Tag Archives: belgium

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 – Malfested / Shallow Graves EP (2020)

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Behold this epic tale about a great battle between men and the undead in the form of the pulverizing Death Metal crafted by an uncanny Belgian horde.

Forged in the fires of Kortrijk, a Belgian city and municipality in the Flemish province of West Flanders, in 2020, the year of “the great plague”, the unrelenting Death Metal unity known as Malfested released on November 2, the famous “Day of the Dead”, their debut EP entitled Shallow Graves. Highly inspired by renowned acts the likes of Bloodbath, Deicide and Carnation, the band comprised of Arne on vocals and Niels on the guitar, as well as other anonymous members, offers in Shallow Graves an epic tale about a great battle between men and the undead, where they have to find a way to stop this overwhelming evil. Recorded, mixed and mastered by Cyril Hostyn, Shallow Graves exhales aggression, anger and heaviness just the way we like it in classic Death Metal, leaving us completely disoriented after the album’s 21 minutes of vicious music are over. Put differently, simply hit play and head into the violent and merciless battlefield side by side with those uncanny Belgian metallers in the name of our good old Death Metal.

Flies buzzing and the stench of dead bodies ignite the vicious onrush of old school Death Metal titled Shallow Graves, where Arne vociferates rabidly and deeply accompanied by the Hardcore-infused riffage by Niels, and whoever is playing the drums is a true metal beast. And you better be physically prepared as they keep hammering our heads and haunting our souls with their undisputed fusion of old school and modern-day Death Metal in Masked with the Skulls of the Fallen, where once again Arne’s growls and snarls sound beyond brutal, building an instant and visceral connection with the pulverizing Fields of Bloodshed, showcasing austere lyrics (“One wounded man had made it out – to the tell the tale before he bled out / Like fire the word spread through the land – a whole town crushed by a demon hand / Summon the fearless – send them out to investigate / Expose the demons – that only live in old wife’s tales”), frantic beats and the trademark scorching riffs by Niels.

I the excellent Venefica (The Banished One) we’re treated to a sick and thrilling display of savagery and hatred in the form of Death Metal by Malfested. Moreover, Arne and Niels must be really proud of the stone crusher they called to be their drummer, resulting in the perfect combination of evil sounds tailored for slamming our skulls into the circle pit. Then leaning towards the darkest form of Death Metal you can think of, you can sense sheer rage flowing from Arne’s guttural roars in Incantations, while the music remains as bestial and aggressive as possible, not to mention the demolishing but at the same time melodious riffs by Niels. Finally, Malfested show no mercy for our necks and souls as they offer our ears another infernal tune titled Cistern of Souls, inspired by the glory of 90’s Death Metal the likes of Deicide, Morbid Angel and Death, among several others, and as soon as it’s over you’ll feel desperate for more of their violent music.

I guess I don’t need to say Malfested are here to stay based on the high quality of the music found in Shallow Graves, right? Those Belgian metallers are on fire throughout the entire EP, which by the way can be enjoyed in its entirety on YouTube and on Spotify, pointing to a bright (and demolishing) future ahead of them. Hence, don’t forget to follow those cryptic musicians on Facebook and, above all, to purchase a copy of Shallow Graves from their own BandCamp page. Will Arne, Niels and their henchmen win their battle against the undead armed with their undisputed Death Metal? Only time will tell, but until then we can rest assured Malfested will continue to decimate our senses with their wicked and perverse creations, elevating the name of their homeland in the underworld of extreme music.

Best moments of the album: Shallow Graves and Venefica (The Banished One).

Worst moments of the album: None.

Released in 2020 Independent

Track listing
1. Shallow Graves 3:14
2. Masked with the Skulls of the Fallen 3:47
3. Fields of Bloodshed 3:37
4. Venefica (The Banished One) 3:48
5. Incantations 4:00
6. Cistern of Souls 3:10

Band members
Arne – vocals
Niels – guitar
Unknown – guitar, bass, drums*

* There’s no information available about the other band members.

Album Review – BleedSkin / Blood Reign (2020)

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Bang your heads to the brutal display of classic and contemporary Death Metal blasted by this promising Belgian band in their debut album.

Forged in 2016 in the fires of Andenne, a Belgian municipality located in the Walloon province of Namur, BleedSkin are an up-and-coming band highly inspired by iconic names from the 80’s and 90’s the likes of  Slayer, Cannibal Corpse, Behemoth, Dying Fetus and Aborted, among others, playing an old school, no bullshit style of Death Metal while singing about controversial topics such as dismemberment, butchery and annihilation. All that hard work and passion for heavy music has already led frontwoman Anouk Debecq, guitarists Benjamin Lefevre and Céline Mazay, bassist Rémy Adam and drummer Julien Vanhees to open for an array of bands including Exuviated, Debauchery and Blood Red Throne since their inception, culminating now in 2020 with the release of their debut effort Blood Reign, a brutal display of classic and contemporary Death Metal that will please all fans of the genre, recorded and mixed by Benoît Polomé at Noise Factory Studio and Soundwave Studio and embraced by a sinister artwork by Venezuelan artist Jesus Lhysta, better known under his moniker Rotted Artist.

A creepy, tribalistic and symphonic horror movie-inspired intro named Perverted Feelings sets the tone for the bestial devastation titled Eternal Hatred, where Benjamin and Céline begin slashing their axes while Anouk screams and roars deeply like an infernal entity, or in other words, this is a high-octane, classic Death Metal tune perfect for slamming into the circle pit, also bringing forward spot-on guitar solos and endless savagery. Once again inspired by renowned acts like Cannibal Corpse, Death and Morbid Angel, the band delivers Obsession, a great headbanging tune with Anouk once again showcasing all her she-wolf skills on vocals and where Julien hammers his drums without a single drop of mercy; and blending the ferocity of Death Metal with the speed of Thrash Metal the band offers us all No One Will Hear You, where Rémy and Julien will make your cranial skull tremble to the thunderous sound of their respective bass and drums. Then sounding as heavy as a stone crusher, it’s time for BleedSkin to pulverize our heads with Schizophrenia, with Benjamin and Céline yet again firing pure hatred from their guitars, and with guest Logan Dykens, the band’s former vocalist, bringing his share of dementia on backing vocals, whereas Point of No Return is an ode to the classic Death Metal sound from the 90’s and the 2000’s, with Anouk getting more and more demented on vocals as the music progresses without a single second of peace for our total delight.

Perversion of Mankind, which touches the complicated subject of pedophilia (and in order not to be censored, Anouk wrote it as if it were a children’s story where the monster is the pedophile), is another avalanche of incendiary riffs, blast beats and venomous vociferations brought forth by BleedSkin, while Silence Is Your Only Way, a song about sexism, violence against women, abortion and rape, is a demolishing composition where the music matches perfectly with the topics discussed (or maybe I should say barked) by Anouk in the lyrics, not to mention how unstoppable the band’s guitar duo sounds with their endless riffs and solos. Then more of their hellish growls and blast beats will penetrate deep inside your skin in The Dead Sale, feeling like Benjamin and Céline want to disintegrate their guitar strings due to the violence they apply to their riffage; followed by Innocent, the album’s second to last blast of classic Death Metal made in Belgium, where Benjamin is spot-on with his wicked guitar solo while Rémy doesn’t stop pounding his bass not even for a single second in a solid display of aggressiveness and rage. Lastly, how about more heaviness, anger and speed to properly close the album? That’s what they offer our metallic ears in Chaos Theory, where Anouk’s deranged, guttural roars are not recommended for the lighthearted, and with Julian dictating the pace with his demonic beats and fills.

BleedSkin’s debut full-length opus can be better appreciated in its entirety on YouTube and on Spotify, but of course in order to show them your utmost support don’t forget to follow such promising band hailing from Belgium on Facebook and on Instagram, to subscribe to their YouTube channel for more of their sick creations and official videos, and above all that, to click HERE and purchase or stream your favorite version of Blood Reign. As you might have already noticed, those Belgian metallers do not aim at reinventing Death Metal nor anything like that, having as their main goal keeping the fires of classic Death Metal burning bright in the underground and, consequently, offering us fans a very good reason for breaking our necks headbanging and slamming like maniacs. Well, in the end, what else can we ask for in first-class extreme music, right? And thanks to the girls an boys from BleedSkin, we can rest assured we’ll have a lot of fuel to burn into the circle pit to the sound of their visceral music for quite a while.

Best moments of the album: Eternal Hatred, Schizophrenia and Silence Is Your Only Way.

Worst moments of the album: None.

Released in 2020 Independent

Track listing
1. Perverted Feelings 1:51
2. Eternal Hatred 3:18
3. Obsession 3:19
4. No One Will Hear You 3:44
5. Schizophrenia 3:33
6. Point of No Return 4:03
7. Perversion of Mankind 3:33
8. Silence Is Your Only Way 3:55
9. The Dead Sale 3:18
10. Innocent 4:02
11. Chaos Theory 4:03

Band members
Anouk Debecq – vocals
Benjamin Lefevre – lead guitars
Céline Mazay – guitars
Rémy Adam – bass
Julien Vanhees – drums

Guest musician
Logan Dykens – backing vocals on “Schizophrenia”, “Silence Is Your Only Way”, “The Dead Sale” and “Innocent”

Album Review – Aborted / La Grande Mascarade EP (2020)

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Belgium’s own Death Metal trailblazers return with a three-track EP that will take you on a frantic journey through the realms of brutality and violence.

Forged in the fires of Waereghem, a municipality in the Belgian province of East Flanders, in the distant year of 1995, but currently featuring members from Belgium, the Netherlands and the United States, the unrelenting Brutal Death Metal trailblazers Aborted have just released a pummeling new three-track EP entitled La Grande Mascarade, containing two brand new tracks plus one previously unreleased song from the recording sessions of their 2018 album TerrorVision. Produced, mixed and mastered by Kristian ‘Kohle’ Kohlmannslehner at Kohlekeller Studio and featuring  a cadaverous artwork by Mitchell Nolte, La Grande Mascarade will take you on an 11-minute infernal journey through the realms of Death Metal and Grindcore ruled by Aborted, showcasing all the talent and fury exhaled by frontman Sven De Caluwe and his henchmen Harrison Patuto and Ian Jekelis on the guitars, Stefano Franceschini on bass and Ken Bedene on drums, leaving us all eager for more of their extreme sounds in a not-so-distant future.

And otherworldly voices kick off the brutal and visceral opening tune Gloom and the Art of Tribulation, exploding into a feast of modern-day Death Metal infused with Deathcore and Grindcore elements where Sven roars and barks like a true beast while Harrison and Ian are venomous with their riffs. Needless to say, this will undoubtedly be a fantastic addition to their live performances, not to mention the impact of its psychological lyrics on our minds (“Trauma sets in / Mesmerized by the hell I created / Swallowed whole by the darkness that lives within me / Architect of my spiritual undoing / Lover to misery”). Following such beautiful start they offer more of their trademark progressiveness and rage in another grim and cryptic song titled Serpent of Depravity, with Ken’s intricate and fulminating beats being perfectly complemented by the scorching riffs fired by the band’s guitar duo in a hybrid of Groove and Progressive Death Metal. And lastly, we’re treated to Funereal Malediction, a pure, hellish Death Metal and Grindcore devastation where Stefano and Ken make the foundations of the earth tremble with their respective weapons while Sven sounds absolutely berserk and demented on vocals. This amazing composition couldn’t have sounds more infernal than what it already does, with the complexity of their riffage and drums being beyond amazing and, therefore, resulting in a vile conclusion to the album.

This short but very entertaining (and obviously demolishing) display of Brutal Death Metal can be appreciated in its entirety on YouTube and on Spotify, but of course, as we’re all living through such difficult times, we metalheads must stay together and provide the bands we love our true support by purchasing their music and merch, which in the case of Aborted can be done by clicking HERE or HERE. Also, don’t forget to follow the band on Facebook and on Instagram (in case you don’t do that already), letting them know how much you enjoy their sonic devastation and inspiring them to provide us more and more albums and EP’s like La Grande Mascarade, keeping the fires of extreme music burning and, consequently, keeping us all with a huge smile on our faces (and a lot of pain in our necks due to some brutal headbanging).

Best moments of the album: Funereal Malediction.

Worst moments of the album: None.

Released in 2020 Century Media Records

Track listing
1. Gloom and the Art of Tribulation 4:38
2. Serpent of Depravity 3:21
3. Funereal Malediction 3:50

Band members
Sven De Caluwe – vocals
Harrison Patuto – guitar
Ian Jekelis – guitar
Stefano Franceschini – bass
Ken Bedene – drums

Album Review – WildHeart / No Love (2019)

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Highly inspired by classic Hard Rock and Glam Metal from the 80’s, this five-piece act from Belgium will take you on an electrifying journey back to the Sunset Strip anno 1986.

Hailing from Ninove, a city and municipality located in the Flemish province of East Flanders in Belgium, Hard Rock outfit WildHeart is a young and hungry band with a great passion for and highly inspired by classic Hard Rock and Glam Metal from the 80’s such as Whitesnake, RATT, Mötley Crüe, Dokken and Van Halen, taking you on a journey back to the Sunset Strip anno 1986 with their fun and vibrant music. Having the debauchery on stage and a carefree Rock N’ Roll vibe as their top priorities, the band comprised of frontman Farty, guitarists Foxx and Juice, bassist Stevie Dee and drummer Thunderberck is offering to our ears now in 2019 their sophomore album entitled No Love, a follow-up to their also excellent self-titled debut album released in 2016.

Produced by Joren Cautaers and mastered at Mass Destruction Production in Sweden by none other than Erik Martensson, known from bands like Eclipse and W.E.T., No Love is a thrilling feast of rockin’ tunes and sounds tailored for diehard fans of the genre who are always eager to meet new bands playing that classic sonority from around 30 years ago. Even the band’s attire seems to be taken from the golden years of Glam and Heavy Metal, looking like a more serious (but still uncompromising) version of our beloved Steel Panther and really old school Van Halen.

The old school intro The Mirror grows in intensity until A Stranger’s Eyes comes crushing our heads and warming up our hearts, exhaling pure Hard Rock for lovers of the music by Motley Crüe and Poison, with the blazing riffs by Foxx and Juice dictating the song’s frantic rhythm while Farty powerfully declaims its lyrics. After such powerful start, it’s time to put on your tight leopard pants and get ready to bang your head with the band in Nothing but Trouble, a song that sounds as if it was taken straight from an album recorded in the 80’s, with Thunderberck pounding his drums with a lot of precision and Stevie Dee adding the word “metal” to the musicality armed with his bass punches; whereas a catchy riff ignites the headbanging Dutch Courage, where all band members showcase their deep passion for Glam Metal in over five minutes of first-class rock music for the masses. Moreover, Farty steals the spotlight with another fantastic vocal performance, while the band’s guitar duo breathes fire with their refined solos.

The title-track No Love leans towards classic Skid Row with hints of Survivor’s all-time hit “Eye of the Tiger”, with the sync between guitars, beats and bass being simply amazing, therefore resulting in an energizing tune that should sound beyond electrifying if played live. Then showcasing an Iron Maiden’s “From Here To Eternity”-inspired riff, led by Thunderberck’s crushing beats and presenting a pure 80’s vibe, One Way Ticket to Paradise is more than perfect for singing along with the band or enjoying it while having a relaxing ride on the highway on a summer day; and WildHeart keep hitting our heads hard with their old school music in Rumours, a song that feels like a power ballad at times, but still bringing the groove and punch from faster rock songs. Needless to say, Farty once again delivers a great performance on vocals, not to mention the band’s usual incendiary guitar solos.

Now rev up your engines for a mid-tempo Hard Rock extravaganza entitled Good to Be Bad, infused with the heavier sounds by bands like Judas Priest and Primal Fear (especially during the song’s scorching hot, metallic riffs), turning it into a great metal hymn perfect for raising your fists in the air together with the band. The Winner’s Always Right is another explosion of classic rock and metal spearheaded by Foxx’s and Juice’s unstoppable axes, while Thunderberck keeps slamming his drum set in great fashion. Well, this song definitely asks for a colorful bandana, don’t you think? Anyway, adding hints of classic Rock N’ Roll and Southern Rock to their old school musicality, this rockin’ quintet offers us the fun and fresh Valerie, and you’re already aware that every single time a Hard Rock band writes a song named after a girl, the final result exhales awesomeness. Lastly, WildHeart probably thought it was a good idea to close the album with a true headbanger, and that’s exactly what we get in Tonight We Rock, bringing to our avid ears a flammable fusion of the music by Van Halen with Scorpions, hence making it impossible to stand still to the dynamic riffs and beats blasted by the band while Farty delivers what’s perhaps his most inspired vocals of the whole album.

No Love, which by the way is available for a full and delicious listen on Spotify, is more than just another album of Hard Rock. It’s a passionate, detailed and very honest tribute from WildHeart to all of their heroes from the 80’s, working as some sort of “time machine” for everyone who loves that classic rock sonority that has been embellishing the Sunset Strip for over 30 years. Having said that, don’t forget to show those Belgian metalheads you true support and admiration by following them on Facebook, by subscribing to their YouTube channel, and of course by purchasing your copy of No Love from several locations like Apple Music. After listening to No Love, I caught myself wondering if there’s a street that can be named the “Belgian Sunset Strip” in WildHeart’s homeland, having those obstinate rockers as one of the greatest new names of European Hard Rock and Glam Metal.

Best moments of the album: Dutch Courage, One Way Ticket to Paradise and Tonight We Rock.

Worst moments of the album: None.

Released in 2019 WildHeart Records

Track listing
1. The Mirror 1:12
2. A Stranger’s Eyes 5:21
3. Nothing but Trouble 5:00
4. Dutch Courage 5:09
5. No Love 5:03
6. One Way Ticket to Paradise 5:13
7. Rumours 6:12
8. Good to Be Bad 4:33
9. The Winner’s Always Right 4:43
10. Valerie 4:46
11. Tonight We Rock 4:47

Band members
Farty – vocals
Foxx – guitar
Juice – guitar
Stevie Dee – bass
Thunderberck – drums

Album Review – [P.U.T] / We Are [Br]others (2019)

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An amalgamation of sludge, industrial and punk noises at their finest, brought forth by three brothers who have been delivering first-class music for over 20 years.

Blasting our eras with a raw and dirty fusion of Industrial and Sludge Metal since 1998, Brussels, Belgium and Paris, France-based brothers Loïc Beyet (guitar, voice, programming), Lionel Beyet (bass, programming, voice) and Nicolas Beyet (guitar, voice), collectively known as Industrial Sludge Noise beast [P.U.T], are unleashing upon humanity their sixth full-length opus entitled We Are [Br]others, highly recommended for fans of the noisy music by acts like Sonic Youth, Killing Joke, Godflesh and Neurosis, among several others. Self-recorded between Paris and Brussels, mixed by Loïc at garlic.lab between November 2017 and May 2018, mastered by Alexandre Vitrac, an ex-[P.U.T] member, at Studio CBE in June 2018, and featuring a classy and obscure artwork by French artist Alexis Horellou, We Are [Br]others is the first [P.U.T] album to feature the three Beyet Brothers in the lineup, offering the listener the band’s trademark amalgamation of machine sounds, guitars, noise, sludge, industrial and punk at their finest, overflowing madness, heaviness and anger over the span of 50 minutes.

Their first onrush of distorted sounds, titled In Control, is a metallic fusion of the Industrial Metal played by bands like Rammstein and Nine Inch Nails with the sluggish and “polluted” riffs from classic Sludge Metal where the Beyet Brothers vociferate from the depths of the underworld, and with Lionel also delivering some powerful jabs from his bass. Following such eerie start we have Nothing, even more disruptive and grim than the opening track, a perfect option to be part of the soundtrack to a psychological thriller. Moreover, its guitars sound as raw and venomous as they can be, bringing all the heaviness and madness found in the music by the iconic Ministry, for example. Then putting the pedal to the metal [P.U.T] offer a high-octane mix of modern-day Rock N’ Roll with classic Industrial Metal titled In Conflict, where Loïc and Nicolas are in absolute sync with their riffs while all background voices and sound effects add a touch of lunacy to the music; and the roaring bass lines by Lionel ignite the dark and devilish Down, showcasing pugnacious gnarls and steady, fierce beats that live up to the legacy of Sludge and Stoner Metal the likes of Down (and I dare to say this is not a coincidence at all), all embraced and spiced up by additional orchestral elements. Closing the first half of the album, Opressed is perhaps the most electronic and weird of all tracks, presenting elements from contemporary Electronic Pop and Rock à la Daft Punk and Kraftwerk such as robotic voices and a dancing rhythm, all without forgetting the fury of rock music flowing from its guitars.

I Am Here is a cinematic and very experimental track by [P.U.T], with its wicked noises and futuristic atmosphere invading our senses before the disruptive Angry comes crushing, and that’s exactly how they sound, firing crude, unfiltered riffs from their flammable guitars and grunting rabidly nonstop. Furthermore, this is another interesting hybrid of the vicious music by acts like Ministry and Rob Zombie with the band’s own demented twist. And sounding like unstoppable machines from an assembly line, the trio delivers another vicious song entitled Possesed, where once again the guitars by Loïc and  Nicolas exhale rage while the low-tuned bass lines by Lionel bring even more insanity to their music; it just goes on for a little too long, though, but nothing that hurts the overall quality of the album.  In Not Your Dog the brothers are back to a more rockin’ sonority, bringing forward their trademark raspy vocals and visceral riffs and leaning towards old school Sludge Metal with a doom-ish vibe, offering the listener some piercing guitar solos as a “bonus”, whereas their coup de grâce comes in the form of a neck-breaking, eccentric creation titled Pain, with the sound of guitars being boosted by Lionel’s menacing bass in a good balance between mechanized, ethereal sounds and sheer aggression, flowing wickedly until its Stygian ending.

In a nutshell, [P.U.T] (or the Beyet Brothers, if you prefer) worked as hard an united as the family they are in We Are [Br]others, generating a must-have album for admirers of this more eccentric and experimental side of alternative music commonly referred to as Industrial Sludge Noise. Hence, if all their noises and distortions are your cup of tea, don’t forget to give them a shout on Facebook, and buy your copy of the album from their own BandCamp page or from the Cursed Monk Records’ BandCamp page. Much more than just regular brothers, Loïc, Lionel and Nicolas are extremely talented musicians, channeling all their energy and creativity into a very entertaining rock and electronic party, and therefore keeping underground alternative music relevant, vibrant and fresh.

Best moments of the album: Nothing, In Conflict and Angry.

Worst moments of the album: Possesed.

Released in 2019 Cursed Monk Records

Track listing
1. In Control 6:10
2. Nothing 3:15
3. In Conflict 3:15
4. Down 4:27
5. Opressed 5:41
6. I Am Here 2:53
7. Angry 6:04
8. Possesed 7:20
9. Not Your Dog 4:32
10. Pain 6:58

Band members
Loïc Beyet – guitar, voice, programming
Lionel Beyet – bass, programming, voice
Nicolas Beyet – guitar, voice

Album Review – Exuviated / Déliquescence EP (2019)

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Get ready to be smashed by 26 minutes of first-class Death Metal brought forth by a talented five-piece act hailing from “Hellgium”.

Forged in the fires of Marche-en-Famenne, a Walloon municipality located in the Belgian province of Luxembourg, in the year of 2009, when they released their debut EP entitled An Era’s Condemned, the unstoppable Death Metal squad comprised of Jean-Philippe Sonnet on vocals, Cédric Grandhenry and Renaut Van Oeyen on the guitars, Pierre Pish Minet on bass and Ahephaim on drums, collectively known as Exuviated, are ready to smash our heads once again with the ruthless music from their brand new EP Déliquescence. Featuring a beyond obscure artwork by the band’s own vocalist Jean-Philippe Sonnet (Threadbare Artwork), Déliquescence not only cements the name of the band in the underground extreme music scene, showing why they’ve already shared the stage with several renowned acts like Six Feet Under, Dark Tranquility, Suffocation and Cattle Decapitation (not to mention their concert at the always insane Wacken Open Air Festival), but it also paves a promising path for the band in the future, all in the name of our good old Death Metal.

Get ready for a heavy and demonic feast of Death Metal made in Belgium (or “Hellgium” as the band likes to call it) in the opening track Rupture, with Cédric and Renaut initiating the devastation with their flammable guitars while Jean-Philippe growls in a true Unleashed-inspired style before a somber break brings fear to our hearts, exploding once again into visceral extreme music until we’re treated to the instrumental piece Trouble, showcasing atmospheric guitar lines intertwined with heavier riffs and tribal beats. And this grim ambience sets the tone for the berserk Errance, where Jean-Philippe gnarls and shrieks demonically while Ahephaim sounds like a stone crusher on drums. In other words, this is ass-kicking Death Metal with a modern twist, offering over seven minutes of intricate and devilish sounds, ethereal passages and sheer violence and rage.

The next track, entitled Absence, is a more cinematic instrumental tune where the band seems like in a musical trance, and with Cédric and Renaut, together with Pierre, generating a vile atmosphere with their stringed weapons perfect for the absolute destruction that follows in Abîme, a classic Death Metal extravaganza infused with several modern extreme styles such as Deathcore and Grindcore, feeling and sounding dense throughout its entirety, with highlights to the amazing job done by the skillful Ahephaim with his brutality and refined technique on drums. Furthermore, it’s impressive how Exuviated are capable of composing Death Metal songs with over six minutes each and never sound boring or repetitive, proving how talented those Belgian metallers are.

In a nutshell, Déliquescence, which is available in full on Spotify and on YouTube, will certainly please all fans of both classic and contemporary Death Metal, leaving us all eager for more of Exuviated’s music in a not-so-distant future. Hence, let’s show our utmost support to the band by following them on Facebook, by subscribing to their YouTube channel, and mainly by purchasing a copy of their brand new incendiary EP from BandCamp, from Apple Music or from Amazon. And may Exuviated keep turning Belgium into “Hellgium” for many years to come, filling our ears with the visceral and violent sounds of our beloved Death Metal.

Best moments of the album: Errance.

Worst moments of the album: None.

Released in 2019 Independent

Track listing
1. Rupture 7:33
2. Trouble (Instrumental) 2:21
3. Errance 7:09
4. Absence (Instrumental) 2:58
5. Abîme 6:27

Band members
Jean-Philippe Sonnet – vocals
Cédric Grandhenry – guitars
Renaut Van Oeyen – guitars
Pierre Pish Minet – bass
Ahephaim – drums

Album Review – Of Blood and Mercury / Strangers EP (2019)

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A mix of dark pop and ambient with a touch of synthetic nostalgia from the 80’s by a Belgian duo not afraid of experimenting in music, giving us a hint of the concepts and harmonies to be feature on their upcoming album.

Brought into being in early 2018 in the city of Brussles, Belgium by vocalist Michelle Nocon (Bathsheba, Leviathan Speaks, Serpentcult) and multi-instrumentalist Olivier Lomer-Wilbers (Enthroned, Emptiness), Avantgarde Noir Rock project Of Blood and Mercury is not exactly what you would expect from the fusion of musicians from extreme bands such as Enthroned, Pro-Pain, Bathsheba and Luminance, but that doesn’t mean it’s bland or tiresome. Quite the contrary, Michele and Olivier united their creativity in a very vibrant and detailed musical style that could be described as a mix of dark pop and ambient, with a touch of synthetic nostalgia from the 80’s.

As their first adventure through the realms of avantgarde music, Of Blood and Mercury are offering us an enthralling three-track EP entitled Strangers, where Michelle and Olivier have the support of bassist David Alexandre Parquier (Soror Dolorosa) and drummer Jonas Sanders (Emptiness, Pro-Pain, Resistance) to help them give life to their very distinct project. Recorded in the caves of Brussels’ Blackout Studio, Strangers gives us a hint of the concepts and harmonies to be feature on their upcoming 10-track album to be released later this year, with the melancholic tones of Michelle’s voice beautifully depicting the shadows that drag the wonders of nature to their ghostly forms.

Ethereal sounds ignite the mesmerizing Strangers, where you’ll feel embraced by Michelle’s vocals while she recites the song’s delicate lyrics (“Dusty words remember a lost cause. A feeling of a half filled glass. / Half poison, half wine. Half bitter, half sweet. some steel, some rust, some victory.”), with an extra kick added to the musicality thanks to the precise drums by Jonas. Put differently, this is first-class heavier-than-usual Dark Wave penetrating deep inside our hearts and souls, which can also be said about the following tune, titled Walk the Void. Inspired by the music by Enya with a modern and melodic twist, Of Blood and Mercury generate an inebriating atmosphere throughout the entire song, with Olivier doing a great job with his precise synths, keys and guitar lines. Furthermore, it definitely feels like the band is focusing a lot more on the atmosphere rather than just the music itself, and the final result is absolutely amazing. And the last song of the EP, Estranged, continues to wander between the rock and electronic genres in a very gentle and serene way, inviting us to simply close our eyes and let the hypnotic waves crafted by Michelle, Oliver & Co. invade our senses. In addition, some people like to say that musicians are the poets of the modern era we’re living in, and based on the lyrics crafted by Michelle and Olivier that statement is more than valid (“Estranged one, / in oblivion. / The disease has sprung. / Wear the mask of Cain. / ‘Cause you still haven’t learned to exit the dream. / And I still feel numb. / Estranged one, / in oblivion. / Symmetry gone wrong, / infertile brain.”).

You can listen to the entire EP by clicking HERE, follow Of Blood and Mercury on Facebook, and obviously show your true support to this classy duo by purchasing their debut EP directly from their BandCamp page. Now it’s just a matter of waiting for a full-bodied release by Of Blood and Mercury in the coming months, and until then we can satisfy our craving by listening to Strangers again, again and again, letting our minds and souls wander through the vast and melancholic lands of the distinct Avantgarde Noir Rock presented to us all by two veterans of the extreme music scene who are not afraid of experimenting and trying new musical styles and nuances, consequently showing the world there is no such thing as boundaries for musicians who create music from the bottom of their hearts.

Best moments of the album: Strangers.

Worst moments of the album: None.

Released in 2019 Independent

Track listing
1. Strangers 4:54
2. Walk the Void 5:30
3. Estranged 4:58

Band members
Michelle Nocon – vocals, programming
Olivier Lomer-Wilbers – guitars, keyboards, programming

Guest musicians
David Alexandre Parquier – bass
Jonas Sanders – drums, percussion

https://youtu.be/ZJBAdslwL1k

Album Review – When Plagues Collide / Tutor of the Dying (2018)

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A superb amalgamation of melodic riffs and sweeping solos embraced by the beauty and finesse of symphonic music, blasted by a Belgian outfit that’s among us to dictate violence and spread the plague.

As total strangers, but sharing the same passion for heavy music, five friends met in June 2016 with the same goal in mind, which was translating their vision of life and musical ideas into a genre that’s not well known or developed among headbangers yet, but that has tons of potential to become your next favorite thing in metal. I’m talking about Symphonic Deathcore, an amalgamation of sounds and styles that encompasses melodic riffs and sweeping solos embraced by the beauty and finesse of symphonic music, and there’s no better band to introduce you to this thrilling new genre than Belgian metallers When Plagues Collide (a name standing for the reflection of our modern-day society and, therefore, allowing a critical view on social issues) and their debut full-length opus, titled Tutor of the Dying.

Believe me when I say you’ll be absolutely stunned by the complex and brutal creations by this Aarschot-based squad, comprised of Wouter Dergez on vocals, Joris Dergez and Santy Van der Mieren on the guitars, Bastiaan Barbieux on bass and Siebe Hermans on drums. Featuring an old school Death Metal-inspired artwork by Hans Trasid of Disart Design, as well as the very special guest musicians Ben Duerr (Shadow of Intent, Hollow Prophet), Luke Griffin (Acrania, Human Error) and Tim De Ridder (The Seventh, Before He Shot her), Tutor of the Dying is highly recommended for fans of bands like Fleshgod Apocalypse, Make them Suffer, Martyr Defiled and Molotov Solution, with each one of the album’s 11 tracks “dictating violence and spreading the plague”, like the band itself would say.

If you’re curious to know what Symphonic Deathcroe is all about, simply hit play and let cryptic sounds and noises from the underworld kick off the six-minute aria Messengers of the Holy Falsehood, being gradually accompanied by a choir and background symphonic elements until all hell breaks loose to the demented beats by Siebe and the lunatic vociferations by Wouter, with both Joris and Santy firing truly incendiary riffs from their axes. Fertilization with the Body of Men is a lot more metallic and closer to traditional Metalcore, with Bastiaan and Siebe shaking the foundations of the earth with their rumbling instruments, not to mention how the background piano and other symphonic elements bring an ethereal touch to the band’s sonic havoc, whereas Legion is another ass-kicking, demolishing tune by the quintet where Wouter sounds even more enraged and demented than before, with the strident sound of the guitars beautifully penetrating deep inside our minds.

And their level of destruction and rage only grows in Dictating Violence, a Deathcore tune perfect for slamming into the pit featuring the first guest of the album, vocalist Ben Duerr, blasting sheer brutality and wrath. Then an eerie and somber semi-acoustic bridge titled Als Imperatieve Grootmacht (which means “as an imperative superpower”, from Dutch) showcases devilish vocalizations and enigmatic words, setting the tone for the fulminating title-track Tutor of the Dying, bringing the most demonic, high-pitched screeches by Wouter, while Siebe shows no mercy for his drums nor for our necks. In other words, this is top-notch Deathcore to the masses with a phantasmagorical and amazing atmosphere, which can also be said about Fleshmould, where guest vocalist Luke Griffin growls and barks like a beast together with Wouter while the band’s guitar duo continues their insane shredding feast for our total delight.

An imposing intro evolves into a bold and introspective creation named Belials Archetype, led by the visceral riffs by both Joris and Santy and also presenting truly wicked lyrics (“Malevolent thoughts slither through the mind of this broken man / The weeping eyes of his unborn child reflecting on the name of his murdered wife / The ever cold breeze carries her scent as reminder of the elegance of life / In her fragile existence she achieves in maintaining the breath of belief in the essence of his being / Still death and reunification offer solace and liberation”); and When Plagues Collide continue their deranged feast of sounds and noises in Marked for Destruction, featuring guest vocalist Tim De Ridder, all embraced by spot-on symphonic elements and without showing any signs of the band slowing down. Quite the contrary, they keep taking their violent Deathcore to new heights, obviously making us fans of extreme music happy. Lastly, presenting a sonority slightly different from the previous songs we have Corpus Maleficus, more symphonic and less barbaric than its predecessors but of course still keeping intact their Deathcore roots, with highlights to the great sync between Siebe’s beats and the flammable guitars by Joris and Santy, before the orchestral, Stygian outro Vows captivates our senses and depressurizes our souls from all the devastation brought forth by the band throughout the entire album.

As already mentioned, I’m certain that after taking a more detailed listen at Tutor of the Dying in its entirety on YouTube or on Spotify you’ll get addicted to Symphonic Deathcore, and in order to show your appreciation for the music by When Plagues Collide don’t forget to follow them on Facebook and to subscribe to their YouTube channel. In a nutshell, the excellent Tutor of the Dying, available from the band’s BandCamp page or webstore, as well as from Chugcore’s BandCamp page, from iTunes and from Amazon, is the utmost depiction of what high-end Symphonic Deathcore is all about, always dictating violence, always spreading the plague and, above all that, showing us all When Plagues Collide are among us to stay (and slay).

Best moments of the album: Messengers of the Holy Falsehood, Dictating Violence and Tutor of the Dying.

Worst moments of the album: Corpus Maleficus.

Released in 2018 Chugcore

Track listing
1. Messengers of the Holy Falsehood 6:27
2. Fertilization with the Body of Men 4:25
3. Legion 4:16
4. Dictating Violence (feat. Ben Duerr) 3:42
5. Als Imperatieve Grootmacht 2:41
6. Tutor of the Dying 4:49
7. Fleshmould (feat. Luke Griffin) 3:28
8. Belials Archetype 3:25
9. Marked for Destruction (feat. Tim De Ridder) 4:00
10. Corpus Maleficus 4:18
11. Vows 2:54

Band members
Wouter Dergez – vocals
Joris Dergez – guitar
Santy Van der Mieren – guitar
Bastiaan Barbieux – bass
Siebe Hermans – drums

Guest musicians
Ben Duerr – vocals on “Dictating Violence”
Luke Griffin – vocals on “Fleshmould”
Tim De Ridder – vocals on “Marked for Destruction”

Album Review – Moss Upon The Skull / In Vengeful Reverence (2018)

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A crushing and intricate album of “Organic Dissident Death Metal” made in Belgium, heavily influenced by esoteric, alchemical principles and alternative history.

There’s nothing better than some high-quality “Organic Dissident Death Metal” made in Belgium to warm up a cold December day, right? If what I’m saying to you makes no sense, wait until your let your ears be flooded with the craziness, intricacy and rage blasted by Brussels-based Progressive Death Metal quartet Moss Upon The Skull, who are ready to crush mankind with their brand new opus titled In Vengeful Reverence. After two promising EP’s, the band is back with a revelatory first full-length, heavily influenced by esoteric, alchemical principles and alternative history, as put forward by luminaries like Michael Tsarion, Terrence McKenna, Aleister Crowley and John Dee. “The album title refers to dealing with frustration, hardship or threat, not in an emotional way but with serene rationality, in order to overcome the adversity and remove the cause of the challenge,” explains singer and guitarist Jef Van de Weghe. “The blue flame concept informing the album represents the release of anger and frustration in a constructive and creative way. It makes sense to channel these energies into manipulating the world around us to serve our purpose, call it magick or willpower.”

Brought into being in 2010 from the same swamps on which Brussels was founded, with the intent of playing unconventional Progressive Death Metal with a strong focus on philosophy, spiritualism, decay, and the mysteries of nature and the after-life, the band comprised of Jo Willems on lead vocals, the aforementioned Jef Van de Weghe on vocals and guitar, Mathijs Provoost on bass and vocals, and Jense Philips on drums enrich the intricate structures of their music with Black Metal nuances and unique melodic flourishes, while a superlative and overtly technical rhythm section works in unison with inventive guitars, aggressive growls and sporadic dark synths. Featuring a minimalistic and very stylish cover art by JF Lemay Illustration, In Vengeful Reverence has everything it takes to become a cult album in the underground extreme music scene, hitting you hard with an avalanche of the esoteric and pulverizing music by those Belgian metallers.

Groovy and rumbling waves permeate the air in the opening track Reverse Celebration before Jo begins growling deeply and Jense starts smashing his drums in a precise and progressive manner, not to mention the Cannibal Corpse-inspired riffs by Jef. Leaning towards classic Death Metal, Disintegrated brings forward an entertaining fusion of the crushing sonority blasted by bands like Gojira, Deicide and Unleash, among others. Furthermore, Jo doesn’t get tired of roaring the song’s old school lyrics like a beast (“In submission disaffected / Forever they scorn defeat / Through fire resurrected / No longer their pride must bleed / Raging essence / Conceiled within / Released once more /Consumed by sin”); whereas Impending Evil exhales pure Progressive Death Metal, with highlights to the sonic extravaganza delivered by Jense on drums and the always intricate and cutting riffs and solos by Jef.

Back to a more straightforward and aggressive sonority, the quartet fires huge dosages of rage and insanity through their incendiary riffs and beats in Lair Of The Hypocrite, with Jo leading his horde by growling deeper and deeper as the music progresses. And how about more dissident, obscure and visceral Death Metal for your avid ears? That’s what the band offers in Serving The Elite, with Jef firing his classic, complex riffs and solos while Mathijs makes sure the atmosphere remains dense and thunderous with his bass lines; and they get even more wicked and progressive in Peristalith, with the stringed duo Jef and Mathijs hammering their instruments mercilessly, also presenting some of the most complex drumming of the whole album.

The title-track In Vengeful Reverence keeps the level of dementia and electricity extremely high, with Jo once again effectively delivering his harsh gnarls while Mathijs and Jense are bestial with their respective bass punches and demonic beats. Then we have The Serpent Scepter, slower and more introspective, bringing elements from Sludge Metal and Post-Metal, and albeit not as compelling as its predecessors, it’s still solid and heavy-as-hell, also presenting austere lyrics (“Deception / The treachery runs deep / Caduceus / Sends the awake to sleep / Announcing their demise / Mercury about to rise / Announcing their demise / Silencing their cries”), and Spheres Of Malevolence, the shortest of all tracks and a lesson in Progressive Death Metal, brings forward rumbling bass lines, detailed and piercing riffs and beats, and another rabid performance by Jo on vocals. Lastly, it’s time for the quartet to deliver one final onrush of progressiveness, rage and lunacy entitled Unseen, Yet Allseeing, with Mathijs and Jense dictating the song’s frantic rhythm beautifully.

In a nutshell, although Belgium might be a small country compared to behemoths like the United States, France and Germany, they’re surely a beyond prolific country when it comes to heavy music, with Moss Upon The Skull being another amazing depiction of what Belgian metal is all about. Hence, don’t forget to show your utmost support to those four talented metallers hailing from “le pays du surréalisme” by following them on Facebook, and by purchasing In Vengeful Reference (available for a full listen on YouTube) from the I, Voidhanger Records’ BandCamp page, from the Season of Mist’s webstore (US and Europe), or from Amazon, letting their Organic Dissident Death Metal penetrate deep inside your mind and, therefore, generating some nice and fresh moss upon your own skull.

Best moments of the album: Disintegrated, Lair Of The Hypocrite and Spheres Of Malevolence.

Worst moments of the album: The Serpent Scepter.

Released in 2018 I, Voidhanger Records

Track listing
1. Reverse Celebration 4:16
2. Disintegrated 3:21
3. Impending Evil 4:59
4. Lair Of The Hypocrite 4:30
5. Serving The Elite 4:21
6. Peristalith 3:55
7. In Vengeful Reverence 3:49
8. The Serpent Scepter 5:22
9. Spheres Of Malevolence 2:46
10. Unseen, Yet Allseeing 5:33

Band members
Jo Willems – vocals
Jef Van de Weghe – guitars, clean/backing vocals
Mathijs Provoost – bass, clean/backing vocals
Jense Philips – drums