Category Archives: 2021 New Releases

Album Review – Yoth Iria / As The Flame Withers (2021)

Posted on by
Reply

Dark, diabolical, and majestic while taking a fresh look into 90’s Greek Black Metal with a nostalgia of the past and a twist into the future. That’s what these infernal veterans have to offer in their newborn spawn.

Forged in the fires of Athens, Greece in 2019 by bassist Jim Mutilator, a founding member of legendary Greek Black Metal band Rotting Christ, and vocalist The Magus, who formed Necromantia in 1989 together with Baron Blood (R.I.P.), one of the most influential and avantgarde bands of the scene, Hellenic Black Metal outfit Yoth Iria is an amalgam of the influences and visions of its creators, sounding dark, diabolical, emotional, powerful and majestic while taking a fresh look into 90’s Greek Occult Black Metal with a nostalgia of the past and a twist into the future. Now in 2021, the duet which developed and pioneered the underground scene back in the day is ready to crush our souls with their first full-length album, titled As The Flame Withers. Recorded, mixed and mastered at Pentagram Studio by Yoth Iria and George Emmanuel (Rotting Christ, Septicflesh, Lucifer’s Child), and displaying a Stygian artwork by Indian artist Harshanand Singh, As The Flame Withers represents everything this primeval entity stands for, supported by guest musicians George Emmanuel on the guitars, John Patsouris on keys and J.V. Maelstrom (Dephosphorus, Nigredo) on drums, dragging the listeners into the pits of the underworld and keeping them there forever in pitch black darkness.

The Children of Bodom-inspired riffage by George kicks of the melodic and infernal The Great Hunter, bringing to our ears old school Norwegian Black Metal blended with the epicness of Behemoth and Rotting Christ, whereas mesmerizing, imposing sounds permeate the air in the insane title-track Yoth Iria, showcasing beyond obscure lyrics growled by The Magus (“For aeons he laid dormant / speaking through dreams / conspiring in visions / watching from his Throne / Arch-Priest and King / of the Seven Hells / The Highest of Angels / the Brightest of them all”) while his bandmates keep the atmosphere as heavy and somber as possible. Then it’s time for George and Jim to slash their respective guitar and bass in the very melodious but of course heavy-as-hell Hermetic Code, a very atmospheric creation by the band offering our ears a good dosage of Doom Metal added to their core ferocity; and arising from the pits of the underworld like a demonic entity, The Magus and Jim bring forward Demonaz-inspired vocalizations and dirty, rumbling bass lines in The Mantis, with the background keys by John Patsouris sounding insanely epic while J.V. Maelstrom hammers his drums mercilessly.

In the excellent The Red Crown Turns Black we face more of their blasphemous lyrics (“From the deserts of Saturn / and the depths of the Abyss / the General of Chaos / the Devourerof Souls”) while the music sounds like a demonic fusion of Behemoth, Immortal and Children of Bodom, with George being once again sensational with his wicked riffs and solos, and rocking guitars and classic beats ignite the Stygian extravaganza titled Unborn, Undead, Eternal, reminding me of some of the most recent creations by Rotting Christ, with The Magus gnarling like a creature from the netherworld nonstop. The second to last explosion of their Ritualistic Black Metal comes in the form of Tyrants, where The Magus’ roars are effectively supported by the hellish kitchen by Jim and Maelstrom, resulting in another doomed, thunderous aria blasted by this talented Greek horde, while Jim continues to smash his bass in the closing tune The Luciferian, accompanied by the grim guitars by George. Once again blending old school Black Metal with Doom Metal and more contemporary styles, the song unfortunately loses its grip after a while, albeit nothing that could do any harm to such powerful album.

In the end, As The Flame Withers, which is by the way available for a full listen on YouTube, is exactly what such prominent duo from the Greek Black Metal scene is saying the album is, an ode to the early days of the genre without sounding outdated, tiresome nor bland at all. Hence, if you want to explore their obscure realm in more detail and stay updated with all things Yoth Iria, you can start following the band on Facebook and on Instagram, and of course purchase your copy of As The Flame Withers from the Pagan Records’ BandCamp page or webstore (including the CD and black LP versions of the album), as well as from Record Shop X. It’s indeed a true pleasure witnessing two trailblazers of the Greek Black Metal scene generating such infernally dark music with so much punch and potency even after all these decades on the road, proving once again extreme music can be a true fountain of youth for many, while the flames of Black Metal keep burning the souls of the unbelievers for all eternity.

Best moments of the album: Yoth Iria, The Mantis and The Red Crown Turns Black.

Worst moments of the album: The Luciferian.

Released in 2021 Pagan Records

Track listing
1. The Great Hunter 4:24
2. Yoth Iria 5:41
3. Hermetic Code 6:34
4. The Mantis 7:19
5. The Red Crown Turns Black 6:26
6. Unborn, Undead, Eternal 5:14
7. Tyrants 4:51
8. The Luciferian 6:32

Band members
The Magus – vocals
Jim Mutilator – bass

Guest musicians
George Emmanuel – guitars (session)
John Patsouris – keys (session)
J.V. Maelstrom – drums (session)

Album Review – Nervosa / Perpetual Chaos (2021)

Posted on by
2

What happens when you put together four metalheads hailing from Brazil, Italy, Spain and Greece? A deadly and thrashing lesson in perpetual chaos, of course.

Staying true to their roots while exploring new terrains with a revitalized international line-up now comprised of Brazilian founding guitarist Prika Amaral, Spanish growler Diva Satanica (of Bloodhunter), Italian bassist Mia Wallace (of bands such as Abbath, Triumph of Death and The True Endless) and Greek drummer Eleni Nota (of Lightfold and Mask of Prospero), the ruthless all-female Death and Thrash Metal powerhouse Nervosa is ready to attack with inexorable fury, pungently sharp riffs and aggressive vocals on the 13 massive tracks from their newborn spawn, entitled Perpetual Chaos, the follow-up to their critically acclaimed 2018 opus Downfall Of Mankind. Recorded at Artesonao Casa de Grabación Studio in Málaga, Spain, produced by Prika Amaral and Martin Furia at Studio Porino, and mastered by Yarne Heylen, Perpetual Chaos builds upon the turbulence, adding diverse musical elements to create an infallible new standout that will strike the listener in a way only Nervosa could, therefore placing the album as one of the best releases of 2021 hands down.

The unstoppable Prika ignites their thrashing machine with her flammable riffs in the brutal Venomous, sounding pulverizing from the very first second with Diva Satanica being a true she-demon on vocals while Eleni showcases all her skills and rage on drums, whereas in Guided by Evil the rumbling, obscure sounds blasted by Mia and Eleni are everything Diva Satanica needs to growl the song’s vile words (“Desire consumes you, blinds you, takes you off the line / But you go slowly cause all you do is lie / Every step taken, misfortune is your delight / Tormented by feelings, swallowed by quicksand”) in another ass-kicking fusion of Death, Thrash and Black Metal. Following such frantic start, People of the Abyss is perhaps one of the most infuriated and heaviest of all songs in the history of Nervosa where Prika will pierce your ears mercilessly with her classy riffs and solos accompanied by the devilish bass by Mia, therefore inflicting some serious pain in your neck due to the intense headbanging needed. And more of their demented and grim sounds is offered in the title-track Perpetual Chaos, with Eleni and Prika making a hellish duo and, consequently, providing Diva Satanica a solid base for her to haunt our souls with her otherworldly screeches and gnarls.

Featuring guest guitarist Guilherme Miranda (of Entombed A.D.), Until the Very End is a high-octane fusion of Death and Thrash Metal brought forth by those unrelenting women where Prika is once again phenomenal armed with her killer strings; and it’s time for Nervosa to smash our skulls mercilessly in Genocidal Command, with German thrash legend Schmier, from the one and only Destruction, making a demented vocal duo with Diva Satanica, always supported by the thunderous kitchen by Mia and Eleni. Slower but heavy-as-hell, Kings of Domination presents hints of Groove Metal added to the guitar lines by Prika and the bass jabs by Mia, resulting in the perfect sound for headbanging like there’s no tomorrow, while Time to Fight is another short and sweet display of their thrashing savagery, inviting us all to slam into the pit while Eleni pounds her drums in great fashion. If you think the girls from Nervosa are tired already of so much violence, you better get ready for more of their Stygian sounds in Godless Prisoner, showcasing a straightforward sonority led by Prika while Eleni dictates the pace with her solid beats, albeit not as powerful as the other songs from the album.

Blood Eagle gets back to a more ferocious and somber musicality, with Prika and Mia being in total sync with their stringed weapons while Diva Satanica adds her personal dosage of Death Metal to the band’s core Thrash Metal through her devilish gnarls; and Eric A.K. (of Flotsam and Jetsam) lends his trademark vocals to Rebel Soul, a Motörhead-inspired metal extravaganza that will invite you to raise your horns and bang your head like a beast, bringing forward Diva Satanica and Eric on absolute fire from start to finish. Never slowing down nor selling out, and always loyal to the foundations of Thrash Metal, the band offers us all Pursued by Judgement, with Mia hammering her evil bass accompanied by the crushing drums by Eleni, keeping the album at a high level of animosity before we’re treated to the closing tune Under Ruins, presenting disruptive words viciously barked by Diva Satanica (“I feel death coming / Getting lonelier everyday / In the cravings that consume me / Self destruction without limits”) while her bandmates make sure the electricity keeps flowing nonstop through their wicked instrumental.

To be fair, I was a little worried about the future of Nervosa after the departures of vocalist and bassist Fernanda Lira and drummer Luana Dametto last year, but the moment Prika announced Diva Satanica, Mia Wallace and Eleni Nota as the new members of her thrashing squad I was more than sure their new album would sound phenomenal to say the least based on their unique talent and background in heavy music. Well, let’s say those four metal ladies exceeded all expectations in Perpetual Chaos, delivering an album that’s at the same time brutal, melodic, thrilling and detailed. Hence, don’t forget to give the girls a shout on Facebook and on Instagram to let them know how much you enjoyed their newest creations, to subscribe to their YouTube channel for more of their distinguished music and videos, to stream all of their catalogue on Spotify, and above all that, to purchase Perpetual Chaos from their own BandCamp page or webstore (America or Europe), or simply click HERE for all locations where you can buy or stream what’s by far one of the most exciting metal albums of the year. And before I forget… VIVA PERPETUAL CHAOS!

Best moments of the album: People of the Abyss, Genocidal Command, Time to Fight and Rebel Soul.

Worst moments of the album: Godless Prisoner.

Released in 2021 Napalm Records

Track listing
1. Venomous 3:46
2. Guided by Evil 3:30
3. People of the Abyss 3:27
4. Perpetual Chaos 3:39
5. Until the Very End 3:18
6. Genocidal Command 2:56
7. Kings of Domination 3:41
8. Time to Fight 2:32
9. Godless Prisoner 3:19
10. Blood Eagle 3:41
11. Rebel Soul 3:17
12. Pursued by Judgement 3:27
13. Under Ruins 3:57

Band members
Diva Satanica – lead vocals
Prika Amaral – guitar, backing vocals
Mia Wallace – bass
Eleni Nota – drums

Guest musicians
Guilherme Miranda – additional guitars on “Until the Very End”
Schmier – additional vocals on “Genocidal Command”
Eric A.K. – additional vocals on “Rebel Soul”

Album Review – Booze Serpent / Slices Of Death (2021)

Posted on by
Reply

Turkey’s own Death Metal one-man army is ready to strike his venom once again through his first full-length opus, featuring nine original tracks of sick, alcohol-fueled terror.

Hailing from the dark pits of Antalya, a gateway to Turkey’s southern Mediterranean region, Death Metal one-man army Booze Serpent was formed back in 2019 by vocalist and multi-instrumentalist Serpent as an ode to 1980’s horror B-movies and H.P. Lovecraft novels, having already released in 2020 the project’s five-track debut EP Drünkard. After less than one year, Serpent returns in full force with his first full-length effort, the sick, alcohol-fueled terror party entitled Slices Of Death, offering us fans a high dosage of old school Death Metal with no shenanigans nor any artificial elements. Mixed and mastered by Polish musician Mikołaj Krzaczek (Thamnos Records), displaying a classic artwork by Death Rattle, and featuring an array of guest musicians such as Cezary Borawski on drums and Burak Ulugüney (of Minus Life) on keys, Slices Of Death was recorded entirely live, with no drum machines nor midi used in the recordings, giving it a more organic, honest and, therefore, violent feel throughout its nine inebriate and visceral tracks of groovy death.

An ominous, atmospheric intro ignites Booze Serpent’s evil brewing machine, morphing into the venomous Dead Fak, where Serpent blends a high dosage of Black, Death and Thrash Metal in his infernal riffs and screams; whereas Turkey’s own one-man horde gets the support of guitarist Gavin Brooks with a sick solo in Man-Eating Plant, while Cezary keeps hammering his drums nonstop, leaning towards contemporary Blackened Death Metal. Then guest drummer Jeremiasz Baum (of The Materia) lends his violence to Booze Serpent in Motel Hell, another short and sweet homage to darkness and drinking where the deep gnarls by Serpent will haunt your soul during your sleep, also presenting the trademark futuristic keys by Burak. And Serpent keeps slashing his guitar and bass in the straight-to-the-point, headbanging tune They Live We Drink!, another heavy and unfriendly creation showcasing the most visceral elements from Black and Death Metal, featuring a guest guitar solo by Gavin Brooks.

Venturing through the realms of Deathslam and Brutal Death Metal, Serpent fires the sick and vile The Beast (Pumpkinhead), blasting sheer rage through his demented riffs and growls, and all spiced up of course by the pounding beats by Cezary. Then uniting the obscurity of Black Metal with the bloodthirsty sounds of Death Metal we’re treated to The Animal, showcasing a bestial guest guitar solo by Croc (of Axxen Conners), resulting in the perfect tune for cracking our necks headbanging to the sound of Serpent’s hellish roars, while guest drummer Charlie Nicholson (of Psychosexual) brings his share of dementia to the short and pulverizing Live Brains!, a tribute to zombie flicks from the 80’s where Serpent sounds even more demonic than before on vocals, not to mention his infernal bass jabs and cutting riffs. The epic and imposing keys by Burak make the final result even more Stygian in Resurrected In Chapman Labs, where the cryptic lyrics barked by Serpent are complemented by his own razor-edged guitars and low-tuned bass, flowing into the atmospheric outro Slices Of Death, where grim piano notes permeate the air in the best Cradle of Filth and Dimmu Borgir-inspired style.

Dedicated to Serpent’s dearest friend Onur Soyulmaz, who sadly passed away in 2018, Slices Of Death is indeed a fantastic display of underground extreme music made in Turkey, bringing to our ears endless amounts of fury, electricity, heaviness and acidity, which obviously translates into awesomeness after all is sad and done. Hence, don’t forget to show your utmost support to such skillful Turkish metaller by following his project on Facebook and on Instagram, and of course by grabbing your sulfurous, alcohol-infused copy of Slices Of Death directly from Booze Serpent’s own BandCamp page, raising your glass high in the sky in the name of horror movies and Death Metal, and getting absolutely drunk to the sound of Serpent’s venomous compositions on a dark and bitterly cold winter night.

Best moments of the album: Man-Eating Plant, The Beast (Pumpkinhead) and Live Brains!

Worst moments of the album: None.

Released in 2021 Plague Demon Records

Track listing
1. Intro/Dead Fak 4:19
2. Man-Eating Plant 3:04
3. Motel Hell 2:58
4. They Live We Drink! 2:50
5. The Beast (Pumpkinhead) 2:16
6. The Animal 3:18
7. Live Brains! 2:14
8. Resurrected In Chapman Labs 3:00
9. Slices Of Death 2:28

Band members
Serpent – vocals, guitar, bass

Guest musicians
Burak Ulugüney – intro, keys
Gavin Brooks – lead guitar on “Man-Eating Plant” and “They Live We Drink!”
Croc – lead guitar on “The Animal”
Cezary Borawski – drums on “Intro/Dead Fak”, “Man-Eating Plant”, “They Live We Drink!”, “The Beast (Pumpkinhead)”, “The Animal” and “Resurrected In Chapman Labs”
Jeremiasz Baum – drums on “Motel Hell”
Charlie Nicholson – drums on “Live Brains!”

Album Review – Kabbalah / The Omen (2021)

Posted on by
Reply

Succumb to the dark side to the sound of the Occult Rock with a subtle Spanish folk and western vibe by this talented coven, looming in the dark, esoteric realms of witchcraft.

Hailing from Pamplona, Spain, Occult Rock all-female trio Kabbalah was formed on the ashes of local outfit Las Culebras, looming in the dark, esoteric realms of witchcraft and closed door arts while starting a prolific cycle of music by self-releasing three EP’s, those being Kabbalah, Primitive Stone and Revelations, between 2013 and 2016, progressing to their 2017 debut album Spectral Ascent. Now in 2021 it’s time for Alba DDU (vocals, guitar), Marga Malaria (vocals, bass) and Carmen Espejo (vocals, drums) to come back to life with their sophomore full-length opus entitled The Omen, where their 70’s rock influences are sprinkled with a subtle Spanish folk and western vibe while keeping the heaviness intact. In The Omen, Kabbalah cultivate their distinctive cross of influences moving between heavy riffs, harmonized vocals and killer songwriting, with its cover art, referencing the Kutná Hora ossuary located in the Czech Republic, welcoming listeners to the ill-fated cosmos portrayed in the album.

Those Spanish rockers begin their feast of Doom Metal and Heavy Rock with Stigmatized, heavily inspired by the sound of the Dio-era Black Sabbath, with Marga shaking the foundations of the earth with her sick bass while the song’s mesmerizing vocals are beautifully spiced up by the damned beats by Carmen. And Alba brings forward the power of the riff in Ceibas, being in absolute sync with Marga’s dirty bass jabs in a lecture in Occult Rock with tons of elements from 70’s Psychedelic Rock and 80’s Hard Rock; followed by Night Comes Near, offering us all more of their delicate but piercing sounds with Carmen kicking some serious as with her rhythmic beats, dictating the rhythm and offering Alba and Marga all they need to shine with their axes. Then ritualistic words are stunningly declaimed by the trio (“Seven witches, around the fire, singing and preaching, on a night of thunder. / In the ceremony pyre, where lies the undying, the soul rises, and leaves the body.”) in The Ritual, while the music remains obscure, dense and captivating from start to finish, with the awesome Black Sabbath-like beats by Carmen being the icing on the cake.

Dark clouds are above us all in the Stygian Occult Rock extravaganza titled Lamentations, led by the minimalist but sharp riffage by Alba while Carmen fires some tribalistic beats nonstop, not to mention the fantastic job done by all three girls with their hypnotizing, witch-like vocalizations. Sounding like a song extracted form a Quentin Tarantino movie, Labyrinth is spiced up by the sensational low-tuned bass jabs by Marga, being therefore once again tailored for all admirers of the obscure and eerie sounds blasted by bands like Candlemass, Witchfinder and Pentagram; whereas despite its 70’s-inspired lyrics (“Here I am, I’ve landed in a desert, a place to be, nothing as beautiful as this is. / Orange shades, that looked so familiar, from the first time, I saw the sand.”), Duna is not as powerful as the rest of the album, sounding too polished and light at times. And last but not least, back to a more menacing and somber sonority, the trio offers our avid ears the thunderous Liturgy, where Alba is on fire with her raw riffs accompanied by the sluggish drums by Carmen, all boosted as usual by their enthralling vocal lines.

It’s time to succumb to the dark and delicious rock music crafted by those Spanish witches in The Omen, and in order to do so simply go to Spotify to stream the album in full, and of course if Occult Rock is your cup of tea you can purchase such detailed and enfolding album from several locations including the band’s own BandCamp page, Ripple Music’s BandCamp page, webstore or Big Cartel, the Rebel Waves Records’ BandCamp page, the Stoner Witch Records’ webstore or Amazon. Not only that, don’t forget to follow Kabbalah on Facebook, Instagram and YouTube, for news, tour dates and more of their occult creations, allowing this extremely talented coven hailing from Spain to drag you into their doomed lair for all eternity.

Best moments of the album: Ceibas, The Ritual and Labyrinth.

Worst moments of the album: Duna.

Released in 2021 Ripple Music/Rebel Waves Records/Stoner Witch Records

Track listing
1. Stigmatized 3:56
2. Ceibas 3:16
3. Night Comes Near 3:51
4. The Ritual 3:19
5. Lamentations 3:24
6. Labyrinth 3:47
7. Duna 3:19
8. Liturgy 4:14

Band members
Alba DDU – vocals, guitar
Marga Malaria – vocals, bass
Carmen Espejo – vocals, drums

Album Review – Salò / Sortez vos Morts EP (2021)

Posted on by
Reply

A newborn French entity brings out their dead in their debut EP of pulverizing Industrial Metal and Blackened Crust.

Labeling their own music as “Blackened Crust Industrial As Fuck”, Cherbourg-en-Cotentin, France-based Industrial/Blackened Crust outfit Salò is unleashing upon humanity their debut EP entitled Sortez vos Morts, or “bring out your dead” in English, which as the band itself says, “tells you, without telling you everything either, poor little ones, how it generally goes – after all the lights at the end of the tunnel have closed.” Recorded and mixed by Manu Laffeach at Studio Chaudelande, mastered by Cyrille Gachet at Dick Doom Studio, and featuring an apocalyptic artwork by CLLK Artwork and logo by Dehn Sora, Sortez vos Morts is highly recommended for fans of the darkest and most desperate form of Industrial Metal you can think of, showcasing all the rage and versatility of this up-and-coming quartet formed by HCT on vocals and bass, AVS on the guitars, DLE onkeyboards and samples, and NGH on drums.

There’s nothing better than kicking of an Industrial Metal album than with a wicked, cinematic intro the likes of La Morale C’est Ça… (or “the moral is that…” in English), setting the stage for the band to crush in the visceral Sans Gêne Ni Haine, or “without embarrassment or hatred”, sounding sick and demented from the very first second with AVS and NGH making an infernal duo with their respective riffs and beats, while HCT barks and roars like a rabid beast. Then the phantasmagorical keys by DLE add an extra touch of dementia to the furious fusion of Industrial Metal and Blackened Crust by Salò in Sans Toit Ni Loi (“no roof or law”), with AVS firing his Thrash Metal-inspired riffage, followed by Tant D’interdits (“so many prohibitions”), where another eerie, alternative intro morphs into a neck-breaking sonority showcasing the rhythmic drums by NGH spiced up by the sick keys and samples by DLE, not to mention how HCT effectively takes the lead with his deranged screams. Their second to last blast of industrialized sounds, titled Sonnez La Curée (“ring the quarry”), is an insane and demonic creation by the French quartet where its thrashing, Punk Rock-infused riffs, together with its rebellious attitude and Hardcore growling by HCT, turn it into the most detailed and thrilling of all songs; whereas the ruthless and hellish Contagion closes the album in the most aggressive way possible, bringing to our ears venomous screams and riffs, menacing keys and Doom Metal-inspired beats.

Sortez vos Morts is available for a full stream on YouTube, but of course if you want to truly show your support for those French metallers you should start following them on Facebook and on Instagram, and even more important than that, purchase the EP from their BandCamp page, from the Cold Dark Matter Records’ BandCamp page or Big Cartel, from the Coups de Couteau’s BandCamp page, and soon also from the Duality Records’ Big Cartel. We must all admit Sortez vos Morts is indeed an amazing start for Salò, therefore already positioning them as a driving force of the genre in their homeland, and if that’s the music we’ll all hear “after all the lights at the end of the tunnel have closed”, then we can rest assured that the other side is at least heavy, furious and frantic, just the way we like it.

Best moments of the album: Sans Gêne Ni Haine and Sonnez La Curée.

Worst moments of the album: None.

Released in 2021 Cold Dark Matter Records/Coups de Couteau/Duality Records

Track listing
1. La Morale C’est Ça… 1:04
2. Sans Gêne Ni Haine 6:53
3. Sans Toit Ni Loi 4:28
4. Tant D’interdits 4:02
5. Sonnez La Curée 6:29
6. Contagion 3:53

Band members
HCT – vocals, bass
AVS – guitars
DLE – keyboards, samples
NGH – drums

Album Review – Revulsion / Revulsion (2021)

Posted on by
Reply

This ruthless Finnish unity is on fire in their debut full-length opus, offering us all an aggressive, sharp and viciously groovy form of Death Metal that begs for repeat listens.

Hailing from Pohjois-Pohjanmaa, a region of Finland that borders Lapland, Kainuu, North Savo, Central Finland and Central Ostrobothnia, as well as the Russian Republic of Karelia, the unrelenting Death Metal unity known as Revulsion has been carving their name in the local and international scene with their aggressive, sharp and viciously groovy form of Death Metal that begs for repeat listens. Now in 2021, this furious five-piece act comprised of Aleksi Huhta on vocals, Jari Toppinen and Jarkko Viitasalo on the guitars, Tuomas Alatalo on bass and Atte Karppinen on drums returns in full force with their self-titled debut full-length opus, following on the very positive feedback received for their 2010 demo Undressing External Humanity and their 2011 EP Defiled, being highly recommended for fans of bands the likes of Dying Fetus, Depravity, Suffocation and Morbid Angel, among several others. Featuring a straightforward artwork by Polish illustrator Kuba Sokólski, the album brings forward Death Metal that is contemporary and practical, taking the best elements from all over and delivering it flawlessly without pulling any punches, helping the band pave their destructive path that started in the already distant year of 2005.

Revulsion kick off the album with Last Echoes of Life, a pulverizing, demonic extravaganza serving as the welcome card by the quintet where Aleksi is a true beast on vocals, and you can already sense a lot of Groove Metal influences in their sick Death Metal as mentioned, whereas the razor-edged riffs by Jari and Jarkko, together with the classic beats by Atte, generate a thunderous atmosphere in the menacing tune Pyre, displaying an amazing job done by all band members (in special Tuomas with his Alex Webster-inspired bass jabs). Then it’s time to slam into the circle pit like a demented metalmaniac to the sound of Walls, where Aleksi continues to bark and growl manically while his bandmates don’t let the energy level go down not even for a single second in this hammering Death Metal chant. After such infernal tune we’re treated to Mustaa Hiiltä, or “black carbon” from Finnish, and as the name already indicates it’s by far the darkest and most devilish of all songs form the album, blending the heaviness of Death Metal with the obscurity of Doom Metal, and once again presenting Tuomas’ rumbling bass to make things even more infernal; while Lihaan Sidottu Kirja (“a book bound by flesh”) brings forward another round of their deranged music, presenting Jari and Jarkko’s trademark riffage and the brutality flowing from the kitchen crafted by Tuomas and Atte. Put differently, this is Death Metal at its finest.

Revulsion Wooden Coffin Box

Blasting their sonic weapons without showing a single drop of mercy, those Finnish metallers will decimate your ears in Wastelands, again bringing forward a perfect sync between Aleksi’s hellish growling and the vicious drumming by Atte, and more of their classic Death Metal comes in the form of Unravel, offering the listener blazing riffs and smashing drums while Aleksi continues to vociferate the song’s words with tons of anger, albeit not as dynamic nor as creative as its predecessors. Back to a more ferocious sonority, it’s time for Atte to take the lead with his wicked beats and fills in Silence, while the band’s evil guitar duo continues to slash our ears with their dirty, intricate and venomous riffs; followed by Pawns, a high-octane, straight-to-the-point Death Metal explosion crafted by Revulsion that will please all fans of old school savagery, with Atte displaying all his heavy artillery throughout the song’s two intense minutes. Finally, there’s nothing better than closing the album with six minutes of sheer darkness and malevolence like what they offer us in Viimeinen Rituaali (“the last ritual”), the perfect tune for banging your head like a deranged maniac, with the Stygian riffs by Jari and Jarkko being a work-of-art.

You can find more information about Revulsion, their music, tour dates and plans for the future on Facebook and on Instagram, and of course in order to show those Finnish death metallers all your support and admiration you can purchase their bestial self-titled album from their own BandCamp page or from the Transcending Obscurity Records’ webstore by clicking HERE or HERE, but if I were you I would definitely go for the jaw-dropping Revulsion Wooden Coffin Box with laser engraving of the band logo, containing the wooden box and an 8-panel digipak CD with metallic effect and UV lamination, plus an autographed card, a metallic logo patch, a badge, a beer coaster, a bottle opener with keychain and a metallic sticker. What else can you ask for, right? This is top-notch Death Metal made in Finland that’s definitely going to stand out in your collection, showing everyone in your family and all your friends that you’re indeed a revulsive headbanging bastard.

Best moments of the album: Pyre, Mustaa Hiiltä and Lihaan Sidottu Kirja.

Worst moments of the album: Unravel.

Released in 2021 Transcending Obscurity Records

Track listing
1. Last Echoes of Life 3:06
2. Pyre 3:23
3. Walls 3:13
4. Mustaa Hiiltä 5:21
5. Lihaan Sidottu Kirja 3:49
6. Wastelands 2:42
7. Unravel 3:53
8. Silence 3:21
9. Pawns 2:09
10. Viimeinen Rituaali 5:59

Band members
Aleksi Huhta – vocals
Jari Toppinen – guitar
Jarkko Viitasalo – guitar
Tuomas Alatalo – bass
Atte Karppinen – drums

Album Review – Coldun / Grand Sun Ritual (2021)

Posted on by
Reply

Armed with their third full-length opus, this excellent German act is among us all to prove that in death nothing is absolute, and certainly not an end.

Initiated as a solo project by vocalist and multi-instrumentalist Coldun himself in 2006 in Chemnitz, a city in Saxony, eastern Germany, Atmospheric Progressive Metal act Coldun has grown into a veritable formation through the years, being currently formed by the aforementioned Coldun supported by his henchmen ZK and MR on the guitars, and NC on drums. Now in 2021 those talented musicians climb the logical next step together with their enthroned throat emperor in the project’s new and third album with the inspiring title Grand Sun Ritual, a real soul slurper that shows influences from Doom to Post-Metal, connecting both worlds throughout its over 51 minutes of atmospheric passages and grandiose, progressive music. Mixed and Mastered by Greg Chandler at Priory Recordings in Birmingham, UK and featuring a minimalist but impactful artwork by KaGo.O_O, Grand Sun Ritual revolves around the eternally topical questions of humanity about the respective meaning of life and death, With its thought-provoking lyrics showing a radically positive basic tenor, which stands for Coldun’s personal conviction that in death nothing is absolute, and certainly not an end.

Featuring guest Markus Bär on saxophone, Middle-Eastern sounds permeate the air in the mesmerizing title-track Grand Sun Ritual, with sheer poetry flowing from the song’s lyrics darkly declaimed by Coldun (“Awaked in timeless space / Bright and dark at once / Where is the coloured field I lay? / Where is the blood, where is the pain?”) while NC dictates the pace with his Doom Metal-inspired progressive beats; and more of Coldun’s atmospheric sounds and passages come in the form of The Forest And The Soul, where ZK and MR will pierce your mind with their classy riffs and solos, reminding me of some of the latest creations by bands like Insomnium with a touch of the melancholy of HIM. Then dark clouds are above us all in the Atmospheric Metal aria Down Below, once again presenting striking guitar riffs and solos supported by the solid bass jabs by Coldun, who also fires his trademark, anguished vocals in a lecture in Atmospheric Progressive Metal.

Blending the sonority of progressive music from the 80’s, 90’s and 2000’s, Coldun and his loyal squad deliver the also bold and epic Salvation Day, where ZK and MR are in absolute sync with NC, crafting a dense ambience perfect for another round of Coldun’s deep vocals. After such intense tune, it’s time to close our eyes and relax to the smooth sound of the acoustic guitars in Stories Untold, where we must all let their piercing guitar solos soothe our souls while NC keeps the rhythm as pleasant and enfolding as possible with his classic beats, and you better get ready for over nine minutes of heavy and imposing sounds in the multi-layered Hail Out To Thebes, uniting the Progressive Metal of Dream Theater with the obscurity and potency of Type O Negative and Danzig. Put differently, you’ll be absolutely stunned by such detailed and powerful aria, before Coldun close the album with the experimental, embracing song I Dreamed That Dream, where all band members do a fantastic job by crafting minimalist but dense sounds, in special their stringed trio that’s on fire from start to finish, not to mention the song’s beautiful atmosphere.

In summary, Coldun’s dark, pensive and progressive voyage offered in Grand Sun Ritual will undoubtedly please all fans of the more atmospheric side of metal music, while at the same time also point to a more introspective path ahead of this excellent German act. Hence, don’t forget to follow Coldun on Facebook for news, tour dates and other nice-to-know details about the band, to subscribe to their YouTube channel for more of their music, and above all, to grab your copy of their new album from their own BandCamp page or from Apple Music. As already mentioned, in death nothing is absolute, and certainly not an end, but in heavy music we can all say that the music by Coldun is forever, atemporal and eternal, carving Coldun’s name in the hearts of all metalheads who have the pleasure of listening to the band’s stylish creations like the ones found in their newborn opus.

Best moments of the album: Grand Sun Ritual and Hail Out To Thebes.

Worst moments of the album: None.

Released in 2021 Independent

Track listing
1. Grand Sun Ritual 7:41
2. The Forest And The Soul 6:23
3. Down Below 7:42
4. Salvation Day 8:32
5. Stories Untold 5:19
6. Hail Out To Thebes 9:16
7. I Dreamed That Dream 6:34

Band members
Coldun – vocals, bass, Hammond, synths
ZK – guitars
MR – guitars
NC – drums

Guest musician
Markus Bär – saxophone on “Grand Sun Ritual”

Album Review – Tantivy / Eyes in the Night EP (2021)

Posted on by
1

Rousing guitar lines, pummeling drums, clever compositions and gritty vocals, all in one short and sweet EP recommended for anyone who thinks life is a disease, and the only cure is Rock N’ Roll.

With the drive of Motörhead, the hooks of Judas Priest and the thrash acrobatics of Toxic Holocaust, Wausau, Wisconsin-based duo Tantivy is chomping at the bit of traditional Heavy Metal. Named for an archaic word meaning a rapid gallop or ride, Tantivy are formed by vocalist, guitarist and bassist Adam Geurink (from crust-influenced outfit Wardehns) and drummer Jon Zimick in a musical match made in hell, culminating now in 2021 with the release of their debut EP titled Eyes in the Night. Recorded by Elliot Lozier, mixed and mastered by Trevor William Church at Church Recordings, and featuring a dark and rabid artwork by The Pit Forge, Eyes in the Night is everything a fan of the music by NWOBHM and Thrash Metal titans like Iron Maiden, Metallica, Judas Priest, Dio, Toxic Holocaust, Motörhead and Anthrax, among others, can ask for, with its rousing guitar lines, pummeling drums, clever compositions and gritty vocals inspiring us all to raise our fists high in the sky in the name of our beloved heavy music.

Jon’s crushing beats and Adam’s Motörhead-inspired, dirty bass lines ignite the frantic Rock N’ Roll and Heavy Metal feast titled I Am The Wolf, an amazing option for banging your head nonstop while enjoying a cold beer, with Adam’s raspy vocals adding an extra touch of rebelliousness to such vibrant sound. Then the 70’s and 80’s are united in the form of classic Hard Rock in Cut ‘Em Loose, exploding into a visceral and raw sonority led by Adam’s razor-edged riffs while Jon makes sure the level of adrenaline goes through the roof with his sick drumming, and the duo keeps smashing their instruments like there’s no tomorrow in Daggers, bringing forward a great fusion of classic Rock N’ Roll with Punk Rock. Moreover, Adam continues to vociferate manically while slashing his stringed axes mercilessly, driving the song’s fury through the roof. Then it’s time for guest Mason Kurth to kick some ass with his bass punches in Houndin’ Ya, another fast and electrifying display of Tantivy’s passion for Heavy Metal and Rock N’ Roll where Adam’s guitar roars like a true beast, always accompanied by Jon’s solid beats and fills; and the tribal drumming by Jon kicks off the 80’s-inspired extravaganza titled Nowhere, with Adam and Jon being in absolute sync during the entire song, therefore setting fire to the atmosphere and putting a beyond thrilling conclusion to the EP. Put differently, the one and only Lemmy Kilmister (R.I.P.) would certainly be very proud of those talented rockers.

It’s extremely easy to join Adam and Jon on their frantic quest for Heavy Metal. All you need to do is follow them on Facebook and on Instagram for news, tour dates and more of their insane music, and even more important than that, purchase your copy of their amazing debut EP from their own BandCamp page to prove those unrelenting rockers you’re a worthy metalhead. Eyes in the Night is the perfect example of everything Heavy Metal has always been and will forever be, never slowing down, never giving up and never selling out, always remaining loyal to the roots of the genre and, above all, loyal to diehard fans of old school rock and heavy music. The EP might be short in duration, with only 19 minutes of music, but it’s so intense and well-crafted it sounds like a full-bodied album in the end, pointing to a very promising future for the duo in the American scene and anywhere else in the world where, as many people like to say, life is a disease and the only cure is Rock N’ Roll.

Best moments of the album: I Am The Wolf and Daggers.

Worst moments of the album: None.

Released in 2021 Independent

Track listing
1. I Am The Wolf 3:08
2. Cut ‘Em Loose 4:36
3. Daggers 4:19
4. Houndin’ Ya 3:29
5. Nowhere 4:02

Band members
Adam Geurink – vocals, guitars, bass
Jon Zimick – drums

Guest musician
Mason Kurth – bass on “Houndin’ Ya”

Album Review – Hulder / Godslastering: Hymns of a Forlorn Peasantry (2021)

Posted on by
Reply

The past is alive because the present is dead. With the glorious birth of Godslastering: Hymns of a Forlorn Peasantry, long live Hulder!

One of the best-kept secrets hailing from the underground Black Metal scene, Portland, Oregon-based one-woman entity Hulder was formed back in 2018 as the sole work of the selfsame Hulder, whose real name is Marz Riesterer, a native of Mechelen, Belgium but currently residing in the United States. She quickly went to work on Hulder’s first demo released in 2018, titled Ascending the Raven Stone, ancient and regressive but with no shortage of technicality. Hulder then began crystalizing her aesthetic in her subsequent albums both in sheer sonics as well as visuals, culminating now in 2021 with her debut opus Godslastering: Hymns of a Forlorn Peasantry. Recorded at De Pestkerk Studio and mixed at The Underworld Studio, this demonic opus is structured like a true album, with side one kicking in an utterly feral manner and cresting along to vicious wanderlust while side two furthers the synth mysticism and maintains a more triumphant aspect, with each of its eight tracks being deeply rooted in 90’s classicism, from the paganisms of earliest Enslaved  and Kampfar to the hypnotizing grit of classic Judas Iscariot. Supported by session drummer Necreon (Cauterized, Funebrarum, Trepanation), Hulder is on absolute fire throughout the entire album, offering our ears old school, raw Black Metal that’s utterly dynamic, engaging, nuanced and transportive, but undeniably physical in its pulsing vistas of darkness and mystery.

The opening track Upon Frigid Winds is pulverizing from the very first second, with Hulder beautifully growling the song’s Stygian words (“Almighty force of the damned / Awakened by eons of pain / Born of destruction and carnage / Brought to light once again / Upon frigid winds we ride / Blaze the path of retribution / Clashing of mere mortal weaponry / Force of evil remains eternal”). In other words, it’s classic, grim Black Metal, period. And our dauntless black metaller keeps darkening the skies in Creature of Demonic Majesty, blasting her guitars and bass mercilessly, therefore crafting a beyond menacing ambience while Necreon keeps smashing his drums nonstop; then inspired by the early days of renowned acts the likes of Immortal, Marduk and Mayhem, Hulder explodes our senses with the sulfurous Sown in Barren Soil, presenting an amazing job done with her piercing riffage, and always supported by the precise Necreon, of course. And it’s time to soothe our souls to the sound of the folk-infused, atmospheric tune titled De Dijle, where Hulder meticulously blends the sounds of nature with phantasmagorical keys and her trademark she-demon gnarls.

After such mesmerizing tune, Hulder offers our avid ears the mid-tempo Atmospheric Black Metal aria Purgations of Bodily Corruptions, once again boosting the song’s malignancy with her devilish keys and riffs, whereas Lowland Famine brings forward old school Black Metal in its purest form from start to finish, with the venomous she-wolf roars by Hulder being beautifully complemented by her Cradle of Filth-inspired keys. Put differently, the song effectively epitomizes Hulder’s talent and passion for extreme music; and switching gears to an atmospheric, almost shoegazing sonority Hulder captivates us all with her delicate vocals in A Forlorn Peasant’s Hymn, exploding into visceral Black Metal while displaying poetic lyrics barked by our one-woman army (“A trail of fallen kin lie before me / As far as my tired eyes can see / A bloodred horizon to illuminate my path / I hear their cries as they share in my agony”). Finally, let’s crack our necks headbanging to the menacing From Whence an Ancient Evil Once Reigned, where Hulder’s slashing riffage and low-tuned bass generate a massive wall of sounds enhanced by Necreon’s bestial drumming, putting a sensational conclusion to such inspiring and medieval album.

I guess I don’t need to say we have right in front of us one of the most detailed, organic and infernal albums of 2021, and we don’t need to listen to anything that will still be released this year to make such statement. Godslastering: Hymns of a Forlorn Peasantry is a true gem of extreme music, making me wonder what’s next in the career of this talented Belgian-American metaller. Hence, don’t forget to give Hulder a shout on Facebook, to stream more of her awesome music on Spotify, and to purchase Godslastering: Hymns of a Forlorn Peasantry in less than two weeks from several distinct locations including her own BandCamp page, the Iron Bonehead’s BandCamp page or webstore, Record Shop X and Apple Music. The past is alive because the present is dead. With the glorious birth of Godslastering: Hymns of a Forlorn Peasantry, long live Hulder!

Best moments of the album: Upon Frigid Winds, Sown in Barren Soil, Lowland Famine and A Forlorn Peasant’s Hymn.

Worst moments of the album: None.

Released in 2021 Iron Bonehead

Track listing
1. Upon Frigid Winds 3:22
2. Creature of Demonic Majesty 3:33
3. Sown in Barren Soil 4:43
4. De Dijle 6:33
5. Purgations of Bodily Corruptions 4:23
6. Lowland Famine 5:26
7. A Forlorn Peasant’s Hymn 6:03
8. From Whence an Ancient Evil Once Reigned 5:07

Band members
Hulder – vocals, all instruments

Guest musician
Necreon – drums (session)

Album Review – Dark Zodiak / Ophiuchus (2021)

Posted on by
Reply

These Teutonic bringers of Death and Thrash Metal are ready to smash us all to the sound of their third full-length album, translating into extreme music the thirteenth sign of the zodiac.

Thrilling live shows, a crushing sound, direct interaction with the crowd and an incendiary fusion of Thrash and Death Metal forged from whipping riffs, vicious drums and thunderous female growls. That’s exactly what Eggingen, Germany-based squad Dark Zodiak stands for, leading the band to rock all over Germany and Europe and to share the stage with renowned acts such as Tankard, Debauchery and Eluveitie, among many others, since their inception in 2011. After the releases of their 2011 debut demo Throwing Stones, followed by the full-length albums See You in Hell, from 2014, and Landscapes of Our Soul, from 2017, it’s time for frontwoman Simone Schwarz, guitarists Charly Gak and Benni Poeck, bassist Steffi Bergmann and drummer Dieter Schwarz to smash our skulls once again with their third installment, the heavy and furious Ophiuchus, the thirteenth sign of the zodiac. A large constellation straddling the celestial equator, having its name taken from the Greek Ὀφιοῦχος (Ophioukhos, or “serpent-bearer”), Ophiuchus is a lesson in underground extreme music, showcasing a band that’s not only extremely talented, but that also nurtures a deep passion for Death and Thrash Metal presented as 48 minutes of music split into the ten unrelenting, organic and honest tracks.

A sinister intro evolves into the thrashing beast Do More Say Less, with Simone providing her welcome card through her guttural, she-demon vocals, while Charly and Benni fire razor-edge Death Metal riffs nonstop, and it’s time for Dieter to smash his drums rabidly in the fast and furious Heaven, Earth And Beneath, showcasing a perfect combination of the instrumental madness from Thrash Metal with the vile growling from Death Metal, consequently inspiring us all to smash our skulls into the circle pit. Their sick and violent display of Death and Thrash Metal goes on in Invisible Apocalypse, where Simone invests in some demented Deathslam-inspired screeches while Steffi and Dieter make sure the ambience remains as dense as possible with their infernal kitchen; whereas the obscure vociferations by Simone kick off the infernal Ophiuchus, sounding as if Exodus went full Death Metal and presenting a great job done once again by the band’s guitar duo with their dirty riffs and solos, resulting in over seven minutes of ass-kicking metal with atmospheric passages and endless rage. Then another round of their unstoppable beats, crushing riffage and devilish roars is offered to our ears in the form of Destroy Destruction, a classic Death Metal tune with Dieter showcasing all his dexterity and insanity behind his drums.

The band’s blazing guitars will slash your ears in the also violent, headbanging tune Humor, where Simone’s deep growls walk hand in hand with the classic beats by Dieter, resulting in a solid and entertaining display of old school Death Metal, followed by From Thrash Till Death, once again bringing to our avid ears a pulverizing fusion of Thrash and Death Metal spearheaded by the scorching riffs by Charly and Benni during its three minutes of music tailored for banging our heads like true maniacs. The lyrics in 2020 A.D. couldn’t have represented better the current (and shitty) state of our world, while musically speaking it’s a mid-tempo, hammering extravaganza where Steffi’s bass (together with Dieter’s drums) will make your head tremble in great Death Metal fashion; and after a quick intro, Total Freedom explodes into pure Death Metal in their second to last breath of violence, and you better get ready to growl and gnarl together with Simone during the entire song, not to mention the heaviness of the pounding beats by Dieter. Lastly, blending the gory sound of Cannibal Corpse with the thrashing madness of Exodus and Nuclear Assault the band offers us all Ignorance, a great choice to close the album showcasing Simone’s vicious and demonic growling and the always thrilling drums by Dieter from start to finish, leaving us disoriented but absolutely eager for more of their music in the future.

After all is said and done, we must all admit Dark Zodiak did a damn good job throughout the entire album, offering our ears humongous dosages of savagery, dexterity and passion for extreme music. Hence, we should all hail those Teutonic bringers of Death and Thrash Metal by following them on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming more of their music on Spotify, and by grabbing a copy of Ophiuchus from their own website, from their BandCamp page, and soon enough from other retailers like Apple Music and Amazon. And may the stars of our beloved Death and Thrash Metal keep guiding Dark Zodiak in their quest for total annihilation, celebrating heavy music with more ass-kicking releases like Ophiuchus.

Best moments of the album: Heaven, Earth And Beneath, Ophiuchus and Ignorance.

Worst moments of the album: Total Freedom.

Released in 2021 Independent

Track listing
1. Do More Say Less 5:49
2. Heaven, Earth And Beneath 4:04
3. Invisible Apocalypse 3:45
4. Ophiuchus 7:18
5. Destroy Destruction 4:40
6. Humor 5:16
7. From Thrash Till Death 3:03
8. 2020 A.D. 4:52
9. Total Freedom 5:27
10. Ignorance 3:57

Band members
Simone Schwarz – vocals
Charly Gak – guitar
Benni Poeck – guitar
Steffi Bergmann – bass
Dieter Schwarz – drums