This ruthless German duo brings forth a compilation of songs against humanity in their newborn Blackened Death Metal beast.
Formed in Saarbrücken in 2015, The Spirit have emerged from the depths of the German Extreme Metal void to breathe new life into the Black and Death Metal genre. Now in 2024 the duo formed of Matthias Trautes on vocals and stringed weapons, and Manuel Steitz on drums attacks again with their fourth full-length installment, titled Songs Against Humanity. Mixed by V. Santura (Triptykon) at Woodshed Studio, and displaying a grim artwork by Eliran Kantor, Songs Against Humanity is a Blackened Death Metal beast highly recommended for fans of Harakiri For The Sky, Dissection, Satyricon, UADA, Hypocrisy and Kataklysm, among others, circling around an astronomic leitmotif in its lyrics and concepts while mixing a misanthropic view on the world with cosmic metaphors and the call to see our often narrow-minded and egocentric existence in the larger context of our whole universe.
It’s absolute chaos and hatred from the very first notes in Against Humanity, with Manuel taking the lead with his Thrash Metal-inspired drumming while Matthias roars like a beast in the name of extreme music, followed by Room 101, presenting psychological lyrics barked by Matthias (“Suppressing the words of sanity / As we lost our way towards utopia / Instead evolved into a dystopian nightmare / When technological progress / Gave rise to the indoctrination of the human mind”) amidst a melodic yet visceral sound. And the duo continues to venture through the realms of Melodic Death, Thrash and Black Metal in Cosmic Rain and Human Dust, sounding ruthless until the very end, with Matthias’ riffs feeling absolutely caustic.
Spectres of Terror is another explosion of austere, infernal words barked by Matthias (“A grotesque embrace / Of an impending misery / When the past and sense / Are displaced by ideology / Madness and insanity / A grim bane you invoked”), whereas Death is my Salvation offers a more introspective, progressive side of the band, with Matthias slashing his axe manically accompanied by the always venomous beats and fills by Manuel. Then we’re treated to Nothingness Forever, which begins in a serene, grim manner before evolving into a straightforward Black Metal aria led by the crushing drums by Manuel. Finally, we have the extended outro Orbiting Sol IV, which despite being a solid tune, it ends up taking away some of the electricity from the album due to its length.
You can take a very nice and detailed listen at the scorching Songs Against Humanity in full on YouTube and on Spotify, and of course show your support to one of the heaviest duos of the current German scene by purchasing a copy of their new album by clicking HERE or HERE. Don’t forget to also start following them on Facebook and on Instagram for news and tour dates, as they do play live (with the support of guitarist Stanley Robertson and bassist Linus Klausenitzer), having an absolute blast to the sound of their sharp and vile fusion of Black and Death Metal. Matthias and Manuel are bringing forth a compilation of songs against humanity in their newborn beast, and there’s nothing better than their first-class Blackened Death Metal to show how putrid, corrupt and evil the entire humanity can be.
Best moments of the album:Against Humanity, Cosmic Rain and Human Dust and Nothingness Forever.
Worst moments of the album:Orbiting Sol IV.
Released in 2024 AOP Records
Track listing 1. Against Humanity 8:06
2. Room 101 4:15
3. Cosmic Rain and Human Dust 4:55
4. Spectres of Terror 5:39
5. Death is my Salvation 8:33
6. Nothingness Forever 5:46
7. Orbiting Sol IV 3:34
Band members
Matthias Trautes – vocals, guitars, bass
Manuel Steitz – drums
Behold the new album by these three ruthless Swedish Black Metal ladies, a howling, hate-filled voice of rage, fueled by the fire and the fists that have subjugated womankind.
“Like the screams from a thousand vengeful souls from the witch’s bonfire.” – Vittra describes the sound of Völva
Forged in 2018 in in the simmering underground cauldrons of Punk and Black Metal of Malmö, Sweden, Black Metal/Crust outfit Völva will crush your damned soul to pieces in their new album, titled Desires Profane, a howling, hate-filled voice of rage, fueled by the fire and the fists that have subjugated womankind since the old ways were undone by the insidious Christian contamination of the world. Recorded by Oliver Dah in Studio Quaalude, mixed and mastered by Ulf Blomberg at Hoborec, and with a cryptic artwork by The Black Bird Sings, the first full-length album by vocalist and bassist Hedonosticia, guitarist Vittra and drummer Skuld seeks to explore Satanic Feminism, breaking away from conformity and exploring a higher purpose through free will, body and lust, all while being recommended for admirers of the caustic creations by Darkthrone, Urgehal, Wolfbastard and Taake, among many others.
Their evil, dirty and cryptic feast of Black Metal kicks off in full force with The Tower (check their performance playing this amazing song at Quaalude Sessions #15), with Hedonosticia already crushing our minds with her she-wolf gnarls, and it’s time to walk through the fires of hell together with those talented Sweds in Walk With Me, with Vittra showing no mercy for our souls, blasting infernal riffs nonstop. They then go full Black Metal in Expulsion of the Flesh, delivering endless animosity and darkness, with Hedonosticia’s harsh vocals sounding utterly piercing; followed by Inverted Cross, displaying a beautiful name for another explosion of Black Metal magic by the trio, again melting our faces with their unrelenting savagery, blast beats and hellish growls, before we face five minutes of sluggish, grim and visceral passages in Never Forgive, showcasing elements of Doom Metal added to their devilish core essence.
And they keep hammering our putrid souls with their blend of Black Metal and Crust in The Serpent, also delivering elements of Death Metal and Blackened Death Metal, led by the infernal roars by Hedonosticia and the massive beats by Skuld, whereas Perpetual Putrefaction sounds a bit generic compared to the rest of the album, albeit still presenting the band’s characteristic blasphemous, demonic sounds. Asmodeus is one of the most infuriated of all songs in Desires Profane where Vittra’s riffs are the epitome of evil, sounding devilishly metallic, while Hedonosticia continues to summon the creatures of the underworld with her she-demon gnarls; followed by Salvation, another evil onrush of Black Metal masterfully brought into being by the band, living up to the legacy of Swedish Black Metal, with Skuld once again kicking ass on drums. And last but not least, they offer us all a ruthless Black Metal extravaganza titled Vagabond, reminding me of some of the most wicked creations by the mighty Skeletonwitch.
In summary, those three Swedish ladies sound absolutely insane and on fire throughout their entire newborn beast, proving once again that women not only have their place in heavy music, but that they can also sound heavier, darker and more caustic than any man. Hence, you can check what they’re up to on Instagram, including their tour dates, stream their creations on any streaming service like Spotify, and grab a copy of their scathing new album from their own BandCamp, from the Grind To Death Records’ BandCamp, or from the Fiadh Productions’ BandCamp, helping them spread their infernal howl in the name of feminism and Black Metal to all four corners of our sexist and decaying world.
Best moments of the album:Expulsion of the Flesh,The Serpent and Asmodeus.
Worst moments of the album:Perpetual Putrefaction.
Released in 2024 Grind To Death Records/Fiadh Productions
Track listing 1. The Tower 4:10
2. Walk With Me 2:59
3. Expulsion of the Flesh 3:45
4. Inverted Cross 3:12
5. Never Forgive 5:19
6. The Serpent 3:42
7. Perpetual Putrefaction 2:30
8. Asmodeus 2:31
9. Salvation 4:38
10. Vagabond 2:28
Band members Hedonosticia – vocals, bass
Vittra – guitars, backing vocals
Skuld – drums, backing vocals
A metalhead can’t ask for a more fitting experience than four days of extreme metal in the city that is responsible for birthing one of the most notorious and exciting sub-genres, black metal. Bergen, Norway is home to some of the most relevant and awe-inspiring artists, bands and figures such as Enslaved, Gorogorth/Gaahl, Burzum/Varg Vikernes, Immortal/Abbath put this city on the map as it relates to their contributions. It makes perfect sense, then, that this same city is host to the Beyond The Gates Festival, which features many of the Nordic bands that have helped shape black metal, plus a whole selection of other artists and experiences. The 2024 edition proved to be one of the best yet.
DAY ONE
Mayhem @ Beyond the Gates 2024
The day started with Trondheim’s Whoredom Rife who are one of the most exciting bands to come out of Norway in quite some time. They hit the stage with the ferocity of a tsunami and destroyed with a raw, vicious black metal assault. Next up was Polish black metallers Manbryne. As a relatively new entry into the space (having formed in 2017) this five-piece delivered a set like a band with a few decades under their bullet-adorned belts. Next up was American black/death/thrash gods, Black Anvil. If you’ve ever been fortunate enough to catch these guys live, you’ll already know that they truly give it their all. A fantastic band that showcases both their many years of experience and utter exuberance when they hit that stage. The mighty Mayhem hit the larger of two stages at USF Verftet (the venue that hosted the first two days of the festival) with a set that celebrated the band’s 40th anniversary. There is no better place for this to happen, as Bergen is the same city that the band recorded their legendary debut album, De Mysteriis Dom Sathanas. The guys hit the stage and plowed through decades worth of material, which included a couple of tracks from their now-classic debut, Deathcrush (even inviting two former members to the stage to perform these tracks). Ending off the night was Bergen resident and legendary black metal figure, Gaahl, and his newly-revamped Trelldom. For this unfamiliar, Trelldom sprung to life in the 90s, prior to Gaahl joining Gorgorth, and released a few now-legendary albums. They were short-lived, but have recently reformed, releasing a brand new album of experimental music with some tinges of black metal. Their set tonight comprised mostly new material, but they also threw in a few goodies for longtime fans.
DAY TWO
Behemoth @ Beyond the Gates 2024
Waking to a beautiful day in Bergen, we were ready to hit the streets and make our way over to the venue to catch the first two bands of the day: Prague’s Cult Of Fire and Sweden’s Portrait. Both bands put on spectacular, albeit very different, sets. Cult Of Fire are the Buddhists of metal and, as such, their set and theatrics reflect this perfectly. Portrait’s brand of classic heavy metal was a nice change of pace from all the extremity we had witnessed thus far. Next up was the classic lineup of Venom (not to be confused with Venom Inc.) which features original member, Cronos. The larger venue, Hallen, was packed to the gills for this set which featured all the classics fans have grown to love over the last five decades. It was a highly-energized set which included many fan sing-alongs. Switzerland cosmic black metallers, Darkspace, then put on what can only be described as a trip into the outer reaches of the universe punctuated by their brand of hypnosis-inducing black metal. Incredible stuff from a band that does not often play live. Definitely a rare treat. Ending the night were Behemoth and Death SS. Having seen Nergal and crew many times, tonight was probably one of the best performances yet. The festival spared no expense with the pyro and stage props, which allowed the guys to truly capitalize on their already larger-than-life presence. The final act of the night, Death SS, are a band that have existed since the late 70s. Not being too familiar with their material, I was pleasantly surprised by their super high-energy set and the quality of songs that they delivered, which ranged from classic heavy metal all the way to stuff on the more extreme end of things. A very interesting and fun to catch on the live front, if you ever get the chance.
DAY THREE
Enslaved @ Beyond the Gates 2024
With the first two days in the history books, we move to the second of two venues, the famed Grieghallen, for the final two days. If you are familiar with Grieghallen, you would know that the venue was the very same place that many of the legendary Norwegian black metallers recorded their early work. The first band of the evening was Norwegian avant-garde black metal, Dødheimsgard. Frontman, Vicotnik, and his merry band of minstrels, carnivalized their way through an incredible set of vertigo-inducing tracks. Next up was Norway’s Djevel, the band that features one Bard Faust behind the drums (formerly of Emperor). These guys are the gatekeepers of True Norwegian Black Metal, and their set proved as much. There are no frills or gimmicks. It was just straight-up second wave-inspired black metal from start to finish. One of the best performances of the festival thus far. Hometown heroes, Enslaved, are one band that have played many of the previous editions of the festival. Each year, the band tackles one of their classic, early albums. This year, they played through the entirety of their ’95 album, Frost. As such, the stage was adorned with jutting icicles which further enhanced the overall performance. At this point, Enslaved can do no wrong. Let’s hope they are back again next year. The last band of the night, Satyricon, were the only band to play two sets. This first set, comprised material from their entire catalog, with focus on some of their more well-known songs. Satyr and crew did an excellent job of vetting songs that would appeal to fans of different eras of the band. Additionally, the festival hosted a retrospective exhibit of Satyricon’s entire career. Incredible stuff.
DAY FOUR
Blood Fire Death @ Beyond the Gates 2024
Heading into the final day, the sunshine of the previous three days gave way to more inclement, wet weather. Fittingly, the rain of the day perfectly suited the first two bands, Vemod and Vreid, respectively. Both bands delivered stunning sets of Norwegian black metal in the realm of the more atmospheric. Vreid, which features former members of the highly-regarded Windir, were definitely a fan favorite. They even invited the brother of former Windir frontman, Valfar (who tragically passed away a number of years ago), up on the stage as a guest vocalist to honor his brother with a Windir song. Satyricon then charged onto the stage for the second set of the festival with another collection of songs that spanned their entire catalog. This time, there was more focus on later era tracks, which, as a fan of this era, was a welcomed treat. Lastly, the performance that everyone was waiting for: Blood Fire Death, a tribute to Bathory. There can be no better festival to host something like this, as each and every band that performed over the last four days owes something to the legendary Bathory. Each song of the performance featured various members of bands that performed throughout the fest to give their own spin on these songs, with many of the songs featuring a different vocalist. The entire spectacle was overwhelming and will go down in history as one of the pivotal performances of Beyond The Gates.
Behold this monumental, hour-long work of Progressive and Blackened Death Metal made in the United States, heavily inspired by the 2018 Australian film The Nightingale.
A monumental, hour-long work of Progressive and Blackened Death Metal, the breathtaking Agony’sBespoke, the brand new album by Seattle, Washington-based outfit Blighted Eye, marks a new height for the band’s growing skills of songwriting and storytelling. Mixed and mastered by Alex Sedin at Ghostalgy Prods, and displaying a stunning artwork by Caelan Stokkerman, the new opus by Kyle Chapman on vocals and guitars, Christopher Jones also on the guitars, Ben Gassman on bass, and John Devos on drums is heavily inspired by the 2018 Australian film The Nightingale, telling a similarly tragic story. Highlighting the transformative power of violence and the ultimate futility of revenge, the album seeks to explore the lasting emotional and psychological impact of trauma, being highly recommended for fans of Opeth, Swallow the Sun, and Dissection.
Cryptic, melodious sounds arise from the underworld in the opening track Tragoedia, with the deep vociferations by Kyle walking hand in hand with the pounding drums by John, also presenting delicate yet visceral riffs for our total delight, and flowing into the just as demonic and grim The Wounding, with Kyle and Christopher extracting sulfurous riffs from their axes supported by the menacing bass by Ben. In Enmity invites us all to bang our heads in total darkness together with the band in a well-balanced fusion of Melodic and Progressive Death Metal tailored for admirers of the genre, with Kyle roaring with endless anger until the very end; whereas serene, embracing sounds kick off the beautiful Howls From Beyond the Mist, with their caustic riffs, harsh gnarls and crushing drums sounding amazing. Then investing in a more direct, visceral Black Metal sonority the band will pulverize us all in A Feast for Worms, spearheaded by the classic drumming by John and the always sharp growls by Kyle.
Pallid brings to our avid ears almost nine minutes of heavy, sluggish and somber sounds, presenting elements from Doom Metal in the guitars by Kyle and Christopher, and even stronger vibes in John’s drums; and after the short and sweet interlude Nightingale, the band brings forth a Melodic Black and Death Metal feast titled A Reverent Stillness, where all instruments sound thunderous and visceral and with their guitars, bass and drums once again offering Kyle everything he needs to haunt our souls with his devilish roars. Finally, like the soundtrack to a Stygian horror movie we have the title-track Agony’s Bespoke, presenting the band’s trademark heaviness intertwined with grim passages. Moreover, the guitar work by Kyle and Christopher is once again superb, sounding heavy and very melodic at the same time, with endless progressiveness flowing from the bass lines by Ben while at the seven minute mark it all morphs into an overdose of epicness, putting a classy ending to the album.
Just like in the 2018 movie that inspired the album, power, violence, revenge and trauma are the main ingredients in the music by Blighted Eye in Agony’s Bespoke, and you can get to know more about the band and how they turned all that darkness into amazing metal music on Facebook and on Instagram, listen to more of their ruthless creations on YouTube and on Spotify, and grab a copy of their caustic new album from the Beyond The Top Records’ BandCamp or webstore. As you listen to the album from start to finish, you’ll clearly witness how a tragic story can become so compelling through the power of heavy music, inspiring Blighted Eye to keep crushing our souls for many years to come with their meaningful and extremely heavy creations.
Best moments of the album:Tragoedia, A Feast for Worms and Agony’s Bespoke.
Worst moments of the album: None.
Released in 2024 Beyond The Top Records
Track listing 1. Tragoedia 7:22
2. The Wounding 5:59
3. In Enmity 7:05
4. Howls From Beyond the Mist 7:03
5. A Feast for Worms 6:13
6. Pallid 8:48
7. Nightingale 1:05
8. A Reverent Stillness 6:18
9. Agony’s Bespoke 11:06
Band members Kyle Chapman – vocals, guitars
Christopher Jones – guitars
Ben Gassman – bass
John Devos – drums
Let the gallows rise to the sound of the infernal debut by one of the must-see new names of the Finnish extreme music scene.
Featuring eight tracks in less than 30 minutes, following a thematic route from steady and thrashy riffing to manic blackened brutality where death is always present, the pulverizing Gallows Rise, the debut album by Tampere, Finland-based Blackened Death/Thrash Metal five-piece unit Buryfication, will undoubtedly crush your soul with its undisputed violence and heaviness. Recorded by Mikko Koskinen, mixed by Matti Mäkelä, and mastered by Jon Sjolin at Experitone, Gallows Rise is a precious gem of the underground carefully brought into being by frontman Marko Ala-Kleme, guitarists Tommi Kolehmainen and Henri Kyllästinen, bassist Pasi Bunda, and drummer Mikko Koskinen, paving a very exciting path ahead of such an amazing up-and coming band.
Get ready to be crushed like a putrid insect already in the opener The Plague, a demented creation by the band where Marko’s deep guttural walks hand in hand with the razor-edged, evil riffs by Tommi and Henri, and continuing to destroy everything and everyone that dares to cross their path we have Supreme Being, where Mikko is ruthless with his classic Death Metal beats and fills, supported by the rumbling bass by Pasi. An overdose of brutality, gore and violence flows from all instruments in the headbanging Human Cattle, with the guitars by Tommi and Henri exhaling sulfur, therefore inviting us all to slam into the circle pit like demonic creatures; and while Cannibal Corpse have the classic “Make Them Suffer”, those Finnish metallers offer us all the just as infernal Let Them Suffer, a lecture in modern-day Death Metal led by the inhumane growls by Marko, not to mention the song’s wicked guitar solos.
It’s then pedal to the metal as the band doesn’t have time to fool around, delivering a visceral onrush of Blackened Death Metal titled Year Zero where Mikko’s blast beats match perfectly with the devilish roaring by Marko, and inspired by the most demented names of the scene including Cannibal Corpse, Disloyal, Diabolizer and Immolation, the title-track Gallows Rise will hit you hard in the head to the striking riffs and solos by the band’s dynamic guitar duo. The quintet still has a lot of hellish fire to burn in Trails of Blood, a massive, dense and evil composition showcasing Marko’s trademark roars and the always killer drumming by Mikko; whereas featuring guest vocals by Matti Mäkelä of Corpsessed, closing this excellent album of sheer brutality we’re treated to Haunted, Enslaved, Devoured, with all riffs and solos adding an extra touch of aggression and insanity to their music, resulting in a stunning aria of violence.
Buryfication are definitely one of the must-see new names of the Finnish extreme music scene based on the music found in Gallows Rise, or in other words, a force to be reckoned with that will add even more heaviness to their already demented local scene, and you can stay in touch with those promising musicians by following them on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming their sick creations on Spotify, and of course by purchasing their incendiary debut opus from BandCamp. It’s time to join Buryfication in their quest for extreme music, and let the gallows rise!
Best moments of the album:Let Them Suffer, Year Zero and Haunted, Enslaved, Devoured.
Worst moments of the album: None.
Released in 2024 Kvlt und Kaos Productions
Track listing 1. The Plague 3:23
2. Supreme Being 3:03
3. Human Cattle 3:30
4. Let Them Suffer 3:43
5. Year Zero 4:15
6. Gallows Rise 3:56
7. Trails of Blood 2:36
8. Haunted, Enslaved, Devoured 4:00
Band members Marko Ala-Kleme – vocals
Tommi Kolehmainen – guitar
Henri Kyllästinen – guitar
Pasi Bunda – bass
Mikko Koskinen – drums
Guest musician Matti Mäkelä – vocals on “Haunted, Enslaved, Devoured”
These Dutch Blackened Death Metal legends are back to offer up their latest sacrifice, delving deep into the catacombs of religion.
Delivering the goods since their inception in the distant year of 1990, Dutch Blackened Death Metal legends God Dethroned have returned to offer up their latest sacrifice, their new album The Judas Paradox. Recorded and mixed by Henri Sattler at Woodland Park, and mastered by Tony Lindgren at Fascination Street Studios, the new album by vocalist and guitarist Henri Sattler, guitarist Dave Meester, bassist Jeroen Pomper, and drummer Frank Schilperoort delves deep into the catacombs of religion, drawing inspiration from mythology from all over the world, taking the listener on a thrilling, thought-provoking journey from Christian history to Greek mythology, complete with layers of dark, heavy riffs and nuanced classical touches.
The title-track The Judas Paradox kicks off the album on a melodic and grim note, with Henri already vociferating rabidly supported by the enfolding instrumental pieces by his bandmates while Frank dictates the pace with his classy Black Metal beats and fills, whereas the first single of the album, titled Rat Kingdom, brings to our ears a harsh and acid dosage of their trademark Black Metal, with the piercing riffage by Henri and Dave sounding wicked from start to finish. The Hanged Man presents four minutes of sulfurous extreme music for our total delight, with the vile beats by Frank walking hand in hand with the rumbling bass by Jeroen, flowing into the cinematic interlude Black Heart, setting the stage for the pulverizing Asmodeus, offering everything we learned to love in their caustic Black Metal, from the harsh roars by Henri to the blast beats by Frank, not to mention their riffs and bass lines exhale pure Black Metal magic, embracing us all in pitch black darkness.
Kashmir Princess is one more doomed, devilish aria by this iconic Dutch horde where their guitars sound melodic yet demonic, providing Henri with all he needs to roar in a vile manner, and investing in a more direct and traditional Black Metal sound led by the infernal growls by Henri we have Hubris Anorexia, a song perfect for darkening the skies in the name of evil. The next song, titled The Eye of Providence, is not a very strong tune, lacking the same energy of the rest of the album albeit still sounding grim and evil; whereas back to a more frantic, demented Black Metal sonority, it’s time for Henri to burst his lungs screaming supported by his bandmates’ hellish sounds in Hailing Death. They still have a lot of (demonic) fuel to burn in Broken Bloodlines, a headbanging, impactful Black Metal onrush where the sound of their guitars will embrace your damned soul before dragging you to the underworld for all eternity; and their black mass reaches its conclusion with the also disturbing War Machine, bringing forward one last blast of their trademark Black Metal where Henri darkly declaims the song’s eerie words in great fashion.
As already mentioned, the new album by the almighty God Dethroned is indeed a musical voyage to the darkest corners of religion, and you can let their music consume your rotten soul by following the band on Facebook and on Instagram, including of course their sulfurous tour dates, by streaming all of their vast catalogue on any streaming service like Spotify, and above all that, by purchasing your favorite copy of The Judas Paradox by clicking HERE. God Dethroned once again take no prisoners in their quest for extreme music with The Judas Paradox, and while the church continues to destroy our already corrupt and decaying world, those Dutch metallers will keep drawing inspiration from everything that’s evil about religion to open our eyes and our minds to all that to the sound of their venomous music before it’s too late.
Best moments of the album:Rat Kingdom, Asmodeus and Hubris Anorexia.
Worst moments of the album:The Eye of Providence.
Released in 2024 Reigning Phoenix Music
Track listing 1. The Judas Paradox 6:02
2. Rat Kingdom 3:39
3. The Hanged Man 4:02
4. Black Heart 0:50
5. Asmodeus 3:33
6. Kashmir Princess 4:48
7. Hubris Anorexia 3:37
8. The Eye of Providence 3:34
9. Hailing Death 5:28
10. Broken Bloodlines 3:23
11. War Machine 3:58
Band members Henri Sattler – vocals, guitars
Dave Meester – lead guitars
Jeroen Pomper – bass
Frank Schilperoort – drums
Three years after their latest output, this Dutch Black and Death Metal entity flares its cryptic head yet again with an epic tome of twisted and gnarly emanations, an immersive pathway into the void.
With an inception going back to 2019, Utrecht, Netherlands-based Blackened Death Metal beast Defacement rapidly gained momentum within the underground realms with two full-length records marked by an intense and experimental take on Death and Black Metal, those being their 2019 debut Deviant and their 2021 self-titled album. Three long years after their latest output, the band flares its cryptic head yet again with an epic tome of twisted and gnarly emanations, an immersive pathway into the void entitled Duality. Mixed by Gabriele Gramaglia (Cosmic Putrefaction, Vertebra Atlantis) and mastered by Simon Da Silva (Aversio Humanitatis) at The Empty Hall Studio, Duality is as addictive as it is distressing, a vast landscape of sense and spirit, an ode to the dark night of the soul, a penetrating sonic journey masterfully crafted by Forsaken Ahmed on vocals and bass, Khalil Azagoth on the guitars, and Mark Bestia on drums, sounding unpredictable in its own dynamic, ever-changing form.
Eerie sounds arise from the depths in the opener Optic, sounding and feeling futuristic yet primeval, therefore captivating our senses before the trio smashes our souls in Burden, where a visceral, demented roar by Forsaken Ahmed invites us all to their Stygian lair, not to mention how evil and technical the blast beast by Mark Bestia sound, resulting in a multi-layered aria of darkness alternating between Black Metal-inspired moments and sheer Death Metal bursts for admirers of the most experimental side of both genres. Vagus is another cryptic interlude that brings moments of serenity, yet sounding obscure, flowing into the phantasmagorical Barrier, a fulminating onrush of Experimental Death Metal not recommended for the lighthearted where the riffage by Khalil Azagoth couldn’t have sounded more dissonant and infernal, adding extra layers of violence and insanity to their core sound.
It’s then time for another instrumental piece titled Facial, again presenting the band’s characteristic obscurity and experimental vein, morphing into Scabulous, a very detailed and disturbing creation where the deep roars by Forsaken Ahmed walk hand in hand with the piercing riffs by Khalil Azagoth, all embraced by another bestial performance by Mark Bestia behind his drums. Hypoglossal, their last interlude, will drag us back to the pits of hell together with the trio, consuming our souls until there’s no way back in the 16-minute feast of darkness titled Duality, an absolutely demonic, captivating and grim explosion of Black and Death Metal, showcasing their caustic riffs, blast beats and infernal vociferations, a sonic descent into the abyss presenting all the band’s dexterity and passion for the underworld, ending in a climatic, ethereal and hellish way.
If you think you have what it takes to face the disturbing sounds blasted by one of the most talented bands hailing from the Netherlands, you can start following Defacement on Facebook, stream their wicked creations on Spotify, and above all that, purchase a copy of the pulverizing Duality from their own BandCamp page, from the Avantgarde Music’s BandCamp page, or from Sound Cave as a CD or LP. Duality is challenging and confrontational in its invocation of primal forces lying dormant in the world below, and Defacement deserve our full recognition and admiration for continuing to pave their path to total darkness with another excellent album of pure, undisputed extreme music.
Behold the dark tower of Blackened Death Metal ruled by a Mexican entity whose name invokes the sinister angels of the prophetic vision of Ezekiel 1:15-21.
Carrying a name that invokes the sinister angels of the prophetic vision of Ezekiel 1:15-21, Chihuahua, Mexico-based Blackened Death Metal entity Ofanim has just unleashed upon humanity their first full-length opus, entitled La Torre Oscura, or “the dark tower” from Spanish. After going through many names and lineup changes, the brainchild of vocalist and multi-instrumentalist Armando Valles returns form the abysmal depths of his homeland with an album that exhales sulfur and darkness, with half of the album coming from their 2022 debut EP Embracing Death, plus new compositions that help Ofanim in proudly continuing to burn the flame of Black and Death Metal and, therefore, in keeping the project alive against all odds.
El Odio Comienza, or “hate begins”, is sulfurous and absolutely evil from the very first notes, an onrush of Black Metal made in Mexico where the devilish roars by Armando together with his caustic riffs will pierce your soul mercilessly, whereas Embracing Death sounds even more infuriated than the opening track, with the blast beast and unstoppable riffage by Armando being exactly what we need to worship evil and, of course, embrace death. Sal is another demented, grim aria by Armando where he keeps vociferating rabidly amidst an insane amount of heaviness and evil, followed by Esteban el Primero, adding elements of Blackened Death Metal and classic Death Metal to his core sonority, and with the drums sounding demolishing from start to finish. Then we have the title-track La Torre Oscura, keeping the atmosphere as demonic and unfriendly as possible, with Armando’s deep growls and strident riffs sounding amazing.
Armando shows no sign of slowing down or delivering smoother sounds; quite the contrary, it’s pedal to the metal in the infernal Saulo, where his harsh vociferations walk hand in hand with his Black Metal riffs and drums, while 2030 is a song perfect for some intense headbanging to the ruthless hurricane of sounds blasted by Armando and his Ofanim, most probably the heaviest and most disturbing of all songs. Then we have Hedonismo, leaning towards a more direct Death Metal sonority where the guitars by Armando will pierce your rotten corpse mercilessly until the very end, followed by Hielo, which is Spanish for “ice”, a solid Blackened Death Metal composition but not on par with the rest of the album, sounding a bit generic and stale. Last but not least, let’s enjoy two minutes of sheer heaviness in Ultimatum, where Armando’s massive drums and devilish guitars make an interesting paradox with all background elements.
Although La Torre Oscura was recorded solely by Armando, he has already recruited an army of uncanny soldiers to join him in his live rituals, and you can stay up to date with all news and live concerts by Ofanim by following the band on Facebook and on Instagram, or by clicking HERE, and blow your speakers with high-quality Blackened Death Metal made in Mexico by subscribing to Ofanim’s YouTube channel and by streaming their devilish music on Spotify or any other streaming service. Of course, above all that, go grab a copy of La Torre Oscura from their own BandCamp page. The Mexican extreme music scene has always been a thing of beauty, and of course Ofanim are among us to keep that amazing trend and fill the air with their evil magic until the end of times.
Best moments of the album:Embracing Death, Esteban el Primero and 2030.
Worst moments of the album:Hielo.
Released in 2024 Headlight Productions
Track listing 1. El Odio Comienza 2:39
2. Embracing Death 5:02
3. Sal 3:27
4. Esteban el Primero 5:34
5. La Torre Oscura 5:31
6. Saulo 2:12
7. 2030 4:26
8. Hedonismo 4:16
9. Hielo 3:22
10. Ultimatum 2:10
Band members Armando Valles – vocals, all instruments
It’s time to honor the memory of our most ancient ancestors, the Enkari, with an amazing and detailed interview with Zenith Maharg of the Temple of Necht.
Zenith Maharg (Necht)
The Headbanging Moose: Thanks a lot for your time, Zenith Maharg. Could you please start by introducing yourself and the band to our readers? Who are Necht, and what’s your main purpose in this world?
Zenith Maharg: Hails, Herald Gustavo! I am the Zenith of the Temple of Necht. I am pleased to be given this opportunity to Illuminate you and your readers. Necht honours the memory of our most ancient ancestors, the Enkari – the earliest civilization yet discovered – and through our black metal Sermons we spread knowledge of their culture, beliefs and history. At our Live Rituals, we embody the Cult of B’ahn, who were the warriors of the Enkari city-state of Lashmir. The Cult existed to further a state of religiously mandated constant war against their foes in Ishpan, thereby mirroring and supporting the struggles of the Sun God, B’ahn, the Ceaseless Warrior, against the Mother Dragon, Karnifor, and Her constant efforts to swallow the world.
THM: You’re currently supported by your Ascendants Zhargor on the guitars, Aemoh on bass, and Vlasfimos on drums. How did you first get in contact with them, and what do they bring to the music by Necht that others couldn’t?
ZM: The Ascendants of the Temple are all masters of their craft, having honed their skills through many years of practice and countless hours upon battlefields across Canada. Ascendant Vlasfimos and I are long-term collaborators from earlier musical projects. By the Light of B’ahn, we were guided to find in Ascendants Zhargor and Aemoh similarly dedicated warriors of black metal. As every Sermon results from the combined efforts of each member of the Temple, without the participation of each member, Necht would not exist.
THM: You’ve recently released your debut opus, the excellent The Prophecy of Karnifor, which you like to describe as your “long meditation.” Can you tell us a bit more about the whole idea behind it?
ZM: Heed these words carefully, Herald. The Grand Meditation of The Prophecy of Karnifor introduces to a modern age the wisdom of the Enkari; with this and with each subsequent Meditation, Necht will gradually reveal more of the Enkari, as laid out in the Enkari-B’ahn scrolls.
These scrolls were discovered in the 19th century by German explorer and philosopher, Dr. Karl von Mecklenburg, and our Sermons are based on the contents of the scrolls as translated and published by Dr Birgitta Olsson in 2015. The scrolls themselves were written by the Qa’ars – priest-kings – of Ishpan, and comprise a record of contemporary observations, personal philosophy and religious passages.
Though long forgotten and hidden behind the fog of thousands of years of distortions and misunderstandings that our societies call ‘religion’ and ‘history’, there are many truths to be revealed by studying the thoughts, history, learnings and the doom of the Enkari.
THM: One of my favorite songs of the album is undoubtedly Stirred By Shadow, I Did Wake, which also has a really cool official video. Can you please explain to us what this amazing song is all about, and how the recordings of the video went?
ZM: Our gratitude, Herald! The Sermon “Stirred By Shadow, I Did Wake” tells of how B’ahn awoke to awareness as His Mother moved to devour Him; of how he fashioned both Thunder Shield and Lightning Spear from His rage and light, and confronted the Dragon, refusing to back down in the face of Her eternal and unstoppable power, and committing Himself to always fight. Therefore, it is only by His constant struggle that we live.
The recording of the Visual Revelation for this Sermon was done under the guidance and direction of Brother Joe Teminsky who, as an Azimuth-level Cultist, shares our vision and understanding of B’ahn’s radiance. It was important for this Visual Revelation to portray the ominous darkness of the void, the Star Ocean, in which Karnifor ever swims, and Brother Joe helped us capture that perfectly.
Album Review – Necht / The Prophecy Of Karnifor (2024)
THM: You were one of the finalists for Wacken Metal Battle Canada 2023 in Toronto, a concert I had the pleasure of witnessing, and now in 2024 you were summoned to be the guest headliners for the finals in Edmonton. What was the feeling for you and your ascendants to participate in both events, and what are the biggest differences in the band from last year to this year’s concert?
ZM: We were honoured to be a part of the WMB Canada Finals both in 2023 – where we did holy battle with Strigampire and Eaten by Sharks – and even more honoured to be invited back this year, where we looked on as five combatants furiously fought for the winning spot. 2024 differed in that it included an opportunity to welcome even Junior Initiates, as there was no age barrier to enter the Sacred Hall. Also, as the 2023 WMB Canada Finals was only our 5th live Ritual, we had considerably tightened our performance time of the 2024 Finals. In both cases, however, the atmosphere among the gathered was suitably electric and we were able to Initiate many people into the Cult by administering the Ritual of Ashes, marking the loyal with the Ashes of the Fallen.
THM: Apart from of course Necht and the finalists for this year’s Wacken Metal Battle Canada (Arrow In The Quiver, Age of Ashes, Infrastrvctvre, Beguiler and Dead Velvet), which other bands from Calgary or from the entire Canadian scene do you think are worth checking out?
ZM: Most definitely, Herald! Black metal fans should check out our compatriots in Kings Rot (a Cascadian style in the vein of UADA), Svneatr (more progressive) and Black Pestilence (for a punk fusion). Those who enjoy technical death metal with some truly ferocious vocals should indulge their ears with the latest release from Vaegon. Grand Mal also provide a crushing blackened death metal experience.
THM: Which bands and artists influenced Necht the most, and who would you love to tour with from those major influences?
ZM: We are very much rooted in second-wave European black metal, with bands such as Dark Funeral and Satyricon providing a foundation for our music. Other bands that have influenced us include Batushka, Behemoth, Belphegor, Cult of Fire, Gorgoroth, Helrunar and Rotting Christ. We would particularly enjoy the opportunity to conduct a Ritual in the presence of any of these Elders.
Necht
THM: You’ve just played at a very cool underground festival called Decimate Metal Fest 2024 in Millet, Alberta. How was the event as a whole, and what are the next live concerts for Necht?
ZM: Decimate is a young festival, held in a small town south of Edmonton. It offered the gathered an opportunity to see many bands from Western Canada as well as from the US, and includes camping. Junior Initiates were welcome at the festival also. The experience was excellent and we hope that B’ahn shines His holy light upon the festival in future years, so that more and more people take the opportunity to attend and support the underground metal scene.
For 2024, we recently completed our “Illuminating The Plains in Furious Radiance” series of Rituals in Alberta. However, our Zenith has been called overseas, drawn by visions to search for the Obelisk, so we will not be conducting any full Rituals for the rest of 2024 – only our Zenith is sanctioned to perform the Ritual of Ashes – but the Ascendants will host three more Assemblies. At these Assemblies, Ascendant Zhargor will provide the voice for the Sermons.
Saturday, July 6 – Canmore Alternative Metal & Punk Festival (AMP) III at Arts Place, Canmore
Saturday, July 20 – with Kings Rot and Liminal Shroud at The Palomino, Calgary
Saturday, August 17 – with Black Pestilence, Black Solstice, Void of Mood and Putrid Stain at The Slice, Lethbridge.
THM: Now that you’ve released your first album and started promoting it with your insane live performances, what’s next for the band?
ZM: We will be revealing our next Lesser Meditation, “Dread Is The Consort Of The Dark” before the end of 2024. We have already recorded the footage for the accompanying Visual Revelation, and the Sermon will be recorded shortly.
We will then retire to the sanctity of our Temple to contemplate the wisdom of the Enkari-B’ahn Scrolls once more, and work on another Grand Meditation, which we aim to reveal in 2025. We also plan to conduct Rituals in other countries during 2025, in order to spread the word of B’ahn more widely.
THM: Thanks again for the interview! Please feel free to leave your final message and considerations to our readers, and I hope to see Necht live again in the near future! Glory to the Sun!
Australia’s most savage beast is back with their fifth studio opus, a lecture in Death Metal perfect for beating anyone back to life.
If you weren’t there in 1992, your taste in music’s shit. This is the exact message that Melbourne, Australia’s most savage horde, the ruthless Technical Death/Black Metal beast Werewolves, in sending out with their amazing new album, simply titled Die For Us, the follow-up to their also insane 2023 album My Enemies Look and Sound like Me. Recorded by Matt Wilcock and Adam Calaitzis at Toyland Recording Studio (guitars), by Sam Bean (bass), by Jack Hartley at Jack Hartley Audio (vocals), and by Joe Haley at AAA Studios (drums), mixed and mastered by Joe Haley at Crawlspace Productions, and once again displaying a visceral artwork by Mitchell Nolte, the new opus by the aforementioned Sam Bean on vocals and bass, Matt Wilcock on the guitars, and David Haley on drums is a lesson in violence recommended for fans of Hate Eternal, Deicide, Krisiun and so on, ticking every box for modern Death Metal with excruciatingly violent blasting straight out the gates and very little let-up until the bitter end, being the perfect depiction of what the band likes to call “Caveman Death Metal.”
The album already starts in full force as one of their traditional sick intros explodes into the most brutal form of Death Metal in the title-track Die for Us, with David showcasing already all his dexterity, violence and passion for heavy music behind his drums; whereas a demented laugh by Sam kicks off the fulminating Beaten Back to Life, where Matt sounds ruthless armed with his scorching riffs while David continues to hammer our cranial skulls mercilessly. Furthermore, it’s indeed a beautiful song about the glory of 90’s Death Metal (“If you weren’t there in 1992 / Your taste in music’s shit / Fuck you / If you never tape traded / Or raided corner stores for vinyl / You’re lacking something spinal / Fuck you”). The trio keeps delivering sheer animosity and rage in Fuck You Got Mine, another awesome tune that will certainly ignite some wild mosh pits whenever played live, and featuring guest vocals by Australian veteran Rok (of Sadistik Exekution) we have My Hate Is Strong, even more infernal and brutal than its predecessors, carrying the perfect name for its sonority with Sam roaring and barking like a rabid creature.
If you think they’re going to slow down or sell off, you’re absolutely wrong; quite the contrary, it’s pedal to the metal in an infernal Death Metal attack by those demented Aussie wolves titled The Company Wolves, followed by Spittle-Flecked Rant, another fantastic Death Metal onrush by the trio with its riffs sounding inspired by Cannibal Corpse while David once again blasts his drums nonstop in a lecture in savagery and rage. We All Deserve to Be Slaves, the second single of the album, is as acid, visceral and brutal as it can be, with Sam barking the song’s rebellious lyrics like a beast, flowing into Under a Urinal Moon, the darkest of all songs, with Matt extracting Stygian, cryptic sounds form his axe, being therefore perfect for some neck-breaking activity. And their violence keeps going strong in the closing tune Stay Down, where once again Sam and Matt slash their axes in the name of pure old school Death Metal.
Having already expressed the purpose of releasing ten albums in ten years after their inception back in 2019, Werewolves are hitting the halfway mark with Die For Us, and let’s say they’re just getting better and better with each one of their demonic, austere albums. Hence, go check what those middle-aged bastards are up to on Facebook and on Instagram, and grab a copy of the infuriated Die For Us from their own website or BandCamp page, as well as from Direct Merch in Australia and New Zealand, Night Shift in the United States, and Plastic Head Distribution (CD or LP) in the UK and Europe. Just to make things clear to you all, they will beat you back to life to the sound of their newborn beast, because their hate is strong and you all deserve to be slaves, until you die again in the name of ruthless Death Metal. I think you got the idea now, right?
Best moments of the album:Die for Us, Beaten Back to Life, My Hate Is Strong and Spittle-Flecked Rant.
Worst moments of the album: Absolutely none.
Released in 2024 Independent
Track listing 1. Die for Us 4:48
2. Beaten Back to Life 3:22
3. Fuck You Got Mine 4:16
4. My Hate Is Strong 4:07
5. The Company Wolves 3:30
6. Spittle-Flecked Rant 2:51
7. We All Deserve to Be Slaves 3:21
8. Under a Urinal Moon 4:46
9. Stay Down 4:25
Band members Sam Bean – vocals, bass
Matt Wilcock – guitars
David Haley – drums
Guest musician
Rok – vocals on “My Hate Is Strong”
Formed in Saarbrücken in 2015, The Spirit have emerged from the depths of the German Extreme Metal void to breathe new life into the Black and Death Metal genre. Now in 2024 the duo formed of Matthias Trautes on vocals and stringed weapons, and Manuel Steitz on drums attacks again with their fourth full-length installment, titled Songs Against Humanity. Mixed by V. Santura (Triptykon) at Woodshed Studio, and displaying a grim artwork by Eliran Kantor, Songs Against Humanity is a Blackened Death Metal beast highly recommended for fans of Harakiri For The Sky, Dissection, Satyricon, UADA, Hypocrisy and Kataklysm, among others, circling around an astronomic leitmotif in its lyrics and concepts while mixing a misanthropic view on the world with cosmic metaphors and the call to see our often narrow-minded and egocentric existence in the larger context of our whole universe.
You can take a very nice and detailed listen at the scorching Songs Against Humanity in full on YouTube and on Spotify, and of course show your support to one of the heaviest duos of the current German scene by purchasing a copy of their new album by clicking HERE or HERE. Don’t forget to also start following them on Facebook and on Instagram for news and tour dates, as they do play live (with the support of guitarist Stanley Robertson and bassist Linus Klausenitzer), having an absolute blast to the sound of their sharp and vile fusion of Black and Death Metal. Matthias and Manuel are bringing forth a compilation of songs against humanity in their newborn beast, and there’s nothing better than their first-class Blackened Death Metal to show how putrid, corrupt and evil the entire humanity can be.
THE HEADBANGING MOOSE 