Category Archives: Album Reviews

Album Review – Grotesque Ceremonium / Demonic Inquisition (2016)

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Call it Torturing Metal, Inquisitor Metal or simply old school Death Metal, the destructive music by this one man-army from Turkey will inflict some good pain on your body and soul.

Rating5

153-1Before starting reading this review, go down to the very end of it and take a good listen at the brutal devastation called “Burned At The Stake” by Turkish Death Metal one-man army Grotesque Ceremonium. Are you done listening to it? Good, because that will make it a lot easier for you to understand what an “unholy old school Death Metal band influenced by early 90’s dark, putrid evil” is, also setting the tone for every single song in Demonic Inquisition, the debut full-length album by this promising project led by the multitalented musician Batu Çetin.

Formed in 2014 in Ankara, Turkey, and having released a debut EP entitled Blasphemous Goat Observance that same year, Grotesque Ceremonium return in Demonic Inquisition with a concept album about the Dark Ages and the Medieval Inquisition, where all punishments and inquisition methods were performed by demons and Baphomet’s evil army against all believers of God. Singing about witches, witchcraft, demonic punishments and tortures in the depths of hell (the satanic temple of Baphomet), Mr. Batu Çetin will take you on a tormenting journey accompanied by the sound of his old school extreme music, leaving your agonizing soul completely disoriented and desolated. What else do you need in good Death Metal music, right?

Putrid growls and snarls permeate the air in Defiled Spirits Of Unholy Torments, where Batu displays a very good control of all instruments, in special his obscure riffs and drums like what we see in bands such as Cannibal Corpse and Morbid Angel, therefore sounding as Death Metal as possible. The title-track Demonic Inquisition builds a direct link with the opening track, enhanced by its profane vociferations and a hellish ambience. By growling deeper and deeper, Batu takes us to the hideous pits of Medieval Inquisition in a little over six minutes or torturing passages and pure Death Metal, exactly the way it’s supposed to sound.

In Burned At The Stake, which is obviously about one of the most heartless forms of torture, Batu translates the unbearable pain caused by fire into brutality with his guitar lines and rhythmic drumming, whereas in Malefizhaus & Hexengefangnis, the witch prisons built during the Bamberg Witch Trials with a capacity of 30 to 40 prisoners each, our one-man army once again provides his vision of such disgusting event through his old school musicality, with highlights to his satanic riffs and nefarious growling. If you feel your head burning after all the darkness spilled by Grotesque Ceremonium so far, get ready for more aggressiveness in Barbaric Apostasy, where despite adding hints of Blackened Doom to his beats, Batu never deviates from the foundations of Death Metal. Put differently, simply bang your fuckin’ heads to this amazing feast of extreme music until your brain detaches from your skull.

gro-bandAgonized Screams Of The Damned might be faster than the previous songs, but it’s still sluggish and extremely heavy, which obviously turns it into one of the most devastating songs of the album (if not the most). Moreover, Batu keeps roaring his fiendish gnarls and delivering his very traditional guitar lines, and pay attention to how vocals and riffs follow the exact same pattern during the entire song, showing how methodical this musician is. Following a similar sonority, we are embraced by total fuckin’ darkness in a disquieting composition entitled In The Cauldrons Of Hell, which blends the heaviness of old school Death Metal with the funereal beats from Doom Metal and Blackened Doom.

The last original track in Demonic Inquisition, named Crushing Morbid Death, is sheer Death Metal with no extra ingredients or any type of shenanigans: it’s simply Batu blasting his wicked growls, riffs and drumming in three minutes of Stygian music. And lastly, the cover version for Profanation, by old school American Death Metal band Incantation, lives up to the original version from 1992, an amazing tribute to one of our death metaller’s main influences with highlights to its “lovable” lyrics (“Pentagram is hailed in hell / Star of death brings infinite life / Enter the circle and desecrate / Devours the soul, embalminate the body…”). Not only that, keep in mind Batu is not a full-bodied band like Incantation, but just one single person, yet again showcasing his refined abilities as a musician.

This impactful display of putrescent Death Metal, available as a jewel box CD limited to 500 copies (including an 8-page booklet) or as a digital download, can be purchased at the band’s BandCamp page, at the Satanath Records’ BandCamp page and webstore, or at Discogs. Perhaps we should say Grotesque Ceremonium, the disfigured child created by the mind of Mr. Batu Çetin, is a forbidding form of Death Metal called “Torturing Metal” or maybe even “Inquisitor Metal” due to its vile nature. A good epitome of what Batu is capable of generating in music, and an excellent alternative for any fas avid for the heaviest form of Death Metal you can think of.

Best moments of the album: Malefizhaus & Hexengefangnis and Agonized Screams Of The Damned.

Worst moments of the album: None.

Released in 2016 Satanath Records/More Hate Productions

Track listing
1. Defiled Spirits Of Unholy Torments 4:52
2. Demonic Inquisition 6:28
3. Burned At The Stake 3:08
4. Malefizhaus & Hexengefangnis 5:24
5. Barbaric Apostasy 5:49
6. Agonized Screams Of The Damned 3:53
7. In The Cauldrons Of Hell 4:47
8. Crushing Morbid Death 2:53
9. Profanation (Incantation cover) 5:04

Band members
Batu Çetin – vocals, all instruments

Album Review – Iron Savior / Titancraft (2016)

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One of the most underrated bands from the heavy music scene in Germany returns with another solid lesson in Power Metal, perfect for banging our heads nonstop and raising our fists in the air.

Rating4

CoverMeine Damen und Herren, it’s my pleasure to inform you German Power Metal warriors Iron Savior have just released a brand new album, entitled Titancraft, the ninth in their underrated career and another extremely well-crafted collection of old school Heavy Metal hymns. Spearheaded by the skillful Piet Sielck on vocals and guitar, Iron Savior have managed to maintain the same lineup from their 2011 album The Landing and their 2014 kick-ass album Rise of the Hero, and we all know how good and productive it is to music whenever a band doesn’t suffer too many changes in regards to its members.

Instead of changes in their lineup, Iron Savior invested into increasing the reach of their music by simply adding the abilities of several guest musicians to the album. In Titancraft, fans will be able to enjoy the contributions by guitarist Jan Bertram (Paragon), singer Frank Beck (Gamma Ray), keyboardist and pianist Daniel “Danny Danger” Galmarini (Mercury Falling), and Philippa “Pippa” Sielck  on backing vocals. Add to that the once again classic cover art by Colombian musician and illustrator Felipe Machado Franco, the same artist responsible for the artwork in The Landing and Rise of the Hero, and there you have an album that transpires Heavy Metal in all possible senses.

Rumbling bass lines, electronic effects and an eerie voice constitute the futuristic intro Under Siege, setting the tone for the title-track, Titancraft, an explosion of the purest form of Power Metal similar to what their countrymen from Gamma Ray usually do. I love when a band like Iron Savior can craft honest and exciting music even after so many years on the road, and although the vocals by Piet sound less aggressive than in their previous albums, that doesn’t mean they’re not awesome. After that solid start, we have the even more powerful Way of the Blade, a superb composition that lives up to the history of true Power Metal showcasing piercing guitar lines by Piet and Joachim “Piesel” Küstner and the thunderous bass by Jan-Sören Eckert, as well as Piet getting back to his beastly mode on vocals.

Seize the Day sounds happier than usual, which doesn’t mean the music is soft or bland despite being slightly below the rest of the album in terms of quality (let’s say that excessive happiness is also a bit tiring after a while); whereas Gunsmoke, with its lyrics inspired by the dangerous lives of gunmen in the Wild West (“And when all hope was gone / Judgement came to town / Seven guns / To shoot the outlaws down / Shoot ‘em down”), has that headbanging rhythm perfect for some air guitar. Furthermore, Thomas Nack is not only a fast drummer, but in this song he also shows his skills in a groovier form closer to classic Hard Rock. And in Beyond the Horizon, a classic Power Metal composition where backing vocals help Piet sound more powerful and epic, Danny Danger embellishes the musicality with his keyboard notes, working really well together with all guitar solos by Piet and Piesel.

BandThe fantastic The Sun Won’t Rise in Hell is an ode to Heavy and Power Metal, blending the best elements from Gamma Ray, Manowar, Judas Priest and so on, with Piet and his crew delivering a potent and metallic hymn where all guitar riffs and solos sound cutting, which is always a good thing in heavy music; and if you love high-octane Power Metal, Strike Down the Tyranny is perfect for you. It’s quite similar to many old classics by Iron Savior, with highlights to the always competent Thomas behind his drums.

Although the average Brother in Arms brings the adrenaline down a bit due to its not-so-exciting rhythm, despite its decent lyrics (“Alone on the journey / Like so often before / My circuits are gleaming / In overload / And now I’m coming ashore”) and good guitar solo, everything gets back on track in I Surrender, an outstanding power ballad where you’ll start singing its catchy lyrics instantly, all enhanced by a beautiful guitar solo and the passionate vocal performance by Piet, making the overall result even more touching. In other words, this is an amazing example of how a band can sound mighty even when not playing at full speed. Finally, if you were born to be rebellious, you’ll have a good time listening to the straightforward Power Metal tune Rebellious and its electrified guitar passages and classic beats.

In summary, Iron Savior never disappoint, always displaying their profound passion for Power Metal through their classic tunes, and it couldn’t be different in Titancraft. By the way, If you’re a diehard fan of the band, you certainly need to purchase the limited edition of the album, containing a stamped tinplate (20×30 cm) with cover artwork, an Iron Savior metalpin, a personal sketch and notes from Piet Sielck himself, a handsigned autograph card and a certificate of authenticity. As you already know, this is true Power Metal crafted by another brilliant band from Germany, a country that has metal music running through its veins, and that’s all we need to bang our heads and raise our fists with a huge smile on our faces.

Best moments of the album: Titancraft, Way of the Blade, The Sun Won’t Rise in Hell and I Surrender.

Worst moments of the album: Seize the Day and Brother in Arms.

Released in 2016 AFM Records

Track listing
1. Under Siege (Intro) 0:58
2. Titancraft 5:21
3. Way of the Blade 3:57
4. Seize the Day 4:57
5. Gunsmoke 5:07
6. Beyond the Horizon 5:58
7. The Sun Won’t Rise in Hell 5:02
8. Strike Down the Tyranny 5:10
9. Brother in Arms 5:23
11. I Surrender 4:04
12. Rebellious 4:49

Limited/Japanese Edition bonus tracks
10. R&R Addiction 5:10
13. Protector 2016 4:36

Japanese Edition bonus track
14. Assailant 2016 4:20

Band members
Piet Sielck – vocals, guitar
Joachim “Piesel” Küstner – guitar
Jan-Sören Eckert – bass guitar
Thomas Nack – drums

Guest musicians
Jan Bertram – lead guitars on “R&R Addiction”
Philippa “Pippa” Sielck – backing vocals
Frank Beck – backing vocals, additional lead vocals on “Assailant 2016”
Daniel “Danny Danger” Galmarini – keyboards on “Beyond The Horizon”, “I Surrender” and “Brother In Arms”, piano on “I Surrender”

Album Review – Winterhymn / Blood & Shadow (2016)

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If your fearless heart claims for top-notch Epic Folk Metal, you’ll definitely enjoy this excellent compilation of songs perfect for your mead-drinking and mud-fighting parties.

Rating4

Blood&Shadow_FrontAlthough I couldn’t see Pagan/Folk Metal squad Winterhymn kicking ass live during Paganfest America Part V here in Toronto in 2014 due to traffic issues (as you can read HERE), I went after their music to get to know more about this American sextet, and let me tell you I was impressed with the energy, passion and creativity flowing from their symphonic and progressive compositions. With that said, I guess I don’t need to mention how excited I got when I received their brand new album for review, the melodious Blood & Shadow, right?

Since their inception in 2009, these folk metallers from Cincinnati, Ohio have been bringing the epicness of Celtic and Scandinavian Folk sounds to the United States, starting with their 2011 debut album Songs for the Slain until this year’s Blood & Shadow, also sharing the stage with renowned names like Eluveitie, Turisas, Chthonic, Arkona and many others. Featuring a beautiful and sanguinary artwork by Irish artist Vasilis Zikos, reflecting a scene from Winterhymn’s personal mythos (which the album is entirely based upon), Blood & Shadow is the soundtrack for drinking lots of mead and getting in random fights in the mud around a bonfire, all embraced by the undeniable talent of four brave lads and two stunning maidens.

Blending elements from Folk and Black Metal with hints of Power Metal, the melodic battle chant Blood of the Moon kicks off the album on a high note by bringing forward a very epic rhythm with highlights to the mesmerizing sound by violinist Umbriel, followed by Dream of Might, which leans towards pure Folk Metal. Albeit slower than the opening track, it still offers a high dosage of epicness, with the vocals by lead singer and guitarist Draug being perfectly complemented by the pounding drums by Valthrun and the once again incredible violin sounds by Umbriel. And the outstanding Pagan Metal composition Blood Burner is one of those songs tailored for fans of vicious battle chants who love to slam into the circle pit with a pint of cold beer in hand, with Draug and Varrik providing some exciting riffs and solos while Valthrun doesn’t let the amazing energy in the music go down.

Less violent and with a more progressive flow (but still very impactful), Legacy in Flames offers lyrics about the everyday life of a warrior nicely declaimed by Draug and bassist Alvadar (“We hunt our prey / With our last breath / By the sanguine moon / Through realms of death / So curse our name / You’ll be slaughtered all the same / Your legacy in flames”), with its last part being highly recommended for prancing around a fire pit with a pint of mead; whereas The Summoning displays a higher focus on Death Metal guttural vocals while instrumental is purely Folk Metal, a good balance that works well for a while but that unfortunately falls flat close to the end of it. Seafarer, a “Middle Earth-inspired song”, is a semi-acoustic ballad where violin and acoustic guitars generate the perfect atmosphere for Draug and his clean vocals, a soulful break from the band’s traditional battle hymns before Silenced by the Northern Winds gets back to brutal folk music with Draug leading the band’s onrush with his imposing growls, boosted by an excellent guitar solo to properly conclude this thrilling tune.

zGroup (22)In Shadow We Ride, another classic Folk Metal tune by Winterhymn, offers the listener slower beats and a fighting vibe, with its second half getting slightly heavier and, consequently, adding some extra flavor to the overall result (especially the potent bass lines by Alvadar). And in Huntsman, a serene intro morphs into brutal Pagan Metal, with its lyrics being everything a fan of this type of music loves (“They marched across the Iron Jaw with sword and helm / Seeking fabled woodland doorways to the twilight realms / The proudest of their captains are now hunted like boars / Their banners lie in gory pools upon the forest floor”). Moreover, all instruments sound potent and sharp, accrediting it to be one of the best songs of the new album for their live performances.

The final triad of Folk Metal in Blood & Shadow begins with the electrifying The Wolf’s Head, where Death and Power Metal elements arise. The song’s riffs and solos, together with the precise drumming by Valthrun, set the music on fire, with both guttural and clean vocals and the background sonority crafted by Umbriel and Exura on violin and keyboards, respectively, being absolutely outstanding. Into the Depths shows the whole band still has enough fuel for more Epic Pagan Metal, which after a solid intro gets heavier than almost everything from the album, not to mention the heroic singing by Draug. And lastly, Umbriel dictates the rhythm through her fast and melodious violin in The Chosen End, where all band members unite to provide the listener a full-bodied composition overflowing courage, passion and pain, a climatic ending for such a professional album.

If your courageous heart claims for top-notch Epic Folk Metal, go check Winterhymn’s Facebook page, as well as their YouTube channel and ReverbNation page, and don’t forget to buy their new album at the SoundAge Productions’ webstore, at the band’s BandCamp page, on iTunes or on Amazon. As aforementioned, there’s no better way to get drunk with mead and engage into mud-fighting than to the sound of such an amazing band like Winterhymn.

Best moments of the album: Blood Burner, Silenced by the Northern Winds and The Wolf’s Head.

Worst moments of the album: The Summoning.

Released in 2016 SoundAge Productions

Track listing
1. Blood of the Moon 3:48
2. Dream of Might 3:59
3. Blood Burner 3:19
4. Legacy in Flames 4:51
5. The Summoning 4:12
6. Seafarer 3:20
7. Silenced by the Northern Winds 6:53
8. In Shadow We Ride 4:47
9. Huntsman 5:23
10. The Wolf’s Head 3:39
11. Into the Depths 6:25
12. The Chosen End 4:31

Band members
Draug – vocals, lead guitar
Varrik – guitar
Alvadar – bass, backing vocals
Exura – keyboards
Umbriel – violin
Valthrun – drums

Album Review – Ancesttral / Web Of Lies (2016)

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A top of the line Thrash Metal album by a passionate and all fired up quartet that wants to show the entire world Brazil has a lot more to offer than just samba and MPB.

ancesttral_frontcoverWhen my good friend Jorge Diaz, host of the awesome Brazilian radio show Timão Metal, asked me if I wanted to write a review for Web Of Lies, the brand new album by Brazilian Thrash/Heavy Metal band Ancesttral, I obviously accepted the task right away. First and foremost, it’s always a pleasure to show the world that “terra brasilis” has a lot more to offer than just samba and MPB in regards to music. Furthermore, Jorge brought to my attention that two members of Ancesttral are huge supporters of our favorite soccer team (and obviously the team that inspired the creation of Timão Metal), the almighty Sport Club Corinthians Paulista. And do you want to know how Web Of Lies sounds? Well, let me tell you it’s goddamn good, just like scoring a beautiful and pivotal goal against your worst archenemies in a decisive soccer match.

Formed in 2003 in the city of São Paulo, Brazil, Ancesttral have been on an exciting upward spiral of success since the band’s inception, having already released an EP named Helleluiah in 2005, their debut full-length album The Famous Unknown in 2007, and more recently another EP entitled Bloodshed and Violence in 2012. Now in Web Of Lies not only the band’s old school influences the likes of Metallica, Anthrax, Pantera, Slayer and Testament continue to shine in their music, but there’s also the addition of modern elements from artists such as Godsmack, Disturbed and Rob Zombie, contributing to a fresher sounding while remaining loyal to our good old Thrash Metal, their biggest passion in life (together with Corinthians, of course).

There’s a lot of electricity flowing from the very first second in the opening track, the fantastic What Will You Do?, which sounds like an awesome fusion of Fight, Metallica and Anthrax. Even before lead singer and guitarist Alexandre Grunheidt (who’s by the way absolutely nuts for Corinthians) joins the music with his blazing vocals, lead guitarist Leonardo Brito already fires a flammable mini-solo as the band’s welcome card, leading up to a difficult question: can it get any better than this? The solid and sharp headbanging composition Massacre, inspired by the Carandiru massacre, one of the most hideous slaughters in Brazil’s history, answers that question with its endless aggressiveness and dark lyrics (enhanced by an enfuriated Alexandre on vocal), sounding like a hybrid between some of the classics by Fight and the heaviest tunes by Disturbed; followed by Threat to Society, more modern than the two previous tracks due to the additional elements from bands such as Godsmack and System Of A Down. Furthermore, drummer Denis Grunheidt blasts groovier-than-usual beats, providing the perfect atmosphere for Alexandre and Leonardo to bring forth also more contemporary riffs and solos.

Megadeth-like riffs by Leonardo and more tuneful growls by Alexandre are the main ingredients in the well-crafted chant (and a good choice for their live performances) named You Should Be Dead, where its backing vocals are very effective in increasing the song’s impact on the listener, whereas in the excellent Fight a somber intro led by the obscure bass sounding by Renato Canonico suddenly becomes a merciless neck-breaking tune, presenting elements from old school Thrash Metal as well as from Alternative Metal. Not only that, albeit the vocal lines get more melodious (and consequently less violent), Ancesttral do not give up their usual brutality, being driven in this case by their heavier than hell riffs. And in Nice Day to Die, a Speed Metal composition with hints of Alternative and Nu Metal, the band definitely puts the pedal to the metal in terms of pugnacity, in special the demented vocals by Alexandre (and all backing vocals as well) and the frantic drumming by Denis.

After such amazing devastation, it’s time to slow things down in Pathetic Little Liars, focusing on a darker sounding, something that could have been recorded by Metallica in any of their albums after the 90’s (except of course for the horrendous St. Anger). The only minor issue with this song is that, in my opinion, nothing changes in its four minutes, being quite repetitive after a while. Also groovy and as heavy as hell, Subhuman is another high-quality composition with highlights to the burning riffs and solos by Leonardo, its nonstop beats and an awesome Rob Zombie-inspired performance by Alexandre, all translating into modernized metal music tailored for old school metallers.

ancesttral_2016Then we have one of the most thrilling songs of the album, the title-track Web of Lies, another awesome tune where hints of the sonority by Disturbed become manifest one more time, showcasing how much Ancesttral looks into the future when composing their material, and despite being less thrashy than their customary sounding it’s still awesomely vibrant and resonant. Before the wondrous sonic extravaganza in Web Of Lies is over, Ancesttral show us what happens when Pantera meet Anthrax in the deranged Fire, where metallic riffs build the necessary ambience for Alexandre to spit fire through his incandescent vocals. In addition to that, I bet you’ll start screaming “FIRE!” together with the band while slamming into the pit to the sound of this belligerent tune, and that says it all when the music in question is Thrash Metal. As a bonus, What Will You Do? returns with the same punch as its original version, but this time with a special alternate solo by guest guitarist Rodrigo Flausino, concluding the album almost exactly like it started, which is evidently on a very high note.

The guys from Ancesttral are true workhorses, having invested a shitload of money, time and energy into the making of the album, and playing exhaustively everywhere in Brazil where first-class Heavy Metal is demanded. For instance, take a look at their outstanding performance at Manifesto Rock Bar, in São Paulo, on August 23, 2014 playing three of the new songs (“What Will You Do”, “Threat to Society” and “Web of Lies”) before they were even launched, and you’ll be able to notice how much they nurture a profound passion for all things metal. And in order to provide your honest support to this sensational Brazilian band, go check their Facebook, YouTube, ReverbNation and SoundCloud, and buy your copy of Web Of lies through their online store, the Shinigami Records’ webshop, CD Baby, iTunes, Amazon and many other locations. Just like Ancesttral do, simply respect your past, live the present, look into the future… E VAI CORINTHIANS!

Best moments of the album: What Will You Do?, Massacre, Fight and Web of Lies.

Worst moments of the album: Pathetic Little Liars.

Released in 2016 Shinigami Records

Track listing
1. What Will You Do? 5:23
2. Massacre 5:10
3. Threat to Society 3:52
4. You Should Be Dead 3:50
5. Fight 5:32
6. Nice Day to Die 2:38
7. Pathetic Little Liars 4:06
8. Subhuman 3:42
9. Web of Lies 3:14
10. Fire 2:52
11. What Will You Do? (Alternate Solo Version) 5:23

Band members
Alexandre Grunheidt – vocals, guitars
Leonardo Brito – lead guitars
Renato Canonico – bass
Denis Grunheidt – drums

Guest musician
Rodrigo Flausino – guitar solo on “What Will You Do? (Alternate Solo Version)”

Album Review – Whispered / Metsutan – Songs Of The Void (2016)

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Armed with their powerful fusion of Melodic Death Metal and eccentric sounds from the East, these unstoppable Scandinavian samurais strike again with another thrilling tribute to the Japanese culture.

Rating4

whispered2400pixThe term “Samurai Metal” might not make sense to most fans of heavy music who have never had any contact with Melodic Death/Power Metal act Whispered. And if you think the band hails from Japan, you’re absolutely wrong, as those metallic samurais come from a country well-known for their Heavy Metal bands, but that has nothing to do with the Japanese culture and history. Whispered are a group formed in 2004 in the city of Tampere, Finland by lead singer and guitarist Jouni Valjakka, and despite all members having a pure Scandinavian background, their hearts are filled with the passion, talent and courage of real samurais from the “Land of the Rising Sun”.

It’s not only their Samurai-inspired face-painting, outfits and lyrics that refer to the ancient Japanese culture, but the music itself is a fusion of Scandinavian Melodic Death Metal with Japanese folk music, blending heavy riffs and growls with the sounds of traditional instruments such as the shamisen, the shakuhachi and the koto. After releasing their debut album Thousand Swords in 2010 and the more brutal Shogunate Macabre in 2014, both which led them to share the stage with renowned Finnish bands like Korpiklaani, Turisas and Ensiferum, appearing in major festivals like Tuska Open Air and Nummirock, and even supporting Battle Beast during their 2013 tour in Japan, it’s time for Whispered to strike again with their guitars and katanas in Metsutan – Songs Of The Void, their third full-length installment.

The very entertaining intro Chi No Odori (or “the dance of Chi” in English), with all its wicked sounds and voices, tells the listener the battle is about to begin in the fast-paced hymn Strike!, with its lyrics depicting the relationship between a Samurai warrior and his sword (“And he moves / with the swift pace unrivaled / unseen by the aspirants’ eyes / And he knows / in his heart so unbridled / That he’ll soon execute / the flawless / STRIKE!”). This is the perfect example of how awesome the mix of Melodic Death Metal with Orient Metal (as well as other elements from Japanese culture) can be, with the guitars by Jouni and his fellow swordsman Mikko Mattila adding a lot of electricity to the musicality. Exile Of The Floating World is fury to the second power, a melodic devastation led by drummer Jussi Kallava where the elements from the East become even more evident; followed by Sakura Omen, a thrilling Melodic Power Metal madness showcasing Arch Enemy-inspired riffs and a headbanging rhythm in what is undoubtedly one of the best of all tracks in the album. At this point of Metsutan – Songs Of The Void, there’s absolutely no doubt that “epicness” is a word that can be used to describe all songs by Whispered, don’t you agree?

whispered_promopicWhile listening to Kensei (or “restraint” in English), it truly felt like watching a Japanese anime or a tokusatsu due to its totally adventurous pace and background elements. However, it’s the band’s furious Melodic Death Metal that stands out in this good composition where once again Jussi is relentless on drums; whereas in Our Voice Shall Be Heard the band simply slashes the listener with their razor-edged instruments, with all atmospheric breaks, guitar solos and ancient sounds being inserted in the right place and moment, therefore boosting the song’s impact. And in Tsukiakari (or “moonlight”), the second longest track of the album, a calm intro represents the serenity of our warriors before heading into the battle, with highlights to its melodious passages and riffage following the lines of classic Swedish Melodic Death Metal.

Warriors Of Yama, a three-minute instrumental track that pays homage to the Asian culture, introduces us to the violent Victory Grounds Nothing, with its lyrics portraying the fortunes of a Samurai life (“Age of strife has finally turned away / Fear so strong and sound fades to bliss of the day / Bloodstains on the sword will scene the tale / manifold test of might, honor, verdict and pain”). This high-speed composition feels like a sharp sword cutting our flesh, where Jussi and bassist Kai Palo craft a solid base for Jouni and Mikko to keep delivering their blazing riffs. And lastly, we have Bloodred Shores of Enoshima, the longest and most epic of all tracks divided in 5 distinguished acts: “五頭龍 – Gozuryu”, “The Chord of a Goddess”, “Divine Affection”, “The Fury of the Five” and “龍口山 – Tatsu-no-kuchi Yama”. Each act has its purpose, ranging from imposing and symphonic instrumental passages to pure metallic music led by the growls by Jouni, all enhanced by its outstanding background choir until it reaches its climatic ending, resulting in a masterpiece of the East.

Featuring a powerful artwork by Japanese artist ToK, Metsutan – Songs Of The Void can be purchased from Record Shop X, iTunes or Amazon, and in case you want to know more about this exciting fusion of Scandinavian and Japanese music you can go check the band’s Facebook page, YouTube channel and SoundCloud. As an admirer of both Finnish and Japanese cultures, I must say it’s impressive how these Scandinavian samurais are capable of creating such a powerful fusion of Melodic Death Metal and different sounds from the East without sounding cheesy, incongruous or even desultory. And that, in the current state of heavy music, is definitely worth gold.

Best moments of the album: Strike!, Victory Grounds Nothing and Bloodred Shores of Enoshima.

Worst moments of the album: None.

Released in 2016 Inverse Records

Track listing
1. Chi No Odori 1:51
2. Strike! 4:50
3. Exile Of The Floating World 4:12
4. Sakura Omen 7:31
5. Kensei 5:29
6. Our Voice Shall Be Heard 5:43
7. Tsukiakari 8:05
8. Warriors Of Yama (Instrumental) 3:07
9. Victory Grounds Nothing 3:20
10. Bloodred Shores of Enoshima 11:23

Band members
Jouni Valjakka – vocals, guitar
Mikko Mattila – guitar
Kai Palo – bass
Jussi Kallava – drums

Album Review – Cairiss / Fall EP (2016)

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Enjoy this outburst of different emotions and feelings, embraced by the heavy sounds of Post-Metal and the delicate but obscure ambience of Atmospheric Black Metal.

Rating5

Fall ArtworkThe album I’m going to talk about belongs to one of those bands that are capable of transforming all the ravage, darkness and anger of raw Black Metal into daintiness and melancholy without losing that inner aggressiveness necessary in good extreme music. However, don’t ask any of the members from British Atmospheric Black/Post-Metal act Cairiss how exactly they do that, as there’s no magic formula to reach the musicality presented in their debut EP entitled Fall. They simply let their hearts guide their creativity, resulting into an outburst of different emotions and feelings embraced by heavy passages, piercing sounds and a delicate ambience.

Founded in Southampton, UK in 2013 by guitarist Ethan Bishop in collaboration with his partner, vocalist Freyja Brown, this promising female-fronted band released their first demo track, named Disgraced (one of the songs from the EP, by the way) in 2014, which has generated so far over 80,000 views on YouTube and over 600 downloads via their Bandcamp page. Highly influenced by bands such as Opeth and Alcest, Cairiss offer in Fall a 30-minute passionate voyage through the worlds of Atmospheric Black Metal, Post-Metal and Progressive Metal split in three distinct compositions, all wrapped up by a dark and minimalist artwork designed by Freyja herself.

For The Lives He Stole, with its serene and charming piano notes, brings forward a soothing ambience that gradually moves to a heavier sounding beautifully enhanced by the smooth voice of Freyja, suddenly exploding into demonic growls and, consequently, reminding me of the contemporary music by Danish one-woman project Myrkur. Furthermore, Ethan and his bandmate Martin Williams do a great job on guitars, firing melancholy and pain through their riffs while drummer Connor Frapwell adds his share of Doom Metal and Atmospheric Doom to the musicality with his hefty beats. Not only that, the slow and somber breaks and soulful guitar solos are more-than-welcome ingredients to this 12-minute aria, with the darkness contained in the musicality growing until the song’s introspective ending.

cairissStrong emotions arise when the classy chant Disgraced, their aforementioned debut single, kicks off with beautiful Doom Metal riffs boosting its obscurity while its angelic ambience brings peace to our hearts. In this precise fusion of traditional Black Metal and Atmospheric Black Metal, the amazing Freyja ranges from the most charming clean vocals to pure hellish screeches (which obviously bring with them some traditional blast beats by Connor to properly blacken the whole composition), turning this into the most complete, exciting and well-crafted of the three tracks in Fall.

Last but not least, we have the title-track, Fall, a delicate Post-Metal composition focused on the smooth vocals by Freyja accompanied by some acoustic guitar lines and a calm environment. It’s undoubtedly the least Black Metal of all songs, getting closer instead to being a soundtrack to a drama movie with a touching ending. In other words, this is another taste of the uniqueness this talented band is capable of delivering to fans of complex and heavy music, leaving the doors open for more of their stylish Post-Metal in a not-so-distant future.

Which surprises the minds of Ethan and Freyja have for us as Cairiss evolve as a band only time will tell, but in the meantime there’s already a lot to relish in Fall, which can be listened in its entirety on their YouTube channel and purchased at their BandCamp page or on iTunes. Let’s just hope the wait for the next step in their career doesn’t take too long and that they release either another EP or maybe their first full-length album soon, permeating the air with their sophisticated and heartwarming music once again for our total delight.

Best moments of the album: Disgraced.

Worst moments of the album: None.

Released in 2016 Independent

Track listing
1. For The Lives He Stole 12:47
2. Disgraced 9:35
3. Fall 7:56

Band members
Freyja Brown – vocals
Ethan Bishop – guitars
Martin Williams – guitars
Sam Weston – bass
Connor Frapwell – drums

Album Review – Vindland / Hanter Savet (2016)

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Directly from the French region of Britanny, here comes a Black and Viking Metal power trio that effectively knows how to blend aggressiveness, history and culture into extreme music.

Rating4

Vindland-Hanter-Savet2016Breton, the old native Celtic language spoken in Brittany, a cultural region in the north-west of France that became an independent kingdom and then a duchy before being united with the Kingdom of France in 1532, also referred to as Less, Lesser or Little Britain (as opposed to Great Britain), might not be the most commonly used language anymore by the Bretons, but it still plays an important role in this distinct region of France. One of the most interesting usages of Breton in modern days is undoubtedly in music and arts, like what you’ll find in Hanter Savet, the brand new album by Black/Viking Metal power trio Vindland.

The lyrics, song titles and even the album title are all written in Breton, showing how much this talented band based in the city of Paimpol is connected to their roots, therefore making the whole album more organic and heartfelt. The band was formed in 2004 and, after releasing a demo, an EP and after playing a few concerts, the band split up. In 2010, however, the band was reformed and started working on what would be Hanter Savet, and based on the potency of the music found throughout the entire album I believe this time Vindland are here to stay, delivering a well-balanced mix of the brutality found in Black Metal with the epicness and emotions of Viking and Folk Metal. Although you might not understand a single word sung by the band, I’m pretty sure you’ll have a good time listening to this Breton opus.

The aforementioned aggression of Black Metal and the burning passion of Viking Metal are already united in the opening track, named Orin Kozh. The voice by frontman Romuald is that type of devilish and strident growl perfect for extreme music, supported by a musicality that’s always evolving through time due to all tempo changes without sounding tiresome or being too lengthy in duration. Treuzwelus continues the attack from where the first song ended, presenting several Folk and Pagan Metal elements in a very creative form, with Marc being precise and energetic on drums and, consequently, providing all support Romuald and Camille need for their vocals and galloping riffs, respectively. And Serr-Noz brings forward a melodic atmosphere that captures the listener’s mind and takes him on an epic Black Metal journey, with Camille discharging a high level of excitement due to his amazing guitar lines. Moreover, its magic aura only grows in intensity as the music progresses, with innumerous elements from all types of music added as a “bonus” to the listener in the background.

vindland-bandIn Pedenn Koll, its smooth intro works as “the calm before the storm” of Melodic Black Metal that suddenly arrives, with highlights to its infernal growls contrasting with the harmony built by the guitars and to another outstanding performance by Marc on drums; while in Skleur Dallus the heavier riffs by Camille, which sound a lot closer to traditional Heavy Metal, ignite this rhythmic Pagan Metal hymn. Furthermore, the music only keeps expanding its boundaries until it embraces you completely, with even its serene breaks having a lot of energy flowing. The high-end Folk Metal composition Morlusenn displays a characteristic sonority from Scandinavian music, but with the band’s own French touch, and despite focusing a lot more on its instrumental parts it’s important to say the anguished growls by Romuald sound truly amazing and are exactly what the music needed.

The band’s versatility becomes evident in Skorneg Du, as they mutate from Folk Metal to pure old school Black Metal with Viking Metal elements in a 7-minute battle chant that lives up to the tradition of the Norsemen, as well as in Skeud Ar Gwez, an epic 11-minute aria that starts in a very progressive and atmospheric form that lasts for over three minutes until it explodes into a feast of Extreme Metal. Albeit technical and professionally composed, in my opinion the music takes too long to take off, and maybe a shorter version of it in a similar format as all other songs would have been a lot more effective. And closing the album we have the bonus track And The Battle Ended, a re-recording of the original song from their 2009 EP named Ancestors’ Age, still containing the brutality and harmony of the original version but with an updated sonority following the band’s current approach.

In summary, the region of Britanny couldn’t be in better hands in terms of heavy music than with this excellent power trio, and Hanter Savet is a very good example of how history, culture and aggressiveness always work really well when combined in music and arts in general. If you want to know more about Vindland, go check their Facebook page and YouTube channel, where you can also listen to Hanter Savet in its entirety, and if you want to purchase the aubm simply visit the Black Lion Productions’ BandCamp or Big Cartel.

Best moments of the album: Treuzwelus, Serr-Noz and Skleur Dallus.

Worst moments of the album: Skeud Ar Gwez.

Released in 2016 Black Lion Productions

Track listing
1. Orin Kozh 4:32
2. Treuzwelus 6:20
3. Serr-Noz 5:55
4. Pedenn Koll 4:39
5. Skleur Dallus 4:59
6. Morlusenn 4:58
7. Skorneg Du 7:06
8. Skeud Ar Gwez 11:30

Bonus track
9. And The Battle Ended (2016 Version) 5:37

Band members
Romuald – vocals
Camille – guitars, bass
Marc – drums

Album Review – Diabolizer / Apokalypse MCD (2016)

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A short and violent soundtrack to apocalypse delivered by a promising Death Metal band forged in the scorching fires of Turkey.

Rating4

diabolizer_apokalypse_coverThe already scorching fires of Kadıköy, a large cosmopolitan district of Istanbul, Turkey, are about to become even more incandescent due to the release of the excellent MCD entitled Apokalypse, forged in the pits of hell by a relentless Death Metal entity known as Diabolizer. Formed in 2012, this apocalyptic horde is comprised of members from Decaying Purity, Engulfed, Deggial and Godslaying Hellblast, among others, all prominent bands from the Turkish underground scene, with a sole purpose of worshiping destruction and punishing any living creature that dares to confront them with their decimating Death Metal.

This thrilling MCD contains five brand new compositions by the Diabolizer crew and two tracks from their very limited 2012 promo Shadows Of Impending Decimation, as a bonus to all true supporters of good old Death Metal. Not only that, in order to give a proper face to their music, Diabolizer recruited Polish illustrator Robert A. von Ritter (Armagh, Ragehammer) for the artwork and Polish artist Piotr Kurek of Mentalporn (Ulcer, Embrional) to take care of the design of the album, and the final result is obviously amazing, representing in images all the fury and melody found in Apokalypse.

Diabolizer come crushing with their loud and infernal Death Metal from the very first second of the opening track, Process the Void, with lead singer Abomination sounding like a raving bulldozer while drummer Aberrant delivers pure hatred through his drums. After listening to this amazing showcase of Extreme Metal made in Turkey, you’ll start wondering if there’s a way they could sound even more furious than this. Well, those Turkish metallers actually answer that question with the superb Death Metal chant Condemned to Burn in Hell, where they masterfully unleash hell with Mustafa and Ewan pounding their strings and Abomination going from the deepest guttural to enraged high-pitched screams in an solid and demonic way.

And there’s absolutely no sign of Diabolizer slowing down in Temple of Demonic Torments, where Aberrant keeps showing off his tremendous skills as a drummer whereas Mustafa and Ewan once again fire their aggressive but melodious riffs and solos, followed by Blood Aesthetics Dictated,  with Abomination commanding this sonic onslaught by bursting his lungs out. This is brutal Death Metal with highlights to its barbaric rhythm and relentless riffage, and get ready to feel your entire body soaring after banging like a wild beast to this demented tune.

diabolizerInspired by the musicality found in most albums by the iconic Cannibal Corpse and blended with elements of contemporary Black Metal, Hammer of Diabolization (such a beautiful name for a song) offers the listener some interesting tempo changes and lots of variations to its intensity, a breathe of “sulfuric” air that ends up providing a humongous extra dosage of electricity to the overall result. In regards to the two bonus songs taken from their 2012 promo, I bet you can imagine they are as demolishing as the new songs if you haven’t heard them yet. Beneath the Skullthrone and Descend into Desolation are both exceptional Death Metal songs, with the latter being more brutal and, therefore, more gripping.

In order to get in touch with Diabolizer, simply go check their Facebook page, and if you want to purchase a digital copy of Apokalypse you can find it for sale at their BandCamp page. In case you’re an old school metal fan and prefer a physical copy of the album, the MCD is available in two versions: a regular jewel case CD with an 8-page booklet and a limited edition (100 copies) of jewel case CD branded with serigraphy print and patch. If Diabolizer were capable of delivering such a high level of violence and hatred in only a few songs like what we can see in Apokalypse, I wonder what will happen when they finally release their first full-length album upon humanity. Maybe we’ll witness the ultimate “soundtrack to apocalypse”, don’t you think?

Best moments of the album: Condemned to Burn in Hell and Hammer of Diabolization.

Worst moments of the album: None.

Released in 2016 Third Eye Temple

Track listing
1. Process the Void 4:57
2. Condemned to Burn in Hell 2:58
3. Temple of Demonic Torments 4:34
4. Blood Aesthetics Dictated 4:37
5. Hammer of Diabolization 5:34

Shadows Of Impending Decimation (Promo 2012) bonus tracks
6. Beneath the Skullthrone 4:34
7. Descend into Desolation 4:57

Band members
Abomination – vocals
Mustafa – guitars
Ewan – guitars
Alican – bass
Aberrant – drums

Album Review – EvnaR / E.V.N.A.R. (2016)

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Two high-skilled Spanish brothers and their loyal Slovenian sledgehammer deliver a lesson in Blackened Death Metal, spreading darkness and destruction all over the world through their purely demonic and extremely refined technique.

cover artworkConceived in the minds of Spanish blood brothers R.M. (vocals) and J.M. (guitars) before founding Black/Death Metal band Between the Frost in 1993, and reignited in 2010 with the help of the impressive Slovenian drummer Robert Kovačič (Belphegor, Obduktion, Nothnegal), Blackened Death Metal act EvnaR is releasing their debut full-length opus, curiously entitled E.V.N.A.R., with the main objective of spreading darkness and destruction all over the world through their purely demonic and extremely refined technique, which will certainly please all fans of Behemoth, Belphegor and God Dethroned, among others.

The pitch-black artwork by Spanish artist César Valladares, whose pencils are also seen in the artworks for bands like Asphyx, Balmog and Graveyard, with the Reaper sitting on his throne waiting for the doomed to take unholy communion with him, not only represents the desire of the brothers to have a more primitive cover art based in the classic concept of the Grim Reaper, but it’s also a precise depiction of the unrelenting Blackened Death Metal discharged by this exciting band from Tarragona, Catalonia. As one final (but important) detail before all hell breaks loose, E.V.N.A.R. was recorded with a lot of patience and dedication for one year in different studios in Spain and Slovenia, being finally mastered by multi-instrumentalist and producer Tore Stjerna at Necromorbus Studio in Sweden, just to give you an idea of how crisp and ear-splitting the compositions by EvnaR sound.

The sharp and fast riffs by J.M. ignite the Blackened Death Metal extravaganza named Blasphemia Manifesta, a feast of extreme music from the netherworld where R.M. personifies the song’s demonic lyrics through his gruesome growling (“Darkness unites us beyond / All human will / We should be strong as the evil in whom believe / Denial praises / Utter darkness / This is our grim black cult, grim black cult of death”), while in Contemptus Vitæ we are able to witness why Robert was the perfect fit for the band, delivering complex and vicious beats and fills. Furthermore, the whole song leans towards pure Black Metal due to its frantic speed and to the hellish sound of the guitar by J.M., an extra hint of devastation to an already solid composition.

Then we have a fantastic composition from hell entitled Infinite Dark Hatred, which name epitomizes its sounding. There’s a gargantuan amount of hate and despair in R.M.’s vocals, barking like a rabid demon most of the time, whereas the intricacy found in the drumming by Robert gets closer to what we can normally find in more progressive heavy music. In Death In The Air (Stench Of The Slain), rumbling bass lines are quickly followed by more satanic riffs and bestial beats, getting even more blackened than the previous tracks and, consequently, resulting in a nonstop havoc highly recommended for fans of old school Black Metal with a more melodic approach. If you’re a true fan of guttural vocals, I bet you’ll be screaming the chorus together with R.M. every single time you listen to this amusing chant.

band photoKing Of The Grand Uruk has as its main ingredient its epic lyrics about a powerful entity of darkness (“Two parts god, one part man / King of the Grand Uruk / The envy of the gods / Carved his story in stone / Dreams and visions fighting both / Against demons and men”), which will surely grab the attention of any listener avid for a good storyline behind a sonic chaos. Musically speaking, it’s another potent blast of extreme music, where not a single space is left empty, and if you know Robert from his previous bands you can imagine how astonishing his drumming sounds in this savage composition. And embracing total fuckin’ darkness, the Spanish brothers and their loyal Slovenian sledgehammer deliver traditional Black Metal with the most poisonous elements from Death Metal in Torment of the Damned, showcasing an amazing combination of metallic riffs and rhythmic beats.

Conceived In Fire provides a quick break for us to recover our energies in the form of acoustic guitars and less devastating riffs, but that’s obviously for a very short while as their menacing sounding returns to torment our souls ruthlessly. Furthermore, the complexity displayed through the guitar lines by J.M. will put a smile in the face of any guitarist who loves extreme music or even the ones who have never had any contact with the furious uproar of Blackened Death Metal. And last but not least, it looks like EvnaR have absolutely no mercy on our souls based on the demented tune that closes the album, named My Cremation, where the unstoppable beats blasted by Robert complement the hurricane of darkness led by J.M., while R.M. keeps vociferating his putrid words vigorously.

Although it might have taken a considerable amount of time for EvnaR to become a reality in the world of extreme music, every second was worth the wait thanks to the brilliant job done by this power trio when recording E.V.N.A.R., and in order to know more about their blasphemous and cataclysmic music, go check their Facebook page and get your copy of E.V.N.A.R. at their BandCamp page, at The Vinyl Division’s BandCamp page, or at Discogs. I won’t be surprised if I see this album among several rankings listing the top releases of 2016, it doesn’t matter if it will be on a list built by an entity specialized in extreme music or not, so compelling the content of the entire album is.

Best moments of the album: Blasphemia Manifesta, Death In The Air (Stench Of The Slain) and My Cremation.

Worst moments of the album: None.

Released in 2016 Winter Demons/The Vinyl Division

Track listing
1. Blasphemia Manifesta 2:52
2. Contemptus Vitæ 3:49
3. Infinite Dark Hatred 4:36
4. Death In The Air (Stench Of The Slain) 3:25
5. King Of The Grand Uruk 3:10
6. Torment Of The Damned 4:44
7. Conceived In Fire 6:10
8. My Cremation 2:44

Band members
R.M. – vocals
J.M. – guitars
Robert Kovačič – drums

Album Review – Ulcer / Heading Below (2016)

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Trenchant riffs, bestial vocals and wicked beats overflowing from the third full-length installment by a band from Poland that has always been loyal to the foundations of Death Metal.

Rating5

ulcer-heading-below-frontThree years after the release of Grant Us Death, the implacable Polish Death Metal squad Ulcer strikes again with their third full-length album, entitled Heading Below, which will certainly drag you down to the underworld with its 50 minutes of devastating old school Death Metal in the vein of Swedish classics. Bursting with trenchant riffs, bestial vocals and wicked beats while dealing with topics like hate, anti-religion and death, this is a highly recommended albums for fans of the genre, and also an album that effectively solidifies Ulcer’s career not only in Poland, but anywhere in the world where Death Metal is respected and admired.

Formed in 2006 in the city of Lublin (around 200km southeast of the capital Warsaw) and featuring members from established bands such as Blaze of Perdition, Abusiveness, Deivos and Dira Mortis, Ulcer can be considered one of the (relatively) new European bands with the strongest loyalty to the roots of Death Metal, keeping their sounding as raw and aggressive as possible, but with the addition of distinct elements from other subgenres of Extreme Metal to keep the music always fresh and exciting. If the name of the band is not enough to prove you how vile and gruesome the music in Heading Below is before you hit play, take a good look at the austere cover art by Polish artist Piotr Kurek of Mentalporn (who was responsible for the artwork for another Polish Death Metal band  recently reviewed by The Headbanging Moose, the also excellent Embrional) and you’ll then realize it’s brutal Death Metal we’re talking about, and nothing else.

How else could a good Death Metal album start than with some eerie noises suddenly exploding into sheer inhumanity? That’s the opening track, named Down Below, a sonic thunder that will crush you mercilessly led by the demolishing riffs by guitarist Lucass and Mścisław, with hints of Black Metal inserted into the musicality to darken the final result even more. In Fiends Forever, melodious but fierce guitar lines open the gates for the bestial vociferations by frontmen D. and Angelfuck and the heavy beats by drummer Vizun, until the song’s Cannibal Corpse-inspired ending; whereas Sights To See presents ruthless Death Metal with hints of Hardcore and Black Metal, which obviously enhances the song’s savageness. D. and Angelfuck are once again a dynamic duo of destruction, spearheading one of the best and most devastating moments of the album for sure.

All In Vain is one of those songs where an epic intro morphs into blasting metal with huge doses of anger, with Vizun being the band’s unstoppable stonecrusher while bassist Szwed provides the low-tuned creepy lines we love in extreme music, all embraced by a somber atmosphere. As aforementioned, Ulcer definitely know how to grab the best elements from other subgenres of heavy music, as for example the Doom Metal-ish vibe that complements the ferocity of their Death Metal in the elegantly fast and furious The Phantom Heart, another brutish hymn perfect for some sick mosh pits. You Called, We Came is a direct Death Metal composition tailored for diehard fans of boisterous extreme music, with absolutely no magic ingredients added to its formula but old school destruction. Moreover, Lucass and Mścisław fire exactly what the music demands through their devilish guitars. On the other hand, despite presenting some good moments (like the guitar solo halfway through it), Miscarriage’s Lullaby is way below the quality found in the rest of the album.

UlcerphotoThe mid tempo Death Metal chant Howl Of The Jackal sounds very old school, obscure and hellish, with both vocalists offering precise guttural howls and harsh screams while the rest of the band smashes their instruments manically. Yet again, an ominous aura boosts the song’s vileness and, consequently, it’s overall quality, elevating it to the status of one of the best composition in Heading Below. Lastly, the bold and demonic 9-minute aria Enshrouded In Nothingness begins by displaying the darkest form of Blackened Doom you can think of, with its disturbing sonority being fairly different from the rest of the album. In addition, the second part of the song becomes a blend of Death and Symphonic Black Metal, always getting back to its original sluggish rhythm until its desolating conclusion, showing how versatile the band can be without affecting their Death Metal core.

Heading Below can be purchased at the Arachnophobia Records’ BandCamp page or webstore, and more details about the reverberating Death Metal by Ulcer can be found at their Facebook page and SoundCloud. As I said in the beginning of this review, Heading Below will help Ulcer cement their path to success without a shadow of a doubt due to its high level of energy, violence and devastation, keeping the demonic fires of Death Metal alive for the total delight of lovers of a type of heavy music that always takes the word “heavy” to a new limit.

Best moments of the album: Sights To See, The Phantom Heart and Howl Of The Jackal.

Worst moments of the album: Miscarriage’s Lullaby.

Released in 2016 Arachnophobia Records

Track listing
1. Down Below 6:04
2. Fiends Forever 5:46
3. Sights To See 4:29
4. All In Vain 6:09
5. The Phantom Heart 6:16
6. You Called, We Came 4:14
7. Miscarriage’s Lullaby 4:47
8. Howl Of The Jackal 5:12
9. Enshrouded In Nothingness 9:06

Band members
D. – vocals
Angelfuck – vocals
Lucass – guitars
Mścisław – guitars
Szwed – bass
Vizun – drums