Album Review – Waldgeflüster / Mondscheinsonaten (2019)

The perfect soundtrack for those crystalline winter, woodland walks, courtesy of a Bavarian heathen horde armed with their Folk-drenched Black Metal.

There’s nowhere like Germany in winter time. The forests, the castles, the markets and the “gluhwein” (a type of mulled wine from German-speaking countries made from red wine with cinnamon and other herbs and spices), all offer solace for the wandering winter soul, as well as the music as you’ll be able to enjoy in Mondscheinsonaten, the brand new opus by Munich, Bavaria-based Black/Folk Metal horde Waldgeflüster. Both the name of the band (German for “forest whisperings”) and the album name (which translates as “moonlight sonatas”) already give you a very good idea of how powerful their new Folk-drenched Black Metal eyries are, melting the coldest of hearts, but it’s after hitting playing and immersing yourself in their music that you’ll finally understand what Bavarian heathen music is all about.

Formed in 2005 as a one-man project by vocalist and multi-instrumentalist Winterherz (whose full name is Jan van Berlekom), Waldgeflüster evolved into a full-bodied band in 2014 when guitarists Dominik Frank and Markus Frey, bassist Arvagr and drummer Thomas Birkmaier joined Winterherz in his quest for metal music for good, after having played with him either as studio or live musicians in previous albums and concerts. Building strongly on the band’s heathen foundations, melding clean and harsh vocals seamlessly and integrating folk instrumentation sparsely enough to augment (but never over-embellish the exceptional blackened metal grounding), Mondscheinsonaten is perfectly pitched to fuel those crystalline winter, woodland walks with its immensely infectious melodies and haunting refrains, with the entire band sounding extremely crisp, mature and cohesive throughout the album’s over 60 minutes of stylish and enfolding music.

Embraced by the sound of the howling wind, the melancholic, acoustic Einleitung (“introduction”) warms up our hearts for the dense and thrilling Der Steppenwolf (“the steppenwolf”), with Winterherz growling deeply while Domink and Markus extract sheer darkness from their guitars. In other words, this is a journey through the realms of Atmospheric Black Metal and Blackened Folk Metal where the music keeps growing in intensity as time goes by, while Thomas, armed with his classic blast beats, makes sure not a single space is left empty. Then get ready for over twelve minutes of a flawless fusion of folk and extreme music entitled Gripfelstürme (“summit storm”), where the band’s guitar duo once again hypnotizes us with their scorching riffs and with Winterherz being on fire with both his demonic gnarls and his obscure clean vocals, also showcasing ethereal passages and backing vocals that add a touch of finesse to the overall result.  And Waldgeflüster continue to invade our minds and captivate our senses with the atmospheric Rotgoldene Novemberwälder (“red golden November forests”), uniting the most visceral elements from classic Black Metal with the melancholy of Atmospheric Black Metal, with strident guitar lines, intricate beats and pitch black darkness flowing nonstop from this bitterly cold aria.

In Und der Wind… (“and the wind…”), a serene intro explodes into sheer aggression and rage in the form of old school Black Metal with Thomas sounding bestial on drums while Arvagr delivers thunder through his bass lines. Moreover, your soul will certainly get lost throughout the song’s ten detailed and dense minutes; whereas in Von Winterwäldern und Mondscheinsonaten (“from winter forests and moonshine nights”) we’re treated to more flammable sounds flowing from all instruments, in special from Dominik’s and Markus’ guitars, with Winterherz roaring with all his strength while the music brings hints of Progressive Black Metal to make things even more entertaining. Then closing the regular version of the album we have the delicate Staub in der Lunge (“dust in the lungs”), beginning in the most serene way possible with its clean vocals and acoustic guitars dictating the rhythm before the entire band comes ripping one last time with their refined Black Metal sonority. In addition, Dominik and Markus once again steal the spotlight with their piercing guitar lines for our total delight. And if you acquire the black/grey double vinyl version of the album, you’ll also get the acoustic version for Der Steppenwolf as a bonus track, a beautiful and very delicate alternate rendering of one of the best songs of the album.

In case you’re already prepared to get lost in the heathen lands of Bavaria together with Waldgeflüster, you can enjoy Mondscheinsonaten in full  on YouTube and on Spotify, and purchase your copy of the album from the band’s own BandCamp page or from the Nordvis Produktion’s official webstore (as well as from several other locations by clicking HERE). In a nutshell, as aforementioned the “moonlight sonatas” by this talented horde of musicians hailing from the stunning Bavaria are the perfect soundtrack for a cold and pensive winter walk, proving once again Folkened Black Metal is more than just a subgenre of extreme music, but an intrinsic part of the lifestyle and culture of the coldest parts of earth.

Best moments of the album: Der Steppenwolf and Gripfelstürme.

Worst moments of the album: None.

Released in 2019 Nordvis Produktion

Track listing
1. Einleitung 3:08
2. Der Steppenwolf 7:51
3. Gripfelstürme 12:21
4. Rotgoldene Novemberwälder 6:28
5. Und der Wind… 10:52
6. Von Winterwäldern und Mondscheinsonaten 9:51
7. Staub in der Lunge 5:48

Black/Grey Double Vinyl bonus track
8. Der Steppenwolf (Acoustic version) 7:57

Band members
Winterherz – vocals, mandolin, keyboards
Dominik Frank – guitars, backing vocals
Markus Frey – guitars
Arvagr – bass, backing vocals
Thomas Birkmaier – drums

Guest musician
Johannes Schermaul – cello

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Album Review – Rammstein / Rammstein (2019)

A magnificent lecture in Neue Deutsche Härte from the bottom of the flaming hearts of the pioneers of the genre.

Since the band’s inception in 1994 in the stunning German city of Berlin, Neue Deutsche Härte six-man institution Rammstein has been shaking the foundations of the earth with their unparalleled fusion of classic Industrial Metal and contemporary Heavy Metal, all spiced up of course by their controversial lyrics (most of the time in their mother tongue German), their industrial-inspired attire and their incendiary live performances. And it was just like that from their debut album Herzeleid, released in 1995, until their 2009 release Liebe Ist Für Alle Da, before the band went on an unprecedented hiatus that left their fans wondering if the band would ever get back in action to crush our senses with their wicked creations.

Fortunately for all of us, fans of the crazy and electrifying music blasted by lead vocalist Till Lindemann, lead guitarist Richard Z. Kruspe, rhythm guitarist Paul Landers, bassist Oliver Riedel, keyboardist Christian “Flake” Lorenz and drummer Christoph Schneider (a lineup that has remained unchanged throughout the band’s existence, by the way), Rammstein have just returned now in 2019 better than ever with their untitled seventh studio album, also known by many as Rammstein, their first studio album in a decade, bringing to our avid ears everything we’ve learned to love in their music through the years and more. Featuring a minimalist and captivating artwork by Rocket & Wink, the band’s brand new masterpiece offers an amalgamation of their past, present and future, with elements from all of their albums such as Sehnsucht and Mutter, without sounding repetitive or outdated; quite the contrary, the entire album simply rocks.

The album couldn’t have started in a more brilliant way than with their newborn anthem Deutschland (or “Germany” in their mother tongue), bringing forward the perfect fusion of electronic and metal music right from the very first second. Its backing vocals will definitely mesmerize you, while Mr. Lindemann leads his industrial horde in this passionate ode to their homeland. Moreover, Christian is also sensational with his keys and synths, and I’m not even going to talk about the song’s official video, which is in my opinion one of the best videos ever made in the history of music. Radio is another classic and powerful depiction of what Neue Deutsche Härte is all about, with Richard and Paul slashing their strings beautifully and putting us to dance together with the band, also featuring a chorus perfect for singing along with them even if your German is extremely rudimentary. Then it’s time for The Academic Choir and the Symphony Orchestra of the National Television and Radio Company of Belarus, Minsk to add a touch of epicness to the bold and violent Industrial Metal tune Zeig Dich (“show yourself”), where Richard, Paul and Oliver are on fire with their stringed weapons, while Christoph pounds his drums just the way we like it and Mr. Lindemann is once again flawless with his demented vocals.

Ausländer (“foreigner”) is by far the most disco-dancing song of the album, boosted by the band’s trademark riffs and beats and its acid and fun official video (which is another work-of-art). As a matter of fact, Rammstein are so good in what they do they’re capable of making metalheads enjoy dance music, and pay good attention to the song’s lyrics as they’re sung in several languages like French, Italian and English. It’s time to get heavier and more immoral than ever (something those German guys know how to do to perfection) with Sex, with Oliver and Christoph dictating the song’s violent rhythm. In the end, you’ll either crack your neck banging your head or have some wild sex while listening to it, both being highly recommended activities, of course. And the Belarusian orchestra returns for another round of majestic sounds in Puppe (“doll”), the most obscure and vile of all songs, with the vocals by Mr. Lindemann exhaling anger, fear and anguish while Christoph shows no mercy for his drums.

The romantic and enfolding Was Ich Liebe (“what I love”) is another great song showcasing rumbling bass lines, rhythmic beats and the always whimsical keys by Christian, and by far the one with the most melodic guitar lines of the entire album; whereas in the touching Diamant (“diamond”) the music remains utterly ominous while Mr. Lindemann darkly recites its lyrics, feeling as melancholic, beautiful and dense as it can be, or in other words, it’s absolutely awesome. Then Christian takes the lead in the modern Industrial Metal song Weit Weg (“far away”), where a delicate but at the same time potent background provides all Mr. Lindemann needs to thrive on vocals, with the riffs and solos by Richard and Paul bringing even more electricity to the overall result, followed by Tattoo, which kind of sounds taken from one of their previous albums. Put differently, it’s pure Neue Deutsche Härte tailored for the band’s diehard fans, with Christoph hammering our heads violently with his unstoppable, mechanized beats, while the song’s guitar riffs will cut your skin deep. Hence, I would simply love to listen to those Teutonic metallers playing this neck-breaking tune live. And lastly, Oliver makes the earth tremble with his bass punches in Hallomann (“Helloman” / “Announcer”), closing the album on a high note with the music flowing smoothly until its climatic and serene ending.

In a nutshell, anything I say about the brand new opus by the one and only Rammstein won’t be enough to describe its density, depth and energy. We’re facing the best rock and metal album of the year, my friends, there’s no doubt about that, and you can enjoy each and every song from such distinct release directly from the band’s official YouTube channel or on Spotify, and of course buy your copy of this multi-layered feast of top-of-the-line Neue Deutsche Härte from your favorite retailer by clicking HERE. As a matter of fact, I guess the best words that can be used to depict the music found in Rammstein are the ones already sung by Mr. Lindemann & Co. in the opening track of the album. “Deutschland / Mein Herz in Flammen / Will dich lieben und verdammen / Deutschland / Dein Atem kalt / So jung / Und doch so alt / Deutschland!”

Best moments of the album: Deutschland, Radio, Zeig Dich, Puppe and Tattoo.

Worst moments of the album: None.

Released in 2019 Universal Music

Track listing
1. Deutschland 5:23
2. Radio 4:37
3. Zeig Dich 4:15
4. Ausländer 3:51
5. Sex 3:56
6. Puppe 4:33
7. Was Ich Liebe 4:29
8. Diamant 2:34
9. Weit Weg 4:20
10. Tattoo 4:11
11. Hallomann 4:11

Band members
Till Lindemann – lead vocals
Richard Z. Kruspe – lead guitar, backing vocals
Paul Landers – rhythm guitar, backing vocals
Oliver Riedel – bass guitar
Christian “Flake” Lorenz – keyboards, samples, synthesizers
Christoph Schneider – drums, percussion

Guest musicians
The Academic Choir and the Symphony Orchestra of the National Television and Radio Company of Belarus, Minsk – strings, choir on “Zeig Dich” and “Puppe”
Meral Al-Mer – backing vocals on “Deutschland” and “Tattoo”
Carla Bruhn – backing vocals on “Hallomann”

Album Review – Vorga / Radiant Gloom EP (2019)

Combining modern Melodic Black Metal aesthetics with atmospheric and cosmic influences, this up-and-coming multinational horde is ready to bring us all chaos and devastation with their debut EP.

Formed by multi-instrumentalist Atlas back in 2016 in Scotland but currently located in the city of Karlsruhe, Germany, the multinational Black Metal unity known as Vorga aims at creating emotionally resonant music that could capture the spirit of dissonance, frustration and harm in the modern world, which is exactly what you’re going to feel while listening to their debut EP, entitled Radiant Gloom. With members from the UK, Bulgaria and Germany, Vorga’s intention has always been to create music that combined modern Melodic Black Metal aesthetics with atmospheric and cosmic influences, with a lyrical focus on looking at the world from an anti-anthropocentric stance.

Mixed and Mastered by Simon Jameson at Black Art Audio Studios, and featuring a dark and cryptic artwork by Bulgarian artist Georgi Georgiev (Moon Ring Design), Radiant Gloom is a powerful welcome card by this talented quartet comprised of Пешо Спейса on vocals, Volker on lead guitar, the band’s founder Atlas on rhythm guitar and bass, and Jervas on drums, leaving us eager for more of their music in the form of another EP or, even better, a full-length opus in a not-so-distant future. Hence, you better be prepared before hitting play and listening to Radiant Gloom, because although we’re talking about only four songs in the span of 22 minutes, it’s already more than enough to bring chaos and destruction to your twisted mind.

Jervas and his unstoppable beats ignite a feast of darkened sounds named The Black Age, before Пешо begins roaring like a demonic entity while Volker and Atlas sound infernal with their axes. Put differently, it’s fast, furious and heavy just the way we like it, blending the most powerful elements from old school Black Metal and contemporary Melodic Black Metal. Argil is another rhythmic and obscure creation by the quartet, showcasing rumbling bass lines, razor-edged guitars and a demonic aura, with Пешо’s growls getting more piercing and devilish as the music progresses, not to mention how bestial but at the same time precise Jervas is once again on drums, resulting in a top-notch Melodic Black Metal extravaganza for your metallic heart.

Divine brings forward a tornado of obscurity led by the crushing riffs by Atlas and Volker, sounding absolutely perfect for going mental inside the circle pit or banging your head nonstop. Furthermore, get ready to be consumed by the flames of hell in almost seven minutes of classic Black Metal, courtesy of this sulfurous entity that goes by the name of Vorga. Then sounding utterly menacing and mesmerizing from the very first second, Hunger showcases a neck-breaking rhythm boosted by Jervas’ pounding beats, while Пешо uses his hellish gnarls to vociferate the song’s austere words manically before the music fades into darkness, putting a beyond somber ending to the EP.

Enter the realm of Melodic Black Metal ruled by Vorga by listening to Radiant Gloom in full on YouTube and on Spotify, by following this promising new name of the underground scene on Facebook, and by purchasing a copy of the EP from their own BandCamp page, as well as from iTunes or Amazon. In a music genre that several people consider as already saturated, it’s always a pleasure seeing the birth of excellent bands like Vorga, shutting those unbelievers up with huge dosages of talent, hard work and loyalty to the foundations of Black Metal, with Radiant Gloom representing just their first of many steps in the right direction, no doubt about that.

Best moments of the album: The Black Age and Divine.

Worst moments of the album: None.

Released in 2019 Independent

Track listing
1. The Black Age 5:01
2. Argil 5:02
3. Divine 6:48
4. Hunger 5:17

Band members
Пешо Спейса – vocals
Volker – lead guitar
Atlas – rhythm guitars, bass
Jervas – drums

Album Review – Der Rote Milan / Moritat (2019)

Enjoy these German tales from the past connected to the present through themes of freedom, fear and fighting oneself in the face of death, all embraced by first-class Black Metal.

I, II, III, IV and V. More than just Roman numerals, those represent the five pillars of a German Black Metal unity known as Der Rote Milan, who are beyond ready to keep haunting  our souls with their second full-length opus, entitled Moritat, the follow-up to and a logical progression from their 2016 debut album Aus der Asche. Not only that, their new album can also be considered a concept release, as Moritat tells local stories based on real events during a thirty-year war that took place during the 17th century, with its central character being the historical figure Schinderhannes, an outlaw considered by some to be the “German Robin Hood”.  These stories, which take place in the southwestern Germany’s Hunsrück region, are connected to the present through themes of freedom, fear and fighting oneself in the face of death.

Forged in 2015 in the fires of Trier, a southwestern German city in the Moselle wine region lying in a valley between low vine-covered hills of red sandstone in the west of the state of Rhineland-Palatinate, near the border with Luxembourg, Der Rote Milan (which would translate to English as “the red kite”) continue to play Melodic Black Metal in Moritat, finding their identity in a combination of vicious blast beats, catchy melodies, and calm, thoughtful moments. The lyrics are performed in German to underscore the local character of the stories, giving the whole experience of listening to their music an extra touch of aggressiveness, obscurity and pure evil. Comprised of six very detailed and bold songs, Moritat surpasses the 40-minute barrier in great fashion, positioning this cryptic entity as one of the most promising new names of the underground German scene.

Gentle notes gradually morph into a brutal but very melodic devastation entitled Die Habsucht (or “the greed” in English), where IV begins fulminating everything and everyone with his demonic beats while lead singer III fires some absolutely enraged roars, with the music flowing majestically until a somber and atmospheric break takes over, powerfully getting back to an infernal Black Metal ending. Then it’s time for I and II to pulverize our ears with their scorching riffs in Drohende Schatten (“threatening shadows”), a lesson in Melodic Black Metal by this Teutonic horde, sounding even more demented and violent than the opening track, whereas Gnosis der Vergänglichkeit (“gnosis of transience”) is an ode to all things dark and mournful with a melancholic Atmospheric Black Metal-inspired intro where III’s otherworldly growls and vociferations sound utterly anguished and grim, while V keeps the ambience menacing with his low-tuned bass.

And that intricate and lugubrious vibe keeps haunting our souls in Der letzte Galgen (“the last gallows”), where III growls demonically while his bandmates extract the most vicious and piercing sounds possible from their instruments, with IV once again stealing the spotlight with his precision and technique, getting almost tribal with his beats at times (which in the end enhances the song’s taste and punch even more). There’s no time to breathe with more of their vibrant fusion of classic Black Metal with distinct melodic and atmospheric styles in Der Findling (“the boulder”), reaching deep inside our hearts and blackening them beautifully, with I, II and V being in a fantastic and extremely evil sync with their strings, before the title-track Moritat (“ballad”) brings to our metallic ears 12 minutes of visceral sounds and noises, with the amount of aggression and obscurity flowing from each instrument being truly outstanding. Not only that, IV keeps demolishing his drums in a very precise and melodic way, while the guitars sound and feel extremely sharp, therefore cutting our skins mercilessly, with the music remaining epic until the song’s triumphant and dark finale.

In case these simple, straightforward words are not enough to show you how potent and somber the music by those German metallers sounds and feels, you can take a more detailed listen at Moritat in its entirety on YouTube, and of course after getting stunned by their disturbing sonic waves you must check what Der Rote Milan are up to on Facebook, and purchase Moritat from their own BandCamp page, from the Unholy Conspiracy Deathwork’s BandCamp page or Big Cartel, from iTunes or from Amazon. In a nutshell, the gates to the underworld of German Black Metal are open, and Der Rote Milan are right there waiting to claim your soul to the sound of their brand new, pulverizing concept album of first-class Melodic Black Metal.

Best moments of the album: Drohende Schatten and Moritat.

Worst moments of the album: None.

Released in 2019 Unholy Conspiracy Deathwork

Track listing
1. Die Habsucht 6:10
2. Drohende Schatten 3:26
3. Gnosis der Vergänglichkeit 7:42
4. Der letzte Galgen 7:21
5. Der Findling 4:16
6. Moritat 12:01

Band members
III – vocals
I – guitars
II – guitars
V – bass
IV – drums

Album Review – Suffering Souls / In Synergy Obscene (2019)

After ten long years, Lord Esgaroth returns with a brand new album presenting a somber and satanic identity which will appeal to all of those who respect and love the Black Metal scene from the 90’s.

Forged in 1994 in the fires of Kümmersbruck, a municipality in the Amberg-Sulzbach district, in Bavaria, Germany under the name Dismal by vocalist and multi-instrumentalist Tobias “Lord Esgaroth” Micko, Symphonic Black Metal one-man army Suffering Souls is ready to darken our hearts and minds once again with his epic and stylish extreme music found in his fourth full-length opus, entitled In Synergy Obscene, coming out exactly 10 years after the release of its predecessor Sadistic Goat Complex as if time had not stopped, with all new tracks following the path of the previous album, almost unchanged from the basic principle.

On In Synergy Obscene, Lord Esgaroth presents a somber and satanic identity which will appeal to all of those who respect and love the Black Metal scene from the 90’s, sounding powerful and imposing thanks to the refined sound of all classic instruments, lead guitars and clean vocal passages, creating a new and interesting atmosphere never before seen in any of the works by Suffering Souls. Also feeling a bit more mature than its previous album, In Synergy Obscene brings forward a neat and unique musicality without sounding cheesy or repetitive, showcasing all of Lord Esgaroth’s abilities as a composer, musician and as a loyal servant to the most obscure side of Extreme Metal.

Idolised And Vilified, a melancholic, romantic and cinematic intro the likes of Cradle Of Filth, kicks off the album by setting the tone for the imposing title-track In Synergy Obscene, crushing our senses mercilessly with Lord Esgaroth’s demonic gnarls and his background orchestrations matching perfectly with his infernal Black Metal riffs and solos; and more epicness mixed with his flammable Black Metal hits us in the face in Inheritance Of Irony, where not a single space is left empty, with its guitars, keys and drums invading your senses in a full-bodied feast of symphonic sounds, ending with a long, melodic and extremely beautiful guitar solo for our total delight. That vile start is followed by In Death Reborn, perhaps the least Black Metal of all songs despite Lord Esgaroth’s old school growls and gnarls, sounding very modern and distinct from the rest of the album while its backing vocals feel a bit unstable.

Back to a more symphonic and violent mode, Lord Esgaroth fires a well-balanced fusion of classic Black Metal with melodic and modern nuances titled As The Truth Unfolds, living up to the legacy of bands like Cradle Of Fitlh and Dimmu Borgir and displaying an amazing job done on drums, being intricate and furious at the same time. Then we have The True Endless, another classic composition by Suffering Souls presenting a huge amount of epicness and delicacy coming from the keyboards while its guitars keep slashing our senses, maintaining the album’s ambience very impactful and electric before the most symphonic, melodic and introspective of all songs, The Cynic God, invites us to dance together with Lord Esgaroth, sounding at times like a fantasy movie score. The second to last breath of Symphonic Black Metal by Suffering Souls comes in the form of All You Little Devils, where Lord Esgaroth’s vocals get very close to what Shagrath does with Dimmu Borgir, elevating the song’s taste and potency considerably, whereas the closing hymn Unseen Phenomenon is a feast of blackened, melodic and symphonic sounds and tones led by Lord Esgaroth’s harsh vociferations and blast beats, with its piano and keys building a climatic ending for the album.

It might have taken 10 years for Tobias Micko to morph into his alter-ego Lord Esgaroth again and bring his Suffering Souls back from the underworld, but based on the high quality of the music found in In Synergy Obscene, which you can listen in full on Spotify and purchase from the Schwarzdorn Production’s BandCamp or webstore, from the Season of Mist webstore or from iTunes, the wait was definitely worth it. With that said, I’m sure we’ll start seeing Lord Esgaroth and Suffering Souls a lot more often than only every decade, spreading his darkness upon us and carrying the flag of Symphonic Black Metal high for years to come.

Best moments of the album: Inheritance Of Irony, As The Truth Unfolds and All You Little Devils.

Worst moments of the album: In Death Reborn.

Released in 2019 Schwarzdorn Production

Track listing
1. Idolised And Vilified 2:29
2. In Synergy Obscene 5:30
3. Inheritance Of Irony 9:23
4. In Death Reborn 5:13
5. As The Truth Unfolds 6:28
6. The True Endless 5:16
7. The Cynic God 6:28
8. All You Little Devils 4:49
9. Unseen Phenomenon 6:43

Band members
Tobias “Lord Esgaroth” Micko – vocals, guitars, strings, choirs, drums, programming

Album Review – Once / After Earth (2018)

Inspired by neo-romantic soundtrack music, this talented German squad will take you to a world of fantasy, passion and mystery with their debut full-length album.

Heavily inspired by neo-romantic soundtrack music, and including typical elements of a classical Aristotelian drama combined with heavy guitars and drums in their music, German Symphonic Metal act Once has been embellishing the airwaves with their unique musicality since their inception in 2012 in North Rhine-Westphalia, culminating now in 2018 with the release of their debut full-length album, entitled After Earth. If you’re an admirer of the classy and enfolding Symphonic Metal crafted by iconic bands like Epica, Nightwish, Within Temptation and Beyond The Black, the creations by this German quartet comprised of Alina Lesnik on vocals, Marco Paulzen on the guitars, bass and harsh vocals, Frank Wypchol on keyboards, piano and orchestrations, and Alexander Hey on drums will certainly please your metallic soul.

Featuring a curious artwork by Tullius Heuer and orchestra and choir arrangements by Frank Wypchol, produced by Frank Wypchol and Marco Paulzen, recorded and engineered by Marco Paulzen in Münster, Germany, and having as a very special guest musician Shir-Ran Yinon (Krayenzeit, Haggard, Eluveitie and New Model Army) on violin, After Earth will take the listener to a world of fantasy, passion and mystery, which combined with the band’s imposing musicality and the album’s crisp and vibrant production will fully captivate your senses, making you eager for more of the music by this talented German squad. In other words, simply hit play, close your eyes, and let Once guide you through the exciting lands of After Earth.

Like the intro to an epic movie, Act 1 (Overture) invites us all to join Once in their musical journey starting with the imposing and symphonic Awake, a lesson in Symphonic Power Metal led by the classic keys and piano by Frank, with Alina living up to the legacy of stunning vocalists like Tarja Turunen and Floor Jansen. Then even more symphonic than its predecessor, My Masterpiece showcases another excellent performance by Frank with his keys while Marco brings passion to the music with his riffs and solos, as well as Alexander and his thunderous beats; followed by The Allure, presenting guest Shir-Ran Yinon and her whimsical violin in a beautiful feast of symphonic and melodic sounds and tones. Furthermore, Alina is magnificent on vocals, while Marco creates a very interesting paradox to the tenderness of the violin with his heavier-than-hell riffs.

Again featuring Shir-Ran Yinon, Distorted Smiles is a serene ballad where Alina smoothly declaims the song’s classy lyrics (“Winter’s fingers creeping chillingly / Across the rusty window bar / Through the stormy blizzard rings / A weary melody coming from afar”) before their crushing Symphonic Metal strikes again in The Hour of Eden’s Fall, presenting stylish words (“Images of a bursting sanity / Are turning into a lost reflection / Of the eternal bond of our affection / Painting the moment as a memory / Once my only world was your embrace / Now my heart is buried and erased”) and incendiary performances by Marco and Alexander, bringing rage and electricity to the music with their harsh growls, cutting riffs and nonstop beats. After such powerful display of symphonic music, a cinematic bridge titled Act II (Intermezzo) builds an imposing and adventurous atmosphere for the power ballad My Fairytale, with Alina stealing the spotlight with her fiery vocals while Frank and his keys and orchestrations add tons of electricity to the overall result, being perfect for fans of Epica and Nightwish.

Spiced up by a stunning work done on the piano by Frank we have Phenomena, a metallic symphony of sounds that feels like the soundtrack to a dangerous but thrilling adventure, with Marco carving the word “metal” onto the musicality with his Melodic Metal riffs and bass punches, connecting instantly with the Opera Metal-inspired tune The Sins of Saints, keeping the ambience vibrant and exciting with Frank and Marco being on absolute fire throughout the entire song, slashing our senses and dragging us to their fantastic world of heavy music. Then in Insane Schemes of Sanity an ethereal start morphs into a classy and gentle Symphonic Power Metal extravaganza, flirting with Folk Metal at times thanks to its pace and breaks, as well as Frank’s keys and Alina’s storytelling vocals, whereas in The Final Stage, where Shir-Ran Yinon embellishes the musicality once again with her magic violin, we’re treated to over 10 minutes of first-class Symphonic Metal led by Alina’s gorgeous vocal lines, all embraced by vibrant, stunning orchestrations and boosted by Marco’s deep roars, flowing flawlessly for our total delight until its grand finale, before Epilogue (A Memento of Our Hiraeth) concludes this album of symphony, melody and epicness in a beyond enfolding and theatrical way, mesmerizing our senses for over six minutes with its gentle piano notes and orchestral background elements.

It’s quite impossible to stand still or unemotional while listening to Once, especially if you’re a longtime fan of stylish, epic and heavy orchestral music, and in order to show your appreciation for such distinct band go check what they’re up to on Facebook, subscribe to their YouTube channel, and purchase your copy of After Earth, a gorgeous lecture in Symphonic Metal, from the Pride & Joy Music webstore, from MBM Music By Mail, from the NEH Records webstore, from iTunes, or from Amazon. Once will certainly take you on a fantastic musical journey with After Earth, showing you how relevant Symphonic Metal still is nowadays, and how inspiring it can be in your everyday life.

Best moments of the album: The Allure, The Hour of Eden’s Fall, Phenomena and The Final Stage.

Worst moments of the album: Insane Schemes of Sanity.

Released in 2018 Pride & Joy Music

Track listing
1. Act 1 (Overture) 2:04
2. Awake 4:19
3. My Masterpiece 3:40
4. The Allure (feat. Shir-Ran Yinon) 3:59
5. Distorted Smiles (feat. Shir-Ran Yinon) 3:52
6. The Hour of Eden’s Fall 4:45
7. Act II (Intermezzo) 2:12
8. My Fairytale 3:55
9. Phenomena 4:35
10. The Sins of Saints 3:57
11. Insane Schemes of Sanity 4:31
12. The Final Stage (feat. Shir-Ran Yinon) 10:18
13. Epilogue (A Memento of Our Hiraeth) 5:51

Band members
Alina Lesnik – vocals
Marco Paulzen – guitars, bass, harsh vocals
Frank Wypchol – keyboards, piano, orchestrations
Alexander Hey – drums

Guest musician
Shir-Ran Yinon – violin on “The Allure”, “Distorted Smiles” and “The Final Stage”

Album Review – Primal Fear / Apocalypse (2018)

The Teutonic eagles of Power Metal return with another sensational opus showcasing the perfect amount of creativity, teamwork, aggressiveness, melody and professionalism.

Whenever you feel the urge to bang your head until the end, enjoying some first-class Heavy Metal with a powerful and melodic European twist, you know you can count on German Power Metal masters Primal Fear to provide you the exact amount of electricity, stamina and epicness you’re looking for. Not only all of their albums are well-crafted and extremely entertaining, but the band comprised of frontman Ralf Scheepers, the iconic bassist Mat Sinner, the guitar trio Magnus Karlsson, Alex Beyrodt and Tom Naumann, and drummer Francesco Jovino are beyond professional and focused on their work, releasing a steady stream of albums through the years, such as their latest (and amazing) full-length installments Delivering the Black, in 2014, and Rulebreaker, in 2016, a very good sign that the band is a million light-years away from calling it quits (for our total delight).

Now in 2018 the Teutonic eagles of Power Metal return with another sensational opus titled Apocalypse, the twelfth studio album in their career and another solid statement that Heavy Metal will never die while bands like Primal Fear are out there. The main difference between Apocalypse and some of their previous albums is that, in their new album, the band experimented more with different styles, elements and nuances, making it a fresh listen from the opening track until its breathtaking conclusion. “My personal highlight of recording the album was the fantastic teamwork. Peaceful, focused and really creative,” says Mat Sinner. “No big discussion, no heated arguments. Everybody did a fantastic job and the performances were top notch. This was the key to improve every little detail of the songs, from old school to epic, from modern to symphonic, from fast to slow — you will hear it all on ‘Apocalypse’.” After such spot-on words by Mat, all we need to do to enjoy the music in Apocalypse to the fullest is spreading our metallic wings and flying together with the band. And after listening to Apocalypse, I’m sure you’ll go back to the start and repeat that adventure all over again.

In the intro Apocalypse, a heartbeat amidst epic sounds announces a Heavy Metal thunder is about to strike in New Rise, an old school, thrilling German Power Metal hymn the likes of Gamma Ray and Helloween (which obviously means it kicks fuckin’ ass) where Francesco takes the lead with his crushing beats together with the riffs fired by the band’s trio of fantastic guitarists, building the perfect atmosphere for Ralf to showcase his insanely potent voice. And if that wasn’t already a rip-roaring start to the album, the next tune, titled The Ritual, which in my humble opinion is the best of all songs in Apocalypse, will simply hit you hard straight in the face. This is one of those electrified, pounding tunes closer to their latest albums where the fusion of their neck-breaking riffs and beats with the enraged high-pitched vocals by Ralf sounds more than just amazing, supported by Mat’s always effective backing vocals, followed by the melodic and smooth King of Madness, an almost power ballad that will please fans of the lighter (but more obscure) side of the band, also displaying those traditional Primal Fear lyrics (“A battlefield filled with fools, / a thousand hearts lost in the dark. / Those who win are just tools, / a way for him to let the crazy rule.”).

Blood, Sweat & Fear is another straightforward tune where the band once again shows their interesting passion for wordplays with the word “fear” in their song names, with its rhythmic and vibrant pace being driven by Francesco’s precise drums while Magnus, Alex and Tom sound as slashing as Power Metal can be; followed by the power-ballad Supernova, a song with some good moments but that never really clicks due to the lack of that usual passion and vibe from their old ballads (and I do love pretty much all ballads by Primal Fear, I might say). Fortunately, that uninspired vibe is quickly replaced by a beautiful shredding that morphs into a dark, headbanging tune titled Hail to the Fear, with Mat and his rumbling bass together with Francesco’s beats generating a strong base for Ralf to thrive one more time on vocals, not to mention its exciting rush of classy guitar solos. And in Hounds of Justice we’re treated to the purest form of Primal Fear, which means scorching hot guitar riffs, a thunderous vibe and killer vocals, also presenting elements from some of their old songs from Seven Seals and New Religion as well as their trademark fighting lyrics (“Another warning without any trace / Another kick straight in your face / Another morning you’ll be on the run / Trouble is coming ’till the day is done / Another strike no more peace alive / Another hit nothing humanized / We want the truth broken and abused / The finger on the trigger is no excuse”). Needless to say, this song will sound simply fantastic when played live without any doubt.

Then get ready for more pounding drums and a classic and harmonious work done by the band’s guitar triumvirate in The Beast, delivering pure Heavy Metal from start to finish in a more-than-enjoyable mid-tempo composition, whereas Eye of the Storm presents a Heaven & Hell-inspired start led by the low-tuned, devilish bass by Mat, evolving into a gorgeous power-ballad showcasing crisp guitar lines and a superb performance by Ralf. Furthermore, the band blends several elements from Doom and Symphonic Metal into their core Power Metal in this powerful tune, flowing majestically until its climatic ending, before Cannonball presents Primal Fear’s final blast of pure metal music to crack your neck in half, with highlights to the merciless axes by Tom, Magnus and Alex. Hence, while you headbang to this rousing chant, it’s a very good idea to sing the chorus along with Ralf and the guys to make everything even more engaging. And last but not least, if you buy the special edition of the album you’ll be treated to some amazing bonus songs, with Into the Fire, my favorite of them, beinging forward the cream of the band’s classic Heavy Metal with hints of Hard Rock in four and a half minutes of sheer awesomeness.

If the end of the world is near or not (and Primal Fear already sung about that in their previous albums), no one knows for sure. However, we can rest assured that if the world finally comes to its end in a not-so-distant future, Ralf, Mat & Co. are building a respectful collection of metal anthems perfect for fighting to survive until our last breath with all of their releases, including the excellent Apocalypse (available in different formats and locations HERE), an album that will certainly keep all of the band’s diehard fans happy and the band itself more-than-active in the scene and ready to take your hometown by storm without any warning. And whenever that happens, you know exactly where you should be, raising your horns and saluting one of the most electrifying, hardworking and consistent metal acts of our generation armed with their apocalyptic, unrelenting and awe-inspiring Power Metal.

Best moments of the album: New Rise, The Ritual, Hounds of Justice, Eye of the Storm and Into the Fire.

Worst moments of the album: Supernova.

Released in 2018 Frontier Records

Track listing
1. Apocalypse 1:44
2. New Rise 4:13
3. The Ritual 4:05
4. King of Madness 4:25
5. Blood, Sweat & Fear 4:55
6. Supernova 5:21
7. Hail to the Fear 5:05
8. Hounds of Justice 3:51
9. The Beast 3:42
10. Eye of the Storm 8:00
11. Cannonball 4:43

Boxset/Deluxe/Japanese Edition Disc 1 (CD) bonus tracks
12.Fight Against Evil 4:25
13.Into the Fire 4:33
14.My War Is Over 4:41

Japanese Edition Disc 1 (CD) bonus track
15.Supernova (Orchestral version) 5:05

Boxset/Deluxe/Japanese Edition Disc 2 (DVD)
1.King of Madness (video) 4:23
2.The Ritual (video) 4:06
3.Making of “Apocalypse” (Mini-Documentary) 14:41

Band members
Ralf Scheepers – vocals
Mat Sinner – bass, backing vocals
Magnus Karlsson – guitars, keyboards
Alex Beyrodt – guitars
Tom Naumann – guitars
Francesco Jovino – drums

Album Review – Motorjesus / Race to Resurrection (2018)

While Jesus saves, Motorjesus are back in full force on their race for our good old Rock N’ Roll.

At long last, after four long years Mönchengladbach-based Heavy Metal/Hard Rock squad Motorjesus is finally back with a brand new album, titled Race to Resurrection, which is not only the fifth in their solid and electrifying career, but also a very organic and enhanced follow-up to their 2014 opus  Electric Revelation. More rounded, more balanced and much more diverse than their previous offerings, Race to Resurrection is one hundred percent Motorjesus, or in other words, an amalgamation of Rock N’ Roll anthems portraying Jesus as a cool and fun anti-hero who loves rock music above all things. With such distinct theme and endless electricity flowing from their music, how not to enjoy that ride with those metallers from North Rhine-Westphalia, right? Just by looking at the album’s marvelous cover art you already know Motorjesus are among us to kick some serious ass.

Even the departure of former companions Guido Reuss (guitar) and Roman Jasiczak (bass) in 2016 could not stop those German gasoline rockers from unleashing upon humanity their new album, spearheaded by frontman Chris “Howling” Birx and his henchmen Andreas “Andy” Peters on the guitar and Oliver Beck on drums, as well as session musicians Dominik Kwasny on bass and Patrick Wassenberg on rhythm guitar, both from Chris’ cover band Chris Howling Band (and who are by the way also playing with the band during their live performances). If you’re a fan of renowned bands such as Anthrax, Motörhead, Spiritual Beggars and Pantera you’ll simply love the music found in Race to Resurrection, and if you’re already a longtime fan of Motorjesus there you have another must-have addition to your road trip playlist.

Rev up your engines because a Rock N’ Roll race made in Germany is about to begin in Tales from the Wrecking Ball, showcasing melodious lines that feel like a hybrid between Van Halen and Motörhead. Hence, Chris doesn’t waste a single second and begins blasting his potent, enraged vocals accompanied by the flammable rockin’ riffs by Andy and Patrick. After such fantastic start, Oliver pounds his drums in a rhythmic, headbanging tune perfect for hitting the road titled King Collider, a thrilling Hard Rock feast led by the stunning riffs by Andy and Patrick while Dominik keeps hammering his bass strings mercilessly; whereas Re-Ignite follows the same path of awesomeness, sounding closer to what they did in Electric Revelation. Moreover, Chris once again leads his troop with his piercing vocal lines, with the band’s guitar duo giving another lesson in Heavy Metal and Hard Rock. Then bang your fuckin’ head nonstop to the electrifying, utterly awesome rockin’ hymn Speedway Sanctuary, with its pace, vibe and punch being absolutely stunning while at the same time the guitars by Andy and Patrick slash our ears beautifully. Put differently, this is how modern and vibrant rock music should always be done, my friends.

Casket Days is a galloping composition showcasing hard-hitting beats and thunderous bass lines, with Chris once again thriving on vocals by firing more aggressive, demented growls than usual, keeping the atmosphere of the album truly combustible. In the melancholic and captivating power ballad The Infernal it’s time to slow things down a bit, sounding more impactful (and I would say even more meaningful) than their old ballads, with the acoustic guitars having a 90’s vibe that end up adding a very welcome extra taste to the final result, while in Burning Black the band gets back to their more ferocious and harmonious mode. In a nutshell, this is classic Motorjesus, bringing forward potent vocals and lyrics, a headbanging rhythm and beyond scorching riffs and bass lines. And Motorjesus put the pedal to the metal in another incendiary tune named The Damage, where all band members are in total sync, with the sound of guitars bringing joy and electricity to our hearts as well as the fast and precise drums by Oliver (not to mention Andy’s sensational guitar solo). Needless to say, this is another mandatory song for their live performances. On the other hand, despite its fantastic lyrics and solid instrumental, The Storm is slightly below the rest of the album regarding its punch and feeling. It’s not a bad song, not at all, but the entire album is so amazing this one ended up not being that good, got it?

When a song named Engines of War kicks off with beyond thrilling guitar lines you know it will be a fiery Hard Rock feast, this time obviously led by Andy and his unstoppable guitar, inspiring us to get into the circle pit and to slam to the pounding beats by Oliver. On a side note, I wish more radio stations all over the world played songs like this precious gem of Rock N’ Roll. Anyway, The Chase reminds me of the music by Danish rockers Volbeat, slightly less Johnny Cash-like and more Motörhead-ish (if that makes sense to you), a great fast-and-furious rockin’ tune for going over the speed limit on the highway, with Chris’ vocals and Dominik’s bass sounding flawless when combined; and you’ll be caught in a mosh once again thanks to another classic and thrilling creation by Motorjesus titled Running Out of Time, where Andy and Patrick show no mercy for their strings, therefore blasting badass Rock N’ Roll for our total delight until the song’s breathtaking finale. Last but not least, Oliver crushes our minds once again with his drums while the Chris exhales adrenaline through his potent vocals in the closing tune Awaken the Tyrants, presenting several breaks and layers and flowing powerfully and smoothly until its ending.

As I mentioned in my review for Electric Revelation, while Jesus saves, Motorjesus rock, and that motto continues to be more than valid in Race to Resurrection, an album that cements the band as one of the biggest name in contemporary Hard Rock and that will keep their fire burning bright in the scene even after the considerable lineup changes that impacted them a couple of years ago. Having said that, don’t waste any time and go show your support for such distinguished band on Facebook right now, and purchase your copy of their latest masterpiece from several different options by clicking HERE or by visiting the PS-Metal webstore. It doesn’t matter if your favorite Motorjesus album is Deathrider, Wheels of Purgatory, Electric Revelation or their newborn baby Race to Resurrection, as long as we have the music by Motorjesus in our hearts (and of course in our playlists), our race for our beloved Rock N’ Roll will never end.

Best moments of the album: Speedway Sanctuary, The Infernal, The Damage and Engines of War.

Worst moments of the album: The Storm.

Released in 2018 Drakkar Records

Track listing   
1. Tales from the Wrecking Ball 4:38
2. King Collider 4:14
3. Re-Ignite 3:46
4. Speedway Sanctuary 4:30
5. Casket Days 3:58
6. The Infernal 5:20
7. Burning Black 4:21
8. The Damage 3:59
9. The Storm 4:51
10. Engines of War 3:50
11. The Chase 4:20
12. Running Out of Time 4:01
13. Awaken the Tyrants 5:24

Band members
Chris “Howling” Birx – vocals
Andreas “Andy” Peters – guitars
Oliver Beck – drums

Guest musicians
Dominik Kwasny – bass (live/session)
Patrick Wassenberg – rhythm guitars (live/session)

Album Review – Isgalder / To The Hall Of The Stars EP (2018)

Enjoy the story about the journey of a man, wandering old forgotten paths in search of nature and solitude, told by a newcomer German Epic and Pagan Black Metal hailing from the Thuringian Forest.

Founded in 2017 by vocalist and guitarist Grimwald (Dauþuz, Wintarnaht) and drummer, bassist and keyboardist Moppel to hail earth and iron, German horde Isgalder has just emerged from the Thuringian Forest with a splendid piece of Epic and Pagan Black Metal influenced by early Falkenbach and Bathory, titled To The Hall Of The Stars, their debut EP that tells a little story about the journey of a man (the journey to the hall of the stars), wandering old forgotten paths in search of nature and solitude. Comprised of three original songs taken from the band’s forthcoming album and alternate versions of those same songs, the EP will provide you a very good taste of what Isgalder, which by the way is Old-High-German/Germanic and means “cold incantation” or “icy chant”, are capable of. Furthermore, although Grimwald and Moppel played all instruments and vocal parts in the EP, Isgalder are now comprised of the aforementioned dynamic duo plus VRCHTR on rhythm guitar and Aussen Geist on bass, meaning we can definitely (and hopefully) expect to witness the extreme music by Isgalder be materialized in the form of one or more live concerts in the near future.

The keys by Moppel kick off the epic and imposing tune The Ravendale, bringing an interesting “duel” of clean vocals and harsh gnarls, also presenting piercing guitar lines and lyrics that exhale Folk and Pagan Metal (“On farthest shores, there rest my fate / Far from mankind, the morbid, the pale / Native is that soil; silent and primordial / Astute raven summon me, to the hidden vail / The Ravendale / Forgotten and forsaken / The Ravedale / In solitude awaken”), all topped off by a climatic finale. Elder Wisdom, a very detailed and melodic creation by the duo, already starts in full force, bringing elements from Atmospheric Black Metal to their core Pagan and Black Metal, with Grimwald growling and gnarling nonstop while Moppel delivers brutality through his beats and some sort of “peace” through his keys, all at once; and as atmospheric and dense as both previous songs, Soaring Mountains showcases an old school Black Metal base solidified by  the band’s blast beats and scorching riffs, but with a strong Pagan Metal vein present in Grimwald’s growls and Moppel’s keys. Moreover, you’ll certainly feel compelled to sing its lyrics along with Isgalder (“Great soaring Mountains / Grey stone mystic monument / Arise against the sky / Wilderness defend”).

As already mentioned, side B of To The Hall Of The Stars contains an alternative version of the EP, without keyboards, varied vocals and a different mix. For instance, The Ravendale sounds rawer and more piercing, closer to traditional Black Metal, while Elder Wisdom is even more devastating and epic and Soaring Mountains goes straight-to-the-point as well, displaying an enhanced Black Metal vibe and feeling slightly less Pagan Metal. You can compare the regular and alternate versions of each song by listening to the full EP on YouTube, and don’t forget to follow Isgalder on Facebook and on YouTube. In a nutshell, To The Hall Of The Stars (on sale at the band’s own BandCamp, at the Hellthrasher Productions’ BandCamp, at the Naturmacht Productions’ BandCamp and at the Narbentage Produktionen’s BandCamp, as well as at Discogs in CD or cassette version) is a fantastic “appetizer” to what we can expect from Isgalder when they release their first full-length opus, and as soon as that happens we will be able to happily and willingly succumb to their cold incantations.

Best moments of the album: Elder Wisdom (both regular and alternate versions).

Worst moments of the album: None.

Released in 2018 Hellthrasher Productions

Track listing
1. The Ravendale 7:06
2. Elder Wisdom 7:54
3. Soaring Mountains 5:33
4. The Ravendale (alternate version) 6:51
5. Elder Wisdom (alternate version) 7:44
6. Soaring Mountains (alternate version) 5:27

Band members
Grimwald – vocals, guitars
Moppel – bass, keyboards, drums

Album Review – Skognatt / Ancient Wisdom (2018)

An onrush of Atmospheric Black Metal as raw, aggressive, melodic and obscure as it can be, from the undergrounds of Bavaria directly into your mind.

Hailing from Augsburg, one of Germany’s oldest cities and the third-largest city in Bavaria (after Munich and Nuremberg), here comes a very sinister and interesting Atmospheric Black Metal/Dark Ambient one-man project named Skognatt, who have just unleashed darkness upon humanity with its first full-length album Ancient Wisdom. After its inception in 2016 by vocalist and multi-instrumentalist Danijel Zambo, Skognatt released the demo Landscape of Ice in 2016, followed by the EP Stargazer that same year, and another EP in 2017 titled Ancient Wisdom (with the same name as the new album, but only featuring two songs that would be part of it). With the help of guest multi-instrumentalist Gerileme (Asche der Welten, Osteon) on drums and drum engineering, Skognatt brings forth six otherworldly compositions in Ancient Wisdom, living up to the legacy of old school Black Metal but with an atmospheric and eccentric twist added to its already somber musicality.

Macabre and phantasmagoric from the very beginning, the title-track Ancient Wisdom brings forward acoustic guitars intertwined with the sinister, demonic gnarls by Danijel, flowing smoothly and darkly until its ending, all boosted by creepy keyboard notes. Then the steady drumming by Gerileme and the lugubrious guitars by Danijel set the pace in Xibalbá, an Atmospheric Black Metal tune with hints of Symphonic Black Metal and Middle-Eastern nuances, with the vocals by Danijel sounding more devilish and anguished than before; followed by World Apart, showcasing blast beats and flammable guitar riffs (and therefore leaning towards traditional Black Metal), but also bringing a touch of delicacy and melancholy to the overall musicality through its very melodic and sometimes acoustic background sounds and tones.

More obscure than its predecessors, Thanatos alternates between melancholic, serene passages and more aggressive moments led by the piercing growls by Danijel, resulting in a Stygian hymn that can be used as the soundtrack to your deepest nightmares. As a matter of fact, Thanatos was the personification of death in Greek mythology, just to give you a sense of how dark this song is. Moving on with the album, Dark Star presents a movie-inspired intro before an explosion of demonic sounds fills the air, with Gerileme sounding even more infernal on drums in a hybrid of contemporary Ambient and Experimental Black Metal. Put differently, it can’t get any more underground, visceral and crude than this, being definitely not recommended for the lighthearted. And closing this somber and eccentric album we have another blast of Atmospheric Black Metal titled Fallen, spiced up by peculiar and whimsical sounds and featuring spoken words taken from the work of English nobleman and poet Lord Byron (1788 – 1824). Furthermore, Danijel does a great job both on keyboards and on vocals, enhancing the song’s already distinct taste until the music fades into a mesmerizing semi-acoustic outro.

In summary, Ancient Wisdom (which by the way is available for a full listen on YouTube) is one of those albums of extreme music that perfectly represent what underground metal is all about, being raw, aggressive, melodic and obscure, all at the same time. And in order to show your true support to an independent act like Skognatt, you can pay a visit to the band’s official Facebook page, and of course buy your copy of Ancient Wisdom from its BandCamp page, keeping the fires of Black Metal burning inside the dark soul of Mr. Danijel Zambo and his devilish alter ego Skognatt for years and years to come.

Best moments of the album: Xibalbá and Thanatos.

Worst moments of the album: None.

Released in 2018 Independent

Track listing
1. Ancient Wisdom 5:17
2. Xibalbá 5:09
3. World Apart 5:19
4. Thanatos 4:06
5. Dark Star 4:50
6. Fallen + Outro 6:44

Band members
Danijel Zambo – vocals, all instruments

Guest musician
Gerileme – drums