Album Review – Diabolical Raw / Elegy of Fire Dusk (2022)

Behold this grandiose album of Symphonic Black and Death Metal, telling a deep and detailed story inspired by ancient Central Asian Turkish mythology.

Having entered the Turkish Extreme Metal scene in the city of Izmir in the now distant year of 1998 under the name Diabolical and currently located in Hanover, Germany, the fantastic Symphonic Black/Death Metal duo now known as Diabolical Raw, comprised of vocalist Ozan Erkmen and multi-instrumentalist Ozan Tunc, is back from the pits of hell with their sophomore full-length opus, the imposing and epic Elegy of Fire Dusk, the follow-up to their critically acclaimed 2019 album Estrangement. Recorded, mixed and mastered by the band itself, and displaying a sinister yet gorgeous artwork by Mukadder “Muko” Karaoğlan, the album tells a story inspired by ancient Central Asian Turkish mythology that develops around Kaygun, the daughter of a small clan leader, showing that not only the music found in the album is grandiose, but there’s also a lot of depth in its lyrics.

Middle-Eastern elements spice up the bold, obscure intro Revelations, opening the gates of the underworld for the duo to crush our souls in Commands of the Gods, with Ozan Tunc generating a menacing ambience with his riffs, drums and all orchestrations, resulting in an imposing Dimmu Borgir-style aria showcasing the demonic vocal potency by Ozan Erkmen. Wise Old Woman is another blast of obscurity in the form of top-notch Symphonic Extreme Metal that feels like the soundtrack to a hellish horror movie, where Ozan Tunc sounds possessed by an evil entity behind his drums; and there’s no time to breathe as the duo’s fusion of Black Metal with symphonic elements and a Stygian storytelling is offered to us all in Entry into Erlik’s Hell, with Ozan Tunc extracting sheer darkness from his guitars, bass and drums while Ozan Erkmen roars and barks manically for our total delight. They keep guiding us through the realms of Turkish mythology in the incendiary aria Tilgen’s Fall, blending the most pulverizing elements of classic Black Metal with pure symphony, and get ready to be decimated by the duo in Face the Judgement, a brilliant Symphonic Black and Death Metal extravaganza spearheaded by the massive, unstoppable beats by Ozan Tunc, flowing into the instrumental interlude Uprising, which will captivate our senses before we’re treated to Talking With Gods, sounding as if it was taken directly form the soundtrack to an epic, demonic movie, with Ozan Tunc being simply majestic throughout the entire song.

No sign of slowing down as Diabolical Raw keep hammering our heads with their Symphonic Black Metal in The Invincible Army, where the wicked, evil vociferations by Ozan Erkmen will haunt your soul for all eternity while Ozan Tunc generates a beautiful wall of sounds in the background. Then an otherworldly roar by Ozan Erkmen kick off the infernal tune The Last War With Evil, the perfect combination of the rawness and violence of traditional Black Metal riffs with the finesse of Symphonic Black Metal, reminding me of some of the most visceral creations by Cradle of Filth, followed by its second part entitled The Last War With Evil II, once again exploding our senses with their somber sounds and wicked vociferations. Put differently, I must say that Ozan Erkmen might be one of the best Extreme Metal vocalists of the current scene. The Council at the Asar Land is one of the most symphonic and detailed of all songs, a flawless fusion of heaviness and orchestral elements thanks to a brilliant job done by Ozan Tunc, in special his venomous blast beats, before the album ends with the cinematic outro Epic Grandeur, putting a classy finale to all the madness and obscurity crafted by the duo.

In a nutshell, Diabolical Raw simply nailed it with Elegy of Fire Dusk, one of the best Extreme Metal albums of 2022 hands down, and if you want to show your support to such talented duo you can start following them on Facebook and on Instagram, subscribe to their YouTube channel and stream more of their hellish creations on Spotify, and of course, above all that, purchase a copy of such awesome album from their own BandCamp page or from the Base Record Production’s BandCamp page. Do you think you have what it takes to face ancient Central Asian Turkish mythology in the form of Symphonic Black and Death Metal? If your answer is yes, don’t waste your time and go prove to Diabolical Raw that you’re a loyal servant of the dark side of music, inspiring the duo to keep embellishing the airwaves with their unparalleled music for many years to come.

Best moments of the album: Commands of the Gods, Entry into Erlik’s Hell, Face the Judgement and The Last War With Evil.

Worst moments of the album: None.

Released in 2022 Base Record Production

Track listing
1. Revelations 2:31
2. Commands of the Gods 6:18
3. Wise Old Woman 5:33
4. Entry into Erlik’s Hell 8:02
5. Tilgen’s Fall 7:19
6. Face the Judgement 6:06
7. Uprising 2:06
8. Talking With Gods 6:37
9. The Invincible Army 5:54
10. The Last War With Evil 8:30
11. The Last War With Evil II 7:42
12. The Council at the Asar Land 7:45
13. Epic Grandeur 2:36

Band members
Ozan Erkmen – vocals
Ozan Tunc – all instruments

Album Review – Chimera / Gloria Mortis (2022)

Playing what can be described as a mix of Heavy and Black Metal, this up-and-coming Polish group returns with their sophomore album, as dark and heavy as it is melodic and epic.

Established at the end of 2013 in Warsaw, Poland, Chimera play what can be described as a mix of Heavy and Black Metal, which is exactly what they have to offer us all in their sophomore opus Gloria Mortis, the follow-up to their 2016 debut effort Transmutation. Recorded at Hainrich House Studio, Gloria Mortis is just as dark and heavy as it is melodic and epic, being highly recommended for admirers of the newest wave of extreme music, in special all the new names hailing form the vibrant underground scene in Poland, therefore showcasing all the talent by the band currently formed of Krzysztof Gałecki on vocals and guitars, founder Rafał “Charon” Mazur on lead guitars, Wiktor Waliłko on bass, and Andrzej Ruszkowski on drums.

An eerie intro simply titled I, where Krzysztof distills his Polish words to give it a darker edge, sets the tone for the pulverizing and grim Dunkelheit (“darkness” from German), presenting Black Metal riffs by Krzysztof and Charon while Andrzej hammers his drums powerfully, being at the same time ferocious and melodic, and kicking things off on a very high note. Then investing in a similar sound of its predecessor, Necrosis of Soul is another infuriated creation by Chimera where the band adds elements from Groove Metal and Deathcore to their core essence, not to mention Krzysztof sounds inhumane with his deep roars; whereas Madness sounds and feels even heavier and more demented, with Charon being on fire with his riffage and solos accompanied by the rumbling bass by Wiktor in an electrifying fusion of Black, Heavy and Death Metal. And the thunderous bass and beats by Wiktor and Andrzej, respectively, generate a menacing ambience in Nieistniejąc (“non-existent” from Polish), with the sharp riffs by the band’s guitar duo slashing our ears mercilessly.

The album’s “second act” begins with the horror-movie inspired interlude II, also displaying cryptic vocalizations and morphing into the intricate and groovy Immortal Self, reminding me of the music by several bands from the current American modern metal scene. Moreover, the song’s devilish growls and razor-edged riffs will pierce your mind like a bullet, whereas headbanging guitars and a Stygian atmosphere will embrace your soul in The Bable Tower, where Krzysztof continues to vociferate like a creature from the underworld in a vicious onrush of Black and Death Metal. Then in Asmodeus we’re all invited to slam into the circle pit thanks to its endless brutality, groove and electricity, with Andrzej sounding insane behind his drums supported by the metallic bass by Wiktor, resulting in one of the best songs of the album hands down. And the band keeps delivering their trademark hybrid of violence and intricacy in Dziki Sęp (“wild vulture” from Polish), bringing forward an awesome job done by Krzysztof and Charon with their Black Metal-infused riffs. There’s still time for one last breath of pure insanity entitled Among Wolves, getting heavier and heavier as time passes by, all spearheaded by the venomous vocalizations by Krzysztof before a narration-style outro named III puts a Stygian ending to the album.

If you’re an admirer of a modern fusion of Black, Death and Heavy Metal with a dense background, you should definitely give the new album by Chimera a try by streaming it in full on YouTube and on Spotify, and of course purchase it from the band’s own Facebook page to show your utmost support to the underground. In addition, go check what the band is up to on Facebook and on Instagram, including their tour dates, and subscribe to their YouTube channel for more of their music and videos. Gloria Mortis is undoubtedly a step forward in the career of such promising band from the Polish metal scene, and I’m pretty sure that we’ll hear more from those guys sooner than we can imagine as their third opus isn’t far from seeing the light of day.

Best moments of the album: Dunkelheit, Madness and Asmodeus.

Worst moments of the album: Immortal Self.

Released in 2022 Independent

Track listing
1. I 1:48
2. Dunkelheit 5:36
3. Necrosis of Soul 4:33
4. Madness 4:02
5. Nieistniejąc 5:15
6. II 1:22
7. Immortal Self 4:01
8. The Bable Tower 4:05
9. Asmodeus 4:30
10. Dziki Sęp 3:28
11. Among Wolves 3:59
12. III 1:07

Band members
Krzysztof Gałecki – vocals, guitars
Rafał “Charon” Mazur – lead guitars
Wiktor Waliłko – bass
Andrzej Ruszkowski – drums

Album Review – Jordfäst / Av Stoft (2022)

A ruthless Swedish Black Metal duo returns with their sophomore opus, telling sobering tales of human struggles against societal norms and religious oppression, and the fight for the right to determine one’s own fate.

An old Swedish word for being buried, loosely translated to ”attached to soil”, Jordfäst is also the name of a Skåne, Sweden-based Black Metal duo who unearth the grim past of the Scandinavian peninsula in their songs, channeling the long-forgotten cries of people that once lived. Now in 2022 it’s time for vocalist Olof Bengtsson and multi-instrumentalist Elis Edin Markskog, supported by session drummer Joakim Unger, to unleash upon humanity their sophomore opus entitled Av Stoft, the follow-up to their critically acclaimed 2021 debut full-length album Hädanfärd. Epic and dreaming, conjuring up soundscapes comparable to genre greats such as Ulver, Saiva, and Primordial, Av Stoft, which is Swedish for “of dust”, continues where Hädanefter left off, with folky melodies and theatrical narratives woven into a solid backbone of Black Metal. Recorded at Studio Wheelmust, mixed and mastered by William Blackmon at The Overlook, and featuring guest vocals by Joakim Svensson of Skogen, the album is comprised of two songs which have a combined playing time of 33 minutes, telling sobering tales of human struggles against societal norms and religious oppression, and the fight for the right to determine one’s own fate, with its gloomy layers interspersed with searing melodies reflecting a reality as unforgiving as the northern winter.

Eerie voices are suddenly joined by the massive beats by Joakim in Abortologen (“the abortologist”, from Swedish), bringing to our damned ears over 16 minutes of Scandinavian Black Metal infused with Folk and Doom Metal nuances where Olof roars manically in the name of pure evil, while Elis crafts a beyond caustic and visceral sound with his riffs, bass and keys, not to mention his guitar solos are a thing of beauty, enhancing the song’s epicness and electricity considerably. Put differently, it’s imposing and violent from start to finish, being therefore tailored for admirers of the genre while also ending in a serene way to the sound of a piano. The second song of the album, Kom Eld, Kom Regn (“come fire, come rain”), offers our ears pure Scandinavian Black Metal flowing from the very first second, with its vocalizations adding an extra touch of darkness to the overall result. Furthermore, the song brings forward a headbanging pace led by the strident riffage by Elis while Joakim hammers his drums in great fashion, and the music alternates between sheer aggressiveness and more melodic, Stygian moments. Not only that, Olof sounds absolutely bestial with his enraged roars, without a single second left empty throughout its 17 minutes of Scandinavian awesomeness that builds up to a sinister, epic and chilling ending.

“With Av Stoft we took a more timeless approach by implementing themes which have always been part of humanity’s history and shaped our society. Concepts pertaining to life and death; the right of the lone individual to either end or start one or the other as he sees fit, as well as the consequences that might follow. As on Hädanefter, the stories are told from several perspectives and depict everything from personal suffering to the relentless forces of nature – all of which are indifferent to our suffering and just biding their time to sweep us away, once and for all,” commented the duo about their newborn spawn, which will soon be available for purchase from the band’s own BandCamp page and from Nordvis Produktion, as well as for streaming on Spotify. Hence, don’t forget to start following Olof and Elis on Facebook and Instagram to stay up to date with all things Jordfäst, letting the obscure tales told by the duo in Av Stoft crawl dep inside your mind while they keep carrying the flag of Scandinavian Black Metal armed with their austere music for many decades to come.

Best moments of the album: Kom Eld, Kom Regn.

Worst moments of the album: None.

Released in 2022 Nordvis Produktion

Track listing
1. Abortologen 16:08
2. Kom Eld, Kom Regn 16:59

Band members
Olof Bengtsson – vocals
Elis Edin Markskog – guitar, bass, keyboards, backing vocals

Guest musicians
Joakim Unger – drums (session)
Joakim Svensson – additional vocals

Album Review – Forlesen / Black Terrain (2022)

This doomed entity hailing from Portland, Oregon brings forward four monolithic songs that will fully immerse the listener in a contrast of the serene and cacophonous in their new opus.

Formed in San Francisco, California at the end of 2016, but currently based in Portland, Oregon, Atmospheric Black/Doom Metal outfit Forlesen draws from Epic Doom, Black Metal, Slowcore and Dark Ambient to subvert traditional songwriting with their new full-length, entitled Black Terrain, which weaves heartbreak and hypnosis to show the band at their most vulnerable and vicious. Mixed by Jack Shirley at The Atomic Garden, mastered by Garrett Haines at Treelady Studios, and displaying a beautiful artwork by Benjamin A. Vierling, Black Terrain brings forward four monolithic songs, at times approaching twenty minutes in length, fully immersing the listener in a contrast of the serene and cacophonous, showcasing the evolution in the sound crafted by vocalist and multi-instrumentalist Ascalaphus (Botanist), vocalist and multi-instrumentalist Bezaelith (Lotus Thief), guitarist Petit Albert (Lotus Thief), and drummer Maleus (Kayo Dot, Maudlin Of The Well) from their debut effort Hierophant Violent,  being therefore highly recommended for fans of Candlemass, Dead Can Dance, Low and Neurosis, among several others.

An eerie, otherworldly start gradually evolves into an atmospheric and somber Doom Metal sonority led by the sluggish beats by Maleus in Strega, while Ascalaphus, Bezaelith and Petit Albert darken the skies with their minimalist but heavy-as-hell riffs and whimsical vocalizations, flowing smoothly while also offering us all a neck-breaking rhythm. Furthermore, its beautiful guitar work will penetrate deep inside our hearts, also showcasing a perfect balance between the delicate vocals by Bezaelith and the devilish roars from her bandmates, making an instant connection with the title-track Black Terrain, where the band continues to permeate the air with their melodic and grim sounds. The whole song is effectively energized by the tribalistic drums by Maleus while Bezaelith delivers introspective, ethereal vocal lines, suddenly morphing into the Black Metal-infused aria Harrowed Earth, bringing to our avid ears a multi-layered, enfolding and caustic explosion of sounds spearheaded by the blast beast by Maleus and the wicked, dirty riffage by Ascalaphus, Bezaelith and Petit Albert. Put differently, it’s Atmospheric Black Metal at its finest, evolving to a more obscure form of Doom Metal as time passes by. Lastly, in Saturnine the lyrics will put you in a doomed trance (“Come now and let it all go… / Time is a beast devouring it’s children / Wild eyed, the ever churning tide / He does suppress the cries of nascent sovereignty / Lest golden ages be undone / Time makes beasts of all its golden children / Wild eyed, the ever churning tide / As we egress through parodies of infancy / And we await being born / Go now and let it all come…”), while the music remains serene, infuriated, lugubrious and alive all at the same time, resulting in a spot-on fusion of Ambient and Doom Metal.

The doomed beast known as Forlesen can be found on Facebook and on Instagram for news, tour dates and other details about their wicked music, and you can also stream all of their creations on Spotify. However, if you want to show your true support to the underground, you should purchase a copy of the eccentric Black Terrain from the I, Voidhanger Records’ BandCamp page, from Metal Odissey as a CD or double LP, or from Apple Music, showing all the passion you nurture in your blackened heart for contemporary doom. The songs in Black Terrain might be lengthy, sluggish, somber and pensive, but that’s exactly what makes the album so compelling, consequently  inspiring the band to keep spreading their wings over this black terrain we live called earth.

Best moments of the album: Strega and Harrowed Earth.

Worst moments of the album: None.

Released in 2022 I, Voidhanger Records

Track listing
1. Strega 19:10
2. Black Terrain 8:57
3. Harrowed Earth 12:29
4. Saturnine 18:07

Band members
Ascalaphus – vocals, guitars, synth, harmonium, bass
Bezaelith – vocals, bass, guitars, synth
Petit Albert – guitars, synth, Hammond B3 organ, backing vocals
Maleus – drums

Guest musician
Leila Abdul-Rauf – glockenspiel, trumpet

Album Review – Faustian Spirit / Blessed by the Wings of Eternity (2022)

A sinister horde from Chile arises from the pits of hell with their debut full-length opus, offering us all eight dismal and imperishable tracks of determined darkness and majestic, sinister Black Metal purity.

From the darkest depths of the subconscious, stained by the blood of the dragons from the other side, Valparaíso, Chile-based Black Metal entity Faustian Spirit was born to see the darkness in 2019 beyond the blackened sun of the anti-cosmic void. Comprised of Magister Nihilifer Vendetta 218 on vocals and bass, N. Psicopompos on the guitars (or on the “anticosmic vibrations” as the band itself likes to say), and Knoʯmenon on drums, Faustian Spirit arise from the underworld in 2022 with their first full-length opus, entitled Blessed by the Wings of Eternity, following up on the absolute darkness of their 2020 self-titled debut demo. Recorded and mixed at Dead Signal, in Chile, and displaying a sinister logo and Sol Intempesta sigil by Nox Fragor Art and a darkly stunning cover artwork and photo frame sigils by Beatriz Wolf Artworks, Blessed by the Wings of Eternity presents eight dismal and imperishable tracks of determined darkness and majestic, sinister Black Metal purity not recommended for the lighthearted.

The opening tune Nullification is brutal, raw and blasphemous form the very first second, with the obscure gnarls by Magister Nihilifer Vendetta 218 crawling deep inside your skin while the anticosmic vibrations blasted by N. Psicopompos are an ode to classic Black Metal. Then Knoʯmenon hammers his drums with endless hatred in his heart in Mysterivm Veritas Silentivm, something in the lines of “the mystery of the truth of silence”, another demolishing Black Metal onrush that will please all fans of the darkest side of music with Magister Nihilifer Vendetta 218 sounding once again inhumane on vocals for our total delight; and the acoustic and extremely sinister guitar lines by N. Psicopompos in the interlude The Faustian Archetype set the stage for Faustian Spirit to crush our damned souls in Sanguinem Drakonis (or “dragon’s blood”), where the trio keeps slamming their sonic weapons mercilessly in the name of pure evil. Furthermore, Magister Nihilifer Vendetta 218 is not only a talented vocalist, but his low-tuned, demonic bass lines also bring an extra touch of obscurity to the overall result.

If you think you’ll have a moment of peace you’re absolutely wrong, because infernal riffs, rumbling bass jabs and nonstop blast beast will decimate your senses in the fast and furious title-track Blessed by the Wings of Eternity, a solid display of Scandinavian Black Metal made in Chile for admirers of the genre; followed by Die Minnensänger, which translates as “the minstrels”, and that’s what you’ll get from Faustian Spirit with three minutes of acoustic guitars, somber passages and sheer melancholy, warming up our senses for the Stygian and grim Sol Intempesta, their most infernal and detailed creation exhaling old school Black Metal spearheaded by the demonic gnarls by Magister Nihilifer Vendetta 218, while N. Psicopompos continues to invade our minds with his undisputed anticosmic vibrations, flowing into the outro Gazers of Tehiru, which despite taking away a tiny bit of all the darkness and energy of the album, it ends up working fine for what it is.

You can enjoy all the blasphemy and obscurity blasted by Faustian Spirit in Blessed by the Wings of Eternity by streaming the album in its entirety on YouTube, but in order to show your utmost support to the most Stygian corners of the underground you should purchase a copy of the album from the band’s own BandCamp page, from the Inferna Profundus Records’ BandCamp page or webstore, as well as from several other retailers such as Sound Cave, Oratorivm, iMusic and Discogs. South American Black Metal never disappoints, and Faustian Spirit make sure the fires of Chilean metal keep burning bright with Blessed by the Wings of Eternity, inviting us all to destroy and transcend the material castle of our ego, conquer our will, and open ourselves to chaos.

Best moments of the album: Mysterivm Veritas Silentivm, Sanguinem Drakonis and Sol Intempesta.

Worst moments of the album: Gazers of Tehiru.

Released in 2022 Inferna Profundus Records

Track listing
1. Nullification 5:03
2. Mysterivm Veritas Silentivm 4:56
3. The Faustian Archetype 2:19
4. Sanguinem Drakonis 8:39
5. Blessed by the Wings of Eternity 3:34
6. Die Minnensänger 3:18
7. Sol Intempesta 6:52
8. Gazers of Tehiru 2:15

Band members
Magister Nihilifer Vendetta 218 – vocals, bass
N. Psicopompos – guitars
Knoʯmenon – drums

Album Review – Abaddon Incarnate / The Wretched Sermon (2022)

These Irish Death Metal and Grindcore legends are back form the underworld after eight years with their most diverse and expressive album yet.

Having been active since the early 90’s, Dublin, Ireland-based Death Metal/Grindcore legends Abaddon Incarnate have only perfected their sound over the years, creating a quintessential blend of both the styles that can easily be enjoyed in all of its glory in their newborn spawn, entitled The Wretched Sermon, the sixth album in their undisputed career and their first since the 2014 album Pessimist. Displaying a sick artwork by renowned artist Ken Coleman, The Wretched Sermon is easily their most diverse and expressive album yet, meticulously written to flesh out every nuance while keeping things brisk and intense, showcasing a band in top form currently formed of Steve Maher on vocals and guitar, Bill Whelan also on the guitar, Irene Siragusa on bass and Olan Parkinson on drums and, therefore, being highly recommended for admirers of the sonic chaos blasted by renowned acts the likes of Napalm Death, Rotten Sound and Misery Index, among others.

Olan’s vile beats kick off the band’s devilish machine in Rising Of The Lights, a fulminating Grindcore attack where Steve roars manically in the name of evil, whereas Veritas is even more demented and infernal than the opening tune, with the guitars by Steve and Bill exhaling pure sulfur while Irene and Olan are on fire with their heavy-as-hell kitchen. Then bringing forward elements from Black and Death Metal carefully added to their core essence, it’s time to slam into the pit to the sound of Gateways, absolutely fast, furious and demonic, followed by Epic Desecration, not recommended for the lighthearted, where Steve and Bill fire endless violence and hatred through their wicked riffage accompanied by the thunderous bass by the she-demon Irene. In the less demolishing but still caustic and obscure Parasite, it’s time for Olan to blast some headbanging beats while Steve screams rabidly from the bottom of his lungs; and back to their most visceral, deranged mode, the band offers us all Hideous Arise, a bestial creation by the quartet with their guitar work and nonstop drums turning it into one of the most pulverizing of all songs. And if you think Abaddon Incarnate will slow down at any given point you’re absolutely wrong, as in Killing Spree they continue their sonic onrush showcasing never-stopping, frantic riffs and solos, crushing drums and evil roars.

Steve’s guttural screams get deeper and more satanic in Into The Maelstrom, with the entire band sounding possessed by an evil force from the underworld, while Irene hammers her bass in great fashion in Resurrected From A Mass Grave, extracting tons of groove and providing her bandmates with everything they need to craft another explosion of Grindcore. There’s no time to breathe as it’s total anarchy to the sound of Shrine Of Flesh, with Steve gnarling like a creature from the abyss until the very last second; and blending elements from bands like Carcass and Sepultura to their sonority the quartet will smash our cranial skulls mercilessly in Hyperchaos, a fantastic tune spearheaded by Olan’s boisterous beats. Their second to last display of sheer animosity and sulfur is entitled Isolation And Decay, presenting another awesome job done by Steve and Bill armed with their axes without showing not even a single second of peace throughout its over six demonic minutes, and lastly, how about we destroy our bodies into the circle pit one final time with the band? That’s what they have to offer us all in Silent Indifference, with the harsh vociferations by Steve pounding our hearts and minds into dust.

As you can see, Abaddon Incarnate are not just back from the netherworld carrying their apocalyptic, gruesome new album The Wretched Sermon in their blood-soaked arms, which is by the way available for a full listen on YouTube and on Spotify, but they’re eager to tear your flesh apart to the sound of their undisputed Grindcore, and if you want to show them all your support and admiration you can start following the band on Facebook and on Instagram for news, tour dates and more of their caustic music. Hence, don’t forget to also grab your copy of The Wretched Sermon from their own BandCamp page, from the Transcending Obscurity Records webstore as an 8-panel digipak CD (by clicking HERE or HERE) or as a gatefold LP, as well as from Apple Music or Amazon. And may the wretched sermon of old school Grindcore by Abaddon Incarnate reverberate inside our damned minds for all eternity.

Best moments of the album: Veritas, Epic Desecration, Hideous Arise, Resurrected From A Mass Grave and Hyperchaos.

Worst moments of the album: Parasite.

Released in 2022 Transcending Obscurity Records

Track listing
1. Rising Of The Lights 2:46
2. Veritas 1:16
3. Gateways 2:26
4. Epic Desecration 2:47
5. Parasite 2:11
6. Hideous Arise 1:16
7. Killing Spree 2:21
8. Into The Maelstrom 1:56
9. Resurrected From A Mass Grave 2:23
10. Shrine Of Flesh 3:47
11. Hyperchaos 3:43
12. Isolation And Decay 6:56
13. Silent Indifference 2:18

Band members
Steve Maher – vocals, guitar
Bill Whelan – guitar
Irene Siragusa – bass
Olan Parkinson – drums

Album Review – Hellfuck / Diabolic Slaughter (2022)

A horde of seasoned musicians from Poland brings pure sulfur and blasphemy to us all throughout the 32 minutes of Blackened Thrash and Speed Metal from their new album.

It looks like the more religious and conservative a country becomes, the better its Extreme Metal scene is, and when the country in question is Poland that becomes even more noticeable as some of the best metal acts to arise from the country are in the extreme music landscape such as Behemoth, Ragehammer, Embrional, Kult Mogił, and so on. That couldn’t have been any different with Blackened Thrash/Speed Metal horde Hellfuck, and if the name of the band is not enough to attract your attention maybe you’ll enjoy the name of their new opus, Diabolic Slaughter. Recorded at Panzer Studio, mixed and mastered by Haldor Grunberg at Satanic Audio, and displaying a sick cover artwork and layout design by Maciej Kamuda Art, Diabolic Slaughter is a beast of an album carefully brought into being by vocalist and guitarist Skullripper, guitarist Nelek, bassist Armagog and drummer Darek Mlody, all seasoned musicians from bands the likes of Embrional, Azarath, Stillborn, F.A.M. and Squash Bowels, bringing pure sulfur and blasphemy to our demented minds throughout the album’s 32 demolishing minutes.

Distorted, evil guitars ignite the opening tune Religious Scum, exploding into ass-kicking Thrash Metal spearheaded by the unfriendly, raspy vocals by Skullripper, consequently sounding absolutely perfect for slamming into the circle pit like a true metalmaniac. Darek continues to hammer his drums in great fashion in War Obsession accompanied by the razor-edged riffage by Skullripper and Nelek, as if Municipal Waste made a deal with the devil in the name of Black Metal; whereas Reigning in Hell is infernal, frantic and demented just the way we like it, with Armagog and Darek generating a reverberating atmosphere perfect for Skullripper to fire his demonic screams in a lecture in Blackened Thrash Metal by the band. The quartet keeps the momentum going with Angel’s Disgrace, another brutal fusion of Black and Speed Metal showcasing a fantastic riff work by the band’s guitar duo, and get ready to be pulverized by this Polish horde in God in Flames, even more demonic and breathtaking than the previous songs, where Darek once again dictates the pace with his hellish drums.

Living up to the legacy of the most demolishing form of Thrash Metal, it’s time for Time to Suicide, with the riffage by Skullripper and Nelek walking hand in hand with the massive beats by Darek; and the incendiary riffs and solos by Skullripper and Nelek keep piercing our ears in Church – Pigsty of Nations, with Armagog and Darek once again shaking the foundations of the earth with their Black Metal-inspired kitchen. Then arising from the very depths of the underworld the band offers us all H.M.S.T.O.P.S (or “Holy Mary, Suck The Prick Of Satan”), a no shenanigans sonic onslaught by Hellfuck that keeps the album at an insane level of animosity and rage, with Darek crushing our damned souls with his unstoppable beats. Their second to last blast of insanity, blasphemy and darkness comes in the form of The Vampiric Oath, with Skullripper gnarling rabidly supported by his devilish bandmates, not to mention its headbanging riffs are absolutely awesome; whereas last but not least, the quartet incorporates an extra dosage of the rebelliousness of bands like Toxic Holocaust, Exodus and Obituary into their core sonority, resulting in a thrashing creature entitled Despise the Priest to properly conclude the album.

As already mentioned, Poland is the place to be if you’re a diehard fan of the most extreme, blasphemous and ruthless forms of heavy music, and the guys from Hellfuck are making sure the fires of Polish metal keep burning bright anywhere they go to the sound of their awesome new album. Hence, don’t forget to start following those headbanging bastards from Poland on Facebook for news, tour dates and more of their wicked music, and to grab your copy of the incendiary Diabolic Slaughter from the Godz ov War Productions’ BandCamp page, adding an extra dosage of profanity to your already devilish collection and, as a consequence, making sure there’s absolutely no peace for your religious neighbors.

Best moments of the album: Religious Scum, Reigning in Hell and Church – Pigsty of Nations.

Worst moments of the album: None.

Released in 2022 Godz ov War Productions

Track listing
1. Religious Scum 3:29
2. War Obsession 3:18
3. Reigning in Hell 2:43
4. Angel’s Disgrace 3:23
5. God in Flames 3:36
6. Time to Suicide 3:33
7. Church – Pigsty of Nations 2:23
8. H.M.S.T.O.P.S 3:36
9. The Vampiric Oath 2:49
10. Despise the Priest 3:13

Band members
Skullripper – vocals, guitar
Nelek – guitar
Armagog – bass
Darek Mlody – drums

Album Review – Soilwork / Övergivenheten (2022)

Musically and lyrically evolved, Swedish Melodic Death Metal masters are back with a fantastic new opus dealing with darker thoughts that have shaped the band itself.

Musically and lyrically evolved, Swedish Melodic Death Metal masters Soilwork are back with their twelfth studio album, entitled Övergivenheten, the follow-up to the amazing Verkligheten and one of their most complex and elaborate albums to date, strengthening their legacy even more in the world of heavy music. Recorded and produced by Thomas “Plec” Johansson and Soilwork at Nordic Sound Lab, and mixed and mastered by the same Thomas “Plec” Johansson at The Panic Room (assisted by Simon Eliasson and Viktor Brunö), Övergivenheten, which means “abandonment” in Swedish, deals with darker thoughts that have shaped the band itself and affected the development process of the album. The personal struggles align with social difficulties outside of the band, all embraced by the first-class, sharp music beautifully crafted by frontman Björn “Speed” Strid, guitarists Sylvain Coudret and David Andersson, bassist Rasmus Ehrnborn, keyboardist Sven Karlsson, and drummer Bastian Thusgaard.

The acoustic guitars and banjo by guest Johan Randén kick off the multi-layered title-track Övergivenheten before Björn and his henchmen begin a fantastic sonic attack showcasing melodious riffs, rhythmic beats and endless adrenaline; followed by Nous Sommes La Guerre, or “we are the war” from French, where the ladies’ choir brings an extra kick to the music while Björn beautifully declaims the song’s lyrics (“I can feel the shadows enter, risin’ from the earth / Now that everyone is giving me the widest berth / I have nightly visits, sentient absence watchin’ me / Nurturin’ the itch where other worlds are scratchin’ me”). There’s no time to breathe as the band keeps slamming their instruments in Electric Again, with Sylvain and David doing an amazing job armed with their stringed axes; and in Valleys Of Gloam the skillful Bastian adds tons of groove to the overall result is a first-class Melodic Death Metal feast for the masses. Let’s then slam into the circle pit together with the Soilwork boys in the striking, high-octane Is It In Your Darkness, with Bastian hammering his drums mercilessly supported by the rumbling bass by Rasmus, whereas the band keeps invading our senses with their dense, groovy Melodic Death Metal in Vultures, where Rasmus is on fire with his metallic bass lines, being therefore perfect for headbanging like a true metalmaniac. After the short, atmospheric instrumental interlude Morgongåva / Stormfågel, or “morning gift / stormbird” from Swedish, it’s time for us all to bang our heads to Death, I Hear You Calling, a solid composition where Björn’s angry vocals match perfectly with the song’s lyrics, pace and heaviness, meaning it should work amazingly if played live.

The gentle keys by Sven are suddenly joined by a wall of sounds spearheaded by Bastian’s crushing beats in This Godless Universe, presenting elements form Death and even Black Metal which bring a touch of eccentricity to it. More modern than its predecessors, Dreams Of Nowhere offers another round of their caustic lyrics (“Bleeding through the blanching skin you’re / Offering the Gods your name / Bound to see the sunrise fading / The everlasting flame”), flowing into the whimsical interlude The Everlasting Flame, where Sven will captivate your senses once again before we’re treated to tons of progressiveness in the form of Golgata, with Sylvain and David extracting sheer electricity form their guitars, providing Björn with exactly what he needs to fire both his guttural roars and his classic clean vocals. Those Swedish metallers still have a lot of fuel to burn in the album, with Harvest Spine being the perfect depiction of how heavy and melodic they can sound at the same time and with Björn stealing the spotlight once again with his flammable vocals; and lastly we have On The Wings Of A Goddess Through Flaming Sheets Of Rain, a stunning name for an incendiary song that begins in a sinister manner before evolving into one last Melodic Death Metal attack by Soilwork, offering our avid ears piercing, strident riffs and solos, massive blast beats and stylish keys, putting an outstanding ending to Övergivenheten.

Needless to say, Soilwork did it again, kicking some serious ass with their undisputed Melodic Death Metal throughout the entire Övergivenheten while always loyal to their core essence (even when experimenting with new elements and sounds). Hence, don’t forget to check what the band is up to on Facebook and on Instagram, to subscribe to their official YouTube channel for their official videos, to stream more of their top-of-the-line creations on Spotify, and above all that, to grab your favorite version of Övergivenheten by clicking HERE or HERE. Övergivenheten is one of those albums that not only represents what Soilwork are all about, but it also emanates a sharp and strong energy that’s the result of all of the aforementioned personal struggles from the band members, proving once again heavy music is always the best remedy for any type of adverse situation.

Best moments of the album: Is It In Your Darkness, Death, I Hear You Calling, Harvest Spine and On The Wings Of A Goddess Through Flaming Sheets Of Rain.

Worst moments of the album: Dreams Of Nowhere.

Released in 2022 Nuclear Blast

Track listing
1. Övergivenheten 5:45
2. Nous Sommes La Guerre 6:53
3. Electric Again 4:22
4. Valleys Of Gloam 4:11
5. Is It In Your Darkness 4:04
6. Vultures 5:47
7. Morgongåva / Stormfågel 1:33
8. Death, I Hear You Calling 4:41
9. This Godless Universe 4:41
10. Dreams Of Nowhere 4:29
11. The Everlasting Flame 1:06
12. Golgata 4:59
13. Harvest Spine 5:10
14. On The Wings Of A Goddess Through Flaming Sheets Of Rain 7:31

Band members
Björn “Speed” Strid – vocals
Sylvain Coudret – guitar
David Andersson – guitar
Rasmus Ehrnborn – bass
Sven Karlsson – keyboards
Bastian Thusgaard – drums

Guest musicians
Johan Randén – acoustic guitars and banjo on “Övergivenheten”
Laila Prigorowsky, Helene Alexandersson, Catrine Ellwen, Gonca Yazan, Jenny Ericsson & Cia von Heijne – ladies’ choir on “Nous Sommes La Guerre”

Metal Chick of the Month – Sandie Gjørtz

The resurrection of the Lilith!

As the summer solstice is gone, the days are getting shorter and the nights are getting longer, and here at The Headbanging Moose it’s time to darken the skies even more with our metal lady of the month of August, the stunning, enigmatic and evil Sandie Gjørtz, also known as Sandie “The Lilith” Gjørtz, Sandie The Lilith, or simply Lilith, the unrelenting frontwoman for Danish Melodic Death Metal outfit Defacing God. Her devilish roars will haunt your damned soul for all eternity, and I’m sure you’ll thank us at The Headbanging Moose for introducing you to such talented woman of the current metal scene. Be careful, though, as Lilith is the primordial she-demon as you might know, and succumbing to her enchantment means you might never see the light of day again in your life.

Growing up with Rock N’ Roll and Heavy Metal as both her parents are metalheads, Sandie mentioned heavy music has always been a natural part of her life. “I’ve been told that even before I could walk, I often crawled in front of the TV when my parents played a VHS live video with Ozzy Osbourne and I managed to stand up in front of the TV and shake my diaper-ass to ‘Bark at the Moon’ for example. So yeah, it is simply in my veins”, commented our mesmerizing vocalist in one of her interviews, also saying she started out “softly” with Judas Priest, Black Sabbath and King Diamond before getting to know Pantera and, with the discovery of YouTube when she was around 11 years old, being introduced to harder and heavier bands the likes of Sepultura, a band her father loves by the way. When she told her father about that, he got so excited he showed her his copy of Slayer’s ultimate classic album Reign In Blood, and once again she felt that indescribable rush flowing through her veins.

“I am eternally grateful for these influences on music in my youth. It has always been following me and helped me through dark times, many times! And since that time, I just knew that I wanted to be or do something in this kind of music. It’s a deep, burning passion that is extremely hard to even describe as said. If you know and get it, you get it. If not… You never will,” complemented Sandie, who also said that although she knew nothing about growling or extreme vocal techniques when she was young, she has always been busy with music, singing and acting in drama classes during her school years, as well as choir singing at the church, which was curiously one of her hobbies before turning into Lilith. She knew she wanted to become a vocalist, but as mentioned she didn’t know at that age that women could also do extreme singing, while at the same time she realized choir singing and clean vocals weren’t enough for her.

Having a raging fire burning inside her and dealing with anger issues, things she wanted to express somehow as she considered herself an intense and emotional girl during her youth, Sandie finally discovered bands the likes of Holy Moses and Arch Enemy when she was around 15 years old, being blown away by those women who could manage to do extreme singing just like some of her idols such as Cannibal Corpse and Morbid Angel. “First, it seemed a little bit extreme for me because I never saw anything like that before and for me, it was not a ‘natural’ thing for a woman to scream and sing that deep. Back then, I also don’t think that women who did growls, screams and extreme vocals, in general, was such a common or known phenomenon like it is nowadays. Not that I know at least. I just know that I adored it and decided that if they could do it, I sure as hell could do it too!”

Since then, our unstoppable growler has been investing all her talent, energy and passion into making extreme music, learning extreme techniques on her own, always trusting her feelings and saying metal music works as pure therapy for her, that it is really what she lives for. After so many years practicing and developing her vocal skills, Sandie knew it was time for her to have her own Extreme Metal band, leading to the creation of Defacing God in 2015. “I always wanted to play in a band, but only did something about it in 2015 when our drummer (Michael Olsson) and I decided to start a project together. After the decision was made, we began to search for musicians with the same intentions and passion as ourselves, and it ended up with the constellation we have today.” From that day on, Lilith was born.

Currently comprised of Sandie “The Lilith” Gjørtz on vocals (who’s also responsible for all visuals and lyrics), Signar Petersen and Christian Nielsen on the guitars, Rasmus “Kalke” Nielsen on bass, and Michael Olsson on drums, Defacing God were formed in 2015 in Aalborg, a city in the Jutland region of Denmark, but only going public in 2018. Sandie mentioned she hadn’t worked in any other projects before founding Defacing God, only focusing on her singing as well as on some other instruments like the guitar, keyboards, piano and cello, which means we can all consider Defacing God her beloved (and evil) first baby. “Since most of us in the band are experienced musicians by now, we chose to keep our project close to our bodies until we thought everything was completely clear. We didn’t think it made sense to make ourselves visible before, and none of us wanted to stand on stage and deliver something half-finished. Therefore, we have worked at high pressure to be coordinated and create something that we ourselves are proud to show off. I myself really appreciate bands that have a complete theme, stage expression, etc.,” commented our Lilith, also saying that “in addition to the above, we have had some legal construction problems with our rehearsal rooms, and we were therefore forced to take a break for a few months and have our rooms rebuilt and ready. Furthermore, we have had a change in the lineup and our band members. Everything takes time – especially when it comes to music. We have had so much in the making, so many ideas, and it is only now that I feel that we have found our right track and expression. I just think that’s how it is with art in general. It’s one big bubble of ideas, thoughts and expressions, and it can take a long time before the result of all this turns out to be something that makes sense.”

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Inspired by opulent Scandinavian metal traditions, Defacing God base their conceptual themes on the seeping darkness that moves in us all, rooted in occultism and witchcraft, but primarily the mythologically mysterious female demon Lilith and her tales of fervent defiance and perseverance. Through their storytelling, music and aesthetic, the band pulls their listeners into a dark universe of obscure myths, folklore and ancient stories, all the while weaving in often subtle lyrical inspirations from modern societal oppressions and personal demons while musically speaking they echo the styles of artists such as Cradle of Filth, Carach Angren and Dimmu Borgir, blending it with a conventional dose of Black Metal and merging these auras with infernal Death Metal. Hence, as Defacing God are gearing up for the release this September of their debut opus The Resurrection of Lilith, the band has already unleashed upon us a few songs that will feature in the album just to give us a taste of how devilish and heavy it will be, and you can already succumb to the dark world ruled by Defacing God by listening to the songs Succumb the Euphoria, Monolith Of Apocalypse Arise, The Marked Ones, and Rise Of The Trinity, all available on Spotify by the way, also showcasing stunning, hypnotizing visuals thanks to the wicked mind of Lilith. Celebrating feminist power and sisterhood throughout Defacing God’s entire upcoming album, Sandie mentioned that the trinity formed of Abyzou, Jezebel and Lilith is the kind of catalysator who speaks for all cremated witches who never got a voice through times and history, strong and wise women have been slaughtered, molested, executed and abused, just because the herd were scared of their wisdom and free spirit.

As already mentioned, Sandie is highly inspired by Scandinavian metal as well as witchcraft and occultism, also nurturing a personal love for Black Metal, all expressed through the band’s upcoming stage performances and in many of her texts, representing her view of the world and her own experiences. “In the era of witch hunting (between the 15th and 18th centuries) it was only women who stood out from the crowd or perhaps knew something. They were not considered part of normality, and so they were burned – basically because the ‘masses’ did not understand them and were afraid of them. Today it is more acceptable to fall outside the norm. Actually, I think that it has become modern to be alternative – but no matter what, there will always be those who cannot or will not understand you, and you cannot and must not please everyone. That is really what is the message in the theme and what many of the texts can be analyzed down to. Therefore, we have decided that it must be a consistent theme throughout our expression,” commented Sandie in one of her interviews. Furthermore, among her favorite artist and bands, you’ll find some renowned acts the likes of Marduk, Lord Belial, Rotting Christ, Nile, Morbid Angel, Septicflesh, Dimmu Borgir, Cradle of Filth and Belzebubs, also being inspired by movies, books, games, ancient history and “dark places” that she has visited through time.

A proud Aalborg citizen, Sandie said that the metal community in her hometown and in the entire Denmark is quite strong, also saying that it houses a lot of talented solo musicians and great bands compared to other bigger countries. “The community is strong here in Aalborg, too, where I live. We, for example, have a big international festival, Aalborg Metal Festival, scheduled in November every year which is a great festival with lots of passionate, hard-working people behind. Through blood, sweat and tears they make this huge festival work each fucking year without complaints,” also mentioning concerts and festivals arranged by AR&M (Aalborg Rock & Metal) several times a year, where a bunch of hard-working volunteers line up for making the whole thing work as well. One interesting fact about Sandie and her Defacing God is the fact that in 2019 the band was booked for Viborg Metal Festival having only released one song at that time, which according to Sandie herself happened because some people behind the festival already knew her bandmates from other bands and trusted them to put on a great show regardless.

Although she hasn’t been involved with other bands prior to Defacing God, Sandie was a guest musician in the album To Live To Kill To Live, by Danish Heavy/Power Metal act Manticora, saying she loved the experience of collaborating with the band in their latest album. “This part I sang was supposed to be an evil Chinese aunt who killed her whole family due to jealousy. The more brutal, the better!” However, if you think her life is just surrounded by brutality, you might be really impressed by the quality work she used to do before focusing on her career as a musician. “After I finished high school, I took some exams related to business and straight after that I followed my vision (besides of the music) to become a social worker, specialized in young people with mental health diagnoses and social problems. I started to study my bachelor’s in social education and on the side I worked as a teacher,” she said in one of her interviews, also mentioning her passion for the beauty industry. She simply loves everything that has to do with makeup, skincare routines and the ways we can express ourselves in a visual and creative way, taking some exams in the beauty industry and having actually made a living off her own beauty firm, Gorgeous By Gjoertz, while at the same time taking a degree in service, hospitality and tourism management at University College in Aalborg. Not only that, she was also a self-employed insurance agent at one of Scandinavia’s biggest insurance companies, proving how unrelenting and full of energy she is. So, after all is said and done, what are you waiting for to renounce to your weak gods and succumb to the dark powers of a true goddess like Lilith?

Sandie Gjørtz’s Official Instagram
Defacing God’s Official Facebook page
Defacing God’s Official Instagram

“In the name of art there should no boundaries and everyone should have the freedom to be their own independent self, to explore and to express as they desire without being judged or oppressed.” – Sandie Gjørtz

Album Review – Provectus / Postero Mundi (2022)

Inspired by the early pioneers of the genre, this Belgian horde carries the spirit of old school Black Metal in their pulverizing newborn beast.

Founded in 2015 in Vosselaar, a municipality located in the Belgian province of Antwerp, while rooted from the minds of vocalist and guitarist Tempore Anomalia and drummer Obitus, the unrelenting, old school Black Metal horde Provectus focuses on creating quality 90’s Black Metal cutting into a diverse range of lyrical themes, always inspired by the early pioneers of the genre such as Immortal and Dissection. Now in 2022 it’s time for Tempore Anomalia and Obitus, together with bassist Roach, to crush us all with the rawness and brutality found in their first full-length opus Postero Mundi, which translates from Latin as “the next world”, the follow-up to their 2018 debut EP Existential Delusion. Produced and mixed by the band itself, mastered by Yarne Heylen at Project Zero Recording Studio, and featuring a sinister artwork by Kris Verwimp, Postero Mundi carries the spirit of old school Black Metal by distancing itself from the modern fusions and endless subgenres , being therefore highly recommended for admirers of the darkest and most sulfurous side of extreme music.

Sinister organ pipes and epic background sounds invite us all to join Provectus in pitch black darkness in the intro Gloria Dolorem before the trio pulverizes our souls with the title-track Postero Mundi, with Obitus delivering pure hatred from his old school Black Metal blast beats accompanied by the rumbling bass by Roach while Tempore Anomalia vociferates like a true servant of the underworld. In Aetherflow Dimensions we face poetry flowing from the song’s lyrics (“In a distant vision a grace to behold, where the dark has shifted and the space seems so cold. / Mystical and phenomenal sights of blazing lights beckoning to me.”) while the trio keeps hammering their instruments nonstop; followed by Bane of Existence, starting in a melodic, somber manner before Tempore Anomalia begin extracting pure obscurity from his riffage while growling deeply at the same time, and all that heaviness and violence keeps growing in intensity in the name of classic Black Metal.

It’s then time for the phantasmagorical, spine-chilling interlude Lucid Nightmare, led by the unearthly keys by Tempore Anomalia, captivating our souls before we face the imposing Torn Fabric of Time, bringing forward total fuckin’ mayhem in the form of unrelenting Black Metal masterfully blasted by those Belgian demons. Moreover, Obitus is on absolute fire behind his drums making the earth tremble, while Tempore Anomalia declaims the song’s infernal words from the bottom of his blackened heart, not to mention how metallic and sulfurous the bass lines by Roach sound and feel. A gargantuan roar by Tempore Anomalia kick off the fulminating aria Disordered Phenomenon, where his own riffs add tons of malignancy to the overall result and also showcasing another brutal performance by Obitus on drums; whereas in Fractured Entity we have one last round of their wicked lyrics (“The saga continues endlessly. / Insanity drifting the emotionless sea. / Absorbed and hexed by apathy. / The cosmic curse of the entity!”), presenting elements from Doom Metal to enhance the song’s obscurity.

The gates of the underworld are wide open, and Provectus are there waiting for you to join them in the name of old school, visceral Black Metal to the sound of their amazing new album, which by the way is available for a full listen on Spotify. Also, don’t forget to follow the band on Facebook and on Instagram, to subscribe to their YouTube channel, and above all that, to purchase the caustic, devilish Postero Mundi from the band’s own BandCamp page, from the Necktwister’s webstore, or from Apple Music. Provectus are among us to spread sheer hatred and obscurity with their newborn beast, putting Belgium in the map of classic Black Metal and, therefore, giving us all a very good reason to darkly smile while listening to their evil creations on our path to the next world.

Best moments of the album: Postero Mundi, Torn Fabric of Time and Disordered Phenomenon.

Worst moments of the album: Fractured Entity.

Released in 2022 Necktwister

Track listing
1. Gloria Dolorem 1:40
2. Postero Mundi 7:16
3. Aetherflow Dimensions 7:49
4. Bane of Existence 6:53
5. Lucid Nightmare 2:28
6. Torn Fabric of Time 10:02
7. Disordered Phenomenon 4:01
8. Fractured Entity 7:05

Band members
Tempore Anomalia – vocals, guitars, synths, keys
Roach – bass
Obitus – drums