Tag Archives: black metal

Album Review – God Dethroned / The Judas Paradox (2024)

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These Dutch Blackened Death Metal legends are back to offer up their latest sacrifice, delving deep into the catacombs of religion.

Delivering the goods since their inception in the distant year of 1990, Dutch Blackened Death Metal legends God Dethroned have returned to offer up their latest sacrifice, their new album The Judas Paradox. Recorded and mixed by Henri Sattler at Woodland Park, and mastered by Tony Lindgren at Fascination Street Studios, the new album by vocalist and guitarist Henri Sattler, guitarist Dave Meester, bassist Jeroen Pomper, and drummer Frank Schilperoort delves deep into the catacombs of religion, drawing inspiration from mythology from all over the world, taking the listener on a thrilling, thought-provoking journey from Christian history to Greek mythology, complete with layers of dark, heavy riffs and nuanced classical touches.

The title-track The Judas Paradox kicks off the album on a melodic and grim note, with Henri already vociferating rabidly supported by the enfolding instrumental pieces by his bandmates while Frank dictates the pace with his classy Black Metal beats and fills, whereas the first single of the album, titled Rat Kingdom, brings to our ears a harsh and acid dosage of their trademark Black Metal, with the piercing riffage by Henri and Dave sounding wicked from start to finish. The Hanged Man presents four minutes of sulfurous extreme music for our total delight, with the vile beats by Frank walking hand in hand with the rumbling bass by Jeroen, flowing into the cinematic interlude Black Heart, setting the stage for the pulverizing Asmodeus, offering everything we learned to love in their caustic Black Metal, from the harsh roars by Henri to the blast beats by Frank, not to mention their riffs and bass lines exhale pure Black Metal magic, embracing us all in pitch black darkness.

Kashmir Princess is one more doomed, devilish aria by this iconic Dutch horde where their guitars sound melodic yet demonic, providing Henri with all he needs to roar in a vile manner, and investing in a more direct and traditional Black Metal sound led by the infernal growls by Henri we have Hubris Anorexia, a song perfect for darkening the skies in the name of evil. The next song, titled The Eye of Providence, is not a very strong tune, lacking the same energy of the rest of the album albeit still sounding grim and evil; whereas back to a more frantic, demented Black Metal sonority, it’s time for Henri to burst his lungs screaming supported by his bandmates’ hellish sounds in Hailing Death. They still have a lot of (demonic) fuel to burn in Broken Bloodlines, a headbanging, impactful Black Metal onrush where the sound of their guitars will embrace your damned soul before dragging you to the underworld for all eternity; and their black mass reaches its conclusion with the also disturbing War Machine, bringing forward one last blast of their trademark Black Metal where Henri darkly declaims the song’s eerie words in great fashion.

As already mentioned, the new album by the almighty God Dethroned is indeed a musical voyage to the darkest corners of religion, and you can let their music consume your rotten soul by following the band on Facebook and on Instagram, including of course their sulfurous tour dates, by streaming all of their vast catalogue on any streaming service like Spotify, and above all that, by purchasing your favorite copy of The Judas Paradox by clicking HERE. God Dethroned once again take no prisoners in their quest for extreme music with The Judas Paradox, and while the church continues to destroy our already corrupt and decaying world, those Dutch metallers will keep drawing inspiration from everything that’s evil about religion to open our eyes and our minds to all that to the sound of their venomous music before it’s too late.

Best moments of the album: Rat Kingdom, Asmodeus and Hubris Anorexia.

Worst moments of the album: The Eye of Providence.

Released in 2024 Reigning Phoenix Music

Track listing
1. The Judas Paradox 6:02
2. Rat Kingdom 3:39
3. The Hanged Man 4:02
4. Black Heart 0:50
5. Asmodeus 3:33
6. Kashmir Princess 4:48
7. Hubris Anorexia 3:37
8. The Eye of Providence 3:34
9. Hailing Death 5:28
10. Broken Bloodlines 3:23
11. War Machine 3:58

Band members
Henri Sattler – vocals, guitars
Dave Meester – lead guitars
Jeroen Pomper – bass
Frank Schilperoort – drums

Album Review – Pneuma Hagion / From Beyond (2024)

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This auditory Texan Black and Death Metal onslaught returns with their new and brutal album, exploring Lovecraftian ideas of horrifying extra-dimensional entities forcing their way into the causal universe by infecting the minds of humans.

The auditory Black and Death Metal onslaught hailing from Texas and known as Pneuma Hagion, which is Greek for “Holy Spirit”, is about to unleash upon humanity their third full-length album, titled From Beyond, a relentless barrage of down tuned brutality that will resonate deep with the darkest chords of your soul. Mixed and mastered by Mike G, with the vinyl master being taken care of by Carlo Altobelli at Toxic Basement Studios, and displaying a stylish cover art by English poet, painter, and printmaker William Blake (1757-1827), the new album by the monstrous duo R. on vocals, guitars and bass, and S. on drums explores Lovecraftian ideas of horrifying extra-dimensional entities forcing their way into the causal universe by infecting the minds of humans. Each song is from the perspective of some malevolent entity of unfathomable nature trying to influence the world of mortals and trying to infiltrate our universe in order to cause its ultimate destruction.

The opener Harbinger Of Dissolution sounds groovy and infernal from the very first notes, with R. delivering an overdose of aggression through his riffs and vocals supported by the classic blast beats by S., while Resurrected Abominations is a lesson in old school, primeval Death Metal by the duo, with their Cannibal Corpse-inspired riffs and beats turning it into the perfect soundtrack for some sick mosh pit action. Lurking Beyond Time And Space offers another two and a half minutes of sheer animosity and heaviness led by the cadaverous roars by R., who also hammers his guitar and bass mercilessly nonstop; and the duo keeps haunting our damned souls in Those Who Obey, a Death Metal onrush tailored for fans of the genre showcasing a brutal and evil performance by S. on drums. It’s then time to break our necks headbanging to the caustic riffs by R. in The Temple Fires, bringing forward a beyond heavy sound boosted by the deep guttural by R., exploding into sheer madness halfway through it.

Then investing in a much more demented and visceral sonority the duo will pierce our cranial skulls with Aeon, a thunderous tune overflowing groove with the infernal drums by S. providing R. with exactly what he needs to bark and growl like a beast, and there’s no time to breathe in The Light of Long-Dead Stars, another pulverizing aria of classic Death Metal spearheaded by the hellish roars and caustic riffs by R. There are two more demonic chants to go, starting with All Worlds Enslaved, where the duo once again destroys our frail bodies with their dense and fierce sounds, with S. sounding inhumane on drums as usual, therefore adding even more violence to their music. Finally, get ready to be smashed like a putrid insect in the closing tune Archon, offering their characteristic aggression led by the demented drums by S. while R. continues to vociferate in the name of extreme music.

In a nutshell, From Beyond is thick, raw, crushing and unfiltered aggression made in Texas, and Pneuma Hagion are definitely waiting for you on Facebook to join them in their malevolent realm of Death Metal. Also, don’t forget to stream their music on Spotify, and obviously to show them all your support by purchasing their wicked new album by clicking HERE (physical) or HERE (digital). In other words, the otherworldly entities depicted in From Beyond are ready to take over our rotten world, and the Death Metal by Pneuma Hagion is exactly what they need as the soundtrack to their upcoming apocalyptic strike.

Best moments of the album: Resurrected Abominations, Aeon and Archon.

Worst moments of the album: Lurking Beyond Time And Space.

Released in 2024 Everlasting Spew Records

Track listing
1. Harbinger Of Dissolution 2:43
2. Resurrected Abominations 2:51
3. Lurking Beyond Time And Space 2:25
4. Those Who Obey 2:57
5. The Temple Fires 2:54
6. Aeon 2:49
7. The Light of Long-Dead Stars 2:48
8. All Worlds Enslaved 2:51
9. Archon 2:03

Band members
R. – vocals, guitars, bass
S. – drums

Album Review – Defacement / Duality (2024)

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Three years after their latest output, this Dutch Black and Death Metal entity flares its cryptic head yet again with an epic tome of twisted and gnarly emanations, an immersive pathway into the void.

With an inception going back to 2019, Utrecht, Netherlands-based Blackened Death Metal beast Defacement rapidly gained momentum within the underground realms with two full-length records marked by an intense and experimental take on Death and Black Metal, those being their 2019 debut Deviant and their 2021 self-titled album. Three long years after their latest output, the band flares its cryptic head yet again with an epic tome of twisted and gnarly emanations, an immersive pathway into the void entitled Duality. Mixed by Gabriele Gramaglia (Cosmic Putrefaction, Vertebra Atlantis) and mastered by Simon Da Silva (Aversio Humanitatis) at The Empty Hall Studio, Duality is as addictive as it is distressing, a vast landscape of sense and spirit, an ode to the dark night of the soul, a penetrating sonic journey masterfully crafted by Forsaken Ahmed on vocals and bass, Khalil Azagoth on the guitars, and Mark Bestia on drums, sounding unpredictable in its own dynamic, ever-changing form.

Eerie sounds arise from the depths in the opener Optic, sounding and feeling futuristic yet primeval, therefore captivating our senses before the trio smashes our souls in Burden, where a visceral, demented roar by Forsaken Ahmed invites us all to their Stygian lair, not to mention how evil and technical the blast beast by Mark Bestia sound, resulting in a multi-layered aria of darkness alternating between Black Metal-inspired moments and sheer Death Metal bursts for admirers of the most experimental side of both genres. Vagus is another cryptic interlude that brings moments of serenity, yet sounding obscure, flowing into the phantasmagorical Barrier, a fulminating onrush of Experimental Death Metal not recommended for the lighthearted where the riffage by Khalil Azagoth couldn’t have sounded more dissonant and infernal, adding extra layers of violence and insanity to their core sound.

It’s then time for another instrumental piece titled Facial, again presenting the band’s characteristic obscurity and experimental vein, morphing into Scabulous, a very detailed and disturbing creation where the deep roars by Forsaken Ahmed walk hand in hand with the piercing riffs by Khalil Azagoth, all embraced by another bestial performance by Mark Bestia behind his drums. Hypoglossal, their last interlude, will drag us back to the pits of hell together with the trio, consuming our souls until there’s no way back in the 16-minute feast of darkness titled Duality, an absolutely demonic, captivating and grim explosion of Black and Death Metal, showcasing their caustic riffs, blast beats and infernal vociferations, a sonic descent into the abyss presenting all the band’s dexterity and passion for the underworld, ending in a climatic, ethereal and hellish way.

If you think you have what it takes to face the disturbing sounds blasted by one of the most talented bands hailing from the Netherlands, you can start following Defacement on Facebook, stream their wicked creations on Spotify, and above all that, purchase a copy of the pulverizing Duality from their own BandCamp page, from the Avantgarde Music’s BandCamp page, or from Sound Cave as a CD or LP. Duality is challenging and confrontational in its invocation of primal forces lying dormant in the world below, and Defacement deserve our full recognition and admiration for continuing to pave their path to total darkness with another excellent album of pure, undisputed extreme music.

Best moments of the album: Burden and Duality.

Worst moments of the album: None.

Released in 2024 Unorthodox Emanations

Track listing
1. Optic 2:10
2. Burden 9:48
3. Vagus 2:23
4. Barrier 5:05
5. Facial 2:23
6. Scabulous 6:27
7. Hypoglossal 2:30
8. Duality 16:18

Band members
Forsaken Ahmed – vocals, bass
Khalil Azagoth – guitars
Mark Bestia – drums

Album Review – Ofanim / La Torre Oscura (2024)

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Behold the dark tower of Blackened Death Metal ruled by a Mexican entity whose name invokes the sinister angels of the prophetic vision of Ezekiel 1:15-21.

Carrying a name that invokes the sinister angels of the prophetic vision of Ezekiel 1:15-21, Chihuahua, Mexico-based Blackened Death Metal entity Ofanim has just unleashed upon humanity their first full-length opus, entitled La Torre Oscura, or “the dark tower” from Spanish. After going through many names and lineup changes, the brainchild of vocalist and multi-instrumentalist Armando Valles returns form the abysmal depths of his homeland with an album that exhales sulfur and darkness, with half of the album coming from their 2022 debut EP Embracing Death, plus new compositions that help Ofanim in proudly continuing to burn the flame of Black and Death Metal and, therefore, in keeping the project alive against all odds.

El Odio Comienza, or “hate begins”, is sulfurous and absolutely evil from the very first notes, an onrush of Black Metal made in Mexico where the devilish roars by Armando together with his caustic riffs will pierce your soul mercilessly, whereas Embracing Death sounds even more infuriated than the opening track, with the blast beast and unstoppable riffage by Armando being exactly what we need to worship evil and, of course, embrace death. Sal is another demented, grim aria by Armando where he keeps vociferating rabidly amidst an insane amount of heaviness and evil, followed by Esteban el Primero, adding elements of Blackened Death Metal and classic Death Metal to his core sonority, and with the drums sounding demolishing from start to finish. Then we have the title-track La Torre Oscura, keeping the atmosphere as demonic and unfriendly as possible, with Armando’s deep growls and strident riffs sounding amazing.

Armando shows no sign of slowing down or delivering smoother sounds; quite the contrary, it’s pedal to the metal in the infernal Saulo, where his harsh vociferations walk hand in hand with his Black Metal riffs and drums, while 2030 is a song perfect for some intense headbanging to the ruthless hurricane of sounds blasted by Armando and his Ofanim, most probably the heaviest and most disturbing of all songs. Then we have Hedonismo, leaning towards a more direct Death Metal sonority where the guitars by Armando will pierce your rotten corpse mercilessly until the very end, followed by Hielo, which is Spanish for “ice”, a solid Blackened Death Metal composition but not on par with the rest of the album, sounding a bit generic and stale. Last but not least, let’s enjoy two minutes of sheer heaviness in Ultimatum, where Armando’s massive drums and devilish guitars make an interesting paradox with all background elements.

Although La Torre Oscura was recorded solely by Armando, he has already recruited an army of uncanny soldiers to join him in his live rituals, and you can stay up to date with all news and live concerts by Ofanim by following the band on Facebook and on Instagram, or by clicking HERE, and blow your speakers with high-quality Blackened Death Metal made in Mexico by subscribing to Ofanim’s YouTube channel and by streaming their devilish music on Spotify or any other streaming service. Of course, above all that, go grab a copy of La Torre Oscura from their own BandCamp page. The Mexican extreme music scene has always been a thing of beauty, and of course Ofanim are among us to keep that amazing trend and fill the air with their evil magic until the end of times.

Best moments of the album: Embracing Death, Esteban el Primero and 2030.

Worst moments of the album: Hielo.

Released in 2024 Headlight Productions

Track listing
1. El Odio Comienza 2:39
2. Embracing Death 5:02
3. Sal 3:27
4. Esteban el Primero 5:34
5. La Torre Oscura 5:31
6. Saulo 2:12
7. 2030 4:26
8. Hedonismo 4:16
9. Hielo 3:22
10. Ultimatum 2:10

Band members
Armando Valles – vocals, all instruments

Album Review – Against the Seasons / If The Ocean Could Sing (2024)

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Join this talented Polish musician and his excellent new album of Atmospheric Doom and Post-Metal on a journey through the dark waters of the inner self.

If the ocean could sing, what would it say? That’s the question asked by Polish guitarist Damian Kinowski in If The Ocean Could Sing, the new album by his Atmospheric Folk/Doom/Post-Metal project Against the Seasons. Mixed, mastered and recorded at Versus Records, displaying a beautiful artwork by Aghy Purakusuma, and featuring guests Michał Miluśki (Aether) on vocals and Łukasz Tomczak (Immalum) on bass and drums, the album is a journey through the dark waters of the inner self, portraying a mix of emotions and reflections that haunted Damian during a melancholic period, while also inspired by the music by Woods of Ypres, Forest Stream, Thrawsunblat, Alice in Chains, and many others.

A massive riff by Damian kicks off the album on a high note in Exile, accompanied by the pounding drums by Łukasz and with Michał bringing his share of melancholy and darkness to the music with his devilish roars. Then we’re treated to an amazing rendition by Damian and his henchmen of The Astral Dialogue, by Agalloch (check the original version HERE), presenting the heaviness of the original with the band’s own modern and vibrant twist, followed by Ode, a detailed song with a nice balance between Doom and Folk Metal by the trio, with the guitars by Damian setting the tone while Łukasz delivers sluggish yet fierce beats, all boosted of course by Michał’s anguished roars. Reflection On The Pond brings to our avid ears another round of their Atmospheric Black Metal overflowing pain, melancholy and obscurity, with the acoustic and electric guitars by Damian once again penetrating deep inside our souls; and it’s then time for the second cover of the album, The Sun Was In My Eyes: Part One by Woods of Ypres (also check the original version HERE), sounding even more imposing and epic. Finally, an acoustic intro by Damian kicks off the closing aria Elegy Of The Stars, offering over ten minutes of serene passages intertwined with atmospheric and somber blasts of Black Metal, with the vocal lines by Michał overflowing anger supported by the ominous drums by Łukasz.

If The Ocean Could Sing can be appreciated in full on YouTube and on Spotify, but of course in order to truly support the underground you can grab a copy of the album from the project’s BandCamp page, and don’t forget to also subscribe to their official YouTube channel. Damian and his Against the Seasons are definitely making the ocean sing in their enfolding and melancholic new album, offering a feast of Atmospheric Black and Doom Metal with Post-Metal nuances for admirers of the genre that will certainly fuel Damian to keep embellishing the airwaves with his dark and extremely melodic music for many years to come.

Best moments of the album: Exile and Elegy Of The Stars.

Worst moments of the album: None.

Released in 2024 Independent

Track listing
1. Exile 4:56
2. The Astral Dialogue (Agalloch Cover) 5:18
3. Ode 4:43
4. Reflection On The Pond 4:24
5. The Sun Was In My Eyes: Part One (Woods of Ypres Cover) 6:31
6. Elegy Of The Stars 10:18

Band members
Damian Kinowski – guitars

Guest musicians
Michał Miluśki – vocals
Łukasz Tomczak – bass, drums

Album Review – Limbes / Liernes (2024)

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A languid, raw, sensitive, literate, true and sincere piece of Atmospheric Black Metal offered to us all by a multi-talented musician hailing from France.

Mastering by Jack Shirley at The Atomic Garden Recording Studios, and showcasing a stylish artworks by Dehn Sora, the obscure Liernes, by Paris, France-based Atmospheric Black Metal one-man project Limbes, is the logical continuation of the previous album Écluse, from 2021, a languid, raw, sensitive, literate, true and sincere piece of Black Metal. However, it differs from the latter by a more accessible approach than in the past. Thus, long and atmospheric tracks mingle with the usual torrents of hypersensitivity by the project’s mastermind, vocalist and multi-instrumentalist Guillaume Galaup, all embraced by the Stygian poetry by Marie “Ciguë” Husson, turning the album into a must-listen for fans of Wolves In The Throne Room, Ultha, and Paramnesia.

Pied de Pilori, or “pillory foot”, sounds absolutely atmospheric from the very first notes, with Guillaume building a dense and enfolding ambience that will puts us all in a trace, exploding halfway through it into sheer violence and obscurity, with his harsh vociferations and visceral guitars piercing our souls and minds. Les Côtes à l’Unisson, or “coasts in unison”, also begins in a serene and gentle manner, this time sounding even more atmospheric than the opening track with Guillaume focusing on more delicate sounds like the background synths without forgetting to add heaviness to the music through his beats and guitars; whereas featuring guest vocals by Russian artist Kariti, Buffet Frigide is a lecture in Atmospheric Black Metal made in France, with the sound of all instruments by Guillaume building the perfect stage for Kariti to shine with her hypnotizing vocals, alternating between pure ethereal moments and more vicious sounds where Guillaume darkly roars together with Kariti, instantly connecting with the pulverizing Aulnes & Poussières, or “alders and dust”, where once again our lone wolf hammers all his instruments in the name of dark and caustic metal music, always adding his share of insanity to it through his anguished gnarls, ending in sheer melancholy.

The music by Limbes is definitely not an easy listen for the average music fan, demanding time and focus to absorb all the elements crafted by Guillaume during each one of the lengthy songs from the album, but once it hits you, then you’ll have an amazing experience listening to the album in its entirety. Furthermore, you can get more details about Guillaume and his Limbes by visiting the project’s Facebook and Instagram, stream more of his music on Spotify, and buy the excellent Liernes from his own BandCamp page, from the Frozen Records website, or by clicking HERE. Guillaume was truly inspired when composing his new album under his Limbes project, and I highly recommend you listen to the album to the smallest detail to capture all the passion, agony, pain and darkness overflowing from each song, therefore helping place Limbes as one of the must-see names of the modern extreme music scene.

Best moments of the album: Pied de Pilori and Buffet Frigide.

Worst moments of the album: None.

Released in 2024 Frozen Records

Track listing
1. Pied de Pilori 11:36
2. Les Côtes à l’Unisson 6:54
3. Buffet Frigide 12:13
4. Aulnes & Poussières 10:49

Band members
Guillaume Galaup – vocals, all instruments

Guest musician
Kariti – vocals on “Buffet Frigide”

Metal Chick of the Month – Maude Théberge

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Come dance la valse des condamnés!

As the heat is definitely on in the Northern Hemisphere, there’s nothing like icy cold blood to cool us all down, and that’s exactly what our amazing metal lady of this month of July has to offer with her undeniable talent, charisma and passion for heavy music. Not only that, July 1 is Canada Day, which means having a metal lady hailing from Canada makes things even better here on The Headbanging Moose. Owner of a powerful yet delicate voice, she’s the vocalist and keyboardist for a Montreal, Quebec-based Melodic/Symphonic Death/Gothic Metal band known as Sanguine Glacialis, as well as a growler for Growlers Choir (the world-famous choir of metal vocalists) and a voice actress and administrative assistant for La Fabrique de Monstres (or The Monster Factory). She can play the violin too, and she’s also a teacher and a model. Her name is Maude Théberge, and I’m sure that after knowing more about her life and career, you’ll get addicted to her voice, to her music, and be more than ready to dance “la valse des condamnés.”

Born and raised in the stunning Canadian city of Montreal, Maude has been a singer for more than 15 years, having already acquired two music degrees in classical piano interpretation and music teaching. Apart for being a sensational growler, she’s a soprano singer who can sing a wide variety of styles such as classical, jazz and pop, she can write and sing in French and English, and she’s also a composer and arranger who has her own studio at home, allowing her to write, compose, record ad edit her own parts, including midi instruments and orchestrations for any project with a specialty in string sections, as she’s also a pianist, keyboardist and violinist as already mentioned.

Our metal diva started started playing the piano at the age of 12 and the violin at the age of 13, continuing her studies at Cégep de St-Laurent, where she also had the opportunity to play jazz piano, classical violin and sing in a classical choir, obtaining her DEC in classical piano interpretation in 2012. Maude continued her studies at UQAM in music education (classical piano), where she still played classical violin, jazz choir, wind instruments and percussions, obtaining her Baccalaureate and her teaching certificate in 2016. Subsequently, she did a DESS in Management at UQAM and obtained her diploma in 2019. Finally, she took an acting and dubbing course in 2020 with French-Canadian director, dubbing director and acting coach Sergine Dumais.

It was in 2011 when Maude joined Sanguine Glacialis, in which she played the keyboards and did some backing vocals, taking over the reins of the band in 2016, being the only remaining member, rebuilding the project with new musicians, and becoming the lead singer of the band. Sanguine Glacialis have become her biggest project in life for over a decade already, allowing her to develop many skills such as classical and pop singing and growling as well as studio recording at home, in addition to developing managerial skills including production of albums, music videos and over 100 shows across Canada. Having already shared the state with renowned acts the likes of Dark Tranquility, Omnium Gatherum, Delain, Necronomicon, Unexpect and Anonymus, just to name a few, the band experiments with multiple musical styles, such as Jazz, Classical, folkloric music, Latin music, and so on, while keeping a very strong Melodic Death Metal accent.

Since their inception, the band has already released three full-length albums, those being Dancing with a Hanged Man, in 2012, Hadopelagic, in 2018, and Maladaptive Daydreaming, in 2023, plus the EP Pitch Black Sight, in 2016, and from those she did keyboards and backing vocals only in their debut album and their EP, becoming their frontwoman while still playing keyboards as aforementioned starting with their 2018 album. currently formed of Maude alongside Alexandre Lépine on the guitars, Marc Gervais on bass, and Jérémy Racine on drums, the band is in great shape and form, as you can see in this footage live in Quebec in 2023, and you can also enjoy all of their creations on BandCamp, on Spotify and on YouTube, including their ass-kicking official videos for the songs Kraken, Welcome, and Monsters,  and you can also click HERE for all things Sanguine Glacialis.

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Apart from her amazing years with Sanguine Glacialis, Maude has also been the vocalist for a Melodic Death Metal band from Toronto named Terminalcurse together with multi-instrumentalist Kirill Zorin (ex-Nachtmuse), having released with the project their self-titled debut EP in 2022. The EP is available on BandCamp and on Spotify, and you can also find all links and information about the duo by clicking HERE. Also, between 2017 and 2024, she was also the violinist for Montreal’s own Melodic Black/Folk Metal horde Valfreya, having recorded with them the excellent album Dawn of Reckoning, released earlier this year.

Maude can also be seen as a guest musician in distinct bands and projects; for instance, she did choir vocals for the song Dissociation, from the 2023 EP Survival Mode, by Canadian Avant-garde Death metal band Disorientation; also did vocals for the song Mordrake I – Birth, from the 2014 album Mordrake, by Canadian Symphonic/Melodic Black/Death Metal band Hollow; and recorded two albums with Canadian Symphonic Metal project Nachtmuse as their lead vocalist, backing vocalist or doing choir vocals, those being the 2022 release Solemn Songs of Nightsky & Sea, and the 2023 EP Darker Skies. Not only that, in 2018 she also released her debut album as a solo artist, titled The Simplest Expression, which is by the way an acoustic album. Furthermore, everything about Maude can be found HERE, by the way.

In March 2020, just before the COVID pandemic, Maude appeared on the show Tout le monde en parle, the biggest talk show in Quebec, to talk about the band and Le FestEvil – Quebec City Women Metal fest part 1, which was not only an important event for metal music in Quebec in 2020, but one that also provided women in metal with tons of support, with its first edition featuring the bands Your Last Wish, Valfreya, Sanguine Glacialis, Merkabah, Uriel, Within Embers and Fall Of Stasis, all amazing bands from the Quebec scene with very talented women like Maude in their lineups. Unfortunately, I don’t think the festival exists anymore, mainly due to the pandemic crushing any plans of live events anywhere in the world, but it would be amazing if we could see more festivals like that in Canada for sure, of course spearheaded by Maude and her Sanguine Glacialis.

Last but not least, Maude is also a pet lover, nurturing a deep passion for cats. In one of her interviews, she said that she had four cats, Jack (for Jack Black), Amélie (for Amélie Poulin), Vévé (because she has a V shape pattern on her forehead) and Gizmo (like the Gremlin), but unfortunately Vévé and Amélie have passed away since that, also talking a little about how she manages to take care of all of them while also continuing with her career in music, as for example saying her boyfriend or parents take care of them when she’s on tour. Also, when asked how they behave when she’s practicing at home, her answer was quite funny and curious. “All the cats, but especially the male cats, HATE my violin. They complain the whole time I’m trying to practice. I can growl all I want and they don’t care, but the violin.” Well, maybe they’re more into extreme music, right? So I believe as long as she keeps playing the awesome music by Sanguine Glacialis to them, she’ll surely keep four cats extremely happy, and of course countless happy metalheads worldwide.

Maude Théberge’s Official Facebook page
Maude Théberge’s Official Instagram
Maude Théberge’s Official YouTube channel
Sanguine Glacialis’ Official Facebook page
Sanguine Glacialis’ Official Instagram
Sanguine Glacialis’ Official YouTube channel
Sanguine Glacialis’ Official X

Interview – Zenith Maharg (Necht)

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It’s time to honor the memory of our most ancient ancestors, the Enkari, with an amazing and detailed interview with Zenith Maharg of the Temple of Necht.

Zenith Maharg (Necht)

The Headbanging Moose: Thanks a lot for your time, Zenith Maharg. Could you please start by introducing yourself and the band to our readers? Who are Necht, and what’s your main purpose in this world?

Zenith Maharg:   Hails, Herald Gustavo!  I am the Zenith of the Temple of Necht. I am pleased to be given this opportunity to Illuminate you and your readers. Necht honours the memory of our most ancient ancestors, the Enkari – the earliest civilization yet discovered – and through our black metal Sermons we spread knowledge of their culture, beliefs and history. At our Live Rituals, we embody the Cult of B’ahn, who were the warriors of the Enkari city-state of Lashmir.  The Cult existed to further a state of religiously mandated constant war against their foes in Ishpan, thereby mirroring and supporting the struggles of the Sun God, B’ahn, the Ceaseless Warrior, against the Mother Dragon, Karnifor, and Her constant efforts to swallow the world.

THM: You’re currently supported by your Ascendants Zhargor on the guitars, Aemoh on bass, and Vlasfimos on drums. How did you first get in contact with them, and what do they bring to the music by Necht that others couldn’t?

ZM: The Ascendants of the Temple are all masters of their craft, having honed their skills through many years of practice and countless hours upon battlefields across Canada. Ascendant Vlasfimos and I are long-term collaborators from earlier musical projects. By the Light of B’ahn, we were guided to find in Ascendants Zhargor and Aemoh similarly dedicated warriors of black metal. As every Sermon results from the combined efforts of each member of the Temple, without the participation of each member, Necht would not exist.

THM: You’ve recently released your debut opus, the excellent The Prophecy of Karnifor, which you like to describe as your “long meditation.” Can you tell us a bit more about the whole idea behind it?

ZM: Heed these words carefully, Herald.  The Grand Meditation of The Prophecy of Karnifor introduces to a modern age the wisdom of the Enkari; with this and with each subsequent Meditation, Necht will gradually reveal more of the Enkari, as laid out in the Enkari-B’ahn scrolls.

These scrolls were discovered in the 19th century by German explorer and philosopher, Dr. Karl von Mecklenburg, and our Sermons are based on the contents of the scrolls as translated and published by Dr Birgitta Olsson in 2015.  The scrolls themselves were written by the Qa’ars – priest-kings – of Ishpan, and comprise a record of contemporary observations, personal philosophy and religious passages.

Though long forgotten and hidden behind the fog of thousands of years of distortions and misunderstandings that our societies call ‘religion’ and ‘history’, there are many truths to be revealed by studying the thoughts, history, learnings and the doom of the Enkari.

THM: One of my favorite songs of the album is undoubtedly Stirred By Shadow, I Did Wake, which also has a really cool official video. Can you please explain to us what this amazing song is all about, and how the recordings of the video went?

ZM:   Our gratitude, Herald!  The Sermon “Stirred By Shadow, I Did Wake” tells of how B’ahn awoke to awareness as His Mother moved to devour Him; of how he fashioned both Thunder Shield and Lightning Spear from His rage and light, and confronted the Dragon, refusing to back down in the face of Her eternal and unstoppable power, and committing Himself to always fight.  Therefore, it is only by His constant struggle that we live.

The recording of the Visual Revelation for this Sermon was done under the guidance and direction of Brother Joe Teminsky who, as an Azimuth-level Cultist, shares our vision and understanding of B’ahn’s radiance.  It was important for this Visual Revelation to portray the ominous darkness of the void, the Star Ocean, in which Karnifor ever swims, and Brother Joe helped us capture that perfectly.

Album Review – Necht / The Prophecy Of Karnifor (2024)

THM: You were one of the finalists for Wacken Metal Battle Canada 2023 in Toronto, a concert I had the pleasure of witnessing, and now in 2024 you were summoned to be the guest headliners for the finals in Edmonton. What was the feeling for you and your ascendants to participate in both events, and what are the biggest differences in the band from last year to this year’s concert?

ZM:   We were honoured to be a part of the WMB Canada Finals both in 2023 – where we did holy battle with Strigampire and Eaten by Sharks – and even more honoured to be invited back this year, where we looked on as five combatants furiously fought for the winning spot.  2024 differed in that it included an opportunity to welcome even Junior Initiates, as there was no age barrier to enter the Sacred Hall. Also, as the 2023 WMB Canada Finals was only our 5th live Ritual, we had considerably tightened our performance time of the 2024 Finals. In both cases, however, the atmosphere among the gathered was suitably electric and we were able to Initiate many people into the Cult by administering the Ritual of Ashes, marking the loyal with the Ashes of the Fallen.

THM: Apart from of course Necht and the finalists for this year’s Wacken Metal Battle Canada (Arrow In The Quiver, Age of Ashes, Infrastrvctvre, Beguiler and Dead Velvet), which other bands from Calgary or from the entire Canadian scene do you think are worth checking out?

ZM:   Most definitely, Herald!  Black metal fans should check out our compatriots in Kings Rot (a Cascadian style in the vein of UADA), Svneatr (more progressive) and Black Pestilence (for a punk fusion). Those who enjoy technical death metal with some truly ferocious vocals should indulge their ears with the latest release from Vaegon.  Grand Mal also provide a crushing blackened death metal experience.

THM: Which bands and artists influenced Necht the most, and who would you love to tour with from those major influences?

ZM:   We are very much rooted in second-wave European black metal, with bands such as Dark Funeral and Satyricon providing a foundation for our music. Other bands that have influenced us include  Batushka, Behemoth, Belphegor, Cult of Fire, Gorgoroth, Helrunar and Rotting Christ. We would particularly enjoy the opportunity to conduct a Ritual in the presence of any of these Elders.

Necht

THM: You’ve just played at a very cool underground festival called Decimate Metal Fest 2024 in Millet, Alberta. How was the event as a whole, and what are the next live concerts for Necht?

ZM:   Decimate is a young festival, held in a small town south of Edmonton. It offered the gathered an opportunity to see many bands from Western Canada as well as from the US, and includes camping.  Junior Initiates were welcome at the festival also. The experience was excellent and we hope that B’ahn shines His holy light upon the festival in future years, so that more and more people take the opportunity to attend and support the underground metal scene.

For 2024, we recently completed our “Illuminating The Plains in Furious Radiance” series of Rituals in Alberta.  However, our Zenith has been called overseas, drawn by visions to search for the Obelisk, so we will not be conducting any full Rituals for the rest of 2024 – only our Zenith is sanctioned to perform the Ritual of Ashes – but the Ascendants will host three more Assemblies. At these Assemblies, Ascendant Zhargor will provide the voice for the Sermons.

Saturday, July 6 – Canmore Alternative Metal & Punk Festival (AMP) III at Arts Place, Canmore
Saturday, July 20 – with Kings Rot and Liminal Shroud at The Palomino, Calgary
Saturday, August 17 – with Black Pestilence, Black Solstice, Void of Mood and Putrid Stain at The Slice, Lethbridge.

THM: Now that you’ve released your first album and started promoting it with your insane live performances, what’s next for the band?

ZM:  We will be revealing our next Lesser Meditation, “Dread Is The Consort Of The Dark” before the end of 2024. We have already recorded the footage for the accompanying Visual Revelation, and the Sermon will be recorded shortly.

We will then retire to the sanctity of our Temple to contemplate the wisdom of the Enkari-B’ahn Scrolls once more, and work on another Grand Meditation, which we aim to reveal in 2025.  We also plan to conduct Rituals in other countries during 2025, in order to spread the word of B’ahn more widely.

THM: Thanks again for the interview! Please feel free to leave your final message and considerations to our readers, and I hope to see Necht live again in the near future! Glory to the Sun!

ZM: Our gratitude, Herald.  GLORY TO THE SUN! 

Links
Necht Official Website | Facebook | Instagram | YouTube | Spotify | BandCamp | Linktree

Album Review – Paradise In Flames / Blindness (2024)

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Behold the new album by this sulfurous Symphonic Black Metal horde from Brazil, portraying religion as a psychological illness, and how men become blind in the pursuit of power.

Telling part of the story of a philosophical work that portrays religion as a psychological illness, illustrating how men become blind in the pursuit of power, the incendiary Blindness, the band new offering by Santa Luzia/Belo Horizonte, Minas Gerais, Brazil-based Symphonic Black Metal band Paradise In Flames and the follow-up to their 2021 album Act One, will be a blast for anyone with an interest in Cradle of Filth, Dimmu Borgir, and Satyricon. Produced by André Carvalho, mixed and mastered by Tue Madsen, and displaying a sinister artwork by Marcelo Almeida, representing Plato’s allegory of the cave, the new album by O. Mortis on vocals, A. Damien on vocals and guitars, R. Aender on bass, G. de Alvarenga on keyboards and backing vocals, and S.J. Bernardo on drums sounds dark, imposing, multi-layered and sinister just the way we like it in extreme music, undoubtedly taking the band’s name to new heights in their already solid career.

The eerie, phantasmagorical intro Desolate World, inspired by present-day Cradle of Filth, sets the stage for the band to haunt our souls with Concerto No.6 in C Minor, Cold Spring, with the keys by G. de Alvarenga bringing an extra touch of darkness to the already venomous sound blasted by his bandmates, not to mention A. Damien and O. Mortis make a fantastic vocal duo. Then in the pulverizing Black Wings the entire band takes their insanity and passion for the dark side of music to a whole new level, offering layers and layers of powerful metal music infused with classical and operatic moments, therefore resulting in a full-bodied aria of Symphonic Black Metal; followed by Reasons To Not Believe, offering another round of whimsical keyboards intertwined with the caustic riffs by A. Damien and R. Aender, with A. Damien once again roaring like a demonic creature. Their imposing sounds permeate the air in I Feel The Plague, showcasing the band’s trademark Stygian wall of sounds led by the infernal beats by S.J. Bernardo in one of the most detailed songs of the album; and they keep distilling their evil sounds and tones in The Cure, once again blending the fury of S.J. Bernardo’s drums with the finesse of G. de Alvarenga’s keys.

Then a moment of serenity invades our minds in The Priest, before all morphs into more of their chaotic Black Metal with O. Mortis stealing the spotlight with her powerful operatic vocals in paradox with the harsh gnarls by A. Damien. In Endless Night Battle, one of the most epic of all songs, their guitars sound utterly caustic during the entire song, not to mention how S.J. Bernardo pounds his drums like a beast; whereas War Sonata sounds and feels absolutely inspired by the recent sluggish, grim creations by Dani Filth and his horde, and Paradise In Flames sound truly majestic throughout the entire song, with all background elements supporting the vocals by A. Damien and O. Mortis majestically. There’s still a lot of fuel to burn (in hell) starting with Age Of Death, another solid composition bringing forward more of the delicate yet devilish keys by G. de Alvarenga amidst a dense and enfolding musical extravaganza; and last but not least, the band will attack our senses with Angels & Devils, with A. Damien alternating between evil screeches and deep, brutal guttural lines while R. Aender and S.J. Bernardo will make your cranial skull tremble armed with their ruthless kitchen.

There are countless places where you can purchase the excellent Blindness, including the band’s own webstore and Linktree, as well as Apple Music, and don’t forget to also give those Brazilians servants of darkness a shout on Facebook and on Instagram, to subscribe to their YouTube channel, and to stream their music on Spotify. Religion  is indeed a psychological illness that’s driving humanity to its doom, and the fantastic music found in Blindness represents exactly all the darkness and evil we’re marching towards if that doesn’t change anytime soon.

Best moments of the album: Black Wings, I Feel The Plague and War Sonata.

Worst moments of the album: Reasons To Not Believe.

Released in 2024 Xaninho Discos/Demoncratic Records

Track listing
1. Desolate World 1:00
2. Concerto No.6 in C Minor, Cold Spring 3:37
3. Black Wings 4:00
4. Reasons To Not Believe 3:32
5. I Feel The Plague 4:17
6. The Cure 3:13
7. The Priest 3:26
8. Endless Night Battle 4:18
9. War Sonata 3:28
10. Age Of Death 4:15
11. Angels & Devils 3:52

Band members
O. Mortis – vocals
A. Damien – vocals, guitars
R. Aender – bass
G. de Alvarenga – keyboards, backing vocals
S.J. Bernardo – drums