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”
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.
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!
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
Australia’s most savage beast is back with their fifth studio opus, a lecture in Death Metal perfect for beating anyone back to life.
If you weren’t there in 1992, your taste in music’s shit. This is the exact message that Melbourne, Australia’s most savage horde, the ruthless Technical Death/Black Metal beast Werewolves, in sending out with their amazing new album, simply titled Die For Us, the follow-up to their also insane 2023 album My Enemies Look and Sound like Me. Recorded by Matt Wilcock and Adam Calaitzis at Toyland Recording Studio (guitars), by Sam Bean (bass), by Jack Hartley at Jack Hartley Audio (vocals), and by Joe Haley at AAA Studios (drums), mixed and mastered by Joe Haley at Crawlspace Productions, and once again displaying a visceral artwork by Mitchell Nolte, the new opus by the aforementioned Sam Bean on vocals and bass, Matt Wilcock on the guitars, and David Haley on drums is a lesson in violence recommended for fans of Hate Eternal, Deicide, Krisiun and so on, ticking every box for modern Death Metal with excruciatingly violent blasting straight out the gates and very little let-up until the bitter end, being the perfect depiction of what the band likes to call “Caveman Death Metal.”
The album already starts in full force as one of their traditional sick intros explodes into the most brutal form of Death Metal in the title-track Die for Us, with David showcasing already all his dexterity, violence and passion for heavy music behind his drums; whereas a demented laugh by Sam kicks off the fulminating Beaten Back to Life, where Matt sounds ruthless armed with his scorching riffs while David continues to hammer our cranial skulls mercilessly. Furthermore, it’s indeed a beautiful song about the glory of 90’s Death Metal (“If you weren’t there in 1992 / Your taste in music’s shit / Fuck you / If you never tape traded / Or raided corner stores for vinyl / You’re lacking something spinal / Fuck you”). The trio keeps delivering sheer animosity and rage in Fuck You Got Mine, another awesome tune that will certainly ignite some wild mosh pits whenever played live, and featuring guest vocals by Australian veteran Rok (of Sadistik Exekution) we have My Hate Is Strong, even more infernal and brutal than its predecessors, carrying the perfect name for its sonority with Sam roaring and barking like a rabid creature.
If you think they’re going to slow down or sell off, you’re absolutely wrong; quite the contrary, it’s pedal to the metal in an infernal Death Metal attack by those demented Aussie wolves titled The Company Wolves, followed by Spittle-Flecked Rant, another fantastic Death Metal onrush by the trio with its riffs sounding inspired by Cannibal Corpse while David once again blasts his drums nonstop in a lecture in savagery and rage. We All Deserve to Be Slaves, the second single of the album, is as acid, visceral and brutal as it can be, with Sam barking the song’s rebellious lyrics like a beast, flowing into Under a Urinal Moon, the darkest of all songs, with Matt extracting Stygian, cryptic sounds form his axe, being therefore perfect for some neck-breaking activity. And their violence keeps going strong in the closing tune Stay Down, where once again Sam and Matt slash their axes in the name of pure old school Death Metal.
Having already expressed the purpose of releasing ten albums in ten years after their inception back in 2019, Werewolves are hitting the halfway mark with Die For Us, and let’s say they’re just getting better and better with each one of their demonic, austere albums. Hence, go check what those middle-aged bastards are up to on Facebook and on Instagram, and grab a copy of the infuriated Die For Us from their own website or BandCamp page, as well as from Direct Merch in Australia and New Zealand, Night Shift in the United States, and Plastic Head Distribution (CD or LP) in the UK and Europe. Just to make things clear to you all, they will beat you back to life to the sound of their newborn beast, because their hate is strong and you all deserve to be slaves, until you die again in the name of ruthless Death Metal. I think you got the idea now, right?
Best moments of the album:Die for Us, Beaten Back to Life, My Hate Is Strong and Spittle-Flecked Rant.
Worst moments of the album: Absolutely none.
Released in 2024 Independent
Track listing 1. Die for Us 4:48
2. Beaten Back to Life 3:22
3. Fuck You Got Mine 4:16
4. My Hate Is Strong 4:07
5. The Company Wolves 3:30
6. Spittle-Flecked Rant 2:51
7. We All Deserve to Be Slaves 3:21
8. Under a Urinal Moon 4:46
9. Stay Down 4:25
Band members Sam Bean – vocals, bass
Matt Wilcock – guitars
David Haley – drums
Guest musician
Rok – vocals on “My Hate Is Strong”
The debut album by this Norwegian Black Metal horde will attack your senses mercilessly, unveiling the inherent ‘evil’ embedded in organized religions.
Meticulously crafted for approximately two years, evolving from a mere idea to a finished product, Spiritual Syphilis, the debut opus by Oslo, Norway-based Black Metal horde Odio Deus, unveils the inherent ‘evil’ embedded in organized religions, particularly those led by fanatical leaders. Presenting a fusion of traditional Norwegian and Swedish Black Metal heavily influenced by the American Death Metal scene, Spiritual Syphilis is a beast of an album brought into being by Braatebrann on vocals, guitars and bass, Winterheart on the guitars, and the band’s mastermind Telal on drums and bass, or in other words, a collaborative effort with all three members working in unison from inception to completion, being highly recommended for all fans of old school Black and Death Metal.
As soon as you hit play, an ominous start suddenly explodes into chaotic, fierce Black Metal led by the demented drumming by Telal in Curse of Jehovah, definitely not recommended for the lighthearted, setting fire to the atmosphere before the sulfurous The Con Man makes things even more scorching, with Braatebrann’s harsh, devilish vocals being an ode to classic Black Metal. After such an explosive song we have The Chosen People, a massive Black Metal onrush by Odio Deus in the vein of Behemoth where Braatebrann sounds inhumane on vocals, exhaling rage, darkness and evil, whereas the title-track Spiritual Syphilis will smash you like a putrid insect, with Telal crushing his drums mercilessly in an amazing display of both classic and modern-day Melodic Black Metal.
Then the slashing riffs by Braatebrann and Winterheart set the tone in Deceiver, another solid composition by the trio that should work really well if played live; and leaning towards a darker, doomed version of Black Metal, we’re treated to Lenkene er brutt, which means “the chains are broken” from Norwegian, keeping the album at a high level of obscurity thanks to all demonic sounds blasted by the band. Svik, the Norwegian word for “betrayal”, brings forward more of their caustic riffs and hammering drums, with Braatebrann once again leading his horde with his devilish, grim roars and gnarls, whereas Glossolalia is by far the heaviest of all songs thanks to the brutal bass lines by Braatebrann and the always pounding drums by Telal, switching gears to a venomous Black Metal sound halfway through it, therefore resulting in a complete aria. And lastly, Til evig tid, or “for eternity” in English, sounds haunting and multi-layered, albeit not as exciting as the other songs, also presenting a way too lengthy ending but still being very enjoyable.
In a nutshell, Odio Deus simply nailed it with Spiritual Syphilis, with everything related to the album, from its title to its artwork, from its lyrics to its violent and caustic music, perfectly representing all the evil that religion does to mankind. Hence, don’t forget to start following the band on Facebook if you also believe fanatic religion leaders will bring humanity to its downfall, and also to grab a copy of the album from Amazon (and soon from other sources). Odio Deus can be translated from Latin as something like “I hate God”, and that’s exactly what the band proposes with their music, staying true to Black Metal not only regarding its sound, but also its principles, all beautifully offered to us all in the form of Spiritual Syphilis.
Best moments of the album:The Con Man, Spiritual Syphilis and Glossolalia.
Worst moments of the album:Til evig tid.
Released in 2024 WormHoleDeath
Track listing 1. Curse of Jehovah 6:23
2. The Con Man 5:49
3. The Chosen People 4:22
4. Spiritual Syphilis 4:47
5. Deceiver 4:07
6. Lenkene er brutt 4:47
7. Svik 5:44
8. Glossolalia 4:36
9. Til evig tid 6:40
Band members Braatebrann – vocals, guitars, bass
Winterheart – guitars
Telal – drums, bass
The Hellenic beast of extreme music is back with their imposing fourteenth studio effort, a fervent tribute to the last Pagan kings who resisted the onslaught of Christianity, guarding their ancient values and knowledge.
Celebrating 35 years of existence in the name of extreme music, Athens, Greece’s own Melodic Black/Gothic Metal institution Rotting Christ is unleashing upon us all their fourteenth studio opus, titled Προ Χριστού (Pro Xristou), or “Before Christ” in Greek, the follow-up to their excellent 2019 album The Heretics. Recorded at Devasoundz Studios, produced by the band’s iconic mastermind Sakis Tolis, mixed by Jens Borgen and mastered by Tony Lidgren at Fascination Street Studios, and displaying a stunning artwork by Thomas Cole (which title is “Destruction”, and part of the painting series “The Course of Empire”) with digital processing by Adrien Bousson, the new album by the aforementioned Sakis Tolis on vocals and guitars, Kostas Foukarakis also on the guitars, Kostas Cheliotis on bass, and Themis Tolis on drums serves as a fervent tribute to the last Pagan kings who resisted the onslaught of Christianity, guarding their ancient values and knowledge. In this thematic odyssey, Rotting Christ delves into the legacies of historical figures such as Flavius Claudius Julianus and Nordic mythological kings, embodying the might of Pagan wisdom in the face of Christian adversity. The album encapsulates the essence of Rotting Christ’s signature style – melodic, yet harsh at times – reinventing themselves yet again, while remaining rooted in their 35-year legacy.
Pro Xristou (Προ Χριστού) is a superb, impressive intro, taking the album to a whole new level of epicness and obscurity and getting us more than ready for The Apostate, beginning with the incendiary trademark riffs by Sakis and Kostas Foukarakis and with all background sounds and choir turning it into a whimsical musical voyage tailored for longtime fans of the band. Like Father, Like Son, the first single of the album, presents more of the band’s trademark fusion of Black and Gothic Metal, with of course hints of Epic Metal to make things even more compelling; whereas the riffs by Sakis and Kostas Foukarakis will embellish the airwaves in the smooth but dark The Sixth Day, sounding at times like the most recent creations by Insomnium. Then featuring guest vocalist Amdroniki Skoula we have La Lettera Del Diavolo, or “the devil’s letter” from Italian, and every single time Sakis makes a duet with a woman the final result is stunning, with his bandmates crafting a beyond massive, bold sound in the background, therefore resulting in one of the most epic of all songs (if not the most); and a Black Sabbath-inspired riff guides the music in The Farewell, perfect for some vigorous headbanging to the pounding drums by Themis.
Pix Lax Dax is one of those eerie, mysterious creations by Rotting Christ where the background choir adds tons of epicness and power to the overall result, also with Themis once again hammering his drums in great fashion, followed by Pretty World, Pretty Dies, carrying a very distinct name to an embracing, majestic creation by the band, exhaling Epic Black Metal, and all spearheaded by the unparalleled dark vocals by Sakis,. Needless to say, I can’t wait to see this song played live. More of their puissant Black Metal is offered to us all in Yggdrasil, again blending their caustic, visceral riffs with ethereal and imposing background elements, which makes me believe it will easily become a fan-favorite; while the last song from the regular version of the album, titled Saoirse, takes their atmospheric and epic power to a whole new level, with Sakis and Themis sounding on absolute fire until the very last second. Furthermore, if you go for the limited edition box version of the album, you’ll get the bonus tracks Primal Resurrection and All For One, both really good songs that are worth the investment in such special version of the album, plus of course all the perks included in the package.
You can put your heretic hands on Προ Χριστού (Pro Xristou) by purchasing it from the Season of Mist webstore, including the already mentioned more-than-special LP box + digital limited edition, a collector’s edition limited to 500 copies worldwide that comes in a box size 32.5cm x 32.5cm x 5cm with gold foil and linen-like lamination, including the album on gold and black marbled 12” double vinyl, cut in 45 rpm for optimum fidelity, in gatefold with gold foil and linen-like lamination with 12-page insert, the aforementioned bonus tracks on black 7″ vinyl in jacket with linen-like lamination, the album with the bonus tracks on CD in digipak with gold foil and linen-like lamination with 16-page booklet, a 240 gsm, 120cm x 180cm linen printed shroud, a stainless steel pendant and necklace in linen bag with the band’s logo, and a numbered certificate, or click HERE to select your favorite version of the album (including all streaming options). Don’t forget to also check what the most important metal band in the history of Greece is up to on Facebook and on Instagram, to subscribe to their YouTube channel, and to stream their superb discography on Spotify. Those Hellenic metallers will take you back to the time before Christ in their stunning new album, keeping the spirit of true extreme music alive, and of course, leaving us all proud for always supporting them in their brilliant journey.
Best moments of the album:The Apostate, La Lettera Del Diavolo, Pretty World, Pretty Dies and Yggdrasil.
Worst moments of the album:Like Father, Like Son.
Released in 2024 Season of Mist
Track listing 1. Pro Xristou (Προ Χριστού) 1:29
2. The Apostate 5:01
3. Like Father, Like Son 4:35
4. The Sixth Day 3:56
5. La Lettera Del Diavolo 4:01
6. The Farewell 6:15
7. Pix Lax Dax 4:33
8. Pretty World, Pretty Dies 4:51
9. Yggdrasil 5:04
10. Saoirse 6:17
LP Box + Digital Limited Edition bonus tracks 11. Primal Resurrection 5:32
12. All For One 3:37
Band members
Sakis Tolis – vocals, guitars
Kostas Foukarakis – guitars
Kostas Cheliotis – bass
Themis Tolis – drums
Guest musicians Amdroniki Skoula – vocals on “La Letra Del Diavolo”
Nikos Kerkiras – keyboards
Christina Alexiou, Maria Tsironi, Alexandros Loyziotis & Vasilis Karatzas – choir
Andrew Liles – narration on ‘The Apostate” and “Pretty World, Pretty Dies”
Kim Diaz Holm – narration on “Ygdrassil”
A night of undisputed Black Metal with four incredible bands in Toronto, spearheaded by one of the most devilish and professional hordes hailing from Norway.
What a night of pure “friendship” and “tree hugging” in Toronto, my friends! Let’s say that in order to properly celebrate Victoria Day in Canada this Monday, Noel Peters of Inertia Entertainment organized a night of undisputed Black Metal at Lee’s Palace with SPIRIT POSSESSION, ANTICHRIST SIEGE MACHINE, SPECTRALWOUND, and of course, the main attraction of the night, the devilish 1349. Keith Ibbitson of Metal Paparazzi and I were there to enjoy such an amazing feast of obscurity and evil at an almost sold out venue, driving the heat up inside it considerably, but fortunately they’ve recently installed new air conditioning machines in strategic points of the venue to cool things down a bit for us, avid metalheads.
It didn’t take long after the doors opened at 7pm for the first band of the night to start distilling their demonic creations. I’m talking about Portland, Oregon-based Black Metal duo SPIRIT POSSESSION, who put on an infernal show to properly warm us all up for the upcoming attractions, and let me tell you that their drummer, simply called “A.”, definitely knowns how to hammer her drums mercilessly, while vocalist and guitarist “S.” is phenomenal armed with his stringed axe, playing it like if he was playing bass (an instrument that’s not part of their music, by the way), extracting sheer evil and insanity from each riff played. Everyone who was already at Lee’s Palace loved every second of their sick concert, despite the annoying dim red light, and if you want to enjoy some of their creations you can find all of their albums, like their 2023 opus Of the Sign…, on BandCamp and on Spotify.
Setlist Orthodox Weapons
Deity of Knives and Pointed Apparitions
Enter the Golden Sign
Swallowing Throne
Second Possession
Spirit Possession
Band members
S. – vocals, guitars
A. – drums
After a quick break, it was time for one of the most pulverizing duos of the current extreme music scene to crush our damned souls with their infuriated music. They go by the charming name of ANTICHRIST SIEGE MACHINE, and if you know nothing about this Blackened Death Metal duo from Richmond, Virginia formed of SB on vocals and drums, and RZ on the guitars and backing vocals (and yes, it was the second band of the night without a bassist), I highly recommend you go after their music on BandCamp and on Spotify, including their chaotic, infernal new album Vengeance of Eternal Fire. Their set in Toronto was beyond brutal, igniting some intense mosh pits during their whole performance, and leaving all of us eager for another visit of those two demented beats to the city in the near future. Seriously, their music is awesome.
Setlist Son of Man
Piled Swine
Purifying Blade
Led by Fire
Unleashed Hostility
Prey Upon Them
Vanquishing Spirit
Sisera
Chaos Insignia
Vacant Cross
Band members
SB – vocals, drums
RZ – guitars, backing vocals
Although 1349 were the main band of the night, a lot of people went to Lee’s Palace on Monday to witness the black mass conducted by Montreal, Quebec’s own Black Metal horde SPECTRAL WOUND, by far one of the most important names of the current Métal Noir Québécois scene. Having released the excellent album A Diabolic Thirst back in 2021 (which can be found on BandCamp and on Spotify, by the way), the band spearheaded by the iconic Jonah crushed us like insects with their venomous Black Metal, again inspiring all concert goers for some demented circle pits until the very last second. The light was way too dim and it was also a bit foggy, which sucks, but nothing that would make their concert less entertaining, of course.
Setlist Black Satanic Glamour
Soul Destroying Black Debauchery
Aristocratic Suicidal Black Metal
Frigid and Spellbound
Fevers & Suffering
Imperial Thanatosis
Imperial Saison Noire
Band members Jonah – vocals
Patrick – guitars
A.A. – guitars
Sam – bass, backing vocals
Illusory – drums
A lot of people, including myself, went outside to get some fresh air (as it was a relatively warm night in Toronto) and almost missed the beginning of the hellish performance by Oslo, Norway-based Black Metal entity 1349 (just as an extra detail to you, 1349 was the year the Black Death came to Norway, wiping out 2/3 of the population and ending the Golden Age of Norway), a true celebration of old school, classic Black Metal for an avid crowd in the city. Playing songs from all albums of their vast career, including some excellent hymns from their 2019 album The Infernal Pathway like the closing ones Dødskamp and Abyssos Antithesis, plus their amazing new single Ash of Ages from their upcoming 2024 album, the band comprised of Ravn on lead vocals, Archaon on the guitars, Seidemann on bass, and Dominator on drums was absolutely on fire during their demonic (but maybe a little bit too short) set, driving their fans wild inside the unstoppable circle pits.
Also, I need to say a few words about this short, weird, middle-aged Indian dude that looked completely out of this dimension, as it didn’t matter what the hell he was doing, he looked nuts. The guy was so insane to the point that when 1349 finished playing their very FIRST song, he said with a sinister smile “two more, two more…”, when the band was clearly going to play at least ten more songs. What the hell was he seeing on stage, right? Not to mention he was always hiding behind someone, making the sign of the cross before having his beer, pointing to the band’s guitarist with a maniacal grim like as if he was saying “I know what you’re doing” as if the guitarist was there looking at him, and so on. Some guys behind me were also distracted by the Indian dude. What a unique metalhead!
After all was said and done, all fans of Black Metal in Toronto were more than happy with the high quality of the music presented by all four bands, making it a very successful event in the city and, consequently, leaving us all more than eager for another 1349 concert in Toronto, supported by another batch of very talented underground bands, sooner than you can say “Black Metal”. Hopefully they’ll return soon, and everyone who was at Lee’s Palace, including our beloved, crazy Indian guy, will be there to raise their horns up high and scream in full force together with one of the most professional bands hailing form Norway without a shadow of a doubt, and even better if it’s with proper lighting so not only their fans can enjoy the visual part of show as well, but also the photographers like Keith. Hail Satan, my friends!
Setlist
Sculptor of Flesh
Slaves
Through Eyes of Stone
Chasing Dragons
Ash of Ages
I Am Abomination
Striding the Chasm
Golem
Atomic Chapel
Dødskamp
Abyssos Antithesis
Band members Ravn – lead vocals
Archaon – guitars, backing vocals
Seidemann – bass, backing vocals
Dominator – drums
This Bulgarian doom trio will darken your senses with their fifth full-length album, a monumental work of sadness and despair taking the listener on a soul reaping journey through afterlife and purgatory.
Formed in the already distant year of 2000 in the city of Varna, Bulgaria, crafting a hybrid of Blackened Doom with fantasy-influenced lyrics, the unyielding Atmospheric Black/Doom Metal entity Darkflight has just unelashed upon mankind their fifth full-length opus, titled Entropy, following up on their 2017 album The Hereafter. Stronger than ever, and showcasing a melodic brilliance, the album proves that the band has matured and created a monumental work of sadness and despair, taking the listener on a soul reaping journey through afterlife and purgatory, all carefully brought into being by Milen Todorov on vocals and bass, Ivo Iliev on the guitars and synths, and Valentin Deskov on drums, being therefore perfect for admirers of the music by My Dying Bride, Anathema, and Katatonia.
The band’s obscure, old school Doom Metal feast begins with the lugubrious A Sad Place to Call Home, with Valentin delivering those traditional sluggish beats, darkening the skies while Milen declaims the song’s deep lyrics with tons of passion. Second Genesis is even more melodic, whimsical and atmospheric, blending the finesse of Atmospheric Black Metal with nuances of Progressive Rock while Ivo sounds fantastic on the guitars, delivering an amazing solo halfway through it; and a mysterious female guest vocalist bring an extra touch of finesse to So Much to Tell, a beautiful ballad by Darkflight that brings melancholy and hope to our blackened hearts, whereas more of their fusion of rock and metal sounds is offered to us all in Vague Echoes, with the soothing guitars and synths by Ivo sounding very comforting and enfolding.
Then a pensive, deep start to the passionate vocals by Milen kick off the also embracing tune Buried Together, a beautiful ballad led by the intense vocals by Milen, while Rebirth follows a similar pattern, being at the same time dark, atmospheric and mesmerizing, with Ivo having an amazing performance with his piano and synths, or in other words, it’s definitely a song to listen to together with your loved ones. Your Time Has Passed is a more straightforward tune by Darkflight, bringing forward their trademark dark sounds infused with Gothic Rock and Metal elements, also offering another blast of Milen’s ethereal vocal lines while Valentin dictate’s the song’s gorgeous pace behind his drums. They keep embellishing the airwaves with their Atmospheric Black, Doom and Gothic Metal in Towards the Ruins, where once again Ivo and Valentin generate the perfect ambience for Milen to shine on vocals; and closing the album the trio offers more of their soothing, penetrating sounds in the form of Be Well, not as amazing as the rest of the album but still a solid ballad by those Bulgarian rockers.
In a nutshell, Entropy is a very well-crafted and detailed journey through the realms of Atmospheric Black and Doom Metal that truly deserves a full listen by any fan of good heavy music, and if you also want to know more about Darkflight, their tour dates and plans for the future, you can start following the band on Facebook, stream their music on Spotify or any other streaming service, and above all that, grab a copy of their striking new album from Symbol of Domination’s BandCamp page. The dark, pensive and mournful musical journey crafted by Darkflight in their new album will simply crush your hearts and souls, positioning them as one of the must-see names of the Bulgarian scene, and adding an extra layer of doom to the metal community worldwide.
Best moments of the album:Second Genesis, Vague Echoes and Your Time Has Passed.
Worst moments of the album:Be Well.
Released in 2024 Symbol Of Domination/Australis Records
Track listing 1. A Sad Place to Call Home 6:02
2. Second Genesis 6:40
3. So Much to Tell 4:40
4. Vague Echoes 5:40
5. Buried Together 4:45
6. Rebirth 4:52
7. Your Time Has Passed 3:38
8. Towards the Ruins 5:36
9. Be Well 5:00
Band members Milen Todorov – vocals, bass
Ivo Iliev – guitars, synths
Valentin Deskov – drums
Offering grim, martial and epic tales of the Enkari, the first human civilization, this Canadian Black Metal horde steps out of the shadows of the past to spread the word of their long meditation.
GLORY TO THE SUN!
We humans are and have always been driven by our own imagination. Someone stumbles across an old book as a child and from then on lives a life believing in the resurrection of a man who died in a cruel way, giving rise to white metal as a movement. Born in the fires of the Canadian city of Calgary, Alberta in 2022, the infernal Black Metal entity known as Necht is stepping out of the shadows of the past to spread the word of their long meditation, entitled The Prophecy of Karnifor. Offering grim, martial and epic tales of the Enkari, the first human civilization, inspired by the discoveries of the German explorer and philosopher Karl von Mecklenburg, as unveiled in the controversial research of Dr. Birgitta Olsson, The Prophecy Of Karnifor is a bold, multi-layered feast of Black Metal in the name of B’ahn, Our Father, The Ceaseless Warrior, masterfully brought into being by Zenith Maharg (vocals) and his Ascendants Zhargor (guitars), Aemoh (bass) and Vlasfimos (drums).
As if the band was preparing us for their Stygian cult, we face the imposing intro The Vision of the Qa’ar, exploding into the ferocious Within Her Jaws Dwells The Dark Promise Of Our Death, where Ascendant Vlasfimos sounds utterly infernal behind his drums while Zenith Maharg begins his visceral, demented vocal attack by screaming and roaring manically nonstop. Then continuing their ritualistic feast of darkened sounds, it’s time for Stirred By Shadow, I Did Wake, where the riffs by Ascendant Zhargor will haunt your damned souls accompanied by the classic bass by Ascendant демон in another heavy, grim and venomous creation by the quartet. To Me, The Obelisk Calls blends their core Black Metal with elements from Atmospheric Black Metal, and the final result is a phantasmagorical voyage by Necht, with the drums by Ascendant Vlasfimos once again sounding demolishing; and you better prepare your senses for an overdose of towering, visceral sounds by Necht in the eight-minute beast titled Into Bondage Born, a Melodic Black Metal aria where Zenith Maharg leads his horde with his devilish gnarls while the guitar by Ascendant Zhargor will pierce your minds mercilessly.
And they keep decimating our damned souls in By The Fires Of Ascension Shall I Reach The Sky, with the band’s stringed duo delivering sheer Black Metal madness supported by the always hellish beats by Ascendant Vlasfimos, whereas By Blood And Bone Do We Bind lives up the the legacy of modern-day Melodic Black Metal, blasting our ears with the band’s trademark ferocity and passion for the occult, all of course spearheaded by the demonic growls by Zenith Maharg. There’s time for a cinematic interlude titled Blackened Loom The Walls Of Ishpan, setting the stage for the band to crush our souls one last time in For Violence Was Wrought Upon Me, a Behemoth-inspired extravaganza tailored for fans of Blackened Death Metal, putting a beyond infernal ending to the band’s black mass.
“BRETHREN! Do not fear the shadow. Within the shadow there may be found despair. Within the shadow there may be found death, and dissolution. But within the shadow, there may also be found awakening and enlightenment. For it was in the shadow that our Father, B’ahn, was born. GLORY TO THE SUN!” Those were the words by Zenith Maharg, from the Temple of Necht in the Cult of B’Ahn, citing the Enkari-B’Ahn writings, and if you’re eager to join them in the occult you can start following the band on Facebook and on Instagram, listen to their eerie creations on YouTube and on Spotify, and above all that, grab a copy of The Prophecy Of Karnifor from the band’s own BandCamp page or by clicking HERE. Glory to the Sun, glory to Black Metal, and glory to Necht for bringing into being such an amazing album.
Best moments of the album:Stirred By Shadow, I Did Wake, Into Bondage Born and By Blood And Bone Do We Bind.
Worst moments of the album: None.
Released in 2024 Independent
Track listing 1. The Vision of the Qa’ar 1:42
2. Within Her Jaws Dwells The Dark Promise Of Our Death 7:25
3. Stirred By Shadow, I Did Wake 5:40
4. To Me, The Obelisk Calls 5:26
5. Into Bondage Born 8:37
6. By The Fires Of Ascension Shall I Reach The Sky 6:41
7. By Blood And Bone Do We Bind 7:33
8. Blackened Loom The Walls Of Ishpan 1:46
9. For Violence Was Wrought Upon Me 5:32
Band members Zenith Maharg – vocals
Ascendant Zhargor – guitars, choir
Ascendant демон – bass, choir
Ascendant Vlasfimos – drums
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.
THE HEADBANGING MOOSE 