the entire band is utterly focused and energized, extracting the most damned but at the same time melodious sounds you can think of from their instruments, with every single second of this aria being beyond captivating (especially the final recitation by Zdeněk).

Then the piano by Zdeněk dictate the rhythm in Absolve Domine (“release lord”), complemented by his pensive words and cinematic-epic-imposing background sounds, with the music growing beautifully until darkness is upon us once again in the Blackened Doom aria Sanctus (“spirit”), a headbanging mass led by the crawling, gloomy beats by Datel. Hence, this amazing composition will elevate your senses with its potent sonority, not to mention how the entire band is capable of sounding so devilish and gentle at the same time. Lastly we have In Paradisum (“in paradise”), a 10-minute voyage through the realms of Existential Doom where its first part is pure old school Doom Metal, until anguished lamentations permeate the air in one of the most obscure and hypnotizing metal masses I’ve ever listened to in my life. In addition, the song’s sluggish drums, serene guitars and epic keys will penetrate deep inside your soul, with an ethereal feminine voice ending this top-notch album of Atmospheric Doom Metal majestically.

Et Moriemur are one of those bands you won’t listen to anywhere but only during your moments of introspection and melancholy, with Epigrammata representing everything the band stands for in terms of music and lyrical themes. And in order to show your support to such distinguished band, go follow them on Facebook and grab your copy of Epigrammata directly from their BandCamp page or from the Transcending Obscurity Records webstore in a Digipak CD + sticker bundle, as well as from iTunes, Amazon, CD Baby and Discogs. However, if you prefer an exclusive and more stylish version of the album, I highly recommend you go after the Epigrammata Gold-embossed and UV-laminated Box Set, containing the digipak CD with booklet, an A3 size poster having a special artwork, a fridge magnet having the album artwork, two stickers of the album artwork + emblem artwork, and an individual hand-numbered certificate of ownership for your copy. It can’t get any better, more doomed and more obscure than this, and I’m sure you’re going to love it.

Best moments of the album: Agnus Dei, Libera Me and Sanctus.

Worst moments of the album: None.

Released in 2018 Transcending Obscurity Records

Track listing
1. Introitus 1:41
2. Requiem Aeternam 5:15
3. Agnus Dei 5:14
4. Dies Irae 4:12
5. Offertorium 5:44
6. Communio 6:14
7. Libera Me 5:18
8. Absolve Domine 2:47
9. Sanctus 6:05
10. In Paradisum 10:41

Band members
Zdeněk Nevělík – vocals, piano, keyboards
Aleš Vilingr – guitar
Pavel Janouškovec – guitar
Karel Kovářík – bass
Michal “Datel” Rak – drums

Guest musicians
Kostas Panagiotou – vocals on “Introitus”
Nikos Vlachakis – vocals on “Agnus Dei”
Labrini Karousou & Vangelis Mertzanis – recitation on “Agnus Dei”
Jaroslav Klvaňa, Karel Russ & Lukáš Pavlovský – choir
Andrea Michálková – cello
Zuzana Králová – violin
Jindřich Bešťák – trombone
Honza Kapák – acoustic guitar

Metal Chick of the Month – Mallika Sundaramurthy

Eat the dead, cut the flesh!

Let’s turn up the heat on this last month of summer here on The Headbanging Moose with some old school, gory and extremely violent Death Metal, and in order to do that in style we have “recruited” the unstoppable Mallika Sundaramurthy, frontwoman for American Technical/Brutal Death Metal band Abnormality, as our metal chick of the month. Born in Gardner, a city in Worcester County, Massachusetts, in the United States, but currently residing in Prague, the beautiful capital of the Czech Republic (or Czechia), Mallika is not only the owner of a potent voice, but she’s also absolutely passionate for all things Death Metal, being a huge supporter of underground metal as a fan, as a musician and as a businesswoman as well. Having said that, get ready to slam into a vicious circle pit together with Mallika, because things are about to get as savage and heavy as hell.

Half Indian and half English-American, with her father coming from Chennai, the capital of the state of Tamil Nadu on the Bay of Bengal in eastern India, and her mother being from New Hampshire, a state in the New England region of the northeastern United States, Mallika is married to Russian musician Serge Gordeev, from Death Metal bands like Epicardiectomy and Fleshbomb. As you can see, pure Death Metal runs through the veins of the couple, which led to the creation of their own label Ultimate Massacre Productions. But before we talk about their label, let’s focus on the early days of Mallika, who has been playing in Death Metal bands since 2002, a couple of years after she graduated from Gardner High School, located in Gardner, Massachusetts. While Mallika was giving her first steps in extreme music, she was at the same time studying illustration at the Massachusetts College of Art and Design, in Boston, Massachusetts, which she graduated in 2004. And that knowledge she gained through her studies was not in vain, becoming a fundamental part of her up-and-coming career.

Regarding her career as a musician, Mallika got into Heavy Metal during her high school years. In the beginning, Mallika was more into classic rock and metal the likes of Led Zeppelin, Jimi Hendrix and Alice in Chains, with her taste for heavier and more brutal music growing after she started listening to the pulverizing Death Metal by Deicide and Cannibal Corpse. By the way, becoming a fan of Death Metal was the main reason why she decided to do extreme vocals, which is pretty much the same path followed by anyone who chooses to play an instrument based on their favorite bands and styles. And just as a side note, our ruthless growler joined her first metal band while studying abroad in Barcelona, Spain, but there aren’t any details available online about that part of her career.

What you will for sure find online are all details about her history with her own Death Metal band, Massachusetts-based squad Abnormality, formed in late 2005 by Mallika together with guitarist Jeremy Henry, drummer Jay Blaisdell and guitarist Michael O’Meara (who left the band in 2009), with bassist Josh Staples joining the band in 2009 and guitarist Sam Kirsch in 2015 to complete their current lineup. The band strives to make high quality extreme music without worrying about conforming to certain boundaries or styles, having released to date a four-track demo in 2007 (including the song Visions, which found its way onto the popular video game Rock Band 2 as a bonus track), a three-track EP titled The Collective Calm in Mortal Oblivion in 2010, and the full-length albums Contaminating the Hive Mind in 2012, and Mechanisms of Omniscience in 2016. If you want to have a very good taste of all the brutality and electricity flowing from the music by Abnormality, you can check for instance their official videos on YouTube for the songs Mechanisms of Omniscience, Monarch Omega, and Fabrication of the Enemy, or even take a more detailed listen at their full discography at their own BandCamp page (which obviously means you should also buy their albums from there). Furthermore, Mallika mentioned in one of her interviews that Abnormality did a cover version for the classic Desperate Cry by Sepultura at the formation of the band when she joined a band named Teratism on stage, impressing their then members Jay and Michael (culminating with the creation of Abnormality, as you can see), also playing other cover songs live over the years such as Eric Clapton’s Cocaine and Death’s The Philosopher, but never including any of those in their recorded material. Finally, one last interesting note about Abnormality is that their first concert ever happened in 2006 at a house party organized by their drummer Jay, including the bands Dehumanized, Sexcrement and Soul Remnants. That was probably one hell of a demolishing Death Metal party, I must say.

Apart from Abnormality, Mallika, who takes care of her potent voice by doing usual things like getting proper rest, keeping her throat hydrated and avoiding alcohol, is also the frontwoman for American Death Metal all-female band Castrator, an international project formed in 2013 and based in New York City with members from distinct parts of the earth such as Mexico, Norway, Sweden, Colombia and the United States. As you can see by the name of the band, Castrator is a confrontational band, with all of the song titles found in their 2014 demo and 2015 EP, both titled No Victim, being some sort of feminist revenge fantasy, such as Honor Killing and The Emasculator. Mallika explained that the band was born when her friend Carolina Perez, drummer for American Death/Thrash Metal act Hypoxia, expressed the desire to form an all-female band, aiming at writing aggressive music, playing some devastating concerts, and have fun together above all things. She also mentioned it was important to bring up through the horror and intensity of their lyrics the issues and struggles women from all over of the world face every single day, in particular parts of the world where women’s rights are far behind. When writing the lyrics, Mallika researched and read countless stories and documentaries of individual cases of honor killings, as well as violence, rape, and murder against women, translating all that hatred and negative thoughts into Death Metal lyrics. In order to be smashed by Castrator, go check their BandCamp page, where you’ll be able to listen to (and to buy) the austere and utterly brutal tunes Honor Killing, No Victim and The Emasculator.

Our relentless growler was also part of American Technical/Brutal Death Metal band Parasitic Extirpation from 2011 until 2015, with whom she recorded the EP Putrid Crown, in 2014. You can enjoy Mallika kicking some serious ass in this also very interesting band with the title-track Putrid Crown,  and all other tracks directly from their BandCamp page. And even with all her duties with Abnormality, Castrator and Parasitic Extirpation, she still found time to be part of several other bands and projects as a guest musician, like singing live for British Technical Brutal Death Metal unity Unfathomable Ruination, in 2017; and being a guest studio singer in the songs Circumcised with a Chainsaw, from the 2013 album Skewered in the Sewer by Indian Brutal Death Metal act Gutslit; the title-track The Redemption of Past Supremacy, from the 2012 album The Redemption of Past Supremacy by American Brutal Death Metal act Habitual Defilement; Endless Outrage, from the 2016 album Ouroboric Stagnation by International Brutal Death Metal act Neurogenic;    Dies Irae…, from the 2013 album Lords of Rephaim by America Brutal Death Metal act Pathology; Tower Deflower, from the 2012 album Festering Human Remains by America Death Metal act Scaphism; the superb cover version for Pat Benatar’s Heartbreaker, from the 2014 EP XXX Bargain Bin Vol​.​2 by American Death Metal act Sexcrement; and Incinerator, from the 2013 album Black and Blood by American Death Metal act Soul Remnants. As you can see, all those songs are beyond brutal and demolishing, exactly the way good Death Metal is supposed to be.

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With respect to Mallika’s main influences in music, she’s a diehard and longtime fan of several renowned acts of the Extreme Metal scene such as Suffocation, Gorgasm, Decapitated, Immolation, Cryptopsy, Cannibal Corpse, Monstrosity, Carcass and Morbid Angel, among several others, with American Death Metal masters Hate Eternal, standing out among their influences if you take a detailed listen at their music. Questioned about which album she would take to her own grave, Mallika answered Pierced from Within, released in 1995 by American Technical Death Metal band Suffocation, and while listening to that album it makes total sense as to why she handpicked it instead of tons of other classics. Needless to say, Suffocation would obviously be part of her dream metal fest lineup, also including bands such as Immolation, Deeds of Flesh, Cryptopsy (with Lord Worm), Origin, Malignancy, Monstrosity, Vader, Gorgust, Wormed, Defeated Sanity, Napalm Death, Incantation, Vile, Decapitated, Hate Eternal, Nile, Krisiun, Devourment, and so on. And lastly, when asked to list the five albums any metalhead must have in his or her collection to have a deeper understanding of what Brutal and Technical Death Metal is all about, Mallika selected Close to a World Below by Immolation, Effigy of the Forgotten by Suffocation, Altars of Madness by Morbid Angel, She Lay Gutted by Disgorge, and Masticate to Dominate by Gorgasm. Also, when questioned about what inspires her and the rest of Abnormality when writing their lyrics, she said that the whole band enjoys writing about current events at home and abroad, conspiracies, and their contempt for the New World Order, as well as other things in their lives, in their imagination, science fiction and fact, corruption, and time travel, always focusing on the darker side of humanity and never afraid to take a political stand. Of course, Mallika considers real life horror far worse than anything imagined in fiction, albeit she also thinks those monsters in fiction reflect that same dark side of our own humanity and the evils that we are capable of.

Mallika’s business side together with her utter passion for extreme music are an essential piece of Ultimate Massacre Productions, an extreme music label managed by Mallika herself and her husband Serge Gordeev, originally founded in 2012 by Serge as a licensed merch supplier for metal bands. After her arrival and after taking on Mexico’s Human Decomposition as their first signed band, the project propelled to a new and promising direction, which could be seen in her own words at that time. “We thought it would be great to build the label together, combining our collective experience and passion for music to grow Ultimate Massacre,” she said, also mentioning that “our main goal is to spread great music that we ourselves love, and to help the bands on our roster to reach new levels.” Mallika and Serge work endlessly for the joys that art brings with it, putting a lot of effort and passion into making the label a genuine home for underground extreme bands. Based in Prague, the label has increased their portfolio considerably through the years, including today bands such as Apophys, Incontinence, Chordotomy, Fungus, Imperium and Natrium. Hence, if you consider yourself a true death metaller, you can keep an eye at their official Facebook page for new kick-ass bands and releases from the underground Death Metal scene.

As aforementioned, Mallika is a huge admirer and connoisseur of underground metal music, saying she’s fine with a huge part of metal music staying underground mainly because it’s extreme and offensive, and therefore not recommended for mainstream listeners. However, she also said it’s extremely difficult to survive in the underground scene, as the majority of underground musicians have to have income coming from other sources such as day jobs despite their passion and dedication to heavy music. Well, having to face issues like that doesn’t seem to be a problem for musicians like Mallika, because the underground scene at least in the United States seems to be very strong to her eyes, with lots of great bands keeping the flames of extreme music burning bright in her homeland. For instance, she recommends bands like Malignancy, Disgorge, Dehumanized, Bloodsoaked, Guttural Secrete, Goemagot, Sapremia, Habitual Defilement and Expurgate for starters, and from her hometown she thinks you should take a good listen at Revocation, Sexcrement, Dysentery, Hivesmasher, Scalpel, Scaphism, Soul Remnants, and many, many more. She also mentioned she believes that classifications in metal such as Deathcore, Power Metal, Blackened Death Metal and so on are necessary to help listeners find new bands according to their likes and dislikes, as long as people are not carried away with creating new subgenres. Furthermore, Mallika has a very peculiar view on how many people nowadays end up knowing new bands through illegal downloads, as she understands that albeit illegal downloads are inevitable due to several reasons such as lack of money for buying all the music downloaded, those fans need to realize the bands depend on that money to stay alive, but as long as they support the bands in other ways like attending their concerts, buying a shirt or listening to their music for free on Spotify or YouTube, some sort of balance can be reached.

When asked about how she feels being a woman in a male-dominated scene like Death Metal, Mallika said she has always felt good, always having a good time with her bands since the beginning of her career. She mentioned there are more and more talented and hardworking women making a name for themselves in the Death Metal scene, being really proud of them and supporting them whenever and however she can. She said it’s not easy to be a woman in metal as there’s a lot of sexism in the world and even more discouragement for a woman to be part of the extreme music scene; however, she hopes one day that will end, and it will become something we won’t even think about discussing as men and women will just be equal in numbers and in talent. If you think about names like Angela Gossow, Tarja Turunen, Simone Simons, Doris Yeh, Cristina Scabbia and Alissa White-Gluz, not to mention all the other ladies who put their hearts and souls into making first-class metal music from all parts of the world, I also believe we’re not that far from reaching Mallika’s dream.

Last but not least, Mallika is as aforementioned a professional graphic and concept artist in the video game industry, having already worked for Harmonix Music Systems (the company that created the Rock Band franchise) for four years, and later becoming a freelance artist and working for a company called Techona as a graphic artist since earlier this year. Regarding her time with Harmonix, Mallika provided a few interesting details about how Abnormality got involved in the game Rock Band 2 with the song Visions. While she was working on the game together with a team of artists, the company allowed employees to submit music for consideration to be entered into the game; at first she didn’t want to do it, but the rest of Abnormality asked her to try, and in the end the company picked their music to be one of the songs of the game together with a lot less violent (or I should say not violent at all) bands like Bon Jovi, Avenged Sevenfold and Blondie. Needless to say, Mallika is not only passionate about Death Metal, but also crazy for old school Death Metal album arts, dark fantasy and surrealism, being inspired by artists such as Zdzisław Beksiński, Wayne Barlowe, and Dan Seagrave. As a matter of fact, you can easily see all that passion for abstract art and surrealism in the Abnormality album arts, all designed and created by our obstinate growler herself, as well as the cover art for the 2012 split album Phylum Morph-Apokalupsis by American Brutal Death Metal/Grindcore bands Animals Killing People and Andromorphus Rexalia, the layout and cover art for the 2016 album Eon by American Technical Death Metal band Formless, and the cover art for the 2013 EP One Inch Monster by Swedish Thrash Metal act Sonic Assault. As talented, honest and diligent as she is, being capable of screaming and gnarling like a beast with her band and of translating all the violence and gore of Death Metal into stunning album arts, it’s more than obvious why Mallika has turned into a reference in extreme music, and may she have a long and prosperous reign as our queen of guttural vocals.

Mallika Sundaramurthy’s Official Facebook page
Mallika Sundaramurthy’s Official Twitter
Mallika Sundaramurthy’s Official YouTube channel
Mallika Sundaramurthy’s Official Instagram
Abnormality’s Official Facebook page
Abnormality’s Official Twitter
Abnormality’s Official YouTube channel
Abnormality’s Official Instagram

“I see there are many more talented women stepping up the plate in the death metal scene. I am really proud of my fellow ladies who are kicking ass, and I call many of them friends. I DO personally go out of my way to support women in metal, especially those who work hard, carry themselves professionally, and play really well. I know it’s not easy. There is so much sexism in the world, and we women are so often discouraged from taking part of the extreme metal scene.” – Mallika Sundaramurthy