The new album by this ruthless squad hailing from the Belarusian capital Minsk has everything you crave in old school, crushing Death Metal.
Hailing from the Belarusian capital Minsk, here comes a ruthless Death Metal squad comprised of Ivan “Paranoid” on vocals, Aleksey “Wicked” on the guitars, Alexander “Soulless” on bass and Sergiy “Def” on drums, collectively known as Vistery, ready to crush our heads with their third full-length installment, titled Death Is Dead. Featuring a nocturnal artwork by Mosaeye, Death Is Dead is highly recommended for fans of the violent music by bands like Unleashed, Vader, Entombed and Grave, exhaling hatred and sounding as heavy as hell, which translates into the perfect soundtrack for your anti-social and anti-religious activities.
Vistery started by the end of 2010 as a solo project of Alexey “Wicked” Kizillo, who performed as a guitar player, drummer and vocalist with a number of bands in Minsk for several years, finally reaching the shape and form of a classic Death Metal band in the beginning of 2011. The following two years were very productive for Vistery with the release of two full-length albums, those being Procreation of the Wicked, in 2011, and Sinister Prophecy, in 2012. However, due to unforeseen issues such as several changes in the band’s lineup, Vistery went on a performing hiatus until 2017, when they returned to stage in Vitebsk, followed by the 7th anniversary celebration gig in Minsk. That renewed lineup inspired the band to record a new album, culminating with the pulverizing Death Is Dead now in 2018.
Ominous background noises and the groovy bass by Soulless kick off the vicious intro Winds Of Devastation, where Paranoid manically roars its cryptic lyrics (“Can you see the trees bowing helplessly / In the wake of a devastating power / Can you hear this howl / Rupture your eardrums / Unrelenting pressure / No relief to come”) before all hell breaks loose in Tormentor, a crushing and thunderous Death Metal hymn with tons of progressiveness flowing from Def’s beats and Wicked’s damned riffs, resulting in a dense feast of aggressive sounds perfect for breaking your neck headbanging. Then featuring guest guitarist Anton Smirnov (Goose Enough, Like a Gossamer) we have Rotting Earth, a mid-tempo Death Metal extravaganza spiced up by Progressive Death Metal elements where Soulless keeps smashing our brains with his visceral punches. And are you ready for the most violent and gruesome picnic ever? That’s what the quartet offers you in Picnic Party, with highlights to the deep and brutal work done by both Soulless and Def with their vile instruments.
In Omniphobic, the lyrics reek of old school Death Metal (“I can see your fear of death / Poisoning your every breath / Flight would be your primal instinct / If only your legs weren’t so rigid”) while the music remains as brutish as possible, with Soulless extracting low-tuned, hellish tones form his bass (not to mention the nonstop smashing beats by Def); followed by Swamp, where the entire band delivers a more rockin’ sonority, even flirting with Melodic Death Metal, spearheaded by the demonic guttural vocals by Paranoid. Moreover, all instruments feel like they were “blessed” by Satan himself, including Paranoid’s vocals, sounding as dark and deep as Death Metal can be. Then it’s time to “die” together with this talented Belarusian act in Die From Within, showcasing great performances by Wicked with his flammable riffs and Soulless with his thunderous bass, while Paranoid roars and gnarls like a true demon, whereas in Black Magic an uncanny intro evolves into brutal devastation led by Def’s frantic beats and fills, getting heavier and more menacing as the music progresses and, therefore, being recommended for admirers of old school, putrid Death Metal, all embraced by a rumbling and obscure vibe.
Guest musician Anton Smirnov returns with his fiery guitar in Mortal Fear, a mid-tempo creation where the whole band is on fire, blasting a thrilling fusion of violence, groove and progressiveness, with Wicked’s guitar reminding me of the always amazing riffs by Cannibal Corpse, and Vistery will make sure your head is smashed with a hammer in Butchery, the perfect depiction of what their music is all about, sounding and feeling heavy, groovy and exciting form start to finish. Furthermore, Paranoid steals the spotlight with his deep roars, helping it become the best song of the album in my humble opinion. And the title-track Death Is Dead is just as thunderous and vibrant as the rest of the album, with the bass punches by Soulless getting more menacing than before. Put differently, there was no better way to end the album than with this ode to classic Death Metal.
If you need to listen to Death Is Dead in full before making the decision of purchasing it and supporting underground Death Metal made in Belarus, you can enjoy the album in its entirety on the band’s own website, on YouTube and on Spotify, but if you’re already familiar with the band’s music and can’t wait to add such demented album to your personal collection, you can get it from the band’s BandCamp page, from iTunes or from Amazon. In addition, don’t forget to follow Vistery on Facebook and VKontakte, and subscribe to their YouTube channel, showing the entire world Death Metal is still alive and kicking, with bands like Vistery leading the underworld hordes of devastation with their old school music like what they offer in Death Is Dead.
Best moments of the album:Picnic Party, Black Magic and Butchery.
Worst moments of the album:Rotting Earth.
Released in 2018 Independent
Track listing
1. Winds Of Devastation 1:50
2. Tormentor 2:56
3. Rotting Earth 3:27
4. Picnic Party 3:09
5. Omniphobic 3:39
6. Swamp 4:00
7. Die From Within 2:49
8. Black Magic 3:08
9. Mortal Fear 3:23
10. Butchery 3:02
11. Death Is Dead 3:01
Band members Ivan “Paranoid” – vocals
Aleksey “Wicked” – guitars
Alexander “Soulless” – bass
Sergiy “Def” – drums
Guest musician Anton Smirnov – guitar solos on “Rotting Earth” and “Mortal Fear”
Kneeling at my feet, encased in black sheaths of ecstasy… Fulfill your deepest desire to submit to me…
It’s time to set fire to The Headbanging Moose with a woman that’s perhaps the most eccentric, distinct and explosive of all metal chicks who have already embellished our pages through the years. She’s not only a professionally trained actress, dancer, singer, performer and an internationally recognized model in the Gothic and fetish genres, having been featured in several publications and websites, but also an activist and the frontwoman for an American metal act that blends the heaviest and most obscure elements from Gothic, Black and Death Metal. If you have absolutely no idea who that woman is, I bet you’ll be stunned by her talent, beauty and passion for music and arts in general. Having said that, let’s cut to the chase and begin our humble tribute to our last metal lady of 2018, the unstoppable and dauntless Lilith Astaroth (also known as Goddess Lilith), lead singer for Boston, Massachusetts-based metal entity Sorrowseed. In other words, are you ready for total chaos and anarchy with Lilith?
Born on October 31, 1997 in Cambridge, just outside of Boston, Massachusetts, in the United States, Lilith loves music from the bottom of her heart, having started her musical pursuits at the age of five when she learned to play the piano. At the age of fourteen, she began to teach herself how to play the guitar, and in the following year she started her first band, curiously named Satan’s Kids, a Grunge and Rock N’ Roll project inspired by the music from icons like Marilyn Manson, Nirvana and Pantera. And Lilith received a lot of criticism in her early days as a singer, as people kept saying she sounded “like a guy” and that she should start singing “like a normal person”. However, despite that continuous criticism, including being kicked out of a band for “screaming too much”, she refused to change her vocal style and kept working hard for several years, until Sorrowseed came along in 2009 after numerous failed band attempts.
Her style of singing combines low guttural growling and high-pitched shrieking, being often compared to famous extreme vocalists like Dani Filth and Angela Gossow, but also exploring after 2010 a more operatic style in the soprano range, like in her 2011 cover version for the classic Christian Woman, by Type O Negative (I guess all women who succumbed to the dark side of music are admirers of the deceased Peter Steele). A true lover of cybergoth, steampunk and latex fashions, Lilith explores her sexuality while creating music at the same time, offering her fans a full-bodied experience during her live performances and on her videos. Using a combination of inhalation and exhalation screams, she is able to produce a vast array of sounds with her voice, turning each live show into a ferocious display of intensity. Since the beginning of her career, she has released several solo works and has lent her voice and performed live with many different projects throughout New England including Sorrowseed, Mostri and Pandora’s Toybox, always loyal to the Doom, Death, Industrial and Gothic Metal styles. Her biggest inspirations when writing and composing music are quite straightforward and interesting. Lilith was very clear and honest when saying that hatred, or unbridled hatred for humanity and its ignorance, always inspire her to write music, as her day-to-day experiences with other human beings gave her plenty of reason to be angry much of the time. Obviously all that hatred and anger couldn’t be better represented than the flammable fusion of Extreme Metal styles from all her bands and projects.
In regards to her most famous project, American Melodic Doom Metal band Sorrowseed, Lilith formed the band in 2009 in Boston highly influenced by bands like Amorphis, Behemoth, Cradle of Filth, Dimmu Borgir, Emperor, Satyricon and Therion, singing about controversial topics like the Apocalypse and anything related to the total annihilation of mankind, as well as spreading stories of madness, death, destruction, dark mythology and horror to the masses, all embraced by the band’s obscure musicality. As a matter of fact, the band started in 2008 by Josh Carrig, of Pandora’s Toybox, evolving to its desired shape and form only in 2010, with the concept behind the band being based on the story of two characters, the Reaping Willow and the Scarab Prophet. Lilith obviously portrays the Reaping Willow, who was once the nature Goddess, Demeter. Over time, she watched humankind’s pollution, ignorant destruction and environmental abuse overcome the earth. She wept for the ignorance of mankind, becoming enraged with madness and, as a consequence, transforming into the Reaping Willow who, along with the Scarab Prophet, is set upon the destruction of mankind, unleashing apocalyptic terror onto humanity. The band has already released one EP titled Portents, in 2009, and four full-length albums since their inception, those being The Extinction Prophecies (2011), Descent of the Scarab Prophet (2012), Dread Sylvan Summonings (2012), and Nemesis Engine (2013), including incendiary songs like Ocean Scorn (and you can always listen to their albums and obviously purchase them from their own BandCamp page). Working as a way for Lilith to channel her powerful feelings into something creative and non-destructive, as she’s always been very much about vengeance, wrath, and destruction, Sorrowseed kick some serious ass live as you can see in their performance during the Damsels of Darkness Tour playing the song Arcana (of the Lich Queen), with their first ever concert happening at the launch party of 420Mass.com during the 2010 Boston Freedom Rally.
You can also find Lilith lending her beautiful and devilish voice to several distinct bands and projects in the world of heavy music, such as doing vocals for Chilean/American Thrash/Death Metal band Angor from 2014 to 2015, and for American Blackened Death Metal band Coffin Birth starting in 2016. She also worked as a guest vocalist in the song Bloodborne Penance, from the 2016 album The Bowels of Chaos, by Coffin Birth; in the song Halle Ravine, from the 2017 album The Sachem’s Tales, by American Atmospheric Black Metal band Dzö-nga; and in the song The Black Feathered Vixen, from the 2013 EP Unleash the Inferno, by American Death Metal one-man band Eric Pellegrini. There are other projects which are not as “clear” as the ones listed above, such as her involvement as the lead singer of Nemesis Engine, a hybrid of ex-Sorrowseed and ex-Theogonia members which was actually a code name used for the revamped Sorrowseed lineup, as well as her participation with other bands including a Melodic Death Metal band (with use of electric violin) with former bandmate Chris Adamcek and Rachel Zuckerman named Akashic Shadow, in 2012, and an upcoming collaboration with Melodic/Progressive Death Metal act Solemn Vision, from New York.
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As aforementioned, Lilith is not only a regular vocalist and musician, but also an actress focused on the underground and independent scene. It was in 2009 when she began exploring the world of acting, starting with taking courses from Harvard University, doing extra work for major films, and landing minor roles in independent films such as God of Vampires, Nun of That, Heaven and Hell, Legless and Scrooge in the Hood. She has also appeared on NESN as a ring girl for Boston Boxing, has done several interviews in the cosplay documentary Cosplayer Nation, appeared on NBC’s The Dr. Keith Show to talk about safety as a public figure on the internet, and appeared several times in the reality-based web series Quiet Desperation. You’ll also find Lilith in many different music videos as an actress, such as When Steel and Bone Meet, by Goatwhore; Misbegotten Candy, Down in the Mire, and Slaves to the Sleigh, by Pandora’s Toybox; Runnin From Jesus, by Matalon; and Babylon Train, by Desar.
Furthermore, you can take a look at her her IMDb profile to see in detail all B-movies, shorts and TV series she’s been featured, like playing a character named Petunia Pete Sawyer in the 2017 comedy-horror movie Groundhog. In addition to that, Lilith has also attended a good amount of public events through the years, like doing public speaking in different editions of the annual Boston Freedom Rally and the Philadelphia Freedom Festival Benefit, as well as constantly improving her acting skills by taking several training sessions and courses like Introduction to Acting and Advanced Acting from Harvard University, in 2009, Acting Shakespeare and Introduction to Public Speaking also from Harvard University, in 2010, and private classes in C.O.R.E. Acting, in 2013. Do you think that’s already a lot for just one person? Well, you better be prepared, because there’s still a lot more to come.
If you haven’t noticed yet, Lilith is also an internationally recognized professional model, having shot in different exotic locations ranging from Iceland to Montreal, Ireland, Costa Rica, London, Germany and Italy, as well as all over the United States, with some of her favorite runway events being the Montreal Fetish Weekend Fashion Show, and the New Designer’s Fashion Show of New England. A versatile model with 8 years of experience and a wide variety of looks, ranging from classic pinup, swimsuit, Gothic, cosplay, fantasy, fetish, sci-fi, horror, among many others, Lilith has already done event hosting, art modeling, spokesmodeling, living art, bodypainting, being a Ring Girl, Go-Go dancing, and modeling for some of the edgiest latex designers emerging in the fetish fashion scene. However, when asked which career out of music, modeling, dancing and acting she would like to pursue the most, our devilish goddess said music is what she’s really focused on (as we all know, screaming is something that has always been very natural to her), but she also truly wants to pursue professional acting to the fullest. Acting is according to Lilith herself the most challenging of all activities because there’s always room for improvement with anyone, but finding appropriately paying work in modeling and dancing is the most challenging thing she’s been facing on a regular basis. In addition, maintaining a healthy balance of all those activities and responsibilities is not an easy task at all (by the way, she’s also a LMT – Licensed Massage Therapist, an activist for cannabis legalization, animal rights, and preservation of nature, and a reiki master), but as a great and very efficient multi-tasker she is, nothing stops Lilith from always moving forward in her life and career.
One very important topic to Lilith is her utmost support to the legalization of marijuana, and she has a very strong opinion about what should be done in this case. In one of her interviews, she said that people need to focus the war on drugs against the real problems, like pills, which originate with drug companies, and crime which is funded in large part from marijuana. In her own words, Lillith said that “no one is making pills at home – they come from drug companies with bad policies, operating under bad laws with bad inventory and bad control, they have huge lobby groups that let them get away with this and pills have become one of the most major problems in America.” She complemented by saying that she personally would rather not put any chemicals in her body or take the risk of becoming addicted to a chemical, and she has found that she doesn’t need to take those risks, because marijuana helps alleviate her health issues. “We need to take ‘the money’ out of the illegal marijuana equation; by legalizing and regulating we would lower the prices by lowering the value (the price is artificially propped up by its illegal status), and this would take a big bite out of the pocketbook that funds guns and harder drugs, and open the door to affordable, safe and legal medical marijuana.”
When asked in one of her interviews about the current music scene in the United States and what has changed since she started her career in 2009, Lilith said that it actually hasn’t changed much, despite an increase in the number of metal bands in her area, New England, which according to Lilith herself is at the same time a good and a bad thing because some of those bands are very talented, but others are just terrible. She also said there are some bands she’s a good friend of, such as Faces of Bayon, Matalon, Abnormality, AbSynthe, Necrophiliac Meat Circus, Fever Vein and Voices of the Dead, among others, and that she loves to meet and work with bands that play a similar style to hers because those are not only easier to keep in touch, but to also play more shows together. And last but not least, when asked how important her fans are to her, she was pretty straightforward saying that without fans there would be no one to perform for. She does her best to treat her fans well and hook them up with good prices and merch, and communicate with them every day through her website and all her social media. That being said, I guess no one can complain at all that Lilith is a lazy or an arrogant person; quite the contrary, although we all know how unique she is, the world of metal music definitely needs more women with the same attitude, stamina and passion as the multi-talented Lilith Astaroth.
“Since I was young, I’ve always been the center of attention. My parents were always sticking a camera or video camera in my face, so I got used to it early. It wasn’t until I was 15, however, that I decided I wanted to front a band. Oddly enough, it was Nirvana that inspired me to find this path. I taught myself how to play guitar and formed my first band shortly thereafter.” – Lilith Astaroth
Enjoy this flammable concept album of Swedish Death Metal made in Italy, taking us on a journey through forgotten times on which thousands of men died for freedom.
Born in 2005 in the Italian city of Modena under the name When the Storm Broke, a destructive Melodic Death Metal force currently known as Karmian is among us to spread violence and fury with a good amount of melody, playing what we fans of heavy music usually call Swedish Death Metal (or in the case of Karmian, we can call it “Swedish Death Metal from Italy”), culminating now in 2018 with the release of their first full-length opus, titled Surgere et Cadere (Latin for “rise and fall”), a concept album on the history of the Boii, a proud Celtic tribe who invaded northern Italy in 390 BC, conquering the city of Bologna. All the story told in the lyrics, even if they are dramatized, are based on true accounts of Romans historian, taking us on a journey through forgotten times on which thousands of men died for freedom.
Comprised of Andrea Bertolazzi on vocals, Andrea Baraldi on lead guitar (and who also played bass on the album), Mauro Leone on the guitar, Claudio Nasi on bass (although he didn’t record the album) and Nicholas Badiali on drums, Karmian are one of those bands who go straight to the point with their austere and visceral music, without adding any artificial elements nor other shenanigans to their sonority. Featuring a flammable artwork by Italian artist Lorenzo Paltrinieri, Surgere et Cadere narrates the rise and fall of the Boii in the best Melodic Death Metal style you can think of, translating all of the happenings to that given time in history into crushing metal music and, therefore, enhancing all aspects (especially the violent ones) of such distinct tribe.
In the amazing opening track titled They Burn the quartet wastes no time and begin blasting metallic and strident lines that penetrate deep inside our ears, before Andrea Bertolazzi begins growling like an enraged beast, making it impossible not to scream the chorus together with the band, followed by Conquering The Plain, a crushing tune led by the unstoppable Nicholas behind his drum kit that sounds a lot more Death Metal than Melodic Death Metal, with its lyrics perfectly telling the proposed story (“Bononia was the start / There’s a plain ahead to loot / Etruscans are divided / The league is weak / Belonos blesses our raid / In this land of the sun / The cities fear the tribe / They fall one by one”). And Shadow of the Eagles is a true headbanging chant by Karmian where the band’s guitar duo slashes their strings ferociously, inviting us to break our necks and slam into the circle pit like true metal maniacs.
The Gaul is another demolishing creation with highlights to the lancinating shredding and guitar solos by Andrea Baraldi and Mauro, sounding very technical and gripping while Andrea Bertolazzi goes on with his growling attack, and the band continues to hammer our heads with another Melodic Death Metal onrush named The Alliance, showcasing austere, harsh vocals, smashing drums and cutting riffs, keeping the album at a high level of violence. Then flirting with Black Metal thanks to the demonic riffs by both guitarists and the blast beats by Nicholas we have Total War, another visceral tune proving how amazing their lyrics are (“Placentia attacked for carthago / Padania freed again / Rebellion / Taranis on our hearts / Beside the blessed river / We have no fear of death / Rome bleeds, rome suffers / Entangled in total war”).
Be ready to snap your neck headbanging once again to their berserk music in the mid-tempo, hellish tune named Druids in the Forest, where all band members are on absolute fire, led by the visceral guitars by Andrea Baraldi and Mauro, once again presenting a demented but very precise Nicholas on drums, whereas their second to last explosion of Melodic Death Metal infused with old school Death and Black Metal comes in the form of Sacred Selva, a solid and violent tune where Andrea Bertolazzi fires some deep, enraged gnarls in sync with the song’s razor-edged riffs. Lastly, the gentle piano by guest Enrico Dolcetto kicks off the somber and introspective Mutina Capta Est (or “Modena is captured” from Latin), a dark power-ballad very distinct from the rest of the album, closing Surgere et Cadere as if it was the aftermath narrated in an anguished way by Andrea Bertolazzi.
In order to join Karmian in their quest for metal and learn more about the Boii as narrated in Surgere et Cadere, simply follow the band on Facebook, subscribe to their YouTube channel, listen to more of their music on Spotify, and grab your copy of the album from their own BandCamp page, from iTunes, from Amazon or from CD Baby. Now, after all is said and done, it’s just a matter of waiting for the next chapter in the career of such promising band, making us all eager to see if they’ll keep drawing inspiration from the rich and vibrant historical facts of their homeland, therefore adding an extra touch of epicness to their already potent Melodic Death Metal.
Best moments of the album:They Burn, Shadow of the Eagles and Total War.
Worst moments of the album: None.
Released in 2018 Independent
Track listing
1. They Burn 3:24
2. Conquering The Plain 4:05
3. Shadow of the Eagles 3:53
4. The Gaul 4:09
5. The Alliance 4:30
6. Total War 4:31
7. Druids in the Forest 5:13
8. Sacred Selva 5:29
9. Mutina Capta Est 6:04
Band members Andrea Bertolazzi – vocals
Andrea Baraldi – lead guitar, bass
Mauro Leone – guitar
Nicholas Badiali – drums
Guest musicians Marco Bocchi – bass
Enrico Dolcetto – piano
This unstoppable Belgian duo returns with a brand new EP only six months after their latest full-length album, offering the listener 24 minutes of classy extreme music rooted more firmly in the Post-Black territory.
Formed in December 2012 in the city of Brussels, Belgium mostly influenced by bands such as Agalloch, Drudkh, Alcest and the early days of Katatonia, the talented Atmospheric Black Metal duo that goes by the name of Soul Dissolution returns only six months after their critically-acclaimed opus Stardust with a brand new 2-track EP simply titled Nowhere, offering the listener 24 minutes of classy extreme music rooted more firmly in the Post-Black territory, drawing additional inspiration from bands like Harakiri For The Sky, Heretoir and Anomalie while still retaining the core atmosphere, dynamics and melodies from their previous material.
Comprised of Acharan on lead vocals and Jabawock on guitars, bass and additional vocals, Soul Dissolution are one of those underground acts that are not afraid of experimenting with different sounds and nuances, but always true to their origins, and that’s perhaps what makes Nowhere so compelling and vibrant form start to finish. Featuring a grim cover picture taken by Jabawock on a misty morning in the Vosges region in France, and presenting Celestial as their session drummer for the first time (in addition to him being a part of the band’s live lineup), Nowhere will take you on a journey full of epicness and melancholy, all enhanced by the album’s crystal clear overall production, paving an exciting path for Soul Dissolution to keep mesmerizing us all with their music in a not-so-distant future.
Melancholic guitar lines kick off the first of their two “musical voyages”, entitled Road to Nowhere, a lecture in Atmospheric Black Metal where the beats by Celestial are at the same time fierce and delicate while Jabawock slashes his guitar strings majestically, piercing our ears and minds with his whimsical riffs and solos. Furthermore, all elements from Melodic Black Metal found in the musicality bring an extra taste to their core Atmospheric Black Metal, majestically flowing like a wild river, not to mention the song’s captivating lyrics growled by Acharan in a truly anguished manner (“Under the moonlit sky/ Winds carry new words / For songs yet to come to life / Under the moonlit sky / Winds carry my steps / Pushing me forward on my road to nowhere”). Then even more obscure than its predecessor, Fading Darkness presents hints of Blackened Doom and Doom Metal in its core sound, with Soul Dissolution mesmerizing our senses with their deep gnarls, solid string work and precise drumming, bulding the perfect ambience for the poetry flowing from the song’s introspective words (“These thick, black woods / With trails long overgrown / This journey I started many years ago / The last time I saw the sun / This mountain on which I roam / Constantly surrounded by thick fog / Its sinister presence all around / Drains all life therein to be found”).
The full EP is available for a detailed listen on YouTube, and you can show your true support to Soul Dissolution by following them on Facebook, by listening to their music on Spotify, as of course by purchasing Nowhere from their own BandCamp page, from the GS Productions’ BandCamp or webstore, from iTunes or from Discogs. If the music found in Nowhere points to what we can expect from Soul Dissolution in their future releases no one knows for sure, as Acharan and Jabawock love to explore new grounds and nuances, but if there’s one thing we can be certain about is that the duo will keep delivering first-class atmospheric music for our total delight in the coming years, always surprising us in a very positive way and always loyal to their foundations.
The Gates of Blashyrkh have finally opened again to the sound of the pulverizing new album by the Northern Chaos Gods of Black Metal.
The Gates of Blashyrkh have finally opened again now in 2018 thanks to Bergen’s own Black Metal institution Immortal, who after nine long and excruciating years of the release of their 2009 album All Shall Fall are back in action with a brand new opus titled Northern Chaos Gods, a beyond fantastic comeback for one of the trailblazers of Norwegian Black Metal. The first album after the departure of founder, frontman and guitarist Abbath from the band in 2015, Northern Chaos Gods marks the longest gap between two studio albums by Immortal, but the wait was definitely worth it as Immortal sound extremely sharp and vile throughout the entire album, proving once again why they’re still an unstoppable force of frost and ice.
Featuring a dark and straightforward cover art by Norwegian artist Jannicke Wiese-Hansen, Northern Chaos Gods showcases an inspired Demonaz (Harald Nævdal) on vocals and guitar (for the first time since 1997) and a brutal and extremely precise Horgh (Reidar Horghagen) on drums, accompanied by guest bassist Peter Tägtgren. In an interview before the album’s release, Demonaz said he wanted to make the album as “grim, dark and cold as possible”, and Immortal more than succeeded in their quest for extreme music, delivering a raw piece of Norwegian Black Metal that takes the band right back to its early sound. Each and every song in Northern Chaos Gods is a lecture in darkness, pointing to a bright (or I should say obscure) future ahead of a band that might have suffered a few losses since their inception in the far, far away year of 1991, but that stands triumphant and loyal to their roots no matter what.
The title-track Northern Chaos Gods comes crushing mercilessly in an absolute sonic devastation blasted by Demonaz with his fulminating riffs and Horgh with his classic Black Metal blast beats, resulting in a truly old school tune but without sounding obsolete or cheesy, not to mention the excellent job done by Demonaz with his infernal roars. As violent and somber as its predecessor, Into Battle Ride is an ode to Black Metal with highlights to the lancinating guitar lines by Demonaz and the thunderous bass lines by Peter, also bringing inspiring lyrics vociferated by Demonaz (“The sword of thunder and lightning is on the rise / From the north the gods of wrath descend / The storm of war nearing, black in its sign / Now vengeance shall enter again, feared by mortals / Our yearning steel strong hands / Thundering hooves strike above dying men / Down the black valleys arise through the haze / From the mountains, hear battle and death”); whereas Gates to Blashyrkh is a lot more melodic and rhythmic, perfect for banging your head and raising your horns to the hellish duo Demonaz and Horgh. Put differently, simply ride together with Immortal to the Gates to Blashyrkh and enjoy a huge dosage of top-of-the-line Melodic Black Metal invading your senses. And Grim and Dark is another cadaveric and sinister creation by this Norwegian entity, led by the slashing riffs by Demonaz while Horgh keeps crushing his drums nonstop, flowing majestically until its crisp and ominous ending.
There’s no time to breathe with more traditional Black Metal in Called to Ice, with Demonaz’s visceral riffage being effectively accompanied by the galloping sound of drums and bass in five minutes of classic Norwegian Black Metal for diehard lovers of the genre, before a smooth and melancholic intro quickly explodes into a lecture in modern-day Black Metal in Where Mountains Rise, a headbanging tune where Horgh’s beats sound amazingly crisp and heavy while Demonaz keeps slashing his strings with sheer precision and vocalizing the song’s beautiful, poetic words (“For the mighty mountains I ride / Through the woods beyond the snow / Like a fire among the stars, beyond the clouds she rise / There’s no fire from the sun, in this dark under the moon / My blackened sight beholds the stars, and fallen suns below”). Back to a more extreme and piercing sonority we have Blacker of Worlds, where Horgh presents his violent bulldozer mode and with Demonaz and Peter delivering a storm of blackened sounds through their stringed weapons, hammering our heads until Mighty Ravendark strikes our minds like a thunderbolt, exhaling malignancy, darkness and evil. Moreover, Horgh and Peter generate a massive wall of sounds with their drums and bass, respectively, while the hell raiser Demonaz keeps growling and gnarling in a devilish manner during the song’s over nine minutes of Epic Black Metal, putting a majestic ending to one of the best comebacks in the history of metal.
In summary, Northern Chaos Gods, available in different formats from the Nuclear Blast website, is more than just a comeback as already mentioned, but the rebirth of one of the biggest exponents of classic Black Metal even when no one else believed the band could get back on track after such turbulent period in their career. Well, they’re not called Immortal in vain, and after such pulverizing album we can rest assured Demonaz and Horgh will keep the flame of Norwegian Black Metal burning bright wherever they go. Because in the end we’re talking about the true “Northern Chaos Gods of Black Metal”, and they’ll keep riding into the battlefield side by side with us, fans of extreme music, until their final and bitterly cold breath.
Best moments of the album:Northern Chaos Gods, Where Mountains Rise and Mighty Ravendark.
Worst moments of the album: None.
Released in 2018 Nuclear Blast
Track listing
1. Northern Chaos Gods 4:25
2. Into Battle Ride 3:50
3. Gates to Blashyrkh 4:38
4. Grim and Dark 5:27
5. Called to Ice 5:06
6. Where Mountains Rise 5:51
7. Blacker of Worlds 3:43
8. Mighty Ravendark 9:14
Band members Demonaz – vocals, guitars
Horgh – drums
Inspired by neo-romantic soundtrack music, this talented German squad will take you to a world of fantasy, passion and mystery with their debut full-length album.
Heavily inspired by neo-romantic soundtrack music, and including typical elements of a classical Aristotelian drama combined with heavy guitars and drums in their music, German Symphonic Metal act Once has been embellishing the airwaves with their unique musicality since their inception in 2012 in North Rhine-Westphalia, culminating now in 2018 with the release of their debut full-length album, entitled After Earth. If you’re an admirer of the classy and enfolding Symphonic Metal crafted by iconic bands like Epica, Nightwish, Within Temptation and Beyond The Black, the creations by this German quartet comprised of Alina Lesnik on vocals, Marco Paulzen on the guitars, bass and harsh vocals, Frank Wypchol on keyboards, piano and orchestrations, and Alexander Hey on drums will certainly please your metallic soul.
Featuring a curious artwork by Tullius Heuer and orchestra and choir arrangements by Frank Wypchol, produced by Frank Wypchol and Marco Paulzen, recorded and engineered by Marco Paulzen in Münster, Germany, and having as a very special guest musician Shir-Ran Yinon (Krayenzeit, Haggard, Eluveitie and New Model Army) on violin, After Earth will take the listener to a world of fantasy, passion and mystery, which combined with the band’s imposing musicality and the album’s crisp and vibrant production will fully captivate your senses, making you eager for more of the music by this talented German squad. In other words, simply hit play, close your eyes, and let Once guide you through the exciting lands of After Earth.
Like the intro to an epic movie, Act 1 (Overture) invites us all to join Once in their musical journey starting with the imposing and symphonic Awake, a lesson in Symphonic Power Metal led by the classic keys and piano by Frank, with Alina living up to the legacy of stunning vocalists like Tarja Turunen and Floor Jansen. Then even more symphonic than its predecessor, My Masterpiece showcases another excellent performance by Frank with his keys while Marco brings passion to the music with his riffs and solos, as well as Alexander and his thunderous beats; followed by The Allure, presenting guest Shir-Ran Yinon and her whimsical violin in a beautiful feast of symphonic and melodic sounds and tones. Furthermore, Alina is magnificent on vocals, while Marco creates a very interesting paradox to the tenderness of the violin with his heavier-than-hell riffs.
Again featuring Shir-Ran Yinon, Distorted Smiles is a serene ballad where Alina smoothly declaims the song’s classy lyrics (“Winter’s fingers creeping chillingly / Across the rusty window bar / Through the stormy blizzard rings / A weary melody coming from afar”) before their crushing Symphonic Metal strikes again in The Hour of Eden’s Fall, presenting stylish words (“Images of a bursting sanity / Are turning into a lost reflection / Of the eternal bond of our affection / Painting the moment as a memory / Once my only world was your embrace / Now my heart is buried and erased”) and incendiary performances by Marco and Alexander, bringing rage and electricity to the music with their harsh growls, cutting riffs and nonstop beats. After such powerful display of symphonic music, a cinematic bridge titled Act II (Intermezzo) builds an imposing and adventurous atmosphere for the power ballad My Fairytale, with Alina stealing the spotlight with her fiery vocals while Frank and his keys and orchestrations add tons of electricity to the overall result, being perfect for fans of Epica and Nightwish.
Spiced up by a stunning work done on the piano by Frank we have Phenomena, a metallic symphony of sounds that feels like the soundtrack to a dangerous but thrilling adventure, with Marco carving the word “metal” onto the musicality with his Melodic Metal riffs and bass punches, connecting instantly with the Opera Metal-inspired tune The Sins of Saints, keeping the ambience vibrant and exciting with Frank and Marco being on absolute fire throughout the entire song, slashing our senses and dragging us to their fantastic world of heavy music. Then in Insane Schemes of Sanity an ethereal start morphs into a classy and gentle Symphonic Power Metal extravaganza, flirting with Folk Metal at times thanks to its pace and breaks, as well as Frank’s keys and Alina’s storytelling vocals, whereas in The Final Stage, where Shir-Ran Yinon embellishes the musicality once again with her magic violin, we’re treated to over 10 minutes of first-class Symphonic Metal led by Alina’s gorgeous vocal lines, all embraced by vibrant, stunning orchestrations and boosted by Marco’s deep roars, flowing flawlessly for our total delight until its grand finale, before Epilogue (A Memento of Our Hiraeth) concludes this album of symphony, melody and epicness in a beyond enfolding and theatrical way, mesmerizing our senses for over six minutes with its gentle piano notes and orchestral background elements.
It’s quite impossible to stand still or unemotional while listening to Once, especially if you’re a longtime fan of stylish, epic and heavy orchestral music, and in order to show your appreciation for such distinct band go check what they’re up to on Facebook, subscribe to their YouTube channel, and purchase your copy of After Earth, a gorgeous lecture in Symphonic Metal, from the Pride & Joy Music webstore, from MBM Music By Mail, from the NEH Records webstore, from iTunes, or from Amazon. Once will certainly take you on a fantastic musical journey with After Earth, showing you how relevant Symphonic Metal still is nowadays, and how inspiring it can be in your everyday life.
Best moments of the album:The Allure, The Hour of Eden’s Fall, Phenomena and The Final Stage.
Worst moments of the album:Insane Schemes of Sanity.
Released in 2018 Pride & Joy Music
Track listing 1. Act 1 (Overture) 2:04
2. Awake 4:19
3. My Masterpiece 3:40
4. The Allure (feat. Shir-Ran Yinon) 3:59
5. Distorted Smiles (feat. Shir-Ran Yinon) 3:52
6. The Hour of Eden’s Fall 4:45
7. Act II (Intermezzo) 2:12
8. My Fairytale 3:55
9. Phenomena 4:35
10. The Sins of Saints 3:57
11. Insane Schemes of Sanity 4:31
12. The Final Stage (feat. Shir-Ran Yinon) 10:18
13. Epilogue (A Memento of Our Hiraeth) 5:51
Band members Alina Lesnik – vocals
Marco Paulzen – guitars, bass, harsh vocals
Frank Wypchol – keyboards, piano, orchestrations
Alexander Hey – drums
Guest musician Shir-Ran Yinon – violin on “The Allure”, “Distorted Smiles” and “The Final Stage”
Embark on an adventurous journey with Taiwanese immortals to the sound of the new opus by the Taiwanese masters of Orient Metal.
It might have taken five years for one-of-a-kind Taiwanese Melodic Black/Death/Folk Metal icons Chthonic to strike again with their high-end fusion of a captivating storytelling and their unique and exotic music that several people like to call “Orient Metal”, but the excruciating wait was definitely worth it. Over those past years, since the release of their 2013 masterpiece Bú-Tik the five members of the band have turned new pages of their lives, with lead vocalist Freddy Lim (林昶佐) having organized a new political party and being successfully elected to a seat in the Taiwanese parliament. Nonetheless, they never forgot their promise to their fans to deliver a new album, culminating with the release of Battlefields of Asura (政治) now in 2018, the prequel of their four albums with related story including Seediq Bale (2005), Mirror of Retribution (2009), Takasago Army (2011) and the already mentioned Bú-Tik, all combined with the acoustic album from another dimension Timeless Sentence (2014), the expanded novel Day 578 After the War (2014), and the movie Tshiong (2017).
And the story told in Battlefields of Asura by Freddy and his bandmates Jesse Liu (劉笙彙) on the guitars, Doris Yeh (葉湘怡) on bass and backing vocals, CJ Kao (高嘉嶸) on keyboards, synths and piano, and Dani Wang (汪子驤) on drums throughout the album’s 11 tracks is an adventurous journey with Taiwanese immortals, as explained in detail in the band’s “Souls Resposed” series. What lies ahead is full hostility, murderous emotions, walls of iron that are difficult to conquer, and lusts and desires that are not easy to bid farewell to, but there is also courage that inspires infinity. At the end of the adventure, it turns out to be a quest for the perpetual prajna. When you feel tears on your face, that’s when you will finally realize this is where all the stories told in Chthonic’s past albums come from, always embraced by the band’s harmonious, thunderous and unparalleled metal music.
Drawing Omnipotence Nigh, featuring Fang-Yun Chen on dizi (a Chinese transverse flute), is an insurgent battle-like intro only Chthonic can offer us, setting the stage for the melodic and imposing The Silent One’s Torch, the perfect opening for their upcoming live concerts with Dani dictating the rhythm with his piercing beats while Freddy’s roars grow in intensity and rage as the music progresses, not to mention CJ’s always inspiring keys. Even more harmonious and thrilling, Flames upon the Weeping Winds has all it takes to become a fan favorite, with Doris not only shaking the foundations of earth with her bass punches, but her backing vocals also sound superb; followed by A Crimson Sky’s Command, another inspiring creation by Chthonic where CJ’s keys and synths sound and feel the most “Taiwanese” of the entire album (if we can say so), with highlights to the passionate growls by Freddy and the cutting riffs by Jesse.
Featuring Lamb Of God’s own frontman Randy Blythe on additional vocals, Souls of the Revolution is a flammable and rebellious anthem thoroughly crafted by our beloved Taiwanese horde where Jesse and Dani are on absolute fire and in perfect sync, elevating the song’s impact to a whole new level (not to mention it’s perfect for singing along with the band), whereas Taste the Black Tears carries a beautiful name for a crushing and epic tune, with Doris and Dani spearheading the band into the battlefield. Furthermore, the keyboards and synths by CJ bring an extra dosage of epicness to the overall result, with the music flowing powerfully form start to finish. And in One Thousand Eyes a dense and bold intro evolves into classic Chthonic, with Freddy gnarling like a demonic entity while CJ brings balance to the sonic havoc blasted by the band with his smooth keys, all boosted by the song’s extremely effective and exciting backing vocals and Jesse’s gripping guitar solo.
Chthonic Battlefields of Asura Box Set
Then we have Masked Faith, a whimsical and at the same time fierce bridge to Carved in Bloodstone, bringing elements form Epic Metal to their core Orient Metal. However, what starts in a promising way loses its strength after a while despite its imposing backing vocals and pounding drums, but that doesn’t last long as Chthonic are back on track with the fulminating Millennia’s Faith Undone, featuring Denise Ho (also known as HOCC) on vocals and Su-nung Chao on erhu (or hiân-á violin). This is undoubtedly the closest song to their previous installments Bú-Tik and Takasago Army, sounding epic, dense and electrifying, with highlights to the slashing work done by the band’s stringed duo Jesse and Doris, resulting in a true battle hymn by those unrelenting Taiwanese metallers, flowing into the ominous and stylish outro Autopoiesis. In addition, don’t forget to check the song’s acoustic version called Millennia’s Faith Undone (The Aeon’s Wraith Version), just as epic as the regular one.
It doesn’t matter if you’re a longtime fan of Chthonic or a newcomer to their sonic realm of rebellion and war, you’ll certainly have a blast listening to the top-of-the-line music found in Battlefields of Asura, proving why they’re perhaps the best metal band the East has ever provided the world. Needless to say, this is a must-have album in your metal collection, available at several locations such as IndieMerch, but if I were you I would go for the Battlefields of Asura Box Set available from the Ciong Zo webstore, including a long-sleeve shirt reflecting the song “Flames upon the Weeping Winds”, a cap reflecting the song “A Crimson Sky’s Command”, prayer beads reflecting the song “One Thousand Eyes”, a badge of honor reflecting the song “Taste the Black Tears”, a candle cup reflecting the song “The Silent One’s Torch”, the Taiwanese version of the album in CD format, a special “Millennia’s Faith Undone (The Aeon’s Wraith Version)” 7″ vinyl single, and a treasure box reflecting the song “Carved in Bloodstone”. Then, and only then, you’ll be properly (and fully) armed to join Freddy, Jesse, Doris, CJ and Dani into the Battlefields of Asura.
Best moments of the album: Flames upon the Weeping Winds, Souls of the Revolution, Taste the Black Tears and Millennia’s Faith Undone.
Worst moments of the album:Carved in Bloodstone.
Released in 2018 Ciong Zo
Track listing 1. Drawing Omnipotence Nigh (feat. Fang-Yun Chen) 2:07
2. The Silent One’s Torch 4:02
3. Flames upon the Weeping Winds 3:10
4. A Crimson Sky’s Command 3:31
5. Souls of the Revolution (feat. Randy Blythe) 4:39
6. Taste the Black Tears 4:49
7. One Thousand Eyes 5:15
8. Masked Faith 2:18
9. Carved in Bloodstone 2:57
10. Millennia’s Faith Undone (feat. Denise Ho & Su-nung Chao) 5:05
11. Autopoiesis 2:04
English Version bonus track 12. “Battlefields of Asura” Album Concept Description by Freddy Lim 1:55
Limited Edition Box Set Disc 2 (Vinyl) bonus track 12. Millennia’s Faith Undone (The Aeon’s Wraith Version) 6:15
Band members Freddy Lim (林昶佐) – vocals, erhu
Jesse Liu (劉笙彙) – guitars
Doris Yeh (葉湘怡) – bass, backing vocals
CJ Kao (高嘉嶸) – keyboards, synths, piano
Dani Wang (汪子驤) – drums
Guest musicians Randy Blythe – additional vocals on “Souls of the Revolution”
Denise Ho – female vocals on “Millennia’s Faith Undone”
Fang-Yun Chen – dizi on “Drawing Omnipotence Nigh”
Su-nung Chao – erhu on “Millennia’s Faith Undone”
Chi-Jen Chen, Ching-Lan Hsu, Chun-Yu Yang, Hsiang-yi Wei, Hsuan-Yi Chen, Joey Kuo, Po-Jen Liao & Wei-Shun Liu – backing vocals, choirs
It took more than six years for the Brazilian fans of Dimmu Borgir to have the chance to see them live again. In the Latin American leg of the tour to promote their brand new album Eonian, released this year, and celebrating 25 years of career, the iconic Norwegian band had a single concert in Brazil, on November 9 in São Paulo at Tropical Butantã. The night started with a Venezuelan band called CULTURA TRES, playing for the very first time in Brazil. The group formed by Alejandro Londoño (vocal and guitars), Juan de Ferrari (guitar), Darrell Lacle (bass) and Benoit Martiny (drums) introduced their Sludge/Post-Metal to the public that was slowly filling up the venue; however, on the very first song they faced some technical issues as the microphones didn’t work at all. The band leader interrupted the performance to get the problems solved and, in very good Portuguese, he said they didn’t come this far not to play for the Brazilian crowd and thanked for the support before starting again their setlist. Alejandro is very charismatic and in between the songs he also mentioned it was an old dream to play in Brazil, and remembered when he was a kid he had Sepultura’s posters on his bedroom walls. Such words made all Brazilian metalheads give him a huge ovation.
The band, nowadays based in Amsterdam (Netherlands), has four albums released, being La Secta the most recent one. During their 40-minute concert, they played songs in English and Spanish that define their history and represent the South American metal scene, such as the opening track Crosses and Lines. For the last song, El Sur de La Fe (“The South of Faith”, in English), Alejandro made an intense speech: he said he grew up in Venezuela, a country now broken and divided by politics and religion. The musician claimed to the Brazilian public to not let our beautiful country be divided and reminded us that Heavy Metal unites us. For those who are not aware about the Brazilian current political situation, recently a far-right, pro-gun, misogynist, sexist, racist, homophobic, conservative, former military politician has been elected president to rule the country for the next 4 years, so Alejandro knows what he is talking about. There is no doubt this concert in São Paulo was a great debut for the band, showing a huge potential to grow and gather more and more fans in the country.
Setlist Crosses and Lines Waiting for you Day One La Cruz del Seis And then I woke up La Secta El Sur De la Fe
Band members Alejandro Londoño – vocals, guitar Juan de Ferrari – guitar Darrell Lacle – bass Benoit Martiny – drums
With a new album, a new addition to the line-up and a new musical path (like it or not), DIMMU BORGIR performed to a full venue, but not a sold out night. The fans followed and enjoyed every moment of the short setlist of only 12 songs, in which 5 of them were from the new album Eonian. On stage, Shagrath (vocal), Silenoz (guitar), Galder (guitar), Daray (drums), Gerlioz (keyboards) and Victor Brandt (bass) impressed the fans with their technique and precision while playing the songs, with all fans having a very important role that night, always reacting in a positive and energetic way and singing all songs along with the band, while Shagrath’s theatrical performance of course makes the whole concert a lot more intense.
The night started with two new songs, The Unveiling and Interdimensional Summit, with the also new I Am Sovereign, Council of Wolves and Snakes and Archaic Correspondence being part of their setlist as well. The new album itself is not exactly what we are used to listen from Dimmu Borgir, but the songs worked well when played live with a lot of orchestral arrangements and some electronic elements and, apparently, the Brazilian fans enjoyed them. There was not much talking between the songs which made the concert run quite fast. furthermore, some very important classics from the band’s career were also played such as The Serpentine Offering, Gateways and the classic Puritania.
The closing part of the night had a powerful triumvirate of songs comprised of Indoctrination, Progenies of the Great Apocalypse and the amazing Mourning Palace, which marked the end of the night. Shagrath thanked all the fans and dedicated the last song to his long time friend Marcelo Vasco, graphic designer known for his work with bands like Slayer, Borknagar and Testament, and guitarist for Brazilian Black Metal band Patria, who came from far away to see the concert. Just like Vasco, many fans traveled long distances to see the Norwegian Black metal icons, and the band’s iconic frontman promised they shall return. All in all, it was a good night. We should consider that although the band is great on stage, the short setlist kind of disappointed the fans who waited such a long time to see them, but at least they had another great opportunity to watch Dimmu Borgir kicking ass on Brazilian lands one more time.
Setlist The Unveiling Interdimensional Summit The Chosen Legacy The Serpentine Offering Gateways I Am Sovereign Council of Wolves and Snakes Archaic Correspondence Puritania Indoctrination Progenies of the Great Apocalypse Mourning Palace
Band members Shagrath – vocal Silenoz – guitar Galder – guitar Daray – drums Gerlioz – keyboards Victor Brandt – bass
Here comes a group of Texas all-stars armed with their debut album of fast and furious Death Metal, focusing on the brutal side of nature and unconscientious human behavior.
A group of Texas all-stars, Austin-based Death Metal/Grindcore unit Infuriate was founded in late 2015 by drummer Sterling Junkin (Widower, Laughing and Lying, Venereal Baptism) and guitarist Steven Watkins (Serpentian, Sect of Execration, Sarcolytic, Images of Violence), with vocalist and guitarist Jason Garza (Blast Perversion, Slow Grind) and bassist Alan Berryman (Whore of Bethlehem, Cathexis) completing the band’s pulverizing lineup. After about a year and a half of songwriting, nine demolishing tracks of unrelenting Death Metal and Grindcore had been arranged for the band’s debut self-titled album, released earlier this year, being highly recommended for fans of bands like Deeds Of Flesh, Severed Savior, Severe Torture and Disavowed.
Featuring an obscure artwork by the legendary artist Jon Zig, as well as special images for each song for a more vivid lyric booklet, the album contains a wide range of sinister topics that focus mainly on the brutal side of nature and unconscientious human behavior, with the music being deeply rooted in late 90’s Death Metal with a modern speed. Furthermore, although the album might not surpass the 30-minute barrier, it doesn’t feel incomplete or simplistic at all. Quite the contrary, just like several renowned acts like Slayer and Cannibal Corpse have mastered doing, Infuriate were capable of condensing a gargantuan amount of violence, hatred, heaviness and speed throughout the album’s relatively short time span, positioning the quartet as one of the most promising new names of the underground extreme music scene.
The opening track Juggernaut Of Pestilence is total savagery from the very first note, led by the razor-edged riffs by Jason and Steven while drummer Sterling pounds his drums mercilessly, and their devastation goes on in the sonic havoc titled Slaughter For Salvation, with Jason growling in a demonic and rabid way, being perfect for slamming into the circle pit with the sound of the guitars getting extremely acute and flammable for our total delight. Then Collective Suffering showcases a modern-day Cannibal Corpse vibe, mainly due to the amazing job done by the band’s stringed trio, with the bass punches by Alan sounding as heavy as hell; whereas in Engastration we’re treated to a violent and metallic sonority that gets quite progressive at times, therefore enhancing its taste considerably, also presenting lyrics that reek of old school Death Metal (“Creatures of ingenuity / With voracious appetites / Lacking conscience / They gather…”).
Only Pain Remains is another hurricane of Death Metal and Grindcore for your avid (and evil) ears, with both guitars exhaling rage and madness while Sterling continues to smash his drum set, not to mention Jason’s berserk growls and roars. And the band keeps smashing our heads with their visceral music in Matando, an unstoppable Grindcore tune infused with Death Metal elements spearheaded by an inspired guitar duo, with Jason once again vociferating contemporary and aggressive words (“False sense of security / Betrayed for all to see / Bleeding profusely / From the wounds of treachery / An altercation bred from deception / You must bleed with me”), followed by Mori Terrae, where their guitar shredding is effectively complemented by the fierce beats by Sterling while Jason barks like a beast nonstop in this full-bodied hymn of destruction, and Surrogate, a frantic and pulverizing display of crushing Grindcore with the bestial growls by Jason being supported by another excellent job done on the guitars, with the song’s fulminating pace being furiously led by Sterling’s beats. And lastly we have Cannibalistic Gluttony, portraying a beautiful name for another disturbing tune by Infuriate with the music remaining vile, demented and intricate from start to finish, with highlights to the groovy and complex beats by Sterling, closing the album on an absolutely brutal mode.
In a nutshell, what are you waiting for to slam your damn skull into the circle pit to the pulverizing Death Metal crafted by Infuriate? You can purchase their debut album (available for a full listen on YouTube) from the Everlasting Spew Records’ BandCamp or webstore (in regular CD format or as a CD + T-shirt bundle), as well as from your usual online retailers iTunes, Amazon, CD Baby and Discogs, and keep up to date to all things Infuriate by following them on Facebook, but that, of course, only if you think you’re brave enough to face an overdose of sheer aggression and rage in the form of extreme music made in Texas.
Best moments of the album: Slaughter For Salvation, Only Pain Remains and Matando.
Worst moments of the album: None.
Released in 2018 Everlasting Spew Records
Track listing 1. Juggernaut Of Pestilence 2:28
2. Slaughter For Salvation 2:56
3. Collective Suffering 2:41
4. Engastration 3:20
5. Only Pain Remains 4:10
6. Matando 3:35
7. Mori Terrae 3:46
8. Surrogate 3:18
9. Cannibalistic Gluttony 3:17
Band members Jason Garza – vocals, guitar
Steven Watkins – guitar
Alan Berryman – bass
Sterling Junkin – drums
Set against a bleak science fiction backdrop, exploring the human conditions of loss, isolation, and change in the wake of time’s passage, the new album by this three-piece act from the UK has everything you crave in Sludge and Doom Metal.
Founded in 2008 in London, England, the three-piece experimental vortex of blackened intensity and forlorn, mournful doom known as Bast returns now in 2018 with Nanoångström, the follow-up to their 2014 critically acclaimed debut release Spectres, continuing the band’s trajectory into narrative driven arrangements and experimental compositions. Including a beautiful artwork designed and directed by the band’s own lead singer and guitarist Craig Bryant, and also featuring an exclusive piece by Manga legend Shintaro Kago as well as guest vocals by Chris Naughton of England’s leading purveyors of Black Metal Winterfylleth, Nanoångström is set against a bleak science fiction backdrop, exploring the human conditions of loss, isolation, and change in the wake of time’s passage, all enfolded by the crushing fusion of Sludge and Doom Metal blasted by Craig and his bandmates Gavin Thomas on bass and Jon Lee on drums and backing vocals.
Low-tuned, melancholic and whimsical sounds invade our senses in the intro Distant Suns, warming us up for the crushing Far Horizons, a 10-minute Sludge Metal exhibit led by the rip-roaring riffs and growls by Craig, while Jon flawlessly pounds his drums in a delicate but fierce way at the same time, with the song’s crisp and flammable riffs being intertwined with somber and more serene passages, even presenting hints of Atmospheric Black Metal. Then featuring the aforementioned guest vocals by Chris Naughton we have The Beckoning Void, an explosion of contemporary Sludge and Doom Metal where the bass punches by Gavin sound truly menacing and thunderous, while Craig keeps shredding his strings mercilessly. Moreover, the song also presents nuances of classic Black Metal added to the drumming by Jon, hammering our heads and piercing our minds mercilessly, with the song’s second half getting more progressive and vibrant until its majestic finale.
The title-track Nanoångström begins as sluggish, introspective and obscure as possible, with the band’s stringed duo extracting Stygian tones from their instruments, while Jon slowly and steadily smashes his drums. In addition, Craig’s anguished growls get more and more desperate as the music progresses, before everything evolves into a Progressive Sludge Metal extravaganza that would make the guys from Tool really proud. Then rumbling guitars and bass lines permeate the air in the also sluggish Doom Metal tune titled A Red Line Through Black, remaining at a truly obscure tone until a wave of progressiveness takes over and the music morphs into a hard-hitting feast of classic Sludge Metal riffs, frantic and intricate beats, and enraged roars. Put differently, it can’t get any heavier nor more eccentric than this. Lastly, Chris joins Bast once again in The Ghosts Which Haunt the Space Between the Stars, where the band brings forth 12 minutes of crude, melodic and cutting Progressive Sludge Metal, a full-bodied headbanging hymn spearheaded by Craig and his aggressive, harsh growls, while Jon keeps extracting sheer Black Metal sounds from his beats. And their sonic havoc goes on ruthlessly, not giving us a single second of peace until its abrupt and powerful ending.
In a nutshell, Nanoångström has everything fans of contemporary and dark Sludge and Doom Metal are always craving, elevating Bast to new heights and positioning them as one of the most interesting exponents of the genre. If Bast’s sluggish music is your cup of tea, you can grab your copy of Nanoångström from their own BandCamp page or from the Black Bow Records’ Big Cartel, and after you do that just remember your days will never be bright or peaceful again. Well, I guess those are not the sensations you want to fell while listening to first-class Doom Metal, which means Bast more than succeeds in taking you to the most obscure side of music with Nanoångström.
Best moments of the album: The Beckoning Void and The Ghosts Which Haunt the Space Between the Stars.
Worst moments of the album: None.
Released in 2018 Black Bow Records
Track listing 1. Distant Suns 2:40
2. Far Horizons 10:24
3. The Beckoning Void (feat. Chris Naughton) 10:53
4. Nanoångström 11:10
5. A Red Line Through Black 9:56
6. The Ghosts Which Haunt the Space Between the Stars (feat. Chris Naughton) 12:34
Band members Craig Bryant – vocals, guitars
Gavin Thomas – bass
Jon Lee – drums, vocals
Guest musician Chris Naughton – guest vocals on “The Beckoning Void” and “The Ghosts Which Haunt the Space Between the Stars”
Hailing from the Belarusian capital Minsk, here comes a ruthless Death Metal squad comprised of Ivan “Paranoid” on vocals, Aleksey “Wicked” on the guitars, Alexander “Soulless” on bass and Sergiy “Def” on drums, collectively known as Vistery, ready to crush our heads with their third full-length installment, titled Death Is Dead. Featuring a nocturnal artwork by Mosaeye, Death Is Dead is highly recommended for fans of the violent music by bands like Unleashed, Vader, Entombed and Grave, exhaling hatred and sounding as heavy as hell, which translates into the perfect soundtrack for your anti-social and anti-religious activities.
In Omniphobic, the lyrics reek of old school Death Metal (“I can see your fear of death / Poisoning your every breath / Flight would be your primal instinct / If only your legs weren’t so rigid”) while the music remains as brutish as possible, with Soulless extracting low-tuned, hellish tones form his bass (not to mention the nonstop smashing beats by Def); followed by Swamp, where the entire band delivers a more rockin’ sonority, even flirting with Melodic Death Metal, spearheaded by the demonic guttural vocals by Paranoid. Moreover, all instruments feel like they were “blessed” by Satan himself, including Paranoid’s vocals, sounding as dark and deep as Death Metal can be. Then it’s time to “die” together with this talented Belarusian act in Die From Within, showcasing great performances by Wicked with his flammable riffs and Soulless with his thunderous bass, while Paranoid roars and gnarls like a true demon, whereas in Black Magic an uncanny intro evolves into brutal devastation led by Def’s frantic beats and fills, getting heavier and more menacing as the music progresses and, therefore, being recommended for admirers of old school, putrid Death Metal, all embraced by a rumbling and obscure vibe.
THE HEADBANGING MOOSE 