Tag Archives: black metal

Album Review – Temple of Katharsis / Macabre Ritual (2023)

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Let the macabre dance begin to the sound of the debut opus by this ruthless Black Metal horde hailing from Greece.

A must to hear for fans of bands such as Rotting Christ, Varathron, Katavasia and Naer Mataron, among several others, the sulfurous Macabre Ritual is the long-awaited debut album from Greek Black Metal beast Temple of Katharsis, founded in 2011 in Kastoria, a city in northern Greece in the region of Western Macedonia. Currently formed of the band’s founder, vocalist and bassist Hellmaster 666 alongside guitarist Zeratul and drummer Nodens, Temple of Katharsis will take us to the depths of darkness in a harrowing exploration of Black Metal mastery that will leave you breathless. Produced, mixed and mastered by Major at H12 Audio, this abyssal odyssey features eight unholy hymns that will cast a malevolent spell upon all who dare to listen, resulting in a testament to the band’s unwavering dedication to their craft and the Black Metal genre.

The cinematic, somber intro Abyssal Cold Void will captivate your senses before the trio crushes our souls with The Burning Flood of Antichrist, where Hellmaster 666 barks and gnarls in a pure devilish manner in the name of old school Black Metal supported by the classic blast beats by Nodens and the scorching riffs by Zeratul. They keep blasting their infernal music, piercing our minds and souls mercilessly, in Erasure of Religious Existance, where Hellmaster 666 and Zeratul are on fire armed with their stringed axes, sounding perfect for some nonstop headbanging; followed by In the Dungeons with the Rats, displaying a beautiful name for another sulfurous creation by Temple of Katharsis, and those Greek black metallers continue their path of obscurity and hatred with their Stygian riffs and cryptic growls throughout the entire song without a single second of peace or hope.

Blending the past, present and future of Black Metal, it’s time for the melodic yet vile and visceral Ο Αρχιερεύς Των Λύκων (The Archpriest of the Wolves), spearheaded by the unstoppable drums by Nodens; and there’s no sign of the band slowing down as Inside the Medieval Crypt is total fuckin’ darkness led by the demonic growls by Hellmaster 666, who also shows no mercy for his bass. Then it’s time to open the gates of the underworld and let all creatures from the abys consume our damned souls to the sound of The Kingdom of Hades, a lesson in classic Black Metal where Zeratul delivers intricate, venomous riffs for our total delight, before the trio’s last breath of insanity and sulfur comes in the form of the title-track Macabre Ritual, where they incorporate elements from Melodic Black Metal and Doom Metal into their core blackened sound, resulting in a solid composition showcasing their usual aggressiveness (albeit a bit too repetitive for seven minutes of music).

Such devilish, macabre album of Black Metal made in Greece can be appreciated in all of its glory on YouTube and on Spotify, but in order to show your utmost support and admiration for Temple of Katharsis you should definitely purchase a copy of the album from the band’s own BandCamp page, from the Theogonia Records’ BandCamp page or webstore, or from Apple Music, and don’t forget to also give Temple of Katharsis a shout on Facebook. Let the macabre dance begin to the sound of the newborn spawn by this ruthless Greek trio, taking us all on a one-way journey to the pits of the underworld.

Best moments of the album: The Burning Flood of Antichrist, Ο Αρχιερεύς Των Λύκων (The Archpriest of the Wolves) and The Kingdom of Hades.

Worst moments of the album: Macabre Ritual.

Released in 2023 Theogonia Records

Track listing
1. Abyssal Cold Void (Intro) 2:19
2. The Burning Flood of Antichrist 5:03
3. Erasure of Religious Existance 6:02
4. In the Dungeons with the Rats 6:21
5. Ο Αρχιερεύς Των Λύκων (The Archpriest of the Wolves) 7:37
6. Inside the Medieval Crypt 7:14
7. The Kingdom of Hades 6:56
8. Macabre Ritual 7:05

Band members
Hellmaster 666 – vocals, bass
Zeratul – guitars
Nodens – drums

Album Review – Marduk / Memento Mori (2023)

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One of the pillars of Swedish Black Metal is back with a devilish new album encapsulating the raw and unrelenting intensity that has become synonymous with the band’s sound, reminding us that we all must die.

Four years after the release of their warlike opus Viktoria, the renowned, ruthless Swedish Black Metal horde Marduk is ready to haunt our souls once again with Memento Mori, the fifteenth studio album in their undisputed career. Produced, recorded, mixed and mastered by Magnus “Devo” Andersson at Endarker Studio, with photography by Håkan Sjödin and layout and design by the band’s own Daniel “Mortuus” Rostén at Holy Poison Design, Memento Mori encapsulates the raw and unrelenting intensity that has become synonymous with the band’s sound, showcasing the signature blend of aggressive guitar riffs, thunderous drums and chilling vocals by vocalist Daniel “Mortuus” Rostén, guitarist Morgan “Evil” Steinmeyer Håkansson and drummer Simon Schilling, plus guest bassists Magnus “Devo” Andersson and Joel Lindholm, evoking a sense of darkness and despair and, therefore, once again proving why Marduk will always be one of the pillars of Swedish Black Metal.

A wicked, sinister intro gradually evolves into the infernal title-track Memento Mori, spearheaded by the massive beats by Simon and the always demonic gnarls by Mortuus in a straightforward feast of classic Swedish Black Metal for the masses; and there’s no time to breathe as the band offers another Stygian creation titled Heart of the Funeral, bringing forward all elements we learned to love in their music, with Evil’s riffs sounding truly scorching. Blood of the Funeral, the first single of the album, is an absolute banger, with Mortuus vociferating the song’s devilish lyrics majestically (“High on the flesh / Of the knell and the psalm / Drunk on the blood / Of the funeral / Ridden by lust / And sepulchral thirst / I come dressed in hunger / And the trauma of birth”), flowing into the phantasmagorical, haunting aria Shovel Beats Sceptre, a neck-breaking tune by Marduk where Devo and Simon will crush your skull mercilessly with their hammering kitchen. Then back to their more venomous, demolishing mode, Devo and Simon continue to attack our souls with their rumbling bass and drums in Charlatan, while Evil extracts pure Black Metal magic from his guitar.

Coffin Carol is undoubtedly one of the most infernal and demented of all songs from the album, with Mortuus sounding bestial throughout the entire song while Evil and Devo deliver a flawless Black Metal stringed attack for our total delight. Furthermore, they keep attacking our senses with absolutely no remorse in Marching Bones, where Mortuus keeps roaring and barking in the name of Black Metal while Simon pounds his drums with tons of groove and fury, even presenting the more rebellious elements from the music by bands like The Misfits. The haunting intros found in some of the songs add a nice touch to the entire album, which is also the case in Year of the Maggot, exploding into their classic Black Metal and overflowing darkness and rage, presenting not a single second of peace as expected. Their second to last sonic attack comes in the form of Red Tree of Blood, offering our putrid ears another endless dosage of pure Black Metal led by the hellish roars by Mortuus and the always demented blast beats by Simon; whereas lastly it’s time for a sinister Doom Metal-infused aria titled As We Are, showcasing truly anguished, deep gnarls by Mortuus while his bandmates simply darken our minds with their Stygian sounds.

“Memento Mori is, all at once, a bold leap forward, a calculated sidestep, and a wistful backward glance. Meaning, we have broken new ground without forgetting our legacy or the journey that brought us to this point,” commented the bestial Mortuus about the band’s newborn black mass, and you can put your damned hands on this demonic album by clicking HERE, as well as show your support to those Swedish demons by following them on Facebook and on Instagram to be updated about their tours, their music and plans for the future, and by streaming their venomous creations on YouTube and on Spotify. Marduk’s new album is here to remind us that we all must die, distilling their Black Metal to perfection like they’ve always done, and like they will always do until their very last breath.

Best moments of the album: Heart of the Funeral, Blood of the Funeral, Coffin Carol and Marching Bones.

Worst moments of the album: None.

Released in 2023 Century Media

Track listing
1. Memento Mori 3:30
2. Heart of the Funeral 2:23
3. Blood of the Funeral 5:05
4. Shovel Beats Sceptre 5:02
5. Charlatan 4:12
6. Coffin Carol 4:02
7. Marching Bones 4:03
8. Year of the Maggot 4:14
9. Red Tree of Blood 3:50
10. As We Are 5:36

Band members
Daniel “Mortuus” Rostén – vocals, bass, lead guitars on “Blood of the Funeral” and “As We Are”
Morgan “Evil” Steinmeyer Håkansson – guitars
Simon Schilling – drums

Guest musicians
Magnus “Devo” Andersson – bass
Joel Lindholm – bass
LG Petrov – additional vocals on “As We Are”

Album Review – Yass-Waddah / Lust for Domination (2023)

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A lone wolf hailing from Spain will take you on a dark and mysterious Symphonic Black Metal journey to the sound of his third and bestial full-length opus.

Formed in 2011 in , Venice, Italy, but currently located in Tenerife, in the Canary Islands, Spain, the unrelenting Symphonic Black Metal one-man army Yass-Waddah, which name was taken from the novel Cities of the Red Night, by American writer and visual artist William Burroughs (with Yass-Waddah being the name of a city, a “female stronghold” where “everything is true and nothing is permitted except to the permitters”) has just unleashed its third full-length opus, titled Lust for Domination, the follow-up to the project’s 2020 album This Reality Is Just a Deception. Written, recorded, mixed and mastered by the project’s mastermind, vocalist and multi-instrumentalist Pietro Baldan, displaying a sick artwork by Gragoth of Luciferium War Graphics, and featuring guest drummer Arnaud Krakowka (Embryonic Autopsy, Shivered), Lust for Domination will take you on a dark and mysterious journey highly recommended for fans of Cradle of Filth, Dimmu Borgir and Septicflesh, among others.

A sinister intro suddenly explodes into a Black Metal feast titled Ride The Kali Yuga, with Arnaud kicking some ass on drums while Pietro sounds devilish with both his gnarls and riffs; and Pietro and Arnaud continue to darken the skies with their fusion of Symphonic and Melodic Black Metal in Decomposition Of Virtues, again showcasing an overdose of Stygian, infernal roars and visceral yet melodious riffs. Then after a grim spoken excerpt their Black Metal onrush goes on in Sophisticated Use Of Force, with the sound of the guitars living up to the legacy of classic Scandinavian Black Metal, whereas Collective Catatonia lacks the same energy and variations from the previous tracks, but the project’s core elements are there and the drumming by Arnaud sounds solid from start to finish. Then we have Ouroboros, perhaps the rawest, most Black Metal of all songs, where Pietro goes straight to the point with a sonic avalanche distilling his demonic gnarling and razor-edged riffs for our total delight, while also presenting some interesting tempo changes throughout the song.

The second half of the album begins with the beautifully titled Envelope Filled With Black Sand, where Pietro and Arnaud slow things down a bit while still sounding as heavy and obscure as possible, while Pietro delivers some striking solos to give the whole song an extra kick; followed by In The Name Of Progress, another infernal attack by the duo with Pietro taking the lead with his scorching vocals and riffs while Arnaud continues to smash his drums in the name of extreme music. Then investing in a even more demonic sonority we have Flesh Suit, where Pietro’s screeches and gnarls exhale Black Metal while the instrumental pieces sound absolutely demolishing. Their second to last Black Metal extravaganza, titled Burn Your Flag, will leave you totally disoriented due to its endless rage, madness and heaviness, presenting an amazing job done by Pietro on vocals supported by the thunderous drums by Arnaud, before we face one final demonic attack by Pietro and his Yass-Waddah entitled Fortune Favours The Brave, ending the album on a sulfurous note thanks to his always scorching riffs and rumbling bass.

In a nutshell, the bestial and symphonic Lust for Domination, which is available for a full listen on YouTube and on Spotify, will definitely help Pietro cement the name of Yass-Waddah in the underground extreme scene, bringing to our avid ears all of his talent, creativity and, of course, passion for heavy music in the form of an amazing album tailored for admirers of the genre. Hence, in order to support Pietro, you can purchase his new album directly from his BandCamp page as well as from Apple Music, inspiring our beyond talented musician to keep crafting majestic Black Metal music for many years to come under his Stygian and thrilling alter-ego Yass-Waddah.

Best moments of the album: Ride The Kali Yuga, Ouroboros and Burn Your Flag.

Worst moments of the album: Collective Catatonia.

Released in 2023 They Live We Sleep Recordings

Track listing
1. Ride The Kali Yuga 3:58
2. Decomposition Of Virtues 3:55
3. Sophisticated Use Of Force 3:33
4. Collective Catatonia 3:52
5. Ouroboros 3:04
6. Envelope Filled With Black Sand 4:17
7. In The Name Of Progress 2:48
8. Flesh Suit 3:18
9. Burn Your Flag 4:11
10. Fortune Favours The Brave 2:44

Band members
Pietro Baldan – vocals, guitars, bass

Guest musician
Arnaud Krakowka – drums (session)

Interview – Moloch (ZØRORMR)

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Enter the Stygian realm of Moloch and his ZØRORMR in this exclusive interview where we talk about his latest offer The Monolith and a lot more.

Moloch (ZØRORMR)

The Headbanging Moose: Thanks a lot for taking time to answer some of our questions, Moloch. Could you please start by introducing yourself and ZØRORMR to our readers?

Moloch: As Fernando Pessoa would put it: “I am nothing. I’ll never be anything. I couldn’t want to be something. Apart from that, I have in me all the dreams in the world.”

THM: I read in another one of your interviews that ZØRORMR means “The Serpent of the South”, a play on the Old Norse words sør (south) and ormr (serpent). How relevant do you think the name ZØRORMR still is compared to when you started the band back in 2010?

M:  That’s a good question. A lot has changed since I started Zorormr around 2010, and I think the “Norwegian vibes” are not so much present on the new record. Zorormr has outgrown its initial influences and is an abomination in its own right. I would have thought of a different name for the project now, but I don’t know if it would make a difference to the music.

THM: Now let’s talk about your awesome new album The Monolith. What are the main differences you see in your new album versus your previous releases, and do you think the album is exactly how you were expecting it to be, or is there something that still bothers you in it? I personally think the sound in it is a step forward from The Aftermath.

M: I think that “The Monolith” sounds the way it should. It’s a different album than “Corpus Hermeticum“. It has more darkness in it, and the sound design reflects that. Arek Jablonski (the sound engineer) has done a terrific job on the record. His mixing corresponds with my older recording and “Corpus…” so the result is very aggressive but still has all the qualities of contemporary production. Everything is in place, and in a way, it’s like a monolith.

THM: Although ZØRORMR is considered a one-man project, you’ve been working with guest or session musicians since your 2010 debut album Kval, more specifically with guitarist Quazarre and drummer Icanraz. What’s your relationship or connection with those two musicians, and why have you selected them to be a regular part of ZØRORMR?

M: We’ve known each other for twenty years. We’ve collaborated artistically on so many levels that it’s hard to mention here all our ventures. We’re also good friends. Quazarre has been helping me out with every Zorormr record. He is a skilled guitarist and vocalist. You could say that he helped me become a better artist myself. As for Icanraz, he’s an excellent drummer whose style fits perfectly into what you can hear in Zorormr. So far, every time we’ve worked together, we had something special going on. They’re both “regular members” of Zorormr, even if they don’t admit it. (laugh)

Album Review – ZØRORMR / The Monolith (2023)

THM: How were the recordings of The Monolith? Did everything occur as planned, or did you have to change the way you were doing things due to an unforeseen situation?

M: Frankly, it was a long and painful process. I had the music written back in 2016. I started recording in 2017 and finished it at the end of 2021. Meanwhile, I had many “tough times” along the way, so I couldn’t focus on recording “The Monolith”. I thought about ending Zororormr, and not only that… But I fought for myself. I started making darksynth, performing live, and slowly wanting to return to the latest Zorormr album. I owed that to myself, my friends, and those few fans that follow my musical journey. I’m glad I went through with it because the end result is something I can be proud of. Maybe one of the most important records of my life…

THM: Now that The Monolith has already seen the light of day, what’s next for ZØRORMR? Are you going to take the music from The Monolith to the stages anywhere, or will the focus be on creating more music in the coming months or years?

M: After “Corpus Hermeticum” I was ready to hit the road. I even looked for musicians to accompany me. But I couldn’t find the right people whose commitment to the band would allow us to perform Zorormr’s music. In 2016 I was on a downward spiral, and I stopped looking for musicians for Zorormr. Two years later, I was already performing with my darksynth project. I could have used some hired musicians, but it didn’t feel right. Nowadays, I’m focusing on different things. But I think that “The Monolith” is not the last thing you’ve heard from Zorormr…

THM: Who are your biggest idols and influences in music and in life in general? Although the music by ZØRORMR is Black Metal, do you draw inspiration from any non-metal artists to compose your music?

M: This a tricky question to answer since, in postmodernity, the influences create an endless whirlpool from which we can choose. It would be easier to answer this question when I was younger. Nowadays, I think it’s better to leave it to the listener to try and find the sources of inspiration for Zorormr. If you listen carefully, you will find some of them. And there are some hints in the lyrics too!

Album Review – ZØRORMR / The Aftermath EP (2016)

THM: I’m a huge fan of the Polish underground. There are so many amazing bands there from different styles including Sarmat, Hellfuck, Hyl, Chimera, Chainsword and Odraza, just to name a few, but all amazing. Are you proud of the current metal scene in Poland, or do you think it could be even better?

M: I wouldn’t consider myself an expert on the scene. Nor do I find pleasure in reviewing other bands’ work. But objectively, Polish extreme metal bands have a lot to offer, and I’m glad that we have so many great bands around here.

THM: Do you have any hobbies you would like to share with us, like collecting anything specific, playing a sport, anything that’s outside of music but that helps you relax and focus on your work as a musician?

M: There is never enough time to do what I want to do. I try to focus on making music as my main activity. But I do read, for example, Bukowski or Ellis, or some fantasy novels. I have a passion for B-movies. I bought a bunch of VHS tapes recently, so I suppose I’m starting to collect these. I’m an escapist. So whatever allows me to escape from the problems of this dreadful world is good enough for me. Sometimes it’s just a hike in the mountains or sitting by the seaside. Watching Star Trek TNG is also a comforting experience… I also like going to the forest. It always makes my demons go away (laugh).

THM: Once again, thank you very much for your time! Please feel free to send your final message to our readers, and any other comments you would like to make!

M: Thanks for having me! Stay heavy my friends!

Links
ZØRORMR Official Website | Facebook | Instagram | YouTube | Spotify | BandCamp

Album Review – Mental Cruelty / Zwielicht (2023)

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A German Blackened Deathcore outfit arises from chaos with their fourth studio album, pushing the band’s sound to new blacker intensities.

Rising from the ashes of personal and professional chaos, Karlsruhe, Germany-based Blackened Deathcore outfit Mental Cruelty has been blasting our ears with their incendiary fusion of Black Metal, Symphonic Black Metal, Symphonic Deathcore and Brutal Deathcore since their inception in 2016, becoming standard-bearers for the sound in Europe. Now in 2023 the band currently formed of newcomer Lukas Nicolai on vocals, Nahuel Lozano and Marvin Kessler on the guitars, Viktor Dick on bass and Danny Straßer on drums returns in full force with Zwielicht, or “twilight” in German, the fourth studio album in their career. Mixed and mastered by Josh Schroeder at Random Awesome! Recording Studio, and displaying a classy artwork by Mariusz Lewandowski (R.I.P.), the album pushes the band’s sound to new blacker intensities forged in emotional riffing, heavy “back to the roots” breakdowns, and epic orchestral arrangements that surpass the already elite standards that have become synonymous with their name, being highly recommended for fans of Lorna Shore, Ingested and Vulvodynia, just to name a few.

The cinematic intro Midtvinter will embrace your soul and take you to Mental Cruelty’s demonic lair for all eternity, exploding into Obsessis a Daemonio (or “possessed by a demon” in Latin), where Lukas sounds truly possessed on vocals while Danny smashes his drums nonstop, all spiced up by grandiose, epic background sounds in a flawless fusion of Symphonic Black Metal and Deathcore. As imposing and sinister as the previous track, Nahuel and Marvin continue to deliver sheer aggressiveness and insanity through their riffs in Forgotten Kings, another pulverizing creation by the quintet; whereas not a single space is left empty in Pest thanks to the rumbling bass by Viktor and the stone crushing beats by Danny, making a beautiful paradox with the orchestral and symphonic elements in the background. Then drinking form the same Stygian fountain as Lorna Shore we have Nordlys (“Northern Lights” in Norwegian and Danish), offering more of the demonic, enraged roars by Lukas and sounding absolutely grim and infernal form start to finish.

Leaning towards pure Symphonic Black Metal, the band will darken the skies in Mortal Shells, showcasing their always thunderous kitchen supporting the venomous riffs by Nahuel and Marvin, whereas the interlude Zwielicht brings to our ears an embracing dosage of poetry declaimed in German by Lukas, before the band takes our minds and souls by storm with Symphony of a Dying Star, bringing forward more of their undisputed hybrid of Black Metal and Deathcore with symphonic elements, sounding absolutely thrilling from start to finish with Danny stealing the show with his demolishing drums. In The Arrogance of Agony we’re treated to wicked lyrics (“The glance of death as I look into the mirror / The faceless staring back at me can’t recognize this person / This is something that I used to be”) amidst a solid display of extreme music, followed by the breathtaking A Tale of Salt and Light, offering us all one final round of their poetic words (“Blessed are the ones who walk the salty desert / Blessed are the ones who conquer their fear in the ocean / Every second I battle the current / Swim against the whim of nature / Hunters of the deep circle of my path / Hopes washed away by the pull of the tide”) while the band’s guitar duo keeps slashing our ears with their riffs and solos, resulting in a climatic conclusion to such diverse and vibrant album.

“Let us embrace a new era of darkness by bringing the ‘black’ into blackened heavy music. Join us on the way down to infernal gates of hell to be rebirthed back to life. The album will contain the most mind-bending variety of different heavy musical influences and sounds. Epic symphonic orchestras accompanied by slam breakdowns; this will have it all. Inspired from metaphors written by nature, death, and inner demons,” the band commented about their newborn beast, available for a full listen on YouTube and on Spotify, and you can purchase a copy of it by clicking HERE or HERE, not to mention the guys from Mental Cruelty are also eagerly waiting for your feedback on their music on Facebook, on Instagram and on YouTube. Just like the name of the album, the music by Mental Cruelty perfectly depicts the feeling we all sense during twilight, as their music gets darker and darker while there’s still fragments of light in our sight throughout the album, and may this new version of the band keep on delivering amazing albums like Zwielicht to us fans of heavy music for many years to come.

Best moments of the album: Obsessis a Daemonio, Symphony of a Dying Star and A Tale of Salt and Light.

Worst moments of the album: None.

Released in 2023 Century Media

Track listing
1. Midtvinter 1:43
2. Obsessis a Daemonio 5:07
3. Forgotten Kings 5:57
4. Pest 5:52
5. Nordlys 5:19
6. Mortal Shells 6:11
7. Zwielicht 1:33
8. Symphony of a Dying Star 4:11
9. The Arrogance of Agony 5:22
10. A Tale of Salt and Light 7:31

Band members
Lukas Nicolai – vocals
Nahuel Lozano – guitars
Marvin Kessler – guitars
Viktor Dick – bass
Danny Straßer – drums

Album Review – Blackbraid / Blackbraid II (2023)

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The witch hawk Jon Krieger returns from the solitude of the Adirondack Mountains with his stunning sophomore album, an expansion of his own sound exploring his strong relationship with nature.

Part of the growing indigenous Black Metal scene in the United States, Blackbraid is an Atmospheric Black Metal project from the solitude of the Adirondack Mountains, in New York, formed in 2022 by Native-American vocalist and multi-instrumentalist Jon Krieger, known by his pseudonym Sgah’gahsowáh, a Mohawk name meaning “the witch hawk”. Inspired by giants the likes of Dissection, Gorgoroth, Immortal, Bathory and Mayhem, among others, Sgah’gahsowáh views Blackbraid as a project that can help listeners reconnect with nature and help him explore his own relationship with it, which can be experienced in his sophomore opus Blackbraid II. Recorded, mixed and mastered by Neil Schneider (Calling of Phasmic Presence, Diplegia, Vintertodt), who also plays drums in the entire album, and displaying a stylish artwork by Adrian Baxter, Blackbraid II is an expansion of the sound developed in the project’s debut album Blackbraid I, also incorporating more native instrumentation to the project’s already dense and multi-layered sound.

The fires of Black Metal are burning accompanied by the acoustic guitars by Sgah’gahsowáh in the intro Autumnal Hearts Ablaze, captivating our senses before we face the heavy and majestic The Spirit Returns, bringing to our ears an avalanche of intricate melodies, enraged vocals and scorching riffs carefully brought into being by our lone wolf while also presenting a fantastic balance between Atmospheric Black Metal and old school Black Metal. Then a wild howl kicks off over seven minutes of breathtaking metal music entitled The Wolf That Guides the Hunters Hand, with Neil crushing his drums like a beast, therefore offering Sgah’gahsowáh exactly what he needs to shine on vocals as well as on the guitars and bass. After such intense tune we’re treated to the whimsical, tribalistic interlude Spells of Moon and Earth, taking us on a journey to the Adirondack Mountains before Sgah’gahsowáh comes ripping in Moss Covered Bones on the Altar of the Moon, starting with some tribal beats and a sinister atmosphere, and sounding beyond perfect for headbanging together with Sgah’gahsowáh, who delivers some killer riffs and solos from his stringed axe until the very end.

A touch of melancholy and somber passages will darken your minds in the infernal Black Metal aria A Song of Death on Winds of Dawn, where Sgah’gahsowáh shows no mercy for our damned souls, blasting his guitars and bass in the most visceral way imaginable for over 11 stunning minutes. It’s then time for another introspective interlude by Sgah’gahsowáh titled Celestial Passage, once again bringing a doomed and melancholic ambience to the album and setting the tone for Twilight Hymn of Ancient Blood, featuring a guest guitar solo by Randy Moore (Spiritworld), with Neil pounding his drums while at the same time Sgah’gahsowáh’s riffage sounds absolutely caustic and heavy, adding elements from classic Doom Metal to his already demonic sound. As the album progresses you can feel Sgah’gahsowáh investing into more Stygian sounds as if his mind and soul were consumed by darkness, which is absolutely clear in Sadness and the Passage of Time and Memory, an enfolding, multi-layered music journey showcasing his usual deep, demonic gnarls, before we face his personal tribute to the mighty Bathory with A Fine Day to Die (check out the original version HERE, from the 1988 masterpiece Blood Fire Death), just as intense and magic as the original, but of course with Sgah’gahsowáh adding his own twist to the overall result.

In summary, what Sgah’gahsowáh and his Blackbraid are doing not only for the Native-American Black Metal scene, but also to Black Metal as a whole, is beyond fantastic, and Blackbraid II, available for a full listen on YouTube and on Spotify, will help him cement his name in the underground and get us all excited for the future of the project. Hence, don’t forget to start following Blackbraid on Instagram for news and tour dates (and believe me, Blackbraid’s live performances are absolutely stunning), to stream the project’s atmospheric and bold creations on YouTube and on Spotify, and above all that, to purchase a copy of the breathtaking Blackbraid II from the project’s own BandCamp page, from Apple Music or from Amazon. And may the spirit of the witch hawk of Black Metal live forever and ever.

Best moments of the album: The Spirit Returns, The Wolf That Guides the Hunters Hand, A Song of Death on Winds of Dawn and Sadness and the Passage of Time and Memory.

Worst moments of the album: None.

Released in 2023 Independent

Track listing
1. Autumnal Hearts Ablaze 2:10
2. The Spirit Returns 4:37
3. The Wolf That Guides the Hunters Hand 7:34
4. Spells of Moon and Earth 2:24
5. Moss Covered Bones on the Altar of the Moon 13:30
6. A Song of Death on Winds of Dawn 11:04
7. Celestial Passage 2:24
8. Twilight Hymn of Ancient Blood 6:59
9. Sadness and the Passage of Time and Memory 7:02
10. A Fine Day to Die (Bathory cover) 8:15

Band members
Sgah’gahsowáh – vocals, guitars, bass

Guest musicians
Neil Schneider – drums (session)
Randy Moore – lead guitars on “Twilight Hymn of Ancient Blood”

Album Review – Olkoth / At The Eye Of Chaos (2023)

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A newborn Blackened Death Metal entity formed of seasoned underground musicians is ready to kill with their debut album, a deadly, ferocious extreme music feast that’s absolutely true to the band’s brutal and blackened roots.

Dedicated to the memory of Vance Reon Jeffcoat, former drummer of the band who died of cystic fibrosis in 2017 at the age of 36, At The Eye Of Chaos, the debut opus by Columbia, South Carolina-based Blackened Death Metal outfit Olkoth, is a deadly, ferocious extreme music feast taking the animosity of Nile and Hate Eternal and bringing it even further, while also taking inspiration from the occult, horror, mythology and corruption throughout history. Recorded and Produced by the band itself at Hexology Studios, mixed and mastered by Ronnie Björnström at Björnström Ljud & Produktion, and displaying an sick, nightmarish artwork by Paolo Girardi, the album offers a unique and brutal blend of Death and Black Metal by Zach Jeter on vocals and guitars, Hunter Ross also on the guitars, and Alex Rush on bass and backing vocals, supported by session drummer Krzysztof Klingbein (10 Plagues, Deathspawn, Resurrection), sounding utterly loyal and true to the band’s brutal and blackened roots.

The band’s devilish and obscure side arises majestically in the opening tune Alhazred, inspired by Abdul Alhazred, a fictional character created by American horror writer H. P. Lovecraft, with Zach sounding inhumane on vocals while Krzysztof pounds his drums in the name of darkness. Then after such infernal start it’s time for more of the band’s acid lyrics in Incendiary Prayer (“For the lord who knows all that is / Has promised the crown of an Emperor / Giving power to the false / Who pray spinelessly to god as their greed becomes our overlord”), another bestial Death Metal creation by Olkoth; whereas the demonic riffs by Zach and Hunter are beautifully complemented by the metallic bass by Alex in The Resurrectionist, a heavy-as-hell, deep and dense metal attack that keeps the album as sulfurous as possible. And Thousand Faced Moon sounds and feels extremely intricate, or in other words, it’s a multi-layered and incendiary lecture in Blackened and Progressive Death Metal led by the venomous drumming by Krzysztof.

To Eat Of The Lotus is another excellent tune showcasing darkly poetic lyrics (“Lost within this self-made haze of gnarled delusion / You create deception to hide your life’s failures / Bury all of your demons; you’re too weak to face them / To eat of the lotus, you’ll abandon all that’s sacred”) and the demolishing kitchen by Alex and Krzysztof; and a sinister intro quickly explodes into a Stygian fusion of Black and Death Metal titled Eidolon In The Flames, with the guitars by Zach and Hunter exhaling sulfur while Zach deeply growls for our total delight. Following such high level of insanity we have Lords Of The Kali Yuga, one of the most devastating songs of the album (and let’s not forget it is already an album that overflows brutality and rage) where Zach leads his horde with his hellish screams supported by the stone crushing beats by Krzysztof, flowing into the title-track At The Eye Of Chaos, closing the album in a stylish manner with all band members generating a vile yet progressive wall of sounds tailored for admirers of Blackened Death Metal.

If you want to experience At The Eye Of Chaos in all of its glory, you can stream the album in full on YouTube and on Spotify, but of course in order to show all your support to the underground you can purchase a copy of the album by clicking HERE (mailorder) or HERE (BandCamp), or visit this link for all things Olkoth. In addition, don’t forget to follow the band on Facebook and on Instagram, staying up to date with all of their tour dates, news and other details, adding even more first-class Black and Death Metal into your life. Olkoth might be a new name from the underground scene, but its members are seasoned veterans from an array of amazing bands the likes of Rapheumets Well, Enthean, Lecherous Nocture and Imperium, and that experience certainly helped the band to achieve the amazing quality of the music found in At The Eye Of Chaos, offering us all another very good reason to keep banging our heads and leaving us eager for more of the music by those skillful musicians. I’m sure Vance is also banging his head inspired by the music by his friends wherever he might be.

Best moments of the album: Alhazred, Thousand Faced Moon and Lords Of The Kali Yuga.

Worst moments of the album: None.

Released in 2023 Everlasting Spew Records

Track listing
1. Alhazred 4:26
2. Incendiary Prayer 3:58
3. The Resurrectionist 3:41
4. Thousand Faced Moon 4:21
5. To Eat Of The Lotus 5:24
6. Eidolon In The Flames 4:31
7. Lords Of The Kali Yuga 3:20
8. At The Eye Of Chaos 5:19

Band members
Zach Jeter – vocals, rhythm & lead guitars
Hunter Ross – rhythm & lead guitars
Alex Rush – bass, backing vocals

Guest musician
Krzysztof Klingbein – drums (session)

Album Review – Melan Selas / Zephyrean Hymns (2023)

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This uncanny Greek Black Metal duo is ready to unleash their sophomore opus, assaulting the listener by raging riffs and eerie screams while at times engrossed in seductive vocals travelling with dreamy melodies.

“A new dimension… Great new meaning.”

Consisting of eight songs that create a unique atmosphere, assaulting the listener by raging riffs and eerie screams while at times engrossed in seductive vocals travelling with dreamy melodies, Zephyrean Hymns is the sophomore opus by Trikala, Greece-based Black Metal duo Melan Selas, the follow-up to their 2019 debut effort Φάος. Formed in 2015 by D.K. (Riffobia, Katavasia), who handles all instruments, and Astraea (Oletir), responsible for all vocals and lyrics, the duo aims at breathing new life into the Black Metal scene with their new album, all embraced by the first-class recording and mixing by D.K. and Astraea themselves, the crisp mastering by Achilleas Kalantzis at Suncord Audiolab, and the stylish logo and layout by Nikos Tsiolis.

D.K. generates a dense and grim atmosphere from the very first second in Mountain Tops while Astraea showcases all her versality going from Stygian clean vocals to demonic gnarls, resulting in an excellent display of modern-day Melodic Black Metal, followed by Frozen Lake, more imposing and detailed than the opening tune where D.K. does a great job with his classic Black Metal riffs and beats, providing Astraea with all she needs to darkly shine on vocals. Let’s keep banging our heads and raising our horns to the visceral Black Metal by Melan Selas in Humble Soil, where the piercing riffs by D.K. and the obscure growling by Astraea will darken your soul for all eternity, whereas a lot more vicious and infernal, the duo will hammer our heads with all of their strength in Trumpets of War, offering our ears a perfect hybrid of classic Black Metal with modern-day Atmospheric Black Metal and nuances of other styles such as Death and Thrash Metal.

In Dreadful Dome, D.K. builds a stunning background with his rumbling bass, pounding drums and hellish riffs while Astraea continues to vociferate like a true she-demon. Put differently, there’s not a single second of peace, it’s total fuckin’ darkness for our absolute delight; and get ready for almost seven minutes of darkness, melancholy and insanity in Darkened Cliff, starting with the Stygian clean vocals by Astraea and getting more and more anguished as the music progresses, while the sound crafted by D.K. lives up to the legacy of old school Black Metal. In the shortest of all tracks, titled Wanderer, Astraea will hypnotize you and drag you to her sinister lair forever, an obscure tune that will set the stage for the duo to kill one last time in Ancient Scrolls, bringing to our avid ears the slashing riffage by D.K. and the beautiful, evil gnarls by Astraea, closing the album on a high and devilish note.

“A quest through space and time, an ascension to something greater… Zephyrean Hymns lead our cause.” This is what the duo had to say about their new album, and if you want to show them your utmost support you can start following them on Facebook for all things Melan Selas, and purchase a copy of the awesome Zephyrean Hymns from The Circle Music’s webstore as a luxurious box embossed in silver (limited to 100 copies), a beautiful LP (limited to 500 copies), or an A5 digipak CD (also limited to 500 copies), or you can also click HERE to grab your favorite version of the album, plus several other retailers including Fantotal.de and Juno. A gentle breeze is flowing from the stunning Athens; however, you better be prepared because it’s not just any breeze, but a Black Metal one, courtesy of the multi-talented D.K. and Astraea, who together are proudly carrying the torch of Greek extreme music anywhere they go armed with their stylish and captivating new album and ,consequently, embracing our damned souls without a single drop of mercy.

Best moments of the album: Frozen Lake, Trumpets of War and Darkened Cliff.

Worst moments of the album: None.

Released in 2023 The Circle Music

Track listing
1. Mountain Tops 5:31
2. Frozen Lake 5:42
3. Humble Soil 5:45
4. Trumpets of War 5:04
5. Dreadful Dome 5:02
6. Darkened Cliff 6:46
7. Wanderer 2:44
8. Ancient Scrolls 6:50

Band members
Astraea – vocals
D.K. – all instruments

Album Review – Tsjuder / Helvegr (2023)

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This legendary horde is finally back with a new opus, a must-listen for admirers of old school Norwegian extreme music and a serious contender for Black Metal album of the year.

The path to the underworld is open once again as Oslo, Norway’s own Black Metal legends Tsjuder are back in action with a sulfurous new opus, titled Helvegr, which by the way means “Path to the Underworld” or “Road To Hel”, their sixth studio album and the perfect follow-up to their 2015 effort Antiliv. Known best for their relentless, aggressive approach to Black Metal, Tsjuder have been responsible for some of the most hate-filled ferocity perpetrated under the banner of True Norwegian Black Metal since their inception in 1993, with the iconic Nag on vocals and bass, and Draugluin on the guitars, supported by drummer Jon “The Charn” Rice, taking their darkness to a whole new level in Helvegr. Not only that, the mixing and mastering by Pål Emanuelsen at North Waves Studios, plus the wicked artwork by Jonas Svensson and Laura Nardelli, turn it into a must-listen for admirers of old school Norwegian extreme music, and into a serious contender for Black Metal album of the year.

The opener Iron Beast brings forward absolute madness and hatred from the very first second, while Nag screams the song’s infernal lyrics manically (“Black metal razor blades / Fifty cal hellraiser / Barbed wire wrapped / Diesel monster unleashed / Aw, come on! Raise Hell!”) in a lecture in Norwegian Black Metal; whereas the caustic riffage by Draugluin and the brutal drums by Jon will crush your damned body to pieces in Prestehammeren (or “the priest’s hammer” from Norwegian), a fast and demented display of Black Metal by Tsjuder that will please all fans of the genre. Then a melodic, sinister start evolves into another sonic beast entitled Surtr, with the blast beats by Jon bringing sheer aggressiveness to their sound while Nag continues to vociferate like a demonic entity. There isn’t a single second of peace in Gamle-Erik (or “Old Erik”), featuring a guest guitar solo by Pål Emanuelsen, with Nag once again sounding inhumane on vocals as well as armed with his thunderous bass lines while Draugluin slashes his guitar in the name of Black Metal; and Chaos Fiend is as chaotic as its name states, with Jon hammering your skull with his vile drumming, offering Nag everything he needs to darkly growl and snarl in another fantastic depiction of first-class Norwegian Black Metal.

Tsjuder Tribute to Bathory Scandinavian Black Metal Attack

Featuring guest vocals by Seidemann (of 1349 and Mortem), Gods of Black Blood offers another round of Tsjuder’s hellish words (“We stride triumphant, Hellspawned Demon Lords / Trampling the fallen, Violated agonized wailing / Worldgrinders, necrotic sovereigns”) while the music once again exhales Black Metal; and after such intense, darkened feast, it’s time for the grim and phantasmagorical title-track Helvegr, leaning towards Doom Metal and even Blackened Doom, sounding, sluggish, evil and melodic from start to finish. Then back to their more ferocious and satanic mode we have Faenskap og Død (“hell and death”), a hurricane of Black Metal masterfully crafted by Tsjuder where the razor-edged riffs by Draugluin will pierce your mind and soul mercilessly. Lastly, the doomed Hvit Død (“white death”) is not a bad outro, but it takes away some of the fire and electricity from the album. In other words, it could have been placed before the previous song as an intro to give it a stronger meaning. Furthermore, if you go for one of the special or deluxe editions of the album you’ll be treated to the bonus disc Tsjuder Tribute to Bathory Scandinavian Black Metal Attack, a killer EP that is definitely worth the extra money, beautifully representing Tsjuder’s respect and admiration for one of the pillars of Norwegian Black Metal, with their cover version for Satan my Master being absurdly awesome.

In case you want to give Helvegr a try before purchasing it, you can stream the album in full on YouTube and on Spotify, but I bet you’ll get addicted to their music and grab your favorite version of the album from the band’s own BandCamp page, from Season of Mist in Europe or in the US (and if I were you I would go for the LP box + digital or for the digibox + digital as both come with some fantastic items including the aforementioned EP), or by clicking HERE or HERE. Don’t forget to also follow such imposing Norwegian horde on Facebook and on Instagram for news, tour dates and so on, and to stream their entire catalogue on Spotify. We’ll undoubtedly see Helvegr as part of most “top metal albums of the year” lists this year, and of course in almost all “top Black Metal albums of the year” lists, reinforcing the power, impact and importance of Tsjuder to the entire metal scene, and leaving us all eager for their next blast of Black Metal magic in a not-so-distant future.

Best moments of the album: Iron Beast, Prestehammeren, Chaos Fiend and Gods of Black Blood.

Worst moments of the album: Hvit Død.

Released in 2023 Season of Mist

Track listing
1. Iron Beast 3:37
2. Prestehammeren 4:01
3. Surtr 6:59
4. Gamle-Erik 3:46
5. Chaos Fiend 4:02
6. Gods of Black Blood 5:19
7. Helvegr 7:36
8. Faenskap og Død 3:08
9. Hvit Død 2:52

Tsjuder Tribute to Bathory Scandinavian Black Metal Attack bonus disc
1. The Return of Darkness and Evil 4:53
2. Satan my Master 2:02
3. Born for Burning 5:11
4. Reaper 2:33
5. Raise the Dead 3:53

Band members
Nag – vocals, bass
Draugluin – guitars, backing vocals
Jon “The Charn” Rice – drums

Guest musicians
Pål Emanuelsen – guitars solo on “Gamle-Erik”
Seidemann – additional vocals on “Gods of Black Blood”

Album Review – Vortex / The Future Remains In Oblivion (2023)

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This amazing Orchestral Death Metal act from Quebec will crush your senses with their new concept album, overflowing aggressiveness, intensity and emotion.

A recent finalist at the Wacken Metal Battle Canada 2023 Eastern Final, Rimouski, Quebec-based Melodic/Symphonic Death Metal/Metalcore act Vortex is back with their third full-length opus, a concept album titled The Future Remains In Oblivion, the follow-up to their 2016 debut album The Asylum and their 2018 sophomore effort Lighthouse, both also concept albums, building on their sound with added Black Metal influence, a heavy dose of aggressiveness and a buildup of intensity and emotion as the storyline progresses. Produced by Pierre Luc Demers and Dany Lévesque, engineered, mixed and mastered by Pierre Luc Demers at Studio Ondechoc, and displaying a futuristic artwork by Rudi Gorging Suicide, The Future Remains In Oblivion is an Orchestral Death Metal album with plenty of heavy riffing and melodies, technical vocals, and epic soloing, all masterfully brought into being by vocalist Alexandre Labrie, guitarists Dany Levesque and Mathieu Duguay, bassist Simon Desjardins, and drummer and pianist Justin L’Italien Dubé.

A cinematic and ethereal intro gradually evolves into the Melodic and Symphonic Death Metal feast From The Sun, with the piano by Justin bringing a touch of delicacy to the music in paradox to the deep guttural by Alexandre, whereas the piercing riffs by Dany and Mathieu together with the pounding drums by Justin will hit you hard in Downfall, offering more of their Death Metal sonority infused with Metalcore elements. Moreover, it will surely inspire you to bang your head nonstop while also presenting a grandiose, epic background, followed by The Fool, even more symphonic and imposing than its predecessors, where Simon’s metallic bass and Justin’s crushing beats will shake the foundations of the earth, not to mention how evil the roars by Alexandre sound and feel. Then the orchestrations by Mathieu will transport you to a whimsical world of Symphonic Death Metal in The Walls, before Alexandre comes ripping with his harsh screams accompanied by the always venomous drums by Justin.

Our Possible End is the perfect depiction of how they’re capable of uniting sheer violence with classy orchestrations in great fashion, with the guitars by Dany and Mathieu enhancing the song’s punch considerably; and their epic and somber journey goes on in First Blood, another massive creation by the band where all background elements make the song absurdly heavy and impactful, once again spearheaded by the enraged roars and gnarls by Alexandre. After that we have the title-track The Future Remains In Oblivion, a song that will blow your mind with its insane wall of sounds, background orchestrations, epic passages, striking riffs and solos, and visceral yet intricate drums, resulting in one of the most breathtaking moments of the entire album. And lastly, When No More Words Will Be Heard represents a melancholic, grim finale to the album, and you can sense the journey is coming to its inevitable and dark end thanks to the energy flowing form Alexandre’s vocals and all climatic orchestrations.

The talented and relentless guys from Vortex are waiting for you on Facebook and on Instagram with news, tour dates and more of their music, and don’t forget to also subscribe to their YouTube channel for more of their top-notch Orchestral Death Metal. In a nutshell, if you love extreme music with orchestral elements and a captivating storyline, then the incendiary The Future Remains In Oblivion, which is available for a full listen on YouTube and on Spotify, and on sale from the band’s own BandCamp page (or by clicking HERE), has everything you need to satisfy your craving and more, proving why they made it to the Wacken Metal Battle Canada 2023 Eastern Final, and why they’re becoming one of the most respected bands of the Quebec metal scene.

Best moments of the album: Downfall, The Walls and The Future Remains In Oblivion.

Worst moments of the album: None.

Released in 2023 Independent

Track listing
1. From The Sun 5:24
2. Downfall 4:11
3. The Fool 3:13
4. The Walls 4:32
5. Our Possible End 4:23
6. First Blood 4:29
7. The Future Remains In Oblivion 4:50
8. When No More Words Will Be Heard 5:22

Band members
Alexandre Labrie – vocals
Dany Levesque – guitars
Mathieu Duguay – guitars, orchestrations
Simon Desjardins – bass
Justin L’Italien Dubé – drums, piano