Album Review – All My Sins / Pra Sila – Vukov Totem (2018)

Immerse yourself into a work of windswept mysticism and pure pagan fury dedicated to the most important and powerful totem in the culture of southern Slavs.

Originating from the southern regions of Europe, Serbian Black Metal duo All My Sins was officially formed by multi-instrumentalists Nav Cosmos and V in the year of 2000 in the city of Pančevo around the idea of claiming their own place among the already-established Second Wave of Black Metal. Inspired by the spiritual heritage of the land they come from, the band started making records, each of them conceptually placed around certain mythological symbols such as their brand new opus entitled Pra Sila – Vukov Totem, which would be roughly translated to English as “The Primordial Force of the Wolf’s Totem”, a work of windswept mysticism and pure pagan fury dedicated to the most important and powerful totem in the culture of southern Slavs, the wolf.

Featuring a somber cover art by Romanian musician and artist Daniel Dorobantu (Thy Veils) and guest musicians Nemir, Khargash and Jaguar (from underground Serbian bands like Obscured and Terrörhammer), All My Sins’ newborn eight-track album portrays the wolf as the ancient ancestor of Serbian people, a creature with unusual attributes that is believed to possess obscure divine powers, narrating a vast spiritual journey throughout the realms of southern Slavic mysticism. The meeting of man and wolf, mystically dangerous yet magnificent at the same time, depicts the encounter with a demonic being and concurrently the moment when a man meets his native forefather. In the world of wilderness abandoned by man, contradictory and strong, the wolf represents everything we are not, unknown and terrifying, or the perfection of a stranger.

In the opening track Vukov Totem, or “Totem of the Wolf”, a demented blast of visceral Black Metal invades our ears mercilessly, with V pulverizing his strings with his violent shredding while Nemir shakes the foundations of the earth with his blast beats before a cosmic break turns the sonic devastation into a more progressive and atmospheric extravaganza. Their incendiary feast of Slavic Black Metal goes on in Zov iz Magle, or “A Call from the Mist”, where Nav Cosmos roars and gnarls powerfully from the bottom of his blackened heart, with the entire song feeling very dense, enfolding and also bringing some deep, phantasmagorical clean vocals, while its instrumental parts remind me of old school Norwegian Black Metal; followed by Vetrovo Kolo, or “The Wheel of the Wind”, another brutal explosion of extreme sounds by All My Sins where Nemir sounds even more enraged and bestial on drums, while Nav Cosmos vociferates manically. Furthermore, the song’s razor-edged guitar riffs will violently pierce your mind and soul, leaving you completely disoriented after all is said and done. And U Mlazevima Krvi, or “In the Streams of Blood”, brings forward devastation, rage, madness and top-notch Pagan Black Metal to our ears. What else can you ask for, right? Moreover, Nav Cosmos’ deranged growls in his mother tongue end up adding an extra touch of lunacy to the overall musicality, just like what happens in the whole album.

Then it’s time to get smashed into the circle pit to the fulminating Opsena, or “The Phantasm”, showcasing almost eight minutes of crushing Black Metal with Atmospheric Black Metal nuances while V continues to brutalize his strings powerfully, with the music morphing into a completely new sonority after a cryptic, somber passage, feeling a lot more melodic and introspective. In the bridge Mesecu u Oko, or “Towards the Moon’s Eye”, wicked, Stygian noises are spiced up by Nav Cosmo’s anguished gnarls, flowing into over 10 minutes of a beyond atmospheric display of contemporary Black Metal named Konačna Ravnodnevica (Čin Prvi), or “The Final Equinox (Act I)”, sounding epic and bold from start to finish, with Nemir delivering sheer darkness through his crisp drumming, until melancholy permeates the air in Konačna Ravnodnevica (Čin Drugi), or “The Final Equinox (Act II)”, featuring guest Khargash on bass and backing vocals. This is a fantastic Atmospheric Black Metal chant infused with hints of Doom Metal, remaining as sluggish and grim as it can be and, therefore, putting a pensive ending to such demolishing album of Pagan Black Metal.

Brewing since the ancient days, Pra Sila – Vukov Totem (available for a full listen on YouTube) is now being released into the modern era with a timelessness that’s exciting to behold, and you can savor that first-class fusion of Black Metal and the Slavic culture by purchasing the album from the band’s own BandCamp page, from the Saturnal Records’ BandCamp page or webstore, from Amazon, or from Discogs. Also, don’t forget to follow the band on Facebook and on VKontakte, and immerse yourself into a sensational world of South Slavic Black Metal mysticism crafted by this talented and undisputed Serbian duo.

Best moments of the album: Vukov Totem, Vetrovo Kolo and U Mlazevima Krvi.

Worst moments of the album: Konačna Ravnodnevica (Čin Drugi).

Released in 2018 Saturnal Records

Track listing
1. Vukov Totem 9:43
2. Zov iz Magle 7:56
3. Vetrovo Kolo 6:25
4. U Mlazevima Krvi 3:52
5. Opsena 7:57
6. Mesecu u Oko 1:19
7. Konačna Ravnodnevica (Čin Prvi) 10:25
8. Konačna Ravnodnevica (Čin Drugi) 8:10

Band members
Nav Cosmos – vocals, recitals, bass
V – guitars, bass, clean and backing vocals, recitals, keys, vrg

Guest musicians
Nemir – drums (session)
Khargash – bass, backing vocals on “Konačna Ravnodnevica (Čin Drugi)”
Jaguar – backing vocals on “U Mlazevima Krvi”

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Album Review – Khandra / There Is No Division Outside Existence EP (2018)

Progressing in their own unique interpretation of desolation, this cryptic Atmospheric Black Metal entity from Belarus are unleashing upon humanity their second revelation.

Hailing from the Belarusian capital Minsk, Khandra (or Хандра), the Russian word for “melancholy”, are an Atmospheric Black Metal duo comprised of vocalist LDZMR (Vladimir Borodulin) and multi-instrumentalist DMTR (Dmitry Romanovsky) who sparked a bit of interest with their 2017 debut two-song EP All Is of No Avail. Progressing in their own unique interpretation of desolation, those two cryptic entities holed themselves up in the winter of 2018 to invoke and expel their second revelation, a somber and malevolent four-track EP entitled There is No Division Outside Existence, and they had a few interesting comments about their newborn spawn. “The concept of the project is the flaw and inability of consciousness to reflect the boundlessness of the nothingness in the frames of reality that (reality) only exists within and in the sanity. It is a sort of an attempt of exceeding the limits of imagination, which makes the lyrics unavailable for criticism from the point of view of logical thinking. The musical vessel here is a result of expression that has no bonds with any personal emotion of social nature.”

Ominous sounds rising from the pits of hell ignite the atmospheric and menacing intro titled Into the Absolute Nothingness, before demonic, austere waves invades our ears in Decaying into the Ascended, where Dmitry shows no mercy for his stringed weapons, delivering cutting riffs and thunderous bass lines while Vladimir gnarls like a true creature from the underworld. Put differently, it’s a very melodic and electrifying hybrid of old school Black Metal with contemporary Atmospheric Black Metal, with its hellish blast beats adding an extra touch of aggressiveness to the overall musicality, ending in a tribal and visceral way. And the duo continues to fire their Stygian sounds and vociferations in the title-track There is No Division Outside Existence, another infernal creation where the crisp and metallic sounds of the guitar together with the rumbling bass roars create the perfect atmosphere for Vladimir to growl and bark rabidly. And lastly we have Progressing in Desolation, offering the listener almost nine minutes of the darkest form of Atmospheric Black Metal you can think of, spiced up with Doom Metal nuances and the creepy, harsh vocalizations by Vladimir. Moreover, Dmitry is truly infernal with his phantasmagorical guitar, not to mention how well they move from an enraged sonic havoc to more harmonious and mesmerizing lines and then back, with the music remaining dense and strident until its lugubrious grand finale and, therefore, being highly recommended for lovers of the darkest side of metal.

In a nutshell, Khandra are more than just your regular metal band, and There Is No Division Outside Existence, available for a full listen on YouTube and on Spotify, and on sales from their own BandCamp, from the Redefining Darkness Records’ BandCamp, from the Possession Productions’ BandCamp, from iTunes or from Amazon, is the ultimate representation of what the duo is capable of and how deep they can crawl inside your mind. Because, in the end, Khandra are a musical manifestation that can only be illuminated through experience, and all you have to do is listen and absorb.

Best moments of the album: Decaying into the Ascended.

Worst moments of the album: None.

Released in 2018 Redefining Darkness Records

Track listing    
1. Into the Absolute Nothingness 3:27
2. Decaying into the Ascended 7:44
3. There is No Division Outside Existence 5:59
4. Progressing in Desolation 8:31

Band members
Vladimir Borodulin – vocals
Dmitry Romanovsky – guitars, bass

Album Review – Depths Above / Ex Nihilo (2018)

Crafting Black and Doom Metal “out of nothing”, this Brno-based band is here to introduce us all to their gloomy vision of underground metal with their debut album.

Ex nihilo is a Latin phrase meaning “out of nothing”, often appearing in conjunction with the concept of creation, as in creatio ex nihilo, meaning “creation out of nothing”, chiefly in philosophical or theological contexts, but also occurring in other fields. It’s with that concept in mind that Depths Above, a Czech Black/Doom Metal band formed in 2015 in the city of Brno by current and former members of the bands Bhagavat (Italy), Desert Witch (Slovakia) and Inferno (Czech Republic), are releasing their debut installment, the 32-minute 4-track album Ex Nihilo, introducing us all to their gloomy vision of underground metal in which genres like Black, Death and Doom Metal mix in various dosages and moods. The wicked album artwork, created by the band’s own vocalist and guitarist Vama Marga, is a very good indication of what to expect from Vama together with guitarist Dreamancer, bassist Ivan Teleranko Dvorsky and drummer Sarapis, but it’s when you hit play that you’ll actually be able to feel all the madness and fury flowing from their distinguished music.

Ominous and cavernous sounds ignite the Black and Doom Metal aria Here and Everywhere, morphing into a gargantuan feast of extreme sounds led by Sarapis’ frantic drums and Vama’s and Dreamancer’s choleric riffs, before Vama begins growling like a demonic entity. And the music remains menacing and austere until its Stygian finale, being flawlessly followed by the flammable The Descent, where Ivan and Sarapis make the ground rumble with their thunderous instruments, being perfect for breaking your neck headbanging. Furthermore, the music gets more atmospheric and eccentric as time goes by, also showcasing a beautiful and impactful work done by the band’s devilish guitar duo.

Almost tribal, but always hypnotizing and obscure, A Prayer presents Vama, Dreamancer and Ivan complementing Sarapis’ nocturnal beats flawlessly with their piercing and dense strings in an instrumental extravaganza of Blackened Doom and classic Doom Metal, infused with elements from Progressive Metal the likes of Tool and Mastodon; whereas the title-track Ex Nihilo closes the album as demented and vibrant as the other songs in the form of a massive wall of darkened sounds spearheaded by Vama and his enraged roars. Moreover, it’s by far the most Black Metal of all songs, spiced up by the utter melancholy and anguish of Doom Metal, without a single space being left empty, invading your ears mercilessly and therefore closing the album on a high, cryptic and malevolent note.

You can get in touch with the talented Vama and his henchmen through their Facebook page, and grab your copy of Ex Nihilo exclusively from their BandCamp page. As aforementioned, Ex nihilo means “creation out of nothing”, and Depths Above explored that concept to perfection when creating the music found in their new album, showing the world the band is here to stay, proudly carrying the flag of Black and Doom Metal as high as the sun, but of course with their hearts and minds being as blackened as extreme music demands.

Best moments of the album: The Descent and Ex Nihilo.

Worst moments of the album: None.

Released in 2018 Independent

Track listing
1. Here and Everywhere 7:30
2. The Descent 7:04
3. A Prayer (Instrumental) 7:31
4. Ex Nihilo 9:04

Band members
Vama Marga – vocals, guitars
Dreamancer – guitars
Ivan Teleranko Dvorsky – bass
Sarapis – drums

Album Review – Silent Stream Of Godless Elegy / Smutnice (2018)

Deeply inspired by the Slavic feelings of ancient longing and melancholy, this Czech Folk Metal orchestra will take you on a pleasant journey through their wild and serene homeland in their brand new opus.

One of the pioneers of Folk Metal, Ostrava, Czech Republic-based band Silent Stream Of Godless Elegy, returns in 2018 with another beautiful album blending the darkest and at the same time most enfolding elements from Doom and Folk Metal, the stunning Smutnice, the sixth full-length installment in their solid career. Since their inception in 1995 when they emerged from Moravia, deep within the Slavonic heartlands, Silent Stream Of Godless Elegy have been delivering a first-class fusion of metal music with traditional Moravian folk deeply inspired by the Slavic feelings of ancient longing and melancholy, and they offer all that in Smutnice, taking you on a pleasant journey through their wild and serene homeland. As for the title, it’s not a common word in Czech language. “Smutnice” is a noun coming from the adjective “smutný”, which means “sad” or “sorrowful”, so the meaning could be something like “a poem of sadness” or “someone who brings sadness”.

Furthermore, the Moravians entered the iconic Grapow Studios once again to record with Roland Grapow himself, also joining forces with Yossi Sassi (Yossi Sassi & The Oriental Rock Orchestra, Orphaned Land), the world famous Oriental rock pioneer, who took care of the production of the album, bringing to the listener a crisp and impactful musicality enhanced by the album’s crystal clear production. Not only that, keep in mind Silent Stream Of Godless Elegy are not your regular metal band, as apart from Hana Hajdová and Pavel Hrnčíř on vocals, Radek Hajda on the guitar, Stanislav Pavlík on bass and Michal Milták on drums, the band also features a dynamic and unique duo comprised of violinist Gabriela Povraznikova and violoncellist Michal Sýkora, not to mention all special guests such as the Folklore Ensemble Kriváň on choir, Yossi Sassi himself playing an array of instruments like the bouzoukitara and the shaker, Míša Lipárová playing the dulcimer, and Martin Šob also on vocals and choir. At least for me that feels more like a full metal orchestra than a simple band, right?

The opening track Ten, Který Ukoval Slunce (or “The One Who Forged The Sun”) is folksy, embracing and fun, with the duo Gabriela and Michal Sýkora with their respective instruments bringing a whimsical aura to the overall sound, while Hana hypnotizes us with her classy vocal lines, providing a gentle and impactful start to the album. Then we have Kdo Z Nás Je Víc (“Which Of Us Is More”), a lot crazier, faster and heavier, which means it exhales awesomeness, spearheaded by the crushing beats by Michal Milták. Moreover, this time Hana shares the vocal duties with Pavel and his enraged gnarls, which by the way sound amazing in his mother tongue. And get ready for another round of captivating, smooth sounds and tones in Synečku (“My Beloved”), where Gabriela and Michal Sýkora once again warm our hearts with their strings, while Stanislav generates a rumbling and dense background curtain with his bass; followed by Ptakoprav (“He Who Talks To Birds”), a lesson in Folk Metal infused with Doom Metal nuances with the piercing guitar lines by Radek being beautifully complemented by Gabriela’s violin in a gentle but neck-breaking rhythm where Hana sounds as passionate and tuneful as usual.

Then a Doom Metal intro evolves into what’s perhaps the rawest and most experimental of all songs, named Malověrná (“She Of Little Faith”), with Radek and his riffs being in total sync with Michal Milták’s beats, while Stanislav’s bass keeps rumbling in the background. It just lacks an extra pinch of electricity, but nothing to worry about; on the other hand, the amazing Za Nevěstou (“To The Bride”), featuring Folklore Ensemble Kriváň, Yossi Sassi, Míša Lipárová and Martin Šob, is a full-bodied feast of folk and doomed sounds where all instruments sound and feel extremely sharp and thunderous, showcasing a lot of dynamism between Hana and Pavel on vocals, all embraced by stunning choir passages. Acoustic guitars and a rumbling bass set the stage for Hana and her touching vocals in the second to last track in Smutnice, titled Tichý Zpěv (“Quiet Tune”), also presenting the usual Doom Metal-inspired drums by Michal Milták and a flammable guitar solo by Radek, and closing the album we have a somber and delicate tempest of Doom and Folk Metal entitled Bezbřeží (“Shoreless”), a powerful and dense ballad by this distinguished band where once again Gabriela and Michal Sýkora steal the spotlight with their whimsical waves, ending the album in the most serene way possible.

Smutnice, available for a detailed listen on Spotify and on sale from several locations such as the band’s own BandCamp page and webstore, iTunes, Amazon and Discogs, is the perfect example of why Silent Stream Of Godless Elegy are still relevant not only in Folk and Doom Metal, but in heavy music in general, providing the listener truly raw and classic compositions inspired by their homeland (and entirely sung in their mother tongue, as a matter of fact). If you consider yourself an admirer and connoisseur of the most organic form of Folk Metal available anywhere in the world, I’m pretty sure you already know the work by Silent Stream Of Godless Elegy and you already have Smutnice on your hands. However, if you’re new to their world, go check what they’re up to on Facebook and on YouTube, sharpen your senses for an overdose of Folk Metal made in the Czech Republic, and enhance your connection with your inner self and with all the nature that surrounds you.

Best moments of the album: Kdo Z Nás Je Víc, Ptakoprav and Za Nevěstou.

Worst moments of the album: Malověrná.

Released in 2018 Redblack Productions

Track listing  
1. Ten, Který Ukoval Slunce 5:24
2. Kdo Z Nás Je Víc 4:54
3. Synečku 4:56
4. Ptakoprav 7:15
5. Malověrná 5:51
6. Za Nevěstou 6:33
7. Tichý Zpěv 5:59
8. Bezbřeží 7:37

Band members
Hana Hajdová – vocals
Pavel Hrnčíř – vocals
Radek Hajda – guitar
Stanislav Pavlík – bass
Gabriela Povraznikova – violin
Michal Sýkora – violoncello
Michal Milták – drums

Guest musicians
Folklore Ensemble Kriváň – vocals (choirs) on “Za Nevěstou”
Yossi Sassi – bouzoukitara, guitar, bass, shaker, vocals (choirs) on “Za Nevěstou”
Míša Lipárová – dulcimer, vocals (choirs) on “Kdo Z Nás Je Víc”, “Malověrná” and “Za Nevěstou”
Martin Šob – vocals (choirs) on “Malověrná” and “Za Nevěstou”

Album Review – 1914 / The Blind Leading the Blind (2018)

It’s time to head into the battlefields of the Great War together with these talented and obstinate Blackened Death and Doom Metal infantrymen from Ukraine.

It’s time to head into the battlefields of World War I together with Ukranian Blackened Death/Doom Metal infantrymen 1914 and their brand new opus, the breathtaking The Blind Leading the Blind. World World I might not get explored as it should very often, as World War II typically overshadows it, but this Liviv-based squad, formed in 2014 at the 100th anniversary of World War I, makes a damn solid case for its historical significance (click HERE for an in-depth interview regarding the band’s ideology), with their unique and incendiary fusion of  Black, Death, Doom and even Sludge Metal being stomping, heavy-as-hell, therefore inspiring the strength and bravery within to march towards death.

Comprised of 2.Division, Infanterie-Regiment Nr.147, Oberleutnant – Ditmar Kumar on vocals, 37.Division, Feldartillerie-Regiment Nr.73, Wachtmiester – Liam Fessen and 5.Division, Ulanen-Regiment Nr.3, Sergeanten – Vitalis Winkelhock on the guitars, 9.Division, Grenadier-Regiment Nr.7, Unteroffiziere – Armin von Heinessen on bass and 33.Division, 7.Thueringisches Infanterie-Regiment Nr.96, Gefreite – Rusty Potoplacht on drums, 1914 pay homage to all that fell fighting the Great War, with their themes covering topics such as the Battle of Gallipoli (and the involvement of Ataturk), the Brusilovsky breakthrough, the Battle of Verdun and the gas attack at Ypres, not being political nor warmongers, but just telling the tales of war, injustice, fear, hopelessness and endless death as they happened. Featuring a deadly, lugubrious artwork by Czech artist Vladimir “Smerdulak” Chebakov, The Blind Leading the Blind is a precious gem of extreme music, positioning 1914 not only as one of the best underground metal bands of the current scene, but of the past decade without a shadow of a doubt.

War In is a beautiful, wicked and dark intro that takes us to the horrors of World War I, exploding into visceral Blackened Death Metal in Arrival. The Meuse-Argonne (inspired by the Meuse-Argonne Offensive, the greatest American battle of the First World War, where in six weeks the AEF lost 26,277 killed and 95,786 wounded), led by the pulverizing drums by Rusty, while Ditmar roars the song’s lyrics manically (“Arrival / The Meuse-Argonne offensive started like clockwork / We planned to break through the Hindenburg line / I know what we are fighting for / Hopefully to end the war”), also bringing the most Stygian elements from classic Doom Metal. Then we have A7V Mephisto, a World War I German tank masterfully translated into a brutal and heavy tune where the entire band showcases their heavy artillery by blasting sheer obscurity inspired by old school Black Sabbath and Celtic Frost, in special Liam and Vitalis with their lethal riffs, but with a more demonic twist; followed by High Wood. 75 Acres of Hell, an infernal display of Black and Death Metal spearheaded by Ditmar’s growls while Armin and Rusty keep the ambience as dense and grim as possible with their respective instruments, displaying the battle for High Wood’s 75 acres, which started on July 14 and raged nearly continuously for 64 days, coming to be known as “The hell of High Wood” or “The rottenest place on the Western Front.”

Bagpipes ignite a sinister and pulverizing cover version for The Exploited’s all-time hit Beat The Bastards, sounding as rebellious and fun as the original version, but of course with a more metallic and crushing vibe, with highlights to the beautiful job done by both Liam and Vitalis with their hellish guitars. In the interesting bridge Hanging On The Barbed Wire, the infantry sings while marching under a heavy storm (“If you want to find the General, / I know where he is, / If you want to find the General, / I know where he is / He’s pinning another medal on his chest / I saw him, I saw him / Pinning another medal on his chest.”), setting the tone for the superb Passchenhell, a wordplay with The Battle of Passchendaele, also known as the Third Battle of Ypres, a campaign of World War I fought by the Allies against the German Empire. Musically speaking, it’s another flawless display of Blackened Death Metal infused with Doom Metal nuances, also featuring the beyond special guest vocalist David Ingram (Benediction, Bolt Thrower, Just Before Dawn). Furthermore, Rusty is once again bestial on drums, whereas Ditmar together with David will haunt your soul with their demonic growling.

“Hello there, soldier! Ready to kill more Germans?” Those warlike words ignite a fantastic sonic havoc by 1914 titled C’est Mon Dernier Pigeon, leaning towards pure old school Black Metal, feeling and sounding as thunderous and menacing as possible and ending in the most demolishing way you can think of; followed by Stoßtrupp, the German word used to describe shock troops or assault troops created to lead an attack, where another eerie, obscure narration suddenly explodes into a darkened feast of Black and Death Metal tailored for cracking your neck headbanging, with Armin sounding vicious with his rumbling bass punches. Lastly, we have The Hundred Days Offensive, an Allied offensive that lasted from August 8 to November 11, 1918, ending World War I, and 1914 turned that battle into 10 minutes of first-class Blackened Death and Doom Metal where you can feel the horrors of the battlefield in the music, remaining very introspective, melancholic, and flowing infernally until the music morphs into the sensational and creepy outro War Out, the perfect ending to such brilliant album.

In summary, The Blind Leading the Blind, which by the way had as its official release date the 11th hour on the 11th day of the 11th month (Central European Time), marking the 100th anniversary of the end of World War I, is a must-have not only for admirers of Extreme Metal, but also for anyone who wants to learn more about World War I in a very unorthodox and exciting way. Available for purchase from the band’s own BandCamp page, as well as from the Archaic Sounds’ BandCamp page, from the Redifining Darkness Records’ BandCamp page, from iTunes and from Discogs, The Blind Leading the Blind definitely redefines the career of 1914, propelling them into a more-than-promising future. Having said that, don’t forget to follow them on Facebook, subscribe to their YouTube channel, grab your weapons and be prepared to face death in the battlegrounds of the Great War.

Best moments of the album: Arrival. The Meuse-Argonne, Beat The Bastards, Passchenhell and C’est Mon Dernier Pigeon.

Worst moments of the album: None.

Released in 2018 Archaic Sound/Redefining Darkness Records

Track listing
1. War In 1:14
2. Arrival. The Meuse-Argonne 6:20
3. A7V Mephisto 8:13
4. High Wood. 75 Acres of Hell 5:27
5. Beat The Bastards (The Exploited cover) 5:02
6. Hanging On The Barbed Wire 2:28
7. Passchenhell (feat. David Ingram) 7:01
8. C’est Mon Dernier Pigeon 5:22
9. Stoßtrupp 6:13
10. The Hundred Days Offensive 10:01
11. War Out 1:55

Band members
2.Division, Infanterie-Regiment Nr.147, Oberleutnant – Ditmar Kumar – vocals
37.Division, Feldartillerie-Regiment Nr.73, Wachtmiester – Liam Fessen – guitar
5.Division, Ulanen-Regiment Nr.3, Sergeanten – Vitalis Winkelhock – guitar
9.Division, Grenadier-Regiment Nr.7, Unteroffiziere – Armin von Heinessen – bass
33.Division, 7.Thueringisches Infanterie-Regiment Nr.96, Gefreite – Rusty Potoplacht – drums

Guest musician
David Ingram – vocals on “Passchenhell”

Metal Chick of the Month – Lilith Astaroth

Kneeling at my feet, encased in black sheaths of ecstasy… Fulfill your deepest desire to submit to me…

It’s time to set fire to The Headbanging Moose with a woman that’s perhaps the most eccentric, distinct and explosive of all metal chicks who have already embellished our pages through the years. She’s not only a professionally trained actress, dancer, singer, performer and an internationally recognized model in the Gothic and fetish genres, having been featured in several publications and websites, but also an activist and the frontwoman for an American metal act that blends the heaviest and most obscure elements from Gothic, Black and Death Metal. If you have absolutely no idea who that woman is, I bet you’ll be stunned by her talent, beauty and passion for music and arts in general. Having said that, let’s cut to the chase and begin our humble tribute to our last metal lady of 2018, the unstoppable and dauntless Lilith Astaroth (also known as Goddess Lilith), lead singer for Boston, Massachusetts-based metal entity Sorrowseed. In other words, are you ready for total chaos and anarchy with Lilith?

Born on October 31, 1997 in Cambridge, just outside of Boston, Massachusetts, in the United States, Lilith (whose real full name is Eve Lilith Cassidy) loves music from the bottom of her heart, having started her musical pursuits at the age of five when she learned to play the piano. At the age of fourteen, she began to teach herself how to play the guitar, and in the following year she started her first band, curiously named Satan’s Kids, a Grunge and Rock N’ Roll project inspired by the music from icons like Marilyn Manson, Nirvana and Pantera. And Lilith received a lot of criticism in her early days as a singer, as people kept saying she sounded “like a guy” and that she should start singing “like a normal person”. However, despite that continuous criticism, including being kicked out of a band for “screaming too much”, she refused to change her vocal style and kept working hard for several years, until Sorrowseed came along in 2009 after numerous failed band attempts.

Her style of singing combines low guttural growling and high-pitched shrieking, being often compared to famous extreme vocalists like Dani Filth and Angela Gossow, but also exploring after 2010 a more operatic style in the soprano range, like in her 2011 cover version for the classic Christian Woman, by Type O Negative (I guess all women who succumbed to the dark side of music are admirers of the deceased Peter Steele). A true lover of cybergoth, steampunk and latex fashions, Lilith explores her sexuality while creating music at the same time, offering her fans a full-bodied experience during her live performances and on her videos. Using a combination of inhalation and exhalation screams, she is able to produce a vast array of sounds with her voice, turning each live show into a ferocious display of intensity. Since the beginning of her career, she has released several solo works and has lent her voice and performed live with many different projects throughout New England including Sorrowseed, Mostri and Pandora’s Toybox, always loyal to the Doom, Death, Industrial and Gothic Metal styles. Her biggest inspirations when writing and composing music are quite straightforward and interesting. Lilith was very clear and honest when saying that hatred, or unbridled hatred for humanity and its ignorance, always inspire her to write music, as her day-to-day experiences with other human beings gave her plenty of reason to be angry much of the time. Obviously all that hatred and anger couldn’t be better represented than the flammable fusion of Extreme Metal styles from all her bands and projects.

In regards to her most famous project, American Melodic Doom Metal band Sorrowseed, Lilith formed the band in 2009 in Boston highly influenced by bands like Amorphis, Behemoth, Cradle of Filth, Dimmu Borgir, Emperor, Satyricon and Therion, singing about controversial topics like the Apocalypse and anything related to the total annihilation of mankind, as well as spreading stories of madness, death, destruction, dark mythology and horror to the masses, all embraced by the band’s obscure musicality.  As a matter of fact, the band started in 2008 by Josh Carrig, of Pandora’s Toybox, evolving to its desired shape and form only in 2010, with the concept behind the band being based on the story of two characters, the Reaping Willow and the Scarab Prophet. Lilith obviously portrays the Reaping Willow, who was once the nature Goddess, Demeter.  Over time, she watched humankind’s pollution, ignorant destruction and environmental abuse overcome the earth. She wept for the ignorance of mankind, becoming enraged with madness and, as a consequence, transforming into the Reaping Willow who, along with the Scarab Prophet, is set upon the destruction of mankind, unleashing apocalyptic terror onto humanity. The band has already released one EP titled Portents, in 2009, and four full-length albums since their inception, those being The Extinction Prophecies (2011), Descent of the Scarab Prophet (2012), Dread Sylvan Summonings (2012), and Nemesis Engine (2013), including incendiary songs like Ocean Scorn (and you can always listen to their albums and obviously purchase them from their own BandCamp page). Working as a way for Lilith to channel her powerful feelings into something creative and non-destructive, as she’s always been very much about vengeance, wrath, and destruction, Sorrowseed kick some serious ass live as you can see in their performance during the Damsels of Darkness Tour playing the song Arcana (of the Lich Queen), with their first ever concert happening at the launch party of 420Mass.com during the 2010 Boston Freedom Rally.

You can also find Lilith lending her beautiful and devilish voice to several distinct bands and projects in the world of heavy music, such as doing vocals for Chilean/American Thrash/Death Metal band Angor from 2014 to 2015, and for American Blackened Death Metal band Coffin Birth starting in 2016. She also worked as a guest vocalist in the song Bloodborne Penance, from the 2016 album The Bowels of Chaos, by Coffin Birth; in the song Halle Ravine, from the 2017 album The Sachem’s Tales, by American Atmospheric Black Metal band Dzö-nga; and in the song The Black Feathered Vixen, from the 2013 EP Unleash the Inferno, by American Death Metal one-man band Eric Pellegrini. There are other projects which are not as “clear” as the ones listed above, such as her involvement as the lead singer of Nemesis Engine, a hybrid of ex-Sorrowseed and ex-Theogonia members, as well as her participation with other bands including a Groove Metal act with former bandmate Chris Adamcek, and an electronic collaboration with digital songstress Amber Ladd.

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As aforementioned, Lilith is not only a regular vocalist and musician, but also an actress focused on the underground and independent scene. It was in 2009 when she began exploring the world of acting, starting with taking courses from Harvard University, doing extra work for major films, and landing minor roles in independent films such as God of Vampires, Nun of That, Heaven and Hell, Legless and Scrooge in the Hood. She has also appeared on NESN as a ring girl for Boston Boxing, has done several interviews in the cosplay documentary Cosplayer Nation, appeared on NBC’s The Dr. Keith Show to talk about safety as a public figure on the internet, and appeared several times in the reality-based web series Quiet Desperation. You’ll also find Lilith in many different music videos as an actress, such as When Steel and Bone Meet, by Goatwhore; Misbegotten Candy, Down in the Mire, and Slaves to the Sleigh, by Pandora’s Toybox; Runnin From Jesus, by Matalon; and Babylon Train, by Desar.

Furthermore, you can take a look at her her IMDb profile to see in detail all B-movies, shorts and TV series she’s been featured, like playing a character named Petunia Pete Sawyer in the 2017 comedy-horror movie Groundhog. In addition to that, Lilith has also attended a good amount of public events through the years, like doing public speaking in different editions of the annual Boston Freedom Rally and the Philadelphia Freedom Festival Benefit, as well as constantly improving her acting skills by taking several training sessions and courses like Introduction to Acting and Advanced Acting from Harvard University, in 2009, Acting Shakespeare and Introduction to Public Speaking also from Harvard University, in 2010, and private classes in C.O.R.E. Acting, in 2013. Do you think that’s already a lot for just one person? Well, you better be prepared, because there’s still a lot more to come.

If you haven’t noticed yet, Lilith is also an internationally recognized professional model, having shot in different exotic locations ranging from Iceland to Montreal, Ireland, Costa Rica, London, Germany and Italy, as well as all over the United States, with some of her favorite runway events being the Montreal Fetish Weekend Fashion Show, and the New Designer’s Fashion Show of New England. A versatile model with 8 years of experience and a wide variety of looks, ranging from classic pinup, swimsuit, Gothic, cosplay, fantasy, fetish, sci-fi, horror, among many others, Lilith has already done event hosting, art modeling, spokesmodeling, living art, bodypainting, being a Ring Girl, Go-Go dancing, and modeling for some of the edgiest latex designers emerging in the fetish fashion scene. However, when asked which career out of music, modeling, dancing and acting she would like to pursue the most, our devilish goddess said music is what she’s really focused on (as we all know, screaming is something that has always been very natural to her), but she also truly wants to pursue professional acting to the fullest. Acting is according to Lilith herself the most challenging of all activities because there’s always room for improvement with anyone, but finding appropriately paying work in modeling and dancing is the most challenging thing she’s been facing on a regular basis. In addition, maintaining a healthy balance of all those activities and responsibilities is not an easy task at all (by the way, she’s also a LMT – Licensed Massage Therapist, an activist for cannabis legalization, animal rights, and preservation of nature, and a reiki master), but as a great and very efficient multi-tasker she is, nothing stops Lilith from always moving forward in her life and career.

One very important topic to Lilith is her utmost support to the legalization of marijuana, and she has a very strong opinion about what should be done in this case. In one of her interviews, she said that people need to focus the war on drugs against the real problems, like pills, which originate with drug companies, and crime which is funded in large part from marijuana. In her own words, Lillith said that “no one is making pills at home – they come from drug companies with bad policies, operating under bad laws with bad inventory and bad control, they have huge lobby groups that let them get away with this and pills have become one of the most major problems in America.” She complemented by saying that she personally would rather not put any chemicals in her body or take the risk of becoming addicted to a chemical, and she has found that she doesn’t need to take those risks, because marijuana helps alleviate her health issues. “We need to take ‘the money’ out of the illegal marijuana equation; by legalizing and regulating we would lower the prices by lowering the value (the price is artificially propped up by its illegal status), and this would take a big bite out of the pocketbook that funds guns and harder drugs, and open the door to affordable, safe and legal medical marijuana.”

When asked in one of her interviews about the current music scene in the United States and what has changed since she started her career in 2009, Lilith said that it actually hasn’t changed much, despite an increase in the number of metal bands in her area, New England, which according to Lilith herself is at the same time a good and a bad thing because some of those bands are very talented, but others are just terrible. She also said there are some bands she’s a good friend of, such as Faces of Bayon, Matalon, Abnormality, AbSynthe, Necrophiliac Meat Circus, Fever Vein and Voices of the Dead, among others, and that she loves to meet and work with bands that play a similar style to hers because those are not only easier to keep in touch, but to also play more shows together. And last but not least, when asked how important her fans are to her, she was pretty straightforward saying that without fans there would be no one to perform for. She does her best to treat her fans well and hook them up with good prices and merch, and communicate with them every day through her website and all her social media. That being said, I guess no one can complain at all that Lilith is a lazy or an arrogant person; quite the contrary, although we all know how unique she is, the world of metal music definitely needs more women with the same attitude, stamina and passion as the multi-talented Lilith Astaroth.

Lilith Astaroth’s Official Facebook page (music)
Lilith Astaroth’s Official Facebook page (acting & modeling)
Lilith Astaroth’s Official YouTube channel
Lilith Astaroth’s Official Twitter
Goddess Lilith’s Official Instagram
Goddess Lilith’s Official Twitter
Sorrowseed’s Official Facebook page
Sorrowseed’s Official YouTube channel
Sorrowseed’s Official Twitter

“Since I was young, I’ve always been the center of attention. My parents were always sticking a camera or video camera in my face, so I got used to it early. It wasn’t until I was 15, however, that I decided I wanted to front a band. Oddly enough, it was Nirvana that inspired me to find this path. I taught myself how to play guitar and formed my first band shortly thereafter.” – Lilith Astaroth

Album Review – Soul Dissolution / Nowhere EP (2018)

This unstoppable Belgian duo returns with a brand new EP only six months after their latest full-length album, offering the listener 24 minutes of classy extreme music rooted more firmly in the Post-Black territory.

Formed in December 2012 in the city of Brussels, Belgium mostly influenced by bands such as Agalloch, Drudkh, Alcest and the early days of Katatonia, the talented Atmospheric Black Metal duo that goes by the name of Soul Dissolution returns only six months after their critically-acclaimed opus Stardust with a brand new 2-track EP simply titled Nowhere, offering the listener 24 minutes of classy extreme music rooted more firmly in the Post-Black territory, drawing additional inspiration from bands like Harakiri For The Sky, Heretoir and Anomalie while still retaining the core atmosphere, dynamics and melodies from their previous material.

Comprised of Acharan on lead vocals and Jabawock on guitars, bass and additional vocals, Soul Dissolution are one of those underground acts that are not afraid of experimenting with different sounds and nuances, but always true to their origins, and that’s perhaps what makes Nowhere so compelling and vibrant form start to finish. Featuring a grim cover picture taken by Jabawock on a misty morning in the Vosges region in France, and presenting Celestial as their session drummer for the first time (in addition to him being a part of the band’s live lineup), Nowhere will take you on a journey full of epicness and melancholy, all enhanced by the album’s crystal clear overall production, paving an exciting path for Soul Dissolution to keep mesmerizing us all with their music in a not-so-distant future.

Melancholic guitar lines kick off the first of their two “musical voyages”, entitled Road to Nowhere, a lecture in Atmospheric Black Metal where the beats by Celestial are at the same time fierce and delicate while Jabawock slashes his guitar strings majestically, piercing our ears and minds with his whimsical riffs and solos. Furthermore, all elements from Melodic Black Metal found in the musicality bring an extra taste to their core Atmospheric Black Metal, majestically flowing like a wild river, not to mention the song’s captivating lyrics growled by Acharan in a truly anguished manner (“Under the moonlit sky/ Winds carry new words / For songs yet to come to life / Under the moonlit sky / Winds carry my steps / Pushing me forward on my road to nowhere”). Then even more obscure than its predecessor, Fading Darkness presents hints of Blackened Doom and Doom Metal in its core sound, with Soul Dissolution mesmerizing our senses with their deep gnarls, solid string work and precise drumming, bulding the perfect ambience for the poetry flowing from the song’s introspective words (“These thick, black woods / With trails long overgrown / This journey I started many years ago / The last time I saw the sun / This mountain on which I roam / Constantly surrounded by thick fog / Its sinister presence all around / Drains all life therein to be found”).

The full EP is available for a detailed listen on YouTube, and you can show your true support to Soul Dissolution by following them on Facebook, by listening to their music on Spotify, as of course by purchasing Nowhere from their own BandCamp page, from the GS Productions’ BandCamp or webstore, from iTunes or from Discogs. If the music found in Nowhere points to what we can expect from Soul Dissolution in their future releases no one knows for sure, as Acharan and Jabawock love to explore new grounds and nuances, but if there’s one thing we can be certain about is that the duo will keep delivering first-class atmospheric music for our total delight in the coming years, always surprising us in a very positive way and always loyal to their foundations.

Best moments of the album: Road to Nowhere.

Worst moments of the album: None.

Released in 2018 GS Productions

Track listing
1. Road to Nowhere 11:54
2. Fading Darkness 12:25

Band members
Acharan – lead vocals
Jabawock – guitars, bass, additional vocals

Guest musician
Celestial – drums (session)

Album Review – Bast / Nanoångström (2018)

Set against a bleak science fiction backdrop, exploring the human conditions of loss, isolation, and change in the wake of time’s passage, the new album by this three-piece act from the UK has everything you crave in Sludge and Doom Metal.

Founded in 2008 in London, England, the three-piece experimental vortex of blackened intensity and forlorn, mournful doom known as Bast returns now in 2018 with Nanoångström, the follow-up to their 2014 critically acclaimed debut release Spectres, continuing the band’s trajectory into narrative driven arrangements and experimental compositions. Including a beautiful artwork designed and directed by the band’s own lead singer and guitarist Craig Bryant, and also featuring an exclusive piece by Manga legend Shintaro Kago as well as guest vocals by Chris Naughton of England’s leading purveyors of Black Metal Winterfylleth, Nanoångström is set against a bleak science fiction backdrop, exploring the human conditions of loss, isolation, and change in the wake of time’s passage, all enfolded by the crushing fusion of Sludge and Doom Metal blasted by Craig and his bandmates Gavin Thomas on bass and Jon Lee on drums and backing vocals.

Low-tuned, melancholic and whimsical sounds invade our senses in the intro Distant Suns, warming us up for the crushing Far Horizons, a 10-minute Sludge Metal exhibit led by the rip-roaring riffs and growls by Craig, while Jon flawlessly pounds his drums in a delicate but fierce way at the same time, with the song’s crisp and flammable riffs being intertwined with somber and more serene passages, even presenting hints of Atmospheric Black Metal. Then featuring the aforementioned guest vocals by Chris Naughton we have The Beckoning Void, an explosion of contemporary Sludge and Doom Metal where the bass punches by Gavin sound truly menacing and thunderous, while Craig keeps shredding his strings mercilessly. Moreover, the song also presents nuances of classic Black Metal added to the drumming by Jon, hammering our heads and piercing our minds mercilessly, with the song’s second half getting more progressive and vibrant until its majestic finale.

The title-track Nanoångström begins as sluggish, introspective and obscure as possible, with the band’s stringed duo extracting Stygian tones from their instruments, while Jon slowly and steadily smashes his drums. In addition, Craig’s anguished growls get more and more desperate as the music progresses, before everything evolves into a Progressive Sludge Metal extravaganza that would make the guys from Tool really proud. Then rumbling guitars and bass lines permeate the air in the also sluggish Doom Metal tune titled A Red Line Through Black, remaining at a truly obscure tone until a wave of progressiveness takes over and the music morphs into a hard-hitting feast of classic Sludge Metal riffs, frantic and intricate beats, and enraged roars. Put differently, it can’t get any heavier nor more eccentric than this. Lastly, Chris joins Bast once again in The Ghosts Which Haunt the Space Between the Stars, where the band brings forth 12 minutes of crude, melodic and cutting Progressive Sludge Metal, a full-bodied headbanging hymn spearheaded by Craig and his aggressive, harsh growls, while Jon keeps extracting sheer Black Metal sounds from his beats. And their sonic havoc goes on ruthlessly, not giving us a single second of peace until its abrupt and powerful ending.

In a nutshell, Nanoångström has everything fans of contemporary and dark Sludge and Doom Metal are always craving, elevating Bast to new heights and positioning them as one of the most interesting exponents of the genre. If Bast’s sluggish music is your cup of tea, you can grab your copy of Nanoångström from their own BandCamp page or from the Black Bow Records’ Big Cartel, and after you do that just remember your days will never be bright or peaceful again. Well, I guess those are not the sensations you want to fell while listening to first-class Doom Metal, which means Bast more than succeeds in taking you to the most obscure side of music with Nanoångström.

Best moments of the album: The Beckoning Void and The Ghosts Which Haunt the Space Between the Stars.

Worst moments of the album: None.

Released in 2018 Black Bow Records

Track listing
1. Distant Suns 2:40
2. Far Horizons 10:24
3. The Beckoning Void (feat. Chris Naughton) 10:53
4. Nanoångström 11:10
5. A Red Line Through Black 9:56
6. The Ghosts Which Haunt the Space Between the Stars (feat. Chris Naughton) 12:34

Band members
Craig Bryant – vocals, guitars
Gavin Thomas – bass
Jon Lee – drums, vocals

Guest musician
Chris Naughton – guest vocals on “The Beckoning Void” and “The Ghosts Which Haunt the Space Between the Stars”

Album Review – Elegiac / Pagan Storm (2018)

Forging the New Wave of American Black Metal, behold this talented one-man army from Portland, Oregon and his brand new melodic, aggressive and bestial full-length opus.

Forging the New Wave of USBM (or American Black Metal), Portland, Oregon-based one-man army Elegiac is into this creative and productive overwhelming attitude that all the most influential bands of the 90’s were in at their very beginning, dwelling with the most typical references of the early Scandinavian heritage influenced by the more pragmatic synthesis of the USBM roughness in the project’s brand new opus entitled Pagan Storm. Since its inception in 2014 in San Diego, California by vocalist and multi-instrumentalist Zane Young (from several underground acts such as Airengrav, Blitzgeist, Gormanudr, Lord Impotent and Tideless), Elegiac has released three EP’s and four full-length albums, as well as a demo and several split albums, but it’s with Pagan Storm, which features a classy and epic cover art by Joe McEvoy, that this Black Metal beast has reached its most melodic, aggressive and flammable shape and form.

Zane wastes no time and quickly darkens our minds with his sluggish Doom Metal-inspired beats and demonic gnarls in the opening track titled Rituals of War, evolving into a dissonant and Mephistophelian feast of Black Metal without a single empty space in its over eight minutes of obscurity. Then we have Allegiance and Honor, more brutal and piercing than its predecessor, presenting darkly poetic lyrics (“Calling to the gods of my blood / Deep within my memory / Return my mind to the patterns of old / And teach me the wisdom now tossed away / By the desert god of Abraham / A true plague of the mind and flesh / An empty shell… / An empty slave… / An empty shell… / An empty slave… / Molded for their every will…”) and leaning towards contemporary Melodic Black Metal, with Zane’s roars reaching a truly infernal level throughout the entire song; and dark clouds of Black and Doom Metal spread upon humanity in the 10-minute aria Somber Morning, where Zane delivers the most Stygian guitar lines and delicate but vile beats of the whole album in a demonic display of extreme music that will haunt the souls of the lighthearted. And strident guitar lines kick off the also blackened extravaganza named Through Ancient Eyes, where Zane keeps growling like a demonic entity while pounding his drums in a damned and somber manner. Put differently, if you love the rawest and most sulfurous form of underground Black and Doom Metal, this song is just perfect for you.

A lot more vibrant and electrified than its predecessors,  Purity of Winter brings forward a rumbling and dense sonority for our avid ears, or in other words, a lesson in visceral Black Metal with both guitar and bass lines sounding as crude as they can be, resulting in an enfolding fusion of melancholy, crushing sounds and tones, and the desolation of the winter. In Golden Fires of Victory we face the menacing, obscure gnarls by Zane accompanied by his blast beats and demented guitars, sending a sound message to the unbelievers that the gates of hell are open and darkness is upon us, feeling vile and crushing from start to finish; whereas in the title-track Pagan Storm the talented Zane takes his fury to a whole new level, growling and screaming in the most bestial way while unleashing demonic but at the same time very harmonious riffs from his guitar, once again adding a considerable dosage of modern-day Melodic Black Metal to his raw core sonority. And last but not least, how about 10 minutes of melodic and dynamic Black Metal to darken your metal heart even more? That’s what Zane offers in the closing tune Ancient Spirit, a fantastic “waltz of the damned” where his anguished lamentations add an extra layer of melancholy to the musicality, while his flammable riffs keep invading our ears until the music fades into pitch black darkness.

The somber and eccentric world of extreme music crafted by Zane and his Elegiac can be better explored by visiting the project’s official Facebook page, and of course if you have what it takes to dive deep into the crypts of Hades together with Zane you can purchase Pagan Storm from the ATMF’s BandCamp page or webstore. Hence, after listening to this potent and hellish opus by Elegiac, I bet USBM, our beloved American Black Metal, will be one of your favorite genres whenever straightforward and devilish extreme music is needed in your everyday life, with Pagan Storm becoming your personal reference in the underworld of heavy music.

Best moments of the album: Purity of Winter, Pagan Storm and Ancient Spirit.

Worst moments of the album: None.

Released in 2018 De Tenebrarum Principio

Track listing
1. Rituals of War 8:17
2. Allegiance and Honor 5:07
3. Somber Morning 10:20
4. Through Ancient Eyes 7:33
5. Purity of Winter 7:03
6. Golden Fires of Victory 6:49
7. Pagan Storm 7:16
8. Ancient Spirit 9:41

Band members
Zane Young – vocals, all instruments

Album Review – Tyrannic / Ethereal Sepulchre (2018)

A dark beast of doom in the form of an uncompromising album of true and raw heavy music, courtesy of a trinity whose veins pump with the pulse of Black, Thrash and Doom Metal.

Formed in 2010 under the antipodean sky of Sydney, Australia, the ruthless Thrash/Doom Metal entity known as Tyrannic has been paving their own twisted path with a dark and sinister mindset since their inception, and despite several lineup changes over the years the band’s founding member R has constantly driven the band forward from behind the kit with his signature vocal style and dedication to the “do-it-yourself” principles and aesthetic of the underground. After releasing a couple of demos, a split album and a live tape through the years, it’s time for Tyrannic to unleash their dark beast of doom with their honest and uncompromising debut album titled Ethereal Sepulchre, crafted with a very personal approach to carving its own unique and disgusting mould.

Featuring four long tracks of heinous, horrific and bizarre sounds, the most primitive rumblings straight from the beast’s belly, Ethereal Sepulchre offers the listener unadulterated metal from a trinity whose veins pump with the pulse of Heavy Metal. Furthermore, R describes the album as a release which “projects complete darkness in the most obscure form”, with its lyrical content being an expression of his innermost exploration into abstract thought, madness and insanity, all driven by experiential death worship. In other words, if you’re a fan of the obscure music by iconic bands from distinct genres but with the same appreciation for the dark, like Black Sabbath, Celtic Frost, Emperor and Dark Funeral, among several others, get ready for a visceral and thunderous descent into the pits of hell with Tyrannic.

The first track of the album, a demonic welcome card by the trio entitled Serpent Scythe, brings forward classic, old school Black Metal from the very first second spiced up by hints of the Doom Metal played by Black Sabbath, with R’s growls being a demonic fusion of the vocals by Tom Araya (Slayer) and Mortuus (Marduk), while Morgan and J slash their strings in a hellish manner. And Tyrannic’s evil triumvirate keeps delivering darkness and dementia through their instruments in the sluggish and medieval Possession of Accursed Inheritance, offering over 12 minutes of obscurity in the form of Black Metal infused with Blackened Doom nuances. Moreover, R gets more and more deranged on vocals while his beats exhale madness and aggressiveness, until the band’s sonic onslaught of Stygian sounds ends with the creepy sound of a mysterious organ.

In the following tune, named Tyrannic Deluge, what starts in a somber Doom Metal-inspired manner suddenly explodes into flammable Black Metal from the netherworld, with J firing scorching hot riffs form his guitar. This can be considered the most complete and electrifying of all four tracks, remaining pulverizing throughout its 14 devilish minutes, flowing like an ardent blaze through the forest until its Funeral Doom-inspired grand finale. And R, J and Morgan unite their darkened forces once again for one final blast of hellish Black Metal in the title-track Ethereal Sepulchre, delivering blasphemous vociferations, somber riffs and bass punches, and pounding beats, evolving into a menacing hybrid between old school Black Metal and low-tuned, demonic Doom Metal that remains utterly disturbing and vile for our total delight.

In summary, if you are one of those metalheads who simply love to have your soul darkened by the damned sounds blasted by bands from the underworld of heavy music, then Ethereal Sepulchre should definitely become part of your devilish collection. Hence, in order to put your hands on such sulfurous album, simply go to the Séance Records’ BandCamp or webstore (where you’ll find it in CD or in an old school, primeval tape format), as well as Discogs, to purchase your copy of it. And last but not least, don’t forget to show your support to such demented power trio by following them on Facebook, joining R, J and Morgan in their sonic crusade in the name of raw and aggressive Black, Thrash and Doom Metal.

Best moments of the album: Tyrannic Deluge.

Worst moments of the album: None.

Released in 2018 Séance Records

Track listing
1. Serpent Scythe 6:07
2. Possession of Accursed Inheritance 12:13
3. Tyrannic Deluge 14:05
4. Ethereal Sepulchre 7:00

Band members
R – vocals, drums
J – guitars
Morgan – bass