Tag Archives: black metal

Album Review – Viles Vitae / IV EP (2017)

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The four basic elemental principles from ritual magic converted into four powerful and tempestuous compositions by a new horde of experienced Portuguese black metallers.

Rating5

frontcover_vilesvitaeThere’s a new entity arising from the underworld of Portuguese Black Metal that goes by the name of Viles Vitae, or “worthless life” from Latin, who are unleashing upon humanity their debut EP simply titled IV, offering fans of extreme music the four basic elemental principles still used in ritual magic converted into four powerful and tempestuous compositions. Four elements, four songs, or as stated by the band, “a crescendo of feelings and cyclical repetitions to elevate thy souls of the dead straight to the heart of the listener.”

Although the band was brought into being only in 2015 in the capital city of Lisbon, Portugal, Viles Vitae are no beginners at all. Featuring experienced and known members of the underground Portuguese scene, this sinful power trio delivers in IV exactly what they wanted to expose, which is the primary spirit of Black Metal crafted from the heart. After facing the somber album art designed by Fábio Infante, you’ll already feel death and darkness growing inside you, but it’s when the music starts that you’ll finally understand how Stygian and complex the creations by Viles Vitae are.

The first track of the EP, The Vortex of Disharmony, begins is an atmospheric way, with background noises taking us to a desolate world before the guitar sounds by Belial Necro slowly impregnate the air together with the bestial drumming by Deimos. Moreover, this macabre and devilish fusion of Blackened Doom and Black Metal is definitely not recommended for the lighthearted, with Vulturius gnarling in the most hellish form possible. Leaning towards a more traditional Black Metal sounding, Sunless Redeemer brings forward demonic and steady blast beats that end up developing the desired ambience for the demon-like vociferations by Vulturius, turning the overall result into a dark hymn of extreme music that brings absolutely no hope to our hearts.

viles-vitae-25Highly influenced by obscure Doom Metal, Source Life Extinction presents a funereal vibe and a menacing musicality, with Belial Necro making sure his riffs sound as vile as possible. This sensational composition by Viles Vitae is not only very impactful and heavier than hell, but also the perfect example of what this demonic horde can offer us all in their future releases. The fourth and last song of the EP, named Theory of Deconstruction, is their most complex and multilayered creation, where Vulturius continues to blast his harsh growls while Deimos gets more blackened than ever on drums. Furthermore, transpiring blasphemy and hatred, the song’s howling wolves and background choir will hypnotize you for the last four minutes of this aria of darkness and despair.

The four basic elemental principles from ritual magic explored by Viles Vitae are available for purchase at the Caverna Abismal Records’ BandCamp page, and soon through their webshop as well. And in case you’re fond of the most obscure side of extreme music just like what is crafted by this amazing horde from Portugal, go check their Facebook page for more details and news about their current work, tour dates and future plans. After the spawn of the ominous IV, I wonder what type of malignancy the talented Vulturius, Belial Necro and Deimos are preparing as the next step in their career and, while we wait for it, the potent music from IV can keep us more than entertained without a shadow of a doubt.

Best moments of the album: Source Life Extinction.

Worst moments of the album: None.

Released in 2017 Caverna Abismal Records

Track listing
1. The Vortex of Disharmony 5:30
2. Sunless Redeemer 5:50
3. Source Life Extinction 6:15
4. Theory of Deconstruction 12:28

Band members
Vulturius – vocals
Belial Necro – guitars
Deimos – drums

Album Review – HerezA / I Become Death (2017)

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This Croatian bulldozer is ready to take the underworld of heavy music by storm with their savage sophomore opus, a vortex of devastation blending the most hazardous attributes of Punk and Death Metal that will crush your skull ruthlessly.

Rating4

hereza_coverForged in the deepest fires of Beli Manastir in July 2014, a town in eastern Croatia close to the border with Hungary, Punk/Death Metal infernal duo HerezA, which by the way is Croatian for “heresy”, has been battling against all odds in a country otherwise barren for their music style, violently carving their name in the entrails of their homeland through their wicked creations. After the release of their debut album Misanthrope in 2015, lead singer Ivan Kovačević and multi-instrumentalist Slobodan Stupar are ready to take the underworld of heavy music by storm with their savage sophomore opus, a vortex of devastation accurately named I Become Death.

Displaying a darkly intimidating artwork by Polish illustrator and graphic designer Maciej Kamuda, I Become Death will utterly shatter your neck and dismantle your braincase in its 30 minutes of vicious extreme music, bringing forward the most hazardous attributes of Death, Thrash and Black Metal, magnifying their impact with the addition of elements from D-Beat Crust, Hardcore and Punk Rock. Everything is played at the speed of light with all instruments breathing fire and hatred, featuring obviously the well-known high-quality melody and cohesiveness of European Metal. Put differently, HerezA sounds like an unstoppable sonic Leopard 2A7, one of Germany’s most successful and powerful battle tanks in history, aiming directly at your head.

The most brutal Blackened Death Metal is blasted by Slobodan in the title-track I Become Death, a monstrous business card presented by the Croatian duo where Ivan gives life to the destroyer of worlds with his infernal growls through the song’s bestial lyrics (“I come in form of devastating waves / Penetrating radiation filling up the graves / Where I go, I bring the hellish fire / A burning inferno my only desire”). And there’s no time for your head to stop buzzing, as another fantastic sick devastation in the form of music named Jebem Vas U Usta Ladna (or “fucking your cold mouth” from Croatian) comes crushing mercilessly, with Slobodan exhaling anger and aggressiveness through his Death Metal beats and flammable riffs while Ivan keeps growling like a maniac; followed by Homo Homini Lupus Est (“man is a wolf” from Latin), not only an amazing portrait of their fusion of Punk and Death Metal with a strong D-Beat Crust vibe, but also an underground hymn for slamming into the mosh pit.

Get ready to be pulverized like an insignificant insect by this demented duo in the frantic Uništi, Pali, Ruši (Croatian for “destroy, burn, tear it down”), the best tune of the album in my opinion where cutting guitar lines and wicked Black and Death Metal beats make the music sound as if Cannibal Corpse went The Exploited. And again drinking from the fountain of D-Beat Crust and mixing it with elements from Black Metal, Ivan continues to fire his beastly growls in In The Name of God, a song spiced up by its anti-religious lyrics (“They’ve build their biggest temples / To worship their false saints / Covered with diamonds dressed in gold / A hunger for money never getting old”), whereas in the brutish Full Moon Slaughter the duo viciously puts the pedal to the metal, with Slobodan delivering tons of melody through his riffs, but obviously always sounding insanely heavy, leaning towards old school Scandinavian Melodic Death Metal.

hereza_bandNeplodna Jama, or “barren dich”, is perhaps the song with the highest amount of old school Punk Rock and contemporary Punk Metal elements, with the guttural vocals by Ivan being the song’s Death Metal ingredient, feeling like this time it’s The Exploited going Cannibal Corpse. Torn from the Death’s Bed, the slowest composition of all, presents solid guitar lines and beats by Slobodan in sync with the gnarls by Ivan (albeit not as kick-ass as the rest of the album), while in Pošast (“vermin”) the band gets back to their electrified amalgamation of Punk Rock and Death Metal, inspiring you to ferociously smash some skulls into the pit. And Tombcrawler, the high-octane deathblow in I Become Death, begins in a somber way before bursting into sheer brutality, keeping the rampage going on in full force until the song’s sinister neck-breaking ending.

In case you’re thinking “HerezA are awesome, but how am I going to see them live if they’re only two guys?”, let me tell you there’s nothing to worry about, as the duo is joined on stage by their henchmen Bojan Babic on guitar, Milan Prodanovic on bass and Leonardo Markovic on drums, which means their apocalyptic music is materialized quite often at metal pubs and venues in Croatia for the total delight of headbangers all over Europe eager for a sonic bloodbath. And even if you’re not planning a trip to Croatia anytime soon, you can still follow Ivan and Slobodan at their official Facebook page, and purchase I Become Death at the Godz ov War Productions’ BandCamp page. After listening to the extreme compositions by this Croatian bulldozer, your metallic senses will never be the same again.

Best moments of the album: Jebem Vas U Usta Ladna, Uništi, Pali, Ruši and Full Moon Slaughter.

Worst moments of the album: Torn from the Death’s Bed.

Released in 2017 Godz ov War Productions

Track listing
1. I Become Death 4:15
2. Jebem Vas U Usta Ladna 2:30
3. Homo Homini Lupus Est 3:05
4. Uništi, Pali, Ruši 2:20
5. In The Name of God 1:25
6. Full Moon Slaughter 3:35
7. Neplodna Jama 1:55
8. Torn from the Death’s Bed 2:16
9. Pošast 3:33
10. Tombcrawler 4:14

Band members
Ivan Kovačević – vocals
Slobodan Stupar – all instruments, backing vocals

Guest musician
Denis Sloboda – guitar solo on “In the Name of God” and “Pošast”

Album Review – Horn / Turm am Hang (2017)

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One of the most respected underground musicians from Germany returns with more of his nature-themed, medieval style Black Metal bound to pagan roots and tribalism in another remarkable album.

Rating4

coverSince its creation in 2002 by German multi-instrumentalist Niklas “Nerrath”, Teutonic one-man army Horn has aimed at creating nature-themed, medieval style Black Metal bound to pagan roots, focusing on the relation of man and nature in a regional context. And this excellent project, hailing from Paderborn, a city in eastern North Rhine-Westphalia, Germany, has been extremely successful in its journey, delivering high-end extreme music always with a meaningful concept behind it and always singing in its mother tongue German. Now, in the beginning of 2017, we have Horn’s seventh studio album, the folk, dynamic opus Turm Am Hang.

Inspired by the classic German folk song “Es ist ein Schnitter”, from the 17th century, as well as lansquenets (a gambling game of German origin), wars of the past, tribalism and the spirit of masculinity, Turm Am Hang will stimulate your most primeval senses with its distinctive ambience and powerful music. Furthermore, the artwork, layout and visual concept, all brought forth by German illustrator Timon Kokott, perfectly visualize the album’s combined musical and lyrical themes, complementing the already thrilling experience of listening to the music crafted by Nerrath.

After a pleasant folk intro in the opening track, titled Alles in einem Schnitt (which would translate as “everything in one cut”), Nerrath offers us his thrilling Black Metal with Folk and Pagan Metal elements, all sung in German as aforementioned to make things even more aggressive, not to mention the uniqueness of his tribal and stylish guitar lines. The title-track Turm am Hang (“tower on slope”) also begins in a serene way, again exploding into what can be called Blackened Folk Metal, with Nerrath blasting his enraged growls, potent beats and blazing, rhythmic riffs; followed by Verhallend in Landstrichen (“ranging in landscapes”), with the folk elements in the background adding a lot of epicness to the musicality together with its menacing drums. Furthermore, simply close your eyes and you will be able to feel all the energy flowing from the folkloristic sounds generated by Nerrath in this brilliant composition.

primarA song with an impactful name like Die mit dem Bogen auf dem Kreuz (“the one with the bow on the cross”) couldn’t sound less amazing than this, with its somber intro being gradually joined by guitars until all becomes an Extreme Metal extravaganza, perfect for drinking a few pints of beer together with your friends. Ä(h)renschnitter (“spices”) kicks off at full speed, with Nerrath going berserk with his fast-paced beats and riffs while powerfully vociferating the song’s lyrics at the same time. Moreover, hints of old school German Punk Rock are a very welcome addition to the overall musicality, enhancing the song’s effectiveness. And in Totenräumer (“Mortimer”), a fantastic fast-paced creation by Nerrath, our one-man army is startling on vocals, giving life to the song’s epic lyrics. Leaning towards sheer Pagan Metal, it never slows down, keeping the listener fully entertained from start to finish.

The eerie instrumental Lanz und Spieß (“lance and spear”) works as an intro for Bastion, im Seegang tauber Fels (“bastion, in the sea of deaf rock”), a voyage through the realms of experimental and atmospheric extreme music, bringing forward elements of Black and Pagan Metal with an obscure rhythm. Ad lastly, as a “bonus” Nerrath offers the listener his excellent version for The Sky Has Not Always Been This Way, a melancholic and introspective journey of ambient music by American Ambient Black Metal band When Bitter Spring Sleeps, from their 2013 album Coven of the Wolves. Not only this is the only song in English in the album, but it also features guest vocals by American Lord Sardonyx, the mastermind behind When Bitter Spring Sleeps himself.

In order to enjoy everything Nerrath and his amazing project Horn have to offer, simply follow his steps on Facebook, and go to Horn’s BandCamp page or Big Cartel to grab your copy of Turm am Hang. As mentioned before, the experience of listening to an album by Horn is beyond unique, connecting you to the pagan and tribal origins of man and embraced all the time by superior metal music. As this is always the main goal of ambient and experimental extreme music, I must say Turm am Hang triumphs brilliantly hands down.

Best moments of the album: Alles in einem Schnitt, Verhallend in Landstrichen and Totenräumer.

Worst moments of the album: Bastion, im Seegang tauber Fels.

Released in 2017 Iron Bonehead/Northern Silence Productions

Track listing
1. Alles in einem Schnitt 5:42
2. Turm am Hang 5:09
3. Verhallend in Landstrichen 5:10
4. Die mit dem Bogen auf dem Kreuz 5:00
5. Ä(h)renschnitter 5:35
6. Totenräumer 5:34
7. Lanz und Spieß 2:09
8. Bastion, im Seegang tauber Fels 4:44
9. The Sky Has Not Always Been This Way (When Bitter Spring Sleeps cover) 8:12

Band members
Nerrath – vocals, all instruments

Guest musician
Lord Sardonyx – additional vocals on “The Sky Has Not Always Been This Way”

The Year In Review – Top 10 Hard Rock/Heavy Metal Albums of 2016

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“I don’t know where I’m going from here, but I promise it won’t be boring.” – David Bowie

The unexpected death of the most badass musician in history, Motörhead’s heart and soul Lemmy Kilmister, on December 28, 2015 was a harbinger of all the bad, shocking and revolting things that would turn the year of 2016 a true nightmare for mankind. That dark prophecy was confirmed less than two weeks later, more specifically on January 10 when we lost another true star in rock music to cancer, the unparalleled chameleon David Bowie, just two days after the release of his final masterpiece Blackstar. If that was not enough to make 2016 a miserable year, we also had to endure the passing of other icons who, despite not being metal, have always inspired countless bands and artists in heavy music. We lost Prince, Leonard Cohen and Keith Emerson (Emerson, Lake & Palmer), to name a few, all irreplaceable losses to music in general. In addition, important names in the history of Heavy Metal also left us in 2016, such as Nick Menza (Megadeth) and Jimmy Bain (Rainbow, Dio), not to mention the disbandment of amazing groups like Eths (who are by the way part of our top 10 this year), Crucified Barbara and Bolt Thrower. And I’m not even going to talk about all other types of disasters and tragedies that happened all over the world, as the list is too macabre and grievous to be remembered in full.

Fortunately, 2016 was considerably generous for us headbangers in terms of the quantity and quality of albums released throughout the entire year, especially for diehard fans of old school Thrash Metal. Except for Slayer and Exodus, all other prominent names in Thrash Metal blasted the world with their high-speed, thrilling music, led by another superb album by Testament. Even Metallica released a decent album this year, just to give you an idea of how fruitful 2016 was for this rebellious type of music. Having said that, it’s time for The Headbanging Moose’s Top 10 Hard Rock/Heavy Metal Albums of 2016, excluding EP’s, best of’s and live albums. And even if 2017 is as hideous as 2016, let’s never forget the wise words by Bill S. Preston, Esquire and Ted “Theodore” Logan. Be excellent to each other, and party on, dudes!

testament_brotherhood-of-the-snake1. Testament – Brotherhood Of The Snake (REVIEW)
Join the Brotherhood of Thrash Metal spearheaded by one of the heaviest, most technical and most electrifying bands on the entire planet.
Best song of the album: The Number Game

cover2. Charred Walls Of The Damned – Creatures Watching Over the Dead (REVIEW)
A magnificent lecture in Heavy Metal by four electrified beasts.
Best song of the album: As I Catch My Breath

Cover3. Eths – Ankaa (REVIEW)
One of the most prominent and innovative French bands of all time returns with a true masterpiece of complexity, darkness and heaviness.
Best song of the album: Nefas

cover4. Primal Fear – Rulebreaker (REVIEW)
Who said rules must be broken for a metallic eagle to spread its wings and soar high in the skies of heavy music?
Best song of the album: Rulebreaker

megadeth_dystopia5. Megadeth – Dystopia (REVIEW)
And the dystopian world portrayed in the brand new album by the iconic Dave Mustaine and his Thrash Metal army is beyond awesome.
Best song of the album: Lying In State

abbathsoloface_6386. Abbath – Abbath (REVIEW)
The one and only Abbath takes a new step in his career with a brand new band an album.
Best song of the album: Fenrir Hunts

death angel_the evil divide7. Death Angel – The Evil Divide (REVIEW)
Fast and furious anthems, dark mid-tempo songs, austere lyrics and endless stamina. This is how Thrash Metal should always be done.
Best song of the album: Hell To Pay

anthrax_for all kings8. Anthrax – For All Kings (REVIEW)
A classy and electrifying Thrash Metal album especially crafted for all of us, the real kings of heavy music.
Best song of the album: Breathing Lightning

front9. Axel Rudi Pell – Game of Sins (REVIEW)
You might be a sinner, but don’t be a fool and go relish another magnificent album by Mr. Axel Rudi Pell and his loyal henchmen.
Best song of the album: Falling Star

nervosa-agony-201610. Nervosa – Agony (REVIEW)
Brazil’s meanest power trio returns with another marvelous blast of their kick-ass high-octane Thrash Metal.
Best song of the album: Theory of Conspiracy

And here we have the runner-ups, completing the top 20 for the year:

11. Blaze Bayley – Infinite Entanglement (REVIEW)
12. The Silent Rage – The Deadliest Scourge (REVIEW)
13. Neverworld – Dremasnatcher (REVIEW)
14. Ancesttral – Web Of Lies (REVIEW)
15. Front – Iron Overkill (REVIEW)
16. Dö – Tuho (REVIEW)
17. Be Under Arms – Doomed To Life (REVIEW)
18. SystemHouse33 – Regression (REVIEW)
19. Gojira – Magma (REVIEW)
20. False Coda – Secrets and Sins (REVIEW)

As in Heavy Metal the artwork is just as important as the music itself, like what always happens with bands such as Iron Maiden, Megadeth, Metallica, KISS and tons of other metallic titans, we decided to list the Top 10 Cover Artworks of 2016. There are several reasons for an album art to be considered outstanding, such as its strong connection with the music like Iron Maiden’s Powerslave, its visual impact (usually associated with its controversial content) like Slayer’s God Hates Us All, or its perfect minimalism and finesse like Pink Floyd’s Dark Side Of The Moon. Do you agree with our list?

1. Anthrax – For All Kings [by Alex Ross]
2. Primeval Mass – To Empyrean Thrones [by Karmazid]
3. Witches Of Doom – Deadlights [by Carlo Muselli]
4. Ragehammer – The Hammer Doctrine [by Robert A. von Ritter]
5. Howls Of Ebb – Cursus Impasse: The Pendlomic Vows [by Agostino Arrivabene]
6. Testament – Brotherhood Of The Snake [by Eliran Kantor]
7. Henriette B – Tales of Reality (EP) [by Pierre-Alain D.]
8. Skáphe – Skáphe² [by H.V. Lyngdal]
9. Diabolizer – Apokalypse (MCD) [by Robert A. von Ritter]
10. Hostis – Hostis [by Zvonimir Grabić & Milena Nićić]

Rest assured in 2017 we at The Headbanging Moose will keep providing you the best of the underworld of Death, Thrash, Black, Symphonic, Epic, Power Metal and all other genres and subgenres of heavy music, as well as our view of the biggest names worldwide. There are already brand new albums confirmed for 2017 by Kreator, Sepultura, Grave Digger, Battle Beast and more, which means at least musically the new year promises to be really good. Thank you very much for your precious time, and keep on rockin’! Au revoir!

Metal Xmas and a Headbanging New Year! See you in 2017!

Well, before we go, here’s a special gift from Iron Maiden to all metalheads all over the world… A nice festive yule log fireplace to keep our hearts warm during the entire season!

Album Review – +MROME+ / Noetic Collision on the Roof of Hell (2016)

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If you’re eagerly looking for truly independent music in the world of Heavy Metal, this idiosyncratic Polish project will satisfy your craving with their fresh and unorthodox experimentations.

Rating5

mrome_ncotrohThe last review of the year is the epitome of independent metal, something we at The Headbanging Moose truly love to support, being absolutely raw, anti-mainstream, not interested in promoting band members and not interested in touring at all. Founded in the now far, far away year of 1995 by a group of teenage friends in the city of Andrychów, located in Southern Poland,  Death/Black Metal project +MROME+ was reborn in 2009 after almost a decade of silence, finally releasing as a duo now in 2016 the idiosyncratic album Noetic Collision on the Roof of Hell.

+MROME+ produce their music in their own primitive studio in complete isolation from the local scene, with their only principle being that every new recording is a new start for the band, a new stage, keeping things as different and interesting as possible, and they do that by not labeling their music nor sticking to a predetermined formula. If you take a listen at their collection of demos from 1997 to 1999 baptized as The Basement Sophisma, you’ll see how versatile +MROME+ are, ranging from devilish extreme music to unique cover version for non-metal classics such as Faith No More’s “The Gentle Art of Making Enemies”, and in Noetic Collision on the Roof of Hell the band continues with their heavy experimentations, always pushing their creative boundaries further and further.

When the opening track Colors begins, you’ll be facing a crossover of Death, Sludge and Progressive Metal, with its bass lines rumbling in your face, while Key V transpires aggressiveness through his harsh vocals and P provides the right amount of heaviness and intricacy behind his drums. Then +MROME+ turn up the heat and blast a dark and vile Death Metal composition titled Crush the Moon, sounding amazingly underground and powerful. It has an old school punch thanks to its catchy chorus and melodious, angry guitars, being in my opinion one of the best songs of the whole album. And in Migration Cult we have a great fusion of Death Metal and Rock N’ Roll, with its flammable Thrash Metal riffs complementing Key V’s deranged representation of the song’s wicked lyrics (“Marching far south from Eden / There is still something what push us on / Missing primal fixations / Will we abandon the code / The Holy Fuck”).

How the Gods Kill is an awesome tribute to one of the most eccentric musicians of all time, the one and only Danzig, keeping up with the obscurity of the original version with the low-tuned and menacing sound of bass guitar paving the path for an explosion of evil Heavy Metal. Following that superb cover song, Trust brings forward more of the band’s uproarious Death Metal with Key V and P delivering straightforward heavy music to our ears in a compelling way, whereas Generation Anthem is heavy and distorted music from the pits of Hell. Furthermore, the duo seems to love those menacing mid-tempo songs, firing blazing riffs and fierce beats nonstop. But just when you think the band is going to stick to some sort of formula they fire Piss & Laugh, showcasing a somber rhythm inspired by Dark Metal with the Blackened Doom guitars and the deep gnarls by Key V enhancing its damned atmosphere. At this point of the album, you’ll realize that calling +MROME+ just as Death or Black Metal is an understatement of their musical range and capabilities.

mromeOnce again bursting poetry and madness through the lyrics (“Monstrous iron worms / Feeding on fire / And flash / Choke the ground / March against the dawn / East from nest of crow / Days of hunger / Lions hunt”), Locust Follows Word presents a berserk intro followed by more thunderous bass lines and a grumpy attitude, with all additional elements in the background helping in strengthening the musicality considerably. The second to last blast of underground metal by this interesting project, titled Magister Figurae Morte, will kick you in the face with its pounding drums and energetic riffs in this solid display of ruthless metal from darkness, before The Arsonist closes the album majestically, with Key V impersonating the arsonist himself by setting fire to the musicality with his growls and riffs. In addition, P accelerates his beats to a traditional Black Metal style, generating a high-end feast of hellish music with a climatic ending.

+MROME+ do not have a Facebook page, a Twitter account or any other type of social media. As previously mentioned, it’s all about their music and the concept behind it, which means all things +MROME+ are summarized to their BandCamp page in the form of heavy music, with Noetic Collision on the Roof of Hell being their newest sonic experiment, but not their ultimate one at all. Fans of truly underground metal will hear more about +MROME+ in a not-so-distant future for sure, as they’re already recording Roi-de-Rats, their next full-length opus. Well, I’m already eager to see what Key V, P and the band’s original bassist (who has just rejoined the project after all these years) will offer from their arsenal of extreme and primeval music.

Best moments of the album: Crush the Moon, How the Gods Kill and The Arsonist.

Worst moments of the album: Generation Anthem.

Released in 2016 Independent

Track listing
1. Colors 4:03
2. Crush the Moon 4:33
3. Migration Cult 3:31
4. How the Gods Kill (Danzig cover) 5:46
5. Trust 4:09
6. Generation Anthem 3:45
7. Piss & Laugh 4:24
8. Locust Follows Word 3:48
9. Magister Figurae Morte 4:32
10. The Arsonist 6:18

Band members
Key V – vocals, guitars
P – drums

Album Review – Goatchrist / Discipline and Terror (The Timeless Praxes of the Drakon Covenant) EP (2016)

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Offering an exciting amalgamation of styles and elements, one of the most gripping Blackened Death Metal projects from the UK is back with the next step in its prosperous career.

Rating5

goatchrist-discipline-and-terror-the-timeless-praxes-of-the-drakon-covenant-coverIt’s becoming a delightful routine at The Headbanging Moose to publish a detailed review of the idiosyncratic and whimsical creations by British Blackened Death Metal project Goatchrist at least once a year. With that said, as 2016 draws to its dramatic close, there’s nothing better than carrying on with this special tradition with another top-tier EP by this West Yorkshire-based act led by the young and restless Dominator Xul’Ahabra, this time vampirically entitled Discipline and Terror (The Timeless Praxes of the Drakon Covenant).

Featuring American musician Invoker (Defecrator, Gloriam Draconis) on vocal duties instead of Dominator himself, Discipline and Terror (The Timeless Praxes of the Drakon Covenant) is a robust continuation to the prosperous career of the talented Dominator, being different in many aspects from his previous releases, the 2014 full-length She Who Holds the Scrying Mirror and the 2015 EP The Epic Tragedy Of The Cult Of Enlil, by offering the listener new vibrant elements of extreme music spiced up with nuances of other non-metal genres. And despite all advancements and variations in the music found in the EP, it still has that Goatchrist trademark sounding that makes this project stand out in the independent scene.

Bursting violence and anger, Enter Morain presents elements from Black, Death and Thrash Metal united in an aggressive way, with Invoker firing some Hardcore rasp vocals while Dominator delivers his usual darkened riffs and beats, never slowing down and always sounding electrified. The sensational The Burning of Jerusalem follows a pattern closer to Goatchrist’s previous releases, with its guitar riffs and solos, as well as its rhythmic blast beats, bringing a lot progressiveness and epicness to the musicality, making Invoker’s work on vocals easier and more dynamic when growling the song’s insurgent lyrics (“Now burn, Jerusalem. / For your reign has been broken, / By the sword of Western might / Know that we, your enemy, / Gift this blaze to thee, / So ye may bathe beneath its radiant light.”). Moreover, the compelling experimentations of Dominator with all his eccentric sounds and instruments are always a breath of fresh air to his compositions, sounding as if there were three or four songs in one like what we can witness in this excellent tune.

goatchrist-discipline-and-terror-the-timeless-praxes-of-the-drakon-covenant-newlogoThen out of nowhere, Dominator simply surprises us with a gentle atmospheric (and almost symphonic) ballad named A Meditation in Dead Stillness, very introspective and melancholic from start to finish, not to mention its beautiful name, working as a cinematic intermission to all madness flowing from the following song, the elaborate The Shadow of Malintent. Invoker darkly declaims the song’s elegiac lyrics (“The darkness is coming / And I too there dwell: / Older than day or night, / With fury that none may quell. / Sever your causal ties. / And lift your head to meet / with my gaze; then in a daze / See your ego’s defeat.”) while the music brings forward a Blues-ish vibe with elements from classic Western scores, Doom Metal and Blackened Doom, never getting full Black Metal but still feeling as Stygian as the other songs. In addition, the precise sync between Dominator’s guitar solos and bass lines with Invoker’s growls help the duo tell the story proposed magnificently.

Dominator Xul’Ahabra and his Goatchrist, an amazing project that has been on an upward spiral in the Extreme Metal independent scene in the UK since its inception, can be contacted through their official Facebook page, and their brand new opus Discipline and Terror (The Timeless Praxes of the Drakon Covenant) is available at their BandCamp page, where you can also take a very good listen at and even buy all Goatchrist’s previous albums. In summary, Discipline and Terror (The Timeless Praxes of the Drakon Covenant) is another solid step in Dominator’s career, offering fans of extreme music an exciting amalgamation of styles and elements and, consequently, fortifying the name of Goatchrist and helping the project achieve new heights and spread darkness all over the world.

Best moments of the album: The Burning of Jerusalem.

Worst moments of the album: None.

Released in 2016 Independent

Track listing
1. Enter Morain 4:27
2. The Burning of Jerusalem 7:31
3. A Meditation in Dead Stillness 2:08
4. The Shadow of Malintent 8:43

Band members
Invoker – vocals
Dominator Xul’Ahabra – all instruments

Album Review – Gaerea / Gaerea EP (2016)

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This five-piece faceless and nameless horde from Italy will blast your ears and minds with the darkened, dissonant and furious extreme music flowing from their debut self-titled album.

Rating5

front_coverPlaying darkened, dissonant and furious Black Metal without displaying any hints of mercy for mankind in the demonic 27 minutes of their self-titled debut EP Gaerea, Italian Black Metal quintet Gaerea will please fans of controversial groups such as Mgła, Secrets Of The Moon, Celeste and Behemoth, among others, bringing an infinite amount of obscurity and consternation to our ears and souls. Hailing from the cities of Rome and Lazio, this five-piece faceless and nameless act is one of the biggest promises in the Italian underground scene, and after listening to this professional and multi-layered album I’m sure the beautiful name of this phantasmagoric horde will stick inside your mind forever.

“Let’s make one thing clear. We need to stress the fact that our era is lost in a huge void of numbness. We are here to bring and present you what your system could not solve by itself. We’ll cover the daylight with ashes and smash the massive skull that’s blocking your brain and will to evolve. We’re Gaerea.” Those interesting words spilled by the band itself are precise in describing their musicality, a dense mix of different extreme styles such as Blackened Death Metal and Funeral Doom, which obviously leads to tenebrous lyrics and a total lack of happiness or hope in each one of the five tracks of the album.

An ominous intro with eerie background noises grows until guitars and deep guttural vocals join the musicality in Santificato, a demonic display of Black and Doom Metal that sounds disturbing from start to finish, setting the tone for the next tune, titled Final Call. Boisterous bass and guitar sounds open the gates to the underworld in this darkened chant blending Atmospheric Black Metal with elements from Funeral Doom and traditional Doom Metal, with its lyrics dealing with our personal struggles and all issues our society faces in this rotting world (“Why we all fight if the end is the same? / Six feet under is deep enough to make us equal like an unborn child / Black or white we want to be someone / We are all made of choices so why do we choose the wrong one? / War is not the answer to stop this carnage / So stand up and face it”).

img_0429Crisp guitar lines ignite the blackened tune Pray To Your False God, where drums come crushing like a steamroller. Moreover, desperate growls and an obscure vibe are the main ingredients in the most menacing of all songs, with its second half getting more sluggish with Black and Doom Metal flawlessly merging into one forbidding organism; followed by the sinister Through Time, a song fans of Behemoth and Triptykon will enjoy for sure due to its flammable Black Metal guitar riffs, anguished screams and a rhythmic and fierce drumming. And singing about death (“You scream for silence / You yell for pain / You just want to be quiet / On this pleasant dream / It burns you must feel / Your flesh going to ashes”), Void Of Numbness is Blackened Death Metal at its finest with a great performance by all band members, closing the EP in a more-than-fantastic and somber way. Furthermore, its drums sound amazingly powerful and heavy, making a precise duo with the satanic gnarls blasted by the band’s phantom vocalist.

Gaerea can be found (but not unmasked) at their official Facebook page, with their devilish EP being available for purchase at their BandCamp page and at the Everlasting Spew Records’ BandCamp page or webstore, but if you want to put your perverse hands on an awesome bundle containing the album and an exclusive, stylish T-shirt, simply visit the Everlasting Spew Records’ webstore for that very special offer. In short, Gaenea might be faceless and nameless, but they’re undoubtedly a solid evil identity that will reach the darkest depths of your mind with their unrelenting music.

Best moments of the album: Pray To Your False God and Void Of Numbness.

Worst moments of the album: None.

Released in 2016 Everlasting Spew Records

Track listing
1. Santificato 3:32
2. Final Call 6:25
3. Pray To Your False God 5:50
4. Through Time 6:31
5. Void Of Numbness 5:09

Band members
*Information not available*

Album Review – Atonismen / Wise Wise Man EP (2016)

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Enjoy a feast of dark, symphonic and dense metal music, crafted by a talented Russian multi-instrumentalist and his loyal and dynamic duo of guitarists.

Rating4

coverOriented in Dark Metal on one side and chamber music on another, Russian metallers Atonismen will surprise you with the density, professionalism and comprehensiveness of their music. Formed earlier this year by Russian singer and multi-instrumentalist Alexander Orso in the charming and historical city of Saint Petersburg, Atonismen fire a precise amalgamation of the darkest elements from Doom and Gothic Metal with choir-like sounds and an epic atmosphere surrounding everything in their debut EP, titled Wise Wise Man, offering the listener a unique experience in heavy music and a journey through the realms of Symphonic Metal.

The high level of professionalism in Wise Wise Man can be noticed not only through the amazing skills of Alexander and his crew, but also on the overall production of the album, very crisp and full of layers thanks to the top-notch job done by Russian musician Sergey “Lazar” Atrashkevich (Arkona), who produced, recorded, mixed and mastered the EP at CDM Records. And the band is already reaping the rewards of such dedication to their music, supporting renowned bands such as The 69 Eyes, Sonic Syndicate and Graveworm in Moscow, and joining the tour of well-known Russian folk band Izmoroz in their homeland. After taking a good listen at the eight distinct tracks of Wise Wise Man, you’ll see they more than deserve that recent but amazing success.

In the excellent Almagest, an atmospheric intro explodes intro bold Symphonic Metal with hints of Black and Pagan Metal added to  increase its epicness, with keyboards and drums leading this electric tune while Mr. Orso blasts his strong and powerful voice perfect for this type of music. Their Dark Metal vein gets stronger in the mesmerizing composition Sorry, where guitarists Alexander Senyushin and Child Catherine beautifully add the word “metal” to it through their potent and aggressive riffs. Furthermore, Mr. Orso is a wrecking machine on drums, delivering exactly what heavy and atmospheric metal music needs to be great. My Tale brings forward a beautiful dose of melancholy to the album, with Mr. Orso also thriving with his passionate clean vocals while a dark ambience embraces the listener in this lovable power ballad, not to mention the potency provided by the astounding guest choir Silver Voice.

atonismenThe title-track Wise Wise Man is a full-bodied Dark Metal song the likes of Moonspell with vicious guitar lines by the stunning Child Catherine and the competent Alexander Senyushin, again with keyboard notes bringing more mystery to the musicality; whereas Wiegenlied, the German word for “lullaby”, is a somber ballad full of traditional folk elements and an eerie rhythm that enfolds the listener before a sonic havoc named In Timeless Clamor comes crushing mercilessly. The metallic bass lines by Mr. Orso and the flammable riffs by the band’s guitar duo are amazingly heavy, sounding almost like sheer Black Metal at times, with vocals reminding me of the iconic Fernando Ribeiro thanks to their passion and violence. And I’m not sure if the last two songs can be considered bonus tracks or not, but we’re treated to two alternative versions for the title-track “Wise Wise Man”. The dark mix is very electronic and could easily be part of the soundtrack of a movie or played at a Halloween party, while the industrial mix is an upbeat and thrilling blend of heavy and electronic music, another perfect choice for providing a horror flick an extra touch of wickedness.

Enjoying and supporting the symphonic and extreme creations of Atonismen is quite easy, as all you have to do is visit their Facebook, VKontakte, YouTube channel and SoundCloud, as well as buy your copy of Wise Wise Man at their official BandCamp page. This feast of dense and symphonic Extreme Metal, beautifully engendered by Mr. Orso and his loyal guitar duo, was made to be relished and admired by all fans of the dark side of music, cementing a very promising start in their career in Heavy Metal.

Best moments of the album: Sorry and Wise Wise Man.

Worst moments of the album: Wiegenlied.

Released in 2016 Independent

Track listing
1. Almagest 7:31
2. Sorry 7:21
3. My Tale 8:51
4. Wise Wise Man 5:29
5. Wiegenlied 3:50
6. In Timeless Clamor 5:13
7. Wise Wise Man (dark mix) 5:51
8. Wise Wise Man (industrial mix) 5:30

Band members
Alexander Orso – all instruments, vocals
Alexander Senyushin – guitars
Child Catherine – guitars

Album Review – N.K.V.D. / Totalitarian Industrial Oppression (2016)

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Join the metallic army of Industrial Black Metal brought forth by an interesting project from France inspired by dictatorship, totalitarianism and oppression.

Rating4

nkvd_tioNarodnyi Komissariat Vnutrennikh Del (Russian for “People’s Commissariat for Internal Affairs”), or simply N.K.V.D., was the public and secret police organization of the Soviet Union that directly executed the rule of power of the Soviets, including political repression, during the era of Joseph Stalin, being active from 1943 to 1946. Almost 60 years after its dissolution, here we have the new generation of N.K.V.D., this time an Industrial Black Metal project formed by French multi-instrumentalist Loïc.F in Montpellier, a city in southern France, blasting their disturbing and uproarious dark music inspired by dictatorship, totalitarianism and oppression, among other obscure topics from a not-so-distant past.

N.K.V.D.’s brutal, cold Black Metal has been haunting the souls of the living since 2005 with a series of outstanding releases, those being their debut EP Diktatura in 2007, their first full-length album Vlast in 2011, and finally the album Hakmarrja in 2014. By the way, an extract of the song “Hakmarrja” appears in the recently released movie The Blair Witch Project, just for you to get a sense of how obscure their music is. After a decade of existence, as both Diktatura and Vlast have been sold out for years, Loïc.F together with Krucyator Productions and Clan of Exclusion decided to release a compilation entitled Totalitarian Industrial Oppression, uniting the two records in one with a remastered version of Vlast. Featuring a tyrannical artwork by H & Secret Shelter, this special compilation offers the most solid and disquieting Industrial Black Metal you can think of, taking you to the darkest years of political repression in the history of mankind.

The menacing and phantasmagoric intro Ch.R.I kicks off the first part of the album, the EP Diktatura, opening the gates for a pulverizing Industrial Metal hymn with a true Black Metal aura titled Kadyrovski Klan, which makes Ministry and Nine Inch Nails sound like the Teletubbies so heavy it is. Moreover, Loïc.F was capable of creating such a diverse and dense sounding by himself he truly deserves to be called a one-man army, not to mention the song’s sensational marching ending. Then we have another dissonant and disturbing composition, Die Blinde Wissenschaft (or “the blind science” from German), even more furious than its predecessor and a delight for the lovers of the genre, where all spaces are filled with metallic and aggressive sounds; followed by Incipit SSSR, a song that will pierce your mind so belligerent it is, the perfect soundtrack for a warlike horror movie with the vocals by guest musician Eric Syre sounding truly demonic and full of hatred. And closing the EP we have the perturbing soundtrack-inspired track Sloboda, which somber ambience in the beginning gives place to pure epicness in the form of Industrial Metal that “marches” powerfully until the song’s end.

promo-pictureLet me warn you that the second part, the remastered album Vlast, is not going to be any lighter than Diktatura, starting with the thunderous and explosive noises that smoothly morph into mean Atmospheric Black Metal in Geheime Staats Polizei (German for “Secret State Police”), where although drums are programmed, they add an impeccable level of violence to the overall result. The second version of Incipit SSSR, featuring guest musician H.S on vocals, is as epic and obscure as the original version, with its demonic warlike aura embracing the listener while Loïc.F does a great job by adding the necessary samples to the music, making the whole song more realistic; whereas Ibn Al Khattab presents a flammable feast of blast beats, menacing voices and another killer performance by H.S, with Loïc.F creating an eruption of dark sounds in the background, turning it into one of the best tracks of the album. And in Alkhan-Kala, we face a wicked narration in the beginning followed by more sheer darkness in the form of Extreme Metal, sounding like an industrial army marching to war.

Get ready for war in the last batch of industrialism and dictatorship from Totalitarian Industrial Oppression. In Geniul Din Carpati (or “Genius of the Carpathians” from Romanian), Loïc.F definitely knows how to start a song in a very impactful way, with the strident and resonant sound of drums penetrating your mind despite the entire song not being  as gripping as the rest of the album. As industrialist as possible, Krasnaya Paranoia shows no sign of happiness or peace, with its imposing background being the perfect stage for guest vocalist Tyrant Moloch to provide his gnarls to another brutal creation by N.K.V.D., while in Socijalisticka Federativna Republika Jugoslavija we have an army chant to kick off things in a proper, ominous way. If you pay good attention to the entire album, you’ll notice this is an alternative (or more complete) version of “Sloboda”, exhibiting similar samples, rhythm and tempo changes, but with a stronger vibe and density. The last track of the album, Grozny, is simply disturbing, showcasing heavy guitar sounds and fierce drums in a solid fusion of Black and Industrial Metal, something Loïc.F has mastered doing. It’s basically an instrumental tune that would have been much more effective if slightly shorter, but still quite enjoyable.

If you want to join the metallic army of N.K.V.D. forged in their autocratic realm of Industrial Black Metal, simply visit their Facebook page for more information on this unique project. And obviously don’t forget to support the independent scene by purchasing your copy of Totalitarian Industrial Oppression by visiting their BandCamp page, the Krucyator Productions’ BandCamp page or webstore, or also at Discogs.

Best moments of the album: Kadyrovski Klan, Geheime Staats Polizei and Ibn Al Khattab.

Worst moments of the album: Geniul Din Carpati and Grozny.

Released in 2016 Krucyator Productions

Track listing
Part 1 (Diktatura EP)
1. Ch.R.I 1:14
2. Kadyrovski Klan 4:48
3. Die Blinde Wissenschaft 4:16
4. Incipit SSSR 4:42
5. Sloboda 6:39

Part 2 (Vlast)
6. Geheime Staats Polizei 5:37
7. Incipit SSSR 4:32
8. Ibn Al Khattab 3:02
9. Alkhan-Kala 4:12
10. Geniul Din Carpati 4:17
11. Krasnaya Paranoia 4:25
12. Socijalisticka Federativna Republika Jugoslavija 5:47
13. Grozny 5:11

Band members
Loïc.F – guitars, bass, programming, samples

Guest musicians
Eric Syre – vocals on “Incipit SSSR” (Diktatura version)
Masterssatan – vocals on “Die Blinde Wissenschaft”
H.S  – vocals on all Vlast album, except on “Krasnaya Paranoia”
Tyrant Moloch – vocals on “Krasnaya Paranoia”

Album Review –NordWitch / Mørk Profeti (2016)

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Behold the rise of a brand new Blackened Death Metal horde hailing from Ukraine, taking the entire world by storm with their high-voltage fusion of epicness and blasphemy.

Rating4

nordwitch-coverWatching the rise of Ukrainian Metal is a thing of beauty. Despite not having any major names yet in the world of heavy music, Ukraine has been growing in importance for all types of metalheads, with names such as Apostate, Sad Alice Said, Majesty Of Revival, Morkesagn and Gasoline Guns, among many others, blasting their powerful music to the four corners of the earth. Having said that, we might be witnessing the birth of a Ukrainian act that has all it takes to take the entire world by storm with their high-voltage fusion of epicness and blasphemy. That band is Blackened Death Metal horde NordWitch, who have just released their extremely heavy debut album entitled Mørk Profeti (or “dark prophecy” from Norwegian).

Formed in February 2015 in the capital city of Kiev, NordWitch are highly inspired by interesting (and usually controversial) topics like Satanism, Occultism and Norse mythology, all embraced by their mighty riffs, their intricate and crisp drumming, and the deep guttural by their stunning frontwoman Masha. The only difference from the band’s inception until today is Ukrainian drummer Eugene Hrulev, who has recently replaced the amazing Hungarian stone crusher Donets Stepan, but apart from that the band has been a solid institution ready to conquer the world with their scathing fusion of Black and Death Metal and a strong passion for extreme music.

As a great example of how powerful and melodious the music by NordWitch is, let me start by saying that they managed to make the three-minute instrumental intro Mørk Profeti truly interesting and exciting even without the vocals by Masha, with Donets smashing his drums flawlessly while Max and Leo kick some serious ass with their guitar lines a la Arch Enemy. As a matter of fact, if you love Arch Enemy you’ll find a lot of them in each song by NordWitch, obviously considerably darker and more blasphemous. Then we have Dominion, a fuckin’ devastating, robust tune (it can’t get any better than this!) tailored for lovers of modern Blackened Death Metal, where Masha and Donets are true beasts on vocals and drums, respectively; followed by Walker From The Shade,  with Masha growling deeper and deeper while Max and Leo continue their guitar onslaught, supported by the metallic lines by bassist Max Senchilo. Furthermore, the “evil Arch Enemy” offer us more of their melodious riffs and solos, not to mention the epic and menacing vibe crafted by all instruments.

nordwitchIn the top-tier chant Lady Evil, the fast and cataclysmic beats by Donets, together with the song’s great riffage and another infernal performance by Masha on vocals, turn it into one the most flammable moments of the album. Moreover, Max delivers an awesome guitar solo at the end just to make the song even more thrilling than what it already is. The Call To An Ancient Evil brings forward a brutal beginning to another sensational creation by NordWitch, where Masha seems to declaim the words in a guttural way instead of screaming them, whereas the musicality sounds very technical and progressive at times mainly thanks to the high level of intricacy found in the song’s guitars and drums. And highly influenced by Scandinavian Extreme Metal, the most epic composition by NordWitch and also one of the best of the album, the rip-roaring To Nord Gods, contains all elements we love in this type of music, including a Viking Metal acoustic intro perfect for the theme proposed by the band, a beautiful pace led by the guitar lines and solos by Max and Leo, and Masha telling a compelling story through her powerful guttural vocals.

In the last two songs of Mørk Profeti, the band’s Blackened Death Metal arises like the burning fires of the underworld similar to what the iconic Behemoth usually do, starting with No Regret, with elements of Thrash and Death Metal added to its already explosive formula, always making sure there’s a huge amount of harmony and cohesiveness amidst the sonic chaos generated by the entire band. And lastly, more Nordic sounds penetrate our ears and minds in the furious chant Messiah Of Death, where Donets is impressive with his precision and rage on drums while Masha gnarls like a female demon, closing such potent opus magnificently.

In my humble opinion, we should all follow the ascension of NordWitch through their Facebook page and VKontakte, and of course blast our ears with their demonic music through their YouTube channel and ReverbNation, because this band is definitely going places and if you love metal like I do you’ll also be very curious to know how high they can go. Mørk Profeti, which can be purchased at the Satanath Records’ BandCamp or webstore, is not only the first stone in their rising castle of darkness, but an album that will put you to bang your head and raise your horns nonstop, which is pretty much everything we want in good heavy music.

Best moments of the album: Dominion, Lady Evil and To Nord Gods.

Worst moments of the album: None.

Released in 2016 Satanath Records/Darzamadicus Records

Track listing
1. Mørk Profeti (Intro) 2:53
2. Dominion 5:27
3. Walker From The Shade 4:33
4. Lady Evil 4:44
5. The Call To An Ancient Evil 5:22
6. To Nord Gods 4:53
7. No Regret 5:15
8. Messiah Of Death 5:08

Band members
Masha – vocals
Max – lead guitar
Leo – rhythm guitar
Max Senchilo – bass
Donets Stepan – drums