Tag Archives: black metal

Concert Review – Beyond the Gates (Bergen, Norway, 07/31/2024-08/03/2024)

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***Review and photos by Mathis Backe***

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.

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Album Review – Notturno / Our (2024)

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The newest chapter in the story of this Italy-based Atmospheric/Depressive Black Metal entity continues the exploration of the human psyche and our obsessive compulsions.

One year to the date of their last album, titled Inside, and two years after their debut opus Obsessions, the newest chapter in the story of Italy-based Atmospheric/Depressive Black Metal entity Notturno has just seen the light of day once again in the form of their new album Our, continuing the exploration of the human psyche and our obsessive compulsions. Recorded at BVNKER Studio, with vocals recorded at HK Studios and drums recorded by Stefano Nuccetelli at Music Up Studio, mixed and mastered by Stefan Traunmüller at Soundtempel Studio, and displaying a captivating atwork by Sky Studach, with photos by Riccardo Ziosi and featuring model Giulia Simonelli, the new album by vocalist Kjiel and multi-instrumentalist Vittorio Sabelli, alongside session drummer Aeternus (aka Sven Vinat), is rooted in Atmospheric and Depressive Black Metal with classical instruments incorporated into the compositions, only adding to the rich sonic tapestry, though perhaps never as seamlessly as on this latest album.

And it’s classic Notturno in the intro Adagio, with the dark, deep sounds of the clarinet by Vittorio generating a truly menacing ambience perfect for the band to crush our souls in Inside, where the delicate but piercing instrumental pieces are exactly what Kjiel needs to shine on vocals, overflowing melancholy and flowing majestically until the very last second, therefore connecting in a beautiful way with Anymore, which starts in a serene manner to the acoustic guitars by Vittorio, alternating between utterly introspective moments to the gentle vocals by Kjiel and sheer heaviness and obscurity with harsher riffs and roars, resulting in a multi-layered aria of Depressive Black Metal. Then all explodes into the heavy-as-hell, Black Metal-infused Paranoia, with Vittorio and Aeternus demolishing our damned souls with an infuriated eight-minute wall of sounds full of classic riffs, beats and fills, with its calm interlude bringing peace to our rotten souls before all hell breaks loose again to the devilish vociferations by Kjiel; and lastly, it’s time for Vittorio to reach deep inside our hearts with his piano in the closing tune Doors, with Kjiel darkly declaiming the song’s lyrics, before morphing into a stylish Depressive and Atmospheric Black Metal onrush and ending in a gentle, somber way.

Such an amazing Italian duo of darkness is waiting for you on Facebook and on Instagram with more of their music, news, tour dates and so on, and don’t forget to also stream their eerie creations on Spotify and, above all that, to purchase Our from the Hypnotic Dirge Records’ BandCamp or webstore, adding an extra touch of obscurity to your collection. Kjiel and Vittorio more than just complete each other in a “Beauty and the Beast” style, specially because Kjiel is also a beast; they actually represent one single entity which purpose is to bring darkness and melancholy to our hearts, with Our being the perfect follow-up to Obsessions and Inside, continuing to pave the duo’s beautiful path to a land where there’s no hope, nor light.

Best moments of the album: Anymore and Paranoia.

Worst moments of the album: None.

Released in 2024 Hypnotic Dirge Records

Track listing
1. Adagio 3:53
2. Inside 7:39
3. Anymore 10:14
4. Paranoia 8:08
5. Doors 8:15

Band members
Kjiel – vocals
Vittorio Sabelli – guitars, bass, clarinet, bass clarinet, piano, keys

Guest musician
Aeternus – drums

Album Review – Mork / Syv (2024)

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The lone wolf Thomas Eriksen strikes again with Mork’s seventh full-length opus, representing the project’s most expressive and diverse works to date.

Following on from vocalist and multi-instrumentalist Thomas Eriksen’s self-titled Udåd project debut earlier this year, the new album by Halden, Norway-based Black Metal entity Mork, entitled Syv, emerges as the new pinnacle of Mork’s and Thomas’ ever-evolving journey, as well as a creative expansion both sonically and compositionally over all prior works, including his 2023 opus Dypet. Recorded and mixed by Thomas himself, with engineering assisted by Freddy Holm (who also contributes with strings and synths), mastered by Maor Appelbaum and Jack Control at Enormous Door, and displaying a visceral artwork by David Thiérrée, Syv also represents Mork’s most expressive and diverse works to date, with exquisite melodies interspersed with brutal and even occasionally progressive riffs amid an ever-present air of melancholy, forming a perfect backdrop for Thomas’ thematic dive through the contemplations of looming mortality, and digressions through the depths and contrasts of human existence.

It takes only a few seconds for Thomas to begin roaring like a demonic creature in the opening tune I tåkens virvel (“in the vortex of the fog”), presenting his trademark riffage and crushing beats in seven minutes of a descent into hell together with this talented Norwegian lone wolf; whereas in Holmgang the strings by guest Freddy Holm give the whole song a more Folk Metal vibe, while Thomas keeps the project’s core essence as blackened as it can be, resulting in a strong tune that should sound amazing if played live (as the band’s live lineup consists of Thomas supported by guitarist Alex Bruun, drummer Daniel Minge, and bassist Øyvind Kaslegard). Heksebål (“witch bonfire”) also follows a similar pattern than the previous song, blending the harshness of Black Metal with the more melodic and ethereal sounds of Folk Metal, with Thomas delivering an amazing performance on drums throughout the entire song; and back to a more visceral, old school Black Metal sonority, Thomas puts the pedal to the metal in Utbrent (“burned out”), with his enraged gnarls and sharp riffs haunting the souls of the lighthearted.

The album continues to spread darkness to our damned hearts in Med døden til følge (“with death to follow”), presenting a more Melodic Black Metal vibe than its predecessors, not to mention it’s an excellent option for some evil headbanging, and it’s time for another Black Metal attack by Thomas entitled Ondt blod (“bad blood”), offering our ears more of his classic Black Metal riffs and beats. Then an obscure start evolves into a massive feast of hammering sounds in Tidens tann (“the ravages of time”), keeping the album at a high level of rage and animosity, followed by Til syvende og sist (“ultimately”), the second to last song of the album, which is just a regular instrumental track that doesn’t add much to the whole experience; flowing into the introspective tune Omme (“about”), an acoustic creation by Thomas where he only uses his clean vocals to give it a more melancholic vibe.

Syv can be savored in full on YouTube and on Spotify, but of course in order to show all your support to Thomas and his alter-ego Mork, you can purchase a copy of the album by clicking HERE or HERE, and also stay updated with all things Mork by following the project on Facebook and on Instagram, including of course their fantastic live performances. After seven sensational full-length albums in the span of only 11 years, I believe we won’t have to wait too long for Thomas to stun us all with another blast of the music by Mork, and when that happens the skies will get dark and we’ll all be embraced by a soothing void once again just like what the music found in Syv can do to our rotten souls, always in the name of top-of-the-line classic and modern-day Norwegian Black Metal.

Best moments of the album: I tåkens virvel, Utbrent and Ondt blod.

Worst moments of the album: Til syvende og sist.

Released in 2024 Peaceville Records

Track listing
1. I tåkens virvel 7:14
2. Holmgang 4:27
3. Heksebål 5:41
4. Utbrent 6:15
5. Med døden til følge 5:49
6. Ondt blod 4:05
7. Tidens tann 5:55
8. Til syvende og sist 5:30
9. Omme 4:17

Band members
Thomas Eriksen – vocals, all instruments

Guest musician
Freddy Holm – strings and synths

Album Review – Odious Spirit / The Treason Of Consciousness (2024)

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Terrifying and exhilarating at the same time, the debut opus by this Avantgarde Black and Death Metal entity describes an infinite cycle of creation, transformation and destruction of which we are unaware prisoners.

The brainchild of James Oskarbski, a musician from Poughkeepsie, New York, in the United States, already active in Execrable and 8 Hour Animal, the ruthless Avantgarde Black/Death Metal entity Odious Spirit plays dark, experimental heavy music with hypnotic and minimal guitars, succeeding in the miraculous aim of fusing together Voivod, Immolation and Mick Barr’s Ocrilim in long and trance-inducing songs, exactly like what can be found in the project’s debut effort The Treason of Consciousness. Written, recorded and mixed by James himself, mastered by Alan Douches at West West Side Music, wrapped in a majestic cover painting by Martín Riveros Baxter (with visual design by Francesco Gemelli), and featuring guest musicians Cullen Gallagher on bass and Daniel Torgal on drums, the album is characterized by James’ dense intertwining of guitars, capable of creating cosmic psychedelic vortices that engulf everything and which are often pushed towards heights of paroxysmal violence, terrifying and exhilarating at the same time, while the philosophical themes of the lyrics are refracted in its fractal folds, centered on concepts of space and time, repetition and decadence, thus describing an infinite cycle of creation, transformation and destruction of which we are unaware prisoners.

Like a creature oozing sheer doom and darkness, the trio begins their infernal feast of Black and Death Metal in Long Stretch of Bleeding Light, with James’ cadaverous roars walking hand in hand with the experimental, intricate kitchen by Cullen and Daniel; whereas 11 minutes of wicked experimentations, caustic riffs and venomous beats and fills are offered by such an amazing entity hailing form the United States in The Hissing Pyre, presenting a sick guitar work by James who delivers nonstop scorching riffs that will burn your soul mercilessly. In other words, it can’t get any more intricate and demented than this, flowing into the one hundred percent experimental tune Illuminations, a phantasmagorical creation by Odious Spirit that will drag you to the netherworld before Gnawing the Fabric of Time offers an overdose of cryptic, poetic lyrics gnarled by James (“Placed him there / To fight the strand / Bleeding man / Bleeding man / To fight the strand / Denied”) while the music is a hurricane of unrelenting, visceral Black and Death Metal.  Lastly, we’re treated to over eight minutes of the hammering drums by Daniel and the rumbling bass lines by Cullen in Unbending Follicle, Unending Blight, while James continues to extract darkness and rage from his axe, therefore piercing our damned minds ruthlessly.

James and his untamed beast named Odious Spirit are waiting for you on Instagram with more details about such an interesting project of the underworld, and if you’re brave enough to put your hands on one of the most caustic albums of the current scene (available in full on YouTube and on Spotify), you can grab your copy of it from the I, Voidhanger Records’ BandCamp page, as well as from Metal Odissey in both the United States and Europe in CD format. The violence and heaviness found in The Treason Of Consciousness, plus of course its unique psychedelic and experimental vibe, make it a must-listen for anyone looking for a breathe of fresh air in heavy music, and I can’t wait to see what’s next for Odious Spirit as the years go by and the project continues to explore new lands and sounds exactly like what was done in its debut effort.

Best moments of the album: The Hissing Pyre and Gnawing the Fabric of Time.

Worst moments of the album: None.

Released in 2024 I, Voidhanger Records

Track listing
1. Long Stretch of Bleeding Light 6:46
2. The Hissing Pyre 11:02
3. Illuminations 5:18
4. Gnawing the Fabric of Time 4:02
5. Unbending Follicle, Unending Blight 8:31

Band members
James Oskarbski – vocals, guitars

Guest musicians
Cullen Gallagher – bass
Daniel Torgal – drums

Album Review – Barathrum / Überkill (2024)

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Behold this beast of an album by one of Finland’s very first Black Metal bands that proves why they are eternal.

Formed in the distant year of 1991 in the land of ice and snow, Helsinki, Finland-based Black/Doom Metal horde Barathrum needs no introduction, remaining as one of Finland’s very first Black Metal bands and, more importantly, one of the longest-running. Now seven years after the release of their 2017 beast Fanatiko, the band comprised of Demonos Sova on vocals, Ruttokieli on lead guitars, Nuklear Tormentörr on bass, and Vendetta on drums returns in full force with their tenth studio album, the highly anticipated metal attack titled Überkill. A no shenanigans, in-your-face blast of extreme music, Überkill proves that the Finns are, above all, a very great Heavy Metal band, just one that’s jet-black, ass-kicking, and bass-driven as fuck. Simple-yet-sublime pleasures, now and forever. Again, Barathrum are eternal!

Death by Steel is absolutely dark and evil from the very first second, with the dirty riffs by Ruttokieli infesting the atmosphere before Demonos Sova attacks with his demonic gnarls; and blending the obscurity of Black Metal with Hardcore and Rock N’ Roll, the band offers the headbanging Mountain of Bones, led by the classic drumming by Vendetta, whereas a wicked intro gradually morphs into the harsh, metallic feast titled Spark Plugs of Purgatory, again with Demonos Sova crushing our damned souls with his goblin-like vociferations. More of their infernal Punk Rock-infused riffs will penetrate deep inside your dirty mind in Black Magick Rites, while Nuklear Tormentörr and Vendetta craft a rumbling base with their respective bass and drums, and investing in a much darker sound we have Ritual Murder, with Nuklear Tormentörr hammering his bass manically until the music evolves into an absolute chaotic vibe perfect for slamming into the pit.

White Red Black and Pale is another rock and metal extravaganza by those Finnish blasphemers led by the venomous gnarls by Demonos Sova, sounding slow, steady and evil from start to finish, followed by Denial of God, a beautiful name for another impious tune by Barathrum, offering our putrid ears an overdose of harsh sounds while Vendetta pounds his drums in the name of old school Black and Thrash Metal. It’s then time for seven minutes of sheer obscurity and blasphemy in the form of Dark Sorceress, where the cryptic, ritualistic vocals by Demonos Sova match flawlessly with the Doom Metal-inspired sounds blasted by his bandmates, and closing the album we’re treated to the venomous sounds of the title-track Überkill, oozing Barathrum from the very first second, with Ruttokieli stealing the spotlight armed with his wicked, scorching riffs.

Evil has many forms as people like to say, and after listening to Überkill you’ll quickly realize Barathrum are definitely one of the manifestations of everything that’s immoral, sinful and blasphemous. That means they more than nailed it with Überkill, and if you want to join one of the most important hordes in the history of Finnish Black Metal you can start following the band on Facebook, stream their hellish creations on Spotify or any other streaming service, and above all that, purchase their incendiary new spawn from their own BandCamp page or from the KVLT shop. Überkill is the perfect example as to why Barathrum are still alive and kicking (and therefore haunting our damned souls) after so many decades, and I bet those devilish creatures will keep on decimating us all with their undisputed extreme music for many years to come with amazing albums like their newborn beast.

Best moments of the album: Spark Plugs of Purgatory, Ritual Murder and Überkill.

Worst moments of the album: White Red Black and Pale.

Released in 2024 Hammer of Hate

Track listing
1. Death by Steel 4:32
2. Mountain of Bones 4:33
3. Spark Plugs of Purgatory 4:00
4. Black Magick Rites 3:22
5. Ritual Murder 3:44
6. White Red Black and Pale 4:24
7. Denial of God 3:45
8. Dark Sorceress 7:06
9. Überkill 4:59

Band members
Demonos Sova – vocals
Ruttokieli – lead guitars, backing vocals
Nuklear Tormentörr – bass
Vendetta – drums

Guest musicians
Grimharm – bass, backing vocals (live)
Naz – guitars (live)

Album Review – Adorior / Bleed on My Teeth (2024)

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This old school beast will attack once again with their brand new album, a revelation for the black-hearted survivors of this diseased and treacherous world, the true nemesis of pseudo-rebellious Heavy Metal.

An expression in Latin meaning “to rise up to attack”, Adorior are a  Black and Death Metal beast formed in 1994 in London, England that has always been the essence and the epitome of Extreme Heavy Metal. Now, after nearly two decades, this avalanche of fist-fucking, speed-thrashing, pitch-black death is about to bury the conformist and comfortable dreamland of nowadays domesticated metal culture with their new album titled Bleed on My Teeth, a nightmare absolute, the true nemesis of pseudo-rebellious Heavy Metal. Recorded and mixed by Greg Chandler at Priory Recording Studios, mastered by Patrick Engel at Temple of Disharmony, and displaying a demonic artwork by Belial NecroArts, the new opus by vocalist Jaded Lungs, guitarists T. Slutsodomizer and S. Assassinator, bassist R.C., and drummer D. Molestör has a lot of dirt under its fingernails, but it finally reanimates the corpse of mind-fucking, repulsive and dangerous music serving the devil, without giving an inch to newer, shitty genre definitions.

Like a train directly from hell the quintet arrives in full force in Begrime Judas, blending Black and Death Metal with endless sulfur and rebelliousness led by the she-demon vocals by Jaded Lungs, not to mention its scorching thrashing riffs; and the rumbling bass by R.C. kicks off the also demented Ophidian Strike, with the galloping drums by D. Molestör inspiring us all to bang our heads nonstop before exploding into a demented feast of old school Black Metal. Once again adding an endless amount of Thrash Metal and Hardcore elements to their core essence we’re treated to L.O.T.P. – Vomit Vomit Vomit Bastard, while D. Molestör crushes his drums in the most visceral Death Metal way imaginable, whereas in Precipice of Fire the band offers more of the guitar madness blasted by T. Slutsodomizer and S. Assassinator, resulting in an infernal metal attack that sounds like it was taken directly from the 80’s.

Jaded Lungs is a beast incarnate in the seven-minute aria of hell titled Sips of Sarin, where her bandmates blast their sonic weapons in the name of evil, allowing her to scream and gnarl with tons of despair, therefore turning it into one of the best moments of the album. It’s quite interesting how all of their songs go beyond the five or six minute mark, and Scavengers of Vengeance couldn’t have been any different than that, sounding insane from start to finish thanks to the slashing riffage by the band’s guitar duo, whereas the second to last blast of old school blasphemy by Adorior is entitled Moment of Mania, with Jaded Lungs gnarling rabidly amidst a hurricane of chaotic, demented sounds blasted by her bandmates, and with the sound of their riffs being a thing of beauty. Lastly, let’s all face almost seven minutes of impious, sulfurous Death and Thrash Metal made in the UK in the title-track Bleed on My Teeth, with D. Molestör sounding ruthless on drums and, consequently, putting a beyond infernal conclusion to the band’s blackened death and thrash attack.

Bleed on my Teeth is a revelation for the black-hearted survivors of this diseased and treacherous world, and you will certainly feel this record like it has been tattooed into your bones, but if you don’t, then fuck off and pray that you never will. Hence, keep an eye on their Facebook for news and tour dates, stream their depraved creations on Spotify, and grab a copy of the sulfurous Bleed on my Teeth from their own BandCamp page, from the Sepulchral Voice’s BandCamp page, or from the Dark Descent Records webstore as a digisleeve CD, a black LP, a red and black LP, or a cassette. Adorior are still alive and kicking after so many decades on the road, and you better be prepared for their ruthless attack to the sound of their high-octane, unfiltered new album as you’re quickly consumed by evil.

Best moments of the album: Ophidian Strike, Precipice of Fire and Sips of Sarin.

Worst moments of the album: None.

Released in 2024 Dark Descent Records/Sepulchral Voice

Track listing
1. Begrime Judas 5:55
2. Ophidian Strike 5:33
3. L.O.T.P. – Vomit Vomit Vomit Bastard 6:16
4. Precipice of Fire 5:40
5. Sips of Sarin 7:08
6. Scavengers of Vengeance 6:29
7. Moment of Mania 5:52
8. Bleed on My Teeth 6:51

Band members
Jaded Lungs – vocals
T. Slutsodomizer – guitars
S. Assassinator – guitars
R.C. – bass
D. Molestör – drums

Album Review – Demiser / Slave to the Scythe (2024)

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Like a lumbering, ferocious beast, this South Carolina-based Blackened Thrash Metal behemoth will destroy everything in their path armed with their sophomore opus.

Like a lumbering, ferocious beast awoken from a centuries-long slumber, the Blackened Thrash Metal behemoth known as Demiser emerged from the primordial ooze of the South Carolina metal scene in 2017, unleashing their debut effort Through the Gate Eternal back in 2021. Now in 2024 the band formed of Demiser the Demiser on occult liturgic blasphemy (vocals), Gravepisser on six-stringed satanic fukklord (guitars), Phallomancer on abysmal rhythm of death (guitars), Defiler on dismal baritone curator (bass), and Infestor on purveyor of percussive bile (drums) brings forward their sophomore opus, titled Slave to the Scythe, a devastatingly intense slab of work, an aural harbinger of hellish intent that sees the band blend 80’s Thrash Metal, first-wave Black Metal, Death Metal and a healthy dose of NWOBHM. Recorded by Chase McGuckin at Seaboard Recording Studio, and displaying a demonic artwork by Lucas Ruggieri, Slave to the Scythe is the work of a band of men determined to destroy everything in their path. Musically, of course.

Infestor kicks off the band’s depraved party in Feast, a devastating Death and Thrash Metal tune where Demiser the Demiser gnarls nonstop in the name of evil; whereas Gravepisser and Phallomancer deliver sheer rage through their caustic riffs in the title-track Slave to the Scythe, another fast-paced, circle pit catalyst by the quintet. Then inspired by other amazing underground bands like Midnight, it’s time for Defiler and Infestor to make the earth shake in Carbureted Speed, offering Demiser the Demiser exactly what he needs to roar manically in this Punk Rock-infused thrashing extravaganza, and it’s pedal to the metal with the band’s guitar duo showing no mercy for our souls in Phallomancer the Phallomancer, slashing their axes like there’s no tomorrow.

After that we have a serene, acoustic Interlude, working as the calm before the storm titled Total Demise, where Infestor speeds things up with his demented beats and fills, inviting us all to slam into the mosh pit like true metal maniacs. Their thrashing feast with hints of Death Metal goes on in full force in Hell Is Full of Fire, with Demiser the Demiser and Infestor sounding ruthless armed with their respective roars and beats, and those demonic beasts will carve their teeth deep inside your flesh in Infernal Bust, offering more of their rumbling bass and drums courtesy of Defiler and Infestor, while Demiser the Demiser continues to vociferate like a demented creature of darkness. Finally, we face In Nomine Baphomet, the most epic and detailed of all songs, showcasing layers of sulfur, wrath and aggression by such an amazing name of the underground where all band members are on fire during the whole song, with Infestor once again stealing the show with his fusion of Black, Thrash and Death Metal beats and fills, putting a darkly and insanely epic finale to the album.

The band’s influences include the likes of Venom, Bathory, Slayer, Motörhead, and Deströyer 666, plus movies like Terminator 2, Commando, and Predator (or pretty much anything Arnold Schwarzenegger, to be fair), with the overarching themes on Slave to the Scythe being essentially “hell, fire and hellfire.” There are no ballads, no love songs, just plain devilish music for devilish people that was largely written on the road, and if you want to feel that fire burning your putrid body for all eternity you can start following the band on Facebook and on Instagram, stream their music on Spotify, and obviously purchase a copy of the excellent Slave to the Scythe from their own BandCamp page or from the Blacklight Media Records’ webstore. In other words, if your impure soul is going to burn in hell, may that happen to the sound of one of the most bestial thrashing albums of the year.

Best moments of the album: Carbureted Speed, Hell Is Full of Fire and In Nomine Baphomet.

Worst moments of the album: None.

Released in 2024 Metal Blade Records/Blacklight Media Records

Track listing
1. Feast 4:10
2. Slave to the Scythe 4:37
3. Carbureted Speed 3:39
4. Phallomancer the Phallomancer 4:39
5. Interlude 2:45
6. Total Demise 4:54
7. Hell Is Full of Fire 3:48
8. Infernal Bust 3:49
9. In Nomine Baphomet 8:03

Band members
Demiser the Demiser – vocals
Gravepisser – guitars
Phallomancer – guitars
Defiler – bass
Infestor – drums

Album Review – Hell Is Other People / Moirae (2024)

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This Canadian entity will show you that hell is other people with their excellent newborn spawn of Black Metal, imbibing influences from several of its related subgenres.

Hailing from Windsor, a city in Ontario, Canada, across the Detroit River from the US city of Detroit, Post-Black Metal outfit Hell is Other People (by the way, “Hell Is Other People” is a quote from Jean-Paul Sartre’s No Exit) has elegantly and passionately crafted a brilliant Black Metal album, titled Moirae (which means “goddesses of fate or destiny” in Greek), that imbibes influences from several of its related subgenres such as Atmospheric Black Metal, Post-Black Metal and even DSBM in parts, forming a cohesive, expressive and all-encompassing sound that the band is comfortable in carrying throughout. Displaying a stunning cover art by Adam Burke of Nightjar Illustration, the new album by Nathan Ferreira on vocals and bass, Nathan Boots and Nicholas Luck on the guitars, and James Ditty on drums is a beautifully tempered opus with a remarkable range of expression that comes across as genuine and heartfelt, being recommended for fans of Agalloch, Altar of Plagues, Winterfylleth, White Ward, and Drudkh.

The dark, caustic riffs by Nathan Boots and Nicholas walk hand in hand with the sluggish Doom Metal beats by James in the title-track Moirae, while the vocals by Nathan Ferreira exhale pure Atmospheric Black Metal, sounding anguished and grim. Moreover, it’s impressive how they sound devilish while at the same time so elegant and delicate throughout the entire song. Fates keeps the ambience as somber and pensive as possible, with the hammering drums by James dictating the pace while Nathan Ferreira continues to roar and gnarl in a great fusion of Black Metal with Post-Metal, followed by Degrade, offering us all almost eight minutes of breathtaking, deep and meaningful music that will tear your soul apart to the minimalist yet sharp and austere riffage by the band’s guitar duo, starting in a serene manner before the band attacks once again with their visceral Post-Black Metal, building an instant bridge with the also venomous Loss, where Nathan’s enraged growls are nicely boosted by the intricate yet demented drumming by James while their guitars continue to exhale the harshest and most piercing sounds found in contemporary extreme music. And all comes to a climatic and epic conclusion in Atropos, offering our damned ears an overdose of heaviness and atmospheric elements, with James kicking our asses on drums, while Nathan Boots and Nicholas continue to cut our skin deep with their razor-edged axes, with all layers, breaks, passages and variations turning it into a must-listen for admirers of the genre.

If you want to put your damned, dirty hands on the excellent Moirae, you can find the album available from the band’s own BandCamp page, as well as from the Transcending Obscurity Records’ BandCamp page, main store, US store, or EU store in different formats and as part of some very special bundles, and don’t forget to also give those talented Canadian musicians a shout on Facebook and on Instagram, keeping an eye on the announcements of their live concerts, to stream their music on Spotify, and to stay updated with all things Hell Is Other People by clicking HERE. In the end, after listening to Moirae, you’ll finally realize that hell is indeed other people, and that the Post-Black Metal by this amazing Canadian band is perfect for representing all that darkness and melancholy found inside each one of us.

Best moments of the album: Moirae and Atropos.

Worst moments of the album: None.

Released in 2024 Transcending Obscurity Records

Track listing
1. Moirae 6:58
2. Fates 6:43
3. Degrade 7:48
4. Loss 8:45
5. Atropos 13:28

Band members
Nathan Ferreira – vocals, bass
Nathan Boots – guitars
Nicholas Luck – guitars
James Ditty – drums

Album Review – Surtalog / Ragnarök – Schicksal der Götter, Tod der Menschen und Ende der Welten (2024)

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Ragnarök is upon us all, and there’s nothing better than enjoying it to the sound of some first-class Progressive and Pagan Black Metal made in Germany.

Combining storming Black Metal with progressive influences in order to create their unique sound, Cologne, North Rhine-Westphalia, Germany’s own Progressive/Pagan Black Metal horde Surtalog is unleashing upon us their new beast titled Ragnarök – Schicksal der Götter, Tod der Menschen und Ende der Welten (or “Ragnarök – Fate of Gods, Death of Men and End of Worlds” in English), a concept album about the end of the world in Norse Mythology. Recorded, mixed and mastered by Florian Dammasch at Nightside Audio, and with logo and artwork by Timon Kokott, the album is a must-listen 75-minute sonic journey for fans of bands such as Helrunar, Windir, ​Kampfar, Fimbulvet, Graveland, and Falkenbach, all masterfully crafted by Lukas “Surtuz” S. on vocals, guitars and orchestrations, Alex W. on lead guitars, Kolja “Centrox” B. on bass, and Nils “Phobos” S. on drums.

Prolog – Weissagung (“Prologue – Prophecy”) is an epic, cinematic start to the album, offering nine minutes of atmospheric passages and imposing sounds, with the guitars by Lukas and Alex exhaling heaviness and harmony while also overflowing progressiveness and intricacy, flowing into the instrumental interlude Praeludium ad Fortunam Deorum (“Prelude to the Fate of Gods”), before  exploding into I. Akt – Hass und Missgunst (“I. Act – Hate and Resentment”), with the harsh vociferations by Lukas matching perfectly with all background sounds and tones, all spearheaded by the classic drumming by Nils. Then venturing through the realms of Doom Metal, it’s time for II. Akt – Fimbulwinter (“II. Act – Awful, Mighty Winter”), offering us all 11 minutes of progressiveness, heaviness and epic passages, with the sound of their drums and riffs penetrating deep inside our minds.

After that, we have the epic interlude Heimdalls Horn Ruft Uns Nun (“Heimdall´s Horn Calls Us Now”), inviting us all to join the band into the battlefield to the sound of III. Akt – Die Letzte Schlacht (“III. Act – The Last Battle”), bringing forward 13 minutes of sheer devastation and power, with the piercing riffs by Lukas and Alex exhaling Black Metal magic supported by the rumbling bass by Kolja, with its second half being a lecture in progressiveness and experimentations. We then face the Progressive Death Metal attack titled IV. Akt – Weltenbrand (“IV. Act – Burning of Worlds”), where Nils once again sounds ruthless behind his drums; followed by Die Leere der Welten (“The Emptiness of Worlds”), offering us all four minutes of serene, melancholic sounds, albeit it could have been slightly shorter, but it does its job of prepping us for V. Akt – Untergang (“V. Act – Downfall”), a 14-minute feast of harsh vociferations, strident riffs, rhythmic beats, and a strong sense of darkness and melancholy, before all morphs into an atmospheric passage and ends in an epic and climatic manner. Lastly, hope arises in the closing song Epilog – Neubeginn (“Epilogue – New Beginning”), where a mysterious female vocalist brings joy and peace to our blackened hearts while the band delivers delicate acoustic sounds until the very last second.

In summary, the bold and multi-layered Ragnarök – Schicksal der Götter, Tod der Menschen und Ende der Welten is the perfect soundtrack for the end of the world, it doesn’t matter if in Norse Mythology or in our present-day society, and you can show your support and admiration for those Teutonic bringers of doom by following them on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming their music on Spotify (or any other platform), and obviously by purchasing their new album from their own BandCamp page or by clicking HERE. Because you know, if Ragnarök is truly upon us, let it be to the sound of some first-class Progressive and Pagan Black Metal.

Best moments of the album: I. Akt – Hass und Missgunst, III. Akt – Die Letzte Schlacht and V. Akt – Untergang.

Worst moments of the album: Die Leere der Welten.

Released in 2024 Independent

Track listing
1. Prolog – Weissagung 9:06
2. Praeludium ad Fortunam Deorum 4:04
3. I. Akt – Hass und Missgunst 5:46
4. II. Akt – Fimbulwinter 11:39
5. Heimdalls Horn Ruft Uns Nun 2:31
6. III. Akt – Die Letzte Schlacht 13:01
7. IV. Akt – Weltenbrand 5:38
8. Die Leere der Welten 4:00
9. V. Akt – Untergang 14:41
10 .Epilog – Neubeginn 4:34

Band members
Lukas “Surtuz” S. – vocals, rhythm & acoustic guitars, orchestrations
Alex W. – lead guitars
Kolja “Centrox” B. – bass, backing vocals
Nils “Phobos” S. – drums, backing vocals

Album Review – Invocation / The Archaic Sanctuary (Ritual Body Postures) (2024)

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This ruthless Chilean horde returns with more of their “Ritualistic and Hypnotic Black and Death Metal”, canvassing past, present, and future in their first full-length offering.

At long last, nearly a decade after their formation, Valparaíso, Chile-based Black/Death Metal horde Invocation are unleashing their first full-length opus, beautifully entitled The Archaic Sanctuary (Ritual Body Postures), the follow-up to their 2020 EP Attunement to Death. Recorded and mixed by E. Brisso at Equinox Studio, mastered by Dan Lowndes at Resonance Sound Studio, and displaying a Stygian artwork by Abomination Hammer, the new album by Sense of Premonition on vocals and guitars, Sense of Clairvoyance on bass, and Sense of Clairaudience on drums offers us all more of what the band likes to call “Ritualistic and Hypnotic Black and Death Metal”, canvassing past, present, and future and fittingly framing it with another gritty analog recording rich with sulfurous fire and sepulchral echoes.

Extreme aggression and obscurity flows from all instruments in Ecstatic Trance, where you can sense the fumes emanating from the deep roars by Sense of Premonition, who’s also infernal armed with his stringed axe, followed by The Serpent of Faardal, just as hellish and grim as the opening track, with the rumbling sounds blasted by Sense of Clairvoyance and Sense of Clairaudience showcasing a spot-on balance between Death and Black Metal. Opium Thebiacum (Somniferum) again presents the darkest elements of Black Metal while Sense of Premonition’s primeval gnarls exhale old school Death Metal; and it’s pedal to the metal as the trio will crush our cranial skulls to pieces in Metamorphosis, a vile, demonic attack where the hammering drums by Sense of Clairaudience sound truly evil.

The band shows absolutely no mercy for our rotten souls in Horn of Colima, again blasting sheer Black and Death Metal madness through the scorching riffs by Sense of Premonition and the thunderous, low-tuned bass by Sense of Clairvoyance, and there’s still a lot of fuel to burn, starting with The Psicopompos, offering more of the band’s trademark extreme sounds, with Sense of Clairaudience stealing the spotlight with his unstoppable blast beats. There’s no sign of the trio slowing down or playing any type of mellow music; quite the contrary, they offer the sulfur-infused aria Venus of Laussel, another blast of the underground led by the gruesome vociferations by Sense of Premonition, whereas last but not least the trio will evoke the powers of the underworld in Hypnosis, sounding absolutely harsh, raw and demonic.

It was only a matter of time before Invocation delivered a debut album to capitalize on the massive potential they displayed on their short-lengths, and with The Archaic Sanctuary (Ritual Body Postures), they now can enter the hallowed ranks of fellow cult countrymen Force of Darkness, Slaughtbbath, and the sorely missed Hades Archer, among others, for standard-bearers of classic South American madness. Hence, if you want to feel that metal madness flowing through your veins, you can find more about the band on Facebook and on Instagram, stream their music on Spotify, and above all that, purchase their sulfurous newborn spawn from their own website or from their BandCamp page, inspiring Invocation to keep spearheading the Chilean underground with their endless rage, blasphemy and heaviness for all eternity.

Best moments of the album: Ecstatic Trance, Metamorphosis and The Psicopompos.

Worst moments of the album: None.

Released in 2024 Iron Bonehead

Track listing
1. Ecstatic Trance 3:49
2. The Serpent of Faardal 3:31
3. Opium Thebiacum (Somniferum) 3:54
4. Metamorphosis 4:07
5. Horn of Colima 3:57
6. The Psicopompos 4:17
7. Venus of Laussel 4:52
8. Hypnosis 5:36

Band members
Sense of Premonition – vocals, guitars
Sense of Clairvoyance – bass
Sense of Clairaudience – drums