Tag Archives: black metal

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

Album Review – Arkaik Excruciation / Cursed Blood of Doom (2016)

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Invoking the impure sense of primitivism through their aggressive and ruthless music, here comes a new Spanish Black and Death Metal quartet with their excellent debut full-length album.

Rating5

front_cover_aeIt doesn’t matter if you go to Catalonia, Andalusia, Galicia, Madrid or any other region in Spain, you’ll always find amazing heavy music all over “la piel del toro”. And if the genre in question is extreme music things get even better, with names such as Sartegos, Balmog, Xérion and Suspiral, as well as bands already reviewed by The Headbanging Moose like Tsar Bomb, Mørknatt and EvnaR, proudly carrying the flag of Spanish Extreme Metal and turning the whole country into an oasis of cutting riffs, blast beats and demonic growls. Thus, that distinguished selection of extreme groups has recently been joined by another hellish band named Arkaik Excruciation, who are releasing their debut full-length album entitled Cursed Blood of Doom, a solid tribute to the foundations of Black, Death and Thrash Metal.

Invoking the impure sense of primitivism through their aggressive and ruthless music since their inception in 2014, when they released their first demo tape named Among the Vortex of Chaos, this La Coruña-based horde of darkness adds the most obscure elements from extreme music to their creations, something you can easily notice and truly enjoy while listening to each track from Cursed Blood of Doom, featuring an obscure artwork by artist Alejandro Tedín. There’s no secret ingredient in the music by Arkaik Excruciation, just well-engendered extreme music by four talented musicians, presented as eight powerful and straightforward tracks embellished by classy and somber names. In other words, how not to get thrilled by a song named “Swallow the Black Wings of Agrat bat Mahlat”, right?

Rude and putrid sounds will invade your ears in the bestial Black and Death Metal composition Spiral Scythes of Endless Pain, a darker version of Cannibal Corpse where drummer M. presents his business card through his demonic beats and fills, while lead singer and guitarist M.S. enhances the song’s ferocity with his metallic riffs and cavernous growls. And the song doesn’t actually end, it simply builds a direct link to the brutish Night of Sodom, where the band’s fast and furious carnage goes on with M.S. getting even more aggressive on vocals. In addition, the musicality feels more Death than Black Metal at times, showcasing the bands versatility when switching between extreme styles.

bandStills of Fire and Poison is an eerie interlude comprised of noises that feel they’re coming from the pits of hell, opening the gates for the infernal Swallow the Black Wings of Agrat bat Mahlat, a pulverizing lesson in dementia and heaviness in Extreme Metal and definitely one of the top moments of such obscure album, with highlights to the sick drumming by M. In addition to that, its guitars also keep spreading a constant and deranged sensation of hatred until its funereal ending, paving the way to Anesthesic Ritual of Silence and its initial wicked noises, replaced by the hellish guitars by M.S. and K. Moreover, M. provides some spot-on Doom Metal-inspired beats to this semi-instrumental track, while M.S. just keeps gnarling a little in the background in a dark and satanic way.

Suddenly, all hell breaks loose in the most demented of all tracks, Into the Fields of the Sun-Blood, a kick-ass hybrid of Black Metal with the extreme pugnacity of old school Death Metal where the screams by M.S. are effectively complemented by all other instruments and their nonstop savagery, creating a damned ambience that will devour your soul. The creepy and short Clockwork Devotional Saw works as a bridge to the last song of the album, the demented Sadistic Scourge, where elements from Black, Thrash and Death Metal are united in a high-octane demolishing way. K. and F. are unrelenting with their strings, whereas M. fires his groovy and menacing beats, fading into ominous noises and vociferations that go on for over two minutes until the song is finally over.

In case you want to know more about the demonic realm of Arkaik Excruciation, go check their Facebook page, and if you want to purchase a copy of the maleficent Cursed Blood of Doom (which can be enjoyed in its entirety HERE), you’ll find it for sale at their own BandCamp page, at the Caverna Abismal Records’ BandCamp and Discogs page, or at the Duplicate Records’ BandCamp and webstore. And, from now on, always remember that if you’re searching for good Extreme Metal, the region of Galicia (as well as the rest of spain) is your go-to place.

Best moments of the album: Night of Sodom, Swallow the Black Wings of Agrat bat Mahlat and Into the Fields of the Sun-Blood.

Worst moments of the album: Anesthesic Ritual of Silence.

Released in 2016 Caverna Abismal Records / Duplicate Records

Track listing
1. Spiral Scythes of Endless Pain 5:18
2. Night of Sodom 4:18
3. Stills of Fire and Poison (Interlude) 2:02
4. Swallow the Black Wings of Agrat bat Mahlat 5:50
5. Anesthesic Ritual of Silence 4:15
6. Into the Fields of the Sun-Blood 7:26
7. Clockwork Devotional Saw (Interlude) 0:26
8. Sadistic Scourge 7:15

Band members
M.S. – guitars, vocals
K. – lead guitars
F. – bass
M. – drums

Album Review – Gespenst / Forfald (2016)

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Four lengthy, atmospheric and lugubrious tracks not recommended for the lighthearted, thoroughly crafted by a brand new Danish Black Metal act that will mercilessly disturb your peace of mind.

Rating5

gespenst-forfald-cover-artHailing from Aarhus, the second-largest city in Denmark located around 190 kilometers northwest of the capital Copenhagen, Black Metal act Gespenst (translated to English as “phantom”) is a fresh and uproarious new project featuring former members of Glorior Belli, Woebegone Obscured and Horned Almighty, among other bands, who together bring forth an atmospheric and ominous fusion of Scandinavian Black Metal with Funeral Doom, adding touches of Dark Ambient to their already eccentric extreme music. And the result of that devilish amalgamation, their debut full-length album entitled Forfald, will definitely disturb your peace of mind.

Forfald is the Danish word for “decay”, and that’s quite the sensation you’ll feel while listening to the album’s four lengthy and disturbing tracks. Listening to Forfald is like witnessing the ruin of mankind, descending into an abyss of anguish and darkness to the sound of the lugubrious music engendered by Gespenst. In its almost 40 minutes of duration, Forfald doesn’t provide any single second of tranquility or happiness, always extracting the deepest fears and most obscure thoughts from the listener. Another important piece of the music by Gespenst is the fact that some of their songs are entirely sung in Danish, a bold move that adds an extra layer of mystery and rawness to their music, enhancing the experience of listening to such somber album.

The blackened guitar lines by guitarist and keyboardist Genfærd kick off the demonic hymn Sorgens Taage, which would translate as “sorrow fog” in English, bursting agony and hatred while lead singer and bassist Galskab fires his devilish growls, increasing the obscurity of such an atmospheric and epic composition. This 9-minute aria brings forward somber Atmospheric Black Metal with hints of Funeral Doom and a sensational darkened vibe, with all the changes in rhythm, ferocity and melody adding an extra taste to it, with the doomed ending led by the sluggish beats by guest drummer Andreas Joen piercing your heart mercilessly. Even slower and more tenebrous, Revelation of Maggots offers the listener old school disquieting Funeral Doom, with highlights to the disturbing lyrics grasped by Galskab (“A sea of worms, in crawling pace / All over me, consumes my face / But I still see, without my eyes / As maggots feast, and hatch to flies”). Furthermore, Genfærd makes sure his guitar emanates grief and harasses the listener’s mind, and despite a few breaks a melancholic rhythm is maintained throughout this damned creation by Gespenst, with yet again a sepulchral ending, this time enhanced by a somber narration and anguished screams in the background.

gespenst-photoMin Sjæl Raadner (Danish for “my rotten soul” or “my soul rots”), the shortest of all tracks, presents an atmospheric and sinister beginning before the band attacks us with their dynamic blend of Black and Doom Metal, where the guitar riffs once again sound dark and harmonious, consequently dragging us to the Stygian world of Gespenst. Put differently, this is a song that can easily become a funeral hymn for lovers of extreme music. And in Life Drained to the Black Abyss we’re treated to 12 minutes of sheer darkness, with a horror movie-inspired intro progressively growing into beautiful Funeral Doom with the beats by Andreas getting sharper than before, feeling like a storm is about to begin in the background while Galskab spews the song’s lyrics about the derangement of the human mind (“My eyes have been eternally fixed / At the spectrum of darkness / A blackened stream of despair / It seems I have always been here”). In addition, when the musicality gets heavier, leaning towards classic Black Metal, it’s time for Genfærd to take the lead and guide the band’s demonic performance, haunting our perverted souls until the song’s obscure conclusion.

In summary, this is another of those albums not recommended for the average listener due to its disturbing level of agony and pain, but if you love that extremely dark side of music I can guarantee Forfald has a lot to offer you. You can take a listen at the entire album HERE, and go check Gespenst’s Facebook page for more details on the band’s current and future plans. And if you want to purchase Forfald, you can do so by visiting the band’s BandCamp page, the Hellthrasher Productions’ webstore and BandCamp page, or the Duplicate Records’ webstore and BandCamp page. This Danish Black Metal group has all it takes to take the underworld of extreme music by storm, with Forfald representing exactly what they are capable of with their instruments in their hands and a lot of darkness in their hearts.

Best moments of the album: Min Sjæl Raadner.

Worst moments of the album: None.

Released in 2016 Hellthrasher Productions / Duplicate Records

Track listing
1. Sorgens Taage 9:04
2. Revelation of Maggots 10:54
3. Min Sjæl Raadner 7:17
4. Life Drained to the Black Abyss 12:14

Band members
Galskab – vocals, bass
Genfærd – guitar, synths

Guest musician
Andreas Joen – drums 

Live musicians
Christian Søgaard – guitar
Andreas Tagmose – bass
Mads Mortensen – drums

Album Review – Burial in the Sky / Persistence of Thought (2016)

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An album that effectively unites the devastation of Death Metal with the intricacy of Progressive Metal, brought into being by an American band that knows exactly how to create beautiful extreme music in a compelling and atmospheric way.

Rating5

burial-in-the-sky-album-artI guess I sometimes tend to overuse the word “atmospheric” in some of the reviews done here at The Headbanging Moose, but in the case of Persistence of Thought, the first full-length album by American Atmospheric Tech-Death Metal act Burial in the Sky, there’s no better word to describe the technical and whimsical assault of extreme music brought forth by the band, always interspersed between tranquil and at times psychedelic passages. And although you’ll find hints of the musicality by bands such as Nihil and Fallujah spread all over the creations by Burial in the Sky, they’re far from being a copy of either.

Formed by multi-instrumentalists William Okronglis and James Tomedi in the year of 2013 in Mount Carmel, a small city located in the state of Pennsylvania, United States, Burial in the Sky already released two EP’s prior to Persistence of Thought, those being Psychosis (2013) and Transcendence (2014). Joining them on Persistence of Thought is world class drummer Samus Paulicelli (Decrepit Birth, Abigail Wiliams), whose expert skills perfectly complement each song created by the duo. Add to that recipe the otherworldly album art by American artist Nathan Lee, and there you have an excellent option for lovers of the aggression found in Death Metal with the subtlety and finesse of progressive music.

In the opening track, entitled Entry I, serenity invades our ears and smooth piano notes bring peace to our souls, but suddenly all that calmness turns into an avalanche of Technical Death Metal led by the intricate drumming by Samus, changing completely the course of action in a very solid way. The band blends sheer brutality with melodious lines and a beautiful ambiance, going from total devastation to psychedelic passages (like what happens for instance at around four minutes) and back to their Dream Theater-sish extreme music, captivating the listener from start to finish. The second part of what can be called their “Entry Trilogy”, Entry II, follows a similar pattern, with William providing deep growls and interesting riffs while James fires his soulful guitar solos. Furthermore, the last part of the song is an outstanding sonic onslaught led by the unstoppable Samus on drums, including even hints of Black Metal in his beats and, therefore, increasing the album’s musical range. And closing the trilogy we have Entry III, a dark tune transpiring melancholy, where delicacy is found in the form of subtle guitar lines amidst all desperate screams and hellish drums blasted by the band, with highlights to the pleasant guitar duo at the end of the song.

burial-in-the-skyThe second part of the album begins with Anchors, where Burial in the Sky hypnotize us with a whimsical rhythm and a touch of finesse before charging our minds with their brutal musicality, with James delivering more of his amazing solos whereas Samus continues to display a high level of complexity on drums. This is a song highly recommended for banging your head with your eyes closed to properly enjoy the sound from every single instrument, until it reaches its climatic ending. Galaxy of Ghosts is the first song of the album to start in full force, already exhibiting the violence and anger found in the music by Burial in the Sky from the very first second. Not only this is a very technical composition presenting interesting tempo changes and guitar lines, but also pay attention to the awesome synchronicity between guitars and drums, and to how the band gradually increases the song’s electricity before ending it in a pensive way. And Dimensions Divide, the last blast of technical and furious Death Metal in Persistence of Thought, maintains the overall quality of the album really high, with its blazing guitars and top-notch drumming guiding the musicality, which once again fades into atmospheric sounds and pure melancholy.

In a nutshell, Persistence of Thought might not be an album for the masses due to the intricacy and heaviness of the music present in each one of its tracks, but that doesn’t mean all types of fans of heavy music can’t have a good time listening to it. Simply sit down, relax and absorb the music by Burial in the Sky, or you can also stand up and slam into the pit if that’s your cup of tea. You can purchase Persistence of Thought at their BandCamp page, on iTunes, on Amazon and other different locations, and by doing that you will show your support to this up-and-coming band that knows exactly how to unite the realms of devastation and complexity in a compelling and atmospheric way.

Best moments of the album: Anchors and Galaxy of Ghosts.

Worst moments of the album: None.

Released in 2016 Independent

Track listing
1. Entry I 6:02
2. Entry II 5:47
3. Entry III 4:40
4. Anchors 7:29
5. Galaxy of Ghosts 5:52
6. Dimensions Divide 4:42

Band members
William Okronglis – vocals, rhythm guitar, bass, keys, percussion
James Tomedi – lead guitar, bass, keys, mandolin, slide guitar, percussion
Samus Paulicelli – drums (session)

Guest musician
Danny Greene – additional synths

Album Review – Nervosa / Agony (2016)

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Brazil’s meanest power trio returns with another marvelous blast of their kick-ass high-octane Thrash Metal.

Rating3

nervosa-agony-2016Do you know what the main difference is between Brazilian Thrash Metal power trio Nervosa and iconic bands such as Slayer, Testament, Exodus and Death Angel? Instead of a bunch of big bad guys with fully grown beards and ugly faces, Nervosa are three charming and beautiful girls, but don’t think that because of that minor detail their music is less demolishing, vicious or infernal. Quite the contrary, Brazil’s meanest power trio plays a fantastic high-octane Thrash Metal that lives up to the legacy of the genre, putting the pedal to the metal in each one of their electrifying compositions and taking no prisoners on their path to stardom. Furthermore, they might be relatively new to the business, but what those three thrash metallers offer us in their brand new album, entitled Agony, has the energy and feel of an old school metal classic.

Formed in February 2010 in the metropolis of São Paulo, Brazil by guitarist Prika Amaral, who was joined in July 2011 by vocalist and bassist Fernanda Lira, Nervosa (which by the way is the female word for “nervous” in Brazilian Portuguese) have already built a respectable career in the underground of heavy music, having released their debut demo/EP named Time of Death in 2012 and their first full-length album, Victim of Yourself, in 2014, leading to their participation on some of the major European summer festivals such as Summerbreeze, Brutal Assault and Metal Days, as well as on the unique 70000 Tons Of Metal in the United States, sharing the stage with important names like Exodus, Raven and Samael through the years. All that enhanced experience, together with their always-improving technique, culminated in the release of Agony, an album that will mercilessly assault you like a rabid beast, starting by the deadly cover art designed by Godmachine, and when this gripping opus is over I dare you to not listen to it again and again.

The album starts at full speed in Arrogance, a brutal composition perfectly executed by those three talented women with drummer Pitchu Ferraz (who unfortunately has left the band recently) delivering sheer Thrash Metal beats before Fernanda begins firing her Hantu Kopek-like gnarls. And there’s no time to breathe as the second tune of the album, Theory of Conspiracy, is as visceral and fast-paced as its predecessor, with highlights to the brilliant job done once again by Fernanda with her enraged screams (especially when she barks the famous saying “what goes around comes around”). Furthermore, this song has what it takes to become a Thrash Metal classic, in special the lancinating riffs by Prika. And in Deception, a rhythmic composition with elements from Death Metal added to drums and riffs, sounding like contemporary Cannibal Corpse due to its pace and intricacy, the vocals by Fernanda get to a more Black Metal-ish level, which only makes things even better in the end.

The lyrics might sound cheesy in Intolerance Means War, but they’re spot-on with their message against our society’s cruel reality (“Different doesn’t means it’s not the way / Remove sex creed race, we are all the same / Confront ignorance with knowledge and awareness / Show respect / Dialogue is freedom / Intolerance is war”), and when Fernanda growls the word “war” it truly feels like her personal tribute to Mr. Tom Araya screaming the same word in Slayer’s all-time classic War Ensemble. Needless to say, this Thrash Metal anthem is ideal for some fun circle pits and wicked headbanging. Guerra Santa (or “Holy War” in English) is the only song in Agony entirely sung in Brazilian Portuguese, which ends up adding an extra touch of rawness to the overall result. Pitchu is a female demon on drums, as violent and demented as possible, blending the sheer heaviness of Death Metal with the groove from Thrash Metal in her beats, not to mention the cutting guitar sounds blasted by Prika throughout this phenomenal song.

nervosaFailed System reminds me of old school Exodus with hints of Black Metal, where Fernanda not only growls like a beast, but her bass guitar also emanates pure hatred; whereas Hostages, a song about how disturbing and horrible it is to be at a decaying public hospital in Brazil (and you should definitely check their official gory video for the song at the end of this review), is another straightforward chant bursting madness and anger where Prika continues to pierce our souls with her powerful riffs. More melodic and groovy, Surrounded by Serpents brings forward lyrics about the venomous effects of betrayal (“Poisonous snake / Disguised as friends / Enemies attack / Snakes stab you in the back / A beast wounds your body / A snake wounds your mind / Pretend disguise destroy / In a blink of an eye”), with Fernanda reaching some deep growls that effectively increase the song’s obscurity.

The rumbling bass by Fernanda kicks off another metallic and vile composition, titled Cyberwar, presenting an electrified Exodus-inspired Thrash Metal vibe tailored for slamming into the pit with the girls, with the awesome solo by Prika making this beautiful thrashy anthem a thousand times more adrenalized. The excellent Hypocrisy begins in a dark and atmospheric way before getting as heavy as hell, feeling as if Pitchu wanted to destroy her drums due to the strength she puts into her beats. Moreover, those unstoppable and remorseless girls yet again add elements of Death Metal to the song’s sonority, a recurrent technique they know how to use almost to perfection. And what better song to end such fulminating album than one called Devastation? That’s what Fernanda, Prika and Pitchu beautifully do, decimating every living creature that has the guts to face them in this more-modern-than-usual tune thanks to its hints of Groove Metal.

Instead of following those girls that only care about showing their asses on social media or that wear more makeup than an entire Black Metal band and live a complete superficial life, try following Nervosa through their Facebook page, Instagram, YouTube channel and SoundCloud. I’m sure you’ll have a much better and more productive time by doing that. And in case you want to purchase this high-end Thrash Metal gem, simply go to their official webstore or to the Napalm Records’ webstore and grab your copy of Agony’s Limited Edition Digipack, which includes a bonus track named Wayfarer, a 6-minute chant mixing Blues and Jazz to the band’s ruthless music by showcasing clean vocals and harsh screams together in a very creative and interesting form. After listening to Agony, the first thing that will come to your mind when you hear the world “Nervosa” is undoubtedly first-class Thrash Metal, and if you disagree with me I guess there are three mean and violent girls that will be more than happy to pay you a visit.

Best moments of the album: Theory of Conspiracy, Intolerance Means War, Guerra Santa and Cyberwar.

Worst moments of the album: None, of course.

Released in 2016 Napalm Records

Track listing
1. Arrogance 3:08
2. Theory of Conspiracy 4:17
3. Deception 3:54
4. Intolerance Means War 3:29
5. Guerra Santa 2:52
6. Failed System 3:43
7. Hostages 3:25
8. Surrounded by Serpents 4:32
9. Cyberwar 3:02
10. Hypocrisy 4:28
11. Devastation 3:32

Limited Edition Digipak bonus track
12. Wayfarer 6:17

Band members
Fernanda Lira – lead vocals, bass
Prika Amaral – guitar, backing vocals
Pitchu Ferraz – drums

Album Review – Construct Of Lethe / The Grand Machination EP (2016)

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The letters from Lucifer to archangels Gabriel and Michael after his fall to Earth as reimagined by Mark Twain, all embraced by a dark and dense atmosphere crafted by an amazing project led by veteran musician Tony Petrocelly.

Rating5

tgm-album-cover“Man is a marvelous curiosity. When he is at his very, very best he is a sort of low grade nickel-plated angel; at his worst he is unspeakable, unimaginable; and first and last and all the time he is a sarcasm.” – Letters from the Earth, by Mark Twain

Taking inspiration from Letters from the Earth, a posthumously published work of American author Mark Twain (1835–1910) with the title story consisting of eleven letters written by the archangel Satan after the fall (as he views the rise and fall of Christ) to archangels Gabriel and Michael about his observations on the curious proceedings of earthly life and the nature of man’s religion, The Grand Machination, the brand new EP by American Death Metal band Construct Of Lethe, will fulfill your needs of well-written extreme music with a dense and meaningful storyline complementing all the reverberation and aggressiveness flowing from the instruments.

Although the band is based in the city of Woodbridge, located in Northern Virginia, in the United States, Construct of Lethe are an international musical collective representing both the simultaneous culmination and dissolution of numerous bands and projects such as Against the Gods, Bethledeign, Xaoc, Dead Syndicate and Pain Tank. Formed in 2010 by multi-instrumentalist Tony Petrocelly, the band released on the first day of 2016 their debut full-length album, entitled Corpsegod, but it seems Tony and his henchmen didn’t want to wait too long to provide their fans another blast of their technical and dark Death Metal, culminating with the release of The Grand Machination in the beginning of October. Featuring an obscure cover art by Paul Gerrard and with vocalist David Schmidt reinterpreting and perverting Mark Twain’s Letters from the Earth, The Grand Machination brings forward a fresh view of the story for the ones who have already read the book, and a fantastic introduction to anyone who’s in touch with it for the very first time.

In the opening track, titled Lux in Tenebris (“light in the darkness”), an ominous intro is joined by dark and heavy guitars before a demonic fusion of Death and Doom Metal impregnates the air, with Dave sounding like a poet from the underworld declaiming the song’s beautiful lyrics (“Embrace me Thanatos that I might fall / Seduce me Hypnos that I might lap the silver waters and forget / But lo, at his heel bone I stood shackled and forced to witness / My glass eyes were held open by another’s will”). In addition, veteran drummer Kevin Talley, who has already worked with renowned bands such as Suffocation, Six Feet Under and DevilDriver as well as underground bands reviewed by The Headbanging Moose like Omega Diatribe and ThrOes, makes sure his beats reach the perfect level of complexity and obscurity requested, enhancing the song’s impact on the listener.

construct-of-letheDeath and Doom Metal are then joined by hints of Black Metal mainly due to the blast beats by Kevin, consequently making the whole ambience even more frightful, in Ascendit Ex Inferos (“he ascended from hell”), with its lyrics reaching a whole new level of obscurity (“Hear uttered a child’s creation / Upon festering incantations carried with miasmic breath / Logic castration, a eunuch of natural order”). Furthermore, it’s Tony who steals the spotlight with his cutting riffs in this maleficent tune, supported by Patrick Bonvin and his excellent solos. Then it’s time for the entire band to increase their brutality and fire the most demonic of all songs, titled Apotheosis Calvarium, where Death and Black Metal are united in a putrid and menacing way and Patrick once again delivers his share of amazing guitar solos, while Dave is the devil incarnate on vocals just the way the concept of the album demands.

Expandentes Putrescat (“spreading rot”) is where Construct Of Lethe get truly blackened, an intricate composition showcasing bestial drums and flammable guitars, surrounded by a hellish atmosphere that goes on until the song’s eerie conclusion; followed by Bibere Venenum in Auro (“drink poison in gold”), a traditional Death Metal song with highlights to the grotesque growls by Dave and the barbaric aura crafted by Kevin behind his drums. Yet again, Patrick keeps firing his old school solos nonstop, adding more electricity to this dense and somber chant. Lastly, the title-track The Grand Machination brings more darkness to the listener with its melodious guitars and Doom Metal-inspired drumming. The second half of the song leans towards a crude mix of Black and Death Metal, with its neck-breaking riff accompanying Dave and his Stygian poetic growls as the proper conclusion to this disturbing album.

You can visit the band’s official Facebook for more details on their music, listen to their obscure Death Metal on their YouTube channel (where you can take a shot at the entire EP, by the way), and you can grab a digital copy of the album at their BandCamp page, which includes instrumental demo versions of two of the regular album songs with a Cannibal Corpse-inspired vibe as bonus tracks. In Letters from the Earth, there’s an excerpt about the Bible that says “it is full of interest. It has noble poetry in it; and some clever fables; and some blood-drenched history; and some good morals; and a wealth of obscenity; and upwards of a thousand lies.” Well, maybe we should say the same about The Grand Machination, adding to that the album’s excellent riff-writing and demonic ambience. I bet Mark Twain and Lucifer would both agree with us on that.

Best moments of the album: Apotheosis Calvarium and The Grand Machination.

Worst moments of the album: None.

Released in 2016 Edgewood Arsenal Records

Track listing
1. Lux in Tenebris 4:48
2. Ascendit Ex Inferos 2:42
3. Apotheosis Calvarium 5:26
4. Expandentes Putrescat 5:03
5. Bibere Venenum in Auro 3:16
6. The Grand Machination 4:13

Digital Edition bonus tracks
7. Apotheosis Calvarium (demo version) 2:12
8. Bibere Venenum in Auro (demo version) 2:15

Band members
Dave Schmidt – vocals
Tony Petrocelly – guitar, bass
Patrick Bonvin – lead guitars

Guest musician
Kevin Talley – drums

Album Review – Rigor Mortis BR / The One Who… (2016)

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Feel the stiffness of death dominate your body after being crushed by the brutal Death Metal blasted by this old school quartet made in Brazil.

Rating5

capa02-grandeRigor mortis (or “stiffness of death” from Latin), is one of the recognizable signs of death caused by chemical changes in the muscles post mortem, which cause the limbs of the corpse to stiffen. Just add to that a “BR”, and the final result will exhale putridity and toughness, the two main elements found in the impetuous Death Metal played by the excellent Brazilian underground squad Rigor Morts BR, who are releasing a feast of old school extreme music entitled The One Who… for the delight of fans of Suffocation, Cryptopsy, Dying Fetus and Cannibal Corpse. If you’re ready to bang your head like a maniac until your neck stiffens to the point you cannot move it anymore, then Rigor Mortis BR will definitely help you achieve your main objective.

Formed in the 90’s by guitarist Alexandre Rigor in the city of Porto Alegre, the capital of Brazil’s most southern state, Rio Grande do Sul, Rigor Mortis BR offer fans of heavy music a lecture in brutality mixed with a refined technique, always loyal to the foundations of Death Metal by keeping their musicality extremely raw and visceral. Going beyond the limits of the human mind and especially of our actions and primeval nature in their lyrics, Rigor Mortis BR have been fighting for years against financial setbacks and the hassles of finding a record label, but it seems they have finally found the right partner for the release of The One Who…, as the entire team from Sangue Frio Produções are huge supporters of the Brazilian underground scene and certainly provided everything Rigor Mortis BR needed to spread their carnivorous Death Metal all over the world.

A short macabre Intro prepares the listener for Dialeto de Morto (“dialect of the dead”), a putrid Death Metal composition that takes violence to the limit, with bassist Christian Peixoto blasting some low-tuned punches before drummer Ricardo “Chakal” Chiarello begins his furious performance. Their sonic carnage continues with the demented Psychotropic Illness, where lead singer Leafar Sagrav (or Rafael Vargas backwards) sounds truly possessed due to his bestial deep gnarls while Alexandre Rigor delivers old school riffs through his evil guitar; followed by Human Flesh Juice, with the putrescent growls by Leafar and the insane beats by Chakal leading this infernal tune that brings forward traditional Death Metal with hints of Black Metal. Despite being cavernous at all times, it’s still very technical, showcasing how skillful the entire band is, as for example the wicked solos by Alexandre.

Medieval Impalement, the longest of all tracks, presents elements from sluggish and evil Doom Metal with Leafar offering some hellish gnarls commonly found in Black Metal, therefore enhancing the song’s obscurity. It’s tailored for fans of the heaviest form of Death Metal you can think of, where the sounds brought forth by Alexandre on guitars are insanely menacing. Following that damned song, Rigor Mortis BR keep paving their furious path of devastation with Find Body Parts Toy, with highlights to its unstoppable beats and another demented performance by Leafar on vocals. The second song of the album sung in Brazilian Portuguese and a demonic composition that sounds absolutely demolishing, Febrônio Índio do Brazil, is about a famous Brazilian serial killer known as “Filho da Luz” (or “son of light”), with the entire band translating the violence and bloodshed of his lunatic acts into their merciless Death Metal.

Interlúdio is a very quick break before all hell breaks loose once again with Raw Meat Sugar, with Chakal sounding as if he’s pounding his drums with a sledgehammer, consequently reaching a whole new level of heaviness and being highly recommended for some sanguinary mosh pits and ferocious headbanging. And closing the album we have the title-track The One Who…, bringing forward some modern elements without losing its old school essence. While Leafar’s growls and screams get deeper and deeper, Alexandre fires razor-edged riffs that will cut your ears mercilessly until the end of this bestial song.

In order to explode your ears and stiffen your neck headbanging to the music by Rigor Mortis BR, go check their Facebook, YouTube and ReverbNation. There are several locations where you can purchase The One Who…, as for instance the Sangue Frio Produções’ webstore, The Metal Vox, Heavy Metal Rock, the Odicelaf webstore and directly from the band’s Facebook shop. By supporting bands like Rigor Mortis BR, you are not only providing your neck an endless source of pain due to the brutality emanating from their music, but you’re also helping underground Death Metal to stay alive, which is always a good thing.

Best moments of the album: Dialeto de Morto, Human Flesh Juice and Raw Meat Sugar.

Worst moments of the album: None.

Released in 2016 Sangue Frio Records

Track listing
1. Intro 0:23
2. Dialeto de Morto 2:31
3. Psychotropic Illness 4:45
4. Human Flesh Juice 3:26
5. Medieval Impalement 6:14
6. Find Body Parts Toy 3:58
7. Febrônio Índio do Brazil 3:28
8. Interlúdio 0:24
9. Raw Meat Sugar 3:56
10. The One Who… 2:48

Band members
Leafar Sagrav – vocals
Alexandre Rigor – guitar
Christian Peixoto – bass
Ricardo “Chakal” Chiarello – drums