Tag Archives: black metal

Album Review – Skogen / Skuggorna Kallar (2018)

Posted on by
2

Weaving a tapestry of triumph and tragedy, loss and remembrance, this Swedish quartet translates the beauty and melancholy of their homeland into first-class Blackened Folk Metal.

Born in 2009 under a frozen Swedish moon in the city of Växjö, Blackened Folk Metal horde Skogen has their sonic pentagram of albums in homage to the stark, nebular beauty of their motherland. Formed by vocalist and bassist Joakim Svensson and guitarist and vocalist Mathias Nilsson, who played together in other bands and shared the same musical vision, Skogen (which means “forest” in Swedish) released their debut album Vittra, in 2009, followed by Svitjod, in 2011, Eld, in 2012, I Döden, in 2014, and finally Skuggorna Kallar (or “the shadows call” from Swedish), now in 2018, all blending the robustness of Black Metal with the melancholy of folk music in a captivating manner, weaving a tapestry of triumph and tragedy, loss and remembrance.

Possessed by the mysteries of nature and dedicated to paying homage to its majesty, both in light and darkness, Skogen will offer your avid ears a polarity of sounds felt in their music as subtly beautiful melodies and clean vocals are woven into the more pervasive darker tones that saturate Skuggorna Kallar, like the blanket of night, heavy with dew. Joakim and Mathias, accompanied by Jonathan Jansson on the guitar and L. Larsson on drums, as well as an array of fantastic guest musicians, deliver their most complete and darkest work to date in their new album, a must-have for fans of the cold and austere sounds of the North.

The opening track of the album Det Nordiska Mörkret, is also one of their two with a Swedish name, meaning “the Nordic darkness”, beginning in full force and as heavy and somber as it can be, where the anguished clean vocals by Joakim bring a touch of melancholy to the music while the background elements such as the whimsical bowed lyre by guest Vittervärja also enhance the song’s taste and impact considerably. Faster and leaning towards classic Folk Metal, När Solen Bleknar Bort (“when the sun fades away” from Swedish) presents more aggressive and cavernous vocals, with the music flowing smoothly thanks to the amazing riffage by the band’s guitar duo, not to mention L. Larsson’s precise beats; and their darkened sounds keep haunting our souls in Nebula, a gripping fusion of Folk, Black and Doom Metal, with the guitar lines by both Mathias and Jonathan sounding truly captivating, resulting in an enfolding sonority that will please all fans of such distinct underground metal genre.

An ominous, almost tribal bridge titled Omen sets the tone for the bitterly cold and neck-breaking Frostland, where L. Larsson and his rhythmic beats dictate the song’s pace while the band’s stringed trio fires some lancinating and thunderous riffs and punches in a vibrant display of Blackened Folk Metal. Then a somber atmosphere embraces one of their darkest compositions, The Suns Blood, with Joakim growling like a demonic entity while L. Larsson and his Doom Metal beats keep the music lugubrious and vile, also presenting guitar riffs and solos that bring more electricity to the overall result (as well as its folk, acoustic moments), whereas a giant wave of Black and Folk Metal arises in one of their boldest creations, the amazing Beneath the Trees, with all band members sounding crisp and aggressive, generating an epic ambience perfect for Joakim and his anguished gnarls, also feeling like two or three songs in one. Lastly, the bad offers us The Funeral, another 8-minute Folk Metal aria starting in a smooth, almost acoustic manner before exploding into beautiful extreme music, fading into a melancholic piano piece courtesy of guest musician Dísa, and then again getting back to the band’s puissant sonority until the song’s soulful ending.

In case you want to show your appreciation for Skogen, you can pay them a visit at their Facebook page for news, tour dates and other nice-to-know information, and of course buy your copy of Skuggorna Kallar (available for a full listen on YouTube) from their own BandCamp page, from the special page dedicated to Skogen at the Nordvis Produktion website, or from several other retailers like iTunes and Amazon. In a nutshell, Skogen more than succeeded in translating the beauty and melancholy of their beloved Sweden into their multi-layered folk music, carving their name as one of the most interesting and exciting groups from the underground Swedish metal scene.

Best moments of the album: När Solen Bleknar Bort, Nebula and Beneath the Trees.

Worst moments of the album: Frostland.

Released in 2018 Nordvis Produktion

Track listing   
1. Det Nordiska Mörkret 4:46
2. När Solen Bleknar Bort 4:54
3. Nebula 3:43
4. Omen 1:44
5. Frostland 4:24
6. The Suns Blood 4:33
7. Beneath the Trees 8:46
8. The Funeral 8:29

Band members
Joakim Svensson – vocals, bass
Mathias Nilsson – guitars, vocals
Jonathan Jansson – guitars, vocals
L. Larsson – drums, vocals

Guest musicians
Dísa – piano
Elis Edin Markskog – vocals
Vittervärja – bowed lyre

Album Review – Evil Nerfal / Bellum Est Pater Omnium (2018)

Posted on by
Reply

Summoning the forces of chaos through the primordial horror of sinister music under the cloak of Satanic and anti-Christian opposition, here comes a Colombian infernal horde armed with their brand new opus.

Forged in the deepest fires of Pasto, the capital of the department of Nariño in southwestern Colombia, in 2007 by vocalist and multi-instrumentalist Brannagh Bapheker, but currently located in Pereira, the capital city of the Colombian department of Risaralda located in the foothills of the Andes, the demonic Black Metal act known as Evil Nerfal is unleashing upon the earth their second full-length opus, titled Bellum Est Pater Omnium, which translates from Latin as “war is the father of all”, summoning the forces of chaos through the primordial horror of sinister music under the cloak of Satanic and anti-Christian opposition, inspired by the early days of Mayhem, Marduk, Sarcófago, Enthroned and Denial of God.

Bellum Est Pater Omnium is an album that mixes European Black Metal elements from the 90’s with influences from old school metal made in South America, also including elements of Death Metal and western classical music. The result of this symbiosis is a Black Metal characterized by extreme intensity and speed, overloaded with contrasts of times (medium and slow speeds), polysemic in its riffs, versatile in the configuration of melodies and, above all, polyphonic, full of nuances, harmonizations and superposition of musical figures. Furthermore, the philosophical substratum that sustains the repertoire of lyrics of songs is based on the ontological configuration of evil, a poetic that evokes the cosmic supremacy of Satan, imbricated in knowledge, the anti-christian force, the anti-culture par excellence, while the strength of an inner experience that advocates for freedom in the opposition, in the experience, because Black Metal is a “consistent existential praxis”. And if none of this makes any sense to you, simply hit play and let you soul be darkened by the scorching music by Evil Nerfal.

An orchestral intro titled Coriolan (Overture) lets the curtains fall majestically for the furious and austere Fuck Off Jesus Christ, with Brannagh Bapheker extracting sulfurous riffs from his guitar while at the same time gnarling like a demonic entity. Furthermore, Purson Dominus crushes his drums ruthlessly, spreading sheer blasphemy and hatred in this devilish hybrid of Black and Death Metal. After such demented start we have In Endless Torment, another infernal creation by this Colombian outfit that might sound slower than its predecessor, but it’s still as dark as the pits of hell, with Brannagh once again delivering ominous riffs and bass punches while the beats by Purson alternate between a Doom Metal-inspired pace and the utter aggression from classic Black Metal.

The temperature rises once again in a hellish display of old school Black Metal titled Foedus Versus Deus (Against The Great Drone Of History), with the vocals by Brannagh bringing nuances of the rage of classic Death Metal, resulting in one of the best songs of the album without a shadow of a doubt; whereas En Las Fauces Del Demonio (Taedium Daemoni) begins as a diabolical march of extreme music led by the thunderous beats and fills by Purson, exploding into cataclysmic Black Metal to the growls by Brannagh. Moreover, the beauty of this song is the fact it’s sung in their mother tongue Spanish, sounding even more pulverizing, wicked and eccentric. And their sonic onrush of otherworldly sounds and noises goes on in the belligerent Agon (Bellum Est Pater Omnium), with both Brannagh and Purson firing sheer Black Metal through their instruments, summoning all the evil present in our decaying society.

Satanic Madness Black Metal Unleashed is an instrumental extravaganza led by Brannagh and his classic guitar riffs while Purson keeps the pace at a dark and demolishing level, setting the tone for the hard-hitting Sathanas Kingdom Rises, a demonic, chaotic devastation bred by the duo that will please all fans of underground Extreme Metal where Brannagh screams and growls like a beast nonstop, and with the merciless pounding drums by Purson making the whole song even more impactful. Then we have Vestigial (Manifiesto De Misantropía), their second blast of unrelenting Black Metal sung in Spanish, also presenting hints of the most vicious form of Death Metal in its blasphemous waves with Purson showcasing a great performance with his intricate, raging beats and fills, before an epic and orchestral outro named Egmont (Finale) puts a climatic end to this precious gem of underground extreme music.

You can join Evil Nerfal in their blasphemous and sulfuric quest for Black Metal by visiting their Facebook page and by listening to their music on SoundCloud, and if you want to show your true support to devilish Black Metal from the underworld you can purchase the scorching Bellum Est Pater Omnium (which by the way is available for a full listen on YouTube) from the GrimmDistribution’s BandCamp page, on iTunes, on Amazon or at Discogs. May Evil Nerfal continue to pave their path of obscurity, blasphemy and hatred for many years to come, proving high-end underground Black Metal is stronger than ever even in places far away from its birthplace Scandinavia.

Best moments of the album: Fuck Off Jesus Christ, Foedus Versus Deus (Against The Great Drone Of History) and Sathanas Kingdom Rises.

Worst moments of the album: None.

Released in 2018 GrimmDistribution

Track listing
1. Coriolan (Overture) 2:25
2. Fuck Off Jesus Christ 4:20
3. In Endless Torment 4:44
4. Foedus Versus Deus (Against The Great Drone Of History) 4:31
5. En Las Fauces Del Demonio (Taedium Daemoni) 5:25
6. Agon (Bellum Est Pater Omnium) 4:16
7. Satanic Madness Black Metal Unleashed (Instrumental) 5:35
8. Sathanas Kingdom Rises 4:18
9. Vestigial (Manifiesto De Misantropía) 3:42
10. Egmont (Finale) 1:36

Band members
Brannagh Bapheker – vocals, guitars, bass
Purson Dominus – drums

Guest musicians
Óreidu – guitar (live/session)
Engram Zulphur – bass (live/session)

Album Review – Isgalder / To The Hall Of The Stars EP (2018)

Posted on by
Reply

Enjoy the story about the journey of a man, wandering old forgotten paths in search of nature and solitude, told by a newcomer German Epic and Pagan Black Metal hailing from the Thuringian Forest.

Founded in 2017 by vocalist and guitarist Grimwald (Dauþuz, Wintarnaht) and drummer, bassist and keyboardist Moppel to hail earth and iron, German horde Isgalder has just emerged from the Thuringian Forest with a splendid piece of Epic and Pagan Black Metal influenced by early Falkenbach and Bathory, titled To The Hall Of The Stars, their debut EP that tells a little story about the journey of a man (the journey to the hall of the stars), wandering old forgotten paths in search of nature and solitude. Comprised of three original songs taken from the band’s forthcoming album and alternate versions of those same songs, the EP will provide you a very good taste of what Isgalder, which by the way is Old-High-German/Germanic and means “cold incantation” or “icy chant”, are capable of. Furthermore, although Grimwald and Moppel played all instruments and vocal parts in the EP, Isgalder are now comprised of the aforementioned dynamic duo plus VRCHTR on rhythm guitar and Aussen Geist on bass, meaning we can definitely (and hopefully) expect to witness the extreme music by Isgalder be materialized in the form of one or more live concerts in the near future.

The keys by Moppel kick off the epic and imposing tune The Ravendale, bringing an interesting “duel” of clean vocals and harsh gnarls, also presenting piercing guitar lines and lyrics that exhale Folk and Pagan Metal (“On farthest shores, there rest my fate / Far from mankind, the morbid, the pale / Native is that soil; silent and primordial / Astute raven summon me, to the hidden vail / The Ravendale / Forgotten and forsaken / The Ravedale / In solitude awaken”), all topped off by a climatic finale. Elder Wisdom, a very detailed and melodic creation by the duo, already starts in full force, bringing elements from Atmospheric Black Metal to their core Pagan and Black Metal, with Grimwald growling and gnarling nonstop while Moppel delivers brutality through his beats and some sort of “peace” through his keys, all at once; and as atmospheric and dense as both previous songs, Soaring Mountains showcases an old school Black Metal base solidified by  the band’s blast beats and scorching riffs, but with a strong Pagan Metal vein present in Grimwald’s growls and Moppel’s keys. Moreover, you’ll certainly feel compelled to sing its lyrics along with Isgalder (“Great soaring Mountains / Grey stone mystic monument / Arise against the sky / Wilderness defend”).

As already mentioned, side B of To The Hall Of The Stars contains an alternative version of the EP, without keyboards, varied vocals and a different mix. For instance, The Ravendale sounds rawer and more piercing, closer to traditional Black Metal, while Elder Wisdom is even more devastating and epic and Soaring Mountains goes straight-to-the-point as well, displaying an enhanced Black Metal vibe and feeling slightly less Pagan Metal. You can compare the regular and alternate versions of each song by listening to the full EP on YouTube, and don’t forget to follow Isgalder on Facebook and on YouTube. In a nutshell, To The Hall Of The Stars (on sale at the band’s own BandCamp, at the Hellthrasher Productions’ BandCamp, at the Naturmacht Productions’ BandCamp and at the Narbentage Produktionen’s BandCamp, as well as at Discogs in CD or cassette version) is a fantastic “appetizer” to what we can expect from Isgalder when they release their first full-length opus, and as soon as that happens we will be able to happily and willingly succumb to their cold incantations.

Best moments of the album: Elder Wisdom (both regular and alternate versions).

Worst moments of the album: None.

Released in 2018 Hellthrasher Productions

Track listing
1. The Ravendale 7:06
2. Elder Wisdom 7:54
3. Soaring Mountains 5:33
4. The Ravendale (alternate version) 6:51
5. Elder Wisdom (alternate version) 7:44
6. Soaring Mountains (alternate version) 5:27

Band members
Grimwald – vocals, guitars
Moppel – bass, keyboards, drums

Album Review – Coiled Around Thy Spine / Shades (2018)

Posted on by
2

An astonishing combination of brutal violence, shredding guitar solos, blasting drums and soaring vocals inspired by classic and melodic Death Metal.

If you consider yourself a diehard fan of modern-day Melodic Death Metal you have to take a very good and detailed listen at Shades, the debut album by Italian metallers Coiled Around Thy Spine. Formed in 2017 in the city of Turin by Italian guitarist Sergio Costa, when he met American drummer David Archie Weiss online, Coiled Around Thy Spine not only have their core essence deeply rooted in Melodic Death Metal, but it’s the classic Death Metal influences spiced up by symphonic elements that make their music so entertaining, electrifying and vibrant, with all songs in Shades being highly recommended for slamming into the pit, banging your head nonstop or simply enjoy their intricate and flammable waves.

After Sergio and David started working on the music together, they decided to expand beyond the initial instrumental idea, recruiting Italian vocalist Daniele Rosso to complete the band’s lineup.  Unfortunately, David decided to quit the band for personal reasons before the release of Shades, but that doesn’t mean Coiled Around Thy Spine will call it quits and cease their quest for top-tier metal music. Quite the contrary, featuring a simple but very effective artwork by TheSmashedRabbit, Shades is an astonishing combination of brutal violence, shredding guitar solos, blasting drums and soaring vocals, inspired by classic and melodic Death Metal as well as contemporary metal masterpieces alike, proving this up-and-coming metal unity is here to stay, and after listening to the album you’ll certainly be eager for more of their music.

A movie-inspired intro named Candles builds the ambiance for the hard-hitting tune [God Mode: On], blending the most visceral and modern elements from Melodic Death Metal and Blackened Death Metal, sounding absolutely pulverizing form start to finish with Daniele blasting devilish gnarls and growls while Sergio Costa shreds his guitar in a demonic way. Put differently, this can be called an evil and bastard hybrid of Behemoth and Dimmu Borgir. Then we have Dissected, where David sounds beyond brutal on drums, elevating the impact of this hellish tune considerably, also presenting hints of the music by Arch Enemy on vocals and guitars and flowing demonically until the end; followed by How Freedom Dies, another crushing spawn by the power trio where the strident and sharp sound of guitars is simply outstanding, bringing a high dosage of malignancy to the music. Moreover, its background keyboards add a touch of delicacy to the ambience, bringing more balance to this well-crafted, full-bodied chant. And their Arch Enemy-like vein arises once again in the title-track Shades, a darker and more melodic metal extravaganza than its predecessors, with the only issue being that the music never reaches the same speed as the rest of the album (its level of heaviness and aggression is still quite gargantuan, though).

Their intricate and berserk feast of sounds and tones goes on in Subhumanized, led by the lancinating riffs and solos by Sergio while David keeps smashing his drums, sounding modern and vile from start to finish, whereas in The Sick Game, their most demonic song of all, guitars and keys complement each other flawlessly, supported by the pulverizing drumming by David. Furthermore, the song also displays interesting nuances of Progressive Death and Black Metal, resulting in a lesson in extreme music by the Italian trio where Daniele bursts his lungs screaming like a demon. The second to last spawn of dark sounds by Coiled Around Thy Spine, titled In Vain, showcases more of their high-octane, flammable music tailored for banging your head frantically, with all three members sounding demented with their instruments (in special David and his Stygian beats and fills), and  their final avalanche of extreme sounds, named Safe, is perhaps their most obscure one, leaning towards modern Black Metal in a true feast of rhythm, harmony, and darkness led by Daniele and his otherworldly growls, not to mention Sergio and his neck-breaking riffs, ending the album in a menacing and climatic manner.

You can listen to Shades in full on Spotify, and if you have what it takes to face the modern and absolutely threatening music by Coiled Around Thy Spine you should definitely visit their Facebook page for news, tour dates and everything else that’s related to the band, and purchase the album on iTunes or on Amazon. As aforementioned, Shades combines the brutality and heaviness of Death Metal with the finesse of modern-day Melodic Death Metal in a fantastic way, proving this now Italian duo (who will certainly find another sensational drummer to replace David soon) has all that’s needed to thrive in the world of heavy music. And we’ll all be eagerly waiting for more of their incendiary music in the near future, of course.

Best moments of the album: [God Mode: On], How Freedom Dies and The Sick Game.

Worst moments of the album: Shades.

Released in 2018 Independent

Track listing
1. Candles 1:54
2. [God Mode: On] 5:36
3. Dissected 6:17
4. How Freedom Dies 4:48
5. Shades 6:52
6. Subhumanized 5:54
7. The Sick Game 5:16
8. In Vain 5:59
9. Safe 7:50

Band members
Daniele Rosso – vocals
Sergio Costa – guitars, bass, synth
David Archie Weiss – drums, synth

Album Review – Altars of Grief / Iris (2018)

Posted on by
2

Highly influenced by the desolate landscapes and the solitude of long, prairie winters, here comes one of the biggest names in Canadian Blackened Doom with a superb new album narrating a tragic story of a deeply flawed man and his dying daughter.

Formed in November 2013 in Regina, the capital city of the Canadian province of Saskatchewan, Blackened Doom act Altars of Grief has worked over the years to develop a weighty concoction of Death Metal, Sludge Metal, Funeral Doom and Atmospheric Black Metal along with a strong focus on storytelling and the desire to convey authentic emotion, highly influenced by the desolate landscapes and the solitude of long, prairie winters that inspired the moniker of “Prairie Doom Metal”. After the release of their 2014 debut fill-length album This Shameful Burden, the band returns in full force with the bold and multi-layered Iris, narrating a tragic story of a deeply flawed man and his dying daughter, named Iris.

Featuring a stunning artwork by Travis Smith from Seempieces, brilliantly depicting Iris’ final moments as she kneels before the winter beset church and embraces her fate, and the mesmerizing cello by Raphael Weinroth-Browne (who by the way played cello for Canadian Folk/Melodic Black Metal band Thrawsunblat on their amazing 2016 opus Metachthonia), Iris is not just an album of heavy music, but an amalgamation of emotions that will transport your mind and soul to the desolation of the prairies. “The story of Iris is very much rooted in our prairie surroundings and deals with the struggles of addiction, sickness and religion. A father finds himself unable to connect with and care for his young daughter, Iris, who has fallen seriously ill. Spiraling deeper and deeper into his vices, and feeling rejected by Iris’ new found and unwavering faith, he gets into his car and decides to leave her behind. Somewhere along the icy road, he loses control of his vehicle and perishes. His purgatory is to watch helplessly as Iris slowly succumbs to her illness without him”, comments the band’s lead singer Damian Smith.

Melancholy and grief permeate the air in the opening track Isolation, a masterpiece of darkness led by the strident and somber guitars by Erik Labossiere and Evan Paulson, while Damian obscurely declaims the song’s lyrics through his anguished gnarls, proving why he’s a poet of the underworld. Hence, the music flows majestically until its grand finale, setting the tone for Desolation, where a Stygian atmosphere is suddenly joined by heavy-as-hell riffs and the crushing Black Metal beats by Zack Bellina, also presenting introspective and touching words (“I opened my eyes / To the night sky / The unending storm / Revealed itself before me / Weightless in my resolve / But, still a burden remains / With this final breath / Please, forgive me”). Moreover, it’s simply impressive how Altars of Grief can sound so distinct from one song to another, also bringing forth a perfect balance between harsh growls and deep clean vocals.

The title-track Iris brings forward more of the band’s enfolding musicality, blending the aggressiveness of Atmospheric Black Metal with the obscurity of Doom Metal, also presenting very subtle nuances of Melodic Black Metal. In addition, Erik and Evan once again fire a mix of rage and harmony through their flammable strings, enhancing the taste of this very complete and bold composition. Then we have Child of Light, where an epic and melancholic intro evolves into a full-bodied sound, and with Zack together with bassist Donny Pinay building a massive, atmospheric wall of sounds with their instruments, generating the perfect ambience for all vocal styles used by the band; followed by Broken Hymns, another captivating, neck-breaking tune where Raphael is truly outstanding with his cello, adding a marvelous touch of delicacy and melancholy to the overall musicality. In other words, this is a song tailored for closing your eyes and letting the band guide your mind and soul to their dark and mournful world.

And Altars of Grief personify the grievous, obscure voices of the bitterly cold winds of winter in the Atmospheric Black Metal extravaganza titled Voices of Winter, with Damian’s growls being delicately complemented by Raphael’s stunning cello sounds and the whimsical guitars by Erik and Evan, whereas in Becoming Intangible the sound of the cello and the acoustic guitars walk hand in hand in the smoothest way possible before morphing into contemporary extreme music, sounding very atmospheric, gripping and bold until its beyond piercing ending. Zack is once again a beast on drums, not to mention the latent poetry found in the song’s lyrics (“I can barely see the sun / I guess this path was truly flawed / Judgement comes with revelation / And, I’ve never felt so close to God”), flowing into one of the most beautiful outros in underground extreme music, titled Epilogue, performed by Raphael and his always astounding cello.

You can listen to Iris in its entirety on YouTube, follow Altars of Grief on Facebook, and purchase your copy of this masterpiece of the underworld from the band’s own BandCamp page, from the Hypnotic Dirge Records’ BandCamp or webstore in distinct bundles (Iris CD, Iris CD + Nachtterror / Altars of Grief – Of Ash and Dying Light vinyl split, Iris CD + shirt + patch, and Iris CD + Nachtterror / Altars of Grief vinyl split + shirt + patch), as well as from iTunes or from Amazon. If you were not familiar with “Prairie Doom Metal” before listening to Iris, now you have a very good reason to get to know more about such distinct sub-genre of extreme music. But if Altars of Grief are already a recurrent part of your playlist, the emotional story told in Iris will simply make you even more addicted to their desolate and imposing sounds.

Best moments of the album: Isolation, Iris and Broken Hymns.

Worst moments of the album: None.

Released in 2018 Hypnotic Dirge Records

Track listing
1. Isolation 9:19
2. Desolation 6:15
3. Iris 6:20
4. Child of Light 7:02
5. Broken Hymns 8:11
6. Voices of Winter 7:26
7. Becoming Intangible 9:17
8. Epilogue 2:05

Band members
Damian Smith – vocals
Erik Labossiere – guitars, vocals
Evan Paulson – guitars, vocals, programming
Donny Pinay – bass, vocals
Zack Bellina – drums, vocals on “Broken Hymns”

Guest musician
Raphael Weinroth-Browne – cello on “Isolation”, “Child of Light”, “Broken Hymns”, “Voices of Winter” and “Becoming Intangible”, all instruments on “Epilogue”

Album Review – Nervosa / Downfall Of Mankind (2018)

Posted on by
1

Slam into the pit to another killing hardcore thrashing bulldozer by Brazil’s meanest all-female Thrash Metal commando unit.

After two long years, here they finally are the unrelenting Brazilian all-female Thrash Metal commando unit Nervosa with a brand new and devastating album titled Downfall Of Mankind, delivering their usual raw aggression and untamed power throughout the album’s almost 50 minutes split into 14 compositions (including the limited edition bonus track) of killing hardcore thrash. In addition, the follow-up to their sensational 2016 release Agony marks their first with drummer Luana Dametto (who also plays drums for Brazilian Death Metal squad Apophizys), adding an extra touch of pugnacity to the band’s already heavier-than-hell and faster-than-a-bullet musicality and, therefore, providing lead singer and bassist Fernanda Lira and guitarist Prika Amaral all they need to keep haunting the souls of the lighthearted with their Thrash Metal tempest.

Downfall Of Mankind perfectly captures the live energy and the old school character that defines this São Paulo-based band without neglecting the strengths of a modern, compact soundscape, bringing the most pulverizing and sharp elements from all types of extreme music such as Thrash, Death and Black Metal, but of course always being deeply rooted in our beloved Bay Area Thrash sound. Featuring a demonic artwork by Brazilian artist Hugo Silva (Abracombie Ink), and with guest musicians João Gordo (Ratos de Porão), Rodrigo Oliveira (Korzus) and Michael Gilbert (Flotsam & Jetsam) providing their share of insanity and rage to Nervosa’s music, Downfall Of Mankind is definitely one of those albums that will inspire you to slam into the circle pit and bang your head like a maniac, two of the main goals in our good old Thrash Metal,  becoming a permanent part of your most metallic playlist.

An ominous intro takes us to the demonic realm ruled by Nervosa, who don’t waste a single second and start crushing our skulls with their ruthless Thrash Metal in Horrordome, with newcomer Luana simply demolishing her drums while Fernanda delivers her already classic she-demon gnarls. This berserk tune will surely generate some interesting mosh pits during their live concerts, which is also the case in Never Forget, Never Repeat, sounding even more devilish and pulverizing and showcasing the band’s heavy artillery at its finest. Prika seems to be mastering “the art of the riff”, delivering sheer brutality in a well-balanced fusion of Thrash and Death Metal, all complemented by the song’s utterly austere, old school lyrics (“Tyranny, bigotry / Crimes against humanity / Murder, persecution / Inprisonment subordination / Enough of genocides / Enough of bloodshed / Break this perpetration / Of history’s dark past”). Then toning down a bit their rage but still sounding brutal, the power trio blasts more of their thrashing music with their riffs and beats generating a menacing wall of sounds in Enslave, followed by Bleeding, presenting hints of the contemporary music by Cannibal Corpse (which is obviously a good thing) and with Fernanda taking her growls to a deeper, more hellish level, while Luana proves why she was the perfect choice as their new drummer.

After such level of destruction, get ready for an 80’s-inspired (or I should say old school Metallica-inspired) Thrash Metal attack by those three she-devils titled …And Justice For Whom?, where the unstoppable beats by Luana dictate the rhythm while Prika continues with her shredding onrush. Needless to say, I can’t wait to see them playing this one live. And Fernanda’s rumbling bass ignites a dark, mid-tempo tune beautifully titled Vultures, a good song to break your neck headbanging with Prika once again delivering cutting riffs from start to finish (despite the fact the song could have been a little shorter, though), whereas Kill The Silence brings a classic Nervosa sonority in terms of its pace, riffs and lyrics, led by the slashing guitar lines by Prika while Fernanda keeps growling and gnarling like a beast, therefore keeping the album at a truly high level of aggressiveness. Their sonic insanity goes on in No Mercy, a more rhythmic and groovy circle pit-generator with highlights to the solid job done by Luana on drums, and Raise Your Fist!, a rebellious anthem by Nervosa bringing forward an inspirational intro with historic speeches about freedom, gender equality and equal opportunities for all, such as the timeless one by Martin Luther King, Jr., sounding melodic, violent and electrifying, all at the same time. In other words, let’s all raise our fists up in the air to this insurgent hymn by Nervosa.

Downfall Of Mankind/Limited Edition Digipack CD Fan Package

And Nervosa still have energy left for more devastation, starting with the berserk Fear, Violence And Massacre, blending the most pulverizing elements from Thrash, Death and even Black Metal, with Prika firing an awesome, melodic guitar solo halfway through it, not to mention you’ll definitely feel the urge to scream the words “fear, violence and massacre” together with Fernanda; whereas although Conflict is a decent creation by the girls, it’s a bit too generic compared to the rest of the album. There’s a lot of good stuff in the song, though, such as the incendiary riffs by Prika and its frenzied pace. The last track from the regular version of Downfall Of Mankind is the superb Cultura do Estupro, with the iconic vocalist João Gordo (Ratos de Porão) sharing the vocal duties with Fernanda in the only song of the album entirely sung in Brazilian Portuguese. I really hope João joins Nervosa during some of their live concerts to sing this cataclysmic, acid tune, with Luana sounding simply demented behind her drums. Lastly, as a bonus track to the limited edition version of the album we have Selfish Battle, featuring Rodrigo Oliveira (Korzus) on drums and Michael Gilbert (Flotsam & Jetsam) providing a nice guitar solo in a slightly different version of Nervosa, feeling more like a heavier version of 80’s Hard Rock the likes of Warlock thanks mainly to the high-pitched vocals by Fernanda.

One can never get enough of Nervosa, and if you’re already addicted to their incendiary music go check what they’re up to on Facebook and purchase your copy of Downfall Of Mankind from their own BandCamp page or from several other locations such as the Napalm Records webstore, where you can get the deluxe fan package featuring the limited edition digipack, a cover flag, a patch, leather wriststraps and a tote bag. Also, don’t forget to watch the track by track breakdown of the album by the girls on YouTube (part 1 and part 2), and obviously to keep an eye on their official website and Facebook page for whenever they take your hometown by storm. Downfall Of Mankind once again proves that thrashing like there’s no tomorrow is Nervosa’s business, and they don’t need any guy to make sure that their business continues to be more than good.

Best moments of the album: Horrordome, Never Forget, Never Repeat, …And Justice For Whom? and Cultura do Estupro.

Worst moments of the album: Vultures and Conflict.

Released in 2018 Napalm Records

Track listing
1. Intro 1:12
2. Horrordome 3:17
3. Never Forget, Never Repeat 4:40
4. Enslave 3:15
5. Bleeding 3:47
6. …And Justice For Whom? 3:34
7. Vultures 4:09
8. Kill The Silence 3:29
9. No Mercy 3:40
10. Raise Your Fist! 4:04
11. Fear, Violence And Massacre 3:35
12. Conflict 2:59
13. Cultura do Estupro (feat. João Gordo) 3:10

Limited Edition/Digipak bonus track
14. Selfish Battle (feat. Michael Gilbert & Rodrigo Oliveira) 3:26

Band members
Fernanda Lira – lead vocals, bass
Prika Amaral – guitar, backing vocals
Luana Dametto – drums

Guest musicians
João Gordo – additional vocals on “Cultura do Estupro”
Michael Gilbert – guitar solo on “Selfish Battle”
Rodrigo Oliveira – drums on “Selfish Battle”

Album Review – Malefic By Design / Definitive Indication of Supremacy (2018)

Posted on by
Reply

Behold a band of underground veterans from Finland and their deadly debut full-length strike, a pulverizing opus that will summon you to a claustrophobic journey through blazing Armageddon.

Founded in 2015 in the city of Turku, Finland by underground metal veterans Mika Ikonen on vocals, Ville Pekkala, Sasu Haapanen and Miska Lehtivuori on the guitars and Antti Hakkala on drums (and if you haven’t noticed yet, there’s no bass player in their current lineup), who by the way have already released several previous efforts through multiple bands such as Searing Meadow, Ablaze In Hatred, Fall of the Leafe, Mormânt De Snagov and Devastracktor, Blackened Death Metal beast Malefic By Design has just released their deadly debut full-length strike, titled Definitive Indication of Supremacy, a pulverizing collection of catchy choruses and incendiary melodies that will certainly please all fans of modern extreme music.

Recorded in quiet solitude and far away from the public eye, Definitive Indication of Supremacy thoroughly blends the band’s Death Metal core essence with nuances from other styles such as Black and Doom Metal, summoning you to a sinister and claustrophobic journey through blazing Armageddon surrounded by a somber and devilish atmosphere.  The dark and primeval cover art is a good indication of what you’re going to face as soon as you hit play and start listening to the 12 Stygian tracks from Definitive Indication of Supremacy, showing Malefic By Design are among us to spread evil, hate and blasphemy. What else can you ask for in first-class Blackened Death Metal, right?

 The atmospheric and eerie intro Descending Sirens Of Evil opens the gates of the underworld to the demolishing Sickness Of Christ, a heavy and obscure Blackened Death Metal hymn with Mika delivering disturbing, deep growls while Antti dictates the rhythm with his precise beats. Then it’s time for almost seven minutes of pulverizing sounds and tones in Impending Doom, bringing together the most demonic elements of Black and Death Metal, with the band’s guitarists blasting a “melodic hell” with their strings; and the band goes full Black Metal in the visceral and brutal Enslaved By Birth, where Mika sounds more demented than before while Ville, Sasu and Miska bring forth another feast of satanic riffs and solos, resulting in one of the most complete (and therefore best) moments of the album.

Leaning towards traditional Scandinavian Melodic Death Metal, the band fires harmonious and visceral lines in the mid-tempo composition titled Repress The Oblivious, being beyond perfect for headbanging like a true disciple of darkness, whereas in Frozen Phantoms an ominous acoustic intro morphs into another explosion of blackened music by Malefic By Design, with the whole band being in some sort of demonic sync led by the boisterous drums by Antti, with Mika’s growls getting deeper and deeper as the music progresses. And Salvation For Everyone showcases hints of Symphonic Black Metal before reaching a frantic and heavy pace spearheaded by the once again furious drums by Antti, all embraced by a sinister background full of uncanny keyboard notes and sheer heaviness.

Medieval Beliefs is an old school Black and Death Metal creation tailored for succumbing to the dark side and snapping your neck headbanging, with the band’s stringed trio firing more of their diabolical riffs, creating an instant connection with the also very melodic Counterstrike Despise, also closer to more modern Melodic Death Metal while maintaining a vile aura in the background. Furthermore, Mika and his sick gnarls make a good balance with the delicate but fierce riffs by Ville, Sasu and Miska, which is also the case in Regenerated Reflections, an eerie fusion of contemporary Death Metal with traditional waltz (if that makes sense to you), also presenting elements from Doom and Dark Metal, and that amalgamation of styles results in a bold and thrilling chant with highlights to its beyond eccentric and obscure vocal lines. Then an enfolding atmosphere builds the stage for the heavy, mid-tempo Black Metal tune At The Gates, which despite being a good song it’s below the rest of the album in terms of electricity, falling flat after a while, fading into the acoustic outro Satanic Harmony, an interesting way to “depressurize” from all the madness blasted during the entire album.

In summary, Definitive Indication of Supremacy, which is available for a full listen on Spotify and for purchase through several channels such as the More Hate Productions’ BandCamp, Keltainen Jäänsärkijä, Record Shop X, iTunes, Amazon and Discogs, not only brings top-tier Blackened Death Metal to your avid ears from start to finish, but it also positions Malefic By Design as one of the strongest new names in contemporary Scandinavian extreme music. Now it’s just a matter of seeing how impactful their debut album will be on Finnish territory as well as worldwide, and when we’ll be able to savor more of the band’s pugnacious malignancy in the form of a new album.

Best moments of the album: Enslaved By Birth, Salvation For Everyone and Regenerated Reflections.

Worst moments of the album: At The Gates.

Released in 2018 More Hate Productions

Track listing
1. Descending Sirens Of Evil (Instrumental) 1:58
2. Sickness Of Christ 3:46
3. Impending Doom 6:39
4. Enslaved By Birth 3:11
5. Repress The Oblivious 4:17
6. Frozen Phantoms 3:58
7. Salvation For Everyone 4:23
8. Medieval Beliefs 4:00
9. Counterstrike Despise 4:23
10. Regenerated Reflections 6:11
11. At The Gates 6:41
12. Satanic Harmony (Instrumental) 1:44

Band members
Mika Ikonen – vocals
Ville Pekkala – guitars
Sasu Haapanen – guitars, vocals
Miska Lehtivuori – guitars, vocals
Antti Hakkala – drums

Album Review – Deadly Carnage / Through the Void, Above The Suns (2018)

Posted on by
Reply

Embark on a journey through the cosmos with the brand new album by these talented Italian doom metallers, always evolving and exploring new territories without posing musical limits or barriers.

Born as a Black Metal band in the year of 2005 in Rimini, a city on the Adriatic coast in Italy’s Emilia-Romagna region, but slowly shifting away from the Black Metal scene in favor of Doom Metal, Post-Rock and Post-Metal influences, Deadly Carnage continue to pave a path of absolute experimentation with their brand new album titled Through the Void, Above The Suns, evolving and exploring new territories without posing musical limits or barriers. Comprised of lead singer and guitarist Alexios Ciancio, guitarist Davide “Dave” Bacci, bassist Fabio “Adres” Arcangeli and drummer Marco Ceccarelli, the band offers in Through the Void, Above the Suns a phenomenal journey, an unmatched vision of the cosmos with all its tangible and intangible components, such as stars, dark matter and black holes, forces that regulate it up through light and time.

While having explored existentialism in the past, with this new chapter Deadly Carnage move towards a universal vision, halfway between science, philosophy, occultism and spirituality. Musically speaking, the album brings to our ears an amalgamation of different styles and emotions, all embraced by a wide vision and dark moods, putting together the heaviest and most Stygian elements found in traditional Black Metal with the more modern, expanding and sometimes even esoteric tones and nuances from Doom Metal and Post-Rock. As a matter of fact, you’ll find your mind wandering through the realms of the atmospheric and sinister music crafted by Deadly Carnage while at the same time feel the urge to bang your head and scream in anger so subtle is the line between the band’s past and present sound, proving how gripping and timeless their music can be.

The album kicks off with an atmospheric intro titled Quantum, warming us up for to the obscure Matter, where the doomed beats by Marco dictate its funereal rhythm and set the perfect stage for the desperate vocals by Alexios, with the music flowing in a somber way until its climatic finale. Then we have Hyle, with the band’s stringed trio Alexios, Dave and specially Adres with his menacing bass helping enhance the song’s impact considerably by blending the obscurity of Doom Metal with hints of more modern styles such as Groove and Progressive Metal, while Alexios darkly declaims the song’s lyrics (“Here they are / the pillars of every seen and unseen things / the fiery and burning water of existence / that no one can corrupt”), gradually morphing into a pensive and dark bridge called Cosmi, before the band brings forth the melancholic tune Lumis, a lancinating composition with highlights to the somber vocals by Alexios surrounded by a mesmerizing atmospheric background, also displaying a beautiful and potent ending.

As desperate and melancholic as its predecessors, Ifene blends the most obscure elements from Doom, Progressive and Black Metal, with both Alexios and Dave slashing our ears with their guitar lines; followed by another atmospheric creation by Deadly Carnage titled Fractals, where you should simply close your eyes and let the ethereal waves crafted by the band guide your soul to the flammable Divide, showcasing traditional Black Metal blast beats intertwined with the delicacy and introspection of Post-Metal, resulting in a stunning multi-layered composition for admirers of the genre with sheer poetry flowing from Alexios’ vocals (“I’m not allowed no more / can’t see what I left behind / and the choice makes me blind / I’m not allowed no more / I cannot shine, no more / I’m in the divide tonight”) and a smooth piano ending setting the stage for the closing act in the album, the even more progressive and whimsical Entropia, where Alexios and Dave add tons of electricity to the song’s dark ambience with their riffs, while Marco smashes his drums in a beautiful way. Furthermore,  the music remains vibrant, melancholic and atmospheric until its very last second for our total delight.

In summary, Through the Void, Above The Suns, which is available for a full listen on YouTube and on sales through the band’s own BandCamp page, through the ATMF’s BandCamp page and webstore, and on Amazon, represents a huge step forward in the career of Deadly Carnage, pointing to a bright future for those four skillful Italian metallers. What part of the cosmos they’ll reach no one knows for sure, but we can all expect to have our ears and minds filled with more of their imposing and always-evolving music in the coming years without a shadow of a doubt.

Best moments of the album: Hyle, Lumis and Divide.

Worst moments of the album: None.

Released in 2018 A Sad Sadness Song

Track listing
1. Quantum 1:42
2. Matter 5:09
3. Hyle 4:13
4. Cosmi 2:37
5. Lumis 5:36
6. Ifene 7:54
7. Fractals 3:14
8. Divide 7:16
9. Entropia 7:41

Band members
Alexios Ciancio – vocals, guitars
Davide “Dave” Bacci – guitars
Fabio “Adres” Arcangeli – bass
Marco Ceccarelli – drums

Guest musicians
Mike Crinella – synths, piano solo on “Divide”
Alice Masini – cello on “Hyle”

Album Review – Sahon / Chanting For The Fallen (2018)

Posted on by
Reply

Waging a war against stereotypes since the late 90’s, here comes a fast and furious power trio with their band new and electrifying opus, showcasing all their pride for their Korean heritage.

Although you might have never heard of South Korean Thrash Metal squad Sahon, those Asian metallers have been waging a war against stereotypes since the late 90’s, forging a sound that distills the best elements of Extreme Metal into a form of Thrash Metal that holds its own when pitted against the rest. Now in 2018 it’s time for vocalist and bassist Yong Ho Lee, guitarist Chang Myeong Lee and drummer Kyoung Hong Kim to unleash their latest opus, entitled Chanting For The Fallen, a lesson in Thrash Metal that showcases all the band’s pride for their Korean heritage and, as a consequence, makes them stand out in an overcrowded genre.

Formed in 1999 in the Korean capital Seoul, Sahon have always played austere and frantic Thrash Metal heavily influenced by both Death and Black Metal, singing about everyday topics such as politics, death, hate, Satanism and sex, being highly recommended for fans of renowned acts like Exodus, Destruction and Kreator. After the releases of a few full-length albums and one EP, Sahon are sharper than ever with their new installment Chanting For The Fallen, with the album’s stunning and peculiar artwork depicting their strong connection with their culture and country’s heritage, adding an extra touch of awesomeness to an album that has no weaknesses and shows no mercy for our spinal cords.

The pounding drums by Kyoung Hong Kim and the rumbling bass by Yong Ho Lee ignite the Slayer-inspired thrashing feast Faith of Savagery, bringing forward a demolishing sonority led by the demented vocals by Yong Ho Lee during the song’s four minutes of brutality highly recommended for simply getting smashed into the circle pit. And Chang Myeong Lee keeps firing old school Thrash Metal riffs through his flammable guitar in the insanely awesome At The Edge Of Cliff, while Yong Ho Lee vociferates like a maniac nonstop, living up to the legacy of Bay Area Thrash; followed by Survive, presenting a band that doesn’t know how to slow down or sound less violent than their music idols. Furthermore, not only this fun composition carries a name that’s beyond perfect to be the soundtrack to a brutal mosh pit, but Kyoung Hong Kim sounds truly infernal on drums from start to finish, keeping the song’s pace at a demented level. Less intense in terms of speed but extremely heavy and aggressive, Condemnation presents Yong Ho Lee not only barking like a beast, but his bass lines are also as thunderous as hell, with the music exploding into classic Thrash Metal in its final (and pulverizing) segment.

And there’s no time to breathe with another sonic havoc crafted by the Korean power trio of Thrash Metal, titled Charge Till The End, a song that shows all their passion for the boisterous music by iconic bands like Slayer and Exodus, spiced up by some classic guitar solos by Chang Myeong Lee. Then with its intro and initial riff inspired by Motörhead’s all-time classic “Overkill”, which ends up giving the song a more visceral and electrifying vibe, Born To Lose Live To Win brings forward amazing performances by all three band members, in special Kyoung Hong Kim with his ass-kicking beats, in what can be considered the ultimate fusion of old school Thrash Metal and badass Rock N’ Roll. In Joy Of Hatred the band delivers more Thrash Metal from the 80’s to your metallic years with a modern twist, with Chang Myeong Lee once again cutting our skin like a butcher with his razor-edged strings. In other words, it can’t get any thrashier than this. And lastly, their coup de grâce comes in the form of a one-and-a-half minute infernal hurricane of Thrash Metal with strong Black Metal influences and nuances titled You Shall Pay, where Yong Ho Lee has his most disturbing and demonic vocal performance of the whole album.

All the madness and devastation in the form of Thrash Metal blasted by Sahon can be better appreciated by following them on Facebook, and of course by purchasing Chanting For The Fallen from their own BandCamp page or from the Transcending Obscurity Records’ webstore. After listening to this sensational album of old school, unrelenting Thrash Metal, not only you’ll get addicted to the music by Sahon, but I bet you’ll start saving some money to travel to South Korea just to have the pleasure of witnessing at least one live performance of the trio, smashing everything and everyone that crosses their path with absolutely no mercy.

Best moments of the album: At The Edge Of Cliff, Survive and Born To Lose Live To Win.

Worst moments of the album: None.

Released in 2018 Transcending Obscurity Asia

Track listing
1. Faith of Savagery 4:27
2. At The Edge Of Cliff 3:15
3. Survive 3:52
4. Condemnation 3:56
5. Charge Till The End 3:44
6. Born To Lose Live To Win 4:16
7. Joy Of Hatred 4:57
8. You Shall Pay 1:38

Band members
Yong Ho Lee – vocals, bass
Chang Myeong Lee – guitar
Kyoung Hong Kim – drums

Album Review – Dark Archive / Cultivate Our Blood In Aeon EP (2018)

Posted on by
1

Sharing the same admiration and respect for the beauty of darkness and Satan, this infernal Finnish duo will pulverize your senses with 17 minutes of ruthless and vibrant Black Metal.

Formed in the summer of 2016 in Finland by vocalist and lyricist Niko “Perdition” Aromaa and composer and multi-instrumentalist Joakim “Lord Mordor” Lindholm, with a vision to form a Black Metal band that would create something fresh and something which would stand out from the scene, the demonic entity known as Dark Archive is ready to spread darkness upon the earth with their brand new EP titled Cultivate Our Blood In Aeon. Considering themselves as a satanic band, with both Niko and Joakim sharing the same admiration and respect for the beauty of darkness and Satan, Dark Archive will pulverize your senses with each of the five tracks in Cultivate Our Blood In Aeon, making you feel all that darkness growing inside you during the album’s 17 minutes of ruthless extreme music.

Sinister sounds are suddenly joined by a sulphurous onrush of Black Metal in the opening track, Cultivate Our Blood In Aeon, with Joakim blasting demonic beats and riffs nonstop while Niko growls the song’s blasphemous and poetic lyrics in a rabid way (“Hunger holds their brethren, as they hold this world dominion, even voices of our fathers can’t describe this burden / Beneath their holy sculptures, they see us as aberrations to their perfect heaven frame, we are the caricature”). Put differently, if you want violence, Dark Archive will give you violence, which can also be said about Closure Of Empyrean Delirium, where the duo brings modern and deranged Black Metal for your avid ears. In this flammable tune, Niko keeps screaming like a savage beast while Joakim continues to pave his path of devastation, with the overall result sounding like a less symphonic version of the early days of Dimmu Borgir.

Their fusion of contemporary Blackened Death Metal and old school Black Metal gives form to another hellish composition titled Godfear Eradication, where Joakim kicks some serious ass with his scorching riffs while austere words are aggressively vociferated by Niko (“While they burden their grief / While puppets dance behind the curtains / Waiting to unleash / Still they flood air with words from bible / Toxic as gas”); followed by the pulverizing Unohda Ei Ikinä, or “never forget” from Finnish, with its demonic guitar riffs crawling deep inside your skin, sounding as belligerent, demented and enraged as it can be, but still bringing tons of harmony and feeling in an amazing exhibit of modern-day Extreme Metal. And the duo has time for one final blast of absolute darkness and hatred entitled Essence Of Death, with both Niko and Joakim sounding extremely vile and sharp with their harsh growls, fierce riffs and thunderous drums.

Cultivate Our Blood In Aeon, which by the way is available for a full listen on Spotify, certainly points to a dark future (in a good way, of course) for Dark Archive, and if you want to show your support for such up-and-coming name of the underground extreme music scene go check their Facebook page for news and tour dates, their YouTube channel and SoundCloud page for more of their disturbing music, and obviously grab your copy of the EP from their own BandCamp page or from iTunes. If this demonic Finnish duo was capable of creating such high level of devastation and obscurity in just a little over 17 minutes, can you imagine what they’ll be able to accomplish when they release their first full-length opus?

Best moments of the album: Cultivate Our Blood In Aeon and Unohda Ei Ikinä.

Worst moments of the album: None.

Released in 2018 Inverse Records

Track listing
1. Cultivate Our Blood In Aeon 4:03
2. Closure Of Empyrean Delirium 2:22
3. Godfear Eradication 4:31
4. Unohda Ei Ikinä 3:36
5. Essence Of Death 2:40

Band members
Niko “Perdition” Aromaa – vocals
Joakim “Lord Mordor” Lindholm – all instruments