Tag Archives: atmospheric black metal

Album Review – Soul Dissolution / Winter Contemplations EP (2020)

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Belgium’s most auspicious Atmospheric Black Metal unity returns with another introspective and brooding work, telling stories of snowy landscapes, raging blizzards, regret and purgatory.

Two years after the release of the breathtaking EP Nowhere, Brussels, Belgium-based Atmospheric Black Metal/Post-Black Metal entity Soul Dissolution is back in action with another fantastic EP titled Winter Contemplations, again an introspective and brooding work, telling stories of snowy landscapes, raging blizzards, regret and purgatory. Recorded, mixed and mastered between July and September 2020 at Blastbeat Productions by Oliver Carell (Heretoir, King Apathy), Winter Contemplations offers us listeners a healthy dose of the band’s signature melodies draped in a thick, ice-cold atmosphere, courtesy of the band’s founder, lyricist, guitarist and bassist Jabawock together with his henchmen Acharan on lead vocals and Threnos on drums.

Just hit play and a slow and atmospheric intro will evolve into a scathing, grim tune entitled La Dernière Tempête, or “the last storm” from French, where Acharan presents all his skills as the talented growler he is while Jabawock brings tons of harmony, melancholy and anguish to the musicality with his razor-edged riffs. Put differently, this is a magnificent voyage through the obscure realms of Black, Doom and Post-Metal, sounding and feeling multi-layered, inspiring and epic until the very last second. Then featuring stunning orchestrations by guest 鬼 (also known as William Melsness) from Unreqvited, Where The Clouds Stand Still… also begins in a Stygian and pensive manner, feeling like it was taken from a movie score, with Jabawock extracting minimalist sounds form his guitar before being accompanied by Threnos’ slow and steady Doom Metal-beats. Furthermore, Acharan once again does a superb job with his harsh, acid vocal lines, resulting in the epitome of Atmospheric Black Metal while changing its shape and form majestically during its captivating 13 minutes, therefore showcasing all the undeniable talent of the guys behind Soul Dissolution.

It’s absolutely impressive how Jabawock and his loyal bandmates are capable of sounding so cohesive, diverse and captivating in all of their creations, it doesn’t matter if their songs have one or twenty minutes in duration, and Winter Contemplations (which is by the way available for a full listen on YouTube) is the perfect representation of their hard work and their evolution in the atmospheric and extreme music genre. Needless to say, you should definitely show your support to those amazing metallers from Belgium by purchasing their new EP from their own BandCamp page, from the Viridian Flame Records’ webstore or from Apple Music, and also by following them on Facebook and on Instagram, by subscribing to their YouTube channel and by streaming more of their breathtaking creations on Spotify. As Atmospheric Black Metal has always been a very entertaining and somewhat unexplored style, why not wandering through the somber lands brought forth by Soul Dissolution in their new EP? I’m beyond certain you’ll get lost in your own thoughts and never wish to return to the real world after such unique experience.

Best moments of the album: Where The Clouds Stand Still….

Worst moments of the album: None.

Released in 2020 Viridian Flame Records

Track listing
1. La Dernière Tempête 10:54
2. Where The Clouds Stand Still… 13:10

Band members
Acharan – lead vocals
Jabawock – guitars, bass, additional vocals
Threnos – drums

Guest musician
鬼 (William Melsness) – orchestrations on “Where The Clouds Stand Still…”

Album Review – Sepulchre by the Sea / Conqueror Worm (2020)

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Showcasing an equal passion for all things Post-Black Metal and American author Edgar Allen Poe, this UK-based one-man army is ready to stun you with his debut full-length album.

“Lo! ’t is a gala night
Within the lonesome latter years!
An angel throng, bewinged, bedight
In veils, and drowned in tears,
Sit in a theatre, to see
A play of hopes and fears,
While the orchestra breathes fitfully
The music of the spheres.” – Edgar Allan Poe – The Conqueror Worm (1843)

Formed in early 2019 by vocalist and multi-instrumentalist Ashley “Ash” Shannon with an equal passion for all things Post-Black Metal and American author Edgar Allen Poe, Bristol, UK-based Atmospheric Black Metal one-man army Sepulchre by the Sea has quickly grown from a single idea into a fully-fledged studio project, incorporating many different sounds from atmospheric soundscapes and traditional Black Metal riffing to more eclectic areas such as shoegaze and folk-based pieces. As a matter of fact, the project’s name was inspired by Annabel Lee, the last complete poem composed by Edgar Allan Poe, while another poem, The Conqueror Worm, which by the way is about human mortality and the inevitability of death, was the inspiration for Sepulchre by the Sea’s debut full-length, six-track opus Conqueror Worm, the follow-up to the 2019 demo …And So It Crumbles, creating something larger and more ambitious in scale, spanning nearly an hour and crossing multiple sub genres along the way.

And the project’s Edgar Allan Poe-inspired feast of melancholy and darkness begins in a truly atmospheric way in the opening track I Loved Alone, venturing through the realms of contemporary Post-Metal before Ash begins firing dirty, scorching riffs from his stringed axe and anguished gnarls in paradox with the song’s serene background piano notes. Then Ash hammers his guitar, bass and drums mercilessly in the furious title-track Conqueror Worm, blending the mystery of Atmospheric Black Metal with the violence and heaviness of Black Metal and even Punk Rock, not to mention his growls get even more demonic than before as the music progresses; and you better get ready for 12 minutes of fulminating blast beats, vicious riffs and an endless sense of despair and obscurity in And So It Crumbles, where Ash does an excellent job mixing classic Black Metal with Atmospheric Black Metal and Doom Metal nuances, also presenting Stygian, austere passages that perfectly represent his passion for the work by Edgar Allan Poe turned into extreme music.

Slices of Death is a pensive and enfolding composition by Ash where he focuses on the melody and all small details of the song instead of the usual harshness of extreme music; furthermore, it’s quite easy to sense how personal this harmonious ballad is to him, whereas our talented lone wolf and his Sepulchre by the Sea put the pedal to the metal in the visceral and austere Behind the Walls, enhancing his aggressiveness and rage through his hellish roars and fulminating Black Metal riffage, and ending in the most melancholic way imaginable. And last but (definitely) not least, you better be prepared as Ash will crush your senses for over 17 minutes with the closing tune Plutonian Shores, the icing on the cake in this multi-layered album of Atmospheric Metal where after four minutes of ritualistic sounds Ash comes ripping with his scorching riffage, also showcasing so many breaks, variations, changes in tempo and obscure passages it’s hard to describe the complexity of such grandiose tune in just a few words.

As I like to say, it’s always a pleasure to review the work by one-man bands like Sepulchre by the Sea, mainly because you can easily feel and enjoy all the hard work, all the passion for the music he plays, the musical evolution from song to song and, above all, all his respect and admiration for one of the greatest poets of all time (and the most beloved one by the metal community hands down). Hence, in order to show your support to Edgar Allan Poe’s right-hand man in extreme music, go check what Ash is up to on Facebook, and purchase your copy of Conqueror Worm from his own BandCamp page, from the Anthrazit Records’ BandCamp page, or from Amazon, and don’t forget you can also stream this fantastic display of Atmospheric Black Metal in full on Spotify anytime you want, savoring every single second of it like you would enjoy each word from Poe’s vast collection of amazing tales and poems.

Best moments of the album: Conqueror Worm and Plutonian Shores.

Worst moments of the album: None.

Released in 2020 Anthrazit Records

Track listing
1. I Loved Alone 6:40
2. Conqueror Worm 6:40
3. And So It Crumbles 12:07
4. Slices of Death 7:34
5. Behind the Walls 7:49
6. Plutonian Shores 17:14

Band members
Ashley Shannon – vocals, all instruments

Album Review – Raventale / Planetarium II (2020)

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A deep and profound journey through the black wastelands of extraneous cosmos offered by a Ukrainian one-man army in the form of first-class atmospheric and extreme music.

Playing what he likes to call “Atmospheric Blackened Metal” since the project’s inception in 2005 in Kyiv, Ukraine, the talented vocalist and mutli-instrumentalist Astaroth Merc, from bands like Balfor, Chapter V:F10 and P’hevda Phenomenon, returns in 2020 with his Atmospheric Black Metal alter ego Raventale armed with his eleventh (and grandiose) full-length album titled Planetarium II, the conceptual follow-up to his 2017 album Planetarium. Recorded at Miasma Studio between 2017 and 2020, featuring a celestial artwork by Belarusian artist Olga Kann and guest female vocals by Ukrainian singer Alina Belova (Helengard, Kauan), as well as a linguistic adaptation by Nataliia GrimMe, Planetarium II extends the analysis of extrapolation of cosmic mysteries, clandestine dimensions and extramundane weirdness, or in other words, it’s a deep and profound journey through the black wastelands of extraneous cosmos offered by Astaroth in the form of first-class atmospheric and extreme music.

Sheen Of Urania works as some sort of  wicked intro led by the crushing, razor-edged guitar lines by Astaroth, dragging us all to the doomed and atmospheric world of Raventale in Extra Terrestrial Arcana, where the imposing sounds blasted by Astaroth generate a menacing and epic ambience perfect for his demonic roars, resulting in a beautiful Atmospheric Black Metal creation bringing to our ears crisp solos, whimsical keys and endless epicness while also overflowing rage and insanity. Not only Drinking Sulfur, Devouring The Sun carries a beautiful name for a song just like what Cradle of Filth would offer us, but musically speaking it’s beyond sensational, with Astaroth and his Raventale continuing to blend classic Black Metal with the Symphonic Black Metal played by Dimmu Borgir and nuances of Doom Metal and Blackened Doom for our total delight; whereas a damned rhythm intertwined with stylish background keys and a futuristic vibe are the main ingredients in the breathtaking Route To Andromeda, with our lone wolf growling in the darkest way possible in perfect sync with his scorching, venomous riffs.

The Moon In The Seventh House, perhaps the most Stygian of all songs, is a lecture in atmospheric and grim music, with guest Alina Belova adding a touch of finesse to the overall result while Astaroth’s vicious riffage walks hand in hand with his blast beats and phantasmagorical keys; and as atmospheric as it can be from the very first second, Let The Fire Burn! is another imposing composition that paves Raventale’s cosmic path to the bold and multi-layered Earth (Alpha & Omega), sounding at the same time very fresh and modern while living up to the legacy of classic Symphonic Black Metal. Furthermore, Astaroth’s infernal growling makes a fantastic paradox with his classy keyboards, while the drums keep the song’s pace vibrant and heavy-as-hell. And finally, the Doom Metal-infused aria A Temple Of My Choice puts a melancholic and climatic ending to the album, showcasing Astaroth’s anguished gnarls, sluggish beats and a feeling that all hope is lost, with the music marching on stunningly while our one-man army simply kicks ass with all instruments from start to finish.

You can show your support to such skillful and hardworking black metaller by following Raventale on Facebook and on VKontakte, and by purchasing your copy of Planetarium II in just a few days from his own BandCamp page, as well as from Ashen Dominion’s BandCamp page or webstore. In the end, we must all admit Astaroth has definitely outdone himself with his newborn spawn, elevating his music to the same level as some of the biggest names of the genre including Cradle of Filth, Dimmu Borgir, Emperor and Septicflesh, to name a few, showing all his hard work through the years is truly paying off, positioning Raventale as one of the most prominent names of the Ukrainian scene and, above all that, offering us fans of atmospheric music the perfect soundtrack for exploring the vastness and obscurity of the cosmos.

Best moments of the album: Drinking Sulfur, Devouring The Sun, The Moon In The Seventh House and Earth (Alpha & Omega).

Worst moments of the album: None.

Released in 2020 Ashen Dominion

Track listing
1. Sheen Of Urania 1:53
2. Extra Terrestrial Arcana 6:38
3. Drinking Sulfur, Devouring The Sun 6:24
4. Route To Andromeda 5:48
5. The Moon In The Seventh House 7:06
6. Let The Fire Burn! 3:27
7. Earth (Alpha & Omega) 6:03
8. A Temple Of My Choice 5:30

Band members
Astaroth Merc – vocals, all instruments

Guest musicians
Alina Belova – female vocals

Album Review – Dynfari / Myrkurs er Þörf (2020)

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The brand new album by an amazing Icelandic Atmospheric Black Metal unity sounds as beautiful and inspiring as it is quietly somber and menacing, and as illuminating as it is sorrowful.

Since the band’s formation as a duo in 2010 in the city of Reykjavík, Iceland, the Atmospheric Black Metal unity known as Dynfari has been making a name for themselves not only in Icelandic lands, but anywhere else in the world where Black Metal influenced, heavily atmospheric music is appreciated. Currently comprised of Jóhann Örn on vocals, bass, accordion, synths and guitars, Jón Emil on percussion and guitars, and Martin Tsenov and Bragi Knutsson also on the guitars, Dynfari deal with the philosophy of life, death, the universe, loss, hope and sorrow, having explored more progressive soundscapes in their blend of Post-Rock and Black Metal in the most recent works, while returning to a more atmospheric and direct attitude now in 2020 with their fifth full-length opus, titled Myrkurs er Þörf, or something like “darkness in needed” in English. Featuring a cryptic artwork by Metaztasis (Watain, Behemoth), the album is a chameleonic, labyrinthine mix of subgenres of rock and metal, sounding thickly atmospheric, as beautiful and inspiring as it is quietly somber and menacing, and as illuminating as it is sorrowful, flowing towards a darker, heavier side of the musical spectrum, expressing a violent refusal of merely becoming a means to an end.

The opening track Dauðans Dimmu Dagar (“the dark days of death”) starts in an ominous and ethereal way to minimalist guitar notes, being gradually accompanied by the percussion and beast by Jón until a dense wall of instrumental Atmospheric Black Metal fills out every single space in the air, morphing into the enfolding Langar Nætur (Í Botnlausum Spíralstiga), or “long nights (in bottomless spiral staircase)”, a flawless depiction of modern-day Icelandic Black Metal with Jóhann delivering anguished vocal lines while Martin and Bragi slash their seven-stringed weapons majestically. And the title-track Myrkurs Er Þörf keeps embracing our souls and taking us to chilling and despondent Icelandic lands showcasing another amazing guitar job done by the quartet, while Jóhann’s vocals sound like they’re coming from a place far, far away, whereas Ég Fálma Gegnum Tómið, or “I fade through the void”, exhales melancholy and hopelessness, with the Doom Metal-inspired beats by Jón walking hand in hand with the strident riffs by Martin and Bragi, keeping the album as dark and grim as possible.

The serene instrumental interlude titled Svefnlag (“sleeping layer”) brings some peace to our blackened hearts, setting the tone for the ode to despair and obscurity named Ég Tortímdi Sjálfum Mér (“I destroyed myself”), where Jóhann blasts his most introspective roars of the entire album while the song’s imposing background keys support the piercing riffage delivered by the quartet. Then what at first seems to be another calm and bitterly cold creation by Dynfari turns into a 10-minute majestic feast of heavy-as-hell, hypnotizing sounds titled Peripheral Dreams, a lecture in contemporary Black Metal led by the crushing beats by Jón intertwined with grandiose keyboards and doomed passages, also presenting elements from Folk Metal and Blackened Doom, running wild and free until its climatic grand finale. Lastly, the wicked bass lines by Jóhann ignite the closing tune Of Suicide and Redemption, an Atmospheric Black Metal aria that lives up to the legacy of the genre, bringing forward their trademark blast beats and symphonic keys and, therefore, ending the album on a truly inspiring note.

After all is said and done, I’m more than certain you’ll be mesmerized by the atmospheric and absolutely stunning music by Dynfari, and in order to show the band your support and appreciation don’t forget to follow them on Facebook, and of course to purchase a copy of Myrkurs er Þörf from their own BandCamp page, from the Aural Music webstore in CD, silver LP, or splatter LP format, and from other locations such as Amazon and mvdshop.com. An introspection on thoughts of suicide and self-destruction, Myrkurs er Þörf is another beautiful product form the always prolific and dynamic Icelandic metal scene, showing us all that not only Icelandic Black Metal continues to be on a healthy and inspiring rise, but also that we can count on the talented guys from Dynfari to keep embellishing the airwaves with their creations until darkness finally consumes us all.

Best moments of the album: Langar Nætur (Í Botnlausum Spíralstiga), Myrkurs Er Þörf and Peripheral Dreams.

Worst moments of the album: None.

Released in 2020 Code666

Track listing
1. Dauðans Dimmu Dagar 5:23
2. Langar Nætur (Í Botnlausum Spíralstiga) 6:37
3. Myrkurs Er Þörf 4:52
4. Ég Fálma Gegnum Tómið 4:39
5. Svefnlag 2:57
6. Ég Tortímdi Sjálfum Mér 5:10
7. Peripheral Dreams 10:35
8. Of Suicide and Redemption 6:37

Band members
Jóhann Örn – vocals, bass, accordion, synths, guitars
Jón Emil – percussion, guitars
Martin Tsenov – guitars
Bragi Knutsson – guitars

Album Review – Ov Shadows / I Djävulens Avbild (2020)

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Arising from the darkest pits of Gothenburg, this Swedish horde is ready to stun us all once again with the Atmospheric Black Metal guided by chaos and darkness from their sophomore opus.

“Come forth from eternity
Beyond the paradise and tempt me with the forbidden fruit
Tempt me with knowledge and power and let me become god
I’m willing to leave the paradise
Mother of blasphemy and fornication
Dark goddess Lilith”

Gothenburg, Sweden’s own Black Metal entity Ov Shadows is rising once again form the pits of the underworld to stun us all with their sophomore full-length opus, titled I Djävulens Avbild, which translates to English as “In the Devil’s Image”, the follow-up to their 2018 debut album The Darkness Between Stars. Featuring a beautiful artwork by artist Vandraren, also known as Mister Snowpulse, the new record presents the band comprised of RA on vocals and bass, AA and AF on the guitars, and JW on drums at an unprecedented ferocity and forward-momentum, and apparently very intent on proving that to their listeners immediately, as pummeling drums and a heavy galloping riff fill the speakers within seconds of the album. “Ov Shadows is about exploring and embracing the dark aspects that dwell within us all – your ‘shadows-self’ as Carl Jung expressed it. Our vision is to create an atmospheric Black Metal guided by chaos and darkness,” commented the band, inviting us all to join them in their obscure and austere realm.

As aforementioned, the opening tune Den Eld Som Tär Och Förvrider (“The Fire That Consumes And Distorts”) offers us all an infernal sonic devastation from the very first second, with RA showcasing his welcome card in the form of his otherworldly screeches while JW shakes the foundations of the earth with his thunderous blast beats, whereas in Blasfemiskt Crescendo (“Blasphemous Crescendo”) we’re treated to more of their demonic Black Metal where AA and AF sound like two chainsaws with their cutting riffs, providing RA all he needs to thrive with both his wicked roars and rumbling bass. And an imposing and grim vibe will penetrate deep inside your soul in the Atmospheric Black Metal tune titled Under Dödens Vingar (“Under the Wings of Death”), where the band’s guitar duo continues to fire lancinating riffs through their axes nosntop while JW keeps the pace as heavy and thunderous as possible behind his drum set.

This Swedish quartet keeps slamming our skulls with their strident and sulfurous Black Metal in Anakoretens Gap (“The Maw of the Anchorite”), sounding very rhythmic, somber and doomed, spearheaded by JW’s bestial drumming and the always venomous growling by RA, while the title-track I Djävulens Avbild (“In the Devil’s Image”) keeps bringing to our avid ears Ov Shadows’ dense fusion of old school and contemporary Black Metal with Melodic Black Metal and even Doom Metal nuances, with the spine-chilling guitars by AA and AF giving you nightmares during your sleep. Then blazing guitars and a feeling of hopelessness will invade your senses in Spotsk (“Defiant”), another Stygian creation by Ov Shadows presenting some interesting breaks and variations amidst all the havoc crafted by JW and RA with their devilish kitchen, followed by the closing aria Av Kunskap Krönt Till Gud (“By Knowledge Crowned God”), even more demonic and dark than its predecessors, or in other words, a lesson in Melodic Black Metal led by RA’s hellish screams while AA and AF keep bringing fire and wrath to the musicality with their sick riffage.

The Stygian and austere creations by Ov Shadows are waiting for you on YouTube and on Spotify, but of course if you want to show your true support to this skillful Swedish horde and your admiration for the darkest side of heavy music, you can buy your copy of I Djävulens Avbild, all sung in their mother tongue Swedish by the way (as opposed to their previous album entirely sung in English), from the Hypnotic Dirge Records’ BandCamp or webstore in regular CD format or as an amazing CD + shirt + patch + sticker bundle, and you can always follow the band on Facebook and on Instagram for new, tour dates and more of their hellish music. Chaos and darkness reign supreme in the musical world brought forth by Ov Shadows in their newborn spawn, pointing to a bright future for the band in their already solid career, and inviting us all to renounce light and succumb to darkness for all eternity.

Best moments of the album: Blasfemiskt Crescendo, Anakoretens Gap and Av Kunskap Krönt Till Gud.

Worst moments of the album: None.

Released in 2020 Hypnotic Dirge Records

Track listing
1. Den Eld Som Tär Och Förvrider 6:26
2. Blasfemiskt Crescendo 6:24
3. Under Dödens Vingar 5:44
4. Anakoretens Gap 5:07
5. I Djävulens Avbild 6:09
6. Spotsk 6:34
7. Av Kunskap Krönt Till Gud 6:34

Band members
RA – vocals, bass
AA – guitars
AF – guitars
JW – drums

Album Review – Super Satan / Menetekel (2020)

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An incendiary album of German Black Metal overflowing blast beats, pushing sounds and aggressive riffs that will let us all slide down the abyss piece by piece.

With a variety of beautiful, dreamy tracks and silence shattering sounds split into ten hypnotic tracks with a total playing time of over 57 minutes, Menetekel, the debut full-length opus by an infernal Kaufbeuren, Germany-based Black Metal duo comprised of vocalist Stefan Bauer (Disgusting Perversion) and guitarist Julian Gruber (Disgusting Perversion, Pestilent Reign, Running Death, Taste of Desolation) that goes by the curious name of Super Satan, brings to our ears a fast, hard-riffing and overall unconventional style of Black Metal, being highly recommended for fans of bands like Der Weg einer Freiheit and Der Rote Milan. Supported by the heavy kitchen of Nikita Kamprad (Der Weg einer Freiheit, Illusion of Strength) on bass, who also produced the album, and Sebastian Unić (Crimson Death, Pestilent Reign, Kâhld, Hysterie) on drums, Super Satan take no prisoners in Menetekel, with their driving blast beats, pushing sounds and aggressive riffs letting the audience slide down the abyss piece by piece and leading them through the end of all days, all of course sung in their mother tongue German.

Get ready to be dragged down to the scorching pits of the underworld in the phantasmagorical intro Menetekel, or “warning sign” in English, setting the stage for Super Satan to crush our souls in Zwiespalt (“conflict”), with Julian extracting sheer obscurity from his wicked guitar while guest Sebastian delivers traditional blast beats, resulting in a feast of classic and modern Black Metal spearheaded by the demonic roars by Stefan. Then we have another brutal round of Black Metal the likes of Marduk and Immortal in Einklang (“unison”), sounding absolutely demonic and pulverizing from start to finish, with Sebastian going berserk once again on drums while Nikita hammers his bass furiously, whereas the strident, piercing riffs by Julian are the main ingredient in the infernal Mondglanz (“moonlight”), bringing some Hardcore and Grindcore nuances to their already vicious sonority and, therefore, being perfect for slamming into the pit while also presenting groovier and heavier moments.

Dämmerung (“dusk”) is an Atmospheric Black Metal extravaganza led by the electrifying guitar lines by Julian while Stefan gnarls in a dark and anguished manner, remaining sluggish, bleak and melancholic throughout its five minutes of sheer obscurity, and following such venomous tune we’re treated to Wolkenbruch (“downpour”) and its almost 10 minutes of a fantastic hybrid between old school Black Metal with contemporary Melodic Black Metal. Furthermore, Sebastian sounds even more boisterous on drums while very rhythmic at the same time, with Stefan’s deep roars bringing endless hatred and fear to the overall result. Then cryptic sounds and tones permeate the air in Auferstehung (“resurrection”), morphing into a furious explosion of Black Metal infused with Symphonic Black Metal nuances with Sebastian once again adding his share of dementia to the music, while Stefan keeps barking and screaming manically.

Hammering their flammable instruments nonstop, the band pierces our ears and minds with the scorching Weltenbrand (“world fire”), also sounding and feeling atmospheric and epic. In addition to that, you can sense some resemblance to the most vicious creations from Neue Deutsche Härte, while Julian sounds truly infernal with his dark riffing. After such high level of obscurity, it’s time for a hurricane of modern-day Black Metal blasted by Super Satan in Ritual, showcasing razor-edged guitars, fulminating drums and the always visceral gnarls by Stefan, while Nikita and Sebastian bring thunder to the sonority with their sonic weapons. Lastly, blending the imposing sounds by bands like Cradle of Filth, Dimmu Borgir and Emperor, the band fills our ears with hatred and evil in the closing tune Ur, where those German metallers display all their dexterity and passion for the underworld for over eight minutes.

The creativity and darkness flowing from German Black Metal always amazes me, and with Super Satan it couldn’t have been any different than that. Those two talented musicians and their henchmen simply nailed it already with their debut release, which is by the way available for a full listen on YouTube and on Spotify, bringing forth a very cohesive, austere and incendiary fusion of the most diverse styles of Black Metal. Hence, don’t forget to give them a shout on Facebook and on Instagram, and to purchase your copy of such excellent album from their own BandCamp page or from the Thanatoskult’s BandCamp page, as well as from Apple Music or from Amazon. As already mentioned, Menetekel is the perfect soundtrack to the end of everything, proving once again why Black Metal made in Germany is and will always be one of the most interesting and breathtaking subgenres of extreme music.

Best moments of the album: Einklang, Wolkenbruch and Ritual.

Worst moments of the album: None.

Released in 2020 Thanatoskult

Track listing
1. Menetekel 1:15
2. Zwiespalt 6:02
3. Einklang 3:49
4. Mondglanz 3:00
5. Dämmerung 5:00
6. Wolkenbruch 9:38
7. Auferstehung 5:45
8. Weltenbrand 7:17
9. Ritual 6:57
10. Ur 8:32

Band members
Stefan Bauer – vocals
Julian Gruber – guitars

Guest musicians
Nikita Kamprad – bass (session)
Sebastian Unić – drums (session)

Album Review – Dunwich / Tail-Tied Hearts (2020)

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A bottomless ocean of emotions, worlds and experiences connected into something much larger, absorbing and liberating in the form of the debut album by an innovative trio from Russia.

Hailing from Moscow, Russia, the Black and Doom Metal trio known as Dunwich doesn’t limit themselves to just those two subgenres of heavy music, also adding to their music an array of distinguished elements from Darkwave, Post-Punk, Post-Rock and Progressive Rock, among others, resulting in a unique sound that frontwoman Margarita Dunwich has been crafting together with guitarist and keyboardist Anton Bronikov and drummer Mikhail Markelov since the band’s inception in 2018. Together, Dunwich are an attempt to dive into the bottomless ocean of your emotions, which is exactly what they’re offering us all in their debut effort entitled Tail​-​Tied Hearts, with each song from the album representing a separate world and a separate experience, but with all of those worlds and experiences being connected into something much larger, absorbing and liberating, showcasing the paradoxical beauty of the creations by those talented and passionate Russian musicians.

The phantasmagorical keys by Anton ignite the dark and sinister Glow, bringing forward elements from Atmospheric and Depressive Black Metal to their smoother sonority, setting the stage for Margarita to shine with her piercing vocals and roars in Through the Dense Woods, bringing forward doomed sounds perfect for Margarita to darkly declaim its cryptic lyrics (“Crawling bugs along the spine / You feel them, that’s what you’re think / Wolf howl in the ears and webs in hair / Slobbering mouth of fear exuding stink”), sounding cinematic, dense and Stygian from start to finish. And the gentle, acoustic guitar lines by Anton permeate the air in Solitude, with Margarita simply stealing the spotlight with her introspective and mesmerizing vocals while Mikhail delivers minimalist and at the same time tribal beats in this modern Darkwave composition, followed by Wooden Heart, where futuristic sounds and tones warm up our souls in one of the most progressive and groovier of all tracks, with Anton doing a superb job with both his riffs and keys, resulting in a lighter but still obscure version of modern-day Doom Metal.

Anton comes ripping once again with his Phantom of the Opera-inspired organs, generating a menacing ambience before the band ventures through more rockin’ and visceral lands in Mouth of Darkness, a lesson in Post-Metal where Mikhail dictates the rhythm with his classic beats in a fusion of the music by Cradle of Filth with Sisters of Mercy and Type O Negative, all spiced up by the witch-like roars by Margarita, whereas Fall is another grim and pensive creation where Margarita, Anton and Mikhail offer the listener a Post-Black Metal aria focusing on the serene vocal lines by our stunning frontwoman, growing in intensity until reaching a truly Stygian vibe. Sanctuary is a folk-ish song full of ethereal passages and an embracing atmosphere, with Anton alternating between gentle guitar lines and heavy-as-hell riffs while Mikhail brings sheer doom to the overall result with his sluggish beats, before The Sea concludes the album in the best possible way you can imagine. The song couldn’t have started in a more doomed and melancholic way, with Anton slashing his guitar in great fashion in over nine minutes of somber passages, classy beats and the always hypnotizing voice by Margarita, flowing smoothly and beautifully until its climatic finale.

If you have what it takes to dive into the dark and embracing world ruled by Dunwich, simply follow them on Instagram and on VKontakte for news and other nice-to-know details about the band, subscribe to their YouTube channel for more of their music and stunning videos, and of course purchase their newborn opus Tail​-​Tied Hearts from the Caligari Records’ BandCamp page or from Amazon. Margarita and her loyal bandmates might be a new face to the world of heavy music, but the high level of professionalism and the top-of-the-line production of their debut album make them look like true veterans to the scene, proving not only that they know exactly what they’re doing, but also that there’s nothing better than a wild and gripping fusion of dark music styles to flawlessly depict the never-ending rollercoaster of emotions we end up experiencing every single day of our lives.

Best moments of the album: Through the Dense Woods, Wooden Heart and Mouth of Darkness.

Worst moments of the album: Solitude.

Released in 2020 Caligari Records

Track listing
1. Glow 2:43
2. Through the Dense Woods 4:35
3. Solitude 5:46
4. Wooden Heart 5:47
5. Mouth of Darkness 6:39
6. Fall 5:28
7. Sanctuary 5:45
8. The Sea 9:13

Band members
Margarita Dunwich – vocal
Anton Bronikov – guitars, keyboards
Mikhail Markelov – drums

Album Review – Creptum / VAMA (2020)

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An unrelenting horde hailing from Brazil is ready to distill their raw, unfiltered Black Metal armed with their sulfurous new opus.

Formed in the already distant year of 2001 in the city of São Paulo, Brazil under the name Nekros with the sole objective of distilling Black Metal in its rawest aspect, an obscure Black Metal entity currently known as Creptum has just unleashed upon humanity their sophomore effort entitled VAMA, the follow-up to their 2016 debut opus Of Lies, Curses and Blood and their 2017 EP Reborn in Flames. Produced by Marcos Cerutti and featuring a blood-red artwork by Brazilian designer Raphael Grizilli, VAMA will certainly please all diehard fans of the old school Black Metal blasted by renowned acts such as Marduk, Gorgoroth, Sarcófago and Dark Funeral, among others, showcasing all the talent and obscurity by the band’s renewed lineup featuring vocalist and guitarist Nebro, guitarist T. Aversvs, bassist Corvo and drummer Animus Atra, positioning such distinct horde as one of the most interesting names of the underground Brazilian scene.

Animus Atra begins hammering his drums vigorously accompanied by the Black Metal riffage by Nebro and T. Aversvs in the opening aria Earth, while Nebro barks like a rabid beast nonstop, also bringing an ominous aura from Atmospheric Black Metal, whereas sounding more enraged, heavier and more demonic, the band goes full Black Metal in Reborn in Darkness, tailored for fans of the scorching music by Marduk and Darkthrone, with Nebro and T. Aversvs once again slashing our ears with their blasphemous riffs supported by the low-tuned, menacing bass by Corvus. Then strident guitar lines permeate the air in the also venomous 156, a hard-hitting, metallic extravaganza led by the band’s infernal kitchen of Corvus and Animus Atra, living up to the legacy of classic Black Metal infused with melodic nuances, followed by The Moon Above, bringing forward cryptic words vociferated by Nebro (“I hear the pounding of drums / My bones shiver with their sound / And I feel my heart, I feel my heart racing / I feel the dirt beneath my feet, / The transmutation of black moon above me / I feel the heat of the battles / That are now happening within”) while his bandmates keep the ambience as dense, ominous and electrifying as possible.

The title-track VAMA is another Stygian composition where the entire band adds hints of Doom Metal to their already sulfurous Black Metal, with Animus Atra alternating between vicious blast beats and sluggish, phantasmagorical passages, sounding utterly detailed and captivating from start to finish; and the acoustic instrumental tune Kundaliní gives us a few moments of introspection and peace before all hell breaks loose in Revolution Within, a disruptive onrush of Black Metal sounds spearheaded by Animus Atra and his demented drums, with Nebro growling deeply and rabidly while Corvo is unstoppable with her wicked bass punches. Creptum don’t stop darkening the skies and our souls with their imposing and epic Black Metal sonority in Devouring Mother, sounding as if Immortal and Mayhem had a bastard son while the gruesome gnarls by Nebro penetrate deep inside your psyche, until the closing tune On My Skin brings to our ears a few brief moments of serenity before the quartet crushes our skulls one last time with their heavy-as-hell sound, presenting a neck-breaking rhythm led by Animus Atra’s classic beats.

This fantastic display of South American Black Metal can be appreciated in full on Spotify, but of course if you want to show your true support and admiration for this Brazilian horde you should definitely purchase VAMA from their own BandCamp page, from the Drakker Productions’ BandCamp page or webstore, from Apple Music or from Amazon. In addition, don’t forget to follow Creptum on Facebook, Instagram and YouTube for news, tour dates and more of their incendiary music, consequently proving you’re a true disciple of the underworld. VAMA is not just another album of Black Metal, but a bold statement by a band that is fully dedicated to such obscure subgenre of heavy music, and above that, to show Brazil can also be an excellent source of the most extreme type of music you can think of.

Best moments of the album: Reborn in Darkness, VAMA and Devouring Mother.

Worst moments of the album: Earth.

Released in 2020 Drakkar Productions

Track listing
1. Earth 4:48
2. Reborn in Darkness 5:00
3. 156 4:52
4. The Moon Above 3:35
5. VAMA 5:59
6. Kundaliní 3:39
7. Revolution Within 3:35
8. Devouring Mother 4:48
9. On My Skin 4:31

Band members
Nebro – vocals, guitar
T. Aversvs – guitar, bass
Corvo – bass
Animus Atra – drums

Guest musician
Tanatos – additional vocals
Deimous Nefus – guitar

Album Review – Mazikeen / The Solace of Death (2020)

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A beastly album of Symphonic Death and Black Metal from Australia that proves death can be comforting when enfolded by first-class extreme music.

What started in 2013 in Melbourne, Australia as a solo project by guitarist Andrew Shiells with the help from Chris Meyer (from Australian Black Metal act Aberration Nexus), who recorded some drums and synths for the project’s first demo tracks, has evolved to a much bolder and multi-layered beast in recent years, blasting a crushing hybrid of Symphonic Death and Black Metal with other extreme styles such as Melodic Death Metal and old school Black Metal. I’m talking about Mazikeen (based on the Hebrew word “mazzikim”, meaning “harmful spirits”), an infernal horde comprised of the aforementioned Andrew Shiells and his henchmen James Edmeades (Claret Ash) on vocals, Kris Marchant on the guitars, Aretstikapha (Plasmodium, Klavierkrieger) on piano and synths, and Marco Pitrruzzella (Six Feet Under, Sleep Terror) on drums, who are unleashing upon us their first full-length opus titled The Solace of Death, featuring eight original songs and four insane cover tracks throughout impressive 67 minutes of music, all embraced by the stylish and sinister artwork by Australian artist Jamie Ludbrooke.

An eerie, phantasmagorical intro evolves into a feast of symphonic and dark sounds in the opening track The Solace Of Death, where Marco is absolutely infernal with his blast beats while James delivers his Dani Filth/Shagrath-inspired roars and gnarls, supported by the imposing synths by Andrew and Aretstikapha, whereas in Apostate it’s time for ten minutes of Symphonic Black Metal infused with Doom and Melodic Death Metal nuances where the guitars by Kris and Andrew sound sharp and very harmonious just the way we like it in extreme music. Brutal and enthralling form start to finish, this great composition lives up to the legacy of bands like Emperor, Dimmu Borgir and Carpathian Forest, which can also be said about Vexation Through The Golden Sun, even more obscure, violent and epic than its predecessors, spearheaded by the insane drums by Marco while his bandmates make sure every empty space in the air is filled with darkness and evil, resulting in a lecture in modern-day Symphonic Black Metal full of breaks and variations, Stygian passages and even some serene, acoustic moments for our total delight. And featuring guest vocals by Josh Young (Astral Winter, Atra Vetosus), Mazikeen go full Scandinavian Black Metal in Fractricide, inspired by the trailblazers of the genre such as Mayhem and Emperor, blasting a demolishing sonority that will make your head tremble nonstop.

Josh returns with his wicked gnarls in the melancholic and somber Psychotic Reign, starting in a Gothic Metal-ish vibe while also presenting elements from Atmospheric Black Metal in its core essence. Moreover, I personally love the paradox created between Marco’s stone crushing beats and all background keys and symphonic elements, giving the whole song and extra touch of eccentricity, flowing into the cryptic and atmospheric instrumental bridge Harrowing Cessation, which also develops into a romantic instrumental ballad entitled MORS VINCIT OMNIA, or “death conquers all” from Latin, where the strength and depth of the piano notes take the lead and guide the music until its inevitable and grim ending. And in the last original song from the album, Cerulean Last Night, Mazikeen get back to a more ferocious and visceral mode, uniting the most piercing elements from old school Black Metal and contemporary Symphonic Black Metal spiced up by the visceral guest vocals by Ian McLean (The Maledict).

The last batch of songs in The Solace of Death is the band’s own tribute to their biggest idols and influences, starting with Mayhem’s Freezing Moon, originally released in the 1994 cult album De Mysteriis Dom Sathanas (check the original version HERE), with Mazikeen’s version featuring the vicious vocals by guest Ashahalasin (Inhuman Remnants, Somnium Nox) infernally complemented by the pulverizing drums by Marco, followed by Disection’s Night’s Blood, from the 1995 album Storm of the Light’s Bane, as bestial as the original song with Kris and Andrew delivering sheer electricity and rage through their scorching riffs. Then we have a cover for Dimmu Borgir’s Mourning Palace, from the 1997 album Enthrone Darkness Triumphant (you can listen to the original one HERE), where James does a fantastic job on vocals accompanied by the whimsical keys and synths by Andrew and Aretstikapha. And finally, Ashahalasin returns for their cover song for Darkthrone’s Transilvanian Hunger, from the 1994 album Transilvanian Hunger, as raw and malevolent as the original tune, with Marco once again taking the lead firing endless dementia and wrath from his blast beats.

You can enjoy this precious gem of Australian Black Metal in its entirety on YouTube and on Spotify, and also grab your copy of the album from the Satanath Records’ BandCamp page, from the Iron, Blood & Death Corporation’s BandCamp page, from Apple Music, or click HERE for all options where you can buy or stream the album. Mazikeen can also be found on Facebook, where you can know more about the band, their tour dates, their music and plans for the future, proudly carrying the flag of Black Metal wherever they go. In a nutshell, Andrew and his horde from Mazikeen nailed it in The Solace of Death, showing us all that death can be indeed comforting, especially if enfolded by a good amount of first-class Black Metal like the sonic devastation blasted by such distinct band hailing from the always inspiring Australia.

Best moments of the album: Vexation Through The Golden Sun, Fractricide and Night’s Blood.

Worst moments of the album: Harrowing Cessation.

Released in 2020 Satanath Records/Iron, Blood & Death Corporation

Track listing
1. The Solace Of Death 6:57
2. Apostate 10:05
3. Vexation Through The Golden Sun 10:46
4. Fractricide 4:54
5. Psychotic Reign 7:00
6. Harrowing Cessation 2:30
7. MORS VINCIT OMNIA 2:59
8. Cerulean Last Night 7:34
9. Freezing Moon (Mayhem cover) 6:36
10. Night’s Blood (Dissection cover) 7:10
11. Mourning Palace (Dimmu Borgir cover) 5:36
12. Transilvanian Hunger (Darkthrone cover) 5:36

Band members
James Edmeades – vocals
Kris Marchant – guitars
Andrew Shiells – guitars, synths
Aretstikapha – piano, synths
Marco Pitrruzzella – drums

Guest musicians
Josh Young – vocals on “Fractricide” and “Psychotic Reign”
Ian McLean – vocals on “Cerulean Last Night”
Ashahalasin – vocals on “Freezing Moon” and “Transilvanian Hunger”

Album Review – Ruadh / The Rock of the Clyde (2020)

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Open your heart and join musician and songwriter Tom Perrett in his Atmospheric Black Metal journey through the Iron Ages in Scotland.

Drawing from the vast well of history, culture and mythology, Glasgow, Scotland’s own musician and songwriter Tom Perrett set out to compose music purely to taste with his Atmospheric Black Metal solo-project Ruadh (which is pronounced ‘Roo-Ah’ and translates to ‘red’), creating an unmistakable atmosphere with the beating heart of old school Black Metal favourites of his since the project’s inception in 2018, such as Windir, Bathory, Burzum and others, which should also appeal to fans of Saor, Winterfylleth, Panopticon and similar acts. Hailing from Rutherglen (also known as the red glen) in the central belt of Scotland, Tom and his very special guests Cieti on female vocals, Kimberly Copland on bass and Philip Morrison on drums are unleashing upon us all Ruadh’s sophomore album The Rock of the Clyde, an evolution from their 2019 debut album Sovereign presenting six tracks of epic Scottish Atmospheric Black Metal with Folk elements, taking you through the Iron Ages in Scotland and also exploring the history and mythology of the people of Scotland, conveying both sorrow and uplifting, almost heroic tones, all embraced by the delicate and enthralling artwork by Joan Llopis Doménech Illustrations.

Tom and his bandmates don’t waste a single second and fill every single space in the air with crisp, dark and atmospheric sounds in Embers, where Tom fires some deep guttural roars accompanied by Philip’s classic, steady beats and Cieti’s delicate vocals in a 10-minute sonic voyage alternating between heavier moments and an enfolding and whimsical vibe, not to mention the amazing job done by our brave Scottish warrior with his strident guitar riffs. After a fantastic welcome card like that, a ritualistic intro kicks off the title-track The Rock Of The Clyde, morphing into an Atmospheric Folk and Black Metal extravaganza where Kimberly and Philip generate a bold and groovy base for Tom and his soulful riffs and solos, as well as his potent clean vocals, also bringing to our ears acoustic passages and endless melancholy before finally exploding into a visceral fusion of traditional Folk and Black Metal. And in Winters Light the band continues to pave their dark and introspective path, with Kimberly delivering thunderous bass jabs together with the blast beats by Philip while Tom is once again on absolute fire with his growling, his riffage and all background elements found throughout the song’s inspiring nine minutes of music.

Fields Of Heather is another lecture in Atmospheric Black Metal made in Scotland going full Black Metal at times, with all band members generating a classy and piercing sonority with their sonic weapons, sounding at the same time violent, rebellious and epic, and with Tom’s riffs and Kimberly’s bass walking hand in hand it doesn’t matter the speed of the music. Then acoustic and serene sounds and tones permeate the air in Only Distant Echoes Reign (Part 1), a very personal and gentle creation by Tom heightening our senses and warming up our hearts for the second part of this beautiful aria, Only Distant Echoes Reign (Part 2), where a murder of ravens in fugue follows Tom and his dense and captivating music, uniting the heaviness and darkness of Black and Death Metal with more atmospheric and ethereal sounds while Philip dictates the rhythm and Tom barks rabidly as usual, flowing majestically until the song’s grand finale and, consequently, putting a stunning conclusion to such vibrant voyage through Scottish lands.

You don’t need to travel all the way to Scotland to join Tom and his Ruadh in their quest for Atmospheric Black Metal, as all you need to do is follow the project on Facebook and on Instagram to know more about his music, his goals and his music, and above all that, grab your copy of The Rock of the Clyde directly from Ruadh’s own BandCamp page, from the Northern Silence Productions’ BandCamp page, or simply click HERE for all locations where you can buy and stream the album. Massive in both scope and scale, The Rock of the Clyde will feature among the best Atmospheric Black Metal albums of the year without a shadow of a doubt, proving not only that Tom is thoroughly connected to his Scottish roots, but also that underground metal music always sounds more compelling and vibrant when its made of Scottish iron.

Best moments of the album: The Rock Of The Clyde and Fields Of Heather.

Worst moments of the album: None.

Released in 2020 Northern Silence Productions

Track listing
1. Embers 10:01
2. The Rock Of The Clyde 10:20
3. Winters Light 9:01
4. Fields Of Heather 10:56
5. Only Distant Echoes Reign (Part 1) 4:44
6. Only Distant Echoes Reign (Part 2) 8:54

Band members
Tom Perrett – vocals, all instruments

Guest musicians
Cieti – female vocals
Kimberly Copland – bass
Philip Morrison – drums