Metal Chick of the Month – Polina Psycheya

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I’ll take you far away to another land…

Brothers and sisters of heavy music, let’s all travel this November to Chelyabinsk (or Челя́бинск in Russian), a city in west-central Russia located in the northeast of the oblast, around 210 kilometers south of Yekaterinburg, just to the east of the Ural Mountains on the border of Europe and Asia, to meet our stunning and unstoppable metal chick of the month. She considers herself a true Russian Viking, always ready for heading into the battlefield armed with her potent vocals and endless energy, and in case you haven’t heard of this amazing frontwoman yet, I bet you’re going to be surprised by how talented, hardworking and passionate about metal she is. I’m talking about Polina Psycheya, whose real name is Polina Sibrikova (or Полина Сибрикова), former lead singer for Russian Melodic Death Metal band All I Could Bleed and current main frontwoman for Portuguese Symphonic Progressive Metal band The Autist, an obstinate woman that takes no prisoners in her quest for heavy music.

Before starting her career as an Extreme Metal singer, Polina had what we can call a normal life in her hometown Chelyabinsk, graduating from МОУ СОШ № 41 (or “secondary school number 41 of Chelyabinsk”) in 2007, and advancing for a degree in Graphic Design from РБИУ (or RBIM – Russian-British Institute of Management) in 2010, a higher education international institute also located in Chelyabinsk. As a matter of fact, even after joining All I Could Bleed she kept working as an artist and clothing and apparel designer, as you can see on her official Facebook page titled “World of Polina Psycheya”, where she usually posts details about her works, tutorials and items for sale. However, it looks like heavy music is her true passion in life, with her skills as a designer becoming a complement to her role as a female growler. And if you think she took any special courses in singing, you’re absolutely wrong, as Polina simply learned how to scream and growl by herself, only training during the band’s rehearsals, always shaping up her own vocal style without copying anyone or anything from books.

As already mentioned, Polina was the frontwoman for Russian act All I Could Bleed starting 2009, but the band started a few years before that, more precisely in 2004 when two old friends, guitarists Alex Sibrikov and Max Melnikov, decided to form a Death Metal band together as an outlet of their aggression. When they released their first single Follow Me, in 2009, Polina was not yet part of the band, with Alex taking care of the vocal duties. However, after Polina joined All I Could Bleed, the band reached its desired shape and form and was ready to take the world of heavy music by storm, with the release of their 2011 debut full-length album Burying the Past (available for a full listen on YouTube) being the culmination of a lot of hard work and dedication of all band members to their music. As a matter of fact, Polina not only growled and screamed like a beast in the album, but she was also responsible for the lyrics, cover art and design, proving that although she might not be a founding member of All I Could Bleed, she had definitely become the band’s heart and soul during her time with them.

After the release of Burying the Past, Polina and her bandmates got back in action in 2014 when they released a single titled Debris of Earth, a lot more melodic, more experimental and groovier than all songs form their debut installment. Furthermore, if there’s one thing Polina loves from the bottom of her heart is playing live, and she certainly translates that passion into sheer energy during the band’s live performances. When asked about the idea for their onstage outfits, she said she took the inspiration from dark, ancient and powerful warriors like the Riders of the Apocalypse, designing all the clothing herself, and when she was asked about her first ever concert as the frontwoman of All I Could Bleed, she mentioned it was indeed an unforgettable night for her in her hometown Chelyabinsk, in 2009. Due to the fact she wasn’t writing the lyrics for their songs at that time, her bandmates gave her the task of learning the classic Enemy Within, originally recorded by Arch Enemy, and singing it as part of their setlist. Well, Polina didn’t disappoint at all; quite the contrary, the reception of the crowd at the venue was amazing, inspiring her to keep growling in the name of metal. You won’t be able to find that concert online, but there’s no need for panicking, as you can at least enjoy All I Could Bleed’s full (and absolutely awesome) performance at the Tele-Club in Yekaterinburg, Russia on April 24, 2014, where Polina simply kicked some serious fuckin’ ass on stage.

Apart form her career with All I Could Bleed, Polina has also been involved since 2017 with Portuguese Symphonic Progressive Metal band The Autist, a female-fronted metal project with progressive and symphonic elements highly recommended for fans of truly melancholic, tragic and conceptual music that was inspired by deep emotions we all go through in our lives. The origin of the project dates back to 2014 and is the mind reflection of guitarist and composer Pedro Remiz, who decided to recreate his own musical world after the end of Darkside of Innocence. Also featuring Alina Lesnik (from German Symphonic metal band Once), Chiara Tricarico (from bands like RavenWord and Sound Storm) and several other guest musicians, besides of course Polina as the band’s main vocalist, The Autist have already released two EP’s and one full-length album so far, with Polina lending her slashing roars to the songs The Sanctuary, Ethereal and Pandora’s Curse, from their 2017 album The Coldest Sun, and to the songs The Idol, Anima and Bloodlust, from their 2018 EP Anima.

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Regarding Polina’s biggest idols and influences in heavy music, her list is beyond fantastic, including bands (and obviously their respective vocalists) such as Rammstein, Metallica, Death, Pantera, Children Of Bodom, Arkona, Kreator, Destruction and Motörhead, all of which she would love to play alongside at Wacken Open Air by the way, with Rammstein and Children Of Bodom being considered by Polina herself the two bands with the highest impact on her vocal style and musical direction. In addition, during one of her interviews she was also asked to list the top 5 albums anyone should have in their collection, and once again her choices didn’t disappoint, including Metallica’s Master of Puppets, Death’s Symbolic, Dimmu Borgir’s Puritanical Euphoric Misanthropia, Black Sabbath’s Paranoid, and Pantera’s Vulgar Display of Power. Hence, you can enjoy Polina paying a tribute to several of her idols on her official YouTube channel, recording her own versions to classics like Dimmu Borgir’s Progenies Of The Great Apocalypse (together with German multi-insturmentalist André “Agordas” Groschopp); Arch Enemy’s Nemesis; Pantera’s all-time hit Walk  (recorded with All I Could Bleed during one of their rehearsal sessions); and Death’s Symbolic (recorded during one of All I Could Bleed’s live performances). Furthermore, you can also enjoy other exclusive videos on her YouTube channel, such as Progressive/Melodic Power Metal masters Kamelot featuring not only Polina but also the amazing Kobra Paige live in Moscow in 2017; and Polina herself talking a little about her style, about Death Metal and about Arch Enemy,  and the reason for that is because in the past let’s say Polina wasn’t very happy when compared to Arch Enemy’s former vocalist Angela Gossow. She said in one of her interviews that she didn’t like the comparison because it was only based on sex, not on their vocal styles, as she believes her vocals are a lot closer to Death’s  iconic Chuck Schuldiner’s than to Angela’s. Now Polina is a fan of Arch Enemy, but again, if you meet her don’t waste her time asking about Angela Gossow, right?

When questioned about the current state of heavy music and the metal scene in her homeland, especially the Death Metal scene, our Russian warrior said that despite the huge amount of talented and hardworking bands found in the underground Russian scene, Heavy Metal is not respected and it’s extremely hard to make a living out of it, resulting in several musicians leaving their bands and entire bands calling it quits. In her opinion, the only Russian band that has truly conquered success in Russia and outside of the country is Pagan/Folk Metal institution Arkona, always keeping in mind they were one of the pioneers of the genre and started their career over 15 years ago. On the other hand, she doesn’t think that metal becoming mainstream would be the solution for that because albeit mainstream bands can make a considerable amount of money to support their careers, not to mention touring and recording videos become a lot easier, she believes you can lose or give up your honesty if you’re not underground anymore. In other words, she thinks somewhere in between mainstream and underground would be ideal, and seeing successful but still loyal-to-their-roots bands like Trivium, Primal Fear and the aforementioned Arkona only corroborates with her opinion. In addition, Polina actually thinks metal isn’t thriving anywhere in the world except for South America, and that she sometimes wishes she was reborn in the 70’s or 80’s as those where the decades when metal was the big thing. She also said she doesn’t really care about all metal classifications and labels, as long as it’s metal and an honest way to express yourself, complementing by saying that despite the heaviness and aggressiveness of the lyrics, metal is a lot more honest and inspiring than other styles like pop and rap, where musicians only promote negative things like debauchery, drugs, dullness and false moral values. As Polina herself said, it’s hard to make a living out of metal music in Russia, and that’s why she keeps working as a designer while her former bandmates from All I Could Bleed also have regular day-to-day jobs like working at a music school or on railroad construction, as well as playing in bars and pubs with other projects and cover bands. Not only that, but just like any other regular person she also has her hobbies, all related to her passion for music, for costume designing and for outdoor sports such as hiking and bike riding. Who knows, maybe one day if you’re just walking around Chelyabinsk you might be surprised by our Russian Viking staying healthy and in shape on her bike.

As expected, Polina was also asked to give her opinion on how she sees the increasing importance and participation of women in heavy music, especially regarding the growing number of female singers in extreme music bands, and her answer to that was quite curious. Our gorgeous growler said she has never actually felt like an “outsider” in a male-dominated world, saying she doesn’t “feel” like a woman but just like a Death Metal musician. Moreover, when asked if she’s ever had any issues with fans, Polina said that despite her stunning beauty, her fans have always been very respectful with her, understanding she has always worked hard, always true to the foundations of Death Metal and never backing down, getting full support from all of her followers. And last but not least, still regarding the support received from fans from all parts of the world, when questioned about illegal downloads and all types of websites posting her material without her official consent, she mentioned that in the end that’s not as bad as it looks, saying that exposure in the internet is actually a good thing for unknown underground bands because they end up receiving free PR, and several people who get in contact with the band through an illegal download will buy the album or any other type of official merch, and attend the band’s concert if possible, meaning more money than expected will go to the band’s pockets. Having said that, although Polina herself is not against illegal downloads, I’m pretty sure our metal diva would simply love if you purchased Burying the Past from the Darknagar Records’ BandCamp page or from Discogs, or any of the releases from The Autist from their BandCamp page, showing your true support and appreciation for these two extremely talented bands and their Viking frontwoman.

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Album Review – mTORR / North (2018)

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Enjoy the brainchild of a true Northman highly influenced by 80’s True Metal and Nordic themes, delivering raw and merciless riffs for admirers of the golden years of traditional heavy music.

Hailing from the Finnish city of Äänekoski, here comes a Heavy/Viking Metal one-man band highly influenced by 80’s True Metal bands such as Running Wild, Manowar, Manilla Road and Cirith Ungol, as well as the always interesting Nordic themes, delivering raw, uncompromised and merciless music for admirers of the golden years of traditional metal music. I’m talking about mTORR, the brainchild of Finnish multi-instrumentalist Arska (whose real name is Ari Honkonen), from renowned underground bands like Heathen Hoof, Minotauri and Morningstar, a solo project formed in 2017 who’s unleashing upon humanity  in 2018 the full-length opus North. Featuring a cover photo by Timo Honkonen and guest drummer Viljami (or Viljami Kinnunen) lending his talent to a few songs from the album, North is the natural follow-up to the project’s two previous EP’s, Nordic Iron Age and Viking Metal Rock, both also released in 2018, once again translating into music all the passion for Heavy Metal coming from the heart of a true Northman like Arska.

The album’s intro will take you to the shores of the realm ruled by the true metal warrior Arska and his mTORR, warming your senses up for the Manowar-inspired hymn Thundergod with its four minutes of crisp guitar riffs, galloping bass lines, pounding drums and an epic Running Wild-like rhythm and vibe, and exhaling epicness and might we have The Golden Fields of Tawastia, where Arska’s guitar lines sound captivating from start to finish, adding an extra touch of adrenaline to the music. However, the drums sound and feel slightly weird, not as precise as in the previous song, reducing the overall impact considerably. Then again blending the classic sonority by bands like Manowar, Running Wild and Iron Maiden, Arska delivers inspiring Heavy Metal and Rock N’ Roll music in Nordic Rocker, with his bass lines and drums generating a powerful support for his warlike vocals.

Razor-edged guitars ignite another old school tune named A Halo from the Gods, perfect for banging your head and raising your fists together with mTORR, also bringing fiery guitar solos and endless stamina, setting the tone for Nordic Hammer, with its pure Manowar lyrics (“In the hammer we trust! / You can’t take it away! / That’s the way we believe! / We’re the sons of the North!”), while the song’s pace and atmosphere remind me of the early days of Running Wild, or in other words, a combination that translates into awesomeness of course. Arska keeps smashing and pounding his strings like the mighty Thor with his hammer in another rhythmic and rumbling song titled Rock för North, where the bass lines get more thunderous than ever, keeping the music vibrant and fresh from start to finish; and putting the pedal to the metal, Arska is once again supported by the headbanging beats by Viljami in Guardians of Light, a song that will please all fans of the fusion between Heavy Metal, Rock N’ Roll and Viking Metal.

Then a video game-ish bridge named The Raid of Sigtuna warms up our senses for Metal for the North, a fast-paced, epic creation by Arska showcasing cutting riffs and classic drums, not to mention its lyrics which are a beautiful ode to his homeland (“Beautiful Scandinavia – Ancient Fennoscandia – Are the soul of a northern warrior – And the crystal clear ice! / Metal makes us stronger – And the northern legacy / Forward together – We’re playing metal for the North!”). mTORR’s second to last blast of battle-like metal and rock from the North comes in the form of Fennoscandian Nights, displaying a galloping bass in total sync with Arska’s always classic riffs, boosting its impact on the listener considerably, before the demo version for Fennoscandian Heathens (actually, the sound quality is just as good as the rest of the album despite being called a demo) comes crushing, sounding faster and just as epic and imposing as all previous songs, being a recommended choice for singling along with Arska and a climatic conclusion to this interesting tribute to all things North.

As already mentioned, North is not just an album of old school metal music, but the musical depiction of all the passion and appreciation the talented Arska nurtures for his homeland, and if you also want to show your support to his new project mTORR and to the stunning landscapes of the North, you can purchase your copy of the album from the Alone Records’ webstore in CD or vinyl format, as well as from the High Roller Records’ webstore (also in CD or vinyl) or from Discogs (in CD or vinyl), with all 250 hand-numbered vinyl copies coming with a sticker and the first 100 copies with a poster. As you can see, you cannot simply download North like most albums nowadays. North is a tribute to the past, and that’s how it’s supposed to be admired by us, old school metalheads.

Best moments of the album: Thundergod, Nordic Rocker, Nordic Hammer and Metal for the North.

Worst moments of the album: The Golden Fields of Tawastia.

Released in 2018 Alone Records

Track listing
1. Intro 1:05
2. Thundergod 4:08
3. The Golden Fields of Tawastia 3:27
4. Nordic Rocker 3:39
5. A Halo from the Gods 3:59
6. Nordic Hammer 2:07
7. Rock för North 3:34
8. Guardians of Light 3:07
9. The Raid of Sigtuna (Instrumental) 1:17
10. Metal for the North 3:36
11. Fennoscandian Nights 3:54
12. Fennoscandian Heathens (Demo) 3:10

Band members
Arska – vocals, all instruments

Guest musician
Viljami – drums on “Thundergod”, “Guardians of Light” and “Fennoscandian Heathens”

Album Review – Dragonlord / Dominion (2018)

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Exploring themes of darkness owning and influencing these times we now live in, here comes Eric Peterson’s fantastic Symphonic Black and Thrash Metal project with their first album in 13 years.

After long and excruciating 13 years, San Francisco, California-based Symphonic Black/Thrash Metal horde Dragonlord, the brainchild of Testament’s own Eric Peterson where he’s able to showcase his darkened side, is finally back with a brand new opus, titled Dominion. Serving as the long-awaited follow-up to their 2005 release Black Wings of Destiny, but taking the fantasy and storytelling to a whole new level, Dominion explores themes of darkness owning and influencing these times we now live in, and things that have come to pass. In addition to Eric Peterson on vocals, guitar and bass, Dominion features the musical talents of Lyle Livingston (Psypheria) on orchestrated keys and pianos, Alex Bent (Trivium) on drums, and notable fantasy metal singer Leah McHenry (Leah) on female vocals and choirs, who has performed and recorded with members of renowned acts like Blind Guardian, Nightwish and Delain, among others.

Featuring a stunning artwork painted by Berlin-based Israeli artist and designer Eliran Kantor (Testament, Iced Earth, Sodom), Dominion is a dark fantasy fan’s musical dream, exploring everything from Nordic history to Lord of the Rings, with its eight songs creating a deep and heady musical journey rife with meaning and menace, from the blackest and loudest recesses of Eric Peterson’s mind. If you’re a fan of the superb work done by Mr. Peterson with Thrash Metal titans Testament, you might be surprised by how visceral, epic and imposing his guitar sounds with Dragonlord, not to mention his devilish gnarls, turning Dominion into a must-have for fans not only of the Symphonic Black Metal genre, but also for anyone else who admires high-quality and vibrant extreme music.

The always mesmerizing sounds of thunder and rain open the gates of the underworld in the intro titled Entrance, before Eric comes ripping with his ass-kicking guitar, all embraced by an epic atmosphere and suddenly exploding into the fantastic title-track Dominion, presenting insane keys and an imposing background choir, while Alex proves why he’s one of the most talented drummers of the current metal scene and Eric sounds bestial with his enraged roars. Put differently, this full-bodied and very detailed lesson in Symphonic Black Metal is what Dimmu Borgir should be doing, and their sonic onslaught of piercing and Stygian metal music goes on in Ominous Premonition, getting faster, more demonic and absolutely amazing, with the keys by Lyle being a thing of beauty while Eric not only growls like a demon, but his riffs and solos are also majestic as usual.

In Lamia it’s quite impressive how Eric’s riffs and Lyle’s keys and orchestrations blend so perfectly, with guest vocalist Leha providing a touch of delicacy and passion amidst all devastation blasted by the rest of the band; whereas epicness and lust beautifully flow from all instruments in the stunning Love of the Damned, a Symphonic Black Metal ballad where Eric’s vocals get more introspective and deep (and I would simply love to see them performing this song live). Then it’s time for a journey to the mighty North in Northlanders, with the bitterly cold riffs by Eric and the gripping keys by Lyle being enhanced by Alex’s precise and potent beats, while the ambience remains as epic as possible in a flawless hybrid between Black Metal and Symphonic Metal.

Dragonlord Dominion Ultimate Dragonlair Merch Bundle

Then featuring Tilen Hudrap (Vicious Rumors, Wartune, Thraw) on bass, The Discord of Melkor is perhaps the most Black Metal of all tracks, a dark symphony of classic and vibrant metal music that sounds very dense thanks to the brutality blasted by Alex on drums, whereas Serpents of Fire, the last song in Dominion, is just as fantastic as the rest of this very detailed and thrilling album, with Eric growling and gnarling demonically while Alex and Lyle generate a massive wall of symphonic and violent sounds, resulting in over eight minutes of a captivating and bold sonority for our total delectation, not to mention how its climatic ending gets closer to the Thrash Metal by Testament, therefore adding an extra pinch of adrenaline to the overall result.

If you think that my words are not enough to describe the music in Dominion, I highly recommend you go watch “The Making of Dominion” video series on YouTube (split into parts one, two and three), and in order to get more details about Dragonlord simply go visit their official Facebook page. In addition, from all album versions and bundles available in the market, apart from the digital options you should definitely take a look at the physical combos available from the Spinefarm Records’ webstore, especially the beyond superb “Ultimate Dragonlair” merch bundle, featuring the LP gatefold version with a large-size 20-page lyric booklet, the CD digipack, a copy of the unparalleled “The Burner” comic book, and a stylish T-shirt. But be aware that, once you enter the dangerous dominion of Symphonic Black and Thrash Metal ruled by Eric Peterson and his Dragonlord, there’s no turning back.

Best moments of the album: Dominion, Love of the Damned, Northlanders and The Discord of Melkor.

Worst moments of the album: None.

Released in 2018 Spinefarm Records

Track listing
1. Entrance 2:34
2. Dominion 5:36
3. Ominous Premonition 4:40
4. Lamia 4:15
5. Love of the Damned 5:21
6. Northlanders 6:45
7. The Discord of Melkor (feat. Tilen Hudrap) 7:09
8. Serpents of Fire 8:09

Band members
Eric Peterson – vocals, guitars, bass
Lyle Livingston – keyboards, piano, orchestrations
Alex Bent – drums, percussion

Guest musicians
Leah McHenry – female vocals, choirs
Tilen Hudrap – bass “on Discord of Melkor”

Album Review – Tyrannic / Ethereal Sepulchre (2018)

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A dark beast of doom in the form of an uncompromising album of true and raw heavy music, courtesy of a trinity whose veins pump with the pulse of Black, Thrash and Doom Metal.

Formed in 2010 under the antipodean sky of Sydney, Australia, the ruthless Thrash/Doom Metal entity known as Tyrannic has been paving their own twisted path with a dark and sinister mindset since their inception, and despite several lineup changes over the years the band’s founding member R has constantly driven the band forward from behind the kit with his signature vocal style and dedication to the “do-it-yourself” principles and aesthetic of the underground. After releasing a couple of demos, a split album and a live tape through the years, it’s time for Tyrannic to unleash their dark beast of doom with their honest and uncompromising debut album titled Ethereal Sepulchre, crafted with a very personal approach to carving its own unique and disgusting mould.

Featuring four long tracks of heinous, horrific and bizarre sounds, the most primitive rumblings straight from the beast’s belly, Ethereal Sepulchre offers the listener unadulterated metal from a trinity whose veins pump with the pulse of Heavy Metal. Furthermore, R describes the album as a release which “projects complete darkness in the most obscure form”, with its lyrical content being an expression of his innermost exploration into abstract thought, madness and insanity, all driven by experiential death worship. In other words, if you’re a fan of the obscure music by iconic bands from distinct genres but with the same appreciation for the dark, like Black Sabbath, Celtic Frost, Emperor and Dark Funeral, among several others, get ready for a visceral and thunderous descent into the pits of hell with Tyrannic.

The first track of the album, a demonic welcome card by the trio entitled Serpent Scythe, brings forward classic, old school Black Metal from the very first second spiced up by hints of the Doom Metal played by Black Sabbath, with R’s growls being a demonic fusion of the vocals by Tom Araya (Slayer) and Mortuus (Marduk), while Morgan and J slash their strings in a hellish manner. And Tyrannic’s evil triumvirate keeps delivering darkness and dementia through their instruments in the sluggish and medieval Possession of Accursed Inheritance, offering over 12 minutes of obscurity in the form of Black Metal infused with Blackened Doom nuances. Moreover, R gets more and more deranged on vocals while his beats exhale madness and aggressiveness, until the band’s sonic onslaught of Stygian sounds ends with the creepy sound of a mysterious organ.

In the following tune, named Tyrannic Deluge, what starts in a somber Doom Metal-inspired manner suddenly explodes into flammable Black Metal from the netherworld, with J firing scorching hot riffs form his guitar. This can be considered the most complete and electrifying of all four tracks, remaining pulverizing throughout its 14 devilish minutes, flowing like an ardent blaze through the forest until its Funeral Doom-inspired grand finale. And R, J and Morgan unite their darkened forces once again for one final blast of hellish Black Metal in the title-track Ethereal Sepulchre, delivering blasphemous vociferations, somber riffs and bass punches, and pounding beats, evolving into a menacing hybrid between old school Black Metal and low-tuned, demonic Doom Metal that remains utterly disturbing and vile for our total delight.

In summary, if you are one of those metalheads who simply love to have your soul darkened by the damned sounds blasted by bands from the underworld of heavy music, then Ethereal Sepulchre should definitely become part of your devilish collection. Hence, in order to put your hands on such sulfurous album, simply go to the Séance Records’ BandCamp or webstore (where you’ll find it in CD or in an old school, primeval tape format), as well as Discogs, to purchase your copy of it. And last but not least, don’t forget to show your support to such demented power trio by following them on Facebook, joining R, J and Morgan in their sonic crusade in the name of raw and aggressive Black, Thrash and Doom Metal.

Best moments of the album: Tyrannic Deluge.

Worst moments of the album: None.

Released in 2018 Séance Records

Track listing
1. Serpent Scythe 6:07
2. Possession of Accursed Inheritance 12:13
3. Tyrannic Deluge 14:05
4. Ethereal Sepulchre 7:00

Band members
R – vocals, drums
J – guitars
Morgan – bass

Album Review – Barkasth / Decaying (2018)

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A new formation on the landscape of the Ukrainian Black Metal scene reveals the dark side of idolatry on human life and demonstrates the result of this pernicious influence in their debut full-length opus.

It’s time to get devilish, heavy and blasphemous with the interesting fusion of classic Black Metal with Melodic Black Metal and Blackened Doom blasted by a four-piece act hailing from Ukraine comprised of Arkhonth on guitars and vocals, Goreon also on guitars and vocals, Hagalth on bass and Malet on drums, collectively known as Barkasth. Formed in 2015 in Kharkiv, the second largest city in Ukraine located in the northeast part of the country, Barkasth are spreading darkness not only in their homeland but everywhere else in the world with their debut full-length album, simply titled Decaying.

A new formation on the landscape of the Ukrainian Black Metal scene, Barkasth’s source of inspiration is a radically negative attitude towards religion, in any of its manifestations, as the main cause of obscurantism and distorted perception of reality – the main indicator for the level of ignorance of a contemporary man. Throughout the seven unrelenting tracks in Decaying, this Stygian horde reveals the dark side of idolatry on human life and demonstrates the result of this pernicious influence. In other words, the music by Barkasth presents no artificial elements nor any other type of shenanigans added to it, going straight to the point and showing the world Black Metal is still one of the most effective weapons against all forms of religion.

And the opening track Begging By Freaks comes crushing with a classic and epic beginning that beautifully evolves into a mid-tempo, blackened sonority where harsh and demonic growls are supported by the scorching riffs by  Arkhonth and Goreon. Put differently, this is a sulfurous and austere display of Melodic Black Metal infused with elements from Blackened Doom and traditional Doom Metal that will please all fans of the genre, whereas an even darker atmosphere serves as the background for the hellish Alone, with Malet delivering rhythmic but at the same time fierce beats while the harsh vocals by Arkhonth exhale blasphemy and hatred, all enfolded by a mesmerizing vibe. And in Blood & Flesh the band accelerates their pace, therefore reaching a more traditional Black Metal sonority with Malet delivering sheer darkness through his blast beast while Arkhonth growls like a true Black Metal veteran, turning it into one of the top moments of the album without any doubt, also showcasing cutting riffs that will pierce through your ears in a violent manner.

Soul Away gets back to a more introspective and obscure hybrid of Black Metal and Blackened Doom, with Arkhonth and Goreon, together with bassist Hagalth, shredding their strings mercilessly, while all the growling and roaring gets as deep, reverberating and demonic as possible; but it’s when they focus on their darkest and most aggressive Black Metal side that they truly thrive, and the title-track Decaying is the perfect depiction of that, with the entire band sounding flammable and infernal, in special Malet with his always demolishing and melodic beats. Then their disturbing and demonic vein arises once again in the visceral hymn Shepherd, with the sound of guitars penetrating deep inside your flesh amidst a feast of desperate and deep roars, not to mention how vile the whole ambience feels. Lastly, as the icing on the cake we have another cryptic, low-tuned aria of darkness entitled …Where Was The Son Of God, where the Doom Metal-inspired beats by Malet are flawlessly complemented by the guitar duo’s anguished lines, resulting in a captivating and very harmonious ending to the album.

Decaying, which is available for a full (and darkened) listen on YouTube and for purchase from the band’s own BandCamp page or from the Svarga Music mailorder, might be far from being a masterpiece or a reference in Black Metal, but that doesn’t mean it’s not an extremely well-crafted and solid album by this hardworking quartet, positioning Barkasth as one of the most promising new acts from the Ukrainian scene and definitely a band to keep an eye on in the coming years. Especially if, just like Barkasth’s band members, you also believe religion is one of the main factors in the imminent and inevitable downfall of our rotten society.

Best moments of the album: Blood & Flesh and Decaying.

Worst moments of the album: None.

Released in 2018 Svarga Music

Track listing
1. Begging By Freaks 6:15
2. Alone 7:16
3. Blood & Flesh 5:53
4. Soul Away 5:17
5. Decaying 5:08
6. Shepherd 6:02
7. …Where Was The Son Of God 6:36

Band members
Arkhonth – guitars, vocals
Goreon – guitars, vocals
Hagalth – bass
Malet – drums

Album Review – Cronaxia / Collapsing The Outer Structure (2018)

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After two decades of their inception, this talented Portuguese Death Metal squad is finally unleashing upon humanity their pulverizing and very technical debut opus.

Born in the distant year of 1997 in the capital city Lisbon, Portuguese Death Metal horde Cronaxia has been fighting for extreme music in the fantastic Portuguese underground scene since their inception, never giving up despite all their struggles to find the right musicians and finally solidify their lineup and sound through the years. Currently a trio consisting of Sérgio on vocals and Renato and Filipe on the guitars, Cronaxia recruited bassist Alex Ribeiro and drummer Rolando Barros (both from Portuguese Brutal Death Metal/Grindcore band Grog) now in 2018 to give life to their first full-length album, a pulverizing and very technical lesson in Death Metal titled Collapsing the Outer Structure, highly recommended for fans of bands like early Kataklysm, Morbid Angel and Deeds Of Flesh.

Mixed and mastered by Paulo Vieira, known for his production work with Ironsword and Ravensire, Collapsing The Outer Structure is a work that walks the tightrope between genius and insanity, with songs like the jagged, restless “Dimension Ratio” being a vivid explosion of mind warping ideas. Immersed within these eight conceptual whirlwinds, the feeling is akin to having the secrets of the universe downloaded directly to your cerebral cortex in a fraction of a second. Bewildering yet incredible, almost too much to comprehend, you will find few listening experiences as overwhelming and intense as Collapsing The Outer Structure. It may have taken Cronaxia two decades to reach this defining moment, but now that their planets have aligned the force that has been unleashed is momentous and breathtaking.

In the title-track Collapsing the Outer Structure we already face total devastation in less than five seconds, with Rolando living up to the legacy of classic stone crushers of Death Metal while frontman Sérgio growls and barks like a rabid beast, sounding frantic and furious from start to finish. If this brutal welcome card is not enough for your metallic ears, Cronaxia don’t waste a single second and keep hammering our heads with their ruthless music in Logarithmic Cavitation, an insanely violent, heavy and extreme display of underground music made in Portugal where Felipe and Renato are in total sync with their lancinating riffs and solos, followed by The Core Condition, another brutish and demolishing hymn showcasing thunderous bass lines by Alex while the vocal lines get deeper and more demented than before, sounding and feeling as dense as Extreme Metal can be but also being very technical and polished. And get ready to be smashed by Cronaxia and their sharp and cataclysmic Death Metal in Dimension Ratio, where Rolando fires some sick blast beast and fills while Felipe and Renato continue to extract complex and demonic sounds and tones from their guitars.

The awesome Continuous Signal brings forward a pulverizing atmosphere crafted by the band, being tailored for fans of the early days of Cannibal Corpse with a fresh twist, not to mention Sérgio never gets tired of vociferating rabidly and deeply. Then it’s time for a galloping and demented composition titled Embryonic Reanimation, led by the bestial drumming by Rolando while Felipe and Renato show no mercy for their guitars (neither for our necks), whereas their second to last onrush of gruesome and very technical and melodic sounds comes in the form of Plasmatech, crushing our senses with its metallic riffs and unstoppable blast beats. Put differently, what a devastating (and absolutely awesome) Death Metal extravaganza by Cronaxia, with highlights to Sérgio’s cavernous growls. Hence, if you’re still alive after such demented level of aggression and dexterity by Cronaxia you’ll have your ears and mind decimated by Tangential Threshold, offering six minutes of deep guttural gnarls, nonstop beats and extremely sharp and acid riffs, or in other words, a lesson in Progressive and Technical Death Metal, ending the album in a rumbling, neck-breaking and somewhat esoteric manner.

In order to have your ears smashed by Cronaxia, simply go to Spotify to listen to Collapsing The Outer Structure in its entirety, and if their music makes your blood boil as expected, you should definitely show them your utmost support by following them on Facebook, subscribing to their YouTube channel, and grabbing your copy of the album from their BandCamp page, from the Lusitania Music webstore, from Amazon or from Discogs. By doing that, you’ll prove you have what it takes to “collapse the outer structure” together with this talented Portuguese squad in the name of Death Metal.

Best moments of the album: Dimension Ratio, Continuous Signal and Plasmatech.

Worst moments of the album: None.

Released in 2018 Lusitanian Music

Track listing
1. Collapsing the Outer Structure 2:07
2. Logarithmic Cavitation 4:03
3. The Core Condition 4:11
4. Dimension Ratio 3:43
5. Continuous Signal 3:34
6. Embryonic Reanimation 3:02
7. Plasmatech 4:39
8. Tangential Threshold 6:03

Band members
Sérgio – vocals
Felipe – guitars, vocals
Renato – guitars, vocals

Guest musicians
Alex Ribeiro – bass (session)
Rolando Barros – drums (session)

Album Review – Behemoth / I Loved You At Your Darkest (2018)

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Poland’s most blasphemous metal institution returns after four years with a much more melodic and dynamic approach than before, but still loyal to their devilish foundations.

“It doesn’t get more blasphemous than this.” Those are the words by the mastermind behind Polish Blackened Death Metal institution Behemoth, the iconic Adam “Nergal” Darski, regarding the title of their 11th studio album, I Loved You At Your Darkest, a beautiful, bold and captivating follow-up to their 2014 masterpiece The Satanist. And the band comprised of the aforementioned Nergal on lead vocals and guitar, Patryk Dominik “Seth” Sztyber on the guitar, Tomasz “Orion” Wróblewski on bass and Zbigniew Robert “Inferno” Promiński on drums is not exaggerating when they say their new album reeks of sheer blasphemy. “It’s a verse from the Bible,” Nergal reveals. “It’s actually a quote from Jesus Christ himself. For Behemoth to use it as the basis of our record, it’s sacrilege to the extreme.”

Musically speaking, I Loved You At Your Darkest, which features a stunning artwork by Italian artist Nicola Samori, is not too far from what they did in The Satanist, but that doesn’t mean it’s an extension of their previous album, sounding less ferocious, more polished, and with a much more melodic and dynamic approach. “I really wanted to redefine ourselves with this record,” Nergal explains. “I Loved You At Your Darkest is a more dynamic record. It’s extreme and radical on one hand, but it’s also more rock-oriented than any other Behemoth record.” Furthermore, the lyrics for each and every song of the album also reinforce that kind of religious provocation Behemoth have mastered through the years. “It’s very religion-driven, maybe more than anything we’ve done before,” Nergal offers. “But it’s not just cheap goading. I believe this is some deeper metal language. It’s art.” Hence, listening to I Loved You At Your Darkest is not a simple journey, as it will demand your full attention, seizing all your senses at once and inviting you to repeat that path over and over again, but never sounding or feeling the same.

A creepy and totally awesome children’s choir kicks off the album on a high (and devilish) note in the intro Solve, reciting some cryptic words (“Elohim, I shall not forgive! / Adonai, I shall not forgive! / Living God, I shall not forgive! / Jesus Christ, I forgive thee not!”) while the music grows slowly and darkly until Wolves ov Siberia comes crushing our heads, following a similar musical pattern from their previous album with Nergal and Seth piercing our souls with their guitars, while Inferno brings tons of intricacy to the music with his precise beats. And things only get better in God = Dog, a full-bodied lecture in modern-day Blackened Death Metal that will work fantastically when played live, with Nergal blasting haunting growls and roars while Orion slams his bass strings beautifully, not to mention those demonic, Damian-like kids who return in full force to intone the same words from the album’s intro, supporting Nergal’s vocals to perfection. And in the excellent Ecclesia Diabolica Catholica we’re treated to a very melodic and thrilling fusion of Black and Death Metal with nuances of Symphonic Black Metal, with its background organ bringing even more darkness to the the song’s already obscure, austere and blasphemous lyrics (“Eritis sicut dii / Thus sermonized the serpent ov Eden / Thus struck the breath ov the Earth / And thus flooded the blood ov the soil / Slither into the gaping void!”).

Then after such demolishing first batch of songs in I Loved You At Your Darkest, Behemoth deliver Bartzabel, perhaps the most Stygian, melodic and melancholic of all tracks, proving they don’t have to play at the speed of light to sound imposing and devilish, showcasing a beyond catchy and hypnotizing chorus while Orion and Inferno bring sheer heaviness to the sonority with their damned instruments. In the also thunderous If Crucifixion Was Not Enough… the band speeds things up a bit, with the guitars by Nergal and Seth sounding ferocious but very harmonious at the same time while Inferno brings the usual intricacy in his beats to a whole new level; and leaning towards classic Black Metal we have Angelvs XIII, a song where Nergal’s growls sound and feel truly enraged and demonic, with the band’s guitar duo slashing their strings mercilessly and leaving the listener completely disoriented. Moreover, there’s no time to breathe as Behemoth keep darkening our minds and souls in Sabbath Mater, another bestial display of Blackened Death Metal made in Poland bringing to our avid ears an excellent job done on the guitars while Inferno’s fast and complex beats will hammer your head in a vibrant way.

Then a serene, almost acoustic intro evolves into a full-bodied aria of darkness and blasphemy titled Havohej Pantocrator (and please note “Havohej” is simply “Jehovah” backwards), sounding even even more melancholic than “Bartzabel” thanks to a brilliant performances by all band members, all enfolded by first-class poetics lyrics (“Our father, who art in hell / Unhallowed be Thy name / Thy legions come / Thy enemies begone / On Earth as it is in the Netherworld / Embrace our souls untraveled / Let us sail to the farthest sea / Ignite our craving hearts / Illuminate our ageless will”). In Rom 5:8 the band gets back to a more traditional vibe, blasting their core Blackened Death Metal with highlights to the perfect sync between Orion and Inferno with their rumbling bass and demented beats, respectively, whereas We Are the Next 1000 Years, the second to last song in I Loved You At Your Darkest, once again sounds closer to what they did in The Satanist, which obviously means awesomeness in the form of extreme music. Nergal delivers another bestial vocal performance, while the sound of the guitars gets more electrified and menacing than ever, flowing majestically until the outro Coagvla puts an end to a fantastic (and utterly blasphemous, as already mentioned) album of Extreme Metal by Behemoth, sounding like the grand finale to a theatrical play from the depths of hell.

In summary, I Loved You At Your Darkest (available for a full listen on YouTube and on sale HERE) is still Behemoth, but maybe not the same Behemoth you got used to. Do not expect to listen to The Satanist, nor to any of their old records, but at the same time there’s no need to panic as the Behemoth we learned to love is still there. I personally think I Loved You At Your Darkest might cause some controversy among admirers of the band, as their diehard, old school followers and their post-The Satanist fans might never reach an agreement if the album is actually good or not, but I don’t fear for the future of the band. Quite the contrary, although I still consider The Satanist their best release to date, I must admit I enjoyed a lot the direction Nergal took with the band in I Loved You At Your Darkest, providing the listener something new, something very melodic and groovy, but still loyal to the blasphemy and heaviness of their foundations.

Best moments of the album: God = Dog, Ecclesia Diabolica Catholica, Bartzabel and Havohej Pantocrator.

Worst moments of the album: Rom 5:8.

Released in 2018 Mystic Production

Track listing
1. Solve 2:04
2. Wolves ov Siberia 2:54
3. God = Dog 3:58
4. Ecclesia Diabolica Catholica 4:49
5. Bartzabel 5:01
6. If Crucifixion Was Not Enough… 3:16
7. Angelvs XIII 3:41
8. Sabbath Mater 4:56
9. Havohej Pantocrator 6:04
10. Rom 5:8 4:22
11. We Are the Next 1000 Years 3:23
12. Coagvla (Instrumental) 2:04

Japanese Edition bonus track
13. O Pentagram Ignis 4:48

Band members
Adam “Nergal” Darski – lead vocals, guitars
Patryk Dominik “Seth” Sztyber – guitars
Tomasz “Orion” Wróblewski – bass guitar
Zbigniew Robert “Inferno” Promiński – drums and percussion

Guest musicians
Dziablas – backing vocals
Michał Łapaj – Hammond organs
Krzysztof “Siegmar” Oloś – samples

Album Review – Dakhma / Hamkar Atonement (2018)

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Do you dare to submerge thyself within the daeva’s very depths? Then let this peculiar Swiss duo offer you the perfect soundtrack to that with their brand new opus of Zoroastrian Death Music.

Dakhma (Avestan for “grave”) is a term for a ”Tower of Silence” (which is an English neologism), a circular, raised structure used by Zoroastrians for exposure of the dead, particularly to scavenging birds for the purposes of excarnation (although in the Avesta, the term is pejorative and does not signify a construction of any kind). In heavy music, the term is used to name the cryptic and hellish Blackened Death Metal entity Dakhma, who are releasing their first full-length opus, the enigmatic Hamkar Atonement. Formed in 2014 in Zürich, the largest city in Switzerland, the band comprised of Kerberos on “Howls of Druj and Rites of Purification” (vocals, guitar and bass) and H.A.T.T. on “Thunderstorm of Daeva” (drums) plays what they like to call “Zoroastrian Death Music”, with their new album being a work of towering immensity, of unorthodox ritualism and subverted bestiality, descending and ascending with seven hymns within a staggering 61 minutes in a total sensory overload, an immersion that begets annihilation that begets rebirth.

As Dakhma explain of the title, the Avestan word “Hamkar,” which literally translates to “co-worker” or “helper,” is used in reference to the daeva of Angra Mainyu (Ahriman in middle Persia), himself the omnimalevolent and most destructive spirit. In the collection of texts describing Zoroastrian cosmogony and creation, traditionally called Bundahishn, Angra Mainyu creates a horde of daeva to counter the creation of cosmos by Ahura Mazda (Ohrmazd or Ormuzd in middle Persian), with each daeva mirroring an opposite Amesha Spenta. In mirroring the tasks of the Amesha Spentas as servants of Ohrmazd, daeva are the instrument through which Ahriman creates all the horrors in the world. Following the interpretation laid out in texts such as the “Shayest ne shayest,” where the daeva are seen as being utterly real and not mere philosophical representations, the music contained on Hamkar Atonement describes creation through the ultimate destruction of Ohrmazd’s good deeds, good thoughts, and good work by the daeva. Hamkar Atonement begins with the demise of Ohrmazd and therefore the destruction of all that is holy on the earth, allowing the daeva to roam free and corrupt human existence, described in greater detail throughout the album. Each song serves a specific narrative purpose, be it the dedication to a specific daeva or describing the results of their exploits on earth.

An esoteric intro ignites an 11-minute feast of wicked and tribal sounds titled The Glorious Fall of Ohrmazd (Hail Death, Triumphant), with the vociferations by Kerberos crawling deep inside your mind, mesmerizing your senses and haunting your soul, until all hell breaks loose and sheer darkness is unleashed with H.A.T.T. crushing his drums manically. And their scorching hot riffs, thunderous bass lines and pounding beats keep shaking the foundations of the earth in Akhoman (Spill the Blood), another full-bodied display of their Zoroastrian Death Music where Kerberos delivers some deep, obscure roars, effectively blending old school Black Metal with the visceral sound of Death Metal, just as devastating as its predecessor. Following such distinguished tune we have Varun (Of Unnatural Lust), where tribal, ancient drums are gradually joined by eerie noises and tones, until the music explodes into rumbling and vile Black Metal for our total delight. Furthermore, the sound of the bass by Kerberos is amazingly thunderous and vibrant, adding an extra layer of dementia to the overall result.

In Nanghait (Born of Fire) the duo sounds even more tribal than before, generating a reverberating exhibit of Black and Death Metal led by the demonic roars by Kerberos while H.A.T.T. is simply bestial on drums, with their wicked extravaganza of sounds going on and on, leaving you disoriented and eager for more of their Blackened Death Metal, ending in an absolutely raw and cryptic manner. Then smooth and serene tones permeate the air in the atmospheric instrumental bridge Spendarmad (Holy Devotion), elevating your soul to new heights and preparing you for the Stygian and visceral Gannag Menog (Foul Death, Triumphant), where the duo takes their Black Metal to a more menacing level, with the guttural growls by Kerberos growing in intensity and getting as deep as hell. In addition, the piercing riffs and bass punches by Kerberos bring tons of electricity to the musicality, with the song’s ending being as crazy and imposing as possible,  building an instant connection with the closing hymn titled …Of Great Prophets, with Kerberos extracting a strident sound from his guitar; and just like what happened throughout the entire album, the music remains mysterious and austere from start to finish, taking you on a one-way trip to the band’s dissident world of Extreme Metal, also showcasing somber breaks intertwined with pure devastation that turn the experience of listening to this breathtaking song truly unique.

In summary, it’s not every day that we face something so peculiar and gripping as the music by Dakhma, with Hamkar Atonement representing to perfection the true meaning of Zoroastrian Death Music. In order to show your utmost support to this infernal Swiss duo,  go check what they’re up to on Facebook, and grab your copy of the whimsical Hamkar Atonement from the Iron Bonehead Productions’ BandCamp or webstore, as well as from the Hells Headbangers’ webstore, from Record Shop X or from the Shadow Kingdom Records’ webstore. In other words, do you dare to submerge thyself within the daeva’s very depths? Then let Dakhma offer you the perfect soundtrack to that with Hamkar Atonement.

Best moments of the album: Akhoman (Spill the Blood) and Nanghait (Born of Fire).

Worst moments of the album: None.

Released in 2018 Iron Bonehead

Track listing
1. The Glorious Fall of Ohrmazd (Hail Death, Triumphant) 11:08
2. Akhoman (Spill the Blood) 11:55
3. Varun (Of Unnatural Lust) 5:24
4. Nanghait (Born of Fire) 10:58
5. Spendarmad (Holy Devotion) 4:13
6. Gannag Menog (Foul Death, Triumphant) 10:33
7. …Of Great Prophets 16:01

Band members
Kerberos – vocals, guitars, bass
H.A.T.T. – drums

Guest musician
Menetekel – High Priest incantation on “Gannag Menog (Foul Death Triumphant)”

Album Review – Down To The Heaven / [level -1] (2018)

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Bringing forth complex arrangements combined with a large dose of modern electronic music, here comes a metal unity from Poland ready to smash our senses with their debut album of incendiary Metalcore and Djent.

Electronicore, also known as Trancecore or Synthcore, is a fusion of Metalcore and Djent with elements of various electronic music genres, such as trance, electronica, and dubstep, with bands and artists like Attack Attack! in the United States and Enter Shikari in the UK having contributed to the development and the dissemination of the genre all over the world. Furthermore, it looks like the style has been expanding in a healthy and interesting way in recent years with the rising of bands like Switzerland’s own Rage Of Light and Polish Metalcore/Djent unity Down To The Heaven, who are releasing this year their debut album curiously titled [level -1].

Formed in 2013 in the city of Bielsko-Biała, Down To The Heaven have all it takes to become one of the references in Eletronicore and Djent. Comprised of Rusty on vocals, Shaun and Majster on the guitars, Grzela on bass, Cyfrowe Zło on keys and electronic noises, and Hoomer on drums, the band brings forth a style characterized by complex arrangements with heavy guitar playing combined with a large dose of melody and modern electronic music. In [level -1], which was mixed and mastered at Seeker Studio in Wrocław, Poland in 2017 and which features a modern and captivating artwork by Sztuczny Horyzont, this Polish six-piece act showcases all they got, being ready to smash your senses with their vicious and rumbling sounds and noises.

As if a wicked horror flick was about to begin, a creepy intro titled Down to the… gets heavier and heavier as time goes by, generating a metallic and embracing atmosphere for the demolishing Catharsis, where frontman Rusty barks deeply like a beast while the whimsical keys by Cyfrowe Zło make a vibrant contrast with the furious beats by Hoomer, resulting in a fantastic and modern hybrid between Metalcore, Industrial Metal and Melodic Death Metal. Then Shaun and Majster ignite another crushing feast of sounds named Lost in Memories with their cutting riffs, while Grzela will make your head tremble with his sick bass lines. Moreover, the music remains bold and thunderous from start to finish, proving how talented and heavy Down To The Heaven are. And putting the pedal to the metal the band blasts sheer madness and aggression in Unbroken, an excellent sample of contemporary Djent infused with elements from heavier styles where Rusty is once again demented on vocals, while Cyfrowe Zło brings insanity to the music with his keys and special effects.

Even more modernized and eccentric than its predecessors, No Vision is a movie-inspired instrumental extravaganza where its beautiful piano notes go along really well with the guitar solos and the mesmerizing atmosphere, whereas in Kingdom of Delusion it actually feels we’re “entering” a movie, with the rhythmic and tribal beats by Hoomer setting the stage for Rusty and his deranged, lunatic growls. In addition, the music evolves to a potent industrialized sounding, with both Shaun and Majster firing sheer electricity through their crisp riffs. In Tyrant’s Fall we’re treated to an explosion of modern-day Metalcore with an electronic and demented twist, led by Cyfrowe Zło and his piercing keys while Hoomer keeps pounding and smashing his drums and Rusty growls the song’s rebellious lyrics (“Arise in rage! / Image of madness / Dripping from rusty chains / Like deadly poison inside our brains / Blood under feet / Groan of tormented souls / Who’s lurking behind the Throne / BURN THEM ALL!”), before We Are, the last track of the album, continues to punch you in the head with the violent sounds extracted from all instruments, being effectively complemented by the most electronic noises of the entire album. Moreover, the song also presents clean vocals at times, making the whole experience of listening to it even more tasteful and, therefore, ending the album on a high and wicked note.

In summary, Down To The Heaven nailed it in [level -1], creating something truly unique by adding their own twist and electricity to the already innovative Eletronicore, and if you want to know more about this skillful act from Poland simply pay them a visit on Facebook for news, tour dates and other shenanigans, subscribe to their YouTube channel for more of their music, and purchase [level -1] directly from their BandCamp page or from iTunes. Put differently, if it’s fresh and modern music you’re craving, but without giving up that raw and aggressive vibe from heavy music, it’s time you get “down to the heaven”.

Best moments of the album: Catharsis, Unbroken and Tyrant’s Fall.

Worst moments of the album: None.

Released in 2018 Independent

Track listing
1. Down to the… 3:25
2. Catharsis 5:02
3. Lost in Memories 3:48
4. Unbroken 4:10
5. No Vision 6:07
6. Kingdom of Delusion 5:51
7. Tyrant’s Fall 3:32
8. We Are 3:02

Band members
Rusty – vocals
Shaun – guitar
Majster – guitar
Grzela – bass
Cyfrowe Zło – electronic noises, keys
Hoomer – drums

Album Review – Tannoiser / Alamut EP (2018)

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An excellent album of crushing, distorted and obscure sounds, courtesy of an Italian power trio ready to spread darkness in the name of old school Sludge and Doom Metal.

Forged during the summer of 2015 in Salò, a town and comune in the Province of Brescia in the region of Lombardy on the banks of Lake Garda, in Italy, Stoner/Doom Metal power trio Tannoiser is a reality among us with their slow and obscure music inspired by cult acts such as Celtic Frost, Electric Wizard and Cathedral, also inserting some stylistic elements dear to the primordial Black Metal into the mix. Comprised of Bruno Almici on vocals and bass, Francesco Bellucci on the guitar and Davide Serpelloni on drums, Tannoiser are unleashing upon humanity their brand new EP, entitled Alamut, aiming at spreading darkness through their low-tuned, rumbling instruments and screams, all in the name of old school Doom Metal.

The name of the album is a clear reference to the mountain fortress, whose remains are located in the current Iran and which served as the basis for the sect of the Nizarites, better known as Hashashin, a story distinguished by mysteries that weave reality and legend. The dark, also understood as a lack of certainties, is another underlying macroscopic theme, starting from the subject chosen for the cover itself, the cannabis plant, whose history in the last century has been characterized by obscurantism and demonization, and which is linked to the history of the stronghold of Alamut. Musically speaking, as aforementioned Alamut brings to the listener doomed and distorted heavy music that lives up to the legacy of the genre, turning the album into a must-listen for diehard Doom Metal fans in pursuit of fresh alternatives in the market.

In the opening track, curiously named Baba Vanga after a blind Bulgarian mystic, clairvoyant, and herbalist, a beyond weird intro quickly explodes into piercing and rumbling Stoner Metal led by the low-tuned bass and the anguished roars by Bruno, while Francesco slashes his strings in a vibrant fusion of old school Doom Metal and modern Rock N’ Roll. And the trio wastes no time and keep firing their fun and vibrant Stoner Metal in Paradacsa, with the bass punches being nicely supported by Davide’s steady and fierce beats. Moreover, the song presents an even more menacing vibe than its predecessor, being highly recommended for banging your head really hard in pitch black darkness; whereas the scorching hot buzzing blasted by Bruno from his bass ignites a somber Doom Metal feast titled Necrophage, where he also growls in a perturbing way while Davide keeps pounding our heads with his drums, with the music flowing demonically until its crushing finale.

March of Wrecks continues to pave the power trio’s path of obscurity, anger and pain, even bringing more aggressive nuances from Black Metal to their dense musicality, with Francesco doing an awesome job with his razor-edged riffs, while The Void showcases the most serene start of all songs from the EP, sounding melancholic and eerie with Bruno’s Stygian bass lines taking the lead while Francesco’s guitar lines once again bring electricity to the music. Then it’s Davide who takes care of kicking off their last breath of top-of-the-line Doom and Stoner Metal, titled Mekkano, remaining as dark as doomed music can be, with all band members adding their touch of malignancy to the sonority, especially Francesco with his mesmerizing riffs.

Entering the dark and sluggish world of Tannoiser is quite easy, as all you need to do is follow them on Facebook, subscribe to their YouTube channel, and of course purchase your copy of Alamut (available for a full listen on YouTube and on SoundCloud) directly from their BandCamp page or from Amazon. Tannoiser were spot on with their thrilling fusion of Stoner and Doom Metal in Alamut, and apparently the band will only grow stronger and stronger as time goes by, pointing to a bright future not only for the band but for the entire genre as well.

Best moments of the album: Baba Vanga and March of Wrecks.

Worst moments of the album: None.

Released in 2018 Leynir Booking & Prod

Track listing
1. Baba Vanga 4:11
2. Paradacsa 5:33
3. Necrophage 5:20
4. March of Wrecks 3:59
5. The Void 5:52
6. Mekkano 4:38

Band members
Bruno Almici – vocals, bass
Francesco Bellucci – guitar
Davide Serpelloni – drums