Album Review – Astral Corpse / Metsän Pimeydessä EP (2017)

Enter the forest of darkness ruled by a cold-hearted Keravian Black Metal horde and succumb to their malignancy and hatred.

From the depths of ancient Keravian burial grounds, influenced by Nordic nature and music, Finnish Black Metal horde Astral Corpse launches their first sonic onslaught, titled Metsän Pimeydessä, or “In the Forest of Darkness” from Finnish. If you love Black Metal without compromise, you’ll surely have fun listening to the 20 minutes of what the band calls “True Keravian Black Metal”, which translates into sheer obscurity, blasphemy, speed and raw sounds. Are you ready to enter the forest of darkness ruled by Astral Corpse?

Hailing from Kerava, a citiy in Southern Finland located around 40km north of the capital Helsinki, Astral Corpse have been through several lineup changes after their inception back in 2008 before reaching their current shape and form. With lead singer, guitarist and founding member AstroNuclear Agitator, guitarist Frostektor, bassist Arcane Desolator and drummer Cosmic Triumphator extracting extreme aggression and vileness from their instruments, Metsän Pimeydessä becomes more than just their debut EP, but a solid statement that Astral Corpse are among us to stay, bringing darkness to our souls and high-quality Black Metal to our ears.

The Black Metal attack led by the putrid growls by AstroNuclear Agitator begins in full force with Cease to Exist, with Cosmic Triumphator obviously delivering the most traditional blast beats you can imagine, not to mention how the song ends in a brutal way. In Drain the Blood, AstroNuclear Agitator and Frostektor accelerate their riffage, blasting sheer darkness through their guitars while Cosmic Triumphator and bassist Arcane Desolator keep a menacing atmosphere rumbling in the background, proving how loyal they are to the foundations of traditional Black Metal. And the title-track Metsän Pimeydessä lives up to its name, being an obscure Black Metal hymn spiced up with hints of Doom Metal, with the potent and precise beats by Cosmic Triumphator dictating the rhythm while AstroNuclear Agitator keeps gnarling and roaring like a demon.

Welcome to the Spirit World gets back to the band’s most demonic stage, being a furious display of extreme music where not only the guitars sound on fire, but the hatred and aggressiveness flowing from both vocals and drums is outstanding. Put differently, it can’t get any more blackened than this. Following that intense tune, epicness and blasphemy are the main ingredients in the evil chant Nocturnal Winds, inspired by the most traditional form of Scandinavian Black Metal with its old school guitar lines and bestial drums impregnating the atmosphere. Finally, how about ending the EP with a pulverizing Black Metal aria? That’s what we get in the thrilling Winds of Death, with AstroNuclear Agitator barking his last breath of malignancy while Cosmic Triumphator crushes his drums mercilessly, therefore generating a chaotic and dense musicality that aims at dragging us to the pits of hell.

All the malice, irreligiousness and odium flowing from the forest of darkness ruled by Astral Corpse can be explored through the band’s Facebook page and SoundCloud, with Metsän Pimeydessä (which you can take a listen at in its entirety HERE) being available at the Orbovoid Records’ webshop. But remember that once you enter this Keravian forest full of malignancy and hatred, there’s no way back. You’ll be trapped forever in Astral Corpse’s dark realm of old school Black Metal.

Best moments of the album: Drain the Blood and Welcome to the Spirit World.

Worst moments of the album: None.

Released in 2017 Orbovoid Records

Track listing
1. Cease to Exist 3:43
2. Drain the Blood 3:04
3. Metsän Pimeydessä 2:53
4. Welcome to the Spirit World 2:41
5. Nocturnal Winds 3:28
6. Winds of Death 5:24

Band members
AstroNuclear Agitator – vocals, guitars
Frostektor – guitars
Arcane Desolator – bass
Cosmic Triumphator – drums

Album Review – OHHMS / The Fool (2017)

Spanning the course of 60 minutes and focusing on corporate and personal politics, the first full-length album by this British quintet is not only a huge step forward in their career, but also a lesson in Sludge and Progressive Metal.

Armed with the thickest riffs and fieriest will, Sludge/Progressive Metal act OHHMS was formed in 2014 in Kent, a county in South East England, aiming at blowing our minds with their monolithic, doomed music. After the release of their debut EP Bloom in 2014, followed by another EP title Cold in 2015, OHHMS started to build a strong reputation in their homeland’s underground scene, playing big festivals such as Desertfest and Temples, and also sharing the stage with acts like The Skull, Conan and Rolo Tomassi. Now, three years after their thunderous beginnings, the band is back with their debut full-length album, the heavy and sludgy The Fool, another step forward in their short but solid career.

Spanning the course of 60 minutes of hard-hitting, progressive music, The Fool delivers five thunderous songs that focus on corporate and personal politics, all wrapped up in an elegant tarot-inspired packaging designed by Black Sails Design. With two of its songs going over the barrier of 10 minutes (one of them having over 20 minutes in duration, by the way), something inconceivable for any regular radio station or TV show, The Fool won’t provide any sort of “music for the masses” to you, but an introspective and very peculiar journey through the minds of the five talented musicians behind OHHMS, and that’s in my opinion what makes this album so distinct and impactful.

The acoustic intro Shuffle, Cut and Reveal slowly introduces us to the sluggish and heavy The Magician,  which after a fast-paced beginning smoothly flows into traditional Stoner Metal, with Max Newton smashing his drum set while lead singer Paul Waller blasts sheer anguish through his vocals. The Hanged Man is a top-notch musical voyage, flowing from an ominous intro into 13 minutes of progressiveness, slow-paced passages and a somber ambience. Max adds endless intricacy to the music with his beats, while guitarists Daniel Sargent and Marc George alternate between heavier riffs and gentle lines, with the overall result being so compelling you won’t notice the length of the song at all. Even more progressive than its predecessor, The World is a song that combines in a potent way the heaviness of Stoner Metal with the experimentations of Progressive Metal, not to mention its hints of several other styles such as Industrial and Doom Metal, with Max and bassist Chainy Chainy building a more-than-thunderous atmosphere with their respective instruments.

The superb The Lovers is beautiful and thrilling from start to finish, with all instruments creating the perfect ambience for Paul and a mysterious (and wonderful) female voice to complement each other’s lines flawlessly. It’s a slow and serene ballad recommended for true lovers, or in other words, simply close your eyes and feel your significant other’s embrace while listening to this awesome composition. And as the icing on the cake OHHMS present to us The Hierophant, a bold, complex and mind-blowing 21-minute extravaganza, where the whole band is able to display all their skills as great musicians they are. After over two minutes of initial dissonant noises, Paul arrives with his somber vocals, and this eccentric atmosphere goes on until at around six minutes the rest of the band joins him, becoming a sonic experimentation through the realms of Sludge and Stoner Metal, with highlights to the bestial, crushing riffs by both Daniel and Marc (in special during the song’s final part).

One might say The Fool is not an album for the average listener, but in my humble opinion I think this album is a great opportunity for newcomers to the world of the lengthy and sluggish sounds of Stoner and Doom Metal to explore the uniqueness of this subgenre of heavy music. Well, newcomer or not, you should definitely go check what OHHMS are up to at their Facebook page and, if you’re already hooked on their music, purchase The Fool through their BandCamp page, at the Holy Roar Records’ webshop, on iTunes, on Amazon or at Discogs.

Best moments of the album: The World and The Lovers.

Worst moments of the album: None.

Released in 2017 Holy Roar Records

Track listing
1. Shuffle, Cut and Reveal 1:15
2. The Magician 8:10
3. The Hanged Man 13:24
4. The World 6:42
5. The Lovers 8:03
6. The Hierophant 21:49

Band members
Paul Waller – vocals
Daniel Sargent – guitars
Marc George – guitars
Chainy Chainy – bass
Max Newton – drums

Album Review – Loathfinder / The Great Tired Ones EP (2017)

A newborn Blackened Doom entity hailing from Poland will bring endless obscurity, fearfulness and anguish to your mind and soul with their menacing 28-minute debut opus.

We might not have the slightest idea of who they really are, but we know without a shadow of a doubt that their spine-chilling, perverse Blackened Doom lives up to the legacy of bands such as Forgotten Tomb, Woods of Ypres and the early days of Katatonia, also presenting an ominous vein inspired by the most funereal form of Atmospheric Black Metal. I’m talking about a newborn evil entity known as Loathfinder, who have just released their debut EP titled The Great Tired Ones, a 28-minute opus that, above all things, will bring endless obscurity, fearfulness and anguish to your mind and soul.

Founded somewhere back in time in the imposing city of Cracow, one of the most fertile cities not only in Poland but in the entire Europe in regards to arts and music, Loathfinder are a remorseless spawner of the most obscure elements found in Extreme Metal, with The Great Tired Ones being the amalgamation of all their evil. Displaying a visceral artwork by Polish illustrator Robert A. von Ritter (Diabolizer, Armagh, Ragehammer), with the design and colors originated by Polish illustrator and graphic designer Maciej Kamuda (HerezA, Misanthropic Rage, Virgin Snatch), this is an album that will certainly be part of your personal playlist for a long time if you love the rotten and grim sounds of old school Blackened Doom piercing your ears.

Flies buzzing and thunderous bass and guitar lines ignite the damned feast named Genetic Gloom, with the cavernous growls coming from an unknown creature impregnating the musicality through and through. Furthermore, a few moments of tranquility are meticulously inserted amidst the ominous Blackened Doom that reeks in the air, with steady beats dictating the song’s lugubrious rhythm. Darker and more aggressive due to its infernal gnarls and deep guttural growls, Feast on My Entrails presents lyrics that couldn’t be more putrescent (“My cradle is rotten / Black fingers ream my ribs from inside / As I gaze into sky with learned apathy / And miss places I’ve never been / When venom is dripping from every wall / Only thing you can do is spit, spit and spit”), which together with its mesmerizing riffs and rumbling ambience (led by the song’s Stygian bass lines) turn it into a macabre hymn of darkness.

Metallic and lancinating bass sounds kick off another vile creation by Loathfinder, the excellent Scents of Regression, bringing forward putrid growls and doomed beats in total sync, increasing the song’s obscurity even more. Not only that, this song also offers the listener a solid Doom Metal sonority with the band’s blackened vein pulsing inside it, enhanced by sharp guitar solos and riffs. And lastly we have the title-track The Great Tired Ones, where a truly macabre intro goes on for about a minute until all instruments rise from the pits of hell, also displaying acid lyrics perfect for the music played (“Through the black eyes / Of agonized priestess / We were allowed to see / The gathering / Of faceless / Of whipped / And lost in time / The Great Tired Ones / Black chain of greatest lies / The Great Tired Ones / One were all, all were One”). If you love Blackened Doom, get ready for almost ten minutes of mournful passages, cutting guitars and desperate growls, ending with rancid gnarls that will darken your mind instantly.

You can savor the 28 minutes of hatred and anguish found in The Great Tired Ones by clicking HERE, and also grab your copy of this devilish album at Loathfinder’s BandCamp, at the Godz ov War Productions’ BandCamp, or at Discogs. This is a beyond solid debut album by Loathfinder, with no fillers, no artificial sounds and no happy feelings, but only the deepest rooted form of our good old Blackened Doom, and if those enigmatic musicians were capable of delivering such high-quality music with their very first release, I’m sure Blackened Doom will remain strong and menacing for years with Loathfinder being one of the new remarkable names of the genre.

Best moments of the album: Feast on My Entrails.

Worst moments of the album: None.

Released in 2017 Godz ov War Productions

Track listing
1. Genetic Gloom 6:08
2. Feast on My Entrails 6:50
3. Scents of Regression 5:25
4. The Great Tired Ones 9:37

Band members
*Information not available*

Album Review – NONE / NONE (2017)

Over 30 minutes of chilling and despondent Atmospheric Black Metal by an unknown entity from the Pacific Northwest that will darkly guide you on a one-way journey to emptiness.

“None are more hopelessly enslaved than those who falsely believe they are free.” – Johann Wolfgang Von Goethe

Chilling and despondent music from the Pacific Northwest is what you’ll hear on the impressive self-titled debut album by Atmospheric/Depressive Black Metal entity NONE, a dark, full-bodied album comprised of three freakish and distinct arias interconnected by the howling winds of winter that will certainly appeal to fans of the Atmospheric Black Metal and DSBM (Depressive Suicidal Black Metal) crafted by groups such as Shining, ColdWorld and Woods of Desolation. Misery, grief, negativity and hopelessness are just a few elements you’ll find in the music by NONE, darkly guiding you on a one-way journey to emptiness.

Formed in 2015 in the city of Portland, Oregon, in the United States, NONE doesn’t carry its simple but enigmatic name in vain. NONE is precisely that, as they have no faces and they are no one, being solely represented by the depressive and obscure sounds emanating from each one of the three multi-layered compositions of the album. Drawing influences from the most melancholic and austere forms of atmospheric extreme music, NONE can quickly become the soundtrack to your most obscure moments, showing you that solitude might not be a bad solution at all in our lives.

In the opening track, simply titled Cold, the atmosphere couldn’t feel more sinister and disheartened, with its background noises and smooth piano notes quickly exploding into a puissant sonority. This is beautiful Depressive Black Metal perfect for closing your eyes and letting darkness embrace you, showcasing not only demonic gnarls and Stygian Black Metal guitars, but also presenting acoustic elements to bring some sort of false peace and hope to our hearts, before its climatic ending gets back to a somber and heavy sonority.

Also phantasmagorical and doomed, Wither is a direct sequel to its predecessor, with its Black Metal sounds invading our ears and souls while its hellish growls transpire hatred and despair. Furthermore, it brings forward a distressing aura found in the most sluggish and evil form of Blackened Doom, resulting in a delicate and at the same time powerful creation by NONE. And in Suffer we finally reach the stage where all songs together become one, displaying anguished screams and slow-paced Doom Metal beats complemented by the song’s serene piano notes. It’s a strong conclusion to the story being told by this arcane creature known as NONE, morphing into a desolated ending where it’s clear that darkness has taken full control of our souls.

You can purchase a digital copy of NONE at the Hypnotic Dirge Records’ BandCamp, but if you prefer to actually put your hands on such bitterly cold and mordant Depressive Black Metal work-of-art, the album is available in a 6-panel digipack (limited to 300 copies) at the Hypnotic Dirge Records’ webstore, where you can also find it as a T-shirt + CD bundle, or at Discogs. You already know that after following the dark path crafted by this unknown entity there’s no way back, but I guess you really don’t care about the consequences. Quite the contrary, that’s exactly where you want to be.

Best moments of the album: Wither.

Worst moments of the album: None.

Released in 2017 Hypnotic Dirge Records

Track listing
1. Cold 11:57
2. Wither 8:45
3. Suffer 9:25

Band members
*Information not available*

The Headbanging Moose Show – Thursdays @ 20:00 UTC exclusively at Midnight Madness Metal e-Radio

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Attention, metalheads!

It’s time to rumble with THE HEADBANGING MOOSE SHOW every Thursday @ 20:00 UTC (with a reprise on Saturdays @ 19:00 UTC) exclusively at Midnight Madness Metal e-Radio, your London-based web radio blasting the best of heavy music nonstop 24/7!

Presented by Gustavo Scuderi, The Headbanging Moose Show will bring to you the cream of underground metal music, giving you a short and sweet background on every band played on the show. No silly jokes, no shenanigans… THIS IS PURE F****N’ METAL!

So remember, EVERY THURSDAY @ 20:00 UTC (with a reprise on Saturdays @ 19:00 UTC) tune into Midnight Madness Metal e-Radio to enjoy one hour of kick-ass underground metal from all over the world, courtesy of The Headbanging Moose!

Here are all the options where can blow your speakers with Midnight Madness:

Official website
Facebook
Twitter
Online Radio Box
Tunein
Streema
Listen2MyRadio
Radio Garden
Streamitter.com

Don’t forget to follow The Headbanging Moose on Facebook to know beforehand which bands will be played on the show every week.

And if you want to have your new album reviewed at The Headbanging Moose AND played at Midnight Madness Metal e-Radio, simply get in touch with us through our CONTACT US page.

Album Review – Through Chaos & Solitude / The Thawing Winds Of The Morning Sun EP (2017)

A classy and meaningful Melodic Black Metal project aiming at opening our eyes and show us that we, mankind, are our own blessing and our own curse.

“The thawing winds of the morning sun is us. Mankind. We are our own blessing and our own curse. We are the stroke of wing which causes these winds to blow. We try to become god ourselves while declaring him for dead and still we deny our nature. We subdue the earth and its children and still we strive for more. By now we already realized our purpose and we willingly choose to neglect it. We’re flying directly into the sun and still we’re accelerating…”

These dark, poetic words perfectly summarize the music you’ll find in The Thawing Winds Of The Morning Sun, the debut demo by German Melodic Black Metal project Through Chaos & Solitude, led by multi-instrumentalist Tim Rule (Forward to Eden) with the help of Sebastian D. (Castigator) on drums. Featuring a serene cover art by Pottriot Illustrationen, and written, recorded and mixed by Tim himself during this past winter in the city of Ruhrpott in North Rhine-Westphalia, the most populous state of Germany, The Thawing Winds Of The Morning Sun brings beautiful, melancholic and dark music in the vein of bands like Woods Of Ypres, Agalloch and Falls Of Rauros, with each one of its three songs sending a thoughtful message about life and death, our souls, our existence and our struggles.

The initial sound of the howling wind in the first song of the demo, titled The Intransigence Of The Soul, is suddenly joined by an onrush of heavy guitars and blast beats, with the demonic gnarls by Tim giving life (or I should say death) to the song’s poetic lyrics (“Constant struggle of the mind and the heart / Constant suspense of the body and the mind / Persistency in the thought – restlessly moving on / Intransigence of the soul…”). Furthermore, anguish, despair and loneliness are just a few of the emotions explored by Tim in this piercing Black Metal chant, ending in an acoustic and pensive manner before we face the second piece of the demo, A Heart Of Eternal Winter (And The Longing For Your Warmth), which builds a direct bridge to the opening track, beginning in a slow-paced rhythm inspired by the obscurity of Doom and Gothic Metal, also showcasing acute Black Metal blast beats by Sebastian D. and a somber ambience. Tim’s phantasmagoric vocals embrace us in darkness at first, shifting to his hellish growls and back to melodic clean vocals and, therefore, creating a nice paradox of voices inside our minds.

Also connected to its predecessor, If This Is The Best We Can Get Then I Am Disappointed brings forward obscure acoustic guitars and once again the haunting sound of the wind while Tim darkly grasps the song’s austere lyrics, which present his personal view of mankind (“Evolution has brought us so far / And still – look where we are / Creating life and taking life / All in the same conceited breath / We are appointing ourselves to gods / Whereas declaring him for dead / If this is the best we can be / Then please let it end with me / Evolution has brought us so far…”). In addition, this composition is another excellent sample of the clash of distinct sounds Tim enjoys putting together, displaying slow and steady beats à la Doom Metal during its first half, whereas the second part of the song brings an explosion of heavy and dissonant sounds that lives up to the legacy of Scandinavian Black Metal, until it finally reaches its lugubrious ending.

In summary, Tim and his Through Chaos & Solitude are not only offering us well-crafted, harmonious and dark heavy music, but he also discusses important topics about the dangerous direction mankind is taking, pointing to our dread but inevitable extinction. If you’re a metalhead that’s always in pursuit of high-end music coming from independent artists and bands who also care about the content and message transmitted through their creations, Through Chaos & Solitude might be exactly what you’re craving, and obviously don’t forget support this brand new project by purchasing The Thawing Winds Of The Morning Sun at the Bound By Modern Age Records’ BandCamp or webstore (in tape or CD format), at the Mark My Words Records’ BandCamp or webstore, or at Discogs. Let’s hope Tim goes on with Through Chaos & Solitude, a classy project with a meaningful message that only brings more energy to his already excellent Melodic Black Metal, and that mankind finally opens their eyes for all the wrongful things that are happening in our world before it’s too late.

Best moments of the album: The Intransigence Of The Soul.

Worst moments of the album: None.

Released in 2017 Bound By Modern Age Records/Mark My Words Records

Track listing
1. The Intransigence Of The Soul 7:58
2. A Heart Of Eternal Winter (And The Longing For Your Warmth) 5:10
3. If This Is The Best We Can Get Then I Am Disappointed 6:37

Band members
Tim Rule – vocals, guitars, bass, keyboards
Sebastian D. – drums

Album Review – Ibyss / Hate Speech EP (2017)

A feast of modern and industrialized sounds by a dynamic duo of German metallers who are not afraid of expressing their rage against censorship and rising authoritarian tendencies.

When it came to my attention that several German webzines and even leading print magazines refused to review or publish any news about Hate Speech, the brand new EP by German Industrial Metal duo Ibyss, because they think the album title is too “problematic” or “provocative”, I instantly thought there’s something wrong with the media and their “invisible” censorship. The duo even states in their material the specific topics their non-political EP deals with, such as third-wave feminism, trigger warnings and toxic masculinity, in an aggressive and unapologetic way against censorship and rising authoritarian tendencies in the midst of a battle of the sexes (which are already sweeping into the Heavy Metal subculture).

Formed in 2013 and highly influenced by the music by renowned acts like Nailbomb, Godflesh and Ministry, the duo comprised of Jens (vocals, guitars) and Nihil (guitars, bass, drum programming) hails from Düsseldorf, a city in North Rhine-Westphalia, Germany, known for its fashion industry and arts, having released in 2014 their very experimental debut album Obsidian, as well as a couple of singles in the coming years, carving their name in the German independent scene. Moreover, they nurture a deep passion for alternative and industrial music, they love to experiment with unusual and heavy sounds, and they’re not afraid of discussing about controversial topics through their creations. Put differently, they use their austere music as their form of expressing their view of our modern-day society, and Hate Speech deserves a shot for being such an honest and meaningful album. There’s nothing wrong with that, don’t you agree?

Anyway, opening the EP in a metallic and groovy way we have Bois Ton Sang (or “drink your blood” from French), where Jens begins screaming his acid words violently while Nihil’s bass sounds very old school, resulting in a German Industrial Metal extravaganza perfect for breaking your neck headbanging. Moving on with their industrialized attack, electronic elements permeate the air from the very first second in the excellent Face Off, an aggressive Industrial Metal chant the likes of Fear Factory where the razor-edged guitars by both Jens and Nihil dictate the rhythm, with the song’s thunderous and menacing bass lines bringing even more electricity to the already belligerent musicality presented. And making use of tons of industrial elements in the background and featuring German legend Rüdiger Schuster (Stumpff, U.L.A.A, Unlucky Childz) as a guest vocalist, Home Is Where The Graves Are also brings forward rumbling bass lines and piercing guitars to enhance the song’s potency and impact in a brutal way.

Like Drones feels like traditional Industrial Metal with hints of Sludge Metal, reminding me of some of the newest songs by Sepultura due to its grooviness and creativity, not to mention the great job done by Nihil with the drum programming by making it sound very organic and raw; whereas the ruthless Frontlines keeps up with the rest of the album in terms of electricity and punch. This time Jens presents not only his tormented growls, but also his gentle, clean voice, creating an interesting paradox of vocal lines throughout the whole song. Finally, when you reach the last song of Hate Speech, entitled Senseless Ordeal, you’ll be able to clearly acknowledge what the music by Ibyss is all about, their sonority and characteristic sounds, showing how cohesive the whole EP is. The duo keeps smashing their guitars unceasingly during the song’s seven minutes, sounding threatening and coarse (but always with a lot of harmony), building what can be considered a fusion of the music by Fear Factory, Marilyn Manson and Triptykon, or in other words, an Industrial-Doom-Gothic Metal feast.

Why the media is not supporting such riveting underground act is beyond my comprehension. If you think about it for one second, they come from the same country as Neue Deutsche Härte icons Rammstein, who gave the world extremely polemic creations such as “Pussy”, “Amerika”, and especially “Mann gegen Mann”. If you also think we all have the right to express our ideas, if you think freedom of speech is still important, and especially if you like modern and industrialized music, go check what Jens and Nihil are up to at their Facebook page, enjoy their music at their YouTube channel and SoundCloud, and buy your copy of Hate Speech at their BandCamp page. As mentioned before, this talented duo is not afraid of expressing their anger against censorship and their view of other controversial topics, and by doing that through their experimental compositions they ended up providing fans of heavy music an excellent and noteworthy option outside of the comfort zone of traditional metal.

Best moments of the album: Face Off and Senseless Ordeal.

Worst moments of the album: None.

Released in 2017 Independent

Track listing
1. Bois Ton Sang 4:50
2. Face Off 3:52
3. Home Is Where The Graves Are (feat. Rüdiger Schuster) 4:19
4. Like Drones 2:40
5. Frontlines 4:43
6. Senseless Ordeal 7:01

Band members
Jens – vocals, guitars
Nihil – guitars, bass, drum programming

Guest musician
Rüdiger Schuster – additional vocals on “Home Is Where The Graves Are”

Album Review – Corpus Diavolis / Atra Lumen (2017)

Open your mind and follow the black light formed of ritualistic Black, Death and Doom Metal by this extremely talented horde hailing from France.

Musically conceiving a ritualistic feeling into the vibes of Black Metal, the unstoppable French horde known as Corpus Diavolis has never been tempted to lose themselves on their own musical maelstrom since their inception in 2008 in the city of Marseille, located in the always beautiful Provence-Alpes-Côte d’Azur. After the release of their debut EP Nightsky Orgia in 2009 and their highly acclaimed full-length albums Revolucia in 2010 and Entheogenesis in 2013, the band led by multi-instrumentalist Daemonicreator brings forth now in 2017 Atra Lumen, a monumental opus tailored for fans of the darkest side of music.

Atra Lumen, which means “black light” in Latin, blends the band’s unrelenting Black, Death and Doom Metal with concepts such as Shamanism, ceremonial magic, tarot, the esoteric journey of English occultist Aleister Crowley and the philosophical transcendence of Chilean-French artist and spiritual guru Alejandro Jodorowsky, penetrating your skin, your mind and your heart and, consequently, enfolding you in a dark and mystical aura from start to finish. Each one of its eight tracks is unique, obscure and ominous, showcasing not only the talent of each member of Corpus Diavolis, but also how vicious and mesmerizing their creations feel when every distinct sound is thoroughly put together.

We’re invited to enter the gates of the underworld to the sound of the opening track, named Revelations Before Dawn, where doomed beats and a menacing ambience warm up the listener before Daemonicreator begins vociferating like a demon, with guitarists Analyser and Lord Khaos, together with bassist Funeral, delivering pure old school Black Metal through their instruments. The low-tuned riffs by Analyser and Lord Khaos and the rhythmic blast beats by drummer IX generate a hellish atmosphere in the Black Metal feast The Ardent Jewel of His Presence, once again showcasing all the potency and malignancy of the music by Corpus Diavolis; followed by L’Oeil Unique, or “the one eye” from French, uniting the most obscure forms of Black and Doom Metal (feeling almost like Blackened Doom), with highlights to the precise drumming by IX and to the Stygian way Daemonicreator declaims the song’s lyrics.

Signs Of End Times displays a truly devilish start to another powerful, full-bodied creation by Corpus Diavolis, before all hell breaks loose and Daemonicreator begins growling his blasphemous words potently, not mention the amazing job done by the duo of darkness Analyser and Lord Khaos with their demonic guitars. The next track, nicely entitled Wine of The Beast, brings forward more Doom Metal beats and somber passages by Daemonicreator and his followers, sounding slow-paced and diabolical at times, and faster and full of hatred at others. Furthermore, as a fan of extreme music, do you think you have the guts to drink the wine of the beast? Before you can even answer that, bells tolling ignite another evil aria of Black Metal titled Flesh to Flesh, again offering the most obscure elements of Doom Metal added to their already darkened music, with Analyser and Lord Khaos leading the sonority with their cutting old school riffage.

With sheer irreligiousness emanating from its riffs and blast beats, Thy Glorification is a violent, straightforward tune that leans towards Norwegian Black Metal where we can enjoy another nefarious performance by Daemonicreator on vocals, while the instrumental pieces get heavier, more impactful and more aggressive as the music progresses. And last but not least, Sick Waters, which presents a horror-inspired cinematic intro, is a very atmospheric chant focusing on the devilish gnarls by Daemonicreator and the steady but potent beats by IX. Moreover, the song’s beautiful fusion of the aggressiveness of Black Metal with the mournful aspects of Doom Metal closes the album in a blackened way, leaving us all eager for more of the extreme spawns by Corpus Diavolis.

Not only you can follow this awesome horde of esotericism and wickedness through their Facebook page and purchase your copy of Atra Lumen at several locations, such as the band’s own webshop or BandCamp, the ATMF’s webshop or BandCamp, the Season of Mist’s webshop, Amazon or Discogs (and pay attention as the physical copy of the album is limited to 400 copies only in digipak format with an extensive booklet), but Corpus Diavolis are also going to be one of the attractions at the first ATMF Festival, which will take place at the Eresia Metalfest on July 2 this year in Resia, located in the province of Udine, in Italy. In a nutshell, all you have to do to relish the extreme music by Corpus Diavolis is open your mind and your heart, surrender to their ritualistic sounds, and follow their black light formed of Black, Death and Doom Metal, as simple as that.

Best moments of the album: The Ardent Jewel of His Presence, Signs Of End Times and Thy Glorification.

Worst moments of the album: Flesh to Flesh.

Released in 2017 Aeternitas Tenebrarum Musicae Fundamentum

Track listing
1. Revelations Before Dawn 6:22
2. The Ardent Jewel of His Presence 5:52
3. L’Oeil Unique 5:54
4. Signs Of End Times 4:12
5. Wine of The Beast 6:27
6. Flesh to Flesh 4:52
7. Thy Glorification 3:37
8. Sick Waters 6:46

Band members
Daemonicreator – vocals, synths, theremine
Analyser – lead guitars
Lord Khaos – guitars
Funeral – bass
IX – drums

Album Review – Bathsheba / Servus (2017)

From the depths of the black charcoal mountains rises a new Occult Doom Metal entity, bringing endless sadness, pain and anguish with their first full-length opus.

From the depths of the black charcoal mountains rises Bathsheba, an unholy gathering of four talented musicians hailing from Genk, a city located in the Belgian province of Limburg, aiming at spreading grief and agony all over the world with their first full-length opus, the excellent Servus. Portraying a biblical name and fronted by the stunning she-devil Michelle Nocon (Serpentcult, Leviathan Speaks, Death Penalty), this distinct quartet formed in 2013 brings forth an occult version of Doom Metal intensified by elements from Sludge and Black Metal, resulting in a blackened feast of atmospheric and schizophrenic sounds.

The mystical frontwoman Michelle, together with guitarist Dwight Goossens (Disinterred), bassist Raf Meukens (Death Penalty, Torturerama) and drummer Jelle Stevens (Sardonis), released a demo  tape in October 2014 and shortly after signed to Svart Records, releasing an EP titled The Sleepless Gods in May 2015, which then led the band to participate in important underground festivals such as Doom Over London, DesertFest, Incubate, Dutch Doom Days and Doomed Gatherings. However, it’s with Servus, which features a stylish artwork by Olivier Lomer-Wilbers (Dissolvtion), that the band has reached a new level of wickedness, offering the listener six complex and peculiar songs about struggle, sadness, constant threat and distortion of the mind. In other words, Bathsheba will drag you into the horror of existence under the crushing weight of reality with the doomed music found in Servus.

Somber words work as an intro to the sluggish and obscure tune Conjuration of Fire, with the slow, dirty rhythm carved by Dwight, Raf and Jelle opening the gates of hell for the she-demon Michelle to start mesmerizing us by declaiming the song’s poetic lyrics (“Art of chaos / come over me / I wander endlessly / Are you the One / the One for me / Divided in Earth and Sea”). Furthermore, the second part of the song gets beautifully heavier and more diabolical, turning it into a modern-day witchcraft hymn. Like a tenebrous tempest, Bathsheba come crushing our souls in the boisterous Ain Soph, displaying old school doomed beats by Jelle and whimsical guitars by Dwight. Michelle delivers some deeper, darker vocal lines, while a saxophone creates a gripping paradox with the song’s more extreme Black Metal-inspired sounds. And the somber aura present in both previous songs continues to penetrate our skin in Manifest, where an atmospheric background and the smooth voice by Michelle are slowly joined by the other instruments until the music reaches a fierce Doom Metal stage bursting with melancholy and heaviness. Put differently, this excellent composition will offer you 10 minutes of hopelessness emanating from its sharp riffs, flammable solos and those potent and steady beats only found in old school Doom Metal.

Wandering through a desolated field, Bathsheba fire Demon 13, an awesome Doom and Sludge Metal chant with a demonic vibe showcasing a growing excruciating pain through the rumbling roar by Raf’s bass guitar and the pounding drums by Jelle, with Michelle sounding more menacing and pleasant and the same time. Inspired by the most obscure creations by Black Sabbath, Dwight brings tons of feeling to the music in the slow-paced and melodic composition The Sleepless Gods, while Michelle becomes some sort of enchantress through her vocals; and if you love truly dark sounds, I, at the End of Everything will certainly please your ears, being like a tribal version of Doom Metal displaying Stygian guitar lines in sync with Jelle’s rhythmic beats, not to mention the song’s conjuring lyrics (“And by the virtue of the Highest One / I command Thee / To perfect the Creation / Make me myself again / Universe tremble again / You who is worthy of all praise”). After this song is over, I bet you’ll go back to the beginning of Servus again and again so addictive Michelle’s performance is throughout the entire album, proving how gripping the music by Bathsheba can be.

Servus is already on sale at several locations, such as Bathsheba’s BandCamp or Big Cartel in different formats (CD, LP, CD + shirt package and LP + shirt package), at the Svart Records’ webstore, at Record Shop X, at Discogs, on iTunes or on Amazon. This, my friends, is the sorrowful and eldritch world crafted by this dark entity called Bathsheba, an obscure land where although happiness and peace are not welcome, we’ll indubitably enjoy living in its shadows.

Best moments of the album: Conjuration of Fire and Demon 13.

Worst moments of the album: None.

Released in 2017 Svart Records

Track listing
1. Conjuration of Fire 7:34
2. Ain Soph 5:42
3. Manifest 10:33
4. Demon 13 5:45
5. The Sleepless Gods 7:14
6. I, at the End of Everything 8:25

Band members
Michelle Nocon – vocals
Dwight Goossens – guitars
Raf Meukens – bass
Jelle Stevens – drums