Tag Archives: blackened doom

Album Review – Dark The Suns / Raven And The Nightsky (2023)

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A three-piece act from Finland will embrace you with their fifth full-length album, taking you on a 50-minute journey through the realms of Death, Gothic and Doom Metal with a strong melodic vein.

Originally founded as a one-man project by Finnish vocalist and multi-instrumentalist Mikko Ojala back in 2005, and after some lineup changes through the years plus a seven-year hiatus from 2013 until 2020, the now three-piece Melodic Death/Gothic Metal entity Dark The Suns has just unleashed upon us their fifth studio album, entitled Raven And The Nightsky, the follow-up to their 2020 effort Suru Raivosi Sydämeni Pimeydessä. Overflowing beautiful piano melodies and dark vocals, all carefully crafted by the aforementioned Mikko Ojala on vocals, guitars and drums, Jani Moilanen on the guitars and clean vocals, and Inka Ojala on bass and keyboards, Raven And The Nightsky will take you on a 50-minute journey through the realms of Death, Gothic and Doom Metal with a strong melodic vein highly recommended for admirers of the music by Insomnium, Draconian and Before the Dawn, just to name a few.

The heaviness of the drums by Mikko make a beautiful paradox with the whimsical keys by Inka in the opening tune Adamantine, sounding very detailed, multi-layered, and alternating between more metallic moments and ethereal passages, whereas in Phoenix they blend the more Gothic, obscure music by bands like HIM and Paradise Lost with their Melodic Death Metal sound, displaying a great job done by Mikko and Jani on the guitars. In Kun Aallot Kallioihin Murtuu, or “when the waves break on the rocks” from Finnish, a pounding, sinister intro gradually evolves into another atmospheric feast by the trio led by the delicate keys by Inka, who also delivers sheer heaviness through her low-tuned bass in an amazing fusion of Melodic Death Metal with contemporary Doom Metal; and they keep embellishing the airwaves in Aurora, with Mikko’s deep, darkened growls adding an extra touch of malignancy to the overall result. Then featuring Paavo Laapotti (Before the Dawn) as a guest vocalist, Raven is another solid creation where the guitars by Mikko and Jani walk hand in hand with Inka’s massive bass lines.

The second half of the album begins in a melancholic, pensive mode with the doomed Shadows Upon the Broken Hearts, showcasing sluggish beats, stylish keys and deep, obscure vocals, albeit a bit too generic if compared to the rest of the album. Swans of the Frozen Waters carries a beautiful name for a song, with Mikko and Jani slashing their guitars with tons of feeling and passion while Mikko hammers his drums nonstop in a fantastic display of Melodic Death and Doom Metal; followed by The Sea of Sorrow, perfect for headbanging alone in the dark, with Inka once again adding her share of finesse to the music through her keys while her bass sounds as heavy as it can be. We then face Under the Northern Lights, in the vein of the latest works by Finnish titans Insomnium, blending Death and Doom Metal with an ethereal atmosphere while Mikko steals the spotlight with his Stygian vocals and classic beats. And closing the album the trio offers us all the most obscure, grim of all songs, titled In Mist of the Night, where Blackened Doom elements invade all empty spaces in the air, not to mention the beauty in the guitars by Mikko and Jani is truly outstanding.

Such powerful, pensive and deep album from the always beautiful Finnish scene is available for a full and detailed listen on YouTube and on Spotify, but in order to show your true support and admiration for Dark The Suns you can purchase a copy of the album from their own BandCamp page or by clicking HERE. Also, don’t forget to follow the band on Facebook and on Instagram for news, tour dates, and other nice-to-know details about the band. Mikko, Jani and Inka did a beyond stunning job in Raven And The Nightsky, from the album title to its cover, from the opening song to the last second of the closing one, and I’m sure as soon as they realize how much fans of Gothic and Doom Metal love all songs found in the album they’ll keep creating great music for our ears, which means we’ll fortunately never see them on a hiatus again.

Best moments of the album: Adamantine, Kun Aallot Kallioihin Murtuu and Swans of the Frozen Waters.

Worst moments of the album: Shadows Upon the Broken Hearts.

Released in 2023 Inverse Records

Track listing
1. Adamantine 4:37
2. Phoenix 5:07
3. Kun Aallot Kallioihin Murtuu 4:37
4. Aurora 5:54
5. Raven 4:42
6. Shadows Upon the Broken Hearts 4:36
7. Swans of the Frozen Waters 4:05
8. The Sea of Sorrow 5:48
9. Under the Northern Lights 5:24
10. In Mist of the Night 5:16

Band members
Mikko Ojala – vocals, guitars, drums
Jani Moilanen – guitar, clean vocals
Inka Ojala – bass, keyboards

Guest musician
Paavo Laapotti – vocals on “Raven”

Album Review – Fossilization / Leprous Daylight (2023)

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A Brazilian Death and Doom Metal duo attacks with their first full-length album, offering us all eight savage tracks soaked in doomy despair.

One of the most acclaimed and praised newcomers in the underground recesses of the contended and highly demanding Death Metal feud, São Paulo, Brazil-based Death/Doom Metal duo Fossilization attacks with their first full album, entitled Leprous Daylight, an utterly crushing and brutally wrenching release. Recorded at Hellspass Studio, mixed and mastered by Finnish musician and producer Otso Ukkonen, produced by the band’s own V, and featuring illustrations by Indonesian artist Rio Oka of Digtrash Art, the album offers us all eight savage tracks soaked in doomy despair maliciously crafted and fiercely executed by the aforementioned V (aka Thiago Oliveira of Jupiterian) on vocals, guitars and bass, and P (aka Paulo Pinheiro of Jupiterian, Mortal Embodiment and Riffcoven) on drums, being a must-listen for fans of Dead Congregation, Krypts, Spectral Voice, Incantation, and for all admirers of the Brazilian Death Metal scene in general.

The sinister, grim intro Archæan Gateway introduces the duo’s deep and sharp heaviness before all hell breaks loose in Once Was God, where P is infernal behind his drums making the earth tremble while V roars like an entity from the underworld, or in other words, it’s a modern-day Blackened Doom aria that will darken your mind mercilessly. In Oracle of Reversion we face hellish words vociferated by V (“Transcending through the ages of fog and cold / Usurper of the throne in the skies and stars / Shadows bent before thee in honor / The Gods hum their lament and sadness / To nothingness”) while he also slashes his stringed axe in the name of darkness and evil; and V also does a superb job with both his scorching riffs and thunderous bass in At the Heart of the Nest, a lecture in Blackened Death Metal with a menacing Doom Metal vibe not recommended for the lighthearted.

The second half of the album begins with the pulverizing title-track Leprous Daylight, where P sounds inhumane behind his drums, bringing his heaviest artillery and therefore generating a beyond infernal atmosphere perfect for V’s demonic roars; followed by The Night Spoke the Tongue of Flames, another brutal, neck-breaking tune of darkness blasted by the duo, and Fossilization don’t show a single drop of mercy for our souls, hammering our cranial skulls with their devilish fusion of Black, Death and Doom Metal until the very end. Then the riffage by V sounds even darker and more sulfurous in Eon, a lecture in heaviness, brutality and insanity by Fossilization that lives up to the legacy of the most visceral form of Doom Metal, with P pounding his drums with tons of rage and dexterity, whereas lastly we face the most Doom Metal of all tracks, the sluggish and grim Wrought in the Abyss. It loses its grip after a while, though, but V and P still showcase a venomous performance throughout the entire song, putting a Stygian ending to the album.

This bestial album made in the depths of the Brazilian hellish pits can be enjoyed in full on YouTube and on Spotify, and you can obviously grab a copy of it from HERE (mailorder) or HERE (BandCamp), adding an extra touch of darkness and sulfur to your already demonic collection. In addition, go check what V and P are up to on Facebook and on Instagram, succumbing to the most obscure side of heavy music, and keeping such infernal duo inspired to keep blasting our ears with their music for many years to come like what they have to offer us all in their debut opus.

Best moments of the album: Once Was God, At the Heart of the Nest and Eon.

Worst moments of the album: Wrought in the Abyss.

Released in 2023 Everlasting Spew Records

Track listing
1. Archæan Gateway 0:55
2. Once Was God 4:59
3. Oracle of Reversion 5:02
4. At the Heart of the Nest 4:24
5. Leprous Daylight 5:03
6. The Night Spoke the Tongue of Flames 4:56
7. Eon 5:40
8. Wrought in the Abyss 5:36

Band members
V – vocals, guitars, bass
P – drums

Album Review – Warcrab / The Howling Silence (2023)

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UK’s own Death and Doom Metal bulldozer is back in action with their strongest effort to date, having progressed into a faster, crustier direction while still remaining loyal to their doomed roots.

Just when you thought the music by UK-based Doom/Sludge Metal titans Warcrab was getting slower and sludgier, they do the unexpected and bring in Death Metal influences in a huge way in their demolishing new opus, titled The Howling Silence, the follow-up to their critically acclaimed albums Scars of Aeons and Damned In Endless Night. And that Death Metal approach is not even presented in the form of a thick, ponderous blend of the two styles; instead, the band currently formed of Martyn Grant on vocals, Geoff Holmes and Leigh Jones on the guitars, Dave Symonds on bass and Rich Parker on drums has shedded the extra weight that was holding them down and have progressed into a faster, crustier direction. Displaying a sinister artwork by Feltnan Art, The Howling Silence effortlessly switches between the band’s two predominant styles as and when the music demands it rather than having a monotonous and predictable sound, while still remaining loyal to their doomed roots.

The quintet wastes no time and begins shaking the foundations of earth in Orbital Graveyard, a thunderous fusion of Death, Doom and Sludge Metal where Martyn roars and barks manically accompanied by the pounding drums by Rich; followed by Titan of War, another Stoner and Sludge Metal attack spearheaded by the crushing riffs by Geoff and Leigh while Dave hammers his bass in the name of heaviness, and the music flows majestically until the very last second for our vulgar delectation. After such imposing tune we’re treated to Black Serpent Coils, a neck-breaking extravaganza that showcases all the power of the riff, blending the band’s sound from their previous records with a more contemporary sonority, and the final result is yet again superb, whereas their harsher, more visceral vein explodes in the Death Metal-fueled tune Sword of Mars, led by the venomous growls by Martyn while the band’s guitar duo gives a lesson in riffs and solos. Put differently, simply get into the pit and crush your spinal cord to the sound of such pulverizing chant.

After such devastating aria, it’s time for a darker, more introspective creation by Warcrab named As the Mourners Turn Away, starting in a lugubrious way highly inspired by classic Doom Metal and Blackened Doom, with Rich taking the lead with his sluggish beats in almost nine minutes of total darkness; and that Stygian aura goes on in Sourlands Under a Rancid Sun, with the low-tuned, menacing bass by Dave paving the path for his bandmembers to smash us all in a great display of Death and Doom Metal, not to mention how devilish Martyn’s roars sound and feel. Lastly, the band offers our avid ears the 10-minute title-track Howling Silence, a Death, Doom and Sludge Metal voyage presenting sharp, caustic riffs, tribal drums and an absolutely cryptic atmosphere, or in other words, it’s a bestial creation that lives up to the legacy of the most infernal form of Doom Metal imaginable, with Geoff and Leigh being flawless armed with their axes from start to finish, ending the album on a grim, vile manner.

This British bulldozer of extreme music is waiting for you on Facebook to crush your soul with news, tour dates and so on, and on Spotify to haunt you for all eternity with their dense and somber creations. Also, don’t forget to grab a copy of the pulverizing The Howling Silence from their own BandCamp page, as well as from the Transcending Obscurity Records’ webstore as a digipak CD (also available in their European store) or as a very special digipak CD + shirt bundle. The Howling Silence is Warcrab at the peak of their creative prowess; they are back and better than ever before, and you’re more than invited to join them in their feast of death and doom.

Best moments of the album: Titan of War, Sword of Mars and Howling Silence.

Worst moments of the album: None.

Released in 2023 Transcending Obscurity Records

Track listing
1. Orbital Graveyard 4:07
2. Titan of War 5:54
3. Black Serpent Coils 5:30
4. Sword of Mars 4:31
5. As the Mourners Turn Away 8:55
6. Sourlands Under a Rancid Sun 5:51
7. Howling Silence 10:41

Band members
Martyn Grant – vocals
Geoff Holmes – lead guitars
Leigh Jones – rhythm guitars
Dave Symonds – bass
Rich Parker – drums

Album Review – Tsjuder / Helvegr (2023)

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This legendary horde is finally back with a new opus, a must-listen for admirers of old school Norwegian extreme music and a serious contender for Black Metal album of the year.

The path to the underworld is open once again as Oslo, Norway’s own Black Metal legends Tsjuder are back in action with a sulfurous new opus, titled Helvegr, which by the way means “Path to the Underworld” or “Road To Hel”, their sixth studio album and the perfect follow-up to their 2015 effort Antiliv. Known best for their relentless, aggressive approach to Black Metal, Tsjuder have been responsible for some of the most hate-filled ferocity perpetrated under the banner of True Norwegian Black Metal since their inception in 1993, with the iconic Nag on vocals and bass, and Draugluin on the guitars, supported by drummer Jon “The Charn” Rice, taking their darkness to a whole new level in Helvegr. Not only that, the mixing and mastering by Pål Emanuelsen at North Waves Studios, plus the wicked artwork by Jonas Svensson and Laura Nardelli, turn it into a must-listen for admirers of old school Norwegian extreme music, and into a serious contender for Black Metal album of the year.

The opener Iron Beast brings forward absolute madness and hatred from the very first second, while Nag screams the song’s infernal lyrics manically (“Black metal razor blades / Fifty cal hellraiser / Barbed wire wrapped / Diesel monster unleashed / Aw, come on! Raise Hell!”) in a lecture in Norwegian Black Metal; whereas the caustic riffage by Draugluin and the brutal drums by Jon will crush your damned body to pieces in Prestehammeren (or “the priest’s hammer” from Norwegian), a fast and demented display of Black Metal by Tsjuder that will please all fans of the genre. Then a melodic, sinister start evolves into another sonic beast entitled Surtr, with the blast beats by Jon bringing sheer aggressiveness to their sound while Nag continues to vociferate like a demonic entity. There isn’t a single second of peace in Gamle-Erik (or “Old Erik”), featuring a guest guitar solo by Pål Emanuelsen, with Nag once again sounding inhumane on vocals as well as armed with his thunderous bass lines while Draugluin slashes his guitar in the name of Black Metal; and Chaos Fiend is as chaotic as its name states, with Jon hammering your skull with his vile drumming, offering Nag everything he needs to darkly growl and snarl in another fantastic depiction of first-class Norwegian Black Metal.

Tsjuder Tribute to Bathory Scandinavian Black Metal Attack

Featuring guest vocals by Seidemann (of 1349 and Mortem), Gods of Black Blood offers another round of Tsjuder’s hellish words (“We stride triumphant, Hellspawned Demon Lords / Trampling the fallen, Violated agonized wailing / Worldgrinders, necrotic sovereigns”) while the music once again exhales Black Metal; and after such intense, darkened feast, it’s time for the grim and phantasmagorical title-track Helvegr, leaning towards Doom Metal and even Blackened Doom, sounding, sluggish, evil and melodic from start to finish. Then back to their more ferocious and satanic mode we have Faenskap og Død (“hell and death”), a hurricane of Black Metal masterfully crafted by Tsjuder where the razor-edged riffs by Draugluin will pierce your mind and soul mercilessly. Lastly, the doomed Hvit Død (“white death”) is not a bad outro, but it takes away some of the fire and electricity from the album. In other words, it could have been placed before the previous song as an intro to give it a stronger meaning. Furthermore, if you go for one of the special or deluxe editions of the album you’ll be treated to the bonus disc Tsjuder Tribute to Bathory Scandinavian Black Metal Attack, a killer EP that is definitely worth the extra money, beautifully representing Tsjuder’s respect and admiration for one of the pillars of Norwegian Black Metal, with their cover version for Satan my Master being absurdly awesome.

In case you want to give Helvegr a try before purchasing it, you can stream the album in full on YouTube and on Spotify, but I bet you’ll get addicted to their music and grab your favorite version of the album from the band’s own BandCamp page, from Season of Mist in Europe or in the US (and if I were you I would go for the LP box + digital or for the digibox + digital as both come with some fantastic items including the aforementioned EP), or by clicking HERE or HERE. Don’t forget to also follow such imposing Norwegian horde on Facebook and on Instagram for news, tour dates and so on, and to stream their entire catalogue on Spotify. We’ll undoubtedly see Helvegr as part of most “top metal albums of the year” lists this year, and of course in almost all “top Black Metal albums of the year” lists, reinforcing the power, impact and importance of Tsjuder to the entire metal scene, and leaving us all eager for their next blast of Black Metal magic in a not-so-distant future.

Best moments of the album: Iron Beast, Prestehammeren, Chaos Fiend and Gods of Black Blood.

Worst moments of the album: Hvit Død.

Released in 2023 Season of Mist

Track listing
1. Iron Beast 3:37
2. Prestehammeren 4:01
3. Surtr 6:59
4. Gamle-Erik 3:46
5. Chaos Fiend 4:02
6. Gods of Black Blood 5:19
7. Helvegr 7:36
8. Faenskap og Død 3:08
9. Hvit Død 2:52

Tsjuder Tribute to Bathory Scandinavian Black Metal Attack bonus disc
1. The Return of Darkness and Evil 4:53
2. Satan my Master 2:02
3. Born for Burning 5:11
4. Reaper 2:33
5. Raise the Dead 3:53

Band members
Nag – vocals, bass
Draugluin – guitars, backing vocals
Jon “The Charn” Rice – drums

Guest musicians
Pål Emanuelsen – guitars solo on “Gamle-Erik”
Seidemann – additional vocals on “Gods of Black Blood”

Album Review – Burial Hordes / Ruins (2023)

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An uncanny force hailing from Greece attacks again with their fifth full-length opus, a beautifully balanced yet fearsome album of Blackened Death Metal.

Emerging from the scorching pits of Athens, Greece after a five-year hiatus, Black/Death Metal outfit Burial Hordes brings forth an outstanding slab of Blackened Death Metal that harnesses both chaos and atmosphere in equal parts, which is exactly what they have to offer us all in their brand new opus Ruins. The follow-up to their 2018 album Θανατος αιωνιος (The Termination Thesis), and featuring a classy artwork by Khaos Diktator Design, the excellent Ruins is a beautifully balanced yet fearsome album right off the bat, wit the band formed of D.T. (Ravencult) on vocals, and T.K. (Dead Congregation) and D.D. (Enshadowed, Anticreation) on the guitars and bass, supported by session drummer Eugene Ryabchenko (Fleshgod Apocalypse), slipping into different dimensions only to come back with renewed anger, being therefore highly recommended for fans of Incantation, Dead Congregation, Deathspell Omega, and Enshadowed, just to name a few.

The opening track In the Midst of a Vast Solitude is simply infernal and devastating from the very first second, with Eugene sounding bestial on drums and, therefore, offering D.T., T.K. and D.D. everything they need to generate a beyond Stygian and captivating ambience of Black and Death Metal. T.K. and D.D. keep darkening the skies with their scorching riffs in Insubstantial, a headbanging creation by the band where D.T. continues to roar like a demonic entity, followed by Perish, bringing forward another five minutes of absolute darkness and insanity by Burial Hordes where Eugene once again dictates the song’s pace with his sick blast beats, feeling solid and sulfurous while presenting Doom Metal elements in its second half. And investing in a hammering, heavy-as-hell sound it’s time for the Blackened Doom-infused aria Wandering Stream of Wind, with the guitars by T.K. and D.D. piercing our souls mercilessly.

Then tribal beats ignite the flawless, pulverizing Black and Death Metal extravaganza Infinite Sea of Nothingness, a demonic composition showcasing the always visceral growls by D.T., or in other words, succumb to the dark side of music to the sound of this precious gem of the underground extreme scene. There’s no sign of slowing down; quite the contrary, their Black Metal madness goes on in Isotropic Eradication, where Eugene crushes his drums supported by the devilish riffage by his bandmates, followed by Purgation, offering our putrid ears more of the band’s hellish sounds. Moreover, it will penetrate deep inside your psyche and demolish your hopes and dreams, with D.T.’s deep guttural sounding inhumane and absolutely evil. Lastly, the ending of the album could have been a little heavier and darker than what’s offered in …to the Threshold of Silence, but the song is still amazing and brings forward more of their evil roars, harsh riffs and pounding drums.

This ruthless Greek horde is waiting for you on Facebook to join them in their battle for extreme music, and if you want to show them your utmost support you can stream Ruins in its entirety on Spotify and purchase a copy of it from their own BandCamp page or from the Transcending Obscurity Records’ webstore, as well as from Apple Music or Amazon. Easily one of the best albums of late in the Blackened Death Metal spectrum, Ruins represents an evolution in the sound of Burial Hordes, and I can’t wait to see what’s next for such powerful and important name of the always prolific Greek underground scene.

Best moments of the album: In the Midst of a Vast Solitude, Infinite Sea of Nothingness and Purgation.

Worst moments of the album: …to the Threshold of Silence.

Released in 2023 Transcending Obscurity Records

Track listing
1. In the Midst of a Vast Solitude 4:57
2. Insubstantial 4:46
3. Perish 5:06
4. Wandering Stream of Wind 5:54
5. Infinite Sea of Nothingness 5:24
6. Isotropic Eradication 4:51
7. Purgation 4:23
8. …to the Threshold of Silence 5:44

Band members
D.T. – vocals
T.K. – guitars, bass
D.D. – guitars, bass

Guest musician
Eugene Ryabchenko – drums (session)

Album Review – Decipher / Arcane Paths To Resurrection (2023)

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This infuriated Black and Death Metal horde from Greece will crush your mind with their debut effort, showcasing their steely vision and penchant for writing superbly structured songs that have an inherent catchiness to them.

Formed in October 2017 in the hypnotizing city of Athens, Greece, the unrelenting Black/Death Metal horde Decipher is ready to unleash upon humanity their first full-length opus, entitled Arcane Paths To Resurrection, the follow-up to their 2019 debut EP Of Fire and Brimstone. Displaying a stunning artwork by Artem Grigoryev, the album showcases the steely vision and penchant for writing superbly structured songs that have an inherent catchiness to them by vocalist M.L., guitarists K.G. and K.C., and drummer N.C., while also being gritty and dynamic, not giving you much time to dwell on things as it keeps throwing one deadly riff after the other at you as you’re forced to scramble in an attempt to fully comprehend them before life comes to an end.

The band’s Stygian guitars ignite their sulfurous attack in Chants of the Unholy, with the blast beast by N.C. bringing hell to their imposing musicality, and K.G. and K.C. continue to extract darkness and hatred from their guitars in Lost in Obscurity while M.L. vociferates rabidly in the name of evil in a great display of contemporary Black Metal. Then a beyond creepy, phantasmagorical interlude titled Arcane Paths will send shivers down your spine before the quartet comes crushing our putrid souls once again in Enslaved to Be, presenting their demonic riffs and growls supported by another bestial performance by N.C. on drums, also showcasing hints of Melodic Black Metal carefully inserted into their core sound.

Get ready for eight minutes of sulfur and obscurity entitled Altar of the Void, with the entire band being on absolute fire from start to finish, in special M.L. with his venomous gnarling while K.G. and K.C. once again hammer our skulls with their axes; whereas investing in a more somber sonority with elements from Doom Metal and Blackened Doom we have Penance, before exploding into their core insanity led by the infernal drums by N.C., sounding very detailed, demonic and thrilling, or in other words, a lecture in modern-day Black Metal. And lastly, closing the album the band offers us all one last onrush of malignant Black Metal titled Sanctum Regnum, with their piercing guitars and hellish roars elevating the song’s obscurity to a whole new level, therefore feeling very dense and grim until the very last second.

In a nutshell, Decipher are more than ready to kill armed with their sulfurous debut effort, and if I were you I would definitely give those Greek metallers a shout on Facebook and on Instagram, subscribe to their YouTube channel for more of their classy music, stream their sick creations on Spotify, and above all that, purchase a copy of Arcane Paths To Resurrection from their own BandCamp page or from the Transcending Obscurity Records’ webstore as a special digipak CD or as an ass-kicking shirt + CD combo (or click HERE for all things Decipher). The band is surely delivering a timeless piece of Black Metal that’s impactful and strongly evocative with Arcane Paths To Resurrection, keeping in mind this is just their first opus, which means Decipher will surely make a lot of noise in the coming years for the delight of al lovers of extreme music out there.

Best moments of the album: Chants of the Unholy, Altar of the Void and Penance.

Worst moments of the album: None.

Released in 2023 Transcending Obscurity Records

Track listing
1. Chants of the Unholy 4:11
2. Lost in Obscurity 5:40
3. Arcane Paths 1:48
4. Enslaved to Be 4:56
5. Altar of the Void 8:52
6. Penance 5:15
7. Sanctum Regnum 5:42

Band members
M.L. – vocals, chants
K.G. – lead and rhythm guitars, bass, vocals, chants
K.C. – guitars
N.C. – drums

Album Review – Ciemra / The Tread of Darkness (2023)

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Behold the magnificent debut opus by this Belarusian Black Metal horde, based on the denial of the usual foundations of the world, on the darkest manifestations of human activity, and on energies hidden beyond the Dark Abyss.

Forged in the scorching fires of Minsk, Belarus in 2019, when five essences emerged from the abyss to the veils of night on the eve of the end times in order to reap the living, to satisfy the hunger of darkness and to nourish the wombs of the dark gods, the venomous Melodic Black Metal horde Ciemra (or Цемра, which means “darkness” in Belarusian) delivers fast-paced, cold and pure Black Metal which is looking at both the classic European sound and its more contemporary interpretations, which is exactly what you’ll find in their newborn opus titled The Tread of Darkness. Recorded at Alma Studio, mixed and mastered by Yaroslav Tseluyko at Jaro Sound, and displaying a demonic artwork by Nestor Povarnin, The Tread Of Darkness is based on the denial of the usual foundations of the world, on the darkest manifestations of human activity, and on energies hidden beyond the Dark Abyss, masterfully brought into being by the witch Malvain on vocals, Misery and Zima on the guitars, Kurz on bass, and Sønn on drums.

The acoustic guitars by Misery and Zima will mesmerize your soul accompanied by the slow and steady beast by Sønn in Ciemra, before the Belarusian sorceress Malvain begins gnarling in a dark and beautiful manner, with the music growing in intensity until becoming a sulfurous and grandiose feast of undisputed Black Metal. After such impactful start, the band continues to distill their blend of Melodic Black Metal with old school, raw Black Metal in Four Riders, with the band’s guitar duo cutting our skin deep with their evil riffage, followed by Vomiting Void, very melodious and bestial from the very first second while showcasing devilish lyrics growled by Malvain (“Burning the world / Building the temple / In the end of the night / There’s a Vomiting Void / So far material awake the gun”). And investing in a more cadenced, obscure sonority led by the classic drums by Sønn supported by the low-tuned bass by Kurz, Call of the Ancestors is an evil composition perfect for summoning evil spirits.

Then continuing to pave their path to pitch black darkness it’s time for War, again presenting the trademark roars by Malvain while Misery and Zima add elements from Death and Doom Metal to their riffs; and their piercing, strident guitars keep darkening the skies in A Night for the Death, where their Blackened Doom vein arises like a creature from the netherworld, with Kurz and Sønn once again hammering our heads with their demonic kitchen in a lecture in extreme music. The eerie vociferations by Malvain are the main ingredient in the Black Metal extravaganza Winter, where the caustic sound of their guitars will blacken your mind for all eternity, whereas in Serpent’s we face more of their infernal words (“The shaking Serpent / In the Abyss / The Raw materials / I’m on my knees…”) while the music is just as Stygian and heavy as the rest of the album, exploding into a gargantuan onrush of pure Black Metal at the end. Lastly, closing such somber album we have Where the Eyes Close, offering more of the band’s darkly melodic and grim Black Metal for our total delight, with its ethereal passages creating a stunning paradox with the band’s more visceral and violent side.

The bestial debut album by such promising Belarusian horde can be appreciated in full on YouTube and on Spotify, but of course if you consider yourself a true servant of darkness you can purchase your favorite version of the album from their own BandCamp page, from the Avantgarde Music’s BandCamp page, from Sound Cave as a digipak CD, a black vinyl or a color vinyl, from Season of Mist also as a digipak CD or a color vinyl, from Record Shop X, or from Apple Music. Furthermore, don’t forget to start following Ciemra on Facebook, on Instagram and on VKontakte for news, tour dates and so on, and to subscribe to their YouTube channel for more of their wicked music and videos. Nature, in its primordial beauty and originality, also finds a place in The Tread Of Darkness, as there is where Ciemra find themselves at peace, but the exact opposite of that peace is what the quintet will offer you throughout the entire album, relentlessly dragging you toward endless darkness.

Best moments of the album: Ciemra, Vomiting Void, A Night for the Death and Where the Eyes Close.

Worst moments of the album: None.

Released in 2023 Avantgarde Music

Track listing
1. Ciemra 7:09
2. Four Riders 4:41
3. Vomiting Void 3:52
4. Call of the Ancestors 4:59
5. War 5:49
6. A Night for the Death 5:43
7. Winter 4:48
8. Serpent’s 4:28
9. Where the Eyes Close 5:00

Band members
Malvain – vocals
Misery – guitar
Zima – guitar
Kurz – bass
Sønn – drums

Album Review – Nothingness / Supraliminal (2023)

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Raise your horns to the cauldronous mix of multiple extreme styles carefully crafted by this remorseless Death Metal entity from Minnesota.

Minneapolis, Minnesota-based Death Metal purveyors Nothingness are finally back with their sophomore album, entitled Supraliminal, following up on their critically acclaimed 2019 debut album The Hollow Gaze of Death. Tracked, mixed, and mastered by Adam Tucker at Signaturetone Recording, produced by Nothingness and Adam Tucker, and displaying a sick artwork by Mark Voortallen (aka Vulture), Supraliminal brings to our ears a cauldronous mix of multiple extreme styles carefully crafted by Barclay Olson on vocals, Alex Walstad on the guitars, bass, syntsh, 12 string and backing vocals, and Jason Hirt on drums, always respecting the history of metal and, therefore, being recommended for admirers of Gorguts, Gojira, Morbid Angel and Iniquity, among others extreme music giants.

Featuring DgS of Suffering Hour on guest vocals, the opening tune Curse of Creation brings forward sick lyrics barked by Barclay (“Formed gilded rotted repeated / Malformed deities adorn Gardens of / Spiritual decay / Death feeds / Mankind breeds / The Flame consumes / resplendently / Life is a curse”) amidst sheer groove, violence and intricacy, and Alex keeps hammering his guitar and bass supported by the massive beast by Jason in the old school Death Metal feast titled Horrendous Incantation, blasting a no shenanigans, in-your-face sonority that will please all fans of the genre. Catapulted Into Hyperspace, featuring guest guitars by YhA of Suffering Hour and guest vocals by XH, offers more of the band’s vicious metal attack, with Jason once again kicking some ass behind his drums, whereas Temple of Broken Swords brings to our ears over six minutes of a disturbing atmosphere generated by the band, resulting in an infernal display of Death Metal spearheaded by the visceral roars by Barclay.

And that heavy and somber ambience keeps darkening our minds in Festering Abstraction, presenting hints of Blackened Doom for our total delight; followed by Inviolate Viscera, featuring guest Jubjy on vibraslap and YhA once again on the guitars, the shortest of all songs but exhaling pure evil spiced up by its vile lyrics (“Wandering down writhing corridors / Twisting turning / Coming apart at the seams / Tunnels worming ever inward / Fluid leaking from in between”). Then blending Death and Doom Metal in a meticulous manner, the band fires seven Stygian minutes in Beacon of Loss, where Jason pounds his drums manically while Barclay vociferates deeply until the very last second, and get ready to have your skull crushed by the band in The Anvil, one of the heaviest songs of the album led by the venomous growling by Barclay, overflowing groove and sulfur. Lastly, DgS is back on vocals in Decimation Mechanism, starting in a very sinister way before morphing into one final onrush of obscure death, also showcasing an amazing job done on the guitars by Alex.

You can soon put your dirty, damned hands on Supraliminal by purchasing the album from the Everlasting Spew Records’ BandCamp page or webstore in CD or tape format, and don’t forget to also start following Nothingness on Facebook and on Instagram for all things surrounding the band, and to stream more of their wicked creations on Spotify. In a nutshell, those Minneapolis guys definitely know how to create crushing, visceral, heavy-as-hell Death Metal, with Supraliminal presenting a big step in their career and, consequently, pointing to a bright future ahead of them without a shadow of a doubt.

Best moments of the album: Horrendous Incantation, Temple of Broken Swords and The Anvil.

Worst moments of the album: None.

Released in 2023 Everlasting Spew Records

Track listing
1. Curse of Creation 4:31
2. Horrendous Incantation 4:19
3. Catapulted Into Hyperspace 4:37
4. Temple of Broken Swords 6:36
5. Festering Abstraction 5:10
6. Inviolate Viscera 2:37
7. Beacon of Loss 7:11
8. The Anvil 3:42
9. Decimation Mechanism 4:43

Band members
Barclay Olson – vocals
Alex Walstad – guitar, bass, synth, 12 string, backing vocals
Jason Hirt – drums

Guest musicians
DgS – additional vocals on “Curse of Creation” and “Decimation Mechanism”
YhA – additional guitars on “Catapulted Into Hyperspace” and “Inviolate Viscera”
XH – additional vocals on “Catapulted Into Hyperspace”
Jubjy – vibraslap on “Inviolate Viscera”

Album Review – Reincarnated / Of Boötes Void Death Spell (2022)

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Submit to the sonic onslaught found in the debut album by this infernal death and doom horde from Thailand, sounding absolutely gutted, ghastly and knuckle-dragging.

Diehard fans of bands the likes of Disma, Undergang, Funebrarum, Grave Miasma and early Necros Christos, among others, are wholeheartedly encouraged to submit to the sonic onslaught crafted by Thailand’s own Death/Doom Metal entity Reincarnated in their debut album, the infernal Of Boötes Void Death Spell. Recorded at Dee Music Studio, Nuclear Bomb Studio and TNT Music Productions, mixed at Nuclear Bomb Studios, mastered by Dan Lowdes at Resonance Sound Studio, and displaying a sick logo by Nox Fragor Art, layout and illustrations by Sickness 666 and a devilish booklet artwork By Festeringphlegm, Of Boötes Void Death Spell is basically a Death Metal maniac’s record recorded by the Death Metal maniacs NB on vocals, Patiwat and Saran on the guitars, Chester on bass and Thinnarat on drums, all skillful veterans of the Thai metal underground.

A short and sinister intro welcomes us all to the dark world ruled by Reincarnated in Ophiuchus Crypt, where Patiwat and Saran bring forward sheer doom armed with their riffs in a Blackened Doom feast with elements from Death Metal to make things even more menacing. Then NB’s haunting vocals will send shivers down your spine in Quasar God Oration, a lecture in modern-day Death and Doom Metal while also showcasing an amazing old school feeling, with Thinnarat inviting us all to break our necks headbanging to his devilish beats; whereas the venomous guitars by Patiwat and Saran generate a Stygian atmosphere in Proxima Hibernation, supported by the rumbling bass by Chester and another hammering performance by Thinnarat behind his drums. Triumphant Dead Comet is an avalanche of crushing doom for our total delight, with all infernal beats, riffs and bass lines offering NB exactly what he needs to vociferate like a creature form the underworld; and the sulfurous Tomb of Boötes Void puts a beyond demonic ending to the album, with Thinnarat pounding his drums mercilessly while NB roars and growls from the bottom of his blackened heart in another visceral hybrid of classic Death and Doom Metal.

In a nutshell, let’s say Reincarnated more than succeeded in achieving their goal of playing only the darkest and most doomed-out style of death in their debut full-length opus, sounding absolutely gutted, ghastly and knuckle-dragging until the very last second, with no room for innovation or progression. Hence, in order to show them all your admiration for their services to the underworld, you can start following the band on Facebook and on Instagram, and of course purchase your copy of their venomous newborn beast from the Inhuman Assault Productions’ BandCamp page or webstore. Extreme music made in the scorching hot Thailand has never been more demonic and evil, and thanks to the talented and hardworking guys from Reincarnated we can rest assured darkness will forever emanate from their homeland.

Best moments of the album: Quasar God Oration and Triumphant Dead Comet.

Worst moments of the album: None.

Released in 2022 Inhuman Assault Productions

Track listing
1. Ophiuchus Crypt 7:27
2. Quasar God Oration 7:04
3. Proxima Hibernation 6:48
4. Triumphant Dead Comet 4:55
5. Tomb of Boötes Void 4:33

Band members
NB – vocals
Patiwat – guitars
Saran – guitars
Chester – bass
Thinnarat – drums

Album Review – Ferum / Asunder / Erode (2022)

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A ruthless entity arises from the underworld with an obsessive and monolithic record, showcasing the boldness and rot of American death doom and the introspection and emotion of English death doom.

Formed in 2017 in Bologna, Italy, but currently scattered between Bologna and Tallinn, the capital of Estonia, the ruthless Death/Doom Metal entity known as Ferum (which means “wild”, “untamed” or “fierce” in Latin) is unleashing upon us all their debut full-length opus, entitled Asunder / Erode, following up on their 2018 EP Vergence. Recorded and mixed by the band’s drummer Are Kangus at Walter Productions, mastered by Dan Swanö, and displaying a fantastic cover art by Paolo Girardi (read more about the concept and process HERE), Asunder / Erode is a clear step forward in the career of vocalist and guitarist Samantha Alessi, bassist Matteo Anzelini and the aforementioned Are Kangus compared to their previous release, offering fans of heavy music an obsessive and monolithic record showcasing at the same time the boldness and rot of American death doom and the introspection and emotion of English death doom, with its slow, funereal riffs and cavernous atmosphere positioning it as one of the best albums of the genre of the past few years.

The massive, sluggish beats by Are kick off the thunderous opening tune Halfhead, with Samantha roaring deeply like a she-demon while also extracting sheer malignancy from her axe. In other words, it’s dark, sinister and somber just the way we like it in Doom Metal, which is also the case with The Undead Truth, featuring the iconic Mike Perun of Cianide on vocals, sounding even more demonic and grim with Samantha firing obscure riffs nonstop supported by the low-tuned bass by Matteo, not to mention how intricate and vibrant the drumming by Are is. Then continuing their path of old school, sulfurous Death and Doom Metal the trio brings forth the headbanging Desolate Vantaa, a song perfect for breaking your neck in half to the pounding drums by Are while Samantha darkly vociferates the song’s lyrics; and dark clouds are above us in the damned tune Belong, where Samantha and Matteo are in total sync with their stringed weapons, generating a menacing, reverberating sound tailored for admirers of the most obscure form of Doom Metal.

Get ready for almost seven minutes of infernal epicness in Monolithic Acquiescence, presenting elements from Blackened Doom in its core while remaining loyal to the foundations of Death Metal thanks to another awesome performance by Samantha on vocals; whereas investing in a more ferocious vibe, the trio delivers endless violence and heaviness in Entrails Of Linnahall, with Are dictating the song’s brutal pace while also alternating between pure Death Metal and slow, sinister passages. A deep roar by Samantha kicks off the Stygian extravaganza titled Resurgence In Bereavement, another dense, multi-layered composition showcasing Are’s classic Doom Metal beats, growing in intensity and fear until all fades into the void for our total delectation, while eerie vocalizations and minimalist sounds will darken our minds in Outro – Spesso Il Male Di Vivere Ho Incontrato, which is not a bad idea for an outro but it could have been slightly shorter to keep the energy level in the album even higher. Nothing to worry about, though, as in the end the album kicks some serious ass from start to finish.

As already mentioned, the wild and fierce hybrid of Death and Doom Metal blasted by Ferum in Asunder / Erode is a must-listen for anyone who enjoys a good dosage of obscurity and hatred in metal music, proving how focused the trio was while recording the album and, consequently, pointing to an exciting future ahead of them. Having said that, don’t forget to start following Samantha and the boys on Facebook and on Instagram for news, tour dates and other important information about the band, to purchase your copy of Asunder / Erode from the Avantgarde Music’s BandCamp page or from Sound Cave as a CD, a color vinyl or a black vinyl, and to stream all of their devilish arias on Spotify. Ferum are definitely on the right path to conquer the world of extreme music based on what they have to offer us all in their new album, leaving us eager (or I might even say desperate) for more of their music in a not-so-distant future.

Best moments of the album: Halfhead, Desolate Vantaa, Entrails Of Linnahall and Resurgence In Bereavement.

Worst moments of the album: Outro – Spesso Il Male Di Vivere Ho Incontrato.

Released in 2022 Unorthodox Emanations/Avantgarde Music

Track listing
1. Halfhead 5:24
2. The Undead Truth 6:28
3. Desolate Vantaa 5:15
4. Belong 5:23
5. Monolithic Acquiescence 6:53
6. Entrails Of Linnahall 5:24
7. Resurgence In Bereavement 6:39
8. Outro – Spesso Il Male Di Vivere Ho Incontrato 3:02

Band members
Samantha Alessi – vocals, guitars
Matteo Anzelini – bass
Are Kangus – drums

Guest musician
Mike Perun – vocals on “The Undead Truth”