Album Review – Gaerea / Coma (2024)

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One of the torchbearers of present-day Black Metal arises yet again from the underworld, erupting with intensity, casting forth black ashes over the world with their superb new album.

Behind black shrouds of obscurity and desolation, the performers of Porto, Portugal-based Black Metal entity Gaerea deliver their odes in cascading maelstroms of aggression and beauty, having rapidly distinguished themselves from the thousands of bands toiling away in the underground. Now in 2024, just two years since Mirage was released, Gaerea are back in action, erupting with intensity, casting forth black ashes over the world yet again with their new album, titled Coma. Recorded by Miguel Tereso at Redbox Studios, mixed and mastered by Miguel Tereso at Demigod Studios, and displaying a cryptic artwork by Nathan Lorenzana, the stunning new album by those faceless and nameless ghouls beautifully helps the band emerge from the underground scene, ascending towards a permanently lasting position at the head of the table.

The opening track The Poet’s Ballet already presents Gaerea’s undisputed ability to blend the smoothest, most serene sounds with the harsh and devilish essence of Black Metal, with the song’s Atmospheric Black Metal start suddenly exploding into sheer madness and agony; then investing in a more contemporary Melodic Black Metal sonority we’re treated to Hope Shatters, sending shivers down our spines to its darkly vociferations of the song’s poetic lyrics (“In the heart of the jungle / Where shadows dance and bleed / A beautiful chaotic melody / Where depravity finds its seed”), and they continue to slash their axes in Suspended, supported by classic drums in another feast of Portuguese Black Metal magic. World Ablaze brings to the table more of their cryptic, eerie lyrics (“To be set free, at the end of his days / Into a world ablaze / With wonder in his eyes, he takes a deep breath / For a fleeting moment, a dance with life’s depth”) while the music exhales pure Gaerea, followed by the title-track Coma, a song that will pierce your rotten soul to the sound of infernal roars, bass and drums in a lecture in Black Metal.

In Wilted Flower the band once again delivers a multi-layered, gripping overdose of Atmospheric and Melodic Black Metal, with those mysterious entities extracting piercing riffs from their guitars for our total delight, keeping the album enfolding and mesmerizing, whereas those Portuguese creatures bring forward another burst of melancholy and darkness entitled Reborn, with the band’s strident riffs matching perfectly with their rhythmic beats, also offering moments of violence and insanity in paradox with its more ethereal passages. And one of the torchbearers of present-day Black Metal keeps delivering their unique blend of classic extreme music with tons of experimentations in the six-minute aria Shapeshifter, with its Doom Metal elements enhancing its obscure vibe; while the second to last blast of Stygian sounds by Gaerea comes in the form of Unknown, starting in a serene yet heavy manner to classic bass lines, resulting in one of the songs that should sound amazing if played live. Finally, closing such captivating album of Black Metal we’re treated to Kingdom of Thorns, with their intricate drums and stylish riffage turning it into a must-listen aria for admirers of the genre.

Within Coma’s ten tracks lies an individual narrative, each with its own tale to unveil. Collectively, they blend nuances of aggression, tranquility, solitude, and fervor, and you can experience all that by following Gaerea on Facebook, Instagram and YouTube, by streaming their unparalleled discography on Spotify, and obviously by clicking HERE and purchasing your favorite version of their amazing new album. Because Coma is indeed an emotional gateway to a dark Black Metal scene, a guide to salvation, pain, despair and letting go, moving up, into the blackness that is above, as Gaerea are the answer, the only answer.

Best moments of the album: Hope Shatters, Coma, Reborn and Kingdom of Thorns.

Worst moments of the album: None.

Released in 2024 Season of Mist

Track listing
1. The Poet’s Ballet 7:39
2. Hope Shatters 4:05
3. Suspended 5:02
4. World Ablaze 3:29
5. Coma 5:19
6. Wilted Flower 5:50
7. Reborn 3:51
8. Shapeshifter 6:24
9. Unknown 4:24
10. Kingdom of Thorns 4:45

Band members
*Information not available*

Album Review – Typhonian / The Gate of the Veiled Beyond (2024)

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This unrelenting German entity will crush your damned soul with their newborn spawn, a phenomenal journey rooted in the old school Death Metal sound.

Where most bands are content reveling in the sound of the glory days of early 90’s Death Metal, Ulm, Baden-Württemberg, Germany-based band Typhonian has not only beautifully reimagined it with blackened elements laced with the classic Swedish and Finnish melodies, but they are also attempting to take that sound ahead in the most logical manner. Displaying a classic artwork by Juanjo Castellano Rosado, their new opus titled The Gate of the Veiled Beyond goes a step further compared to their 2021 EP The Cosmic Pendulum of Time and their debut album Beneath the Streams of Life, adding more progressive and atmospheric elements, a phenomenal music journey that’s evidently rooted in the old school Death Metal sound metamorphosing gradually and finally taking on a gleaming, breathtaking form and ascending, all carefully crafted by M. W. Styrum on vocals, Prometheus on the guitars, Typhon on the guitars and orchestrations, Charybdis on bass, and Thanatos on drums, being highly recommended for fans of Edge of Sanity, Unanimated, Necrophobic, Dismember, Desultory, Unleashed, and Evocation, among several others.

Just hit play and the atmospheric intro Celestial Salvation will transport us all to the dark world ruled by Typhonian before the band begins hammering our souls in Cosmic Throne, with the massive beats by Thanatos walking hand in hand with the powerful riffs by Prometheus and Typhon, not to mention how deep the guttural vocals by M. W. Styrum sound, flowing into the straightforward Death Metal attack titled Primal Deceptive Light, with the caustic riffage by the band’s guitar duo inviting us all to slam into the circle pit like true maniacs. Then bringing elements of Doom Metal to their sound, plus cryptic background orchestrations, the band fires the short and sweet Crimson Rivers, where once again M. W. Styrum sounds demonic on vocals; whereas another atmospheric, Stygian start gradually evolves into the heavy-as-hell, devilish aria The Gatekeeper, with Charybdis and Thanatos making the earth tremble with their respective bass and drums, also presenting elements from Atmospheric Black and Death Metal in their bold and dense sound.

Towards the Chamber of the Omnipresent Mind carries a beautiful name for a fast, acid and thunderous aria by Typhonian, with the guitars by Prometheus and Typhon exhaling heaviness and despair while M. W. Styrum keeps roaring and barking the song’s obscure words nonstop, and Typhonian brings forward a menacing fusion of Death Metal with Doom and Epic Metal entitled A Glimpse at the Starless Ocean, where Thanatos takes the lead with his crushing beats and fills, accompanied by the scorching riffs and solos by Prometheus and Typhon. Lastly, you better be prepared for a 20-minute ethereal, harsh and hypnotic musical voyage titled Cath’un – The Gate of the Veiled Beyond, flowing majestically to the demolishing drums by Thanatos before a sinister break permeates the air for quite some time, until all explodes into an imposing feast of Death Metal sounds, with M. W. Styrum’s vociferations adding an extra touch of insanity to their already wicked music, resulting in a stunning sonic beast by the quintet to conclude their infernal mass.

With the visionary The Gate of the Veiled Beyond release, Typhonian have more than just outdone themselves; they have surpassed expectations for the style as a whole. Hence, don’t forget to give them your best guttural shout on Facebook and on Instagram, to stream their music on Spotify, and of course, to purchase their imposing new album from their own BandCamp page, as well as from Transcending Obscurity Records (main store, BandCamp, EU store, and US store), or click HERE for all things Typhonian. Those talented German metallers are not your average Death Metal band, delivering a breathtaking amalgamation of styles that will leave you completely disoriented after all is said and done in The Gate of the Veiled Beyond, all in the name of first-class extreme music.

Best moments of the album: Primal Deceptive Light, Towards the Chamber of the Omnipresent Mind and Cath’un – The Gate of the Veiled Beyond.

Worst moments of the album: None.

Released in 2024 Transcending Obscurity Records

Track listing
1. Celestial Salvation 0:44
2. Cosmic Throne 4:06
3. Primal Deceptive Light 4:48
4. Crimson Rivers 3:35
5. The Gatekeeper 7:06
6. Towards the Chamber of the Omnipresent Mind 4:46
7. A Glimpse at the Starless Ocean 5:39
8. Cath’un – The Gate of the Veiled Beyond 19:21

Band members
M. W. Styrum – vocals
Prometheus – guitars
Typhon – guitars, orchestrations
Charybdis – bass
Thanatos – drums

Album Review – Agrypnie / Erg (2024)

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This German Progressive and Post-Black Metal force is back with its seventh studio album, their most aggressive album to date where every instrument attacks from every angle.

Founded in 2004 by songwriter Torsten, who is also active in the bands Nocte Obducta, Theotoxin, and Suel, as well as other musical projects, Groß-Gerau, Hesse, Germany-based Progressive/Post-Black Metal act Agrypnie has developed into a significant force in the Black Metal scene over the years. Now in 2024 the duo formed of the aforementioned Torsten on vocals, guitars, bass, keyboards and programming, and Flo (Benighted, Schammasch) on drums returns with their seventh studio album, titled Erg, Agrypnie’s most aggressive album to date where every instrument attacks from every angle, almost overwhelmingly so if not for the clear and cutting recording and the band’s enviously sharp execution. Recorded, mixed and mastered by Phil Hillen and Torsten at SU-2 Studio, and with artwork and photography by Marco Klein of syn2, Erg displays considerable daring and depth, as while “Black Metal” in foundation, the album’s songwriting crests and crashes with kaleidoscopic wonder and cathartic urgency alike.

Featuring guest vocals by Phil Jonas (of Secrets of the Moon and CRONE), Aus rauchlosem Feuer (“from smokeless fire”) is atmospheric and enfolding from the very first second, evolving into a Black Metal beast led by the scorching roars and riffs by Torsten while Flo hammers his drums nonstop, followed by Meer ohne Wasser, or “sea without water”, offering sluggish Doom Metal-infused beats and riffs while also exploding into sheer obscurity and madness, with Flo once again dictating the pace with his Black Metal beats. Then we have Sturm, or “storm”, with guest vocals by Edmond Karban aka Hupogrammos (of Dordeduh), venturing through the realms of pure Atmospheric Black Metal and with Torsten sounding like a metal machine armed with all his instruments; whereas the Stygian, grim interlude Blut – Teil I, or “blood – part I”, sets the tone for Blut – Teil II (“blood – part II”), featuring guest vocalist P.G. (of Groza), bringing forward another round of their trademark Post-Black Metal boosted by the intricate and visceral drumming by Flo.

The second half of the album begins with a song just as multi-layered and vile as its predecessors, titled Entität, or “entity”, with Torsten embellishing the airwaves with his classy riffs and bass lines, or in other words, it’s a very detailed song that will inspire us all to bang our heads nonstop together with the duo, exploding into the Black Metal attack titled Stunde des Wolfes (“hour of the wolf”), where the duo extracts the harshest, most piercing sounds form their instruments, and with Torsten delivering some devilish vociferations until the very end. Geister, or “ghosts”, is very experimental and atmospheric for the most part of it, with only its last part being Agrypnie’s core sound, but of course it’s still a very good song; whereas lastly the duo will rip our souls apart with the amazing Unter Sand, or “under sand”, offering our avid ears an avalanche of strident riffs, classic blast beats and anguished vocal lines, ending the album on a climatic and introspective note.

Rich sonically and in emotion, majestic even when plumbing the depths of melancholy, Erg is a tour de force of wide-screen Black Metal regardless of “progressive” or “post-” appellations. Hence, don’t forget to give Torsten and Flo a shout on Facebook and on Instagram, staying up to date with their news and tour dates, to subscribe to their YouTube channel and to check them out on Spotify for more of their music, and to grab your copy of Erg from AOP Records in Europe and in the US, from Napalm Records, from MVD Entertainment (US only), or from several digital platforms by clicking HERE. It’s a known fact that Agrypnie’s eighth studio album is already in the works, and it will be interesting to see their musical evolution form Erg to their upcoming release. Until then, simply give Erg countless spins, and let the fulminating music by Agrypnie embrace you in pitch black darkness.

Best moments of the album: Aus rauchlosem Feuer, Entität and Stunde des Wolfes.

Worst moments of the album: Geister.

Released in 2024 AOP Records

Track listing
1. Aus rauchlosem Feuer 7:28
2. Meer ohne Wasser 7:02
3. Sturm 6:00
4. Blut – Teil I 2:06
5. Blut – Teil II 5:16
6. Entität 7:24
7. Stunde des Wolfes 6:04
8. Geister 5:32
9. Unter Sand 6:46

Band members
Torsten – vocals, guitars, bass, keyboards, programming
Flo – drums

Guest musicians
Phil Jonas – vocals on “Aus rauchlosem Feuer”
P.G. – vocals on “Blut – Teil I” and “Blut – Teil II”
Edmond Karban – vocals on “Sturm”

Album Review – Buryfication / Gallows Rise (2024)

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Let the gallows rise to the sound of the infernal debut by one of the must-see new names of the Finnish extreme music scene.

Featuring eight tracks in less than 30 minutes, following a thematic route from steady and thrashy riffing to manic blackened brutality where death is always present, the pulverizing Gallows Rise, the debut album by Tampere, Finland-based  Blackened Death/Thrash Metal five-piece unit Buryfication, will undoubtedly crush your soul with its undisputed violence and heaviness. Recorded by Mikko Koskinen, mixed by Matti Mäkelä, and mastered by Jon Sjolin at Experitone, Gallows Rise is a precious gem of the underground carefully brought into being by frontman Marko Ala-Kleme, guitarists Tommi Kolehmainen and Henri Kyllästinen, bassist Pasi Bunda, and drummer Mikko Koskinen, paving a very exciting path ahead of such an amazing up-and coming band.

Get ready to be crushed like a putrid insect already in the opener The Plague, a demented creation by the band where Marko’s deep guttural walks hand in hand with the razor-edged, evil riffs by Tommi and Henri, and continuing to destroy everything and everyone that dares to cross their path we have Supreme Being, where Mikko is ruthless with his classic Death Metal beats and fills, supported by the rumbling bass by Pasi. An overdose of brutality, gore and violence flows from all instruments in the headbanging Human Cattle, with the guitars by Tommi and Henri exhaling sulfur, therefore inviting us all to slam into the circle pit like demonic creatures; and while Cannibal Corpse have the classic “Make Them Suffer”, those Finnish metallers offer us all the just as infernal Let Them Suffer, a lecture in modern-day Death Metal led by the inhumane growls by Marko, not to mention the song’s wicked guitar solos.

It’s then pedal to the metal as the band doesn’t have time to fool around, delivering a visceral onrush of Blackened Death Metal titled Year Zero where Mikko’s blast beats match perfectly with the devilish roaring by Marko, and inspired by the most demented names of the scene including Cannibal Corpse, Disloyal, Diabolizer and Immolation, the title-track Gallows Rise will hit you hard in the head to the striking riffs and solos by the band’s dynamic guitar duo. The quintet still has a lot of hellish fire to burn in Trails of Blood, a massive, dense and evil composition showcasing Marko’s trademark roars and the always killer drumming by Mikko; whereas featuring guest vocals by Matti Mäkelä of Corpsessed, closing this excellent album of sheer brutality we’re treated to Haunted, Enslaved, Devoured, with all riffs and solos adding an extra touch of aggression and insanity to their music, resulting in a stunning aria of violence.

Buryfication are definitely one of the must-see new names of the Finnish extreme music scene based on the music found in Gallows Rise, or in other words, a force to be reckoned with that will add even more heaviness to their already demented local scene, and you can stay in touch with those promising musicians by following them on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming their sick creations on Spotify, and of course by purchasing their incendiary debut opus from BandCamp. It’s time to join Buryfication in their quest for extreme music, and let the gallows rise!

Best moments of the album: Let Them Suffer, Year Zero and Haunted, Enslaved, Devoured.

Worst moments of the album: None.

Released in 2024 Kvlt und Kaos Productions

Track listing
1. The Plague 3:23
2. Supreme Being 3:03
3. Human Cattle 3:30
4. Let Them Suffer 3:43
5. Year Zero 4:15
6. Gallows Rise 3:56
7. Trails of Blood 2:36
8. Haunted, Enslaved, Devoured 4:00

Band members
Marko Ala-Kleme – vocals
Tommi Kolehmainen – guitar
Henri Kyllästinen – guitar
Pasi Bunda – bass
Mikko Koskinen – drums

Guest musician
Matti Mäkelä – vocals on “Haunted, Enslaved, Devoured”

Album Review – Fostermother / Echo Manor (2024)

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This Heavy Rock trio from Texas strikes again with their third studio album, pushing their sound into heavy psych territory with hints of Post-Rock and Progressive Rock.

Founded in 2019 in Houston, Texas by multi-instrumentalist Travis Weatherred, quickly joined by bassist Stephen Griffin and with drummer Jason Motamedi officially rounding out the lineup, Heavy/Psych Rock trio Fostermother is about to release their third full-length opus, titled Echo Manor, pushing their sound into heavy psych territory with hints of Post-Rock and Progressive Rock. Produced, mixed and mastered by Travis Weatherred, and displaying a classy artwork by Kimberly Weatherred, Echo Manor is a finely chiseled 10-track opus that is a rich sonic journey driven by goldsmith riffing, alluring grooves and the haunting Alternative Rock/Shoegaze-infused vocals by Travis.

The opening tune Wraith already presents the band’s trademark rockin’ sounds, with the Sludge Metal riffs by Travis and Stephen adding endless heaviness to their already thrilling music, flowing into the neck-breaking Heavy Rock tune Empty One, bringing to our avid ears their fierce yet melodic riffs, plus of course the classic beats by Jason. Then sounding more melodic and mysterious, All We Know is another song heavily influenced by Sludge Rock and Metal, while Travis continues to deliver his smooth, penetrating vocal lines; whereas Jason’s pounding drums kick off the title-track Echo Manor, starting in an ethereal, atmospheric manner before the guitars by Travis and Stephen bring sheer Rock N’ Roll to our ears, not to mention their soulful guitar solos. And it’s then time to invest in a Doom Metal sound in Rituals Unknown, while still presenting their Psych Rock vibe, again delivering the power of the riff for our total delight.

Featuring a guest guitar solo by Rusty Miller of High Desert Queen, get ready for a six-minute Heavy Rock voyage together with the trio entitled King To A Dead Tree, with their guitars and bass sounding striking supported by the hammering drums by Jason, followed by Carry Me, a serene ballad by the band that doesn’t add much to the album, although the vocals by Travis are spot-on. And offering more of their Heavy Rock with psych and sludge elements we have Watchers, where the riffs by Travis and Stephen walk hand in hand with the slow and steady drums by Jason; while the second to last song of the album, titled Lighthouse, once again ventures through the lands of Sludge and Stoner Rock. Finally, Jason pounds his drums with tons of anger in In The Garden Of Lies, a melodic, whimsical creation by Fostermother, working as an outro as the music fades into the embracing sound of minimalist piano notes.

In a nutshell, Fostermother deliver exactly what they said about their music in Echo Manor, bringing forward the power of the riff to us all while also presenting tons of delicate and atmospheric moments. Hence, don’t forget to visit the band’s official Facebook and Instagram for news, tour dates and so on, to stream their music on Spotify, and if Heavy Rock is your cup of tea you can grab a copy of the album from their own BandCamp page, as well as order a physical copy of the album in the US, in Europe or worldwide, or click HERE for all things Fostermother. When a band sounds so heavy yet so delicate at the same time like Fostermother, you know they’re going places, and Echo Manor is proof that they’re on the right path, always sounding honest, fresh and loyal to their foundations.

Best moments of the album: Empty One, Echo Manor and King To A Dead Tree.

Worst moments of the album: Carry Me.

Released in 2024 Ripple Music

Track listing
1. Wraith 4:39
2. Empty One 4:03
3. All We Know 3:47
4. Echo Manor 3:50
5. Rituals Unknown 3:44
6. King To A Dead Tree 6:20
7. Carry Me 3:06
8. Watchers 5:10
9. Lighthouse 3:21
10. In The Garden Of Lies 3:38

Band members
Travis Weatherred – vocals, guitars, keyboards
Stephen Griffin – guitars, bass, keyboards
Jason Motamedi – drums

Guest musician
Rusty Miller – guitar solo on “King To A Dead Tree”

Concert review – SmugglerRok 2024 (Laurin Kenttä, Lieto, Finland, 08/02/2024 & 08/03/2024)

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Great names of the Finnish music scene were the guests of honor in the party that celebrated the 10th edition of SmugglerRok in Lieto, Finland.

SmugglerRok 2024 in Lieto, Finland, was a true celebration of Finnish music and culture, marking a milestone with its 10th edition. Held over two days on August 2nd and 3rd, the festival brought together some of Finland’s most beloved artists and bands, offering an eclectic mix of genres from blues and rock to heavy metal. The event highlighted the rich musical heritage of the country and created an unforgettable experience for fans, with performances that ranged from intimate and soulful to electrifying and high-energy.

DAY 1: August 2nd, Friday

ARTTU WISKARI
Arttu Wiskari opened the festival with his signature blend of blues, pop, and rock, showcasing his nearly 20-year career in the Finnish music scene. One of the mentors on The Voice of Finland, Arttu brought his experience and charisma to the stage, surprising the crowd with a special guest appearance by Anssi Kela during the final song, creating a memorable moment for all in attendance.

ANSSI KELA
Anssi is a celebrated figure in Finnish rock and folkrock and continued the afternoon with a setlist that spanned his long career, including his solo albums. His performance of songs from the iconic Nummela album, one of Finland’s best-selling records, resonated deeply with the crowd. Kela‘s soulful guitar work and emotive vocals were a highlight of the festival.

JUHA TAPIO
Juha Tapio brought a jazzy twist to the festival, supported by a brass section that added depth to his pop-rock set. Juha’s engaging performance reached a peak when he ventured into the crowd, connecting with fans in a heartfelt way. His interaction with Brazilian fans, even greeting them in Portuguese, was a delightful surprise, adding a personal touch to his show.

MAIJA VILKKUMAA
Maija Vilkkumaa, often hailed as the Queen of Finnish Rock, delivered a high-energy performance packed with her greatest hits. With a career spanning nearly 35 years, Maija’s stage presence was undeniable, and the audience’s enthusiasm reflected their appreciation for her timeless rock anthems. Her band was tight, enhancing the powerful vibe of her set.

KOTITEOLLISUUS
The first day of Smugglerrok ended with a heavy dose of hard rock from Kotiteollisuus. The band, hailing from Lappeenranta and known for their intense sound, delivered a robust performance. Frontman Jouni Hynynen led the charge with powerful vocals and guitar riffs, leaving the crowd exhilarated.

DAY 2: August 3rd, Saturday

UNIKLUBI
The second day of SmugglerRok kicked off with Uniklubi, who brought their alternative rock sound to the festival. This year is also a special one to the band as they are celebrating 20 years since the release of the album “Rakkautta ja piikkilankaa”. The set was nostalgic and powerful, with “Huomenna” standing out as an emotional high point that united the crowd in a collective moment of reflection and connection.

ERJA LYYTINEN
Erja Lyytinen, the reigning Queen of Finnish Blues, dazzled with her exceptional guitar skills and commanding stage presence. Known internationally and acclaimed as “The Best Guitarist of the Year” by the European Blues Awards in 2017, Lyytinen delivered a masterclass in blues, seamlessly blending technical prowess with soulful performances, leaving the audience in awe.

MICHAEL MONROE
The legendary frontman of Hanoi Rocks brought some great energy to the festival! At 62, Monroe’s boundless energy was infectious, as he performed both classics and tracks from his solo career, including his latest album “I Live Too Fast to Die Young”. His dynamic performance included climbing the stage structure and mingling with fans, proving his status as a rock icon. Kudos to his roadie who didn’t have a moment of rest – in a blink of an eye, Michael can be anywhere on stage or in the middle of the crowd!

JARKKO AHOLA
Jarkko Ahola offered a diverse set, blending covers of classic hits with his own material. Known for his powerful vocals, Ahola revisited his metal roots with two of Teräsbetoni favorites, “Orjatar” and “Taivas Lyö Tulta”, and performed some undeniable rock classics songs from Queen, Scorpions, Whitesnake and Pet Shop Boys, and more, showcasing his versatility and range.

BATTLE BEAST
Closing the festival was Battle Beast, one of Finland’s leading contemporary metal bands. They delivered a powerhouse performance that had the audience chanting along to hits like “Circus of Doom” and “King for a Day”. Their set was the perfect ending to a festival that celebrated Finnish music in all its glory, leaving fans energized and asking for more metal.

WHOLE LOTTA 70’S & ULLANLINNAN ELVIS
In addition to the main stage performances, the secondary stage at Smugglerrok Festival also buzzed with excitement thanks to the local bands Whole Lotta 70’s and Ullanlinnan Elvis. These bands kept the energy high during breaks from the main stage, entertaining the crowd with timeless rock classics from around the world and Finland. Their sets were a perfect complement to the festival’s atmosphere, ensuring there was never a dull moment between the acts.

The 10th edition of SmugglerRok was nothing short of legendary. Once again the festival brought life, rhythms, lights and smiles to the little city of Lieto. The blend of legendary artists, rising stars, and local talents created an atmosphere of unity and celebration. As the final notes faded and the crowd dispersed, there was a shared feeling of fulfillment and anticipation for what next year’s festival might bring.

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Album Review – Ignobleth / Voidspawn Sacrifice EP (2024)

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This young and restless Italian Black Metal trio is ready to wage war upon us armed with their violent debut offering.

Born from the need to bring to mortals the truest war spirit, Northern Italy-based Black/Death Metal horde Ignobleth, whose young members are only 16 and 17 years old, merges fast and frenetic riffs and blast beats to slow and macabre sections in order to create a sinister and obscure atmosphere. Now in 2024 it’s time for vocalist and bassist Bloodlord Ixiataaga, guitarist Nex VII, and drummer Kommander Baal to crush our damned souls with their debut EP Voidspawn Sacrifice, offering us all 15 minutes of what they like to label as “War Metal” in a fun and vibrant album nicely recorded at Atomic Arts Studios and co-produced with Sulphur Music.

The ominous intro Golgotha VII will take you to the Stygian world ruled by Ignobleth, darkening your putrid souls before they attack you with Bestial Witchery, a venomous Black Metal extravaganza that sounds taken from the glory of the 80’s and 90’s, although the band members were all born in the 2000’s, and where Bloodlord Ixiataaga’s gruesome vocals sound demonic while always accompanied by the ruthless riffs by Nex VII. Then adding elements of Doom Metal to their already infernal sonority it’s time for the cryptic, sulfurous Omen Of A Nuclear Spell, with Kommander Baal taking the lead with his sluggish and heavy-as-hell beats. Lastly, back to a more visceral, demented sound, the band brings forth the Black Metal onrush Wrathful Eradication, inviting us all to worship Satan while slamming into the circle pit to their solid fusion of Black and Death Metal, spearheaded by the guttural roars by Bloodlord Ixiataaga.

The infernal trio formed of Bloodlord Ixiataaga, Nex VII and Kommander Baal is waiting for you in their Stygian lair on Facebook and on Instagram, where you can get more details about their underground black masses (also known as live performances), and you can definitely put your dirty hands on Voidspawn Sacrifice by purchasing it from the Masked Dead Records’ BandCamp or webstore. It’s really cool to see fresh young blood crafting high quality Black Metal, paving a great future ahead of the band and the genre, and may those talented Italian musicians keep waging war with more of their caustic music in the form of several thrilling albums like their debut EP in the coming years.

Best moments of the album: Bestial Witchery.

Worst moments of the album: None.

Released in 2024 Masked Dead Records/Sulphur Music

Track listing
1. Golgotha VII (Intro) 1:25
2. Bestial Witchery 4:30
3. Omen Of A Nuclear Spell 5:44
4. Wrathful Eradication 3:43

Band members
Bloodlord Ixiataaga – vocals, bass
Nex VII – guitars
Kommander Baal – drums

Album Review – 1349 / The Wolf and The King (2024)

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Oslo, Norway’s own horde 1349 is back with their eight studio offering, the latest sortie in their infinite crusade for the legacy of Black Metal.

A band formed with a unified vision and specific purpose, to maintain the legacy of Black Metal, Oslo, Norway’s own horde 1349 is unleashing upon humanity this year their eighth studio opus, titled The Wolf and The King, the latest sortie in that crusade. Recorded, produced, mixed and mastered by Jarrett Prichard at Amper Tone Studio  and New Constellation R.M.P., and displaying a striking cover Art by Jordan Barlow (reflecting the album’s chronological position in 1349’s discography, as the artwork and lyrics are filled with references to number eight, the number of infinity), the new demonic offering by frontman Ravn, guitarist Archaon, bassist Seidemann and drummer Frost sees the band harnessing the primordial energy of Black Metal’s decade-defining second wave and channeling it through ancient mysteries and the relentless global chaos of the 2020’s, with the album title coming from a classic alchemical allegory, where a wolf devours a king, then the wolf is devoured by flames, and a new king rises from the ashes.

Classic evil Norwegian sounds permeate the air in the opener The God Devourer, with Frost already hammering his drums manically while Ravn roars and growls nonstop, resulting in the perfect soundtrack for some vigorous headbanging in pitch black darkness; whereas continuing their demonic path to the underworld it’s time for Ash of Ages, with the caustic riffs by Archaon being nicely complemented by the thunderous bass by Seidemann. On a side note, they’re already playing it on their live shows (like the one in Toronto in May this year), and it sounds incredible. Then Frost’s devilish machinery keeps adding endless heaviness to 1349’s music in Shadow Point, a solid, in-your-face Black Metal extravaganza by the quartet, followed by Inferior Pathways, one of the most infuriated of all songs, with the entire band sounding ruthless, in special Archaon with his scorching riffs and Ravn with his inhumane, otherworldly gnarls.

The menacing bass by Seidemann kicks off Inner Portal, a demonic feast by 1349 overflowing madness, obscurity and rage, with Frost once again blasting his drums with great Black Metal fury; and investing in an even more demented, furious sonority we’re treated to The Vessel and The Storm, a lecture in Black Metal by those Norwegian blasphemers where Ravn’s harsh, caustic vociferations will penetrate deep inside your damned soul. Obscura is kind of a confusing song where all instruments seem to be “too much”, albeit Ravn still showcases all his vocal potency, keeping the song as grim as possible, and closing another successful black mass by 1349 we have almost six minutes of infernal music in the form of Fatalist, with Frost’s tribal beats and Ravn’s deep roaring sending shivers down our spines, growing in intensity and obscurity to the crushing sounds blasted by all band members until its Stygian finale.

“When I first heard about alchemy when I was young, it was people turning metal into gold,” commented Ravn. “Further down the road, through various literatures and magical practices, I realized that what you’re turning into gold is metaphorical. It’s about personal development, basically. You want to be the best you can be, and that’s what we try to do as well. We try to top ourselves, to kill our egos in order to grow as persons. If you don’t do that, you will die. You will not rise from the ashes.” These words by Ravn beautifully depict what you’ll find in The Wolf and The King, available from the band’s own BandCamp page, as well as from Season of Mist in the US or worldwide (or simply click HERE), and you can also stay updated with all things 1349 on Facebook and on Instagram, and stream more of their undisputed Black Metal on Spotify. As number eight represents infinity, we can say that The Wolf and The King will undoubtedly echo the band’s Black Metal for all eternity, leaving us all eager for more 1349 in the near future, always ready to succumb to their black magic.

Best moments of the album: Ash of Ages, Inferior Pathways and The Vessel and The Storm.

Worst moments of the album: Obscura.

Released in 2024 Season of Mist

Track listing
1. The God Devourer 5:10
2. Ash of Ages 5:27
3. Shadow Point 3:40
4. Inferior Pathways 4:28
5. Inner Portal 5:08
6. The Vessel and The Storm 5:15
7. Obscura 3:44
8. Fatalist 5:51

Band members
Ravn – lead vocals
Archaon – guitars, backing vocals
Seidemann – bass, backing vocals
Frost – drums

Album Review – Phaëthon / Wielder of the Steel (2024)

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An up-and-coming UK Epic Heavy Metal band strikes with their debut album, an eight-song herald of metal reverence and majesty delving into the profound impact of narratives on humankind – be it of gods, superstitions, or outright lies.

Formed in 2020 in London, England with the distinct goal of delivering ripping old school Heavy Metal of the epic persuasion, the incendiary outfit Phaëthon emerged on the metal underground with their 2020 debut EP Sacrifice Doth Call. Now in 2024, the band formed of vocalist Vrath, guitarist Decado, bassist Aees and drummer Oskarath brings forth monumental classic metal on their first full-length, Wielder of the Steel, a masterclass in metal glory. Recorded, mixed and mastered by Tom Dring at The Arch Recording Studio, and displaying a stunning artwork by German artist Scheinlichter (aka Stefan Bleyl), Wielder of the Steel is an eight-song herald of metal reverence and majesty that will no doubt appeal to fans of Manowar, Mercyful Fate, Bathory and Cirith Ungol, delving into the profound impact of narratives on humankind – be it of gods, superstitions, or outright lies – extending beyond the confines of Greek mythology.

Soldiers, grab your swords, shields and hammers and head into the battlefield to the sound of Eternal Hammerer, where the riffs by Vrath and Decado will inspire you to bang your heads nonstop in an old school Heavy Metal party with a beautiful epic vibe, flowing into the six-minute aria Vanguard of the Emperor, led by the galloping bass and drums by Aees and Oskarath, respectively, therefore resulting in the perfect soundtrack for a violent battle against all evil. Then leaning towards classic Heavy Metal taken directly from the 80’s we have For the Greater Good of Evil, where Vrath delivers solid, deep vocal lines while his bandmates craft an electrifying sound tailored for raising our horns in the air; whereas Tolls of Perdition is a more cadenced, grim creation by the quartet which lacks more energy, although its Doom Metal elements sound heavy and vile.

Back to a more vibrant sonority, the band offers another warrior-like metal hymn titled Blasphemers, with the soaring vocals by Vrath matching perfectly with all riffage, bass lines, beats and fills. In other words, no one can stand still to its power and electricity; and their Epic Heavy Metal attack goes on in the headbanging tune Forgotten Gods, where Oskarath once again takes the lead with his pounding drums. After that, old school riffs and tribal beats ignite the second to last song, titled Phaëthon Must Fall, with Vrath leading his metal brigade with his inspiring vocals in another song that sounds like it was taken directly from the glory of the 80’s. And last but not least, let’s embark on a 10-minute metal journey in the title-track Wielder of the Steel, starting in a serene, soothing manner to the passionate vocals by Vrath, gradually evolving into a galloping onrush of traditional Heavy Metal where Aees and Oskarath sound amazing with their groovy kitchen.

Weaving a sonic and narrative journey through eras of valor and conflict, empires lost to time, and epic tales of defiance and ambition, all laying bare the eternal juxtaposition between mankind’s hubris and his indomitable spirit, Wielder of the Steel is a must-have for admirers of the style, and you can purchase your copy of the album on BandCamp or from the Cruz Del Sur webstore as a CD, a black LP, or a transparent blue MLT 100 LP. Also, don’t forget to join the band and their epic battles on Facebook and on Instagram, keeping up to date with all things Phaëthon. Those UK metallers are wielding the steel in the name of Epic Heavy Metal in their first full-length album, and you’re more than invited to fight side by side with them to the sound of their inspiring creations.

Best moments of the album: Eternal Hammerer, For the Greater Good of Evil and Blasphemers.

Worst moments of the album: Tolls of Perdition.

Released in 2024 Gates of Hell Records

Track listing
1. Eternal Hammerer 3:31
2. Vanguard of the Emperor 6:15
3. For the Greater Good of Evil 3:34
4. Tolls of Perdition 7:08
5. Blasphemers 4:08
6. Forgotten Gods 4:34
7. Phaëthon Must Fall 4:02
8. Wielder of the Steel 9:45

Band members
Vrath – vocals, guitar
Decado – guitar
Aees – bass
Oskarath – drums

Album Review – God Dethroned / The Judas Paradox (2024)

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These Dutch Blackened Death Metal legends are back to offer up their latest sacrifice, delving deep into the catacombs of religion.

Delivering the goods since their inception in the distant year of 1990, Dutch Blackened Death Metal legends God Dethroned have returned to offer up their latest sacrifice, their new album The Judas Paradox. Recorded and mixed by Henri Sattler at Woodland Park, and mastered by Tony Lindgren at Fascination Street Studios, the new album by vocalist and guitarist Henri Sattler, guitarist Dave Meester, bassist Jeroen Pomper, and drummer Frank Schilperoort delves deep into the catacombs of religion, drawing inspiration from mythology from all over the world, taking the listener on a thrilling, thought-provoking journey from Christian history to Greek mythology, complete with layers of dark, heavy riffs and nuanced classical touches.

The title-track The Judas Paradox kicks off the album on a melodic and grim note, with Henri already vociferating rabidly supported by the enfolding instrumental pieces by his bandmates while Frank dictates the pace with his classy Black Metal beats and fills, whereas the first single of the album, titled Rat Kingdom, brings to our ears a harsh and acid dosage of their trademark Black Metal, with the piercing riffage by Henri and Dave sounding wicked from start to finish. The Hanged Man presents four minutes of sulfurous extreme music for our total delight, with the vile beats by Frank walking hand in hand with the rumbling bass by Jeroen, flowing into the cinematic interlude Black Heart, setting the stage for the pulverizing Asmodeus, offering everything we learned to love in their caustic Black Metal, from the harsh roars by Henri to the blast beats by Frank, not to mention their riffs and bass lines exhale pure Black Metal magic, embracing us all in pitch black darkness.

Kashmir Princess is one more doomed, devilish aria by this iconic Dutch horde where their guitars sound melodic yet demonic, providing Henri with all he needs to roar in a vile manner, and investing in a more direct and traditional Black Metal sound led by the infernal growls by Henri we have Hubris Anorexia, a song perfect for darkening the skies in the name of evil. The next song, titled The Eye of Providence, is not a very strong tune, lacking the same energy of the rest of the album albeit still sounding grim and evil; whereas back to a more frantic, demented Black Metal sonority, it’s time for Henri to burst his lungs screaming supported by his bandmates’ hellish sounds in Hailing Death. They still have a lot of (demonic) fuel to burn in Broken Bloodlines, a headbanging, impactful Black Metal onrush where the sound of their guitars will embrace your damned soul before dragging you to the underworld for all eternity; and their black mass reaches its conclusion with the also disturbing War Machine, bringing forward one last blast of their trademark Black Metal where Henri darkly declaims the song’s eerie words in great fashion.

As already mentioned, the new album by the almighty God Dethroned is indeed a musical voyage to the darkest corners of religion, and you can let their music consume your rotten soul by following the band on Facebook and on Instagram, including of course their sulfurous tour dates, by streaming all of their vast catalogue on any streaming service like Spotify, and above all that, by purchasing your favorite copy of The Judas Paradox by clicking HERE. God Dethroned once again take no prisoners in their quest for extreme music with The Judas Paradox, and while the church continues to destroy our already corrupt and decaying world, those Dutch metallers will keep drawing inspiration from everything that’s evil about religion to open our eyes and our minds to all that to the sound of their venomous music before it’s too late.

Best moments of the album: Rat Kingdom, Asmodeus and Hubris Anorexia.

Worst moments of the album: The Eye of Providence.

Released in 2024 Reigning Phoenix Music

Track listing
1. The Judas Paradox 6:02
2. Rat Kingdom 3:39
3. The Hanged Man 4:02
4. Black Heart 0:50
5. Asmodeus 3:33
6. Kashmir Princess 4:48
7. Hubris Anorexia 3:37
8. The Eye of Providence 3:34
9. Hailing Death 5:28
10. Broken Bloodlines 3:23
11. War Machine 3:58

Band members
Henri Sattler – vocals, guitars
Dave Meester – lead guitars
Jeroen Pomper – bass
Frank Schilperoort – drums