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Concert Review – Abbath (The Phoenix Concert Theatre, Toronto, ON, 05/12/2024)

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Despite a ridiculously small crowd, the iconic Abbath and his horde didn’t care at all about that and put on a fantastic performance in a celebration of pure Black Metal in Toronto.

OPENING ACTS: Final Gasp, Black Anvil and Imperial Triumphant

It was a very weird night at The Phoenix Concert Theatre on Sunday, when FINAL GASP, IMPERIAL TRIUMPHANT, BLACK ANVIL and ABBATH presented their Dread Reaver North America 2024 to maybe less than 200 people (at a venue that supports close to 1,500 people), and I knew something was odd when I got to the venue and, to my total surprise, the parking lot in front of it was absolutely empty, when it’s usually full hours before any concert there. Based on what other people told me, the reasons for that very small crowd were of course Mother’s Day, the show being on a Sunday, and above all that, the fact that Abbath played the night before in Kitchener, which is only one hour from Toronto, so no one from any of the neighboring cities decided to come to Toronto as they could enjoy the same show on a much more pleasant Saturday night. It’s known that Noel Peters of Inertia Entertainment tried to move the show to Lee’s Palace, but that was already booked for something else. There wasn’t even a barrier for the photographers, so Keith Ibbitson of Metal Paparazzi and the others like Kim and Miles simply had to share the floor section with the crowd. It was very weird, but it is what it is, and in the end all four bands kicked ass on stage which is what really matters.

From when the doors opened at 6pm until Boston, Massachusetts-based Gothic Metal/Deathrock band FINAL GASP hit the stage, I don’t think there were even 30 people at the venue, but the band didn’t care about the low attendance and put on a great show, blasting sheer heaviness from their instruments nonstop. I have zero idea of which songs they played, but I know that their 2023 album Mourning Moon is really good, and that everyone should take a nice listen at it on BandCamp or on Spotify. It’s a real bummer that the whole night was a flop in terms of attendance because bands like Final Gasp are very entertaining live, so hopefully they’ll come back to Toronto supporting another metal giant in the coming months, and this time with a decent crowd to bang their heads together with the band.

Band members
Jake Murphy – vocals
James Forsythe – guitars
Peter Micanovic – guitars
Sean Rose – bass
Eric Lester – drums

After a short and very quiet break, New York’s own Black/Thrash Metal beast BLACK ANVIL kicked off their infernal set to a bigger but still ridiculously small crowd, and just like Final Gasp the guys from Black Anvil were extremely professional and put their hearts and souls into their performance without caring at all if there were 10 or 2,000 people in the audience. There were zero mosh pits again, which was very odd, but the show must go on, right? Anyway, their drummer R.G. is a demented beast and it’s worth every penny of the ticket price alone, and hopefully one day he’ll get the recognition he deserves for being so great behind his drums. P.D. was also infernal on vocals and bass, leading his demonic horde in great fashion and getting a very warm feedback form the crowd. Go check their music on BandCamp and on Spotify, like their 2022 album Regenesis, because their music is amazing and perfect for some vigorous headbanging.

Band members
P.D. – vocals, bass
Sos – guitars
Alex Volonino – guitars
R.G. – drums

Another short and silent break, and it was then time for the most unique attraction of the night, New York-based Avant-garde/Technical Black/Death Metal entity IMPERIAL TRIUMPHANT, to blast our faces with an extremely heavy, cryptic and chaotic performance, again sounding very energetic and professional even in front of the night’s tiny crowd. Still promoting their 2022 album Spirit of Ecstasy, the trio formed of Zachary Ezrin on vocals and guitars, Steven Blanco on bass and backing vocals, and Kenny Grohowski on drums showed no mercy for our souls with a dissonant, mesmerizing and way too foggy show, stunning us all and getting us really pumped for Abbath. Steven even hit the floor section with his bass, playing in the middle of the 100 something fans at the venue, making their whole concert more intimate and gripping. Hence, if you know nothing about those mysterious creatures, don’t forget to check their music on BandCamp and on Spotify, as I’m sure you’ll have a good time listening to their eerie creations.

Band members
Zachary Ezrin – vocals, guitars
Steven Blanco – bass, backing vocals
Kenny Grohowski – drums 

ABBATH

As already mentioned, due to the Saturday gig in Kitchener, most fans who were supposed to be in Toronto on Sunday to see Bergen, Norway’s own Black Metal institution ABBATH didn’t come to Sunday’s show, but the brave ones who managed to be at the venue were treated to a very special and intimate concert by Abbath and his horde, and let me tell you that it was infernal, heavy and bold from start to finish. The whole band played all songs from their setlist to perfection, and the mix of songs from Abbath’s three solo albums, those being his self-titled debut, Outstrider, and Dread Reaver, such as To War!, Hecate, Ashes of the Damned, and my favorite of the night, Winterbane, with some Immortal and I songs like In My Kingdom Cold, Warriors, and One by One, turned the night into a true celebration of classic Black Metal. No mosh pits either, which was even more ridiculous, but there wasn’t much we could do about that.

My only complaint about their show was the excessive smoke during all songs, to the point we couldn’t see anything from Abbath’s attire or makeup. Why does he wear all that if the fans can’t see shit due to the smoke? Well, at least the music as phenomenal, which is what truly matters in the end. Speaking of Abbath, the guy was a beast onstage, showing that his rehab was more than successful and that he still has a lot of fuel to burn in the coming years or even decades for our absolute delight. It was a beyond memorable show, even for a ridiculous crowd, but I’m sure Abbath will return to Toronto soon, and next time the scheduling and logistics will be better managed so he can see what the fans in Toronto can do when he’s playing his visceral Black Metal onstage.

Setlist
To War!
Acid Haze
Dream Cull
Hecate
Ashes of the Damned
Dread Reaver
In My Kingdom Cold (Immortal cover)
Beyond the North Waves (Immortal cover)
Nebular Ravens Winter (Immortal cover)
Warriors (I cover)
Battalions (I cover)
The Artifex
One by One (Immortal cover)
Winterbane
All Shall Fall (Immortal cover)

Band members
Abbath – vocals, guitars
Ole André Farstad – lead and acoustic guitars
Andreas Salbu – bass
Ukri Suvilehto – drums

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Album Review – Immortal / War Against All (2023)

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Demonaz and his Immortal return with another striking album of classic Black Metal, once again inspired by the stunning Norwegian winter, its landscapes and solitude.

Almost five years after the sensational Northern Chaos Gods, the iconic vocalist and guitarist Demonaz and his Bergen, Norway-based Black Metal institution Immortal are back from the underworld with a bitterly cold, thrilling new opus titled War Against All, the tenth studio album in the band’s undisputed career. Recorded by Herbrand Larsen and Arve Isdal at Conclave & Earshot Studios, produced by Arve Isdal, mastered by Iver Sandøy at Solslottet Studio, and displaying a classic artwork by Mattias Frisk, War Against All is once again inspired by the Norwegian winter, its landscapes and solitude, all embraced by the first-class, acid and heavy-as-hell music masterfully crafted by Demonaz alongside session musicians Ice Dale (aka Arve Isdal of Enslaved and Audrey Horne) on bass and additional guitars, and Kevin Kvåle (of Gaahls Wyrd and From the Vastland) on drums, turning it into a must-listen for admirers of Norwegian Black Metal, and positioning it among the best albums of the year hands down.

Immortal begin their demonic Black Metal attack with the stunning, classic title-track War Against All, with Demonaz kicking some fuckin’ ass on vocals supported by the thunderous drums by Kevin and the massive bass lines by Ice Dale; whereas the lyrics in Thunders Of Darkness reek of Immortal (“Ride, thunderous hordes of the sky / Gates from the fiery side / Blackened clouds hold the sky / Rise, the forces of battle unite / Battalions and warriors lines / The enemies into the fire”) while the guitars by Demonaz and Ice Dale sound absolutely scorching. It’s then time to slow things down a bit and bang our heads to the heavy and obscure mid-tempo extravaganza Wargod, again showcasing a fantastic vocal performance by Demonaz; and back to their more ferocious mode, Demonaz and his henchmen bring forth an old school Norwegian Black Metal feast titled No Sun, offering our avid ears that old school flesh-ripping riffage by Demonaz we all love so much.

We’re then treated to another fantastic, bitterly cold creation by Immortal titled Return To Cold, taking us on a one way journey into the Norwegian winter to the raspy vociferations by Demonaz while Kevin’s drums dictate the song’s pace in great fashion, before the trio fires the instrumental piece Nordlandihr, sounding solid, detailed and heavy as usual. However, it’s a bit too long for an instrumental song, and I bet the addition of vocals would have brought the extra kick it needed. The song that carries the name of such iconic band, Immortal, is a lecture in Black Metal, presenting spot-on lyrics (“Light of the moon, enthroned in my mind / I stand in the storm that has taken my soul / I am alive, timeless and strong / A dark energy, the mountain of me”) embraced by a flawless instrumental spearheaded by Demonaz’s incendiary riffs, and last but not least, the icing on the cake is offered to us all in the form of the beautiful Blashyrkh My Throne, with Demonaz blasting his trademark roars and infernal riffs while Kevin and Ice Dale make the earth tremble with their somber kitchen, putting a climatic ending to such epic album.

The gates to the Norwegian Black Metal realm ruled by Immortal are open once again, and you can enjoy their latest installment in all of its glory on YouTube and on Spotify, and order your copy and listen on your favorite platform by clicking HERE. Demonaz is also waiting for you on Facebook and on Instagram with all things Immortal, including tour dates, and on YouTube with more of his Black Metal magic. War Against All is at the same time cold and incendiary, brutal and melodic, harsh and enfolding, proving why Immortal are still one of the most important bands in the history of Black Metal worldwide, and therefore fueling Demonaz to keep moving forward through the vast and gelid Norwegian lands for our absolute delight.

Best moments of the album: War Against All, Thunders Of Darkness, Immortal and Blashyrkh My Throne.

Worst moments of the album: Nordlandihr.

Released in 2023 Nuclear Blast

Track listing
1. War Against All 3:26
2. Thunders Of Darkness 3:48
3. Wargod 4:38
4. No Sun 4:16
5. Return To Cold 4:31
6. Nordlandihr 7:12
7. Immortal 4:14
8. Blashyrkh My Throne 5:58

Band members
Demonaz – vocals, guitars

Guest musician
Ice Dale – bass, additional guitars
Kevin Kvåle – drums

Album Review – Phantom Fire / Eminente Lucifer Libertad (2023)

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This rebellious Black and Speed Metal duo hailing from Norway is ready to reap again to the sound of their sulfurous sophomore opus.

Hailing from Bergen, Norway, Black/Speed Metal outfit Phantom Fire includes members from such bands as Gaahls Wyrd and Krakow, but on evidence of their first public recording, the 2021 two-song EP Return of the Goat, Phantom Fire are definitely their own band. Now in 2023, little more than a year after the release of their full-length opus The Bust of Beelzebub, the band formed of Eld (aka Frode Kilvik) on vocals and bass, and Kjartan (aka Kjartan Grønhaug, or simply K_G) on the guitars and electronics, is ready to reap again with their sophomore opus, titled Eminente Lucifer Libertad. Produced, mixed and mastered by Enslaved’s own Iver Sandøy (who also plays drums in the entire album) at Solslottet Studio, displaying a sinister artwork by Per “Hellbutcher” Gustavsson (Nifelheim, Necrocurse), and featuring eerie narrations by Ferruccio Goia, the album keeps the duo’s core sound intact and yet show palpable new sides of their music across its slightly longer and daresay-stronger content, riding the lightning of all-out speed as often as they moodily march to pagan vastlands, sometimes all in the span of the same song.

Not a single second of peace is offered to our blackened souls in Bloodshed, with Eld roaring manically accompanied by the visceral riffs by Kjartan in a fast and furious Thrash Metal party with Hardcore influences, followed by the weird interlude Eminente, which sets the tone for Derive from Ash, a mid-tempo Black and Thrash Metal aria where Eld’s vocals sound inspired by the one and only Abbath, with his bass lines hitting us hard in the head supported by the solid drumming by Iver. Then back to a more ferocious mode, it’s truly exciting how the duo managed to blend the best elements from Black and Thrash Metal in their music as you can sense both styles at once in Ritual, led by the fulminating riffage by Kjartan, morphing into the devilish Satanic Messenger, where eerie vociferations are accompanied by electronic sounds and noises crafted by Kjartan. Not exactly the type of track hardcore fans of thrash would expect, but it does its job in a decent way.

Lucifer is another idiosyncratic track by the band that builds the atmosphere for De Taptes Dans, where we face almost three minutes of obscurity and violence. Furthermore, Iver is once again brutal on drums providing Eld with exactly what he needs to bark like a demonic entity; and investing in a rebellious, punk-ish attitude the duo fires the heavy tune Black Night, where their riffs and bass lines walk hand in hand in the name of extreme music. Mara is a wicked creation overflowing progressiveness, groove and rage with Kjartan hammering his guitar mercilessly, extracting pure Black Metal from his riffs, and the band offers us all another short and sweet interlude titled Libertad before kicking our asses one last time in Pentagram, the longest and most detailed of all songs where Eld’s bass and Iver’s beats bring sheer groove to the music, sounding more like a summoning of evil spirits than an actual metal song. The final result is truly compelling, though.

The insurgent duo of Phantom Fire is ready to kick your ass armed with their flammable new album, and in order to show them you’re a true servant of our buddy Lucifer you can start following them on Facebook and on Instagram, stream more of their music on Spotify, and purchase your copy of Eminente Lucifer Libertad from the Edge Circle Productions’ BandCamp page or from their webstore in the United States or in Europe, as well as from Apple Music. In the end, the album is a rowdier listen but also one that’s stoic or even ceremonial; the chill of the tundra coats all of Eminente Lucifer Libertad, and so does the burning light of Lucifer (up)rising from beneath, always in the name of our beloved extreme music.

Best moments of the album: Bloodshed, De Taptes Dans and Mara.

Worst moments of the album: Satanic Messenger.

Released in 2023 Edge Circle Productions

Track listing
1. Bloodshed 2:33
2. Eminente 0:10
3. Derive from Ash 4:58
4. Ritual 3:42
5. Satanic Messenger 3:32
6. Lucifer 0:57
7. De Taptes Dans 2:49
8. Black Night 1:42
9. Mara 2:55
10. Libertad 0:19
11. Pentagram 6:24

Band members
Eld – vocals, bass
Kjartan – guitars, electronics

Guest musicians
Iver Sandøy – drums
Ferruccio Goia – narration

Album Review – Abbath / Dread Reaver (2022)

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Riff-maestro Abbath Doom Occulta returns with total metal mayhem in the form of his third full-length opus, cementing his place among the Black Metal hierarchy.

After the successful releases of his 2016 debut self-titled album and the 2019 opus Outstrider, Bergen, Norway-based Black Metal riff-maestro Abbath Doom Occulta is ready to cement his place among the metal hierarchy with Dread Reaver, his third album with his eponymous project Abbath. Recorded at Dub Studio with additional recordings at Bergen Lydstudio, produced by Endre Kirkesola and Dag Erik Nygaard, mixed by Abbath himself and Endre Kirkesola, and mastered by Maor Appelbaum at Maor Appelbaum Mastering, Dread Reaver might not represent a revolution in Black Metal, but it’s indeed a vibrant and visceral album of extreme music by the aforementioned Abbath on vocals, guitars and bass together with Ole André Farstad on lead and acoustic guitars, Mia Wallace on bass, and Ukri Suvilehto on drums, offering the listener his signature blend of blistering Speed Metal, traditional metal influences, and of course a touch of ice cold Black Metal, the perfect recipe for total metal mayhem.

Let’s cut to the chase and join Abbath in pitch black darkness to the opening tune Acid Haze, a demolishing Black Metal extravaganza led by the scorching riffs by Abbath and Ole supported by the bestial bass by Mia and the infernal beats by Ukri, and continuing their path of devastation the band brings forward Scarred Core, showcasing more of Mia’s crushing bass jabs while Abbath roars the song’s austere words like a demonic entity and Ole delivers an ass-kicking guitar solo made in hell. Then a sinister acoustic intro sets the stage for Abbath to kill again in Dream Cull, sounding less violent but absolutely obscure and evil from start to finish with Ukri dictating the song’s galloping pace; whereas Ukri keeps hammering his drums in Myrmidon accompanied by the razor-edged riffs by Abbath and Ole. In other words, it’s Abbath’s trademark Black Metal infused with hints of classic Heavy Metal and Hard Rock, and the final result is obviously awesome.

Mia’s rumbling bass returns in The Deep Unbound, a bestial composition that will smash you like an insect to the venomous growling by Abbath; and more of the band’s raw Black Metal is offered in Septentrion, with the pounding drums by Ukri walk hand in hand with the incendiary riffage by Abbath and Ole. Their rendition to Metallica’s Trapped Under Ice (check out an original live version of it HERE) is indeed a fun ride, with Abbath’s raspy vocals adding a touch of malignancy to the overall result; and our Norwegian black metaller still has a lot of fuel to burn together with his horde in The Book Of Breath, another straightforward Black Metal tune where Ukri fires violent, melodic beats nonstop, while the title-track Dread Reaver closes the regular version of the album with a dense and heavy atmosphere spearheaded by Abbath’s demonic gnarls and Mia’s smashing bass lines. However, if you go for the physical edition of the album you’ll be treated to an amazing bonus track, the band’s fun cover version for Motörhead’s Make My Day (check the original version HERE), where Abbath sounds like Lemmy incarnate on vocals for our total delight.

Abbath’s brand new effort can be appreciated in its entirety on YouTube and on Spotify, and of course if you consider yourself a true servant of Norwegian Black Metal you can purchase your favorite version of the album by clicking HERE, and also support Abbath and his horde by following the band on Facebook and on Instagram to stay up to date with their news, tour dates and so on. With Dread Reaver it feels like Abbath is reaching the desired shape and form of his music and style, and hopefully he’ll keep delivering high-quality Black Metal for admirers of the genre for many years to come now that he seems to be free from drugs and alcohol, focusing only on what really matters, which is crafting devilish music just the way we like it in the name of darkness.

Best moments of the album: Acid Haze, Myrmidon and The Deep Unbound.

Worst moments of the album: Septentrion.

Released in 2022 Season of Mist

Track listing
1. Acid Haze 4:51
2. Scarred Core 3:29
3. Dream Cull 4:15
4. Myrmidon 4:33
5. The Deep Unbound 4:07
6. Septentrion 4:28
7. Trapped Under Ice (Metallica cover) 3:59
8. The Book Of Breath 4:35
9. Dread Reaver 4:43

CD bonus track
10. Make My Day (Motörhead cover) 4:16

Band members
Abbath – vocals, guitars, bass
Ole André Farstad – lead and acoustic guitars
Mia Wallace – bass on “Acid Haze”, “Scarred Core”, “The Deep Unbound” and “Dread Reaver”
Ukri Suvilehto – drums

Album Review – Enslaved / Utgard (2020)

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Once again inspired by Norse mythology, one of Norway’s most prominent bands of all time returns with more of their early Black Metal roots infused with experimentations with 70’s Progressive Rock.

Since their inception in the distant year of 1991, Bergen, Norway-based Progressive Black/Viking Metal horde Enslaved has continued to push their sound into new territories and remain fresh and relevant with each one of their records, which is also the case with their brand new opus entitled Utgard, the fifteenth studio album in their undisputed career. Currently comprised of vocalist and bassist Grutle Kjellson, guitarists Arve Isdal and Ivar Bjørnson, keyboardist Håkon Vinje and drummer Iver Sandøy, the band’s music once again draws heavily on the Viking cultural and religious heritage of their home country for inspiration, with most of the band’s lyrics relating to Norse mythology. Embraced by a somber artwork by Norwegian artist Truls Espedal, Utgard is titled after a location in Norse mythology, even including some Norse lyrics and song titles, while at the same time displaying the band’s early Black Metal roots infused with their experimentations with Progressive Rock from the 70’s, resulting in a very entertaining album for both diehard fans of the band and newcomers to their Viking realm.

Ritualistic vocalizations ignite the flammable and melodic Fires In The Dark, before the acoustic guitars by Arve and Ivar take us to desolate, bitterly cold Norwegian lands in a beautiful depiction of their modern-day Progressive Black Metal. Furthermore, Grutle, Håkon and Iver have a healthy vocal duel with their respective harsh roars and serene clean vocals, increasing the song’s taste considerably. Then leaning towards their more classic Black Metal, but of course also providing their fans elements from their current musical stage, we have Jettegryta, where Iver is on fire with his blast beats and intricate fills while Grutle growls and gnarls in a dark and captivating manner; followed by Sequence, more rhythmic and less visceral than its predecessors, with Grutle’s gnarls being once again effectively supported by his bandmates’ backing vocals. However, the guitar solos seem a bit disconnected from the rest of the music, resulting in a sound that’s not as exciting as expected in the end. Fortunately, in Homebound the band gets back on track, offering our ears beautiful, poetic words vociferated rabidly by Grutle (“When gold blinds / I will see beyond the false torches / The howling will guide us / Walking the plains between worlds / When houses fall / I will be the pillar in the hail / Unmoving we travel / Crossing oceans in mythological dreams”) while the music remains imposing and vibrant from start to finish.

In Utgarđr, a cryptic, hypnotizing interlude presenting deep vocalizations, we face freezing background sounds until Enslaved come ripping once again with Urjotun, blending their raw sonority with modernized and even electronic sounds and tones from 80’s pop music. As a matter of fact, the final result is truly exciting, as if it was taken from a cult action movie from that same decade. And strident riffs and the pounding drums by Iver kick off the grim and furious Flight Of Thought And Memory, a lecture in contemporary Progressive Black and Viking Metal alternating between obscure savagery and melancholic passages, or in other words, a very detailed, multi-layered composition tailored for admirers of the genre. Back to a more straightforward musicality the quintet offers us all the melodic Storms Of Utgard, with the guitars by both Arve and Ivar permeating the air in great fashion, boosted by the song’s galloping beats and celestial keys, and they put a gentle and inspiring closure to the album with Distant Seasons, a semi-acoustic ballad where we’re treated to serene clean vocals infused with tribal and primeval nuances, featuring spot-on backing vocals by guests Inger Sunneva Peersen and Sonja Elisabeth Peerson.

We must all admit it’s a real pleasure to witness Enslaved experimenting and developing new sounds album after album, and in Utgard, which by the way is available in full on YouTube and on Spotify, let’s say they nailed it, offering us all a well-balanced mix of their more violent roots with their present progressiveness and harmony. Hence, don’t forget to give those Norwegian metallers a shout on Facebook, to follow them on Instagram, to subscribe to their YouTube channel, and to purchase Utgard from their own BandCamp page (or simply click HERE for all location where you can find the album), and may Enslaved keep on rocking like there’s no tomorrow through the realms of Viking Metal and Progressive Rock for many decades to come in their gorgeous and mythical homeland.

Best moments of the album: Jettegryta, Homebound and Flight Of Thought And Memory.

Worst moments of the album: Sequence.

Released in 2020 Nuclear Blast

Track listing
1. Fires In The Dark 5:59
2. Jettegryta 4:56
3. Sequence 6:39
4. Homebound 5:29
5. Utgarđr 1:51
6. Urjotun 4:21
7. Flight Of Thought And Memory 6:22
8. Storms Of Utgard 4:38
9. Distant Seasons 4:31

Band members
Grutle Kjellson – vocals, bass, keyboards
Arve Isdal – lead guitars, acoustic guitars, backing vocals on “Fires In The Dark”
Ivar Bjørnson – guitars, acoustic guitars, keyboards, effects, backing vocals on “Fires In The Dark”
Håkon Vinje – keyboards, piano, clean vocals
Iver Sandøy – drums, percussion, keyboards, effects, clean vocals

Guest musicians
Martin Horntveth – percussion, glockenspiel, rototoms, tubular bells, keyboards and programming on “Sequence”
Inger Sunneva Peersen – backing vocals on “Distant Seasons”
Sonja Elisabeth Peerson – backing vocals on “Distant Seasons”

Album Review – Dødsfall / Døden Skal Ikke Vente (2019)

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An unstoppable Black Metal force from Norway returns with their long-awaited fifth album, containing 10 new unrelenting tracks of pure hate and anger.

After four years of silence, the unstoppable Norwegian Black Metal force known as Dødsfall returns with their long-awaited fifth album, entitled Døden Skal Ikke Vente, or “death shall not wait” from Norwegian, containing 10 new tracks of pure hate and anger in its best form. And their new album is the result of a huge wave of inspiration that grew up like a snowball after the release of Kaosmakt, in early 2015, resulting in a fresh and creative album holding on to their roots and the sound that was established from the very beginning on the band’s career. It can be described as a successful combination of past and present with new elements and different sources of inspiration, sounding epic, majestic and furious with a medieval touch inspired from the cold lands of the north.

Formed in 2009 in Bergen, Norway, but currently located between Gothenburg, Sweden and Oslo, Norway, Dødsfall is the brainchild of vocalist and multi-instrumentalist Ishtar, who together with newcomer Telal on drums (who has been playing with acts like Troll, Isvind, and Endezzma, to name a few) created a sulfurous and dark beast in the form of their new album Døden Skal Ikke Vente. Featuring a crushing, ominous album artwork by underground artist Pazuzuh, who previously worked with the band on the artwork of their album Djevelens Evangelie, from 2013, Døden Skal Ikke Vente will take you on a journey through vast, bitterly cold Norwegian lands, proving once again why Norway is and will always be the birthplace and home of true Black Metal.

Ishatr and Telal begin disturbing all peace and order with their ruthless blend of old school and contemporary Black Metal in Hemlig Vrede (or “secret wrath” in English), sounding very melodic and aggressive form the very first second and with Ishtar’s demonic gnarls being flawlessly complemented by Telal’s brutish blast beats. Their furious and thunderous Black Metal keeps hammering our heads in Tåkefjell (“fog mountain”), another piercing composition where the guitars by Ishtar sound as metallic as they can be, also presenting lots of breaks and variations, and consequently feeling like three or four songs in one; followed by the obscure and melancholic Svarta Drömmar (“black dreams”), where their Black Metal is darkly infused with Atmospheric Black Metal elements, with its rhythm being dictated by Telal’s precise drums and with highlights to Ishtar’s anguished growls.

Putting the pedal to the metal this infernal duo delivers a vicious onrush of violent and raw sounds entitled Grå Himlar (“gray skies”), with the riffs and solos by Ishtar cutting our skin mercilessly, and therefore setting the bar high for the rest of the album. Well, the duo doesn’t disappoint at all in the following track, Kampsalmer (“battle hymns”), a headbanging, marching chant showcasing bestial riffs and demonic roars all enfolded by a truly menacing ambience, and the music remains vile and sulfurous until its epic ending. Then led by the pounding drums by Telal and displaying an inspired Ishatr on the guitar we have the full-bodied, intricate tune entitled I de Dødens Øyne  (“in the eyes of death”), a song tailored for admirers of classic Black Metal who also love to raise their horns and slam into the pit in the name of extreme music.

Continuing with their feast of incendiary and dark sounds they offer us all Ødemarkens Mørkedal (“the dark valley of the wilderness”), an ode to Scandinavian Black Metal where Ishtar growls and roars in a bestial way while Telal keeps crushing his drums nonstop, whereas the heavy-as-hell guitar lines by Ishtar ignite the flammable För Alltid I Min Sjæl (“forever in my soul”), a mid-tempo Black Metal extravaganza where Ishtar and Telal are on fire from start to finish, sounding as infernal and sharp as possible. The last song of the album, named Ondskapelse (“evil hands”), brings more of their hellish Scandinavian Black Metal infused with Melodic Black Metal nuances, with Telal smashing his drums just the way we love it in Extreme Metal, flowing like rapid fire until the instrumental outro Skogstrollet (“forest troll”) captivates our senses with the howling sound of the cold wind, ending the album on an ethereal note.

You can better explore the chilly and vile realm of Norwegian Black Metal crafted by Dødsfall by following them on Facebook, and show your support to such talented duo by purchasing Døden Skal Ikke Vente (available for a full listen on YouTube, by the way) from their own BandCamp page, as well as from the Osmose Productions’ BandCamp or webstore, and from Record Shop X. Let all the frost, hatred and evil flowing from the music found in Døden Skal Ikke Vente embrace you, leading you on a fantastic and somber one-way journey into the absolute darkness and void we learned to love in Norwegian Black Metal.

Best moments of the album: Tåkefjell, Grå Himlar and I de Dødens Øyne.

Worst moments of the album: None.

Released in 2019 Osmose Productions

Track listing
1. Hemlig Vrede 4:30
2. Tåkefjell 4:54
3. Svarta Drömmar 5:29
4. Grå Himlar 4:29
5. Kampsalmer 4:50
6. I de Dødens Øyne 5:37
7. Ødemarkens Mørkedal 5:25
8. För Alltid I Min Sjæl 4:32
9. Ondskapelse 5:04
10. Skogstrollet (Instrumental) 1:04

Band members
Ishtar – vocals, guitars, bass
Telal – drums

Album Review – Immortal / Northern Chaos Gods (2018)

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The Gates of Blashyrkh have finally opened again to the sound of the pulverizing new album by the Northern Chaos Gods of Black Metal.

The Gates of Blashyrkh have finally opened again now in 2018 thanks to Bergen’s own Black Metal institution Immortal, who after nine long and excruciating years of the release of their 2009 album All Shall Fall are back in action with a brand new opus titled Northern Chaos Gods, a beyond fantastic comeback for one of the trailblazers of Norwegian Black Metal. The first album after the departure of founder, frontman and guitarist Abbath from the band in 2015, Northern Chaos Gods marks the longest gap between two studio albums by Immortal, but the wait was definitely worth it as Immortal sound extremely sharp and vile throughout the entire album, proving once again why they’re still an unstoppable force of frost and ice.

Featuring a dark and straightforward cover art by Norwegian artist Jannicke Wiese-Hansen, Northern Chaos Gods showcases an inspired Demonaz (Harald Nævdal) on vocals and guitar (for the first time since 1997) and a brutal and extremely precise Horgh (Reidar Horghagen) on drums, accompanied by guest bassist Peter Tägtgren. In an interview before the album’s release, Demonaz said he wanted to make the album as “grim, dark and cold as possible”, and Immortal more than succeeded in their quest for extreme music, delivering a raw piece of Norwegian Black Metal that takes the band right back to its early sound. Each and every song in Northern Chaos Gods is a lecture in darkness, pointing to a bright (or I should say obscure) future ahead of a band that might have suffered a few losses since their inception in the far, far away year of 1991, but that stands triumphant and loyal to their roots no matter what.

The title-track Northern Chaos Gods comes crushing mercilessly in an absolute sonic devastation blasted by Demonaz with his fulminating riffs and Horgh with his classic Black Metal blast beats, resulting in a truly old school tune but without sounding obsolete or cheesy, not to mention the excellent job done by Demonaz with his infernal roars. As violent and somber as its predecessor, Into Battle Ride is an ode to Black Metal with highlights to the lancinating guitar lines by Demonaz and the thunderous bass lines by Peter, also bringing inspiring lyrics vociferated by Demonaz (“The sword of thunder and lightning is on the rise / From the north the gods of wrath descend / The storm of war nearing, black in its sign / Now vengeance shall enter again, feared by mortals / Our yearning steel strong hands / Thundering hooves strike above dying men / Down the black valleys arise through the haze / From the mountains, hear battle and death”); whereas Gates to Blashyrkh is a lot more melodic and rhythmic, perfect for banging your head and raising your horns to the hellish duo Demonaz and Horgh. Put differently, simply ride together with Immortal to the Gates to Blashyrkh and enjoy a huge dosage of top-of-the-line Melodic Black Metal invading your senses. And Grim and Dark is another cadaveric and sinister creation by this Norwegian entity, led by the slashing riffs by Demonaz while Horgh keeps crushing his drums nonstop, flowing majestically until its crisp and ominous ending.

There’s no time to breathe with more traditional Black Metal in Called to Ice, with Demonaz’s visceral riffage being effectively accompanied by the galloping sound of drums and bass in five minutes of classic Norwegian Black Metal for diehard lovers of the genre, before a smooth and melancholic intro quickly explodes into a lecture in modern-day Black Metal in Where Mountains Rise, a headbanging tune where Horgh’s beats sound amazingly crisp and heavy while Demonaz keeps slashing his strings with sheer precision and vocalizing the song’s beautiful, poetic words (“For the mighty mountains I ride / Through the woods beyond the snow / Like a fire among the stars, beyond the clouds she rise / There’s no fire from the sun, in this dark under the moon / My blackened sight beholds the stars, and fallen suns below”). Back to a more extreme and piercing sonority we have Blacker of Worlds, where Horgh presents his violent bulldozer mode and with Demonaz and Peter delivering a storm of blackened sounds through their stringed weapons, hammering our heads until Mighty Ravendark strikes our minds like a thunderbolt, exhaling malignancy, darkness and evil. Moreover, Horgh and Peter generate a massive wall of sounds with their drums and bass, respectively, while the hell raiser Demonaz keeps growling and gnarling in a devilish manner during the song’s over nine minutes of Epic Black Metal, putting a majestic ending to one of the best comebacks in the history of metal.

In summary, Northern Chaos Gods, available in different formats from the Nuclear Blast website, is more than just a comeback as already mentioned, but the rebirth of one of the biggest exponents of classic Black Metal even when no one else believed the band could get back on track after such turbulent period in their career. Well, they’re not called Immortal in vain, and after such pulverizing album we can rest assured Demonaz and Horgh will keep the flame of Norwegian Black Metal burning bright wherever they go. Because in the end we’re talking about the true “Northern Chaos Gods of Black Metal”, and they’ll keep riding into the battlefield side by side with us, fans of extreme music, until their final and bitterly cold breath.

Best moments of the album: Northern Chaos Gods, Where Mountains Rise and Mighty Ravendark.

Worst moments of the album: None.

Released in 2018 Nuclear Blast

Track listing    
1. Northern Chaos Gods 4:25
2. Into Battle Ride 3:50
3. Gates to Blashyrkh 4:38
4. Grim and Dark 5:27
5. Called to Ice 5:06
6. Where Mountains Rise 5:51
7. Blacker of Worlds 3:43
8. Mighty Ravendark 9:14

Band members
Demonaz – vocals, guitars
Horgh – drums

Guest musician
Peter Tägtgren – bass (session)

Album Review – Magick Touch / Blades, Chains, Whips & Fire (2018)

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A “magickal” music journey to the golden years of rock and metal, reminding us all why we love those electrifying sounds so much.

In these times where trends seem to come and go on an almost monthly basis, sometimes it’s never more satisfying than to simply sit back and rock out. And that’s exactly what Norwegian Hard Rock/Rock N’ Roll power trio Magick Touch will make you do with their highly anticipated second full-length album, entitled Blades, Chains, Whips & Fire, a beyond exciting follow-up to their critically acclaimed debut endeavor Electrick Sorcery, released in 2015. In other words, there are no tricks, no special effects nor any other type of shenanigans in Blades, Chains, Whips & Fire, just three skillful musicians declaring all their passion for classic rock and metal through their music.

Formed in 2014 in Bergen, a southwestern coastal town in Norway, Magick Touch are HK Rein on guitar and vocals, Christer Ottesen on bass and vocals, and Bård Nordvik on drums, blending in their music several elements from the most classic forms of Heavy Metal and Rock N’ Roll with a strong focus on the synchronicity between their vocal lines and the slashing power of their guitar riffs. This Norwegian trinity of rock will take you on a journey to the golden years of rock music through the 10 electrifying tunes featured in Blades, Chains, Whips & Fire, always reminding you why you love the gripping sounds of rock so much in your life.

And the Rock N’ Roll running through their veins becomes latent in the opening track, the upbeat Under The Gun, bringing the purest form of rockin’ riffs and the high-pitched, electrified vocals by HK, with the bass punches by Christer knocking us out within seconds, and keep banging your freakin’ heads nonstop and raising your beers to the soulful guitar lines by HK in The Great Escape, while Bård keeps pounding his drum kit mercilessly. Following such electrified start to the album we have Midnite Sadusa and its Cat Scratch Fever-inspired main riff, an ode to 70’s and 80’s Rock N’ Roll where Christer and Bård are responsible for creating a massive wave of rumbling tones perfect for the classic vocals by HK. Put differently, this is one of those songs that would have been an all-time classic if written 30 years ago.

Leaning towards more contemporary Hard Rock with hints of the sonority by bands like Nickelback and Breaking Benjamin (but also showcasing the band’s old school core essence), Believe In Magick is a song tailored for dancing together with your boyfriend or girlfriend at a rock n’ roll party; whereas the roaring bass by Christer takes the lead in this potent fusion of Southern Rock, Stoner Metal and Hard Rock titled Polonium Blues, which will certainly please all fans of the golden years of Southern Rock. In Siren Song we’re treated to a thrilling intro that keeps growing in intensity until groovy Rock N’ Roll fills our ears, presenting sharp guitar lines with psychedelic elements while the vocal lines sound hard and heavy just the way we all love in rock music. And speeding up their pace, Magick Touch deliver a flammable rockin’ chant named Lost With All Hands, with its guitar and bass slashing our brains while the beats by Bård don’t let us stop dancing for a single second.

Slowing down again and bringing elements from Blues Rock to their sonority, the band offers us After The Fire, a radio-friendly composition with a solid drumming and a catchy rhythm, despite losing its grip after a while, followed by Electrick Sorcery, the second to last Hard Rock comet by Magick Touch and, more important than that, their personal tribute to 70’s and 80’s Rock N’ Roll and Heavy Metal, showcasing amazing performances by all band members (especially HK with his passionate vocals and spot-on riffs), and with its backing vocals adding an extra touch of awesomeness to the overall result. Furthermore, the last part of the song is absolutely fantastic, with the band paying homage to KISS, Judas Priest, AC/DC, Dio, Motörhead and other rock and metal idols through the song’s clever lyrics. At long last we have a song which name could have been easily used by Manowar in one of their songs, the title-track Blades, Chains, Whips & Fire, a mid-tempo heavy-as-hell hybrid of pure Rock N’ Roll with the most rumbling form of Southern Rock and Metal, also displaying an amazing chorus accompanied by the lowering bass by Christer and the slow, steady and fierce beast by Bård, even presenting some Iron Maiden-ish moments effectively inserted throughout its faster and more complex passages.

I guess I don’t need to say you should definitely let your rockin’ heart be touched by the electrifying and magical waves crafted by Magick Touch in Blades, Chains, Whips & Fire, and in order to do that simply go visit their Facebook page, YouTube channel, Spotify and SoundCloud for news, tour dates, videos and, above all that, first-class Rock N’ Roll. Blades, Chains, Whips & Fire, which is already on sale through several online stores such as the band’s own BandCamp page, the Edged Circle Productions’ webstore (in CD or LP format) and the Season of Mist’s webstore, as well as on Amazon, on iTunes or at Discogs, doesn’t aim at revolutionizing rock and metal music. Quite the contrary, Magick Touch’s main goal with their new album is simply to remind the whole world how awesome our good old Rock N’ Roll is and will always be, and the band not only nailed it, but they also provided us all a “magick” soundtrack to our days and moments on the road, at work, at school or anywhere else good music is needed.

Best moments of the album: Under The Gun, Midnite Sadusa and Electrick Sorcery.

Worst moments of the album: After The Fire.

Released in 2018 Edged Circle Productions

Track listing
1. Under The Gun 2:53
2. The Great Escape 2:56
3. Midnite Sadusa 3:39
4. Believe In Magick 3:36
5. Polonium Blues 4:17
6. Siren Song 4:30
7. Lost With All Hands 3:13
8. After The Fire 4:10
9. Electrick Sorcery 4:26
10. Blades, Chains, Whips & Fire 6:18

Band members
HK Rein – guitar, vocals
Christer Ottesen – bass, vocals
Bård Nordvik – drums, vocals