Prolific Grind/Hardcore/Sludge quartet Lifetaker have returned with a sophomoric full length album entitled Der Letzte Raum (“The Last Room”) which will see the light of day later this month on an impressive looking LP, put out via Black Omega Recordings.
If you are going to call yourself Lifetaker you damn sure best have a sound to match the statement, and these German chaos merchants go about proving their mettle over the course of fifteen short sharp bursts of violence incarnate. I’m not massively well versed in either Grindcore or Hardcore so I’ll instead spend my time telling you how the album sounds rather than trying to unpick the bands myriad influences.
And what it sounds like is what I imagine having your face forcibly dragged along a cobbled street at a hundred miles per hour might sound like. A violent uncontrollable maelstrom of bludgeoning beats, Buzzsaw riff-age and a vocal style from the gutters, spewing forth bile and spite at every available moment. And yet at times Lifetaker produces moments of pure unadulterated fist pumping madness such as the delightfully catchy Kehlbiss or the equally as fun sounding Kadaverstille which are surely destined to be pit favourites at any upcoming shows that the band grace.
An absolutely banger of an album from start to finish; chaotic and carnage filled, viciously spiteful and intoxicatingly gratifying. Like a Panzer tank belligerently bulldozing your house and making you ask for more! Plug this directly into my veins and leave me to it!
A veiled and secretive Slovenian horde is ready to attack armed with their debut opus, offering us all seven tracks of sheer Black Metal madness.
As a room’s confining embrace, the mysterious Slovenia-based Atmospheric/Experimental Black Metal entity Kamra grabs and plunges you in a world of allegories, ruminations and imagery with their upcoming debut full-length opus, entitled Cerebral Alchemy, following up on their 2021 EP Conversing With Ghosts (which was by the way recorded as a two-piece comprised of vocalist and multi-instrumentalist N.K. and multi-instrumentalist M.D., who are most probably still part of the band). Drawing influences equally from Norwegian Black Metal classics, modern death dealers, as well as experimental oddities, this Slovenian veiled and secretive horde, now expanded to five unknown creatures of the abyss, offers in their new album mixed by Anže Čanžek and mastered by Gabriele Gramaglia seven tracks clocking around 42 minutes of Black Metal madness, enriched with a beautiful artwork by by Jeff Christensen, being therefore highly recommended for admirers of the most obscure and dissonant side of music.
Stygian guitars and sluggish Doom Metal beats will consume your soul in the opening tune It Burns Without a Fire…, a sulfurous intro that will crush you mercilessly before such uncanny entity comes ripping in Death Eternal, a raw Black Metal onrush that’s utterly and beautifully primeval, with the wicked vocalizations by N.K. adding a touch of dementia to the overall result while its guitars and bass generate a massive wall of sounds, not to mention its old school Black Metal blast beats. Then after such demonic extravaganza get ready for almost eight minutes of impious sounds, atmospheric passages and endless darkness in the form of Lantern of Ghostly Unlight, where its bass sounds and feels as primitive as possible, and with N.K. gnarling like a demonic creature in a great display of classic Black Metal with the band’s own experimental and sulfurous twist.
Resurgence of Temporal Malignity is even more demented and multi-layered, showcasing a great job done on the guitars which sound absolutely sharp while also melodic and enfolding, taking us all on a one way journey to the pits of the underworld; and those Slovenian metallers dive deep into the mouth of hell in the spine-chilling aria entitled Oozing the Thirteenth Hour, starting in a serene, grim manner before exploding into more of the band’s Experimental Black Metal, with all of its vile vociferations, somber and tribalistic drums, and piercing riffage turning it into a must-listen for diehard fans of contemporary Black Metal. The simple but effective interlude Last Lamentations sets the tone for the closing track, titled Colossal Blight, where their Atmospheric Black Metal vein walks hand in hand with their more hellish sonority, once again presenting a band that not only sounds extremely focused and in sync, but it also displays their undisputed devotion to sheer darkness, resulting in an climatic and eccentric ending to the album.
The voices of Kamra are inviting you to their grim lair in Cerebral Alchemy, an album that will surely please Black Metal enthusiasts from all over the world. Hence, don’t forget to give those Slovenians a shout on Facebook and on Instagram, to stream their music on Spotify, and to connect with the band in all possible ways by clicking HERE. Soon you’ll be able to put your damned hands on Cerebral Alchemy by purchasing it from their own BandCamp page, as well as from Avantgarde Music, Sound Cave, Edged Circle Productions or Rock Inc. Mediastore, darkening your minds and souls even more while enjoying the first-class Black Metal by an enigmatic band that definitely knows how to craft great music in the name of pure evil.
Best moments of the album:Death Eternal, Resurgence of Temporal Malignity and Oozing the Thirteenth Hour.
Worst moments of the album:Last Lamentations.
Released in 2022 Avantgarde Music/Unorthodox Emanations/Edged Circle Productions
Track listing 1. It Burns Without a Fire… 2:20
2. Death Eternal 5:58
3. Lantern of Ghostly Unlight 7:47
4. Resurgence of Temporal Malignity 6:42
5. Oozing the Thirteenth Hour 9:46
6. Last Lamentations 1:59
7. Colossal Blight 7:54
Wandering across different genres and inspirations, this Czech Progressive Black Metal entity offer in their ninth studio album a stunning view of the inhospitable beauty of the White Carpathians.
Having started up in 2003 as a Pagan Black Metal band, Brno, Czech Republic-based Progressive Black Metal entity Heiden wanders across different genres and inspirations, returning now in 2022 to a Dark Metal sound with their newborn opus entitled Andzjel, or “angel” in English, their ninth studio album expanding the perspectives of their audience base through dark, elegant and atmospherically authentic music. Mixed and mastered by Karl Daniel Lidén at Tri-Lamb Studio, and displaying a classy artwork taken from the personal collection of inhabitants of the Žítková village and repainted by Luděk Řezáč, Andzjel presents seven songs thematically set in the inhospitable beauty of the White Carpathians, offering an insight into the souls of the local people, sharing the soil, blood, healing and knowledge passed down through generations, showcasing not only the talent but also the deep connection the band comprised of vocalist, guitarist and bassist Kverd, guitarist Tom, keyboardist Werlinga and drummer Einsk have with their homeland.
The strident guitars by Kverd and Tom ignite the imposing opening tune Nevěřím těm očím (“I can’t believe those eyes” from Czech), blending elements from Progressive and Symphonic Black Metal and, consequently, generating a Stygian atmosphere perfect for the cryptic gnarls by Kverd; and switching gears to a more melodic and melancholic vibe we’re treated to V hodině vlka (“in the hour of the wolf”), getting closer to modern-day Post-Metal while Einsk does a beautiful job with his minimalist beats and Werlinga’s keys embellish the airwaves in great fashion. Continuing to showcase their more Jazz-ish side, Musím ti tolik říct (“I have so much to tell you”) brings to our ears another ass-kicking round of keys by Werlinga accompanied by the classy guitars by Kverd and Tom, followed by Září (“September”), as wicked and obscure as its predecessors, sounding very detailed and enfolding from the very first second with Eisnk alternating between shee violence and more intimate, rhythmic beats, resulting in a lecture in Post-Metal infused with tons of progressiveness.
Sviť, měsíčku, jasno, an adaptation of a Moravian folklore song from the Kopanice region that means “shine, moon, clear”, brings forward two and a half minutes of experimentations and eerie sounds, which could have been extended to something more complete instead of working as just an interlude, though, whereas Běsů se nezbavíš, or “you can’t get rid of demons”, is another solid hybrid of Progressive Metal and Post-Rock and Metal, at the same time soothing your soul before smashing you with a visceral sonic attack led by the devilish vocals by Kverd. Lastly, the quartet will captivate our senses once again in Patřím sem (“I belong here”), with Werlinga and Eisnk being in absolute sync with their respective keys and beats, not to mention how caustic the guitars by Kverd and Tom sound, consequently putting a dark and climatic ending to the album.
If you want to know more about Heiden, get in touch with the band and show them all your support, you can start following them on Facebook and on Instagram, subscribe to their YouTube channel and stream their unique creations on Spotify, and above all that, purchase a copy of Andzjel from their own BandCamp page or webstore, or simply click HERE to get fully immersed in the obscure realm of Heiden. The phenomenon of the Žítková goddesses, which the postwar totalitarian regime permanently eradicated, is still present in Andzjel, inviting us all to learn more about the history of the Czech Republic while enjoying the first-class experimentations by those four skillful musicians, proving the Czech underground scene is and will always be a fantastic source of great music.
Best moments of the album:V hodině vlka, Září and Běsů se nezbavíš.
Worst moments of the album:Sviť, měsíčku, jasno.
Released in 2022 Magick Disk Musick
Track listing 1. Nevěřím těm očím 5:57
2. V hodině vlka 5:37
3. Musím ti tolik říct 4:18
4. Září 5:34
5. Sviť, měsíčku, jasno 2:25
6. Běsů se nezbavíš 3:51
7. Patřím sem 5:07
Band members
Kverd – vocals, guitars, bass
Tom – guitars
Werlinga – keyboards
Einsk – drums
A stunning work against religious oppression by Poland’s most important Extreme Metal institution of all time.
Opvs Contra Natvram, or “a work against nature”. That’s the name of the brand new album by Polish Blackened Death Metal institution Behemoth, their twelfth studio album and a beastly follow-up to their 2018 album I Loved You At Your Darkest. Mixed by Joe Barresi, mastered by Bob Ludwig at Gateway Mastering Studios, and displaying a stylish and blasphemous artwork by Anton Pavsyuk, Opvs Contra Natvram showcases a band that’s on absolute and eternal fire, taking us back to the austere sonority of their sensational 2014 effort The Satanist and, therefore, proving vocalist and guitarist Adam “Nergal” Darski, guitarist Patryk Dominik “Seth” Sztyber, bassist Tomasz “Orion” Wróblewski and drummer Zbigniew Robert “Inferno” Promiński still have a lot of fuel to burn in the name of evil while at the same time always fighting against any type of religious oppression.
Otherworldly sounds accompanied by the tribal percussion by guest Einar Selvik are the main ingredients in the fantastic intro Post-God Nirvana, darkening the skies to the wicked vociferations by Nergal and setting the tone for the demolishing Malaria Vvlgata, showcasing devilish lyrics (“Let all bibles preach the sermon ov vengeance / Let the hallowed verses call for war / Behold as seraphs fall from ebonising skies / Let’s stab the world and halt the cosmic lie / Spare no one / Show them no pity / Tooth for a tooth / Eye for an eye”) amidst less than three minutes of pure Black and Death Metal savagery. The Deathless Sun, one of the first singles of the album, sounds very atmospheric while Orion and Seth generate a dense, menacing base with their inhumane kitchen, followed by Ov My Herculean Exile, another one of the band’s blasphemous, imposing tunes, with Nergal roaring deeply while Seth extracts darkness from his axe. And there’s no time to breathe as blasphemy keeps permeating the air in Neo-Spartacvs, with Nergal and Seth being in an infernal guitar sync supported by the thunderous bass by Orion.
The second half of the album begins in full force with Disinheritance, and Behemoth’s demolishing Blackened Death Metal burns majestically, again presenting visceral, hammering drums by Inferno for our total delight; whereas Off to War! is simply perfect for their live performances, or in other words, it’s a brutal, flawless Black and Death Metal attack displaying stunning lyrics declaimed by Nergal (“Am I ov god, Satan or an obsidian hemisphere? / Am I the fated sovereign or sanctitude inverse? / Consider the great solitude ov the truly liberated man / Set forth to raze frail humanity once again”). Less violent and a lot more melodic and rhythmic, Once upon a Pale Horse is a decent composition albeit not as thrilling as the rest of the album, while guest vocalist Zofia Fraś joins Nergal and his horde in Thy Becoming Eternal, a straightforward, classic Behemoth tune showcasing an excellent guitar work by Seth with Inferno crushing his drums like a demonic beast. Lastly, it’s time to darken the skies and surrender to the Blackened Death Metal by Behemoth in the obscure, somber Versvs Christvs, alternating between sheer heaviness and more atmospheric moments, therefore ending the album on a beyond Stygian note.
Behemoth Opvs Contra Natvram Mailorder Edition White Vinyl Boxset
After all is said and done, it’s more than clear that Behemoth keep standing tall in their Blackened Death Metal castle with the release of Opvs Contra Natvram, which is by the way available in its entirety on YouTube and on Spotify, with their importance and influence in the world of extreme music growing exponentially with each one of their albums. Hence, don’t forget to check what the band is up to on Facebook and on Instagram, to subscribe to their YouTube channel for more of their wicked videos (such as their brilliant live performance playing four songs form the new album atop the Palace of Culture in Poland), to stream all of their sulfurous creations on Spotify, and of course to purchase Opvs Contra Natvram by clicking HERE, where you can also find the lavish Opvs Contra Natvram Mailorder Edition White Vinyl Boxset, limited to 1,000 copies and including a 180g yolk crystal/gold LP in a gatefold, a CD digibook, a 100x100x flag, a vinyl slipmat, and a cut out patch and pin, or simply click HERE for all things Behemoth. More than just an album of extreme music, Opvs Contra Natvram is a work against all types of religion, and may Behemoth keep on fighting against the darkness of the church until their very last breath.
Best moments of the album:Malaria Vvlgata, Disinheritance, Off to War! and Thy Becoming Eternal.
Worst moments of the album:Once upon a Pale Horse.
Released in 2022 Nuclear Blast
Track listing 1. Post-God Nirvana 3:10
2. Malaria Vvlgata 2:18
3. The Deathless Sun 4:43
4. Ov My Herculean Exile 4:43
5. Neo-Spartacvs 4:18
6. Disinheritance 4:22
7. Off to War! 4:47
8. Once upon a Pale Horse 4:16
9. Thy Becoming Eternal 4:09
10. Versvs Christvs 6:29
Band members
Adam “Nergal” Darski – lead vocals, guitars
Patryk Dominik “Seth” Sztyber – guitars
Tomasz “Orion” Wróblewski – bass guitar
Zbigniew Robert “Inferno” Promiński – drums and percussion
Guest musicians Zofia Fraś – vocals on “Thy Becoming Eternal” and “Versvs Christvs”
Einar Selvik – tribal percussion on “Post-God Nirvana”
Michał Łapaj – piano on “Versvs Christvs”
Jan Stokłosa – orchestral arrangements
Piotr Wróbel – tuba
Wawrzyniec Dramowicz – percussion, timpani
This repulsive, perverted and cannibalistic Australian-based troupe of questionable French origins offers in their debut opus a fulminating 22-song platter of Death Metal and Grindcore.
Shambling out from the dead blackened underbrush of Sydney, Australia’s backwoods comes a repulsive, perverted and cannibalistic troupe of questionable French origins, collectively known as Grindcore act Gorotica. Living as a reclusive hive for the past three years, the troglodytic trio formed of Jon Von Cannibale on vocals, Gaspard La Verge on the guitars and bass, and Raymonde Peste on drums have been honing their rusted blades and musical skills to now emerge under the Gorotica moniker and bring forth to the public their mission of death and cannibalism in auditory form, or in other words, their debut full-length album Morbid Menagerie. The album offers a 22-song platter of Death Metal and Grindcore with elements of Hardcore garnishing the meat and bones of the music, and with several guests lending their pipes to the chaos, most notably the talented Miller from Sydney grind stalwarts Black Rheno and Tobias from the well-known prog outfit Glass Ocean, presenting it as a highly recommended option for admirers of the goriest side of metal music.
Get ready for a pulverizing Grindcore feast titled At The Gates Of The Necropolis, the perfect welcome card by the band where Jon is bestial on vocals; whereas Gaspard’s metallic riffs and rumbling bass lines are accompanied by the classic drums by Raymonde in Fleshgrind, offering us all two minutes of savagery and heaviness. Born Unto Death is another brutal, venomous onrush by the trio, with Gaspard delivering sheer adrenaline through his Hardcore-infused riffs, not to mention the monstrous roars by Jon, while Teeth Removed With A Sledgehammer brings forward 33 seconds of pure dementia, speed and violence where Jon gets the help from Miller on vocals. Less aggressive and exhaling groove, it’s time for Raymonde to take the lead with his rhythmic beats and fills in The Necrophile, and back to their more infernal mode, Jon growls nonstop accompanied by the insane blast beats by Raymonde in Malevolent Insertion. Guest Tobias lends his demented, deep roars to the band in Corpsefucker, followed by Left To Bleed, starting with the low-tuned bass punches by Gaspard and evolving into a Grindcore extravaganza perfect for slamming into the circle pit. Things get even sharper and more thrilling in Knife Wound Gratification, with Gaspard stealing the spotlight with a maniacal string work while also presenting some welcome breaks and variations. In Graveyard Cannibal it becomes clear that they’re definitely a band that mastered the art of crafting sick tunes that last for less than a minute, and needless to say, Jon is insane on vocals, followed by Execution By Fire, slightly more melodic than its predecessors and sounding confusing at times.
One of the heaviest songs of the album, The Endless Urge, is Grindcore at its finest with all band members being on absolute fire until the very last second, while Ocular Impalement offers our ears one more round of dementia and gore in less than a minute; and their Doom Metal vein arises in Human Skin Drapery, a neck-breaking tune led by the sluggish and pounding drums by Raymonde. It’s time to slam into the pit one more time to the sound of Consuming The Flesh Of The Dead, with Jon bringing forth his trademark deep gnarls, followed by 12 seconds of pure insanity entitled Forced Cluster Headache, working as a “warmup” for Purging The Apocalypse, a fantastic, fast and furious Grindcore attack thanks to the superb job done by Raymonde on drums. The title-track Morbid Menagerie continues to smash everyone that crosses their path to pieces, not to mention guitars and bass by Gaspar couldn’t have sounded more metallic. Then guess what? We’re treated to 44 seconds of pure violence in Severed Head Pincushion, flowing into the dark and sinister Obsession With Mutilation, a good option to headbang in the name of Grindcore and Death Metal. And how about a minute of undisputed aggressiveness as their second to last breath of classic Grindcore? That’s what you’ll get in Desecrating The Remains Of A Virgin, before Bound To The Breaking Wheel closes the album exactly like it should, with no shenanigans, no artificial elements, just plain Grindcore by such skillful and enraged trio.
As already mentioned, Morbid Menagerie is indeed a demented platter of Death Metal and Grindcore by those three mysterious marauders that form the uncanny Gorotica, and you can already preorder such disturbing album from their own BandCamp page, and soon also stream it in full on Spotify. You can also start following Gorotica on Facebook and on Instagram for an overdose of gore and death on your daily routine, making your life a lot more fun to the sound of their bloodcurdling creations. In the end, it doesn’t really matter if the band members are French or Australian because the music found in Morbid Menagerie is awesome, showing the trio knows exactly what they’re doing and, consequently, offering us all another great option for enjoying some carnage inside the circle pit.
Best moments of the album:Fleshgrind, Born Unto Death, Knife Wound Gratification, The Endless Urge and Purging The Apocalypse.
Worst moments of the album:The Necrophile and Execution By Fire.
Released in 2022 Independent
Track listing 1. At The Gates Of The Necropolis 1:49
2. Fleshgrind 2:03
3. Born Unto Death 3:10
4. Teeth Removed With A Sledgehammer 0:33
5. The Necrophile 2:25
6. Malevolent Insertion 1:47
7. Corpsefucker 0:31
8. Left To Bleed 2:34
9. Knife Wound Gratification 2:08
10. Graveyard Cannibal 0:47
11. Execution By Fire 2:03
12. The Endless Urge 2:17
13. Ocular Impalement 0:44
14. Human Skin Drapery 3:09
15. Consuming The Flesh Of The Dead 1:39
16. Forced Cluster Headache 0:12
17. Purging The Apocalypse 1:11
18. Morbid Menagerie 2:13
19. Severed Head Pincushion 0:44
20. Obsession With Mutilation 1:55
21. Desecrating The Remains Of A Virgin 0:58
22. Bound To The Breaking Wheel 3:50
Band members Jon Von Cannibale – vocals
Gaspard La Verge – guitars, bass
Raymonde Peste – drums
Guest musicians Jean-Paul Lattouf – percussion
Miller – additional vocals on “Teeth Removed With A Sledgehammer” and “Severed Head Pincushion”
Tobias – additional vocals on “Corpsefucker”
Rasmus & Gaspard – additional vocals
A gargantuan collision between the heaviest of Death Metal and the darkest of emotions, submerged in an unsettling atmosphere of grief and isolation, masterfully crafted by a ruthless Belfast-based quartet.
A gargantuan collision between the heaviest of Death Metal and the darkest of emotions, submerged in an unsettling atmosphere of grief and isolation, Shaped By Human Frailty, the first full-length album by Belfast, Northern Ireland-based horde Strangle Wire, is a demonstration of Death Metal at its most effective and affecting, with sheer power being shaped by superb song writing following up on their 2018 EP The Dark Triad. Branding themselves as “Psychological Death Metal”, the band currently formed of Pete on vocals, Ross on the guitar, Daff on bass and John on drums delivers fast, groove laden and devastatingly heavy Death Metal throughout the entire album with the assistance of Chris Fielding (Electric Wizard, Primordial, Napalm Death) at Foel Studios, being therefore tailored for fans of Bolt Thrower, Asphyx, Grave and Benediction.
Arising from the pits of the underworld, the band kicks things off with a demented Death Metal attack entitled Heavily Medicated, where the vocals by Pete sound inhumane, also showcasing an amazing stringed work by Ross and Daff while John decimates our souls with his crushing drums. Pete roars deeply in the also pulverizing Learned Wretchedness, bringing forward old school Death Metal for lovers of the genre while again inviting us all to slam into the circle pit like demented metalmaniacs, with Ross extracting sheer obscurity from his riffs and solos. Are you tired already? Because there’s more of the band’s demolishing Death Metal in Judas Switch, an ass-kicking, infernal creation bringing to our avid ears more of the putrid guttural by Pete and the hammering drums by John, and get ready to be smashed by Strangle Wire in the demonic The Human Tensile Experiment, where the sensational blast beats by John offer Pete exactly what he needs to bark like a rabid beast, not to mention how heavy and visceral the guitars and bass by Ross and Daff sound.
Take a deep breath to the sound of the melancholic instrumental interlude An Abhorrent Intervention before all hell breaks loose in the title-track Shaped by Human Frailty, offering us all old school, in-your-face Death Metal with no shenanigans, being vile and aggressive from start to finish spearheaded by the intricate and demonic beats by John. Dead Before the Still brings forward less than three minutes of pulverizing groove and heaviness by the quartet, with the bass by Daff making our heads tremble in an ode to classic Death Metal; whereas their second to last blast of insanity and darkness, titled Psychology of the Sick, is a lesson in violence inspiring us all to headbang like there’s no tomorrow. And there’s nothing better than ending an album of crushing Death Metal with another crushing song, named Horrors Beneath, where Pete roars in great fashion supported by the stunning instrumental by his bandmates.
If you would like to explore the vicious, psychological world of Strangle Wire, you can do so by following the band on Facebook and on Instagram for news and tour dates, by subscribing to their YouTube channel, by streaming their music on Spotify, and by purchasing Shaped By Human Frailty from their own BandCamp page or from Apple Music sooner than you can say “Death Metal”, or simply click HERE for all things Strangle Wire. Absolutely dark and sinister, Shaped By Human Frailty provides us with the exact message that the band wanted to send when they started working on the album, with its cruel atmosphere proving that once you’re captured by the Death Metal brought into being by Strangle Wire, there’s no escape.
Best moments of the album:Heavily Medicated, The Human Tensile Experiment and Horrors Beneath.
Worst moments of the album: None.
Released in 2022 Grindscene Records
Track listing 1. Heavily Medicated 3:25
2. Learned Wretchedness 3:58
3. Judas Switch 4:08
4. The Human Tensile Experiment 4:24
5. An Abhorrent Intervention 1:03
6. Shaped by Human Frailty 5:26
7. Dead Before the Still 2:39
8. Psychology of the Sick 3:33
9. Horrors Beneath 5:38
Band members Pete – vocals
Ross – guitar
Daff – bass
John – drums
Behold this grandiose album of Symphonic Black and Death Metal, telling a deep and detailed story inspired by ancient Central Asian Turkish mythology.
Having entered the Turkish Extreme Metal scene in the city of Izmir in the now distant year of 1998 under the name Diabolical and currently located in Hanover, Germany, the fantastic Symphonic Black/Death Metal duo now known as Diabolical Raw, comprised of vocalist Ozan Erkmen and multi-instrumentalist Ozan Tunc, is back from the pits of hell with their sophomore full-length opus, the imposing and epic Elegy of Fire Dusk, the follow-up to their critically acclaimed 2019 album Estrangement. Recorded, mixed and mastered by the band itself, and displaying a sinister yet gorgeous artwork by Mukadder “Muko” Karaoğlan, the album tells a story inspired by ancient Central Asian Turkish mythology that develops around Kaygun, the daughter of a small clan leader, showing that not only the music found in the album is grandiose, but there’s also a lot of depth in its lyrics.
Middle-Eastern elements spice up the bold, obscure intro Revelations, opening the gates of the underworld for the duo to crush our souls in Commands of the Gods, with Ozan Tunc generating a menacing ambience with his riffs, drums and all orchestrations, resulting in an imposing Dimmu Borgir-style aria showcasing the demonic vocal potency by Ozan Erkmen. Wise Old Woman is another blast of obscurity in the form of top-notch Symphonic Extreme Metal that feels like the soundtrack to a hellish horror movie, where Ozan Tunc sounds possessed by an evil entity behind his drums; and there’s no time to breathe as the duo’s fusion of Black Metal with symphonic elements and a Stygian storytelling is offered to us all in Entry into Erlik’s Hell, with Ozan Tunc extracting sheer darkness from his guitars, bass and drums while Ozan Erkmen roars and barks manically for our total delight. They keep guiding us through the realms of Turkish mythology in the incendiary aria Tilgen’s Fall, blending the most pulverizing elements of classic Black Metal with pure symphony, and get ready to be decimated by the duo in Face the Judgement, a brilliant Symphonic Black and Death Metal extravaganza spearheaded by the massive, unstoppable beats by Ozan Tunc, flowing into the instrumental interlude Uprising, which will captivate our senses before we’re treated to Talking With Gods, sounding as if it was taken directly form the soundtrack to an epic, demonic movie, with Ozan Tunc being simply majestic throughout the entire song.
No sign of slowing down as Diabolical Raw keep hammering our heads with their Symphonic Black Metal in The Invincible Army, where the wicked, evil vociferations by Ozan Erkmen will haunt your soul for all eternity while Ozan Tunc generates a beautiful wall of sounds in the background. Then an otherworldly roar by Ozan Erkmen kick off the infernal tune The Last War With Evil, the perfect combination of the rawness and violence of traditional Black Metal riffs with the finesse of Symphonic Black Metal, reminding me of some of the most visceral creations by Cradle of Filth, followed by its second part entitled The Last War With Evil II, once again exploding our senses with their somber sounds and wicked vociferations. Put differently, I must say that Ozan Erkmen might be one of the best Extreme Metal vocalists of the current scene. The Council at the Asar Land is one of the most symphonic and detailed of all songs, a flawless fusion of heaviness and orchestral elements thanks to a brilliant job done by Ozan Tunc, in special his venomous blast beats, before the album ends with the cinematic outro Epic Grandeur, putting a classy finale to all the madness and obscurity crafted by the duo.
In a nutshell, Diabolical Raw simply nailed it with Elegy of Fire Dusk, one of the best Extreme Metal albums of 2022 hands down, and if you want to show your support to such talented duo you can start following them on Facebook and on Instagram, subscribe to their YouTube channel and stream more of their hellish creations on Spotify, and of course, above all that, purchase a copy of such awesome album from their own BandCamp page or from the Base Record Production’s BandCamp page. Do you think you have what it takes to face ancient Central Asian Turkish mythology in the form of Symphonic Black and Death Metal? If your answer is yes, don’t waste your time and go prove to Diabolical Raw that you’re a loyal servant of the dark side of music, inspiring the duo to keep embellishing the airwaves with their unparalleled music for many years to come.
Best moments of the album:Commands of the Gods, Entry into Erlik’s Hell, Face the Judgement and The Last War With Evil.
Worst moments of the album: None.
Released in 2022 Base Record Production
Track listing 1. Revelations 2:31
2. Commands of the Gods 6:18
3. Wise Old Woman 5:33
4. Entry into Erlik’s Hell 8:02
5. Tilgen’s Fall 7:19
6. Face the Judgement 6:06
7. Uprising 2:06
8. Talking With Gods 6:37
9. The Invincible Army 5:54
10. The Last War With Evil 8:30
11. The Last War With Evil II 7:42
12. The Council at the Asar Land 7:45
13. Epic Grandeur 2:36
Band members Ozan Erkmen – vocals
Ozan Tunc – all instruments
Playing what can be described as a mix of Heavy and Black Metal, this up-and-coming Polish group returns with their sophomore album, as dark and heavy as it is melodic and epic.
Established at the end of 2013 in Warsaw, Poland, Chimera play what can be described as a mix of Heavy and Black Metal, which is exactly what they have to offer us all in their sophomore opus Gloria Mortis, the follow-up to their 2016 debut effort Transmutation. Recorded at Hainrich House Studio, Gloria Mortis is just as dark and heavy as it is melodic and epic, being highly recommended for admirers of the newest wave of extreme music, in special all the new names hailing form the vibrant underground scene in Poland, therefore showcasing all the talent by the band currently formed of Krzysztof Gałecki on vocals and guitars, founder Rafał “Charon” Mazur on lead guitars, Wiktor Waliłko on bass, and Andrzej Ruszkowski on drums.
An eerie intro simply titled I, where Krzysztof distills his Polish words to give it a darker edge, sets the tone for the pulverizing and grim Dunkelheit (“darkness” from German), presenting Black Metal riffs by Krzysztof and Charon while Andrzej hammers his drums powerfully, being at the same time ferocious and melodic, and kicking things off on a very high note. Then investing in a similar sound of its predecessor, Necrosis of Soul is another infuriated creation by Chimera where the band adds elements from Groove Metal and Deathcore to their core essence, not to mention Krzysztof sounds inhumane with his deep roars; whereas Madness sounds and feels even heavier and more demented, with Charon being on fire with his riffage and solos accompanied by the rumbling bass by Wiktor in an electrifying fusion of Black, Heavy and Death Metal. And the thunderous bass and beats by Wiktor and Andrzej, respectively, generate a menacing ambience in Nieistniejąc (“non-existent” from Polish), with the sharp riffs by the band’s guitar duo slashing our ears mercilessly.
The album’s “second act” begins with the horror-movie inspired interlude II, also displaying cryptic vocalizations and morphing into the intricate and groovy Immortal Self, reminding me of the music by several bands from the current American modern metal scene. Moreover, the song’s devilish growls and razor-edged riffs will pierce your mind like a bullet, whereas headbanging guitars and a Stygian atmosphere will embrace your soul in The Bable Tower, where Krzysztof continues to vociferate like a creature from the underworld in a vicious onrush of Black and Death Metal. Then in Asmodeus we’re all invited to slam into the circle pit thanks to its endless brutality, groove and electricity, with Andrzej sounding insane behind his drums supported by the metallic bass by Wiktor, resulting in one of the best songs of the album hands down. And the band keeps delivering their trademark hybrid of violence and intricacy in Dziki Sęp (“wild vulture” from Polish), bringing forward an awesome job done by Krzysztof and Charon with their Black Metal-infused riffs. There’s still time for one last breath of pure insanity entitled Among Wolves, getting heavier and heavier as time passes by, all spearheaded by the venomous vocalizations by Krzysztof before a narration-style outro named III puts a Stygian ending to the album.
If you’re an admirer of a modern fusion of Black, Death and Heavy Metal with a dense background, you should definitely give the new album by Chimera a try by streaming it in full on YouTube and on Spotify, and of course purchase it from the band’s own Facebook page to show your utmost support to the underground. In addition, go check what the band is up to on Facebook and on Instagram, including their tour dates, and subscribe to their YouTube channel for more of their music and videos. Gloria Mortis is undoubtedly a step forward in the career of such promising band from the Polish metal scene, and I’m pretty sure that we’ll hear more from those guys sooner than we can imagine as their third opus isn’t far from seeing the light of day.
Best moments of the album:Dunkelheit, Madness and Asmodeus.
Worst moments of the album:Immortal Self.
Released in 2022 Independent
Track listing 1. I 1:48
2. Dunkelheit 5:36
3. Necrosis of Soul 4:33
4. Madness 4:02
5. Nieistniejąc 5:15
6. II 1:22
7. Immortal Self 4:01
8. The Bable Tower 4:05
9. Asmodeus 4:30
10. Dziki Sęp 3:28
11. Among Wolves 3:59
12. III 1:07
Band members Krzysztof Gałecki – vocals, guitars
Rafał “Charon” Mazur – lead guitars
Wiktor Waliłko – bass
Andrzej Ruszkowski – drums
Seven years after the release of Beyond The Red Mirror, the most respect German Power Metal bards of all time make a brilliant return with their breathtaking twelfth studio album.
Seven years after the release of Beyond The Red Mirror, the multi-talented German Power Metal bards Blind Guardian make a brilliant return and compensate for the waiting time with their new studio album, entitled The God Machine, the twelfth in their undisputed career. Produced, recorded and engineered by Charlie Bauerfeind and Thomas Geiger, mixed by Joost van den Broek and Jos Driessen, mastered by Jaakko Viitalähde, and displaying a classy artwork by Peter Mohrbacher, The God Machine brings everything we learned to love and more in the music by frontman Hansi Kürsch and his henchmen André Olbrich and Marcus Siepen on the guitars, Frederik Ehmke on drums, and session musicians Barend Courbois on bass and Thomas Geiger on keyboards, with each song having its lyrics based on a specific novel, play, series or milestone in their personal lives, such as The Kingkiller Chronicle, Battlestar Galactica and American Gods. “We didn’t want to rehash our style from 1995, but on the other hand we didn’t want to have to continue on our current path forever. The God Machine is a new beginning for us. We’re putting everything back to square one and return to certain patterns that we neglected a bit on previous releases. Look forward to an album that is straighter, more aggressive, but always blessed with highly infectious melodies and hooks,” commented Hansi about the band’s new opus.
The rhythmic riffs by André and Marcus set the stage for the epic Deliver Us From Evil, with Hansi distilling his trademark, powerful vocals from the very first second in a pure Blind Guardian sound with no shenanigans, or in other words, this will be a fantastic opener for their upcoming concerts. In Damnation we’re treated to cryptic words darkly declaimed by Hansi (“They’re like ghosts / The ancient ones / Burning blue’s their sign / It’s all true / Hush don’t cry / Better hide”) while his bandmates deliver first-class Power and Heavy Metal nonstop in a journey back in time to the band’s early days; followed by Secrets Of The American Gods, which starts in a beyond epic, majestic manner before exploding into another headbanging, symphonic Power Metal aria, being therefore tailored for their live setlists. And it’s then time for another explosion of visceral Power Metal by the bards entitled Violent Shadows, where Barend and Frederik’s kitchen offers the band’s guitar duo the perfect atmosphere for their wicked riffs and solos.
Life Beyond The Spheres displays solid instrumental and vocals, albeit it lacks the same punch as its predecessors. The keys by guest Joost van den Broek are spot-on, though, enhancing the song’s kick. Then speeding things up and delivering a beautiful fusion of heaviness, epicness and violence the band brings forward Architects Of Doom, where Frederik dictates the pace while Hansi continues to stun us all with his unparalleled vocals; and Hansi mesmerizes us once again in Let It Be No More, starting in a serene, pensive manner and evolving into a bold and beautiful sonority where André pierces our souls with his guitar solo. The fantastic Blood Of The Elves brings to us listeners powerful lyrics (“Honor, it’s easy to dispose / In this darkest hour we’re alone / From behind closed doors it aims for her / Magic’s reaching out to draw her in / To the eye of the storm / The storm”) spiced up by a traditional, straightforward sound that will please all fans of the band, whereas just like a sinister, climatic ending of a fantasy movie we’re treated to the hammering Destiny, a great way to conclude another sensational work by Blind Guardian showcasing their characteristic vocals and riffs enfolded by gorgeous background elements.
Blind Guardian The God Machine Nuclear Blast Mailorder Vinyl Boxset
Such masterpiece of German Power and Heavy Metal can be appreciated in all of its glory on YouTube and on Spotify, but if I were you I would certainly click HERE or HERE to purchase the physical edition of the album, including the superb Nuclear Blast Mailorder Vinyl Boxset, limited to 1,700 copies, which comes with a crystal-clear double LP with red inkspot and black splatter in a gatefold with 24-page booklet, a digipack CD, a board game, a slipmat, a signed card, a sticker and a postcard set. Don’t forget to also follow the band on Facebook and on Instagram for news and tour dates, and to stream all of their amazing videos and albums on YouTube and on Spotify. In summary, seven years between two albums feels like an eternity for us fans when the band in question is as amazing as Blind Guardian, but the wait was certainly worth it as The God Machine proves why such German metal machine is so respected and admired in the world of heavy music.
Best moments of the album:Deliver Us From Evil, Damnation, Violent Shadows and Blood Of The Elves.
Worst moments of the album:Life Beyond The Spheres.
Released in 2022 Nuclear Blast
Track listing 1. Deliver Us From Evil 5:21
2. Damnation 5:20
3. Secrets Of The American Gods 7:28
4. Violent Shadows 4:17
5. Life Beyond The Spheres 6:02
6. Architects Of Doom 6:20
7. Let It Be No More 4:48
8. Blood Of The Elves 4:37
9. Destiny 6:46
Nuclear Blast Mailorder Edition, Vinyl Boxset bonus tracks 10. Life Beyond the Spheres (Cyber Mix) 6:07
11. Destiny (Lead Guitar Version) 6:42
12. Let It Be No More (Heavy Vocals) 4:49
Band members Hansi Kürsch – vocals
André Olbrich – lead, rhythm and acoustic guitars
Marcus Siepen – rhythm and acoustic guitars
Frederik Ehmke – drums
Guest musicians
Barend Courbois – bass (session)
Thomas Geiger – keyboards, effects (session)
Joost van den Broek – keyboards on “Life Beyond The Spheres”
Marcela Bovio, Marjan Welman, Olaf Senkbeil, Hacky Hackmann & John “Jaycee” Cuijpers – backing vocals
An award-winning Canadian Metalcore act returns to their DIY roots with their musically and lyrically dark brand new four-track EP.
Over the last 15 years, Edmonton, Alberta-based award-winning Metalcore band All Else Fails has become a cornerstone of the Melodic Heavy Metal community in Canada. Combining intense riffs, intricate rhythm sections, brutal guttural screams, and melodic yet unusual vocal lines paired with relevant and relatable lyrics, their message resonates with us all, and now in 2022 it’s time for vocalist and guitarist Barrett Klesko, guitarist John Saturley, bassist Coco Lee and drummer Nelson Collins-Lee to return to their DIY roots by mindfully abandoning their social media and redirecting their energy to contributing to their local metal scene by building a direct personal connection to their fans and followers, living in line with a humanist philosophy and encouraging a culture of support between artists, culminating with the release of a new EP entitled The Incident at Black Lake. Produced by All Else Fails, mixed and mastered by Bevin Booth at In The Booth Recordings, and displaying a somber artwork by Indonesian illustrator and graphic designer Zulmi_m, The Incident at Black Lake is musically and lyrically dark according to Barrett himself, who complemented by saying that “I think this EP is beautiful, there is elegance in darkness. I think it’s sad because I know the turmoil and pain it took to write it, and I think it’s powerful because it’s the first time I have truly been honest in my music.”
A cinematic intro grows in intensity until all hell breaks loose to the demented screams by Barrett in I, Defiler while Coco brings sheer groove to the sound with his low-tuned, metallic bass, resulting in classic Metalcore alternating between pure savagery and melodic, ethereal moments, all spiced up by its background Symphonic Deathcore elements. Then another imposing start morphs into the Metalcore and Deathcore feast entitled Devour The Sun, offering our ears over eight minutes of slashing riffs by Barrett and John while Nelson hammers his drums in total sync with the bass by Coco, overflowing heaviness, intricacy and harmony, not to mention Barrett does an amazing job on vocals as usual; followed by Flesh /Excess /Wealth, another multi-layered, detailed aria masterfully brought into being by the quartet. The guitars by Barrett and John exhale fire throughout the entire song while Nelson’s beats add an extra dosage of complexity to the music, being therefore perfect for banging your head nonstop and singing its lyrics together with Barrett. Lastly, the band puts the pedal to the metal as the closing song of the EP, Crystal Mountain, is just as violent and melodic as its predecessors, blending Metalcore with Progressive Death Metal nuances, with all band members showcasing their refined skills until the very last second and with Nelson stealing the spotlight with another ass-kicking performance on drums. In addition, its background epic sounds are simply fantastic.
The Incident at Black Lake might be “just” a four-track EP by All Else Fails, but its 25 minutes of music are absolutely intense and electrifying, proving why they’re undoubtedly one of the most important names of the Canadian Metalcore scene. Hence, don’t forget to give the guys from All Else Fails a shout on Facebook and on Instagram, to stream more of their music on Spotify, and to purchase a copy of The Incident at Black Lake really soon from their own BandCamp page or from Apple Music. As already mentioned, there’s a lot of darkness flowing from the music and the lyrics found in the EP, and that’s exactly what makes it so compelling, showing that their decision to channel their energy into their local metal scene and “forget” about social media will bring tons of benefits to their career.
Best moments of the album:Devour The Sun and Flesh /Excess /Wealth.
Worst moments of the album: None.
Released in 2022 Independent
Track listing 1. I, Defiler 5:48
2. Devour The Sun 8:24
3. Flesh /Excess /Wealth 5:36
4. Crystal Mountain 5:19
Band members
Barrett Klesko – vocals, guitar
John Saturley – guitar
Coco Lee – bass, backing vocals
Nelson Collins-Lee – drums
***Review by Luke Hayhurst, writer for Morbid Wings (Print) Zine, VM Underground Fanzine and Doom-Metal.com***
And what it sounds like is what I imagine having your face forcibly dragged along a cobbled street at a hundred miles per hour might sound like. A violent uncontrollable maelstrom of bludgeoning beats, Buzzsaw riff-age and a vocal style from the gutters, spewing forth bile and spite at every available moment. And yet at times Lifetaker produces moments of pure unadulterated fist pumping madness such as the delightfully catchy Kehlbiss or the equally as fun sounding Kadaverstille which are surely destined to be pit favourites at any upcoming shows that the band grace.
THE HEADBANGING MOOSE 