Tag Archives: black metal

Album Review – Nocturnal Escape / Nocturnal Escape (2015)

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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.

Rating5

Nocturnal Escape - Nocturnal Escape - coverIf 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.

Nocturnal Escape - logoWhat 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”

Album Review – Fractal Generator / Apotheosynthesis (2015)

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A chaotic and thrilling Death Metal album in perfect harmony with human ambition, representing in an apocalyptical way what lies ahead for our unbalanced world.

Rating4

“The universe is not required to be in perfect harmony with human ambition.” – Carl Sagan

Those thoughtful words by American astronomer Carl Sagan are not only bang on to describe all the ravaging chaos and disorder caused by mankind that’s leading our world to a dreadful end, but also extremely accurate in depicting the insane music found in Apotheosynthesis, the debut full-length album by Canadian Atmospheric Death Metal act Fractal Generator.

According to this Sudbury-based band, who by the way are located at the specific coordinates 46.471716, -81.186792, the word “apotheosynthesis” means “to distill something to the essence of perfection”, and that’s what this power trio proposes during the entire album with their solid blend of extreme music, science, space, the chaos theory, a sci-fi ambience, technology and synthetic feelings. Moreover, it’s interesting to notice the evolution in their compositions from their 2008 demo The Cannibalism of Objects to Apotheosynthesis, as if the band progressed at the same roaring pace as our society, which ends up adding an extra layer of veracity to the new album.

The sonic devastation Cycle kicks off this intricate album offering a mix of the most brutal Death Metal with progressiveness and harmonious passages, without stopping or slowing down for a single second, and with the growls by lead singer/bassist 040118180514 (whose real name is Darren Favot) sounding like an ominous cosmic creature behind all the chaotic havoc generated by all instruments; followed by the magnificent Face Of The Apocalypse, where its futuristic intro, blast beats and harsh vocal lines generate a dense and dark atmosphere. While drummer 040114090512 (aka Dan Favot) sounds like a hammering machine, the bass lines by 040118180514 keep punching you in the head mercilessly, leaving you completely disoriented after this amazing display of extreme music ends. In addition, its lyrics couldn’t be more realistic in regards to what mankind is doing to the entire planet (“Endless replication / A cancerous mutation / Of the mother earth / Merciless consumption / An unprecedented emergency”).

Fractal Generator band pictureAbandon Earth has a very suggestive (and true) name perfectly represented in the music (which contains elements from the best Death Metal bands in history such as Deicide, Cannibal Corpse and Morbid Angel) as the hopeless state we’re living in, with highlights to the sinister riffs by guitarist 102119200914 (aka Justin Rienguette) and the furious experimentation crafted by the band. Then we have a fuckin’ massacre entitled Into The Unknown, a very solid tune from start to finish where drummer 040114090512 sounds like a heartless beast while its riffs give a sense of despair and madness; and Paragon, more inclined to traditional Death Metal with hints of Blackened Death Metal (which is always a good thing) and even Black Metal. It’s one of the best of all tracks, very technical and organic (representing the band’s essence), especially due to the sound of its bass guitar which kind of makes us bang our heads like crazy to this evil chant.

The following tune, Human, should have its name changed to “inhuman” due to its infernal rhythm, because no regular human being is capable of crafting such brutish musicality. Its bass and riffs are highly influenced by the unique sounding of Death Metal giants Cannibal Corpse, and I’m certain no one can survive the live performances by Fractal Generator with wicked songs like this one being played. And if you think the band will slow down anytime you’re absolutely wrong, as they keep firing insane riffs, beats and fills in The Singularity, showcasing an outstanding performance by 040114090512 behind his drum kit and an old school vibe with the welcome addition of elements from modern extreme music, while in Synthetic Symbiosis they somehow managed to deliver an even darker sounding where violence is taken to the highest possible level. Besides, the synchronicity between riffs and drumming is what makes this song so enjoyable and full-bodied, and just in case you survive this wonderful onslaught get ready for the aftermath in the creepy tune Reflections, the perfect soundtrack for the end of the world, focusing on its dense instrumental rather than on vocals or lyrics (which are barely existent in this case) before the music fades away, being replaced by a melancholic ambience. I might be wrong, but it seems there’s a trend for Death Metal bands who rely on specific themes on their albums to always craft a climatic ending to their releases, which ends up augmenting the value and dynamism of the overall result.

In order to get a hold of this cosmic battle developed by Fractal Generator, go check the band’s Facebook page, YouTube channel and ReverbNation page. And after all is said and done, we all must agree with Carl Sagan that the universe is not required to be in perfect harmony with human ambition, but also that this talented Canadian act makes sure their chaotic and thrilling music is, representing in an apocalyptical way what lies ahead for our unbalanced world.

Best moments of the album: Face Of The Apocalypse, Paragon and Synthetic Symbiosis.

Worst moments of the album: None.

Released in 2015 Independent

Track listing
1. Cycle 4:09
2. Face Of The Apocalypse 4:18
3. Abandon Earth 5:43
4. Into The Unknown 4:47
5. Paragon 4:25
6. Human 4:54
7. The Singularity 4:19
8. Synthetic Symbiosis 4:08
9. Reflections 8:54

Band members
040118180514 – vocals, bass
102119200914 – guitar, backing vocals
040114090512 – drums

Album Review – Fjorsvartnir / Mzoraxc’ Forbandelse (2015)

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Loyal to the foundations of Black Metal, this talented one-man army from Denmark offers an action-packed album that, above all things, sounds fresh and unique at all times.

Rating4

FJORSVARTNIR - 'Mzoraxc' Forbandelse' , front cover 2015Fans of Scandinavian mythology, Vikings, battles, drinking and atmospheric extreme music, behold the brand new opus by Danish Melodic/Pagan Black Metal one-man army Fjorsvartnir, the excellent Mzoraxc’ Forbandelse, or “Mzoraxc’ Curse” in English. Not only the album took three years to be concluded, but it’s also the first of the band’s three full-length releases to be fully in Danish, and by that you can imagine how organic it sounds and how connected to the themes proposed the music is.

Founded in 2007 in the stunning city of Copenhagen, Denmark by multi-instrumentalist Fjorgynn (who’s supported by three other musicians when it’s time to materialize his music during the band’s live performances), the music by Fjorsvartnir can be at the same time a demonic onslaught and a melodic aria of melancholy, depending on the topic chosen by Fjorgynn when composing his songs. If this is not enough to show you the depth of Fjorsvartnir’s music, maybe the explanation for the name of the band can help you understand that. Fjorsvartnir is another name for Rimfaxe, the black horse that runs over the sky carrying the moon in its chariot, driven by a giant woman named Nat. With that said, are you ready for battle now?

Pagan and nature elements kick off the opening chant, entitled Ravneskrig Og Ulvehyl (“The Raven Scream And The Wolf Howl”), which after a brief acoustic intro becomes a powerful and symphonic exhibit of Scandinavian Black Metal. In addition, it’s impressive how Fjorgynn is capable of crafting such organic and imposing music all by himself, where not only his vocals sound truly demonic but his riffs are also exactly what good extreme music demands. The following tune, Nordens Genopstandelse (“Nordic Resurrection”), is more inclined to traditional Black Metal, with the incorporation of symphonic elements in the background creating a beautiful melody that supports the sonic havoc presented from start to finish. Besides, Fjorgynn delivers desperate vocals mixed with deeper guttural growls, sounding violent and harmonious at the same time.

Embraced by a very solid instrumental, Fjorsvartnir offer us an epic and ominous tune forged in the fires of hell named En Rejse Igennem Fortidens Riger (“A Journey Through Past Kingdoms”), where its keyboards act like a melancholic ray of light in the middle of all the darkness generated by the other instruments, reminding me of some old songs by Dimmu Borgir. Moreover, its last part feels like an ode to anguish, only making it even more enjoyable to fans of Black and Doom Metal. The Viking/Pagan instrumental tune Riget (“Empire”) is a pleasant surprise after so much despair, with Fjorgynn doing a superb job showing his music is more than just pure Black Metal, before Mzoraxc – Mødet Med Underverdenen (“Mzoraxc – Meeting With The Underworld”) rumbles the earth with a creepy intro and a somber rhythm led by its guitar riffs. It has those mesmerizing blast beats found in traditional Black Metal boosted by the harsh growls by Fjorgynn, and although I (unfortunately) do not speak Danish I’m absolutely sure the story told during the song is complex, intense and gripping.

FJORSVARTNIR - promo photo 2015Tailored for fans of complex Extreme Metal, Krigssat contains elements from the most obscure Black Metal from Norway, the more melodic lines from Sweden and the symphonic vibe found in bands from Norway, Finland and the UK, with the gentle and operatic female vocals being a welcome touch of beauty to the song, followed by Det Sidste Slag (“The Last Battle”), a highly recommended soundtrack for an epic battle. I love how the song keeps changing its rhythm and emotions; for instance, you can enjoy sheer brutality through its sick blast beats or feel enfolded by its ominous passages, as there’s excellence for all types of extreme music fans (especially if you are a true black metaller, you’ll go crazy with this incredible composition). Once again, Fjorgynn sounds like a demon incarnate on vocals, which only adds more wickedness to the song. And to properly wrap things up, the melancholic outro Valkyrie provides the listener the sensation of a sorrowful aftermath in a precise and passionate way.

Fjorsvartnir, the Norse creation by the talented Fjorgynn, can be reached through their Facebook page, YouTube channel and ReverbNation, and the energetic Mzoraxc’ Forbandelse can be purchased at the band’s official BandCamp page. Loyal to the foundations of Black Metal, Fjorsvartnir created an action-packed album that, above all things, sounds fresh and unique at all times, even amidst so many other extreme music bands available worldwide.

Best moments of the album: Ravneskrig Og Ulvehyl, Nordens Genopstandelse and Det Sidste Slag.

Worst moments of the album: None.

Released in 2015 Grom Records

Track listing
1.Ravneskrig Og Ulvehyl 6:35
2.Nordens Genopstandelse 6:52
3.En Rejse Igennem Fortidens Riger 8:42
4.Riget 2:40
5.Mzoraxc – Mødet Med Underverdenen 6:42
6.Krigssat 6:20
7.Det Sidste Slag 7:48
8.Valkyrie 2:00

Band members
Fjorgynn – vocals, all instruments

Live
Fjorgynn – vocals, lead & rhythm guitar
Helgarm – lead & rhythm guitar
Onslaughter – keyboards
Arent – drums

Album Review – Hateful Warfare / Scenarios Of Execution EP (2015)

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It’s time to be executed in a heartless and gruesome way through the music by this vicious Death Metal band from Brazil.

Rating5

11329653_839212942837134_1148590419_nFounded in the beginning of 2015 in the city of Joinville, located in the state of Santa Catarina, Brazil, Death/Thrash Metal band Hateful Warfare are set to crush your souls and show you how good Brazilian extreme music is with their debut EP entitled Scenarios Of Execution. Discussing controversial themes such as religion and war through their lyrics, this talented power trio knows how to mix harmony and aggressiveness to make their message sharper and more scathing, characteristics that always add significant value to Extreme Metal.

Not only Scenarios Of Execution represents total devastation in a little less than 25 minutes of music, but the band’s cohesiveness becomes even more outstanding if we keep in mind the band members have been together in this project for less than one year. Perhaps their main influences, which range from old school Death and Thrash Metal the likes of Kreator, Exodus and Death, to the traditional Heavy Metal by Iron Maiden, to the Punk Rock/Hardcore attitude by Misfits, to the fierce sonority crafted by their fellow countrymen Sepultura, Krisiun, Korzus and Ratos de Porão, is what makes the music found in Scenarios Of Execution sound so strong, and therefore a delight for fans of the genre.

An eerie and devilish voice in the diabolical intro Ready for Disaster introduces the listener to the band’s nightmare-ish and raw musicality in Welcome to My Nightmare, which starts in an epic and imposing way before all hell breaks loose and the band begins firing their nonstop metallic aggression mercilessly. In addition, the vocals by lead singer/bassist Andrei sound truly inspired by the early days of Max Cavalera with an extra touch of despair added; and how can their riffs be so dirty, dark and melodic at the same time?

Put the words “infernal” and “war” together and you’ll obviously get a feast of blast beats, tons of shredding and violent growls, which is exactly what you’ll find in the excellent Infernal War. Drummer Denis showcases his technique by adding some interesting breaks amidst his sick beats, and kudos to guitarist Norba for another excellent job done on guitar, enhancing the song’s ferocity. Blending the acid music by icons such as Exodus, Slayer and Dark Angel, Slaves of Christ offers four minutes of brutality and blasphemy the way only good old Death Metal can: it’s simply perfect for a destructive circle pit, and you gotta love how Andrei screams the chorus with so much anger and hate. Moreover, although they’re (still) an underground band, you’ll notice how professional they sound in this song, keeping up with the music by well-established names in the global metal scene.

1500 (2)Following that blasphemous tune, prepare your neck for another headbanging massacre, this time inspired by Cannibal Corpse and Morbid Angel, named Addiction to Kill. Its riffs and drums will undoubtedly put you to “dance” and slam into the pit together with Hateful Warfare, but save your energies because the havoc is not over yet, as the heavy and technical tune Bloody Night will provide you some catchy riffs and a thunderous atmosphere, also flirting with raw Black Metal and Doom Metal to give it an even darker taste, keeping you electrified from start to finish. And lastly, making sure they smash everyone that crosses their path, Hateful Warfare close this visceral EP with another old school song named Fuel for Infernal Disgrace, discharging riffs that are even heavier than before, therefore guiding the musicality to a higher level of carnage. An awesome ending that leaves the listener eager for more of their hellish music, if you ask me.

Hateful Warfare are waiting to pulverize you on their Facebook page and YouTube channel, or if you prefer you can find all details about the band, their debut EP and their concerts at the official Sangue Frio Produções website. If you want to be “executed” in a heartless and gruesome way through the music by a vicious Death Metal band, these Brazilian guys definitely have what it takes to satisfy your inner desire for brutality.

Best moments of the album: Welcome to My Nightmare and Bloody Night.

Worst moments of the album: None.

Released in 2015 Independent

Track listing
1.Ready for Disaster (Intro) 1:43
2.Welcome to My Nightmare 3:34
3.Infernal War 4:23
4.Slaves of Christ 4:07
5.Addiction to Kill 3:42
6.Bloody Night 3:21
7.Fuel for Infernal Disgrace 3:55

Band members
Andrei – vocals, bass
Norba – guitars
Denis – drums

Album Review – Krisiun / Forged In Fury (2015)

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These Brazilian veterans show us once again how good old school Death Metal sounds better when forged in sheer fury.

Rating5

Krisiun_Forged In FurySince the year of 1990, Brazil has become a synonym for fast, brutal and technical Death Metal due to the volcanic music engendered by Death Metal brothers Krisiun. And although there has been significant and obvious changes in their music from their 1995 debut album Black Force Domain to their brand new release entitled Forged In Fury, especially their move from that nonstop demonic carnage highly influenced by Black Metal from their early days to today’s melodic and metallic groove, they keep kicking ass and crushing our bones no matter what.

The professionalism and complexity of the artwork, designed by renowned American artist Joe Petagno, already gives the listener a good taste of what Forged In Fury is about: straightforward and deeply infuriated Death Metal. It might not be their best album to date (it doesn’t get close to that), with a couple of songs sounding like filler just to add extra time to the album, but it’s still a solid Krisiun release that will cause some serious damage to the spinal cord of fans of extreme music and admirers of the work of this talented Brazilian power trio.

Ready, set, go! Brothers Kolesne warm up the listener for a minute before the massacre starts in Scars of the Hatred, with drummer Max Kolesne being so precise and fast it’s hard to believe he’s only human. In addition, this song perfectly represents the evolution in their musicality, with the addition of lots of groove but always keeping their viciousness burning. And Max keeps sounding like a machine gun on drums in Ways of Barbarism, a brutish tune that makes it impossible not to slam into the pit. Their technique is impressive, with Alex Camargo and Moyses Kolesne giving a lesson in Death Metal with their powerful bass lines and guitar riffs and solos, respectively. Strident bass and riffs kick off the fuckin’ excellent Death Metal attack Dogma of Submission, where Alex sounds truly barbaric with his growls and Max continues his path of destruction with his unique fury and skills. If you love violence in music, this track is tailored for you.

KrisiunStrength Forged in Fury is very rhythmic and aggressive, offering everything modern Death Metal is comprised of, including sick guitar solos, harsh lyrics and a hellish atmosphere. It feels like a “special package” with three awesome songs in one thanks to the amazing job done by all band members. On the other hand, Soulless Impaler is way below the other songs in the album. The music itself never really takes off, as if something keeps holding it down, becoming quite disappointing after a while. Fortunately, in Burning of the Heretic it looks like the three brothers are mad at something or someone based on the level of devastation presented. I loved its riffs and how the vocals match flawlessly with all instruments, and what to say about the demented guitar solos delivered after four minutes?

If you want to do some sick headbanging, take a listen at The Isolated Truth to have your neck broken by its intensity. This is a good example of how they can sound clean and vicious at the same time, one of the main characteristics that took them to stardom. And like a squad marching to war, Krisiun deliver another Death Metal feast in Oracle of the Ungod, with highlights to the great work done by Moyses on the guitar, enhancing the song’s melody and flow, not to mention the metallic bass lines by Alex puncturing our ears. Following that sonic havoc, the groovy and progressive Timeless Starvation showcases the outstanding production of the album, with Alex mercilessly growling the story told in the song amidst a precise and intricate musicality. This great tune should sound amazing live, with highlights to its superb ending thanks to the flawless guitar lines by Moyses. I’m not sure what the short acoustic track Milonga de la Muerte is doing in the album, but it ends up being an interesting outro for its regular version. And if you grab a special version of it, you’ll be delighted with more of Krisiun’s unique destruction in Earth’s Cremation and with their brilliant tribute to Black Sabbath with their dark version for the classic Electric Funeral.

To sum up, as previously mentioned, Forged In Fury might not be masterpiece nor be among Krisiun’s best albums, but it’s still above average and a decent addition to the band’s belligerent discography. If you’re a longtime fan of the band and has been having fun witnessing their development through the years, you’ll have a good time listening to Forged In Fury. And if you’re new to Krisiun, go check out how Death Metal sounds a lot better when it’s forged in sheer fury.

Best moments of the album: Ways of Barbarism, Dogma of Submission and Electric Funeral.

Worst moments of the album: Soulless Impaler and The Isolated Truth.

Released in 2015 Century Media

Track listing
1. Scars of the Hatred 5:42
2. Ways of Barbarism 6:32
3. Dogma of Submission 4:55
4. Strength Forged in Fury 6:07
5. Soulless Impaler 6:11
6. Burning of the Heretic 6:21
7. The Isolated Truth 4:09
8. Oracle of the Ungod 4:43
9. Timeless Starvation 5:56
10. Milonga de la Muerte 0:53

Special Edition bonus tracks
11.Earth’s Cremation 3:49
12.Electric Funeral (Black Sabbath cover) 4:40

Band members
Alex Camargo – bass, vocals
Moyses Kolesne – guitar
Max Kolesne – drums

Album Review – Goat Torment / Sermons to Death (2015)

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A consecration of extreme music and the occult, not in the name of the Father, nor of the Son, nor of the Holy Spirit.

GT_sermons_to_death_HDForged in the fires of hell in the accursed year of 2008, with the intention to create music as a weapon of mass destruction and to annihilate everything which our so-called society stands for, Belgian Occult Black/Death Metal beasts Goat Torment are back and ready to haunt our souls with their brand new full-length album, the rapturous Sermons to Death. In other words, get ready to have your body and soul crushed by 40 minutes of the most deviant form of extreme music you can think of.

After the release of their debut album Dominande Tenebrae in 2013, and after touring with wicked names such as Enthroned and Black Crucifixion, including their first ever live appearance on American soil at Maryland Deathfest in 2014, this Ghent-based horde is following the steps of their fellow countrymen Enthroned in regards to the savagery stemming from their music and the profanity advocated through their lyrics. All that blasphemy might be an issue for people who are not really into Black Metal, but it’s indeed a dark delectation for diehard connoisseur of the genre.

When a Black Metal intro starts as dark as Opening the Gates, going on for over three minutes, you know there will be blood and torment through the rest of the album, which is confirmed as soon as the blackened storm entitled Bones Aligned comes ripping. The music is so intense and legitimate it doesn’t sound that only two musicians are generating it, with highlights to Kwel, the mastermind behind Goat Torment, for vociferating his vocal lines in a flammable way, and to the tempo changes that end up making the whole song even more memorable. Rising Dominion mixes the hardcore attitude from Slayer to the vileness of Black Metal, with the resonant bass lines and blast beats turning up the heat in this sonic devastation, while Hierarchy of Negligence, the first of their two epic songs, offers seven minutes of a Black, Death and Doom Metal extravaganza boosted by an astounding level of malignancy. Drummer Torturer (Mor Dagor, ex-Bethlehem, ex-Belphegor) lives up to his name and “tortures” the listener with his furious beats, supporting Kwel and his dark and blasphemous riffs and words.

goat tormentWhile some people hate short instrumental tracks like Within the Realm of Darkness, I think they’re essential for telling a good story in a Black Metal album, preparing the listener to what’s next, which in the case of Sermons to Death is the morbid Defloration of the Holy Cunt, one of the “cutest” names I’ve ever seen in my life for a song. You can imagine how nasty and grotesque this anthem is, full of growls, sick riffs and unstoppable drumming that will dilacerate your mortal soul. Do I need to say I loved it? Anyway, Death is Crowned makes it hard to believe Goat Torment are almost a one-man army so complex it is: Kwel is extremely talented, and just like most European musicians he can easily add tons of melody to extreme music, it doesn’t matter if it’s old school Black Metal or if it’s a blend of Blackened Doom and Thrash Metal like what happens in this song.

Showing absolutely no mercy for our souls, The Domineering Profane emanates despair through Kwel’s demonic vocals, perfect for some hellish headbanging, before their second epic song, Of Fire and Brimstone, closes this excellent album. This ode to hell starts as visceral as possible, and as the name of the song suggests, fire and sulphur impregnate the atmosphere, with highlights to the anger Kwel shows during its entirety, making your blood boil until the ominous last part of this sick tune drags us down to hell together with Kwel and Torturer. Or maybe you want to take another listen to the whole album, and another one after that, before joining them in the underworld?

Either way, whenever you’re ready to join the dark side with Goat Torment, simply visit their Facebook page, YouTube channel or SoundCloud page. And don’t forget to buy your copy of Sermons to Death at the Amor Fati Productions webshop or at their BandCamp page, an album that can be considered a consecration of Extreme Metal, not in the name of the Father, nor of the Son, nor of the Holy Spirit.

Best moments of the album: Bones Aligned, Hierarchy of Negligence and Defloration of the Holy Cunt.

Worst moments of the album: The Domineering Profane.

Released in 2015 Amor Fati Productions

Track listing
1. Opening the Gates 3:41
2. Bones Aligned 3:21
3. Rising Dominion 5:46
4. Hierarchy of Negligence 6:49
5. Within the Realm of Darkness 1:28
6. Defloration of the Holy Cunt 2:11
7. Death is Crowned 4:27
8. The Domineering Profane 3:58
9. Of Fire and Brimstone 7:12

Band members
Kwel – vocals, guitars, bass
Torturer – drums

Album Review – Sarpentra / Supernova (2015)

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Obscure and enigmatic, this impressive Blackened Death Metal band from Russia will break into your psyche and give you a unique sense of freedom with their thunderous music.

Rating4

Sarpentra - Supernova - coverLet me start by telling you how different this review is going to be, as for the first time ever I have absolutely no idea who the band members are for the band in question, Russian Blackened Death Metal entity Sarpentra, and according to different sources I’ve been in contact with they’re keeping their names in secret on purpose. The band itself states that Sarpentra are “more than a group of people who play music. It is an idea, symbiosis of spirit, music and mind, compounded in a single organism, which creates its own fate.” With that said, I guess the best option in this case is simply absorbing and enjoying their music without worrying about who’s playing it, don’t you agree?

And what Sarpentra have to offer us in their debut full-length album, entitled Supernova, definitely makes up for that lack of information on the band members. The entire album presents an incredible mix of extreme aggression and mystical instrumentation, following a similar music pattern from icons such as Nile and Behemoth, or as the band likes to say, it’s “an eleven-tracked hymn to domination of mind above stagnation, bigotry and imitation of life and freedom.” And in case you still don’t get it, just hit play and you’ll be taken into a music journey full of orchestrations, choirs, beautiful guitars and devastating drums that will make your metallic head spin around like a violent whirlwind.

Right after the quick sinister intro Archaios Ophios (Initiation), Sarpentra’s brutal and technical Death Metal comes crashing like a thunder storm in Iron Nails Run In, a modernized version of extreme music intensified by the addition of symphonic elements, where its Black Metal blast beats and evil progressiveness are truly outstanding. In the pure Blackened Death Metal tune Splendor Solis, the guttural vocals sound vile and ruthless in contrast to the eerie ambience generated by synths and backing vocals, with its guitar solos providing a good balance amidst all the sonic devastation; while the supernatural intro and Middle-Eastern guitar scale in the excellent Sempiternal transport the listener to a hopeless and deserted land. It’s a flawless blend of old school Death Metal and Symphonic Black Metal, reminding me of some classics by Behemoth due to its blackened vocals and intricate guitar riffs and solos.

sarpentraThe boisterous Odium (The Temple of the Sacred False) is a short and skilful exhibit of extreme music, an evil old school Death Metal song with demonic vociferations more than perfect for fans of Extreme Metal, followed by the imposing symphonic instrumental track V.V.V.V.V., or “vi veri veniversum vivus vici” (a Latin phrase meaning “by the power of truth, I, while living, have conquered the universe”), and the amazing I Set the World on Fire, where its drums are absolutely on fire while its vocals are bursting with anger. Complex and electrifying, in special its razing guitar lines, this is the next step in the expedition to the deranged land created by this extremely sharp and talented band.

The War Anthem doesn’t have “war” in its name in vain: it’s yet another inhuman tune where it’s quite clear they’re trying to blacken their Progressive Death/Black Metal as much as possible. Furthermore, those guys love shredding and delivering fast guitar solos more than their own lives without a shadow of a doubt. Then we have the title-track, Supernova, where you can feel the solar power present in the album art through their mix of Death, Black, Symphonic and even Progressive Metal, a feast for music lovers. In addition, there’s something primeval and mysterious in this song that makes it so interesting it’s hard to describe, you have to listen to it carefully to understand what I’m trying to say.

Anyway, Omnia Vincam  (Latin for “I will conquer all”) is an eerie instrumental track impregnated with occult voices that opens the gates for the most epic song of the album, Prometheus Unbound, where its energy and intensity provide the listener the ultimate journey to Sarpendra’s godforsaken land. Showcasing a very cohesive and majestic instrumental from start to finish, all orchestrations and backing vocals perfectly support the depiction of an ancient civilization worshiping the demigod Prometheus, finally unleashed from his burdensome chains.

There are infinite ways to get in touch with Sarpentra and know more about their elaborate music, such as their official Facebook page, VKontakte and YouTube channel, and you can buy the striking Supernova at the band’s Big Cartel, Amazon, iTunes and Google Play. It doesn’t matter how enigmatic and obscure Sarpentra are, their music is all that’s needed for a unique experience of mind and soul, breaking into your psyche and giving you a sense of freedom in a way only sumptuous heavy music is capable of doing.

Best moments of the album: Iron Nails Run In, Sempiternal and Prometheus Unbound.

Worst moments of the album: None.

Released in 2015 Independent

Track listing
1. Archaios Ophios (Initiation) 0:20
2. Iron Nails Run In 4:34
3. Splendor Solis 3:04
4. Sempiternal 5:36
5. Odium (The Temple of the Sacred False) 2:58
6. V.V.V.V.V. 2:23
7. I Set the World on Fire 4:13
8. The War Anthem 3:11
9. Supernova 5:10
10. Omnia Vincam 2:02
11. Prometheus Unbound 7:17

Band members
*Information not available*

Album Review – Vacivus / Rite of Ascension EP (2015)

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1

Fill the void you feel within with the Blackened Death Metal crafted by this devilish British horde.

Rating5

Vacivus - Rite of Ascension - coverDealing with the occult, death and transcendence, here comes British Blackened Death Metal band Vacivus and their debut EP entitled Rite of Ascension, an album that has enough power to darken your mind and spirit despite being relatively short. If you are already aware of how impactful both the music and the message generated by other Blackened Death Metal bands in the world such as the iconic Behemoth, Belphegor and Goatwhore are, you might have a pretty good idea of what Vacivus have to offer. If not, you better get ready because things are about to get heavy and atrocious.

However, this promising horde is not emerging from the depths of the UK depending strictly upon the heaviness of their music, but they also rely on their undeniable capability to add feeling and intricacy to a vortex of wickedness, showing beyond doubt their skills as musicians. On a side note, Vacivus seem to be extremely attentive to all details involving their music, as for example what they did with the already sold-out special cassette edition of the EP, releasing it on a special “Noir Void Shell” and inked with the “blood of their enemies”. In other words, they’re another good example of how the fusion of hard work and talent always results in awesomeness.

When you start listening to the opening track, Dark Apotheosis, you’ll feel like you’re descending into the fires of hell, where a dark void of despair is forged through the demonic vocals by Nick Craggs and the sinister guitar lines by Dan Rochester and Ross Oliver. Although this song is primarily raw Death Metal, you can taste the venom brought forth by its Black Metal elements. In the title-track, Rite of Ascension, it’s time for drummer Ian Finley to guide the rhythm with his raw blast beats, helping the musicality flow from faster and harsher moments to primeval Blackened Doom. I don’t know if anyone will agree with me, but the “filthy” production of the EP ends up enhancing the obscurity of their music, and therefore the overall quality of the album.

VacivusAgeless, Nameless starts in a more melodic way before evil dominates the sounding again, with the suffocating growls by Nick reaching a whole new demonic level. It’s dense and ominous, with highlights to the way its last part morphs into melancholic and infernal Doom Metal. And there’s no sign of hope when Hostis Rei (which probably means “the accused enemies” or something similar to that in English) begins, sounding like this song was literally crafted in hell. The whole band keeps delivering darkness and evil in the form of heavy and constant guitar lines as well as reverberating bass lines, turning it into my favorite of all five tracks. And lastly, we have one more solid display of malignancy in Vacivus Aeternum, which are the Latin words for “eternally void” and also the name of the band if you haven’t noticed yet. A lot closer to Black Metal than the other tracks, its nice guitar solo works as a downward spiral back to the original den where the EP started in a somber and effective way.

As aforementioned, the special cassette version of the album (strictly limited to 100 copies) released through Goatprayer Records is already sold out, but you can still purchase a digital copy of Rite of Ascension at the Gotaprayer Records BandCamp page, or wait until later this year to grab your CD version of the album via Hellthrasher Productions. Vacivus can easily help you fill the void you feel within with their Blackened Death Metal, all you have to do is embrace their nocturnal and unearthly aria and let their poisonous and metallic words intoxicate your psyche.

Best moments of the album: Hostis Rei.

Worst moments of the album: None.

Released in 2015 Goatprayer Records/Hellthrasher Productions

Track listing
1. Dark Apotheosis 3:51
2. Rite of Ascension 3:57
3. Ageless, Nameless 5:24
4. Hostis Rei 4:37
5. Vacivus Aeternum 5:31

Band members
Nick Craggs – vocals
Dan Rochester – guitars
Ross Oliver – guitars
Dan Jones – bass
Ian Finley – drums

Album Review – Cradle of Filth / Hammer Of The Witches (2015)

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The metallic coven instituted by one of the most important Extreme Metal bands of all time keeps haunting our world with their thrilling and malevolent music.

Rating3

CoF_Hammer of the WitchesI don’t understand why some people are so skeptical when British Extreme Metal behemoths Cradle of Filth are about to release a new album. Despite some very few letdowns, and I’m not talking about entire albums but just one or another song, Dani Filth and his sinful horde have always delivered first-class dark music, where the combination of symphony, heaviness, controversial themes and intricate and deranged lyrics goes beyond what almost all metal bands in the world can do. And now joining their collection of perversity, which includes masterpieces such as Cruelty and the Beast, Midian, Damnation and a Day and Godspeed on the Devil’s Thunder, we have Hammer Of The Witches, the eleventh studio album in their distinguished career and, more important than that, another solid display of black magic by one of the most important extreme bands from the past decades.

The album is named after the Malleus Maleficarum, a medieval document of guidelines regarding the persecution and torture of witches, just for you to have an idea of how obscure Hammer Of The Witches is. In regards to the artwork, designed by Latvian artist Arthur Berzinsh, Dani mentioned in one of his interviews that it is “a lavish walk-through of the lyricism, drawing on rich renaissance themes and displaying them in beautiful-yet-unsettling scenarios. Half of the detailed pieces are totally original for the release, others are Berzinsh classics cunningly tailored to the themes of the album, which are themes rife with heady witchcraft, be it persecution, retribution or unfettered spiritual liberation. The female form is rampant throughout the artwork, unashamedly displayed in its classical rendition of beauty… and horror.” In my humble opinion, that stylish explanation summarizes not only the imagery, but also the music found in the album. You can also see Dani giving more details about it in this official interview on YouTube.

Is there a better way to start a Cradle of Filth album than with one of their traditional intros, like Walpurgis Eve? This is already a good sign that the album will be kick-ass, which is confirmed when the havoc begins in Yours Immortally…, a song that perfectly represents the mix of raw Black Metal and traditional Heavy Metal only Dani & Co. can provide us. In addition, while Dani delivers his trademark high-pitched demonic screams, Martin “Marthus” Škaroupka keeps improving his importance in the bestial sounding crafted by the band. Enshrined In Crematoria has its good and bad moments, the good ones happening when they speed up the rhythm and the guitar riffs by Richard Shaw and Marek “Ashok” Šmerda lead an awesome sonic attack, whereas its slow parts sound too bland and generic; followed by Deflowering The Maidenhead, Displeasuring The Goddess, with its musicality containing elements from Midian and The Manticore and Other Horrors boosted by some crazy guitar solos. Moreover, I guess I don’t need to say Dani is by far one of the best lyricists of all time (“Religion caw epistles / Twisted laws extend their thristles / A crown to justify / Our place atop this hellbound carriage”), and Lindsay Schoolcraft not only delivers some wicked keyboard notes but her smooth and powerful voice also adds a lot of passion to the song.

CoF 2015Blackest Magick In Practice showcases a beautiful and melancholic start, focusing on Symphonic Gothic Metal without losing the band’s characteristic ferociousness. Its guitar riffs couldn’t sound more amazing, and Dani’s vocals sound great during the entire track, it doesn’t matter if he’s simply screaming like a demon or delivering his deeper dark growls. Then the band offers us the calm but somber intro The Monstrous Sabbat (Summoning The Coven), right before the title-track Hammer Of The Witches comes ripping with its imposing sounding where the keyboards by Lindsay get a lot more focus. It’s the most symphonic of all tracks so far, an awesome feast of the Symphonic Black Metal that longtime fans of the band learned to love. I have to say the initial “electronic” seconds in Right Wing Of The Garden Triptych (check the uncensored version of the official video HERE, it’s much better than the censored one on YouTube) scared the hell out of me especially because this was the first single released, but fortunately that was just a quick intro as the music itself is simply outstanding, varying from sheer brutality to gentle piano passages. Dani is absolutely on fire with his diabolic screams as well as Marthus and his wicked blast beats, not to mention the band’s Stygian lyrics being a delight for fans of devilish music as always (“Unforgiving proof accrual begs this cruel rebirth / A living fuel for the blaze of renewal, razing the earth / Pariahs and Messiahs of the highest worth / Fodder for the denizens of risen, hissing Hell”).

It’s not a true Cradle of Filth release without a ghoulish song about vampires, and in Hammer Of The Witches that comes to light (or darkness) in The Vampyre At My Side, an old school Cradle of Filth tune where you can feel the music rising to its climax amidst rawer moments in which the guitar riffs get thrashier than usual. Do I need to say anything about yet another excellent performance by Dani and Marthus? Anyway, the organ intro in the next song, Onward Christian Soldiers, generates a somber atmosphere perfect for the dense and violent exhibit of modern Extreme Metal that follows. This is one of the best tracks of the album (if not the best), a stunning epic composition with lots of variations where its riffs remind me of some of their songs from the brilliant Dusk… and Her Embrace. And finally, Blooding The Hounds Of Hell is a more-than-suitable symphonic outro to close all the stories told throughout the album, transpiring sorrow and darkness.

You can choose your version of the album at the Nuclear Blast webstore, but if I were you I would definitely purchase one of the special editions that come with two bonus tracks, King Of The Woods and Misericord, as they’re both savage and erotic. Based on the magnificent witchcraft found in Hammer Of The Witches, it looks like the metallic coven instituted by Cradle of Filth, who are in their best shape of the past few years, will keep haunting our world with their thrilling music for many years to come.

Best moments of the album: Yours Immortally…, Right Wing Of The Garden Triptych, The Vampyre At My Side and Onward Christian Soldiers.

Worst moments of the album: Enshrined in Crematoria.

Released in 2015 Nuclear Blast

Track listing
1. Walpurgis Eve 1:29
2. Yours Immortally… 6:00
3. Enshrined In Crematoria 5:46
4. Deflowering The Maidenhead, Displeasuring The Goddess 6:59
5. Blackest Magick In Practice 6:50
6. The Monstrous Sabbat (Summoning The Coven) 1:51
7. Hammer Of The Witches 6:28
8. Right Wing Of The Garden Triptych 5:54
9. The Vampyre At My Side 5:45
10. Onward Christian Soldiers 6:59
11. Blooding The Hounds Of Hell 2:10

Deluxe Edition bonus tracks
12. King Of The Woods 6:17
13. Misericord 6:19

Band members
Dani Filth – lead vocals
Richard Shaw – guitars
Marek “Ashok” Šmerda – guitars
Daniel Firth – bass
Lindsay Schoolcraft – female vocals, keyboards
Martin “Marthus” Škaroupka – drums

Metal Chick of the Month – Masha Scream

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masha01

Славься, Русь, Земля моя!

We all agree that pretty much any Russian girl could be one of Victoria’s Secret’s best top models. What some of us don’t know is that many of those сексуальная women are also very talented artists, such as our Heavy Metal babe this month, the awesome Masha Scream, the founder, vocalist and main songwriter of Russian Epic Pagan Metal band Arkona (or Аркона, in Russian).

Born on January 9, 1983 in the Russian capital Moscow, Masha Scream’s real name is Maria Arkhipova (or Мари́я Архипова, in Russian). Although her musical influences and background come mainly from Pagan Metal, Black Metal and Folk Metal, Masha has mentioned in many interviews that Arkona is not just a music band, especially in regards to her creative process. There’s a lot of experimentation and development in the music created by Masha, in order to present to people her view of the world and what is in her soul, which means that basically nothing limits her in this process. According to Masha herself, “I’m inspired by life and all depends on the situation around me. Every my song is an emotional flash or pain about something.”

To date, Masha has already recorded with Arkona seven full-length studio albums and one EP, which are Vozrozhdeniye (2004), Lepta (2004), Vo Slavu Velikim! (2005), Ot Serdtsa K Nebu (2007), Goi, Rode, Goi! (2009), Stenka Na Stenku EP (2011), Slovo (2011), and Yav (2014), as well as three live albums called Zhizn Vo Slavu (2006), Noch Velesova (2009) and Decade of Glory (2013). A very curious fact happened on March 11, 2010, when a short clip of the song Yarilo, from the album Goi, Rode, Goi!, was featured on the St. Patrick’s Day episode of the U.S. version of the TV series The Office. The scene shows three janitors, who are probably Russian, entering the office with the song playing while the workers were still there, forced to work late.

Apart from Arkona, Masha has also recorded one full-length album with Russian Black Metal band Nargathrond, named Inevitability (2004); and was also the lead singer for Russian Doom/Power Metal band Slavery, that time as Masha Arhipova, during the year of 2000.

Masha has also appeared as a guest musician in many different bands and projects, and that was not only in Russia. To name a few, her powerful voice can be enjoyed on Russian Folk Metal band Svarga‘s first two albums (Ogni na Kurganah, from 2005, and There, Where Woods Doze…, from 2007), on Slovakian Folk Black Metal band Ancestral Volkhves‘ second studio album Perun Do Vas!!!, from 2008, on Russian Folk/Pagan Metal band Alkonost’s album The Path We’ve Never Made, from 2006, and on Russian Folk/Black Metal band Rossomahaar’s album The Reign of Terror, from 2010, among others.

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All that creativity and passion for music is also represented in Masha’s life by the incredible amount of different music instruments she can play. She doesn’t only sing extremely well, but she also plays keyboards, percussion, tambourine, komuz, acoustic guitars, shaker, and since 2002 she’s been also playing the Shaman’s drum. Our Russian diva also mentioned in one of her interviews that despite not being into politics at all, she truly loves the long and very complicated history of her country, especially its nature. This can be seen in any of Arkona’s videos, such as Slavsia, Rus, Liki Bessmertnykh Bogov and Zov Pustyh Dereven, where she’s in total contact with the four classical elements of nature, and in her lyrics always full of passion for all Russian and nature things. In my opinion, these are the key points that make Masha and her music so unique and captivating in the world of Heavy Metal, and something very few people are able to imitate or replicate in such a sublime (and aggressive) way.

Thereat,  not even the fact that Arkona’s music is totally sung in Russian has stopped Masha and her bandmates from conquering the world: the band has already been to different parts of the world to show their mighty music, including countries such as Germany, Sweden, Belgium, USA, Canada, Brazil, England, Italy, Portugal and many others. Among all of their tours and concerts, Masha mentioned that one of Arkona’s craziest experiences happened in the beginning of 2013 when the band went on the amazing 70,000 Tons of Metal cruise to the Caribbean, as one of the 40 attractions playing during the four-day cruise. “There were 4,000 people on board, a buffet and so many interesting things! We had a cabin with access to the ocean, and I was even lucky enough to see flying fish through the window.”, she said.

Of course nothing is perfect: Masha is married to her fellow band member Sergei “Lazar” Atrashkevich, with whom she has two children, so you can already stop dreaming about winning her heart and be satisfied by just admiring her beauty and her stunning music.

Masha Scream’s Official Facebook page
Masha Scream’s Official Twitter
Masha Scream’s Official VKontakte
Arkona’s Official Facebook page

“You don’t need to regret about what you have done because it’s part of your life and also part of you. You just need to remember your mistakes and to not make them again in the future!” – Masha Scream