Album Review – The Prophet / Essence (2019)

A vibrant and demolishing fusion of classic Black and Death Metal with contemporary Melodic Death Metal by a Russian band that’s been on an exciting rise since their inception.

It’s time to return to Siberia, Russia, more specifically to the city of Tomsk, for another round of violence, speed and rage in the form of the Melodic Death and Black Metal blasted by a very talented group of musicians collectively known as The Prophet. After releasing the full-length albums Sunrise (2011), Across the Sphere (2013) and Dying (2015), which by the way I had the pleasure of reviewing here at The Headbanging Moose when it was released, as well as the EP’s Chronos (2013) and Another Damned World (2016), the band comprised of Theodor on bass and vocals, Doctor on the guitar and backing vocals, and Raziel on drums (also featuring now Deathbringer on the guitar) returns now in 2019 with another amazing opus, entitled Essence. Recorded, mixed and mastered at Project Studio Infernal Records, in Tomsk, and featuring a grim artwork by Mark Erskine, from Erskine Designs, Essence will undoubtedly please all fans of both old school Death Metal and contemporary Melodic Death Metal, proving once again why the band is on a constant and exciting rise since their inception in 2010.

Ethereal sounds permeate the air in the beautiful and melancholic intro Essence before the trio begins hammering our minds and hearts in From the Endless Vortex, a brutal Melodic Death Metal tune infused with classic Death Metal elements, with Raziel crushing his drums while Theodor growls and roars like a beast, kicking off the album on a sulfurous note. Then the talented Doctor shreds his chords manically, igniting the also frantic and pulverizing Defeated by the Demons, even more aggressive than its predecessor and showcasing deep and demented growls mixed with unstoppable blast beats and low-tuned bass jabs; and there’s no sign of the band slowing down, as Emerald Eyes is another great song for banging your head vigorously, presenting a solid instrumental with highlights to the perfect sync between Doctor and Raziel.

A lot more introspective and dark, Blackword sounds closer to traditional Swedish Melodic Death Metal, spearheaded by Doctor’s razor-edged riffs while Theodor exhales anger from his harsh gnarls, ending with a smooth piano that builds a classy connection with the instrumental bridge Dreamside Areas, a touch of delicacy added amidst all the havoc blasted by the trio, soothing our souls and preparing our minds for World of Pain, an obscure and absolutely visceral display of Death Metal by The Prophet. Featuring absolutely no shenanigans nor any artificial elements, we’re treated to pure old school Death Metal flowing from all instruments into our avid ears, with the bass lines by Theodor sounding truly violent and metallic, whereas Flying is another straightforward composition that keeps Essence at a very good level of quality and stamina (albeit not as exciting as the rest of the album), with its background orchestral elements bringing an extra dosage of eccentricity to the music.

Back to a full demolishing mode, Time is highly recommended for slamming like an animal into the circle pit while Theodor’s bass and Raziel’s drums smash your senses mercilessly, flowing into an inspiring acoustic finale before another instrumental bridge titled Grand Deliriozo Part I (Imago) brings more peace to our hearts to the sound of stylish piano notes, enfolding us all until The Prophet begins firing their most ambitious and boldest creation to date, the somber and heavy-as-hell In the Dying Sunset. This is undoubtedly an excellent option for breaking your neck headbanging, with all band members delivering sheer aggression from their respective weapons, in special Theodor with his deep guttural roars, putting a dark and at the same time gentle ending to the album.

As I know my simple words are not enough to actually describe the strength and heaviness of the music by The Prophet, I suggest you take a good listen at their new album Essence in full on on YouTube and on Spotify, and in case you’re a diehard fan of this more aggressive version of Swedish Melodic Death Metal you should definitely pay The Prophet a visit on Facebook and on VKontakte, and subscribe to their YouTube channel. Hence, you can purchase Essence from the Soundage Productions’ webstore, from Apple Music, from Google Play, from Amazon or from Discogs. Russian Melodic Death Metal has never been so good, and we have to thank the guys from The Prophet not only for leading that trend, but also for showing a healthy and interesting evolution in their sonority just the way we always like it in heavy music.

Best moments of the album: From the Endless Vortex, Defeated by the Demons and World of Pain.

Worst moments of the album: Flying.

Released in 2019 Soundage Productions

Track listing
1. Essence (Intro) 1:22
2. From the Endless Vortex 3:45
3. Defeated by the Demons 2:49
4. Emerald Eyes 3:44
5. Blackword 4:17
6. Dreamside Areas 1:56
7. World of Pain 2:50
8. Flying 3:23
9. Time 3:32
10. Grand Deliriozo Part I (Imago) 2:06
11. In the Dying Sunset 7:44

Band members
Theodor – bass, vocals
Doctor – guitar, backing vocals
Raziel – drums

Advertisements

Album Review – Hiss From The Moat / The Harrier (2019)

A first-class album of Black and Death Metal made in Italy, inspired by the true harriers of our society such as politics, religion and dictatorship.

In case you’re not familiar with the brutality and rage of Italian Black/Death Metal horde Hiss From The Moat, the band was founded in 2006 by drummer James Payne (Vital Remains, Hour of Penance) with two Italian friends, bassist Carlo Cremascoli and guitarist Giacomo Poli, delivering a stream of very interesting releases since their inception, starting with their debut EP The Carved Flesh Message, in 2009, followed by their first full-length album Misanthropy, in 2013, eventually adding vocalist and guitarist Massimilano Cirelli to their lineup, and now their sophomore full-length opus The Harrier, in 2019. Regarding the album’s title, Mr. Payne says, “The Harrier refers to he who devastates. It’s not intended as someone whom we created to destroy, but rather to indicate everything that has devastated our history, like politics, religion and dictatorship etc. That’s why we used extracts of religious and political scripts in the lyrics.”

Based in the cities of Los Angeles (United States), London (England) and Milan (Italy), this multinational entity has recently issued a series of videos through their YouTube channel showing the band working on the recording of The Harrier in the city of Milan, therefore demonstrating their passion for what they do and a desire to be as honest and transparent as possible with their fans. Furthermore, regarding the album’s artwork designed by Stefano Bonora, Mr. Payne said that “the artwork of the album is defined by three elements: a head of a statue that represents the blind and apathetic attitude of mankind; the mechanical mask on top of the head that represents the institutions that oppress people (similar to the belt on the statue’s mouth and the crosses as blinders); and the alchemical circles that have the meaning of improving mankind through the mind and the body, to promote self-improvement without looking for external help,” just to give you an idea of how obscure and austere their music is.

The cryptic and serene intro The Badial Despondency suddenly explodes into the bestial title-track The Harrier, where the quartet begins pulverizing everything and everyone that crosses their path. Furthermore, James is unstoppable on drums, while Massimiliano roars the song’s dark lyrics manically from start to finish, and brutality and rage keep flowing from all instruments in I Will Rise, a beyond electrifying Melodic Black Metal tune where the guitars by both Massimiliano and Giacomo sound infernal, not to mention how fast, precise and ruthless James is on drums. Then some sort of “dark poem” is recited by Massimiliano before all hell breaks loose in The Passage To Hell, bringing not even a single second of peace for us to breathe, only sheer devastation in the form of classic Black Metal, with James once again hammering our heads with his hellish and intricate drumming.

Slaves To War is just as demonic as its predecessor, showcasing sick guitar riffs, endless violence and a sulfurous atmosphere only modern Black Metal can offer you, keeping the album on fire before the band comes ripping our hearts out with the magnificent Sine Animvs, a lecture in modern-day Melodic Black Metal infused with Death Metal nuances, close to the Blackened Death Metal blasted by the iconic Behemoth. Hence, it’s absolutely impossible to stand still to the incendiary riffs by the band’s guitar duo. In the interlude titled The Abandonment, acoustic guitars work as the “calm before the storm”, warming up our senses for The Allegory of Upheaval, another straightforward creation by those Italian metallers alternating between very complex and interesting moments and less inspired passages. It’s still a very good song though, proving how powerful the band always sounds.

Then we have another one of my favorite tracks, God Nephasto, and James himself had a few nice words to say about it. “The song is one of the most intense of the album as far as rhythm and atmosphere,” explained our talented drummer. “It has several parts of blast beats and breakdowns that combined with the dark atmosphere of the notes keep the song pretty nervous. This is to support the lyrics that have been taken from parts of the Enuma Elish and the Old Testament that talk about when the Gods mentioned in these scripts, ordered sacrifices in their honor.” Musically speaking, it’s a visceral sonic havoc that will please all fans of the genre, sounding crisp, thunderous and menacing, with highlights to Massimilano’s infernal growls and obviously to James’ demolishing beats. Their second to last Black Metal extravaganza, entitled Unperishing, is just as demonic and violent as the rest of the album, with its classic riffs and beats bringing endless heaviness to the overall musicality, while Carlo not only extracts thunder from his bass, but he also supports Massimiliano’s vociferations flawlessly with his backing vocals. And there’s still time for one final onrush of blackened sounds for our total delight, named The Decay of Lies, less frantic but as heavy as hell, working at times as a marching outro to such vile album. Needless to say, Massimiliano and Giacomo are absolutely demonic with their guitars from start to finish, ending the album on a high and obscure note.

There are several places where you can get your copy of such amazing album of Black and Death Metal, like the band’s own BandCamp page or Big Cartel, the M-Theory Audio’s webstore in regular CD or limited edition vinyl format, the Napalm Records’ webstore, iTunes, Amazon, and so on. Don’t forget to also follow Hiss From The Moat on Facebook, and to worship darkness to the sound of their crushing extreme music, always keeping a very good distance from all types of religion and from politics, the true destroyers of our decaying society. and that’s how you craft first-class extreme music, my friends. Music that not only makes you bang your head and raise your horns, but that above all that also makes you think.

Best moments of the album: I Will Rise, Sine Animvs and God Nephasto.

Worst moments of the album: The Allegory of Upheaval.

Released in 2019 M-Theory Audio

Track listing
1. The Badial Despondency 1:24
2. The Harrier 4:00
3. I Will Rise 3:56
4. The Passage To Hell 3:44
5. Slaves To War 4:35
6. Sine Animvs 3:48
7. The Abandonment (Interlude) 3:26
8. The Allegory of Upheaval 4:33
9. God Nephasto 4:12
10. Unperishing 4:46
11. The Decay of Lies 4:48

Band members
Massimilano Cirelli – vocals, guitar
Giacomo Poli – guitar
Carlo Cremascoli – bass, backing vocals
James Payne – drums

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 – Inferitvm / The Grimoires (2019)

Telling the story of the most important forbidden grimoires in European history, this unrelenting Spanish horde delivers an excellent album that lives up to the legacy of 90’s Black Metal.

Born in 2014 in Palma de Mallorca, a resort city located in the Balearic Islands in Spain, with the task of putting the Black Metal genre back in the shadow of the glory it had in the 90’s, following the label from the most infamous bands from that period as a pure conceptual beginning (but excluding arsoning or murders, of course), the unstoppable horde that goes by the name of Inferitvm has just released their sophomore album The Grimoires, an epic story about black magic, esoteric rituals and all the different ingredients of true classical Black Metal. Having said that, do you accept the challenge of deciphering the forbidden texts that Inferitvm have brought back to life?

Comprised of lead singer and guitarist Sorcerer V., guitarist Lord Insekkton, bassist Aghanazzar and drummer Bârg, the sound of Inferitvm is fast, raw and full of details and reminiscences, with bands like Emperor and Immortal, as well as several other renowned groups from Norway, Sweden and Finland, serving as the main inspiration for their music. Telling the story of the most important forbidden grimoires in European history, delving into the miseries and stories behind them, The Grimoires is a manual for unraveling all the mysteries of black magic, with a symphonic twist that will undoubtedly surprise all who enjoy devilish and extreme music. Furthermore, the album brings some orchestral variations which end up helping to introduce your mind into the concept and imagery of an album that’s definitely “not for children”, with its lyrics being based on ancient spells and rituals of esoteric origin, and with the majority of recital refrains expressing the prayers and rituals in a solemn and profound way.

Phantasmagorical keys generate a menacing ambience in the intro Trithemius, before Inferitvm comes ripping with the sonic onrush titled Codex Gigas, where Sorcerer V. gnarls and vociferates like a demon to the imposing beast by Bârg. Moreover, Sorcerer v. and Lord Insekkton bring tons of melody to the musicality with their strings, flirting with contemporary Melodic Black Metal but still sounding loyal to the foundations of classic Black Metal. Then their devastation goes on in the sulfurous and pulverizing Clavicula Salomonis, a lecture in Black Metal bringing forward the most malevolent elements of the genre spearheaded by Sorcerer V.’s infernal roars; and there’s no time to breathe as the quartet keeps blasting sheer obscurity through their damned instruments in Malleus Maleficarum, with Sorcerer V. and Lord Insekkton being on fire with their riffs and solos throughout this marching mass of absolute evil.

In Goetia of Shadows, Bârg and Aghanazzar keep smashing their instruments nonstop, generating a reverberating sound that will please all fans of the genre, all balanced by some very harmonious guitar lines and hellish growls, whereas Galdabrök is another hammering, disturbing hymn of darkness by Inferitvm, with Bârg and his pounding drums dictating the rhythm while Sorcerer V. grasps the song’s obscure lyrics poetically and darkly. In Liber Lux Tenebris, the scorching hot guitars by Sorcerer V. and Lord Insekkton add a touch of Doom Metal to their already infernal music before all hell breaks loose in another feast of old school Black Metal perfect for banging your head in the name of evil. And De Occulta Philosophia is probably one of the most disturbing songs of the whole album (if not the most), where all band members make sure they extract the most Stygian sounds form their instruments, in special the band’s infernal guitar duo with their classic riffage, ending in the most unsettling way possible.

Fortunately for all fans of extreme music, the last batch of songs from The Grimoires is just as thrilling and vile as the rest of the album, starting with La Poule Noire, presenting a classic Scandinavian Black Metal sound with the band’s own twist, sounding as violent as it can be, with its guitar solos creating an interesting paradox with the blast beats delivered by Bârg; followed by De Praestigiis Daemonum, a truly infernal aria where Inferitvm crush our minds mercilessly with their brutality, darkness and rage, or in other words, a demolishing Black Metal tune with a few breaks and variations added to bring more taste and punch to the overall result. And last but not least, the cryptic vocalizations by Sorcerer V. ignite the closing tune titled De Umbrarum Regni, spiced up with nuances of Doom Metal and Blackened Doom, remaining creepy and atmospheric until its visceral ending.

In a nutshell, this unstoppable Spanish horde more than succeeds in telling stories of black magic and evil spells in the form of the pulverizing Black Metal found in The Grimoires (available for a full listen on Spotify), and in order to show your true support to those four horsemen of old school Black Metal simply follow them on Facebook, and grab your copy of such distinct album from their BandCamp page, from the Inverse Records webstore, from iTunes or from Amazon. Because, in the end, all you have to do is let the ancient spells and malignancy flowing from the music by Inferitvm consume your soul, keeping the flame of 90’s Black Metal burning bright for decades to come.

Best moments of the album: Clavicula Salomonis, Malleus Maleficarum and De Occulta Philosophia.

Worst moments of the album: None.

Released in 2019 Inverse Records

Track listing
1. Trithemius 1:23
2. Codex Gigas 5:46
3. Clavicula Salomonis 6:55
4. Malleus Maleficarum 6:23
5. Goetia of Shadows 6:04
6. Galdabrök 5:14
7. Liber Lux Tenebris 5:41
8. De Occulta Philosophia 7:01
9. La Poule Noire 5:30
10. De Praestigiis Daemonum 5:02
11. De Umbrarum Regni 5:26

Band members
Sorcerer V. – vocals, guitar
Lord Insekkton – guitar
Aghanazzar – bass
Bârg – 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 – Dødsfall / Døden Skal Ikke Vente (2019)

An unstoppable Black Metal force from Norway returns with their long-awaited fifth album, containing 10 new unrelenting tracks of pure hate and anger.

After four years of silence, the unstoppable Norwegian Black Metal force known as Dødsfall returns with their long-awaited fifth album, entitled Døden Skal Ikke Vente, or “death shall not wait” from Norwegian, containing 10 new tracks of pure hate and anger in its best form. And their new album is the result of a huge wave of inspiration that grew up like a snowball after the release of Kaosmakt, in early 2015, resulting in a fresh and creative album holding on to their roots and the sound that was established from the very beginning on the band’s career. It can be described as a successful combination of past and present with new elements and different sources of inspiration, sounding epic, majestic and furious with a medieval touch inspired from the cold lands of the north.

Formed in 2009 in Bergen, Norway, but currently located between Gothenburg, Sweden and Oslo, Norway, Dødsfall is the brainchild of vocalist and multi-instrumentalist Ishtar, who together with newcomer Telal on drums (who has been playing with acts like Troll, Isvind, and Endezzma, to name a few) created a sulfurous and dark beast in the form of their new album Døden Skal Ikke Vente. Featuring a crushing, ominous album artwork by underground artist Pazuzuh, who previously worked with the band on the artwork of their album Djevelens Evangelie, from 2013, Døden Skal Ikke Vente will take you on a journey through vast, bitterly cold Norwegian lands, proving once again why Norway is and will always be the birthplace and home of true Black Metal.

Ishatr and Telal begin disturbing all peace and order with their ruthless blend of old school and contemporary Black Metal in Hemlig Vrede (or “secret wrath” in English), sounding very melodic and aggressive form the very first second and with Ishtar’s demonic gnarls being flawlessly complemented by Telal’s brutish blast beats. Their furious and thunderous Black Metal keeps hammering our heads in Tåkefjell (“fog mountain”), another piercing composition where the guitars by Ishtar sound as metallic as they can be, also presenting lots of breaks and variations, and consequently feeling like three or four songs in one; followed by the obscure and melancholic Svarta Drömmar (“black dreams”), where their Black Metal is darkly infused with Atmospheric Black Metal elements, with its rhythm being dictated by Telal’s precise drums and with highlights to Ishtar’s anguished growls.

Putting the pedal to the metal this infernal duo delivers a vicious onrush of violent and raw sounds entitled Grå Himlar (“gray skies”), with the riffs and solos by Ishtar cutting our skin mercilessly, and therefore setting the bar high for the rest of the album. Well, the duo doesn’t disappoint at all in the following track, Kampsalmer (“battle hymns”), a headbanging, marching chant showcasing bestial riffs and demonic roars all enfolded by a truly menacing ambience, and the music remains vile and sulfurous until its epic ending. Then led by the pounding drums by Telal and displaying an inspired Ishatr on the guitar we have the full-bodied, intricate tune entitled I de Dødens Øyne  (“in the eyes of death”), a song tailored for admirers of classic Black Metal who also love to raise their horns and slam into the pit in the name of extreme music.

Continuing with their feast of incendiary and dark sounds they offer us all Ødemarkens Mørkedal (“the dark valley of the wilderness”), an ode to Scandinavian Black Metal where Ishtar growls and roars in a bestial way while Telal keeps crushing his drums nonstop, whereas the heavy-as-hell guitar lines by Ishtar ignite the flammable För Alltid I Min Sjæl (“forever in my soul”), a mid-tempo Black Metal extravaganza where Ishtar and Telal are on fire from start to finish, sounding as infernal and sharp as possible. The last song of the album, named Ondskapelse (“evil hands”), brings more of their hellish Scandinavian Black Metal infused with Melodic Black Metal nuances, with Telal smashing his drums just the way we love it in Extreme Metal, flowing like rapid fire until the instrumental outro Skogstrollet (“forest troll”) captivates our senses with the howling sound of the cold wind, ending the album on an ethereal note.

You can better explore the chilly and vile realm of Norwegian Black Metal crafted by Dødsfall by following them on Facebook, and show your support to such talented duo by purchasing Døden Skal Ikke Vente (available for a full listen on YouTube, by the way) from their own BandCamp page, as well as from the Osmose Productions’ BandCamp or webstore, and from Record Shop X. Let all the frost, hatred and evil flowing from the music found in Døden Skal Ikke Vente embrace you, leading you on a fantastic and somber one-way journey into the absolute darkness and void we learned to love in Norwegian Black Metal.

Best moments of the album: Tåkefjell, Grå Himlar and I de Dødens Øyne.

Worst moments of the album: None.

Released in 2019 Osmose Productions

Track listing
1. Hemlig Vrede 4:30
2. Tåkefjell 4:54
3. Svarta Drömmar 5:29
4. Grå Himlar 4:29
5. Kampsalmer 4:50
6. I de Dødens Øyne 5:37
7. Ødemarkens Mørkedal 5:25
8. För Alltid I Min Sjæl 4:32
9. Ondskapelse 5:04
10. Skogstrollet (Instrumental) 1:04

Band members
Ishtar – vocals, guitars, bass
Telal – drums

Album Review – Barshasketh / Barshasketh (2019)

Dive deep into the pit of corruption crafted by an evil entity of pure, undiluted second-wave Black Metal to the sound of their highly anticipated fourth full-length opus.

Forged in the scorching fires of Wellington, New Zealand in 2007 as a solo project by KG (also known as Krigeist) with the intention of creating pure Black Metal, but currently located in Edinburgh, Scotland, the obscure and devilish entity known as Barshasketh is unleashing upon humanity their highly anticipated fourth album, simply self-titled Barshasketh, conceptually centered on Be’er Shachat, from which the band’s name derives. This term roughly translates as “pit of corruption”, a multifaceted esoteric idea concerning the self existing in a cyclical process that goes through phases of destruction, purification, and ultimate adversarial rebirth. Indeed, that conceptual arc poignantly and perfectly illustrates Barshasketh’s evolution over the years, and finds its apotheosis within the winding corridors of Barshasketh.

During its uniquely vast-yet-compact 54-minute run-time, the quartet comprised of KG on vocals, guitars and synths, GM on the guitars, BB on bass and MK on drums, vocals and synths is truly firing on all cylinders, exploring new territory with ambitious compositions and showcasing a certain percussive savagery previously unheard on previous recordings, all within the remit of pure, undiluted second-wave Black Metal. Featuring a menacing cover art and additional illustrations by Artem Grigoryev (Black Typography), Barshasketh’s brand new opus is the purest distillation of the band’s essence to date, pointing to a dark and vile future for mankind as a black sun rises at the dawn of 2019.

A somber and menacing atmosphere enfolds the band in the opening track Vacillation, a highly recommended song for admirers of the most obscure fusion of classic Black Metal with Atmospheric and Melodic Black Metal where KG gnarls demonically from the very first note while MK showcases all his skills as the excellent extreme drummer he is, followed by the also grim Resolve, continuing from where the previous tune ended (which obviously means an ode to darkness). Furthermore, KG and GM are in total sync with their scorching riffs, while BB and MK generate a dense background atmosphere with their devilish instruments. Then drinking from the fountain of old school Norwegian Black Metal we have Consciousness I, another visceral creation by the band spearheaded by MK and his unstoppable blast beats, with KG roaring and growling like a true creature form the netherworld, not to mention how the background keys also boost the song’s taste and impact considerably, whereas Consciousness II brings to our avid ears over eight minutes of damned sounds and tones, starting in a cryptic manner before exploding into classic Black Metal for our total delight. The stringed trio KG, GM and BB simply slash our senses with their axes, with the music also presenting some disturbing Blackened Doom-inspired passages.

Ruin I sounds and feels brutal and piercing form the very first second, a lecture in Black Metal not for the lighthearted with all band member extracting pure evil from their instruments, in special MK and his demolishing drums, while the second act entitled Ruin II sounds a lot more melodic and obscure, crushing our senses in over seven minutes of putrid Black Metal spearheaded by KG’s infernal growls and MK’s visceral beats, all enfolded by the hellish riffs by KG and GM and flowing majestically until its grand finale. The second to last blast of extreme music by Barshasketh, named Rebirth, is just as demonic as its predecessors, with all instruments exhaling demonic notes, especially KG and GM who penetrate deep inside our damned souls with their guitar lines, setting the tone for the closing song Recrudescense, a tribute to all things evil where the smell of death and despair reeks in the air for over nine minutes, with KG leading his horde of darkness with his visceral growls. Moreover, it’s truly impressive how the music gets more intense and vile as time goes by, with all violence and hatred giving place to a phantasmagorical ending that will haunt our souls forever and ever.

Actually, you don’t need all the detailed review and explanation above to purchase your copy of Barshasketh from the W.T.C.Productions BandCamp. All you need to know is that it’s vile, macabre and thunderous, just the way we all love in true Black Metal. Also, don’t forget to follow the band on Facebook, therefore showing your true support to underground extreme music, and finally succumb to the darkest side of Black Metal to the sound of their infernal but at the same time very melodic and dense new album, diving deep into their “pit of corruption”. However, I must warn you that once you join Barshasketh down there, there’s no turning back (as if you would want to return from such distinct place, I might say).

Best moments of the album: Vacillation, Consciousness I and Recrudescense.

Worst moments of the album: Rebirth.

Released in 2019 W.T.C.Productions

Track listing
1. Vacillation 5:29
2. Resolve 5:10
3. Consciousness I 6:24
4. Consciousness II 7:53
5. Ruin I 4:47
6. Ruin II 7:26
7. Rebirth 6:30
8. Recrudescense 9:31

Band members
KG – vocals, guitars, synths
GM – guitars
BB – bass
MK – drums, vocals, synths

Album Review – Eternal Sacrifice / Ad Tertium Librum Nigrum (2018)

Relive the glory of 90’s Black Metal by listening to “the third black book” diabolically brought into being by one of the most important names from the Brazilian extreme music scene.

Forged in the already distant year of 1993 in the blazing fires of Salvador, the capital of Brazil’s northeastern state of Bahia, a malevolent Pagan/Black Metal unity that goes by the name of Eternal Sacrifice has been haunting our souls since their inception, aiming at delivering a detailed and obscure new concept inside the Pagan Black Metal genre and, therefore, creating their own unique sound from an amalgamation of influences and styles. Now in 2018 the horde comprised of M. T. L. H. Anton Naberius on vocals, Charles Lucxor Persponne on the guitar, Marquis Orias Snake also on the guitars and bass, Sado Baron Szandor Kastiphas on keyboards and Frater Deo Sóror Comite Ferro on drums is firing upon humanity their third concept album, entitled Ad Tertium Librum Nigrum, taking the Pagan Black Metal to a level never reached by another band in terms of sound and graphic production.

Featuring a Luciferian artwork by Brazilian designer Alan Luvarth and celebrating 25 years in the career of Eternal Sacrifice, Ad Tertivm Librvm Nigrvm, which by the way is Latin for “the third black book”, presents around one hour of malevolent sounds split into ten unrelenting new songs (all carrying fantastic names, by the way), consolidating the name of such distinct entity in the vanguard of the Brazilian Pagan Black Metal scene. “Ad Tertivm Librvm Nigrvm is the greatest proof that strength and perseverance always win; it is an album full of symbologies and spells, made exclusively for those who enjoy the songs of the left hand,” said the band’s frontman Naberius, positioning the album as an indispensable work for those who have experienced the glory of 90’s Black Metal, and for those who seek to know more about that golden age of extreme music.

Somber, smooth piano notes kick things off in the intro curiously titled Introiro, before the guitars by Charles and Orias generate an embracing atmosphere in The Three Mashu’s Seals – The Conquest of the Ganzir and Arzir Gates (Hazred Area), bringing the most melodic elements from modern-day Black Metal without losing their raw old school sonority, feeling like a hybrid of the early days of Dimmu Borgir, Cradle of Filth and Marduk, with the keys by Kastiphas adding an extra touch of malignancy to the musicality. And this Brazilian horde keeps invading our minds with their relentless and demonic music in the 8-minute Melodic Black Metal extravaganza The Vision of the Light of the Sculptures in the Monument of Mashu (The Black Book of Signs and Evil Spells), with Frater crushing his drums while Kastiphas keeps blasting ethereal sounds through his keys, all spearheaded by the Stygian and cryptic growls and vociferations by Naberius.

The Amulet, the Fire and the Seals of Wisdom in the Course of a Triple Life carries a stunning name for an Extreme Metal song, with the slashing riffs by Charles and Orias dictating its rhythm, while Naberius roars and gnarls like a true demonic entity throughout the entire song and Frater keeps the ambience as eerie and menacing as it can be with his drums. Then we have The Revelations of the First Sigil, Lucifer, After a Saga of Delusions and Battles, a mid-tempo tune where all band members fire blackened sounds and tones with highlights to the demented growls by Naberius, not to mention how in sync the band’s stringed duo is with Kastiphas’ phantasmagorical keys, and there’s no time to breathe as Eternal Sacrifice keep firing blasphemy in the form of Pagan Black Metal in When Angel of Light in Ur, in Invoking the Second Sign Agga, even more eccentric and devilish than its predecessors albeit not as gripping, despite getting back to a to a more violent and demolishing sonority in its final part.

Epic keys and guitars, unstoppable drums and a huge dosage of malignancy from Naberius’ otherworldly growls are the main ingredients in Nasha, Restitution of Double the Light (Luce) and Harmony (Fer) – Pagan’s Calls, a visceral fusion of Black and Pagan Metal setting fire to the atmosphere in a thrilling manner (not to mention how pulverizing Charles and Orias are with their infernal axes), followed by Interludium, an epic bridge that captivates our senses for their final blast of Epic and Pagan Black Metal titled The Emptiness, the Guard of the Sortileges and the Time in which the Dust Takes the Rites, starting with an acoustic guitar accompanied by the howling sound of the wind, and gradually morphing into some sort of obscure mass of old school Black Metal infused with Symphonic and Pagan Black Metal elements, with the music flowing like a frantic creature in the dark led by Naberius and his wicked vocalizations, until all fades into the Mephistophelian outro Prologum, an ode to Lucifer that puts a climatic, creepy and hellish end to such blasphemous album.

After all is said and done, Ad Tertium Librum Nigrum, available for a full listen on YouTube and on sale from the Hammer of Damnation’s BandCamp page or webstore, can indeed be considered a modern-day masterpiece in Pagan Black Metal, becoming even more important in the Brazilian scene due to the constant struggles every metal band has to face to survive in the country. Hence, don’t forget to show your support to Eternal Sacrifice by getting in touch with them through their Facebook page, by buying their new opus, and of course by enjoying reading (or I should say listening to) “the third black book” by this ruthless and demonic South American horde.

Best moments of the album: The Three Mashu’s Seals – The Conquest of the Ganzir and Arzir Gates (Hazred Area), The Amulet, the Fire and the Seals of Wisdom in the Course of a Triple Life and Nasha, Restitution of Double the Light (Luce) and Harmony (Fer) – Pagan’s Calls.

Worst moments of the album: When Angel of Light in Ur, in Invoking the Second Sign Agga.

Released in 2018 Hammer Of Damnation/Sangue Frio Records

Track listing    
1. Introiro 1:50
2. The Three Mashu’s Seals – The Conquest of the Ganzir and Arzir Gates (Hazred Area) 8:00
3. The Vision of the Light of the Sculptures in the Monument of Mashu (The Black Book of Signs and Evil Spells) 8:03
4. The Amulet, the Fire and the Seals of Wisdom in the Course of a Triple Life 6:27
5. The Revelations of the First Sigil, Lucifer, After a Saga of Delusions and Battles 5:12
6. When Angel of Light in Ur, in Invoking the Second Sign Agga 6:18
7. Nasha, Restitution of Double the Light (Luce) and Harmony (Fer) – Pagan’s Calls 7:59
8. Interludium 2:10
9. The Emptiness, the Guard of the Sortileges and the Time in which the Dust Takes the Rites 8:22
10. Prologum 3:08

Band members
M. T. L. H. Anton Naberius – vocals
Charles Lucxor Persponne – guitars
Marquis Orias Snake – guitars, bass
Sado Baron Szandor Kastiphas – keyboards
Frater Deo Sóror Comite Ferro – drums

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 – Immortal / Northern Chaos Gods (2018)

The Gates of Blashyrkh have finally opened again to the sound of the pulverizing new album by the Northern Chaos Gods of Black Metal.

The Gates of Blashyrkh have finally opened again now in 2018 thanks to Bergen’s own Black Metal institution Immortal, who after nine long and excruciating years of the release of their 2009 album All Shall Fall are back in action with a brand new opus titled Northern Chaos Gods, a beyond fantastic comeback for one of the trailblazers of Norwegian Black Metal. The first album after the departure of founder, frontman and guitarist Abbath from the band in 2015, Northern Chaos Gods marks the longest gap between two studio albums by Immortal, but the wait was definitely worth it as Immortal sound extremely sharp and vile throughout the entire album, proving once again why they’re still an unstoppable force of frost and ice.

Featuring a dark and straightforward cover art by Norwegian artist Jannicke Wiese-Hansen, Northern Chaos Gods showcases an inspired Demonaz (Harald Nævdal) on vocals and guitar (for the first time since 1997) and a brutal and extremely precise Horgh (Reidar Horghagen) on drums, accompanied by guest bassist Peter Tägtgren. In an interview before the album’s release, Demonaz said he wanted to make the album as “grim, dark and cold as possible”, and Immortal more than succeeded in their quest for extreme music, delivering a raw piece of Norwegian Black Metal that takes the band right back to its early sound. Each and every song in Northern Chaos Gods is a lecture in darkness, pointing to a bright (or I should say obscure) future ahead of a band that might have suffered a few losses since their inception in the far, far away year of 1991, but that stands triumphant and loyal to their roots no matter what.

The title-track Northern Chaos Gods comes crushing mercilessly in an absolute sonic devastation blasted by Demonaz with his fulminating riffs and Horgh with his classic Black Metal blast beats, resulting in a truly old school tune but without sounding obsolete or cheesy, not to mention the excellent job done by Demonaz with his infernal roars. As violent and somber as its predecessor, Into Battle Ride is an ode to Black Metal with highlights to the lancinating guitar lines by Demonaz and the thunderous bass lines by Peter, also bringing inspiring lyrics vociferated by Demonaz (“The sword of thunder and lightning is on the rise / From the north the gods of wrath descend / The storm of war nearing, black in its sign / Now vengeance shall enter again, feared by mortals / Our yearning steel strong hands / Thundering hooves strike above dying men / Down the black valleys arise through the haze / From the mountains, hear battle and death”); whereas Gates to Blashyrkh is a lot more melodic and rhythmic, perfect for banging your head and raising your horns to the hellish duo Demonaz and Horgh. Put differently, simply ride together with Immortal to the Gates to Blashyrkh and enjoy a huge dosage of top-of-the-line Melodic Black Metal invading your senses. And Grim and Dark is another cadaveric and sinister creation by this Norwegian entity, led by the slashing riffs by Demonaz while Horgh keeps crushing his drums nonstop, flowing majestically until its crisp and ominous ending.

There’s no time to breathe with more traditional Black Metal in Called to Ice, with Demonaz’s visceral riffage being effectively accompanied by the galloping sound of drums and bass in five minutes of classic Norwegian Black Metal for diehard lovers of the genre, before a smooth and melancholic intro quickly explodes into a lecture in modern-day Black Metal in Where Mountains Rise, a headbanging tune where Horgh’s beats sound amazingly crisp and heavy while Demonaz keeps slashing his strings with sheer precision and vocalizing the song’s beautiful, poetic words (“For the mighty mountains I ride / Through the woods beyond the snow / Like a fire among the stars, beyond the clouds she rise / There’s no fire from the sun, in this dark under the moon / My blackened sight beholds the stars, and fallen suns below”). Back to a more extreme and piercing sonority we have Blacker of Worlds, where Horgh presents his violent bulldozer mode and with Demonaz and Peter delivering a storm of blackened sounds through their stringed weapons, hammering our heads until Mighty Ravendark strikes our minds like a thunderbolt, exhaling malignancy, darkness and evil. Moreover, Horgh and Peter generate a massive wall of sounds with their drums and bass, respectively, while the hell raiser Demonaz keeps growling and gnarling in a devilish manner during the song’s over nine minutes of Epic Black Metal, putting a majestic ending to one of the best comebacks in the history of metal.

In summary, Northern Chaos Gods, available in different formats from the Nuclear Blast website, is more than just a comeback as already mentioned, but the rebirth of one of the biggest exponents of classic Black Metal even when no one else believed the band could get back on track after such turbulent period in their career. Well, they’re not called Immortal in vain, and after such pulverizing album we can rest assured Demonaz and Horgh will keep the flame of Norwegian Black Metal burning bright wherever they go. Because in the end we’re talking about the true “Northern Chaos Gods of Black Metal”, and they’ll keep riding into the battlefield side by side with us, fans of extreme music, until their final and bitterly cold breath.

Best moments of the album: Northern Chaos Gods, Where Mountains Rise and Mighty Ravendark.

Worst moments of the album: None.

Released in 2018 Nuclear Blast

Track listing    
1. Northern Chaos Gods 4:25
2. Into Battle Ride 3:50
3. Gates to Blashyrkh 4:38
4. Grim and Dark 5:27
5. Called to Ice 5:06
6. Where Mountains Rise 5:51
7. Blacker of Worlds 3:43
8. Mighty Ravendark 9:14

Band members
Demonaz – vocals, guitars
Horgh – drums

Guest musician
Peter Tägtgren – bass (session)