If the sonic cataclysm brought forth by this demented Italian band doesn’t wake you up, you should definitely go see a doctor.
In case you’re having one of those sluggish and monotonous days that seem to last for the whole eternity, I have the perfect remedy to cure your boredom and make you feel so electrified you’ll even start banging your head against the wall in exultation. Open up some space in your room or wherever you are, take a deep breath, do some good stretching and finally hit play and enjoy Wings of Decadence, the brand new music havoc by Italian Black/Thrash Metal act Extirpation.
Bred in the darkest catacombs of Milan, Italy in July 2009, Extirpation have been growing in the underground scene with each of their releases, gaining some considerable recognition internationally and therefore leading them to start playing outside the Italian territory in countries such as Switzerland, France, Belgium and Romania. Judging by the speed and heaviness found in Wings of Decadence (including the sick old school artwork designed by their own vocalist/bassist Darak), I believe we can all have a very good idea of how cataclysmic their concerts around Europe might be.
Extirpation open the album with a merciless massacre entitled Controlled By Rage, where its razing riffs build a raw and obscure sounding enhanced by the harsh vocals by Darak (who actually sounds like an enraged goblin) and by drummer Elia smashing his drum set like there’s no tomorrow with a Punk Rock/Hardcore vibe added to his beats. If you don’t go into shock after listening to this ode to dementia, you’ll have your spinal cord smashed by Thrash The Enemy, a visceral Thrash Metal tune straight to your face where Eros and Magikk make sure their riffs and solos keep puncturing your ears without rest, followed by Sick Life, a brutal Thrashcore/Goregrind feast darkened by its deranged vocals, perfect for slamming into the most insane mosh pits you can imagine.
Oath Of The Death, with its amazing infernal intro, offers the listener sheer devastation blending Black, Death and Thrash Metal with the meanest and most disturbing form of Punk Rock possible, not to mention the hot streak of destruction Darak and Elia are on; while Desires of Dust, despite slowing things down a bit, is still dark and putrid, with highlights to another devilish performance by Darak. And get ready for humongous dosages of hardcore riffs and bestial beats and growls in Consumed System, which not only keeps up with the musical consistency found in all previous tracks, but also presents guitar lines that are perhaps the closest to the purest form of Black Metal you will find in the whole album.
Not a single moment of peace or tranquility is present in Fall in The Dark: it’s violence taken to the extreme, where Elia continues his belligerent onslaught on drums while the rest of the band keeps breathing fire through their instruments and harsh vocals. The same can be said about Daily Struggle, an unrelenting display of Blackened Thrash Metal blended with Hardcore and Death Metal highly recommended for the soundtrack of the apocalypse, which makes me wonder how many people will have serious injuries if they slam into the pit whenever this immoderate tune is played live. In the short and sweet Eternal Moments, they truly sound like a band formed by evil entities like orcs or trolls shredding everything to pieces so inhuman it feels, maybe one of the most carnivorous tunes I’ve ever heard, before the title-track Wings of Decadence closes the album sounding as if the music is coming from the pits of hell, with Darak barking like a demon while the entire band is simply destroying whatever crosses their path with a mix of heaviness, feeling and anger.
In summary, the music in Wings of Decadence might be too harsh or pugnacious for the majority of the society we live in, but for fans of old school Black and Thrash Metal it’s indeed a bundle of joy with its ten hellish chants. You can get more details about the music by Extirpation at their Facebook page, and you can find their new album for sale at their BandCamp page or at the Nightbreaker Productions webstore. And if even after taking a listen at Wings of Decadence you still find yourself yawning of tiresomeness, I’m sorry but you should desperately see a doctor.
Best moments of the album:Thrash The Enemy, Oath Of The Death and Daily Struggle.
Worst moments of the album:Desires of Dust and Wings of Decadence.
Released in 2015 Nightbreaker Productions
Track listing 1. Controlled By Rage 3:35
2. Thrash The Enemy 2:43
3. Sick Life 4:08
4. Oath Of The Death 3:24
5. Desires of Dust 2:48
6. Consumed System 3:45
7. Fall in The Dark 4:03
8. Daily Struggle 2:50
9. Eternal Moments 1:58
10. Wings of Decadence 4:42
Band members Darak – vocals, bass
Eros – guitars
Magikk – guitars
Elia – drums
If you let the infernal and malevolent music by this amazing Portuguese duo reach your heart, there’s no coming back.
Let’s end this week on a high note with the flammable Black Metal by the talented Portuguese duo Tod Huetet Uebel, and I must assure you that you won’t be the same after listening to what they have to offer. By the way, the name of the band is the German for “death guards evil”, a more than suitable caption for the disturbing music you’ll find in their debut full-length album, entitled Malícia(the Portuguese word for “malice”). If you had no idea of how demonic music can be in Portugal, you better get ready for the heartless war found in this album.
Created from the very essence of hatred in 2012, Tod Hueted Uebel define their music as “a post-traumatic Black Metal experience” that “will leave mental bruises and scars in those who dare listen to the torments that dwell within”. Well said, guys. That perfectly summarizes Malícia, an album that will please fans of the darkest Black Metal you can imagine. Featuring an amazing 6-panel digipak with artwork by French artist/musician Valnoir (Metastazis), the level of wickedness and laceration in the album is not for the ordinary metal fan, making it a demanding listen for those who are not used to the atrocities of extreme music.
In the opening track, eccentrically named XIII (and get used to that, because all songs have names based on Roman numerals), a sinister intro flows into a diabolical sounding built upon modern Black Metal but without losing its traditional viciousness and speed. Multi-instrumentalist Daniel C. is responsible for crafting the music in all tracks, offering singer Marcos M. the perfect ambience for his anguished growls, and let me tell you this dynamic duo will darken your spirit already on the first track of the album (which is always the main goal in Black Metal, of course). And darkness is here to stay based on the nonstop violence and vileness delivered in I, where Marcos M. keeps disgorging his putrid snarling, unnerving your mind in a disquieting 9-minute first-rate aria of malignancy for lovers of classic Extreme Metal with a desolating and melancholic ending that obviously gets back to a sonic havoc before the song is actually over.
Their anger just grows in XII, where Daniel C. is simply bestial on drums and guitars, delivering sick riffs and demonic beats and fills perfect for the harsh vocals by Marcos M., with another short break for the listener to take a deep breath before diving back into the musical twilight engendered by Tod Huetet Uebel. Moreover, their lyrics in Portuguese are as evil, poetic and awesome as possible (“Quero morrer, ser inverso ao amanhecer / Quero perecer, na demora da tua obra / Sinto-me leve, disperso ao corroer / Do sentimento que vos mantém / Amantes a ninguém”, which would translate to English as “I want to die, be reverse at dawn / I want to perish, in the lateness of your work / I feel light, scattered as I corrode / From the feeling that keeps you / Lovers to no one”), increasing the impact of their music.
XX VIII XXI is an instrumental tune that feels like a fiendish entity penetrating our flesh, working as an intro to the barbaric IX, where the initial scream by Marcos M. sounds inhuman while the instrumental parts continue their onslaught of darkness. It’s sheer Black Metal that will please all fans of the genre, making it extremely easy and interesting to feel all the pain and grief stemming from their ghoulish vocals. III might be the shortest of all tracks, but it surely delivers everything a good Black Metal chant needs, being precise, berserk, melodic and lugubrious, with Marcos M. with his growls and howls and Daniel C. with his lancinating riffs generating an ode to hopelessness and evil. Besides, when they sing in English their lyrics are no less complex and beautiful, proving how talented this duo is (“Blood Libels of regal contempt / Dichotomy of essence and paragon of woe / The face of things to come / Burn this flesh oh dying light / In thy untold furnace of quintessence / Aether of malignant perfection”). Lastly, presenting elements from Doom Metal and Blackened Doom, the hindmost opus in Malícia, entitled V, is definitely the most nerve-racking of all. This time, Daniel C. focuses on mesmerizing and grievous notes while Marcos C. sounds like he’s being dragged down to hell, and I dare you to survive its 8 minutes without feeling totally uncomfortable or distressed in the end.
In summary, if you consider yourself a genuine adorer of the most perverse and heinous forms of Black Metal, I highly recommend you go after the music by Tod Huetet Uebel, available at their BandCamp and at the Caverna Abismal Records BandCamp. This sharp and impressive duo from Portugal is brilliantly cementing their dark path in the world of Extreme Metal, and in case you let their infernal music reach your heart, I must warn you that there’s no coming back.
Best moments of the album:I, XII and III.
Worst moments of the album: None.
Released in 2015 Caverna Abismal Records
Track listing 1. XIII 5:49
2. I 9:00
3. XII 7:20
4. XX VIII XXI 1:15
5. IX 7:05
6. III 5:30
7. V 8:00
Band members Marcos M. – vocals
Daniel C. – all instruments
Surrender to the dark side of Thrash Metal, offered to you by one of the most promising Scandinavian bands of the past few years.
Although the year of 2015 is almost coming to its end, it seems there are still tons of awesome metal bands with considerable amounts of fuel to burn, providing us fans unbounded reasons to keep banging our heads nonstop like maniacs. This is precisely the case with Norwegian Blackened Thrash Metal desecrators Vingulmork, who before the curtains of this chaotic year close are releasing their cataclysmic debut full-length album entitled Chiaroscuro. The name of the album might be the junction of the Italian words “chiaro” (clear or bright) and “oscuro” (dark), but don’t expect to find any light in their music. It’s sheer darkness, architected in such a thrilling and virulent way you’ll be mercilessly knocked out like Ronda Rousey before the album is over.
Forged in 2012 at the very depths of Oslo, Norway, Vingulmork released their debut EP named The Long March at the beginning of 2014, but it’s now with Chiaroscuro that this talented quartet aims at conquering the world of heavy music with their inhumane combination of the unquestioned verve from Thrash Metal with the evildoing and perversity of Black Metal. If you hold true passion for the music by bands such as Skeletonwitch, Old Man’s Child and Dissection, the music by Vingulmork (which translated from Old Norse means “the forest of fescues”) brings forward all the elements needed to foster that darkest side of yours.
And Vingulmork don’t give you a single second to breathe before their sonic devastation begins in the magnificent Collapse and Rebuild, a brutal composition that summarizes their music style by blending the riveting riffs from Thrash Metal with the obscure growls from Black Metal. In addition, Frontman Jostein Stensrud Køhn sounds like he’s possessed by an evil entity so aggressive his vocals are, while drummer Simen Kandola delivers beats inspired by the greatest drummers from the Bay Area Thrash. As destructive as the opening track, Hold Your Ground provides an accelerated feeling as if a heart attack is about to come, with guitarist Martin Kandola offering the listener his evil-inspired riffs amidst pure Thrash Metal music. And that’s just the beginning of Chiaroscuro, my friends.
Don’t get deceived by the calm acoustic intro from the chant beautifully entitled (I Am) The Darkness You Can Touch, as it quickly morphs into a dark sounding with elements of Death Metal that will violently kick you in the head. Jostein growling like a demon, together with some interesting breaks leading into some pure Black Metal moments and its lugubrious lyrics (“I will lay waste to your sense of belief / Replace all pleasure with anguish and grief / I will demolish all ways to control / I will take hold of and bury you”), turn this ode to obscurity into one of the top moments of the album without a shadow of a doubt. In The Haunting, the band delivers a melodic and ferocious onslaught of metallic music in less than 3 minutes, reminding me of the high-octane Thrash/Death Metal by Skeletonwitch, while Old Hate flirts with Melodic Death Metal but with extra dosages of wickedness added to the sounding, not to mention the great job done by Martin with his sick guitar riffs accompanied by the intricate bass lines by Steffen Grønneberg.
With an enraged Simen on drums, their dark metal machine keeps rolling and smashing everyone and everything in From Promise, a straightforward tune that will ignite some serious mosh pits during their live performances, with highlights to the beyond bestial vocals by Jostein, and don’t stop banging your head or slamming into the pit because Vingulmork offer us all Painting Lives, another insane track where there’s even time for a catchy chorus that will stick into your mind for a long period of time (“Every moment counts / And everything amounts / To pull apart is not an art / And so we count all that amounts”).
The two last arias in Chiaroscuro are just as nefarious as the rest of the album, starting with the striking White Dress, Black Heart, with yet another demented performance by the entire band, in special by Jostein and Simen. This is at the same time the most Thrash Metal and the most Death Metal of all tracks, which obviously elevates its quality to a whole new level of carnage, also presenting thoughtful lyrics that make total sense if you know how harsh the winter can be (“The winter is grinding knives / It will take another life / Cutting through frozen flesh / Claims a mark in every bone”). And closing this top-notch album we have their most obscure and disturbed tune, It Will Suffice, where the band definitely embraces darkness by showcasing their strongest Black/Doom Metal vein. A lesson in extreme music by this incredible Norwegian act, where the music cuts like a sharp razor until it fades away into a melancholic and demonic finale.
To get a taste of what Vingulmork have to offer in Chiaroscuro, you can visit their Facebook page or take a listen at the official album preview by Crime Records, but I’m pretty sure you’ll almost instantly go grab your copy of the album at the Crime Records webstore or at CD Baby. Forget about the never-ending war between darkness and light, simply surrender to the dark side of Thrash Metal offered to you by one of the most promising Scandinavian bands of the past few years. You will not repent that.
Best moments of the album:Collapse and Rebuild, (I Am) The Darkness You Can Touch and White Dress, Black Heart.
Worst moments of the album: None.
Released in 2015 Crime Records
Track listing 1. Collapse and Rebuild 3:38
2. Hold Your Ground 3:17
3. (I Am) The Darkness You Can Touch 5:24
4. The Haunting 2:36
5. Old Hate 2:59
6. From Promise 3:29
7. Painting Lives 3:34
8. White Dress, Black Heart 2:23
9. It Will Suffice 5:45
Band members Jostein Stensrud Køhn – vocals
Martin Kandola – guitar
Steffen Grønneberg – bass
Simen Kandola – drums
In this exclusive must-read interview to The Headbanging Moose, Canadian death metallers Fractal Generator translate into “numbers” their music, their admiration for all things science, the burdens of being an independent metal band in Canada, the end of the world and more!
The Headbanging Moose: Could you please introduce us to Fractal Generator, telling your story from the inception of the band until today? What’s the core factor that keeps the machine moving for the band, I mean, what’s the main reason for the band to exist? And where did you take those eccentric “names” (040118180514, 102119200914 and 040114090512) from?
102119200914: Fractal Generator is 040118180514 (Bass, Vocals), 040114090512 (Drums) & 102119200914 (Guitar, Vocals). The band formed sometime in 2007 as a death metal outlet for a few of the members of Wolven Ancestry. A demo entitled “The Cannibalism of Objects” was released in 2008. The project lay dormant until 2013, when the current incarnation of Fractal Generator was conceived by 040118180514 and 102119200914. We wanted to create a type of dark and atmospheric death metal sound that we hadn’t heard before, with lyrics inspired by various science and science fiction ideas. As for our “names”, they are a numerical representation of our actual first names.
THM: What’s the feeling of having your first full-length album finally released, the excellent Apotheosynthesis, and how did the whole writing, composing and recording process go? What are your goals and expectations now after Apotheosynthesis became a reality?
102119200914: It definitely feels great having finally released Apotheosythesis. We wrote the songs over a six month period in 2013 and refined the album through rehearsal before beginning to record at the end of 2014. 040118180514 has his own recording studio and has a lot of experience recording and mixing. This enabled us to complete the entire album “in-house” while still achieving the level of quality we wanted. Now that Apotheosynthesis is released, our main goal is to play a few shows and start working on our next album. I don’t have many expectations, mostly hope that it will reach the ears of the people who would appreciate it.
THM: As mentioned in our review for the album, one of the most remarkable aspects of it is witnessing the very positive evolution in your compositions from your 2008 demo The Cannibalism of Objects to Apotheosynthesis. Can you share more details with us on how that change has impacted you as a band? What’s different today from when the band started back in 2008?
040118180514: When we did “The Cannibalism of Objects,” Fractal Generator was nothing more than a curious side project, and the album is composed mostly of improvised material. The drums were completely improvised and guitar was added overtop in an improvised fashion. “Apotheosynthesis” retains the spirit of improvisation in that we wrote the riffs using the improvisational method, but the songs were carefully crafted afterward to create full, meaningful compositions with a cathartic feel. I’d say the main difference between the band now and then is the addition of 102119200914, because we work really well together and can generate a lot more ideas when we are bouncing them off each other. The fact that we have 6 more years of experience as musicians under our belts certainly doesn’t hurt either.
THM: It’s always a huge pleasure to see thoughtful and meaningful lyrics in heavy music, which in your case is represented by the addition of science and technology-related topics such as the chaos theory to your music, therefore enhancing its impact and density. Why did you choose to follow that specific path of science and space, mixing it with Progressive and Death Metal? And how unique do you think your music is if compared to the other bands available?
102119200914: We chose to follow this path out of a common interest in science fiction, science, the cosmos and technology. Our style is a combination of all of our favorite elements of death metal and black metal, with an experimental approach. I think our music is unique; we may have similar elements to some but I feel that our general sound is different from anything I’ve come across.
THM: Talking about one of my favorite songs of the album, Face of the Apocalypse, I love the veracity of its lyrics (“Endless replication / A cancerous mutation / Of the mother earth / Merciless consumption / An unprecedented emergency”) in regards to what mankind is doing to the world. Is this indeed your vision of society? What was going through your mind when you wrote the lyrics for this exceptional tune?
040118180514: We knew we wanted to write a song about the human race being forced to leave Earth. As we all know, its a very real scenario that we could face as a species. However, the potential reasons for this happening are many: nuclear fallout, pandemics, environmental/climate change effects, asteroid collision, etc. It could even be something completely unforeseeable. I couldn’t decide on a single scenario I wanted to use, but I did want to focus on scenarios that are fueled by human activity. In this way the song could be seen as a warning against our current destructive ways. In the end I just kinda mixed several of these scenarios together into one crazy pandemonium, and the idea for “Face of the Apocalypse” was born.
THM: In the introspective and melancholic Reflections, it really feels like Fractal Generator wanted to add a conclusion to the story told during the whole album. How important was it for the entire band to have that type of aftermath in Apotheosynthesis? Do you consider it a concept album, and what reactions do you expect from your fans after listening to the entire record?
102119200914: Apotheosynthesis takes influence from a lot of science fiction stories and concepts. In a way it’s sort of a concept album. The songs all follow a loose futuristic storyline in a universe where humans have destroyed their home planet and have to look to space for a new home. The album explores their journey to Mars and beyond. For the track “Reflections” we wanted to shift the spectrum, focusing on the atmospheric and ambient elements more than the speed/ guitar driven approach we have on the rest of the album. We wanted to create the feeling of floating aimlessly in the cold, dark void of space, gasping for breath in a space suit slowly running out of oxygen while contemplating existence/fate. We felt this was a good way to end the album as it might provoke imagination in the listeners.
THM: Who are your main influences in music and anywhere else? I suspect you’re huge fans of the progressiveness and aggressiveness by Death, the futuristic concept by Fear Factory, the darkness by Behemoth, and of course, you’re probably also into the works by renowned scientists such as Carl Sagan and Edward Lorenz. What else makes you want to write music? And do you have any other hobbies that also inspire you in your songwriting?
102119200914: My main musical influences are Myrkskog, Zyklon, Morbid Angel, Death and Hypocrisy. I also draw a lot of influence from science fiction shows/movies, i.e. Tron, Star Trek, Stargate, Babylon 5. As well as story-driven video games like Mass Effect, Deus Ex, The Dig, Half-life, etc. I also find inspiration in reading about new technologies, theories and scientific studies.
Album Review – Fractal Generator / Apotheosynthesis (2015)
040118180514: I have always been a big fan of Scandinavian black metal and it’s been a huge influence. In terms of death metal, I am mostly influenced by the more progressive/experimental Canadian bands, such as Gorguts and Augury. Other than music, I’m very interested in learning about science and technology and how they can be used to make the world a better place. I am also interested in philosophy and the nature of consciousness, which is probably where some of my interest in chaos theory comes from. Sagan and Lorenz, as you mentioned, are of course highly influential in these fields.
THM: Let’s talk about the current Heavy Metal scene in Canada. I’ve had the satisfaction of reviewing some amazing Canadian bands lately the likes of id., Phantom, Display of Decay, Reanimator, Valknacht, Viathyn, Kafirun, among many others. However, it seems that day after day heavy music in Canada is becoming more and more underground, preventing a much wider audience to get in contact with most bands no matter how good they are. What’s your opinion about that, and what can or should be done to change that uncomfortable situation?
040118180514: If you want to talk about why the Canadian metal scene doesn’t get the credit it deserves, I think there are a lot of factors. For one thing, metal isn’t terribly popular among the general population in Canada for whatever reason. I’ve toured the country and you get the sense that metal is mostly met by common people with contempt, or at best, confusion. The people going to shows are mostly only the die-hard metal enthusiasts that we all know and love. The other main factor I would say, is that Canada’s geography and sparse population make it almost unfeasible to tour. Without the ability to tour, our bands are left in their hometowns to stagnate. Our government isn’t exactly helpful with arts funding either, unless you live in Quebec. I suppose one thing we could do to remedy the situation is to keep the conservative party out of Ottawa.
THM: How have your scheduling of live performances and your search for a record label been since the release of Apotheosynthesis? What other big challenges have Fractal Generator faced so far as a heavy band in a not-so-heavy world?
040118180514: We’ve played a handful of shows so far and they’ve been great. We haven’t really searched for a record label yet. I think that you mostly have to wait for a label to come to you. However, the entire structure of the music industry has changed so much, I sometimes wonder if labels might soon become the redundant middle-man in between the bands themselves and the media outlets that promote them. The revenue just isn’t there anymore to be able to feed that many mouths. Bands are going to have to take on a lot more responsibility, and I think it’s something we can pull off.
THM: A big thank you for your time, we at The Headbanging Moose really appreciate that. Do you have any final words to all headbangers in Canada and all over the world reading this interview?
102119200914: Thanks for the interview and thanks for supporting underground metal!!
Experience the biggest metal festival in the world, in 3D, and louder than hell.
It’s undeniable that Wacken Open Air is the biggest, most exciting and most badass Heavy Metal festival in the entire world. For instance, it only takes couple of days after the festival is over for the next year’s edition to be sold out. If you’ve already had the indescribable pleasure of attending this 4-day monstrous gathering in your life (and I’m pretty sure that if the answer is “yes” you’ve already repeated that metallic ritual many times through the years) you have the chance to go back in time and feel that energy again by watching the awesome documentary entitled WACKEN 3D – LOUDER THAN HELL. And if you’ve never been to Wacken, this is your chance to take a special journey to the heart of the festival, with the 3D screening making you feel like you’re right there with over 75,000 metalheads from all over the world celebrating life and heavy music.
Filmed with 18 stereoscopic 3D cameras during the 2013 edition of the festival, this excellent documentary by award-winning director Norbert Heitker will show you exactly what happens once a year to a calm farming village in the middle of a Northern German countryside, when it becomes the centre of the universe for all things metal. You’ll be able to see in details what it is to camp at Wacken, the daily routine of fans and bands, what musicians think of the festival, and even go crowd-surfing and mud-diving with the more lunatic fans. Not only that, you’ll also have a good time watching some electrifying performances by metal giants such as Deep Purple, Anthrax, Motörhead, Rammstein, Alice Cooper, Lamb Of God, and many more.
In my opinion, as a huge supporter of the underground of heavy music, the best part of the entire documentary is when they focus on some of the national winners of the already famous Wacken Metal Battle, showing what it is to be an up-and-coming band playing at the most important metal festival on earth. There are awesome bands from Uruguay, Romania, Canada and so on showcasing their music to thousands of fans, but my favorite one in terms of creativity and feeling were the Chinese Metal Battle winners Nine Treasures. All members of the band are from Inner Mongolia, with all lyrics being sung in Mongolian, which is beyond incredible. You have to watch it to understand what I’m talking about, and if one day those guys read this review, I would like to ask them to kindly send us their material for review. It would be a huge pleasure for us at The Headbanging Moose to do that.
In case you live in Canada and do not have any plans for tonight (well, even if you do have plans you should definitely cancel them), there will be a special WACKEN 3D – LOUDER THAN HELL “One Night Only Across Canada” event today, October 29 at 7:30pm at several Cineplex theaters. You can check more details at the official Facebook event, see where the movie will be playing by clicking HERE, and also grab your tickets at the official Cineplex website. In addition, following the Cineplex Yonge-Dundas screening in Toronto, Steve “Lips” Kudlow and Robb Reiner of Anvil will be in attendance for a Q&A, and if you cannot make it today but you live near Ottawa the movie will also be playing soon at the Mayfair Theatre, located at 1074 Bank Street, Ottawa, Ontario.
Best moments of the movie: The unique moments of glory provided by the Wacken Metal Battle bands from different countries, the iconic Rammstein playing Du Hast with thousands of fans screaming the lyrics together with the band and, of course, all the classy mud scenes.
Worst moments of the movie: The fact that there were no subtitles when a fan or a band spoke in a language different than English, especially when it was in German. At least the version I saw had no subtitles. Oh, and unfortunately there were no interviews with Lemmy.
Released in 2014 Jumpseat 3Dplus/Wüste Film
Bands and artists featured in the documentary Rammstein
Alice Cooper
Deep Purple
Motörhead
Henry Rollins
Trivium
Ragnarok
Lamb Of God
Annihilator
Anthrax
…and many more!
May the world come to its tragic end to the sound of the barbaric and inhuman Doom Metal by this promising one-man army from Belgium.
What does it need for a person to sound so savage, heavy and depressive, to the point you can’t tell if it’s just a regular human being or a grotesque creature of darkness that’s responsible for that eerie and sluggish resonance? If you really want to know the answer for that difficult question, I suggest you take a listen at the self-titled debut album by Belgian Medieval Doom/Death Metal one-man army Gateway. But be extremely careful, because once you start listening to this ode to horror influenced by the likes of Autopsy, Mortician and Evoken there’s no turning back, it’s a one-way journey down to the pits of hell.
Hailing from Bruges, Belgium, the talented musician Robin Van Oyen, who’s by the way responsible for vocals and all other instruments in Gateway, brings forth a concept album inspired by his hometown, offering the listener some depraved tales of ritualistic horror, torture and pain, blending the most obscure and mischievous elements from Death, Doom, Black and Sludge Metal you can think of. The final result, like what we witnessed last year in his three-track demo Aeternae, goes beyond the boundaries of inhumanity and suffering, grinding your body and mind like a genuinely repulsive torture device.
While listening to the wicked intro Prolegomenon, it’s more than obvious that what’s about to come is going to be disturbing, which is precisely what happens in Vox Occultus, a merciless parade of Occult Doom Metal supported by its reverberating riffs. In addition, as per the “unofficial” guide of old school Doom Metal, its drums are there with the unique mission to make the whole thing even more diabolical, and I’m not really sure what to say about the subhuman growls by Robin Van Oyen except for the fact that they won’t let you sleep well at night. Are you still breathing? Because in the following track, Kha’laam, Gateway forged a mystical Doom Metal aria by masterfully blending elements from Tryptikon, Black Sabbath and Celtic Frost, with its primeval rhythm contributing to its mordacity and elevating it to a whole new level of darkness. It doesn’t matter how intricate this tune is, it remains utterly loyal to the foundations of Doom Metal.
Don’t expect to see any bright light in the music by Gateway, as the ode to despair continues with yet another grim composition entitled Impaled, where Robin keeps howling like an ancient demon amidst a lugubrious atmosphere that will compel your heart to grow darker and darker; followed by Corrumpert Interludium, a song that will break your fuckin’ neck in a solid display of extreme music, with its riffs giving you goosebumps so demonic they are. I love the name of the next track, Vile Temptress, it transpires darkness and flawlessly connects with its spellbinding rhythm, as if the witch herself wanted to hypnotize us and take us all to her evil kingdom (“I am a witch… AND I CURSE YOU!”). This tune proves that extreme music doesn’t need to be fast at all times to be frightful, don’t you agree?
In the excellent Hollow, it looks like Robin’s plan is to drag us all to hell to the sound of his torture-inspired musicality, this time slightly faster and with an even more enraged growling, growing in desperation until the song’s fiendish ending; before The Shores of Daruk closes the album with almost ten minutes of hatred and occultism, guiding us into the unknown. I don’t know where those shores are exactly but it’s definitely not a happy place, getting even more supernatural halfway through it and evolving to a sorrowful ending. Thus, if you survive this tormented feast of Extreme Metal, you’re indeed a true doom metaller, but if you still want more you can enjoy the brutal and extremely well-engendered Portaclus, an amazing gift to fans who get the physical copy of the album, and of course a visceral exhibit of what Gateway is capable of.
Are you willing to keep having your body and soul tormented by this promising Belgian one-man band? Simply check out Gateway’s Facebook and YouTube, and in order to buy your copy of Gateway go to the band’s official BandCamp page, to the Hellthrasher Productions BandCamp or to their official webstore. When the gates of hell are open and gruesome bands such as Gateway arise from darkness, you know that if the world is actually coming to an atrocious end, may that be to the sound of the rawest and most demonic Doom Metal imaginable.
Best moments of the album:Kha’laam and Vile Temptress.
Worst moments of the album:Corrumpert Interludium.
These undead Portuguese metallers are back from the grave to tear our flesh apart and provide us some high-quality old school Death Metal.
Just like any gory and macabre zombie flick, there are times in our lives when people or things that we thought were dead and gone for good make an impactful return to feast on our flesh and haunt our souls. If you’re addicted to sordid old school Death Metal the likes of Dismember, Entombed and Grave, you won’t mind being devoured by the undead Portuguese Death Metal band Festering who, as per the name of their brand new album, are back From The Grave to tear all of us apart.
After releasing a split album back in 1992 and remaining dormant for almost two decades, this talented band from Santo António dos Cavaleiros, Portugal was reformed in 2011, releasing a demo tape entitled From The Grave and an EP named Exhumed, both in 2012. Now in 2015, following the same gruesome path of those releases, their debut full-length album From The Grave, which features cover illustration and artworks by renowned artist César Valladares (Asphyx, Nominon, Graveyard, among many others), will provide the listener a full-bodied portrait of what these cold-blooded Portuguese metallers are capable of.
The quick and sinister intro Festering initiates the sonic cannibalism that becomes extremely barbaric in Exhumed, an old school Death Metal song with absolutely no shenanigans, just straightforward devastation where riffs and growls take the spotlight (as expected), also showcasing drums highly influenced by the blast beats of Black Metal but slightly groovier. Following that promising start, we have the perverse Infected and its hints of Doom Metal, with the bestial vocals by Pedro Gonçalves inspired by old Sepultura and Morbid Angel. It’s a great song for headbanging led by its wicked riffs, where the band accelerates the rhythm, slows it down and goes on with that alternation a few more times, reaching an outstanding result in the end.
The Myth Of Creation can be considered a circle-pit generator chant, with drummer Norberto Arrais kicking ass behind his kit while the guitar lines by João Galego seem as if they’re going to decapitate us so sharp they are, not to mention the aggressiveness of the low-tuned bass lines by Koja Mutilator. And if you think Festering will give you a break you’re damn wrong, because they keep kicking you in the head with their nonstop viciousness in Consuming From Within, a very traditional tune with lots of groove, feeling sometimes like a tribute to Cannibal Corpse and other classic gory bands due to its lyrics (“Open sores all over my body and exuding a foul scent / With an intense suffering, the anguish spend my days / With the excruciating pain that runs through my body / And wanton my flesh like a cold steel blade”); followed by the “infected” musicality and dirty melody found in Submerged In Emptiness, with highlights to the rhythmic beats by Norberto. This tune lives up to the sanguinary tradition of Death Metal, or in other words, it’s fast, heavy and wicked, and we love all that.
The next track, Bloodline, has a deranged ambience boosted by the demented deep growls by Pedro, with its hardcore riffs and extreme violence being the icing on the cake of this sensational feast of blood and death that should work marvelously if played live. Moreover, kudos to João for his spot-on guitar solo, adding more electricity to the overall result. In the Blackened Doom Metal tune Proliferation Of Infected Leucocytes their demonic side arises, and if you pay good attention to the music you’ll find hints of Rock N’ Roll and Southern Metal in it, increasing its complexity and harmony but obviously always keeping it carnivorous. Lastly, closing the album we have the slashing Ascent Of The Blessed, where the combination of its direct shredding and high-speed drums turns it into an excellent option for mosh pits, with Pedro once again delivering his amazing sick roars to give life (or death) to the song’s lyrics (“The angels all ascended, / The demons left behind / A new generation was born / From their hatred and cruelty – We”), and the shortest of all tracks, Psychic Convulsions Of Neurasthenia, a beautiful name for a violent composition with highlights to the evil bass lines by Koja.
There are several places where you can find more details about the music by Festering, such as their YouTube channel and especially at their ReverbNation page, and grab your copy of From The Grave at the band’s BandCamp, at the Caverna Abismal Records BandCamp, or at the Caverna Abismal Records webstore. As aforementioned, these talented (and undead) metallers are back from the grave not only to tear our flesh apart but, more important than that, to also provide us all high-quality old school Death Metal. But that’s if you’re not afraid of living dead musicians, of course.
Best moments of the album:Infected, Submerged In Emptiness and Bloodline.
Worst moments of the album:Proliferation Of Infected Leucocytes.
Released in 2015 Caverna Abismal Records/War Productions/Sinais Produções
Track listing 1. Festering (Intro) 0:23
2. Exhumed 3:15
3. Infected 4:36
4. The Myth Of Creation 4:15
5. Consuming From Within 4:21
6. Submerged In Emptiness 4:36
7. Bloodline 4:13
8. Proliferation Of Infected Leucocytes 3:36
9. Ascent Of The Blessed 5:21
10. Psychic Convulsions Of Neurasthenia 2:53
Band members Pedro Gonçalves – vocals
João Galego – guitars
Koja Mutilator – bass
Norberto Arrais – drums
Take a shot at this fun interview with Hateful Warfare to have a very good depiction of the everyday life, experiences and dreams of a true underground Death Metal band from Brazil.
The Headbanging Moose: As you’re a brand new Death Metal act, I guess we need to start by presenting you to our readers. In other words, who are Hateful Warfare? Can you please share with us some details on how the band got together, why and how you chose the name “Hateful Warfare”, where each band member comes from, and what your main goals are for the future?
Hateful Warfare: The band is comprised of Andrei (bass/vocals), Norba (guitar) and Denis (drums), a traditional Death Metal power trio. The band is a reformation of another project we had in the past, which didn’t end up working well and so the three of us decided to remain together and focus our common ideas on our songwriting and composing. The name of the band came in a moment of anger (laughs), as we were searching for a name that was impactful and that at the same time matched with our personalities on stage. Our goals for the future are recording our first full-length album, shooting a video clip, and then going on a tour of the album across Brazil.
THM: The band might be new, but there has already been a significant change to your music when one of the guitarists left and Hateful Warfare became a power trio. How has that influenced your music and the dynamism among the three band members left? What are the positive outcomes of this important change?
HW: His time with the band was short mainly due to his geographic location/distance to the rest of the band, which was a huge hassle for our rehearsals. It was decided that we would go on as a power trio, and our dynamism only tends to grow because when you’re a power trio you have more freedom in terms of composition, improvisation, harmony, acquaintanceship, among other positive points. In addition to that, Andrei and Norba are father and son, which already helps a lot. We are all comfortable in what we’ve been doing so far and this is very significant for a band to move on.
THM: I had the pleasure of reviewing your short but extremely heavy debut EP, entitled Scenarios Of Execution. If I had to describe the album in just a few words, I would say it’s old school Death Metal exactly the way it’s supposed to be. How was the songwriting and composition period of the album? How long did it take to finalize everything, and what were the highlights of the entire process to you?
HW: Thank you for your kind words, this is very gratifying for us. The creative process was very demanding, rehearsing two or three times a week, always composing riffs and with focus on creating something new everyday. We all thought about something during the week, wrote something, created the riffs, recorded at home and then presented that during the rehearsal in order to always capitalize on something. The recording was done at the Audio Goblin studio with the local producer and musician Fábio Gorresen (Flesh Grinder/Zombie Cookbook). It took one month to finalize the recording, mixing and mastering, and after that we released a few physical copies of the EP. We believe that the impact of the EP has been very positive, making us even more excited to record our full-length album as soon as possible.
THM: I would like to know more details about my favorite songs of the EP, starting with the excellent Welcome to my Nightmare. As mentioned in our review for the EP, the vocals sound inspired by the early days of the iconic Max Cavalera. Is he one of your main influences in music? How do you prepare your voice for the thunderous Death Metal by Hateful Warfare? In addition, although the riffs are extremely dirty, the overall result of the song is very melodic. How did you manage to reach that amazing level of balance between brutality and harmony?
HW: There is no secret, it’s just a matter of keeping the throat always moist and sing with hatred (laughs). Regarding you mentioning the song being dirty and melodic, I believe that actually comes from our influences, as this song was inspired by classic Death Metal the likes of Scream Bloody Gore (Death) to the Thrash Metal from the album Extreme Aggression (Kreator). There’s always aggressiveness followed by something harmonious that matches perfectly with the style.
THM: My other favorite tune, Bloody Night, brings lots of awesome elements from different subgenres of extreme music, such as Black and Doom Metal. Was that something you planned on doing, or did it come up naturally during the writing process? How does the audience react to songs that are not purely Death Metal like this one?
HW: It was something natural, we don’t write our music trying to remain 100% loyal to Death Metal. We have an infinitude of influences inside each of our heads and that was what best suited the music, lyrics thrown to the imaginary with an aggressive theme and several variations in the instrumental, stressing the heaviness and the speed at different times.
THM: Brazil might not be considered the most metal country in the world, but there’s still a good share of incredible bands spread across the country, not to mention how crazy most Brazilian headbangers are. In your opinion, how is the current Heavy Metal scene in Brazil? Do you feel that there are enough bands, venues and concerts down there to keep the fire of metal burning bright for many years to come? What are the main issues for a heavy band in Brazil?
HW: There are excellent new bands rising month after month, incredible places spread throughout Brazil, high-skilled musicians and the utmost quality. The only disturbing things are the high costs to maintain a band, equipment with extremely high taxes, and if you do not have a studio yourself you have to pay a lot of money to rehearse every single week. What drives metal in Brazil is the underground, we have to be headbangers faithful to the art, because making a living from metal in Brazil is still a dream for all of us, some can do it but that’s just a minority.
THM: What are top 5 albums that influenced the band members the most, and how much do those albums still inspire you to craft your music? What about non-metal bands and artists, are there any you enjoy that also impact the way you write your music?
HW: The top 5 albums that are the most present in the playlists of each one of us are Piece of Mind (Iron Maiden), Leprosy (Death), Severed Survival (Autopsy), Hell Awaits (Slayer) and Arise (Sepultura). Our writing process involves the whole context of what’s going on through our heads. At the moment I don’t have any specific albums to mention, but I would like to stress out that the lyrics for the song Addiction to Kill were written based on the story of the TV series Dexter.
THM: What would be the “dream tour” for Hateful Warfare? I mean, which bands would you feel honored to play with, and what are the cities, venues or festivals you would love to visit together with those bands?
Album Review – Hateful Warfare / Scenarios Of Execution EP (2015)
HW: There is an infinity of bands who we dream of playing together, such as Destruction, Gruesome, Cancer, Kreator, Obscura, Obituary, Sodom, Vader and so on (laughs). With every passing year high-quality festivals are born in several countries, but like any headbanger it would be a dream come true to step on the stage at Wacken Open Air, Hellfest, Monsters of Rock, Obscene Extreme, among others.
THM: In regards to your current tour dates, how are the concerts to promote Scenarios Of Execution going? Do you have any funny stories to share with us, or talk about something that went horribly wrong with the band? And do you have any plans for an international tour here in North America, in Europe or anywhere else?
HW: The shows have been taking place only in the state of Santa Catarina, Brazil, and they have been very positive so far for us. We have several good stories happening every night, the funniest being our first show. We were tuning the instruments to hit the stage and the intro was already going to start playing, when we lost sight of our drummer. We sought him all over the venue and no sign of him. We spent about 10 minutes looking for him and when we finally found him he was outside talking to some friends, while we were getting absolutely mad after him for a while (laughs).
THM: Muito obrigado pela entrevista! Please feel free to send a final message to all readers of The Headbanging Moose and to all fans of old school Death Metal all over the word.
HW: First of all, thanks for the compliments on our work, and also to the space provided for the interview. To all fans of old school Death Metal, always seek for novelties in the genre, there is a lot of good stuff emerging but that’s not getting recognized as it should. This genre has a lot to be unraveled yet, and that this Death Metal vein never runs out of blood!
…and the sun and the air were darkened by reason of the ungodly Blackened Death Metal cast by a demonic duo from Spain.
Tsar Bomb, or “Царь-бомба” in Russian, might be commonly known as the nickname for the AN602 hydrogen bomb developed by the Soviet Union, the most powerful man-made nuclear weapon ever detonated, but for the past few years it has also become a synonym to the cataclysmic music by Spanish Blackened Death Metal band Tsar Bomb. The force of impact of their compositions is immeasurable, crushing your soul inhumanely, but at the same time leaving you avid for more destruction and chaos after their extreme music raid ceases.
After the release of their debut album Neowarfare in 2012, this Málaga-based hellish duo is ready to scathe our society again with their brand new record, entitled Exterminans IX:XI, an album fundamentally inspired by the Book of Revelation, with even the writing of its lyrics being attributed to some sort of “help” by St. John the Apostle. Moreover, Tsar Bomb managed to merge in a very technical and aggressive way the esoteric side of the biblical scriptures with their belligerent and occultist vision of the world, offering the listener a wide spectrum of blasphemy, havoc and desperation.
Exterminans IX:XI begins with a nightmare-ish Intro where the smooth piano notes by guest musician Carmen Robles Jimenez bring some peace to our hearts amidst the song’s sheer ravage, before Ad Maiorem Legio Gloriam (“the greater glory of law”) comes bursting a brutal onslaught of Black, Death and Blackened Death Metal for our total delight. In addition, the band’s intricate instrumental artillery provides lead singer Ocram the perfect environment for his demonic growls, and although all drums are programmed, the music sounds very organic and alive at all times, which will make you simply forget about that minor detail.
The title-track, Exterminans IX:XI, is more than “just” a song about Abaddon, also known as the Destroyer or the Angel of the Abyss as portrayed in the Holy Bible (Revelation 9:11), it’s an even more vicious and intense tune, where six-string master Ivan does a superb job with his piercing guitar riffs enhancing its dark atmosphere and apocalyptic vibe; followed by Septem Tonitrua (“seven thunders”), an expression that also appears in the Holy Bible (Revelation 10:4), and obviously in the song’s lyrics (“Seven thunders burst, the angel has spoken / Under the oath, resounding horns / The Book of Initiation devoured by Leviathan / Inexorable storm, storm of ashes and fire.”). Their barbaric demolition goes on with another feast of blast beats, complex guitar lines and harsh growls boosted by some special voice effects similar to what Dimmu Borgir and other extreme bands usually do. Put differently, this killing tune will auspiciously dilacerate your mind before reaching its climatic and desolate ending.
In Armada (Mari Bestiam), which refers to the Spanish Armada of 1588, Tsar Bomb translated the monstrous power of the armada into a dark and robust tune, with highlights to the hints of progressiveness and modernity added to this technical Extreme Metal composition by Ocram and Ivan; while Caustic Blessing is a high-speed violent chant where yet again drums do not feel like they’re programmed at all. Can a human drummer replicate this sonority live? Anyway, this is a very good example of how amazing the band sounds no matter if they add symphonic or progressive elements to their music or if they’re as raw and direct as possible like in this case.
In the excellent …And Spill thy Fire Upon the Earth, prepare your neck for a lot of pain from headbanging because Tsar Bomb sound like a wild beast attacking you directly in the jugular, offering a multi-layered infernal Black Metal exhibit where vocals by Ocram get even more diabolical and in sync with its scalding lyrics (“The reign of chaos spits its fire / With hall and blood scorching the life / With flaming soil the waters died / And Spill Thy Fire Upon The Earth!!”). And finally, Mikaheylel reminds me a lot of the sonority found in The Satanist, by Behemoth, especially the blasphemous aura surrounding the music. You can feel hatred and despair emanating from its riffs, which ends up being frightful but mesmerizing at the same time, reinforcing this extremely well-crafted chant that perfectly represents what Blackened Death Metal is all about. There’s still time for a disturbing Outro to close this marvelous album, with the piano by Carmen returning in a very melancholic pattern, turning it into the soundtrack to a desolated war field after the detonation of a deadly nuclear weapon.
In case the sonic detonation ignited by Tsar Bomb helped release your inner demons, you can find more about their work on their official Facebook page and SoundCloud, and also find Exterminans IX:XI for sale at their BandCamp page or at the Cimmerian Shade Recordings’ BandCamp page. There’s an interesting excerpt from the Bible, Revelation 9:2, which states that “And he opened the bottomless pit; and there arose a smoke out of the pit, as the smoke of a great furnace; and the sun and the air were darkened by reason of the smoke of the pit.” Replace the smoke of the pit with the disturbing Blackened Death Metal by Tsar Bomb, and there you have a suitable depiction of how vile this Spanish duo can be.
Best moments of the album:Ad Maiorem Legio Gloriam, Exterminans IX:XI, Armada (Mari Bestiam) and Mikaheylel.
Worst moments of the album: None.
Released in 2015 Cimmerian Shade Recordings
Track listing 1. Intro 3:01
2. Ad Maiorem Legio Gloriam 5:13
3. Exterminans IX:XI 4:58
4. Septem Tonitrua 6:19
5. Armada (Mari Bestiam) 5:01
6. Caustic Blessing 3:07
7. …And Spill thy Fire Upon the Earth 4:14
8. Mikaheylel 5:43
9. Outro 2:58
Band members Ocram – vocals, drum programming
Ivan – guitars, bass, drum programming
Guest musician Carmen Robles Jimenez – synth, piano
Do you love elaborate music, but at the same time do you feel an urge to bang your head nonstop? This skillful German act might have exactly what you’re looking for.
If you’re one of those demanding metalheads who’s always looking for fresh and complex music, which at the same time still offers a raw vibe or an evil aura that keeps the music as underground as possible the likes of Moonsorrow, Enslaved, Opeth and Amorphis, you’ll have a great time banging your head to Nocturnal Escape, the self-titled debut album by German Progressive Death/Black Metal band Nocturnal Escape. It might not be an easy listen for people who are used to more straightforward rock and metal at first, but the quality of the music found in this album is so good you’ll end up succumbing to the band’s intricate darkness after a short while.
As a matter of fact, this Augsburg-based group is more like a project created by multi-instrumentalist Leo Bergmann in January 2014, a few months after his previous band, Bleak, disbanded in 2013. Leo was joined by his brother, bassist Klaus Bergmann (who also plays for the excellent German Death Metal band Disgusting Perversion), in late 2014, and also by vocalist Thomas Zimmermann, who added clean vocals to the album in 2015. I don’t know if they can be called a “power trio”, but they surely know how to make a lot of noise and how to fill every empty space with their notes, riffs and beats.
A demonic voice introduces us to the music by Nocturnal Escape in War Of Beliefs, a blend of Death and Black Metal so technical and obscure it’s not recommended for the faint-hearted. However, amidst all turbulence there’s room for tons of progressiveness and melody, with kudos to Leo for crafting such solid and entertaining musicality. What starts as an epic battle hymn evolves to boisterous Black Metal in Age Of Atrocity, with highlights to the nonstop riffs by Leo, the good balance between harsh and clean vocals thanks to a great job done by Thomas, and its meaningful lyrics (“Don’t follow leaders for whom you are lifestock / Pull out now to prevent the shellshock / Cluelessness is bliss of the mindless herd / Set yourself aside and feast on your hate”). Besides, although it’s less progressive than the opening track, it still presents intricate passages and lots of tempo changes.
A Lucid Mind, which leans towards cleaner Progressive Metal despite the growling vocals by Leo, offers us calm and relaxing passages focusing on Thomas’ clean voice and an embracing atmosphere to soothe our souls, while the other pieces of the song are an ode to madness and freedom; followed by Disillusion Strikes, where the band gets back to a more direct sounding, a modern Death Metal tune with hints of the craziness generated by bands such as Devin Townsend, turning it into one of the top moments of the album. The title-track, Nocturnal Escape, starts in some kind of “cosmic” way due to its synths, before switching to Progressive Metal enhanced by Leo’s devilish growls while Thomas declaims his vocal lines, developing then an interesting storyline to be followed attentively throughout the entire song as you can see in its lyrics (“The pain feels good the pain feels right / This cleansing torture drives me through the night / I follow this path and come to me / With this aquired taste in human tragedy”). A similar situation is found in Screaming Heart, with yet another melancholic intro that grows in sorrow and darkness until it becomes a Progressive Dark/Doom Metal exhibit. Not only it feels like two or three songs in one, but the strong focus on riffs and solos were clearly done on purpose by Leo to enhance the song’s punch.
What initially seems to flirt with Alternative Rock and modern Hard Rock turns into a Black Metal feast with a desperate ambience that will invade your mind in Gaia’s Demise, with its funereal riff and the well-balanced duo of harsh and clean vocals leading this progressive tune through its acoustic passages and mesmerizing rhythm. And what if Deep Purple, Devin Townsend and Arch Enemy got together for a jam session? The result would probably resemble the thrilling tune entitled Call To Humanity, which keeps rolling at full speed fueled by its awe-inspiring guitar riffs and solos. It’s indeed an amazing mix of Speed and Death Metal with huge dosages of progressiveness and feeling to close the album on a high note, and in my humble opinion it’s the best tune of the album by far. In addition, pay close attention to the song’s special guests Paul Perlberg, Joscha Radaj (Zerfetzer, Musikalischer Gesundheitsdienst), Tobias Ruf (Disgusting Perversion), Julian Gruber (Running Death) and Simon Bihlmayer (Running Death), as they add some crazy amount of wickedness to the final result.
You can get more details on Nocturnal Escape at their official Facebook page, as well as purchase their debut album through BandCamp. This is a great opportunity for fans of progressive and aggressive music to witness the inception and rise of a talented metal act from Germany who are not afraid of experimenting and adding different layers of complexity to their compositions, creating a unique sounding that, as aforementioned, will beautifully reach to your heart and definitely make you bang your metal head.
Best moments of the album:Age Of Atrocity, Disillusion Strikes and Call To Humanity.
Worst moments of the album:Nocturnal Escape.
Released in 2015 Independent
Track listing 1. War Of Beliefs 7:37
2. Age Of Atrocity 5:23
3. A Lucid Mind 6:52
4. Disillusion Strikes 4:34
5. Nocturnal Escape 7:01
6. Screaming Heart 4:19
7. Gaia’s Demise 6:36
8. Call To Humanity 6:31
Band members Leo Bergmann – harsh vocals, guitars, keyboards, drum programming
Thomas Zimmermann – clean vocals
Klaus Bergmann – bass
Guest musicians
Paul Perlberg – vocals on “Call To Humanity”
Joscha Radaj – keyboards on “Call To Humanity”
Tobias Ruf – second guitar solo on “Call To Humanity”
Julian Gruber – fourth guitar solo on “Call To Humanity”
Simon Bihlmayer – sixth guitar solo on “Call To Humanity”
In case you’re having one of those sluggish and monotonous days that seem to last for the whole eternity, I have the perfect remedy to cure your boredom and make you feel so electrified you’ll even start banging your head against the wall in exultation. Open up some space in your room or wherever you are, take a deep breath, do some good stretching and finally hit play and enjoy Wings of Decadence, the brand new music havoc by Italian Black/Thrash Metal act Extirpation.
Oath Of The Death, with its amazing infernal intro, offers the listener sheer devastation blending Black, Death and Thrash Metal with the meanest and most disturbing form of Punk Rock possible, not to mention the hot streak of destruction Darak and Elia are on; while Desires of Dust, despite slowing things down a bit, is still dark and putrid, with highlights to another devilish performance by Darak. And get ready for humongous dosages of hardcore riffs and bestial beats and growls in Consumed System, which not only keeps up with the musical consistency found in all previous tracks, but also presents guitar lines that are perhaps the closest to the purest form of Black Metal you will find in the whole album.
