Get ready for the debut EP by a new and vile horde hailing from France, pointing to a new reign of dark Death Metal terror.
Formed in 2022 as a studio-only project by Melek Dlth Aton (Novae Militiae) on vocals and guirtars, Raph Daethorn (Merrimack, Ritualization) on bass, and Kevin Paradis (Benighted, Svart Crown) on drums, a Paris, France-based Death Metal legion that goes by the stylish name of Infernalivm spawned straight out of the French “Orthodox Satanic Death Metal Movement”, with their background lying the foundations for a Death Metal band heavily rooted in Satanism (in the vein of Deicide, Profanatica, and Incantation), but musically versed in a highly technical and complex strain of ultra-violent, abysmal, and dissonant Death Metal in the vein of Immolation, Nile, and Morbid Angel. Now it’s time for their debut EP, entitled Conquering the Most High, to see the light of day (or the dark of night), an inaugural and demonstrative twenty one-minute, four-track onslaught of inescapable dark Technical/Brutal Death Metal crafted in the sanguinary jaws of the Antichrist.
Kevin kicks off their infernal feast in the best Krisiun style in the title-track Conquering the Most High, hammering his drums like a demonic beast while Melek roars and barks deeply nonstop. In other words, it’s a beyond demolishing welcome card by those French metallers, who also show absolutely zero mercy for our putrid souls and rotten bodies, decimating us all in Temple of a Destroying Sun, with the thunderous bass by Raph adding even more energy to the blast beats by Kevin. Ashes of the Saints offers four minutes of undisputed Black and Death Metal tailored for admirers of the genre, with the harsh roars and sharp, caustic guitar by Melek inviting us all to slam into the circle pit frantically; and the last song of the EP, titled The Maze of Havoc, definitely leaves us eager for more Infernalivm, as its riffs, bass lines and blast beats are a stunning fusion of the music by Cannibal Corpse, Marduk and Krisiun.
In a nutshell, the band’s debut EP is a dissonant, bludgeoning beast seething with all the might and power of the Antichrist, a dark and violent abomination with an immensely evil and antihuman atmosphere and an infernal aura casting massive, ominous shadows across the face of European Death Metal and sending a clear message on the magnitude of things to come, pointing to a new reign of dark Death Metal terror. Furthermore, you can join them in their quest for all things dark and evil by following them on Facebook, and by purchasing their EP from their own BandCamp or from the Sentient Ruin Laboratories’ BandCamp or webstore, and I honestly can’t wait to see what’s next in the career of this promising horde hailing from France.
Best moments of the album:Conquering the Most High and Ashes of the Saints.
Worst moments of the album: None.
Released in 2024 Sentient Ruin Laboratories
Track listing 1. Conquering the Most High 5:23
2. Temple of a Destroying Sun 5:39
3. Ashes of the Saints 4:00
4. The Maze of Havoc 6:44
Band members Melek Dlth Aton – vocals, guitars
Raph Daethorn – bass
Kevin Paradis – drums
One of the best bands hailing from Malta returns with their strongest album to date, a brutal and thrilling slab of Black and Death Metal.
Formed in 2004 in the city of Birkirkara, located in the Central Region in the island of Malta, Blackened Death Metal horde Thy Legion is unleashing their fourth studio effort, titled Grand Cosmic Funeral, the follow-up to their critically acclaimed 2017 album World Stigmata. Recorded and produced at XIR Recording Studios, and mixed and mastered by Daniel Bezzina at RiverStone Studios, the new album by Tonio Spiteri and Mark Dimech (Martyrium) on vocals, Elton Falzon and Emanuel Portelli (Hemplifier, Animamortua, Victims of Creation) on the guitars, Kurt Dimech (Martyrium) on bass, and Clayton Cini (Animamortua) on drums will definitely strengthen the name of the band in their local scene and anywhere else where good extreme music is appreciated, representing another solid step forward in their career.
An obscure and imposing intro led by the venomous guttural by Tonio and Mark will darken the skies in the opener Black World Funeral, oozing of classic Black Metal, with Elton and Emanuel delivering caustic riffs nonstop; then putting the pedal to the metal and succumbing to the most devilish side of music the band fires the ruthless Midnight Malediction, where Clayton hammers his drums nonstop supported by the rumbling bass by Kurt. Dark Mother, the first single of the album, offers us all an enfolding fusion of Melodic Black Metal with atmospheric nuances, sounding creepy and haunting at first before exploding into more of the band’s trademark violence, whereas the melodious guitars by Elton and Emanuel kick off the also visceral Those Who Are Awake, with the band’s vocal duo bursting their lungs roaring.
The Adoration of Omega brings to our damned ears almost seven minutes of beautiful Black Metal with an atmospheric twist, with the riffs blasted by the band’s axe men piercing our souls like an arrow in pitch black darkness, not to mention Clayton once again sounds demonic behind his drums; and their second to last ode to Death and Black Metal comes in the form of From Flesh to Spirit, with both Tonio and Mark sounding like beats incarnate on vocals, adding an extra touch of insanity to the overall result. Last but not least, we face another seven minutes of blackened sounds made in Malta in Upon A Wretched Throne, starting yet again in a sinister, slow way before all hell breaks loose to the vile vociferations by Tonio and Mark, while the riffage by Elton and Emanuel reeks of evil and hatred.
Thy Legion are undoubtedly one of the top metal bands hailing from the always vibrant and interesting Maltese scene, and one of the most hardworking and focused as well, and the quality of the music found in their new album Grand Cosmic Funeral is proof of that, pointing to an even brighter future ahead of them. Hence, you can find more information about such an amazing blackened squad on Facebook and on Instagram, stream their music on Spotify or other streaming services, and grab your copy of their heavy-as-hell new album from Art Gates Records. Grand Cosmic Funeral is by far their strongest release to date, and I wouldn’t be surprised if after this album the band starts paying visits to all parts of the world to spread darkness upon us with their infernal music.
Best moments of the album:Midnight Malediction, Dark Mother and The Adoration of Omega.
Worst moments of the album:Those Who Are Awake.
Released in 2024 Art Gates Records
Track listing 1. Black World Funeral 5:59
2. Midnight Malediction 6:08
3. Dark Mother 6:34
4. Those Who Are Awake 5:10
5. The Adoration of Omega 6:40
6. From Flesh to Spirit 4:48
7. Upon A Wretched Throne 7:08
Band members Tonio Spiteri – vocals
Mark Dimech – vocals
Elton Falzon – guitars
Emanuel Portelli – guitars
Kurt Dimech – bass
Clayton Cini – drums
This ruthless German duo brings forth a compilation of songs against humanity in their newborn Blackened Death Metal beast.
Formed in Saarbrücken in 2015, The Spirit have emerged from the depths of the German Extreme Metal void to breathe new life into the Black and Death Metal genre. Now in 2024 the duo formed of Matthias Trautes on vocals and stringed weapons, and Manuel Steitz on drums attacks again with their fourth full-length installment, titled Songs Against Humanity. Mixed by V. Santura (Triptykon) at Woodshed Studio, and displaying a grim artwork by Eliran Kantor, Songs Against Humanity is a Blackened Death Metal beast highly recommended for fans of Harakiri For The Sky, Dissection, Satyricon, UADA, Hypocrisy and Kataklysm, among others, circling around an astronomic leitmotif in its lyrics and concepts while mixing a misanthropic view on the world with cosmic metaphors and the call to see our often narrow-minded and egocentric existence in the larger context of our whole universe.
It’s absolute chaos and hatred from the very first notes in Against Humanity, with Manuel taking the lead with his Thrash Metal-inspired drumming while Matthias roars like a beast in the name of extreme music, followed by Room 101, presenting psychological lyrics barked by Matthias (“Suppressing the words of sanity / As we lost our way towards utopia / Instead evolved into a dystopian nightmare / When technological progress / Gave rise to the indoctrination of the human mind”) amidst a melodic yet visceral sound. And the duo continues to venture through the realms of Melodic Death, Thrash and Black Metal in Cosmic Rain and Human Dust, sounding ruthless until the very end, with Matthias’ riffs feeling absolutely caustic.
Spectres of Terror is another explosion of austere, infernal words barked by Matthias (“A grotesque embrace / Of an impending misery / When the past and sense / Are displaced by ideology / Madness and insanity / A grim bane you invoked”), whereas Death is my Salvation offers a more introspective, progressive side of the band, with Matthias slashing his axe manically accompanied by the always venomous beats and fills by Manuel. Then we’re treated to Nothingness Forever, which begins in a serene, grim manner before evolving into a straightforward Black Metal aria led by the crushing drums by Manuel. Finally, we have the extended outro Orbiting Sol IV, which despite being a solid tune, it ends up taking away some of the electricity from the album due to its length.
You can take a very nice and detailed listen at the scorching Songs Against Humanity in full on YouTube and on Spotify, and of course show your support to one of the heaviest duos of the current German scene by purchasing a copy of their new album by clicking HERE or HERE. Don’t forget to also start following them on Facebook and on Instagram for news and tour dates, as they do play live (with the support of guitarist Stanley Robertson and bassist Linus Klausenitzer), having an absolute blast to the sound of their sharp and vile fusion of Black and Death Metal. Matthias and Manuel are bringing forth a compilation of songs against humanity in their newborn beast, and there’s nothing better than their first-class Blackened Death Metal to show how putrid, corrupt and evil the entire humanity can be.
Best moments of the album:Against Humanity, Cosmic Rain and Human Dust and Nothingness Forever.
Worst moments of the album:Orbiting Sol IV.
Released in 2024 AOP Records
Track listing 1. Against Humanity 8:06
2. Room 101 4:15
3. Cosmic Rain and Human Dust 4:55
4. Spectres of Terror 5:39
5. Death is my Salvation 8:33
6. Nothingness Forever 5:46
7. Orbiting Sol IV 3:34
Band members
Matthias Trautes – vocals, guitars, bass
Manuel Steitz – drums
An uncanny duo aims at balancing visceral energy with enveloping atmosphere and dark melody, creating a sound both rooted in Black Metal tradition and expansive new avantgarde sounds in their debut album.
Established by two girls from the Dresden area, Satyra and Melpomene, both heavily involved in the rich local underground, German Black Metal duo Altar Ov Asteria aims at balancing visceral energy with enveloping atmosphere and dark melody, creating a sound both rooted in Black Metal tradition and expansive new avantgarde sounds, which is exactly what you’ll get in their debut opus Éna. Displaying a classic artwork by Last Light Designs, Éna (which most probably means a girl’s name of Irish origin with multiple meanings, including “ardent,” “little fire,” “kernel,” “grain,” and “peace”) offers a bold and austere atmosphere thoroughly crafted by the mysterious duo, already carving their names in the German Black Metal scene and leaving us eager for more of their visceral creations.
Their infernal riffs come in full force in the opening tune Arroganz, showcasing their aggression and passion for the extreme, or in other words, it’s a dark and venomous Black Metal chant that will surely send shivers down your spine as those girls show no mercy for our damned souls. Then a cryptic, psychological excerpt kicks off Fegefeuer, again bringing forward an amalgamation of Black Metal and atmospheric and doom elements, with their harsh, vile gnarls piercing our minds and hearts flawlessly. The duo managed to sound even more infuriated and harsh in Hesperus, with their caustic riffs and blast beats generating a massive wall of sounds in the name of Black Metal; followed by Kataklysm, the first single of the album, sounding and feeling absolutely brutal, grim and infernal, with Satyra and Melpomene blasting their sonic weapons with tons of anger and hatred, also offering elements of Melodic Black Metal in their sound to make things even more electrifying, flowing into the austere eight-minute closing tune Pilatus, where they go full Black Metal, bringing to our avid ears an overdose of crushing blast beats, scorching riffs and demonic roars and gnarls. I have no idea which one of the two girls plays drums in the album, but she sounds insanely heavy and precise until the very last second, not to mention the beauty of the song’s creepy, atmospheric passage.
“Imagine you would wake up in a world full of mysteries and realities woven into each other, like in a story book of the past centuries of Dante Alighieri or Homer. Two black-robed mysteries in gold-snake masks wake you up from the heavy dorm with blackened sirens crushing your ears, mesmerizing your mind to sense the allegories of humankind existence. You’ve got an invitation to a storybook of hellish Sodom, chapter by chapter illustrating thy and foreign dystopia”. These cryptic words are spot-on in depicting the music found in Éna, and you can put your hands on such a flammable album by purchasing it from the band’s own BandCamp, or from Dusktone’s BandCamp or webstore. You can also check what the duo is up to on Facebook and Instagram, and stream their music on Spotify, joining this mysterious, devilish duo in their quest for the underground to the sound of their caustic debut opus, an album that will certainly drag you to the underworld with them.
Behold the new album by these three ruthless Swedish Black Metal ladies, a howling, hate-filled voice of rage, fueled by the fire and the fists that have subjugated womankind.
“Like the screams from a thousand vengeful souls from the witch’s bonfire.” – Vittra describes the sound of Völva
Forged in 2018 in in the simmering underground cauldrons of Punk and Black Metal of Malmö, Sweden, Black Metal/Crust outfit Völva will crush your damned soul to pieces in their new album, titled Desires Profane, a howling, hate-filled voice of rage, fueled by the fire and the fists that have subjugated womankind since the old ways were undone by the insidious Christian contamination of the world. Recorded by Oliver Dah in Studio Quaalude, mixed and mastered by Ulf Blomberg at Hoborec, and with a cryptic artwork by The Black Bird Sings, the first full-length album by vocalist and bassist Hedonosticia, guitarist Vittra and drummer Skuld seeks to explore Satanic Feminism, breaking away from conformity and exploring a higher purpose through free will, body and lust, all while being recommended for admirers of the caustic creations by Darkthrone, Urgehal, Wolfbastard and Taake, among many others.
Their evil, dirty and cryptic feast of Black Metal kicks off in full force with The Tower (check their performance playing this amazing song at Quaalude Sessions #15), with Hedonosticia already crushing our minds with her she-wolf gnarls, and it’s time to walk through the fires of hell together with those talented Sweds in Walk With Me, with Vittra showing no mercy for our souls, blasting infernal riffs nonstop. They then go full Black Metal in Expulsion of the Flesh, delivering endless animosity and darkness, with Hedonosticia’s harsh vocals sounding utterly piercing; followed by Inverted Cross, displaying a beautiful name for another explosion of Black Metal magic by the trio, again melting our faces with their unrelenting savagery, blast beats and hellish growls, before we face five minutes of sluggish, grim and visceral passages in Never Forgive, showcasing elements of Doom Metal added to their devilish core essence.
And they keep hammering our putrid souls with their blend of Black Metal and Crust in The Serpent, also delivering elements of Death Metal and Blackened Death Metal, led by the infernal roars by Hedonosticia and the massive beats by Skuld, whereas Perpetual Putrefaction sounds a bit generic compared to the rest of the album, albeit still presenting the band’s characteristic blasphemous, demonic sounds. Asmodeus is one of the most infuriated of all songs in Desires Profane where Vittra’s riffs are the epitome of evil, sounding devilishly metallic, while Hedonosticia continues to summon the creatures of the underworld with her she-demon gnarls; followed by Salvation, another evil onrush of Black Metal masterfully brought into being by the band, living up to the legacy of Swedish Black Metal, with Skuld once again kicking ass on drums. And last but not least, they offer us all a ruthless Black Metal extravaganza titled Vagabond, reminding me of some of the most wicked creations by the mighty Skeletonwitch.
In summary, those three Swedish ladies sound absolutely insane and on fire throughout their entire newborn beast, proving once again that women not only have their place in heavy music, but that they can also sound heavier, darker and more caustic than any man. Hence, you can check what they’re up to on Instagram, including their tour dates, stream their creations on any streaming service like Spotify, and grab a copy of their scathing new album from their own BandCamp, from the Grind To Death Records’ BandCamp, or from the Fiadh Productions’ BandCamp, helping them spread their infernal howl in the name of feminism and Black Metal to all four corners of our sexist and decaying world.
Best moments of the album:Expulsion of the Flesh,The Serpent and Asmodeus.
Worst moments of the album:Perpetual Putrefaction.
Released in 2024 Grind To Death Records/Fiadh Productions
Track listing 1. The Tower 4:10
2. Walk With Me 2:59
3. Expulsion of the Flesh 3:45
4. Inverted Cross 3:12
5. Never Forgive 5:19
6. The Serpent 3:42
7. Perpetual Putrefaction 2:30
8. Asmodeus 2:31
9. Salvation 4:38
10. Vagabond 2:28
Band members Hedonosticia – vocals, bass
Vittra – guitars, backing vocals
Skuld – drums, backing vocals
This indomitable Hellenic Black Metal horde will attack your senses with their sophomore album, exploring themes of the dissolution of the army and the rejection of the desire for power.
Hailing from the stunning Greek capital of Athens, Eldingar, the Black Metal band known for their fusion of Melodic Death and Thrash Metal with pagan and folk elements, has just unleashed upon humanity their sophomore opus, titled Lysistrata, an album that could easily soundtrack a vile and epic battle between the gods of Olympus. Recorded, produced, mixed and mastered by Steve Ladoat SL Studios, and displaying a stunning artwork by Maximos Manolis, the new album by Andreas Simitzis on vocals, Stavros Lontos on the guitars, Giannis Dardas on bass and Defkalion Dimos on drums is the perfect follow-up to their 2021 debut Maenads, highly recommended for fans of Rotting Christ, UADA and Naglfar, exploring themes of the dissolution of the army and the rejection of the desire for power, juxtaposed with the emotional liberation from submission, inviting listeners to consider whether this revolutionary idea could be the key to achieving long-awaited peace, both in the world and within the soul.
An acoustic, melancholic start goes on for the entire duration of Dryope, working as an extended intro for the explosive title-track Lysistrata, where the deep roars by Andreas and the scorching riffs by Stravos will penetrate deep inside your rotten soul while all breaks, variations, atmospheric passages and guest vocals by Iliana Tsakiraki only make the whole song even more powerful and mesmerizing, making an instant connection with the also grim and captivating Ares, where Defkalion gives a lesson in drumming by sounding intricate and furious all at once, and it’s absolute beautiful how they manage to flow from classic Black Metal to Melodic and Atmospheric Black Metal seamlessly. They then keep delivering sheer obscurity in Therasia, again beginning with a cryptic narration in Greek and offering us all a well-balanced fusion of Black Metal and atmospheric sounds, while presenting a soothing break until the band’s final attack.
That savagery morphs into the piano-driven interlude Inside Cosmos, bringing some peace to our hearts before we’re treated to Cosmos, with Defkalion already blasting his drums in the name of Black Metal supported by the low-tuned bass by Giannis, while Andreas continues to vociferate in a devilish and mysterious way for our total delight, and with its calming, whimsical ending flowing into Ode, gradually evolving into a feast of Progressive and Melodic Black Metal led by the striking, piercing riffage by Stavros, or in other words, it’s a full-bodied aria of darkness exhaling melancholy and rage with all of its somber, grim moments sounding stunning. The second to last tune of such an amazing album, entitled Myrrine, brings more of their trademark gentle sounds, mainly the acoustic guitars by Stavros, albeit too long for an interlude; whereas Where To Stand is another blend of their more introspective, almost folk-inspired sounds with ambient dark music, with Andreas stealing the spotlight with his deep, passionate vocals.
Eldingar’s unique blend of intense musicality and philosophical depth promises to captivate and resonate with audiences worldwide, so prepare for an album that challenges the status quo and seeks to touch the hearts and minds of all who listen. Having said that, don’t forget to follow the band on Facebook and on Instagram, to stream their music on Spotify, and to purchase their excellent new album from Vinyl Store as a CD or as a vinyl, diving deep into their world of battles, a wide range of emotions, and man’s endless pursuit of power.
Best moments of the album:Lysistrata, Cosmos and Ode.
UK’s own bringers of gore are back with their third full-length beast, their most personal album so far reflecting different struggles they’ve gone through in the past five years.
Influenced mostly by Death Metal pioneers from 90’s the likes of Carcass, At the Gates and Dissection, while also presenting modern elements in their music, as well as Black Metal hints to the mix to make the music sound even darker and more intense, London, UK-based Melodic Death Metal beast Gorebringer has just unleashed upon us their third full-length opus, entitled Condemned to Suffer, the follow-up to their demented previous releases A Craving For Flesh and Terrified Beyond Measure. Formed of Serpent “Bilge Özce” on vocals and Stench “KAZ B” on the guitars and bass, with the support of session drummer Carrion, Condemned to Suffer is the band’s most personal album so far, showcasing lyrics that are more mature and complex, mostly reflecting different struggles that the duo has gone through in the past five years as a band, having worked really hard to make the entire album sound truly profound.
An overdose of brutality and rage flows from all instruments in the opening track Under the Full Moon’s Pale Light, bringing to our avid ears an amazing job by Carrion on drums while Stench slashes his stringed axe nonstop, providing Serpent with exactly what he needs to roar like a beast. The band continues to hammer their instruments mercilessly in the title-track Condemned to Suffer, again showcasing elements from Black Metal and even Melodic Black Metal added to their core essence; and get ready to slam into the circle pit like there’s no tomorrow to the sound of the venomous Melodic Death Metal feast Infernal Symphony, with Stench yet again stealing the spotlight with his caustic riffs, whereas Ants is absolutely devastating and obscure, with Serpent’s gnarls and Stench’s unstoppable guitars being flawlessly supported by Carrion’s drums, not to mention its official video might be one of the best AI-generated ones ever.
There’s no time to breathe, nor any sing of peace, as Gorebringer bring gore and savagery to our putrid ears in Lady Midday, with the hammering beats by Carrion being complemented by the thunderous bass by Stench, followed by Théâtre of the Grotesque, a pulverizing tune that reeks of At the Gates, proving how much those guys love their idols, with Serpent barking manically nonstop for our total delight. It’s then pedal to the metal in the infuriated aria Visions of Terror, with the strident riffage by Stench matching perfectly with the infernal drumming by Carrion in another lesson in melodeath; and last but not least, get ready for almost seven minutes of melodious yet infernal sounds in Embodiment of Aggression, which certainly proves the band has infinite stamina and passion for extreme music as they don’t stop blasting heaviness and fury from their instruments until the very last second of the song.
Serpent and Stench are undoubtedly one of the most hardworking duos of the current Extreme Metal scene in the UK (and probably also worldwide), and you can give them a shout and let them know how much you love their austere, visceral music and their resilience by following them on Facebook and on Instagram, by streaming their venomous music on Spotify or on Apple Music, and of course by purchasing their excellent new opus from the Great Dane Records’ BandCamp page. Put differently, Serpent and Stench are condemned to suffer under the full moon’s pale light, and they’re inviting us all to join them in that eternal darkness to the sound of their most bestial album to date.
Best moments of the album:Under the Full Moon’s Pale Light, Ants and Théâtre of the Grotesque.
Worst moments of the album: Absolutely none.
Released in 2024 Great Dane Records
Track listing 1. Under the Full Moon’s Pale Light 6:37
2. Condemned to Suffer 4:57
3. Infernal Symphony 4:32
4. Ants 3:56
5. Lady Midday 5:34
6. Théâtre of the Grotesque 5:19
7. Visions of Terror 3:39
8. Embodiment of Aggression 6:56
Band members Serpent “Bilge Özce” – vocals
Stench “KAZ B” – guitars, bass
As the days get shorter and the nights grow darker and colder, our metal lady of the month of November at The Headbanging Moose definitely had to represent all the heaviness that fills the air in preparation for the coming winter. She’s the epitome of underground heavy music, lending her raw and intuitive bass sound to amazing bands like Sacrifizer and Triumph of Death, always with a badass attitude, while at the same time also venturing through non-extreme lands like with her Coldwave project named Letten 94. Her name is Jamie Lee Cussigh, also known as SlaughterWytch or Dolorès, depending on which band she’s working on at a specific point in time, and she will kick your ass mercilessly with her more than thunderous bass lines.
Half Bulgarian and half Italian, but born in Switzerland (where she currently resides), Jamie nurtures a deep passion for all things heavy music from a very young age. “I started to listen to metal very young, around 11 or 12 years old and the first album I discovered and bought was the Kill Em All by Metallica. I started to play bass at 13.” Also a private music teacher, either online or in person, Jamie went to Conservatoire de Musique de Neuchâtel, in Switzerland, where she perfect her skills as a musician, which is probably one of the reasons why she can fluctuate between styles without any effort, always sounding sharp and in sync with the rest of the band she’s working with.
Her main band or project since 2019 has been undoubtedly Zurich, Switzerland-based Speed/Thrash/Black Metal entity Triumph of Death, Tom Gabriel Fischer aka Tom G Warrior’s personal tribute to his iconic band Hellhammer, with the name of the band being inspired by the infamous title-track of Hellhammer’s 1983 cult demo. The vast body of Hellhammer’s work remained unperformed for years, with Tom’s other bands Triptykon and Celtic Frost only playing a couple of songs here and there, until the inception of Triumph Of Death. Currently formed of the aforementioned Tom Gabriel Warrior on vocals and guitar, our diva Jamie Lee Cussigh on bass, André Mathieu also on the guitar, and Tim Iso Wey on drums, the band has already has played a number of highly acclaimed concerts, such as Hellfest (France), Wacken Open Air (Germany), Party.San (Germany), Brutal Assault (Czech Republic), Psycho Las Vegas (USA), Merry Christless (Poland), Inferno Festival (Norway), Maryland Deathfest (USA), UK Deathfest, and Mexico Metal Fest, among others.
“I was lucky to be contacted by Tom Gabriel Fischer and he gave me this big chance and opportunity. I also take this opportunity to express my gratitude to him. He’s a beautiful person and I’m very thankful to him,” commented Jamie, who also mentioned the release of new material when she joined the project. “It’s a long-term and permanent project. We will release live material (Hellhammer music) and likely eventually even a studio album with our own material in the style of Hellhammer.” Well, after that interview the promise of releasing live material has already become a reality with the release of the amazing live album Resurrection of the Flesh by the end of 2023, recorded during three festival performances in 2023 in Houston (United States), Munich (Germany) and Barroselas (Portugal). Some of the songs became official videos on their official YouTube channel, including the excellent Decapitator and Massacra, but the band also offers live footage from other festivals in their channel like the songs Massacra, Visions of Mortality, Aggressor and The Third of The Storms (Evoked Damnation), from their 2022 concert at Maryland Deathfest, and you can also click HERE to grab your favorite version of their live album.
Apart form Triumph of Death, Jamie can be found as the bassist for a fantastic French Blackened Speed/Thrash Metal band named Sacrifizer, in this case under the moniker SlaughterWytch, having joined the band a little after their inception back in 2017, and having already recorded with them the 2019 EP La Mort Triomphante, and more recently the full-length album Le Diamant de Lucifer, back in 2022, and both can be appreciated in full on Spotify. According to the band, they were “created after a midnight ritual”, and our dauntless SlaughterWytch alongside Sexumer on vocals, NightReaper and H.K.A. on the guitars, and Lethal on drums continues to pave a path of destruction with their only goal being “to spread the mighty words of our lord Lucifer.” I highly recommend a detailed listen at both their 2019 EP and their 2022 album, as both are ass-kicking beasts of blackened thrash, as you can easily see in this incendiary live version of Le Diamant de Lucifer.
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However, don’t think that Jamie is simply blasting the heaviest of sounds all the time with her bass, or that she only loves heavy music, as she has also been part of a very interesting Coldwave project called Letten 94 since 2019, going by the name of Dolorès in this case. “Letten 94 is a project we created with a friend, Freddy Van Ballast. I’m on vocals, bass and soon guitar and he plays synthesizers, samplers, drum machines etc.,” commented Jamie. This Swiss Coldwave duo takes a mental image of Letten (as the disused Letten station in Zurich was the largest open drugs scene in Europe in 1994), and more widely of Europe in the aftermath of the fall of the Berlin Wall, as a starting point to try to create electronic music which is sometimes aggressive and syncopated, sometimes dark and mysterious.
Letten 94 is a band that plays music for its own sake, carrying no political message, therefore having a zero-tolerance policy for racism and discrimination, such as discrimination based on gender, ability, or age. This includes all political ideologies that are extremist, totalitarian and/or oppose fundamental human rights, democracy, and the rule of law. Hence, you can enjoy Letten 94’s music in their official video for Empty Landscapes, listen to their other songs on Spotify, or click HERE for all things Letten 94. She was also involved with a French Black Metal horde named Myrkvid, playing bass with the band between 2019 and 2020, although she didn’t record anything with them. “The vocalist and guitarist, Myrk, is a friend of mine since a long time ago and he needed a new bass player. I played with them for a year but I decided to leave the band,” she commented, and you can also find her as the bassist for a band named Trauma, again with very few information about her involvement with the band available online, including zero details on when she started playing with them, or if she’s still with them.
As you might have noticed, Jamie has a lot of different influences in music. “At the very beginning of my teenage years I started with Thrash and Speed, and then I discovered Extreme Metal around 14 years old. I’m mostly on Black/Thrash, Black, some old school Death Metal sometimes and some Heavy/Speed but besides Metal I’m a fan of coldwave and post-punk music and it’s also a part of my inspirations. Jazz music too.” Moreover, when asked to list her top five albums of all time, she said that it’s tough to mention only five albums because she loves a lot more than that, but she would try to list some that struck her. Those albums are Blood Fire Death, by Bathory, Envoy of Lucifer, bu Nifelheim; Sister, by In Solitude; Black Metal, by Venom; and Dawnrazor, by Fields of the Nephilim.
In addition, she mentioned a very interesting list of newer bands she enjoys, including Division Speed, Hällas, Flagellant, Whoredom Rife, Blaze of Perdition, Denouncement Pyre, Drab Majesty, Lebanon Hanover, Condor, Hellripper, Antichrist, In Solitude, Saqra’s Cult, Tryptikon, Tragediens Trone, Riot City, Ultra Silvam, Beastmilk, Heresi, Tribulation, Matterhorn, Satan Satyrs, Vulture, Quintessenz, Whiskey Ritual, Warmoon Lord, Midnight and Nocturnal Graves, also saying that live she really enjoys to see Aura Noir, Satan Satyrs, Venom and Midnight. When asked about new or mainstream metal, she said she doesn’t like those labels, as she believes what really matters is to play with (and for) passion before anything else. “When this is the case, everyone who plays with his guts and works hard deserves his success.” And guess what’s the definition of true metal music for Jamie? “You feel it or not!”
Behold the caustic new album by this iconic Black Metal musician who has clawed himself back from the abyss of a most extreme life imaginable.
San Clemente, California-based Experimental/Psychedelic Black Metal outfit Nachtmystium has returned, and after all that was said and done, mastermind Blake Judd (aka Azentrius) is still standing. Not only that, but he has clawed himself back from the abyss of a most extreme life imaginable to a much more quiet, observant, and matured artist and person. In case you know nothing about him, Blake was a prolific scammer who collected money for Nachtmystium merchandise and other goods which he did not send, being arrested and retained on grounds of theft in October 2013, but those dark days seem to be dead and gone as Blake and his Nachtmystium are back in action with their ninth studio album, titled Blight Privilege. Recorded and engineered by Blake himself with assistance by Andrew Markuszewski, with drums engineered and recorded by Jacopo Pettini at Virus Studio, mixed and mastered by Ken Sorceron at Sorceron Sound, and displaying a demonic artwork and layout by Alex Trinkl of Irrwisch Artdesign, the new album by Blake on vocals, guitars and keyboards alongside Matt Thomas also on the guitars, Ken Sorceron on bass and Francesco Miatto on drums offers everything fans have learned to love (or hate) in the music by Nachtmystium, from its harsh, rasping vocals to the fierce hum and whirr of guitars burning with an ice cold fire, and of course moments of ecstatic and exalted beauty in hellish soundscapes, like what’s found in the project’s (in)famous trilogy formed of Instinct: Decay (2006), Assassins: Black Meddle Pt. I (2008), and Addicts: Black Meddle Pt. II (2010).
And one of those sinister, cryptic spoken excepts kicks off the opening tune, entitled Survivor’s Remorse, being gradually joined by the crisp riffs by Blake and Matt, therefore resulting in a song perfect for darkening your putrid souls for all eternity; followed by Predator Phoenix, an exciting, thrilling and vibrant Black Metal extravaganza by Blake and his horde where his harsh vocals sound fantastic, not to mention the fierce but intricate beats by Francesco, and of course the fact Blake simply exposes his dark past in the song’s official video. Then investing in a more melodic, cadenced sonority, it’s time for the Melodic Black Metal aria A Slow Decay, with their strident riffs penetrating deep inside our minds, whereas Conquistador is another straightforward Black Metal song with melodic and atmospheric nuances, with Blake roaring with tons of anger until the very end. Moreover, its imposing background also brings an extra touch of obscurity to the overall result.
There’s no time to breathe as Blake continues to haunt our souls in Blind Spot, supported by the rumbling kitchen by Ken and Francesco. In other words, it’s a great song for some vigorous headbanging or for some decent circle pit action during their live shows, no doubt about that. The Arduous March is an eerie, phantasmagorical creation by Nachtmystium, overflowing anguish and darkness to the melodious riffs by Blake and Matt, sounding doomed at times and flowing majestically until its climatic finale; and last but definitely not least, Blake will melt our faces with his Melodic Black Metal in the title-track Blight Privilege, with Francesco enhancing the song’s punch considerably with his classy beats and fills, turning it into a superb way to close the album and welcome Blake back to the world of metal (even if a lot of people don’t wanted it to happen).
Blake and his alter-ego Nachtmystium can only be found on X (or Twitter) of all social media, maybe due to all of his past issues, but you can surely enjoy his music on YouTube and on Spotify. Also, you can purchase a copy of the excellent Blight Privilege from the project’s own BandCamp, from the Prophecy Productions webstore, or by clicking HERE or HERE, and as Blake seems to be a new person now let’s say nobody expects him to not deliver his album to whoever purchases it. A troubled past, an undeniable talent, a deep passion for Black Metal, and the courage to start again. That’s what makes the new album by Nachtmystium so compelling, therefore representing just the first step (towards the right direction) in this new phase of his controversial but striking career.
Best moments of the album:Predator Phoenix, Conquistador and Blight Privilege.
A metalhead can’t ask for a more fitting experience than four days of extreme metal in the city that is responsible for birthing one of the most notorious and exciting sub-genres, black metal. Bergen, Norway is home to some of the most relevant and awe-inspiring artists, bands and figures such as Enslaved, Gorogorth/Gaahl, Burzum/Varg Vikernes, Immortal/Abbath put this city on the map as it relates to their contributions. It makes perfect sense, then, that this same city is host to the Beyond The Gates Festival, which features many of the Nordic bands that have helped shape black metal, plus a whole selection of other artists and experiences. The 2024 edition proved to be one of the best yet.
DAY ONE
Mayhem @ Beyond the Gates 2024
The day started with Trondheim’s Whoredom Rife who are one of the most exciting bands to come out of Norway in quite some time. They hit the stage with the ferocity of a tsunami and destroyed with a raw, vicious black metal assault. Next up was Polish black metallers Manbryne. As a relatively new entry into the space (having formed in 2017) this five-piece delivered a set like a band with a few decades under their bullet-adorned belts. Next up was American black/death/thrash gods, Black Anvil. If you’ve ever been fortunate enough to catch these guys live, you’ll already know that they truly give it their all. A fantastic band that showcases both their many years of experience and utter exuberance when they hit that stage. The mighty Mayhem hit the larger of two stages at USF Verftet (the venue that hosted the first two days of the festival) with a set that celebrated the band’s 40th anniversary. There is no better place for this to happen, as Bergen is the same city that the band recorded their legendary debut album, De Mysteriis Dom Sathanas. The guys hit the stage and plowed through decades worth of material, which included a couple of tracks from their now-classic debut, Deathcrush (even inviting two former members to the stage to perform these tracks). Ending off the night was Bergen resident and legendary black metal figure, Gaahl, and his newly-revamped Trelldom. For this unfamiliar, Trelldom sprung to life in the 90s, prior to Gaahl joining Gorgorth, and released a few now-legendary albums. They were short-lived, but have recently reformed, releasing a brand new album of experimental music with some tinges of black metal. Their set tonight comprised mostly new material, but they also threw in a few goodies for longtime fans.
DAY TWO
Behemoth @ Beyond the Gates 2024
Waking to a beautiful day in Bergen, we were ready to hit the streets and make our way over to the venue to catch the first two bands of the day: Prague’s Cult Of Fire and Sweden’s Portrait. Both bands put on spectacular, albeit very different, sets. Cult Of Fire are the Buddhists of metal and, as such, their set and theatrics reflect this perfectly. Portrait’s brand of classic heavy metal was a nice change of pace from all the extremity we had witnessed thus far. Next up was the classic lineup of Venom (not to be confused with Venom Inc.) which features original member, Cronos. The larger venue, Hallen, was packed to the gills for this set which featured all the classics fans have grown to love over the last five decades. It was a highly-energized set which included many fan sing-alongs. Switzerland cosmic black metallers, Darkspace, then put on what can only be described as a trip into the outer reaches of the universe punctuated by their brand of hypnosis-inducing black metal. Incredible stuff from a band that does not often play live. Definitely a rare treat. Ending the night were Behemoth and Death SS. Having seen Nergal and crew many times, tonight was probably one of the best performances yet. The festival spared no expense with the pyro and stage props, which allowed the guys to truly capitalize on their already larger-than-life presence. The final act of the night, Death SS, are a band that have existed since the late 70s. Not being too familiar with their material, I was pleasantly surprised by their super high-energy set and the quality of songs that they delivered, which ranged from classic heavy metal all the way to stuff on the more extreme end of things. A very interesting and fun to catch on the live front, if you ever get the chance.
DAY THREE
Enslaved @ Beyond the Gates 2024
With the first two days in the history books, we move to the second of two venues, the famed Grieghallen, for the final two days. If you are familiar with Grieghallen, you would know that the venue was the very same place that many of the legendary Norwegian black metallers recorded their early work. The first band of the evening was Norwegian avant-garde black metal, Dødheimsgard. Frontman, Vicotnik, and his merry band of minstrels, carnivalized their way through an incredible set of vertigo-inducing tracks. Next up was Norway’s Djevel, the band that features one Bard Faust behind the drums (formerly of Emperor). These guys are the gatekeepers of True Norwegian Black Metal, and their set proved as much. There are no frills or gimmicks. It was just straight-up second wave-inspired black metal from start to finish. One of the best performances of the festival thus far. Hometown heroes, Enslaved, are one band that have played many of the previous editions of the festival. Each year, the band tackles one of their classic, early albums. This year, they played through the entirety of their ’95 album, Frost. As such, the stage was adorned with jutting icicles which further enhanced the overall performance. At this point, Enslaved can do no wrong. Let’s hope they are back again next year. The last band of the night, Satyricon, were the only band to play two sets. This first set, comprised material from their entire catalog, with focus on some of their more well-known songs. Satyr and crew did an excellent job of vetting songs that would appeal to fans of different eras of the band. Additionally, the festival hosted a retrospective exhibit of Satyricon’s entire career. Incredible stuff.
DAY FOUR
Blood Fire Death @ Beyond the Gates 2024
Heading into the final day, the sunshine of the previous three days gave way to more inclement, wet weather. Fittingly, the rain of the day perfectly suited the first two bands, Vemod and Vreid, respectively. Both bands delivered stunning sets of Norwegian black metal in the realm of the more atmospheric. Vreid, which features former members of the highly-regarded Windir, were definitely a fan favorite. They even invited the brother of former Windir frontman, Valfar (who tragically passed away a number of years ago), up on the stage as a guest vocalist to honor his brother with a Windir song. Satyricon then charged onto the stage for the second set of the festival with another collection of songs that spanned their entire catalog. This time, there was more focus on later era tracks, which, as a fan of this era, was a welcomed treat. Lastly, the performance that everyone was waiting for: Blood Fire Death, a tribute to Bathory. There can be no better festival to host something like this, as each and every band that performed over the last four days owes something to the legendary Bathory. Each song of the performance featured various members of bands that performed throughout the fest to give their own spin on these songs, with many of the songs featuring a different vocalist. The entire spectacle was overwhelming and will go down in history as one of the pivotal performances of Beyond The Gates.
THE HEADBANGING MOOSE 