Category Archives: Album Reviews

Album Review – Noitasapatti / Sankarin matka (2024)

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This ruthless Finnish Black Metal horde returns with a scorching yet cold and vile concept album where its dreamlike story slowly advances towards indescribable horrors.

Formed in the spring of 2017 in Pori, a city in Finland and the regional capital of Satakunta, the unrelenting Black Metal horde known as Noitasapatti, which is Finnish for “witch’s sabbath”, is set to darken the skies with the release of their sophomore album, titled Sankarin matka, or “a hero’s journey”, the follow-up to their 2022 debut Kuolemattomille maille. Displaying a broad range of sounds while also bringing a lot of fresh soundscape to their music, Sankarin matka is a concept album consisting of an intro and seven songs where its dreamlike story slowly advances towards indescribable horrors, which waver between dream and reality until the truth is exposed in all of its heinousness, while the music is clearly inspired by 90’s Black Metal, British Death and Doom Metal, and even Progressive Rock, showcasing all the talent and dexterity by Erakko on vocals, bass, mouth harp and horns, Liekkiö on the guitars, Kadonnut on keyboards, and Häviö on drums.

Tulikipuna, or “red fever”, is a beyond cinematic intro, a phantasmagorical start to the album that nicely flows into Tuhatkasvoinen, or “thousand faced”, where Erakko begins screaming like a maniac supported by the classic Black Metal riffs by Liekkiö. After that, we have the the title-track Sankarin matka, bringing to our avid ears more of their fusion of Black Metal with experimental sounds, with the intricate beats by Häviö and the wicked keys by Kadonnut sounding absolutely electrifying; and their fusion of raw Black Metal with atmospheric and melodic sounds works really well in Paluu liekkeihin (“back to the flames”), the most Atmospheric Black Metal song of the entire album.

Käskyläisen sanat (“orderly words”) continues with their piano-infused extreme music attack, sounding even more piercing and devilish to the caustic riffage by Liekkiö while Erakko barks the song’s Finnish lyrics like a creature of the underworld, whereas Henkien polulla (“on the path of spirits”) sounds haunting and captivating from the very first second, reminding me of some of the songs from the early days of Cradle of Filth. Moreover, Kadonnut has mastered the art of devilish keys, making the song feel truly experimental at times. Then creepy guitars and bass lines will penetrate deep inside your skin in Matka halki myrskyjen, or “a journey through storms”, despite lacking more energy and getting stale after a while, though. Finally, let’s embark on a 10-minute voyage through the realms of cryptic Black Metal with Noitasapatti in Tähtivaeltaja, or “star trek”, where the bitterly cold gnarls by Erakko match flawlessly with the phantasmagorical sounds crafted by his bandmates, with its piano outro exhaling melancholy for our total delight.

A hero’s journey can be dark, evil and very demanding, just like what Noitasapatti have to offer us all in their new beast Sankarin matka, and if you think you have what it takes to face that infernal path you can get in touch with the band via Facebook or Instagram, stream their wicked creations on Spotify, and purchase their venomous new opus on BandCamp or from the Inverse Records webstore. However, be warned you’re going to face unimaginable horrors as soon as you hit play, proving once and for all the devilish power of Black Metal hailing from the North, sounding scorching and caustic while at the same time bitterly cold and chilling.

Best moments of the album: Sankarin matka, Käskyläisen sanat and Tähtivaeltaja.

Worst moments of the album: Matka halki myrskyjen.

Released in 2024 Inverse Records

Track listing
1. Tulikipuna 1:33
2. Tuhatkasvoinen 4:09
3. Sankarin matka 5:10
4. Paluu liekkeihin 6:21
5. Käskyläisen sanat 6:42
6. Henkien polulla 4:18
7. Matka halki myrskyjen 5:48
8. Tähtivaeltaja 9:50

Band members
Erakko – vocals, bass, mouth harp, horns
Liekkiö – guitars
Kadonnut – keyboards
Häviö – drums

Album Review – Todestrieb / Corona Tenebra (2024)

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An up-and-coming Polish Black Metal duo is crowned in darkness to the sound of their debut opus, dealing with themes like spirituality, gnostic Satanism, blasphemy, theology and philosophy.

Formed in Krakow, Poland in 2023 by vocalist Res and guitarist and bassist Blein, the ruthless Black Metal duo Todestrieb (a German word that translates to “death drive” or “death wish” in English, from the classical Freudian psychoanalytic theory) is set to darken our minds and souls with their debut album, titled Corona Tenebra, or “crown of darkness” from Latin. Recorded at No Solace Studio, mixed and mastered at Impressive Art Studio, with a fiery artwork by Izabela Grabda and with guest Michał “The Fall” Stępień (Mgła, Hauntologist, Owls Woods Graves) on drums, Corona Tenebra consists of five tracks and an outro inspired by the music by Watain, Odraza, Drastus, Kriegsmaschine, Tortorum, Funeral Mist and many more, with its lyrics circling around themes like spirituality, gnostic Satanism, blasphemy, theology and philosophy.

Res and Blein are definitely another prolific duo of the underground, and the dense atmosphere and enfolding darkness found in Axis Nihil are proof of their talent, supported by the complex yet vile drums by Michał. Then investing in a more direct form of Black Metal the band will pulverize our senses with Na Twoje Przeciwienstwo, which is Polish for “for your opposite”, where Res not only sounds demonic on vocals, but the fact the lyrics are in Polish gives the song an even edgier vibe. Blein’s visceral riffs and bass add a touch of lunacy to Po krokach naszych tylko cisza, or “after our steps only silence”, another song where the duo continues to experiment with darker than usual sounds; followed by the title-track Corona Tenebra, a lecture in Polish Black Metal, or in other words, a blasphemous, infernal blast of obscurity where Res keeps roaring like a true demon supported by the classic drums by Michał. They still have time for one final exhibit of their passion for all things evil in Misterium Fidei, which is Latin for “the mystery of faith”, with the incendiary riffs by Blein burning our souls mercilessly, ending with ע, the letter “p” or number 70 in Hebrew, a whimsical outro to their more-than-demolishing opus.

As Blein and Res are crowned in total darkness to the sound of their vile debut offering, you can show them your support by following them on Facebook and on Instagram for all things Todestrieb, and of course you can purchase a copy of Corona Tenebra from Avantgarde Music or from Sound Cave (as a digipak CD, a red vinyl, or a very special vinyl + CD bundle). Corona Tenebra is a spiritual and philosophical voyage through the realms of Black Metal, and I’m sure after such an imposing album we’ll hear a lot more from Todestrieb in the near future as they’ll keep darkening our minds and souls with their music without showing a single drop of mercy.

Best moments of the album: Na Twoje Przeciwienstwo and Corona Tenebra.

Worst moments of the album: None.

Released in 2024 Avantgarde Music

Track listing
1. Axis Nihil 5:09
2. Na Twoje Przeciwienstwo 6:50
3. Po krokach naszych tylko cisza 6:25
4. Corona Tenebra 4:38
5. Misterium Fidei 3:49
6. ע          0:56 ע

Band members
Res – vocals
Blein – guitars, bass

Guest musician
Michał “The Fall” Stępień – drums (session)

Album Review – Golgothan Remains / Bearer of Light, Matriarch of Death EP (2024)

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A concept EP of monumental Death Metal mastery made in Australia, recounting a journey across a mystical, barren world cloaked in darkness.

A concept EP of monumental Death Metal mastery, recounting a journey across a mystical, barren world cloaked in darkness, Bearer of Light, Matriarch of Death is the brand new offering by Sydney, Australia-based entity Golgothan Remains, following up on their 2018 debut Perverse Offerings to the Void and their 2022 sophomore album Adorned in Ruin. Re-amped, mixed and mastered by Greg Chandler at Priory Recording Studios, and displaying a stunning artwork by Christian Kiesling of Misanthropic Art, capturing the journey through time and space, and the story’s setting, landscapes and aura which are relayed in the EP, Bearer of Light, Matriarch of Death brings forth the band’s distinct brand of relentless Death Metal, masterfully balancing blistering speeds, sinister Black Metal undertones, and crushing doom, all carefully crafted by Matthieu Van den Brande on vocals, Matt Hillman on the guitars, Adam Martin on bass, and Aled Powell on drums.

The dissonant, cryptic guitars by Matt set the tone in the opening track Methuselah, being gradually accompanied by his bandmates while Matthieu delivers his deepest roars with tons of anger, all boosted by the massive beats by Aled; whereas Tribulation presents an even more infernal and demolishing version of the band where Aled keeps hammering his drums nonstop supported by the rumbling bass by Adam. Put differently, it’s harsh, no shenanigans Death Metal that sounds like it’s coming from the deepest tomb, ending in a haunting manner before we’re treated to Necropoles, another pulverizing explosion of primeval Death Metal spearheaded by the visceral growling by Matthieu. Lastly, closing the EP we face the incendiary, somber Andromeda, where once again the blast beats by Aled match perfectly with the strident riffage by Matt in the best Death Metal vibe possible.

The final result in Bearer of Light, Matriarch of Death is a suffocating, trance-inducing atmosphere of unyielding intensity, with the story being told only making things even more hypnotizing. “It is a wrought, and evil love story about two centuries old creatures trying to find companionship but due to their strong evil spirit are unable to exist with another powerful figure by their side,” commented the band, and you can get in touch with them and find more information about their new EP on Facebook and on Instagram. Don’t forget to also stream their music on Spotify or on Apple Music, and of course to grab a copy of Bearer of Light, Matriarch of Death from their own BandCamp, as well as from the Dark Descent Records’ BandCamp or webstore in CD or vinyl format. The journey through the dark has begun to the sound of the new opus by Golgothan Remains, and you better get ready as once you start following the band on that sinister path, there’s no turning back.

Best moments of the album: Tribulation and Andromeda.

Worst moments of the album: None.

Released in 2024 Dark Descent Records

Track listing
1. Methuselah 6:13
2. Tribulation 5:22
3. Necropoles 4:24
4. Andromeda 5:04

Band members
Matthieu Van den Brande – vocals
Matt Hillman – guitars
Adam Martin – bass
Aled Powell – drums

Album Review – Deamonolith / The Monolithic Cult of Death (2024)

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This Polish cult will attack you with their debut offering, a 35-minute amalgamation of heavy and experimental sounds highly recommended for fans of the darkest side of Death Metal.

Formed in 2022 in Warsaw, Poland, Experimental/Progressive Death Metal act Deamonolith has just unleashed upon humanity their debut album, titled The Monolithic Cult of Death, a 35-minute amalgamation of heavy and experimental sounds highly recommended for fans of the darkest side of Death Metal. Recorded by Paweł “Janos” Grabowski at JNS Studio (guitars, bass and drums), by Szymon “Sigmar” Grodzki at Invent Sound Studio (vocals), and by Przemysław “Imp” Moszczyński (saxophone), mixed and and mastered by Paweł “Janos” Grabowski at JNS Studio, displaying a creepy artwork by Michał “Xaay” Loranc, with logo by Ihasan Art and layout by Paweł Ozon of XXV The Sign, plus several special guests to give their music even more depth, the debut offering by Kobuch on vocals, Major and Sunrise on the guitars, Lukas on bass, and Desecrate on drums and dark ambients will take you on a journey to the most obscure corners of the human psyche, overflowing heaviness, rage and evil.

Dark, devilish sounds arise from the underworld in The Afterfall, exploding into a visceral blend of Black and Death Metal led by the crushing drums by Desecrate while Kobuch roars manically, flowing into The Ultimate Solution, a slab of brutality where the thunderous kitchen by Lukas and Desecrate will make the earth tremble in the name of extreme music; and the following piece, titled The Fall, The Reek & Forlornness, is even more explosive and vile, with the riffs by Major and Sunrise sounding absolutely scorching. The Acknowledgment continues to burn our damned souls with the band’s venomous fusion of Black and Death Metal, with the Immolation-inspired vocals by Kobuch being an ode to classic Death Metal, immediately connecting with the longest of all parts of the song, Conquerors of the Void, a brutal Death Metal attack by the band overflowing hatred and obscurity, with Desecrate once again pounding his drums nonstop while also presenting a melancholic break and vibrant progressive passages, before all comes to an end in When All Has Been Done, with Lukas’ bass and Desecrate’s beats once again sounding ruthless accompanied by the wild riffage by Major and Sunrise until the song’s grim finale.

The Monolithic Cult of Death, which by the way contains only one song that lasts for longer than 35 minutes like the version available on Spotify (with cut episodes in the YouTube and CD versions to make the listening of the album easier), definitely sends a strong and sound message to the metal community about what Deamonolith are capable of, and if you want to know more about the band and show them your support you can find them on Facebook, Instagram and YouTube, and of course purchase a copy of their debut opus from the Godz ov War Productions’ BandCamp or webstore, as well as from Ancient Dead Productions. In other words, it’s time to join Deamonolith’s cult of death, with their first ever album being the perfect soundtrack to such a unique and devilish celebration.

Best moments of the album: The Ultimate Solution and The Acknowledgment.

Worst moments of the album: None.

Released in 2024 Godz ov War Productions/Ancient Dead Productions

Track listing
1. The Afterfall 5:19
2. The Ultimate Solution 3:53
3. The Fall, The Reek & Forlornness 4:19
4. The Acknowledgment 3:18
5. Conquerors of the Void 12:34
6. When All Has Been Done 5:47

Band members
Kobuch – vocals
Major – guitars
Sunrise – guitars, classical guitar
Lukas – bass
Desecrate – drums, dark ambients

Guest musicians
Łukasz Wypych – saxophone
Magdalena Sienkiel – piano
Sebastian Świciak – piano
Michał “Xaay” Loranc – male clean vocals, choir
Anna Malarz – female vocals

Album Review – KIR / L’appel du Vide (2024)

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Behold this journey through disappointment and despair, towards disintegration, by a newborn Black Metal beast hailing from Poland.

Exploring the lowest of lows of human nature, warped and excreted by the concrete jungle, a deeply personal tale of a troubled mind entrenched in a society seething right below the surface, and a journey through disappointment and despair, towards disintegration, the scorching L’appel du Vide (which is French for “the call of the void”), the debut opus by Kraków, Poland-based Black Metal unity KIR, is a powerful testament to the band’s relentless pursuit of creative expression. Recorded by Maciej Soboń at TRIPlets Audio, produced, engineered, mixed, mastered by the band’s own guitarist and bassist Ferment, displaying a grim artwork by another member of the band, vocalist Harvest, and featuring guest drummer Krzysztof Klingbein, the album explores themes of urban isolation, human frailty, and despair, reflecting a profound awareness of music as an art form that can challenge, disturb, and inspire.

The album couldn’t have started in a more atmospheric vibe than with DestinationVoid, exploding into the Black Metal extravaganza titled Monument, where the insane beats by Krzysztof alongside the piercing guitars by Ferment build the perfect ambience for Harvest to vociferate rabidly in the name of Black Metal. Then get ready for almost eight minutes of pure sonic devastation not recommended for the faint at heart titled Znów, or “again”, where Harvest sounds absolutely merciless during the whole song while Ferment fires his most decimating riffs of the entire album, followed by Eter, the Polish word for “ether”, which starts in a grim, more introspective manner to the vile guitar lines by Ferment, showcasing hints of Doom Metal added to their sound, therefore resulting in what’s by far the most haunting, obscure of all songs. The band brings forward their final Black Metal offering in Apoptosis, where their most cadaverous vein arises like a demonic entity, blasting almost ten minutes of no hope, nor any sign of peace, while the despair flowing from Harvest’s anguished roars is truly outstanding, consequently putting a terrific conclusion to such a flammable opus.

L’appel du Vide is a grungy, suffocating invitation to explore the “call of the void” within oneself – that impulse to teeter over the edge, to feel the pull of darkness and walk right up to it. Hence, you can get to know more about the duo on Facebook and on Instagram, and show them your utmost support to the extreme music scene by purchasing the album from their own BandCamp page or from the Godz ov War Productions’ BandCamp or webstore. With the caustic L’appel du Vide, KIR are inviting all listeners to lose themselves in a sonic landscape where the absurdity of modern life meets the beauty and despair of the human psyche, creating an unforgettable Black Metal journey for those willing to heed the call and, consequently, keeping the fires of underground extreme music burning bright for many centuries to come, always offering us all harsh, visceral and captivating music like what’s found in the band’s debut opus.

Best moments of the album: Znów and Apoptosis.

Worst moments of the album: None.

Released in 2024 Godz ov War Productions

Track listing
1. DestinationVoid 1:14
2. Monument 4:34
3. Znów 7:47
4. Eter 7:54
5. Apoptosis 9:28

Band members
Harvest – vocals
Ferment – guitars, bass

Guest musician
Krzysztof Klingbein – drums (session)

Album Review – Decompose To Ashes / Pod Plameny Severu (2024)

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This sinister Czech entity returns with a crushing collection of songs of pure Black Metal magic under the flames of the north.

Shortly after the releases of their debut EP In The Eternal Silence and their 2024 EP Until the Darkness Comes Again, Děčín, Czechia’s own Black Metal/Ambient horde Decompose To Ashes returns with their 90’s Black Metal-inspired sounds in their first full-length opus, entitled Pod Plameny Severu, which translates from Czech as “under the flames of the north”. Now comprised of Honza Kapák on vocals, Wlad on guitars and bass, Leviathan on drums, and Silenthell on timpani, the band continues to blast their dirty sounds, raw production and 90’s vibe, with an ambient instrumental atmosphere being woven into their music inspired by gloomy burial subject matter, resulting in a crushing collection of songs of pure Black Metal magic.

Bouře plamenů means “flamestorm” in Czech, that’s the exact sound you’ll get in this phantasmagorical intro before the band demolishes our souls in Slyš jak umírám (“hear me die”), a grim and dark display of classic Black Metal where Wlad fires old school riffs accompanied by the visceral blast beats by Leviathan, resulting in an absolutely demonic composition by the quartet. Then once again Leviathan takes the lead in Brána z popela (“gate of ashes”), exhaling pure evil in the form of music boosted by the venomous gnarling by Honza, followed by Tma, or “darkness”, and the name of the song says it all as it’s a no shenanigans, in-your-face Black Metal attack showcasing the always piercing riffage by Wlad.

There’s no hope in sight to the sound of Z nicoty a prachu, or “from nothingness and dust”, once again bringing forward the blasting drums by Leviathan supported by the low-tuned, unstoppable bass by Wlad; and  they show their deep passion for Black Metal and all things dark in Za mostem z lebek (“beyond the bridge of skulls”), another slab of brutality, evil and rage led the the visceral riffs by Wlad, morphing into the atmospheric interlude Nářek nevinných (“lament of the innocent”), overflowing melancholy and obscurity before we’re treated to Krystalická řeka, or “crystal river”, where Honza sounds even more malignant on vocals, haunting our souls while Leviathan doesn’t stop smashing his drums, offering our avid ears more of their Black Metal magic sounds. And lastly, there’s still time for Návrat života, or “return of life”, an ambient outro that closes the album on a somber mode.

Black Metal can be an overcrowded land these days, and sometimes you need patience to find bands that truly stand out amidst the countless names out there, but let’s say Decompose To Ashes are definitely a band that knows how to differentiate themselves from the others, which is easy to notice in Pod Plameny Severu (available in full on YouTube and on Spotify, by the way). Having said that, go check what those Czech black metallers are up to on Facebook and on Instagram, and purchase a copy of their new album from their own BandCamp or from the Necroeucharist Productions’ BandCamp, keeping the “flames of the north” burning bright to the sound of one of the most interesting names of the current Czech scene.

Best moments of the album: Slyš jak umírám, Tma and Za mostem z lebek.

Worst moments of the album: Nářek nevinných.

Released in 2024 Necroeucharist Productions

Track listing
1. Bouře plamenů 0:53
2. Slyš jak umírám 5:27
3. Brána z popela 4:13
4. Tma 3:53
5. Z nicoty a prachu 4:24
6. Za mostem z lebek 5:00
7. Nářek nevinných 2:42
8. Krystalická řeka 4:00
9. Návrat života 1:09

Band members
Honza Kapák – vocals
Wlad – guitars, bass
Leviathan – drums
Silenthell – timpani

Album Review – Infernalivm / Conquering the Most High EP (2024)

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Get ready for the debut EP by a new and vile horde hailing from France, pointing to a new reign of dark Death Metal terror.

Formed in 2022 as a studio-only project by Melek Dlth Aton (Novae Militiae) on vocals and guirtars, Raph Daethorn (Merrimack, Ritualization) on bass, and Kevin Paradis (Benighted, Svart Crown) on drums, a Paris, France-based Death Metal legion that goes by the stylish name of Infernalivm spawned straight out of the French “Orthodox Satanic Death Metal Movement”, with their background lying the foundations for a Death Metal band heavily rooted in Satanism (in the vein of Deicide, Profanatica, and Incantation), but musically versed in a highly technical and complex strain of ultra-violent, abysmal, and dissonant Death Metal in the vein of Immolation, Nile, and Morbid Angel. Now it’s time for their debut EP, entitled Conquering the Most High, to see the light of day (or the dark of night), an inaugural and demonstrative twenty one-minute, four-track onslaught of inescapable dark Technical/Brutal Death Metal crafted in the sanguinary jaws of the Antichrist.

Kevin kicks off their infernal feast in the best Krisiun style in the title-track Conquering the Most High, hammering his drums like a demonic beast while Melek roars and barks deeply nonstop. In other words, it’s a beyond demolishing welcome card by those French metallers, who also show absolutely zero mercy for our putrid souls and rotten bodies, decimating us all in Temple of a Destroying Sun, with the thunderous bass by Raph adding even more energy to the blast beats by Kevin. Ashes of the Saints offers four minutes of undisputed Black and Death Metal tailored for admirers of the genre, with the harsh roars and sharp, caustic guitar by Melek inviting us all to slam into the circle pit frantically; and the last song of the EP, titled The Maze of Havoc, definitely leaves us eager for more Infernalivm, as its riffs, bass lines and blast beats are a stunning fusion of the music by Cannibal Corpse, Marduk and Krisiun.

In a nutshell, the band’s debut EP is a dissonant, bludgeoning beast seething with all the might and power of the Antichrist, a dark and violent abomination with an immensely evil and antihuman atmosphere and an infernal aura casting massive, ominous shadows across the face of European Death Metal and sending a clear message on the magnitude of things to come, pointing to a new reign of dark Death Metal terror. Furthermore, you can join them in their quest for all things dark and evil by following them on Facebook, and by purchasing their EP from their own BandCamp or from the Sentient Ruin Laboratories’ BandCamp or webstore, and I honestly can’t wait to see what’s next in the career of this promising horde hailing from France.

Best moments of the album: Conquering the Most High and Ashes of the Saints.

Worst moments of the album: None.

Released in 2024 Sentient Ruin Laboratories

Track listing
1. Conquering the Most High 5:23
2. Temple of a Destroying Sun 5:39
3. Ashes of the Saints 4:00
4. The Maze of Havoc 6:44

Band members
Melek Dlth Aton – vocals, guitars
Raph Daethorn – bass
Kevin Paradis – drums

Album Review – No Kings Allowed / A New Era (2024)

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Known for pushing the edges of modern metal music, this six-piece Symphonic Metalcore act is back stronger than ever with their sophomore album.

Mystery. Masks. Pure energy. That’s what Belgium and The Netherlands-based Symphonic Metalcore outfit No Kings Allowed is all about, and they’re back stronger than ever with a brand new album, titled A New Era, less than a year after the release of their debut effort Dethroned. Known for pushing the edges of modern metal music, this six-piece band currently formed of White and Gold on vocals, Red and Green on the guitars, Blue on bass, and Orange on drums isn’t just sticking to one style this time, uniting Metalcore, brutal Deathcore breakdowns, Hardcore energy, haunting opera-style vocals, and even a heartfelt ballad, creating something that’s way more than just a Metalcore album, drawing inspiration from bands like Slipknot, Sleep Token and Parkway Drive for both their enigmatic stage presence and artistic freedom.

The ominous intro Future’s Prelude sets the stage for this uncanny ensemble to shine in Prophecy, with Red and Green already slashing their axes furiously, inspiring us all to headbang nonstop, not to mention the vocal duo formed of White and Gold sounds in absolute sync. It’s then pedal to the metal in the rebellious Metalcore tune Stand Up, with all background symphonic elements adding an extra touch of insanity to their music; and investing in a more Avenged Sevenfold-inspired sound, the sextet offers us all Enemy Within, with the clean vocals by White overflowing passion and despair. In the title-track A New Era we have guest vocalist Valerie de Kempe of  Worlds Beyond, who makes an interesting vocal team with White and Gold by bringing her own touch of finesse to their music, whereas Lion Eyes lives up to the legacy of modern-day American Metalcore, with the striking guitar lines by Red and Green piercing our minds in great fashion.

After the futuristic interlude Extinct by Design, we’re treated to some Metalcore madness in the form of Laws of Extinction, Pt. 1, with the entire band hammering their sonic weapons nonstop led by the pounding drums by Orange. Their Metalcore feast continues in Laws of Extinction, Pt. 2, a bit too modern but still heavy-as-hell; whereas back to a more violent mode we have Violence, hence the name of the song, with Blue and Orange’s kitchen sounding beyond thunderous. Garden of Eden sounds darker and more symphonic than its predecessors, with its guttural parts giving it an extra kick; and let’s head into the battlefield together with No Kings Allowed in Rise Up, blending elements form Deathcore into their Metalcore essence while also displaying the always venomous roars by White and Gold. Despite its melodious guitar lines, I was expecting more from a song with such a powerful name like World War Now, but it’s still a decent composition by the band. On the other hand, in Scourge of the North they sound more Deathcore than ever, with their deep vociferations and hammering beats elevating the song’s aggression considerably; and Valerie de Kempe returns in At Every End, once again crafting a vocal paradox with White and Gold while Red and Green continue to deliver electrifying riffs until the very last second.

The entire A New Era is self-made, being produced, recorded, mixed, and mastered by the band itself, as they wanted the sound to be raw and real, capturing their vision within the music. Hence, go check what they’re up to on Facebook and on Instagram, as sooner than you can expect you’ll be able to see those guys live on stages all over the world, stream their unique music on YouTube and on Spotify, and grab a copy of A New Era from their own BandCamp page, or click HERE for all things No Kings Allowed. Those uncanny, masked musicians are definitely going places armed with their new album, and they’re waiting for you to join them as they keep reaching new heights in the world of heavy music.

Best moments of the album: Stand Up, Lion Eyes, Violence and Rise Up.

Worst moments of the album: Laws of Extinction, Pt. 2 and World War Now.

Released in 2024 Independent

Track listing
1. Future’s Prelude 1:10
2. Prophecy 4:09
3. Stand Up 3:18
4. Enemy Within 4:19
5. A New Era 3:52
6. Lion Eyes 3:22
7. Extinct by Design 1:20
8. Laws of Extinction, Pt. 1 3:47
9. Laws of Extinction, Pt. 2 3:34
10. Violence 3:41
11. Garden of Eden 3:42
12. Rise Up 5:05
13. World War Now 3:17
14. Scourge of the North 3:49
15. At Every End 4:28

Band members
White – harsh and clean vocals
Gold – harsh vocals
Red – guitar
Green – guitar
Blue – bass
Orange – drums

Guest musicians
Valerie de Kempe – vocals on “A New Era” and “At Every End”

Album Review – Thy Legion / Grand Cosmic Funeral (2024)

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One of the best bands hailing from Malta returns with their strongest album to date, a brutal and thrilling slab of Black and Death Metal.

Formed in 2004 in the city of Birkirkara, located in the Central Region in the island of Malta, Blackened Death Metal horde Thy Legion is unleashing their fourth studio effort, titled Grand Cosmic Funeral, the follow-up to their critically acclaimed 2017 album World Stigmata. Recorded and produced at XIR Recording Studios, and mixed and mastered by Daniel Bezzina at RiverStone Studios, the new album by Tonio Spiteri and Mark Dimech (Martyrium) on vocals, Elton Falzon and Emanuel Portelli (Hemplifier, Animamortua, Victims of Creation) on the guitars, Kurt Dimech (Martyrium) on bass, and Clayton Cini (Animamortua) on drums will definitely strengthen the name of the band in their local scene and anywhere else where good extreme music is appreciated, representing another solid step forward in their career.

An obscure and imposing intro led by the venomous guttural by Tonio and Mark will darken the skies in the opener Black World Funeral, oozing of classic Black Metal, with Elton and Emanuel delivering caustic riffs nonstop; then putting the pedal to the metal and succumbing to the most devilish side of music the band fires the ruthless Midnight Malediction, where Clayton hammers his drums nonstop supported by the rumbling bass by Kurt. Dark Mother, the first single of the album, offers us all an enfolding fusion of Melodic Black Metal with atmospheric nuances, sounding creepy and haunting at first before exploding into more of the band’s trademark violence, whereas the melodious guitars by Elton and Emanuel kick off the also visceral Those Who Are Awake, with the band’s vocal duo bursting their lungs roaring.

The Adoration of Omega brings to our damned ears almost seven minutes of beautiful Black Metal with an atmospheric twist, with the riffs blasted by the band’s axe men piercing our souls like an arrow in pitch black darkness, not to mention Clayton once again sounds demonic behind his drums; and their second to last ode to Death and Black Metal comes in the form of From Flesh to Spirit, with both Tonio and Mark sounding like beats incarnate on vocals, adding an extra touch of insanity to the overall result. Last but not least, we face another seven minutes of blackened sounds made in Malta in Upon A Wretched Throne, starting yet again in a sinister, slow way before all hell breaks loose to the vile vociferations by Tonio and Mark, while the riffage by Elton and Emanuel reeks of evil and hatred.

Thy Legion are undoubtedly one of the top metal bands hailing from the always vibrant and interesting Maltese scene, and one of the most hardworking and focused as well, and the quality of the music found in their new album Grand Cosmic Funeral is proof of that, pointing to an even brighter future ahead of them. Hence, you can find more information about such an amazing blackened squad on Facebook and on Instagram, stream their music on Spotify or other streaming services, and grab your copy of their heavy-as-hell new album from Art Gates Records. Grand Cosmic Funeral is by far their strongest release to date, and I wouldn’t be surprised if after this album the band starts paying visits to all parts of the world to spread darkness upon us with their infernal music.

Best moments of the album: Midnight Malediction, Dark Mother and The Adoration of Omega.

Worst moments of the album: Those Who Are Awake.

Released in 2024 Art Gates Records

Track listing
1. Black World Funeral 5:59
2. Midnight Malediction 6:08
3. Dark Mother 6:34
4. Those Who Are Awake 5:10
5. The Adoration of Omega 6:40
6. From Flesh to Spirit 4:48
7. Upon A Wretched Throne 7:08

Band members
Tonio Spiteri – vocals
Mark Dimech – vocals
Elton Falzon – guitars
Emanuel Portelli – guitars
Kurt Dimech – bass
Clayton Cini – drums

Guest musician
Clint Aquilina – vocals