This blood-soaked creature hailing from Colombia is back with their second tome of monstrosities and malignancy, spewing forth their particular brand of Death Metal sickness.
He’s dead? Not anymore…” – Herbert West, Reanimator
Formed in the time of the global pandemic, Barranquilla, Colombia’s own Funeral Vomit have been spewing forth their particular brand of Death Metal sickness since 2020, becoming a must-listen for fans of Autopsy, Grave, Mortician, and Grave Desecrator, among many other torchbearers of pure death. Now in 2025 the band formed of C. Monsalve on vocals and guitar, Y. Lopez also on the guitar, H. Montaño on bass, and J. Carvajal on drums returns from the grave with their sophomore offering entitled Upheaval of Necromancy, their second tome of monstrosities and malignancy to be released on the same fateful date on which their debut Monumental Putrescence was exhumed, two years ago.
Get ready to be pulverized by Funeral Vomit, as the cadaverous intro The Disentombment will drag us to their Stygian lair where the quarter will crush our putrid bodies and souls with the title-track Upheaval of Necromancy, a lecture in old school, primeval Death Metal where C. Monsalve sounds like a creature from the abyss on vocals. After one of those classy excerpts of some crazy dude talking crazy stuff, we have more of their evil sounds in Sulphuric Regurgitation, with J. Carvajal showing absolute zero mercy for our necks armed with his demented beats and fills, followed by Hematophagia, less frantic but still venomous and absurdly heavy, with C. Monsalve and Y. Lopez firing devilish riffs and solos in great fashion.
The second part of the album kicks off with another phantasmagorical instrumental piece titled Interlude (Mortuary Ecstasy), opening the gates of the underworld for the band to consume our souls with Winds of Exhumation, an evil, no shenanigans Death and Doom Metal creature led by C. Monsalve’s visceral guttural, supported by the thunderous kitchen by H. Montaño and J. Carvajal. Then the band goes absolute berserk in Altars of Doom, demolishing their instruments mercilessly, therefore inviting us all to crush our skulls into the pit. A name like Cryptic Miasma Stench demanded the most putrid form of Death Metal, and the band delivers exactly that with honors led by J. Carvajal’s violent drums; whereas the album ends with the gruesome, devilish Rancid Insorcism, another blast of pure Colombian gore and violence, morphing into the bestial outro Effluvia of the Mass Grave, sounding like the closing credits of a brutal horror flick.
In the end, there will be no escaping Funeral Vomit’s call from the grave to the sound of their demented new album, and you can join them in their quest for extreme music, violence and gore by following the band on Facebook and on Instagram, by streaming their depraved and sick music on Spotify or any other streaming platform with enough guts to host their music, and obviously by putting your impious, dirty hands on the album via Xtreem Music’s BandCamp or webstore. As you listen to the extreme aggression found in Upheaval Of Necromancy, you’ll soon realize this is not just your regular Death Metal. The Funeral Vomit nightmare is real, and it will never end.
Best moments of the album:Upheaval of Necromancy, Winds of Exhumation and Cryptic Miasma Stench.
Worst moments of the album: None.
Released in 2025 Xtreem Music
Track listing 1. Intro (The Disentombment) 1:45
2. Upheaval of Necromancy 3:30
3. Sulphuric Regurgitation 4:05
4. Hematophagia 5:48
5. Interlude (Mortuary Ecstasy) 1:15
6. Winds of Exhumation 4:00
7. Altars of Doom 2:48
8. Cryptic Miasma Stench 3:25
9. Rancid Insorcism 3:40
10. Outro (Effluvia of the Mass Grave) 1:05
Band members C. Monsalve – vocals, guitar
Y. Lopez – guitar
H. Montaño – bass
J. Carvajal – drums
A Colombian Death Metal horde based in the UK is inviting us all to join Satan’s crusades to the sound of their pustulent psalms of inverted sanctity.
At the spearhead of a new assault upon the bulwarks of civilization comes the barbaric Brutal Death Metal/Deathslam horde of Imperial Execration, armed with the rotting horror of their debut album Commanding Satan’s Crusades. Formed in 2019 by two Colombian musicians now relocated to the UK, drummer Ruben Jaramillio (Ataud, Engulfed In Abomination), and guitarist and bassist Eduardo Camargo (Ataud, Goreinhaled, Despondency), this putrid platoon of Satan’s soldiers is completed by the bestial bellows of the infamous Colombian vocalist Oscar “Mr. Oscarnivore T-666” Macias (of Carnivore Diprosopus), together creating six pustulent psalms of inverted sanctity and added to that grim order of service a cover song that exhales death and gore. Mixed and mastered by Tom Bradfield at Grindethic Records, and displaying a sick artwork by Venezuelan artist John Quevedo Janssens, Commanding Satan’s Crusades will leave no doubt about the future, as there is no light at the end of the tunnel, there is no redemption and absolutely no resurrection, being therefore recommended for lovers of the devastating music by Suffocation, Gorgasm, Devangelic and Disentomb, just to name a few.
Summoning of the Ancient Hordes sounds utterly putrid, gory and demolishing from the very first second, and it’s impressive how just three guys can make so much noise. Moreover, Oscar’s deep barks sound and feel inhumane throughout the entire song (and album), accompanied by the classic blast beats by Ruben. Commandments of the Age of Darkness is another onrush of first-class Brutal Death Metal that will decimate your damned soul during its three demented minutes, with Eduardo doing a fantastic job with both his riffs and bass lines, and those three Colombians are ready to pound our cranial skull to dust with the venomous Throne of Sadistic Abominations, a lecture in Brutal Death Metal that lives up to the legacy of the genre with Oscar vomiting the song’s dark words majestically.
In His Ominous Presence the band keeps the insanity and blasphemy of the album at an unimaginable level, with Ruben being absolutely bestial behind his drums in this ode to darkness, and he keeps hammering his drums in Lords of Tyrannical Perversion, with Eduardo’s evil riffage providing Oscar with exactly what he needs to bark nonstop. There’s still more fuel to burn to the sound of Victory of the Stygian Empire, with its cryptic intro evolving into a brutal assault of classic Death Metal led by the gruesome vociferations by Oscar. Put differently, it can’t get any heavier than this, flowing into their cover version for Dehumanizer’s classic tune Condemned (check the original version HERE, from their 1998 demo Prophecies Foretold). Needless to say, Imperial Execration’s version is just as demonic and obscure, with Eduardo kicking some serious ass with both his riffs and bass punches.
The malevolent, hellish Death Metal played by Imperial Excretion in Commanding Satan’s Crusades can be appreciated in all of its glory on YouTube and on Spotify, but of course let’s show those Colombian metallers our true support by purchasing their fulminating album from the band’s own BandCamp page, from the Comatose Music BandCamp page or webstore as a CD or as an amazing CD + shirt + sticker bundle, and from several other locations such as Discogs and Barnes & Noble. They are also eager to hear what you have to say about their newborn vile creations on Facebook and on Instagram, inviting us all to join Satan’s crusades to the sound of their thrilling, sulfurous Death Metal, and I’m sure we’ll have a very good time banging our heads manically with them.
Best moments of the album:Summoning of the Ancient Hordes, Throne of Sadistic Abominations and Victory of the Stygian Empire.
Worst moments of the album: None.
Released in 2022 Comatose Music
Track listing 1. Summoning of the Ancient Hordes 3:08
2. Commandments of the Age of Darkness 2:59
3. Throne of Sadistic Abominations 2:56
4. His Ominous Presence 2:57
5. Lords of Tyrannical Perversion 3:21
6. Victory of the Stygian Empire 3:41
7. Condemned (Dehumanized Cover) 2:55
Band members
Oscar “Mr. Oscarnivore T-666” Macias – vocals
Eduardo Camargo – guitars, bass
Ruben Jaramillio – drums
I curse at their holy symbols… I laugh as they pray…
As we’re reaching the end of 2022, let’s all make a lot of noise together with our last metal lady of the year in the name of rock and metal music, sounds good? And when I say a lot of noise, I mean A LOT OF noise, because our metallic diva this month of December is undoubtedly one of the most talented drummers of the current Death and Thrash Metal scene, hammering her drums mercilessly for our total delight wherever she goes. I’m talking about the talented and charismatic Luana Dametto, the unrelenting drummer for Brazilian Death/Thrash Metal horde Crypta, and also known for her work with the bands Nervosa, Chaos Rising and Apophizys. Having said that, are you ready to know more about such unstoppable lady of the extreme music scene?
Born on November 22, 1996 in Tapejara, a municipality in the state of Rio Grande do Sul, Brazil, Luana started her path in the world of music at the young age of 12 when she already began to play drums, later joining her very first band, Passo Fundo, Brazil-based Death Metal act Apophizys, at the age of 16. That’s exactly when she discovered her passion for Death Metal, and from there it was just a matter of time until she joined Brazilian Thrash Metal ladies Nervosa back in 2016. However, before becoming part of Nervosa, Luana studied Graphic Design at UPF – Universidade de Passo Fundo in Brazil in order to build a career in this field while still working as a musician in her spare time until the age of 19, which turned out to be very useful for her as she actually applied her studies into her passion for heavy music, being responsible for the artwork for the first (and only) full-length album by Apophizys.
Speaking about Apophizys, our metal lady was part of the band between 2012 and 2017, when the band split up, having recorded with them the album Into the Chaos back in 2015, which included some excellent songs such as Fear of the Unknown and Carnage (and you can enjoy a nice drum cam recorded by Luana herself for this song by clicking HERE). In one of her interviews, Luana explained exactly how she made it to Apophizys, saying that in the city of Passo Fundo there were two Death Metal bands, one formed by brothers who wouldn’t allow her to join the band, and the aforementioned Apophizys. She said Apophizys already had a drummer at that time, but Luana didn’t give up and stayed tuned to them hoping their drummer would leave the band, opening the so much needed spot for her. As you might already know, that worked, and Luana kicked some ass behind her drums with Apophizys for six years before joining Nervosa.
Luana was still in college when Nervosa’s founder and guitarist Prika Amaral added her on Facebook and contacted her for an audition (being referred by Brazilian drummer Eduardo Lane of NervoChaos, who had already toured with Apophizys before), as at that time Nervosa had just lost their previous drummer Pitchu Ferraz. She then travelled to the city of São Paulo, passed the test, and went on to start playing live with the band that same year and to record the band’s 2018 opus Downfall of Mankind. From such intense album, you can enjoy amazing songs the likes of Kill The Silence and Never Forget, Never Repeat (and there’s also a kick-ass drum cam for this song HERE). After the album release, she traveled and toured a lot around the world, playing at several big festivals and, therefore, turning music into her main occupation. In addition, Luana also recorded with Nervosa the single Freakshow, originally released on the Adult Swim metal compilation 2 in 2019. It was in 2020 when Luana parted ways with Nervosa, saying that the main reason for her departure was the fact that the three girls at that time felt there was no more passion for doing music together. There wasn’t any type of fighting or arguing, and she said they could have even continued with the band as is, but they all agreed they had to change something to reignite that passion and love for extreme music.
The seed for what’s known today as Crypta had already been planted before she left Nervosa, more specifically in June 2019, as a new musical project by Luana together with Fernanda Lira, also from Nervosa. As the co-founder of the band, she said the focus would be on playing Death Metal in a way that could not be done with Nervosa, inviting Dutch guitarist Sonia Anubis (of Burning Witches) to the band and later also adding Brazilian guitarist Tainá Bergamaschi (of Hagbard) to their lineup. After consolidating the band members, they started working on their debut effort Echoes of the Soul, released in 2021, and you can have an absolute blast to the sound of such incendiary album to the sound of songs such as From The Ashes, Dark Night Of The Soul and Kali (check out another awesome drum cam for this song HERE). Furthermore, earlier this year the band released the single I Resign (which also has a really cool drum cam video that can be watched HERE), once again presenting the visceral and heavy elements that are characteristic of their sound. Moreover, if live concerts are your cup of tea, you can find Luana pounding her drums in great fashion in several live videos of the band including From The Ashes live at Wacken Open Air 2022, and a 30-minute performance at Espaço Som studio in São Paulo, Brazil in November 2021.
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Apart from Crypta, Nervosa and Apophizys, you can also find Luana smashing her drums since 2021 with Chaos Rising, a collaborative international project focused on different subgenres of heavy music open to every female artist interested in metal that includes members from Brazil, France, Germany, England, Sweden, Hungary, Russia, Iran and Argentina, among others. She recorded with Chaos Rising in 2021 the single Cost of Inaction alongside Swiss vocalist Alessia Mercado (Burning Flesh, Murge), French guitarist Stéphanie Nolf (Unsafe), Italian guitarist Francesca Mancini (Sudden Death), and German bassist Tina Gruschwitz (Demorphed, Cryoblood), and the final result is a bestial Death and Thrash Metal attack that will please all fans of extreme music. In addition, Luana was also a guest drummer in the 2016 EP Souls Dragged into the Abyss of Torment, by Brazilian Melodic Black/Death Metal act Isfet, also working in the recording of the album. If you want to listen to Luana playing a more demonic, blackened style of music, you can enjoy for example what’s perhaps the best song of the album, Perennial Pain Domain.
Regarding her idols and influences, Luana mentioned that she’s a huge fan of Thrash, Black and in special Death Metal, and that she began playing drums influenced by Joey Jordison (RIP) of Slipknot and Vinnie Paul (RIP) of Pantera, learning a lot about double bass and groove by listening to and watching them. She also mentioned Kerim “Krimh” Lechner of Decapitated and Derek Roddy of Hate Eternal as influences on the way she does her blast beats, complementing by saying that playing drums was actually a random thing that happened to her, as she was only 11 years old when she got in touch with a friend who played drums who led her to get her own set and begin playing. Not sure if her setup is still the same, but a few years ago she was using a 14″ Color Sound 900 Black Heavy Hi-Hat, a 16″ Color Sound 900 Black Heavy Crash, a 17″ Color Sound 900 Black Heavy Crash, a 18″ 2002 Giga Bell Ride “Psychoctopus”, and a 16″ Color Sound 900 Black China.
Speaking about her life on the road, although Luana might still be a very young drummer, she has already been to several different parts of the world including of course most regions in Brazil, the United States, Colombia, many countries across Europe and Asia (even recommending Singaporean Grindcore act Wormrot as one of her favorite bands of the region), and even the United Arab Emirates together with Nervosa and now Crypta. She mentioned Rock in Rio in Brazil and Altavoz Fest in Colombia as the most memorable concerts so far in her career, saying that Altavoz Fest is some sort of “Rock in Rio Colombia” where she played in front of over 30,000 people. Moreover, when asked which bands she enjoyed the most to play alongside, our dauntless drummer mentioned Havok (Brazil), Warbringer (United States) and Venom Inc. (England) as her favorite bands to tour together. There are some very interesting interviews with Luana on YouTube (most of them in Portuguese, though) where she talks about not only her touring experience but also about what’s next for Crypta, their music and so on, such as this one to a podcast named TUPFS, this one to Revista Freak, and this one to Hedflow.
There’s also another excellent interview to a podcast named Music Hero where she talks about being a woman in the extreme metal scene, and that’s how we’ll conclude this humble tribute to her. As a prominent female drummer in the world of heavy music, Luana thinks the scene is still ruled by men and that there’s a lot of sexism everywhere, saying she feels extremely disappointed when people treat her as if she knows less about her instrument than guys just because she’s a woman. Her advice to other women who are starting their careers in music is to focus on your work and ignore all the negativity that might come from some people, only doing what you truly feel comfortable doing. When asked about her favorite female metal musicians, Luana listed Canadian drummer Justine Éthier (Karkaos, Blackguard), Dutch vocalist Simone “Som” Pluijmers (Your Chance to Die, Lacerated, Cerebral Bore), and American vocalist Reba Meyers (Pray for Teeth) as the best for her, and just by mentioning only names from the underground scene we can see how much Luana is passionate about it. Hence, if you also love the underground extreme scene, you must go check what Luana and the other girls from Crypta are doing and, of course, stay tuned for when the band takes your city by storm with their pulverizing live performance, with Luana proving that you don’t need to be a big guy to powerfully smash your drums in the name of extreme music.
An infernal invocation to darkness by a ruthless Colombia-based horde, positioning the band as one of the driving forces of the South American extreme music scene.
Funebria, the name of a rare manuscript “Carmina Funebria in Obitum Clarissimi” of influences in opus “Cantiones Profanae” and a fascination for funeral processions, is also the name of Venezuelan Black Metal horde Funebria, founded in 2004 in Maracaibo, a city in northwestern Venezuela and the capital of Zulia state (but currently based in Bogota, Colombia), having started following the path of pure old school Black Metal with their debut demo Manifiesto Al Esclavo, released in 2005. Currently comprised of Daemonae on vocals and guitars, Blackmiroz also on the guitars, Perverssturm on bass and backing vocals, and Naberius on drums, the band is unleashing upon humanity their third full-length album, entitled Death of the Last Sun, highly recommended for admirers of the music by Behemoth, Hate, Decapitated and Svart Crown, among others. Recorded mixed and mastered at DAE Home Studio by Ranndy Garcia (aka Daemonae), known for his work with Black Metal act Theurgia, Death of the Last Sun is an invocation to darkness in the most tight and raw way imaginable, positioning the band as one of the driving forces of the South American extreme music scene.
The tolling of the bells darkens our minds and hearts in the intro AIN, before all hell breaks loose in Ominous Armaggeddon, a visceral, straightforward Black Metal feast spearheaded by the infernal beats by Naberius while Daemonae roars and barks like a true demonic entity, also presenting progressive and groovy elements to spice the whole song up considerably. After such intense start to the album, more of their venomous fusion of Black and Death Metal is offered to our avid ears in the obscure tune Upheaval & Decadence, with hints of Doom Metal added to its already somber vibe, not to mention how ruthless Daemonae and Blackmiroz are with their riffage; and there’s no time to breathe as those South American beasts keep smashing our skulls mercilessly in Bleeding Sacrament, another brutal display of Black Metal infused with Daemonae’s trademark Death Metal growls that will put a grim smile on the faces of fans of extreme music.
Ethereal Form Of Saints sounds and feels as doomed as its predecessors, with Perverssturm firing low-tuned, bestial bass punches straight to our faces, therefore supporting the headbanging riffs by his bandmates, resulting in a massive tune where every single space in the air is filled with sulfur and hate. Dawn Of Black Inericon might be the shortest song of the album, but that doesn’t mean it’s not as dense, bold and Mephistophelian as all other songs, with Daemonae once again taking the lead with his deep roars supported by Naberius’ massive drums, whereas closing the album there’s more evil and hatred in the form of Black Waters Caesar, a lecture in old school and modern-day Black Metal full of breaks and variations, scorching riffs, bass jabs and the always demented beats by Naberius. Put differently, what a pulverizing conclusion to Death of the Last Sun, leaving us all eager for more of Funebria’s infernal creations in a not-so-distant future.
If you want to have a much better taste of all the darkness and wrath flowing from Funebria’s music, you can enjoy their new album in its entirety on YouTube and on Spotify, but of course you should definitely purchase the album from Dark Terror Temple’s BandCamp page, from the Satanath Records’ BandCamp page, from Apple Music or from Amazon to show your utmost support to such distinguished South American horde. In addition, don’t forget to follow the band on Facebook for news, tour dates, plans for the future and so on, proving you’re indeed a servant of the underworld as you like to brag about. Funebria are one of those bands whose sound is always evolving in the best way possible without abandoning their roots, and Death of the Last Sun is indeed a fantastic representation of their talent, their passion for Black Metal and their loyalty to this always brutal and captivating style.
Best moments of the album: Ominous Armaggeddon and Black Waters Caesar.
Worst moments of the album: None.
Released in 2021 Dark Terror Temple/Satanath Records
Track listing 1. AIN 0:52
2. Ominous Armaggeddon 6:35
3. Upheaval & Decadence 4:43
4. Bleeding Sacrament 4:13
5. Ethereal Form Of Saints 5:35
6. Dawn Of Black Inericon 3:52
7. Black Waters Caesar 5:17
Band members Daemonae – guitars, vocals
Blackmiroz – guitars
Perverssturm – bass, backing vocals
Naberius – drums
These unrelenting Colombian metallers return from the abyss once again embodying a deathly melodic atmosphere that reaches into realms of darkness and despair through the decay of humanity.
Three years after the release of the fantastic Mother Gray, which led the band to perform across several countries such as Colombia, Peru, Mexico, Germany, Netherlands, Belgium, France, Poland, Czech Republic, Hungary and Slovakia, the unrelenting Pereira, Colombia-based Melodic Death and Black Metal unity known as Eshtadur has just unleashed upon us all their fourth full-length installment, entitled From the Abyss, once again embodying a deathly melodic atmosphere that reaches into realms of darkness and despair through the decay of humanity. With a name translating to “rebellion of angels”, this South American outfit currently comprised of Jorg August on vocals and guitars, Alejo Guitarecho on the guitars and Andres El Negro on bass, with the support of Polish drummer Michał Łysejko, seeks to rebel in its own darkened way, embracing the abject reality, while offering in their new album ten potent and multi-layered songs tailored for diehard fans of the extreme music blasted by iconic bands such as SepticFlesh, Behemoth, Fleshgod Apocalypse and Carach Angren, all embraced by the Stygian artwork by Colombian artist Carlos Jácome.
Featuring American guitarist Riche Brown from Mindscar, the opening tune Lowborn Bastard is imposing and atmospheric from the very first second, with Michał being already bestial on drums while Jorg roars deeply and manically, also presenting crisp guitar riffs and solos for our total delight, and pounding their instruments mercilessly the band offers our avid ears the fulminating The Adverse Side, showcasing a fantastic performance by Jorg and Alejo on the guitars accompanied by the thunderous bass by Andres and wicked symphonic background elements. Then we have The Red Door, a neck-breaking hybrid of Melodic Death Metal and Symphonic Black Metal bringing forward cryptic words vociferated by Jorg (“The entrance of the never known / The altered state / I dare you find the door / Can you cross the line?”), while it’s impressive how Michał’s beats can be utterly bestial and intricate at the same time; and they go absolutely berserk in The Fall, blending the most visceral elements from Death and Black Metal spearheaded by the venomous growls by Jorg while their guitars sound as piercing and austere as possible. Following such demented tune, and featuring Swedish guiratist Henrik Danhage from Evergrey, She the Void ventures through the realms of Symphonic Doom Metal, presenting an interesting paradox between Jorg’s deep guttural and the song’s whimsical orchestrations, albeit being a little bit longer than what it should.
Then we’re treated to a very special cover version for the song All She Wrote, featuring Tunisian vocalist Zaher Zorgati from Myrath and once again Henrik Danhage on the guitars, originally recorded by Richmond, Virginia-based Glam Metal band FireHouse in their 1990 debut self-titled album (check the original version HERE), and Eshtadur’s version is simply amazing, bringing tons of metal to the original version’s core rockin’ vibe. It’s time for Eshtadur to put the pedal to the metal and blast the infernal Transient Stranger, where all band members are on fire, scathing our skins with their violence and wrath while Andres and Michał make the foundations of the earth tremble with their blackened, groovy sounds. Those Colombian metallers keep delivering sheer adrenaline, darkness and hatred in The Oathbreaker, with Jorg and Alejo making a demonic guitar duo while Michał pulverizes our senses with his menacing beats and fills in a lesson in contemporary Death Metal, followed by The Fear Difusser, featuring Colombian guitarist Adrián Holguín from Souledge, another round of acid, unfriendly extreme music by Eshtadur showcasing their usual blast beats intertwined with stunning background keys and slashing riffs. Lastly, there’s no better way to end such demolishing release than with an aggressive and furious tune, Disphased Dimension, led by Jorg’s devilish roars and the classic drums by Michał, while Andres brings the groove with his sick bass punches, putting a beautiful finale to the album.
As it happens with several bands from the most distinct parts of the world, it’s always a pleasure for fans of underground metal like myself to witness the organic and exciting growth of bands like Eshtadur, a band that’s not only carrying the flag of Colombian metal everywhere they go, but that has also been shaping up their own music style album after album, sounding more and more unique as times passes by, with From the Abyss representing another spot-on step in their already solid career. Hence, don’t forget to follow Jorg and his henchmen on Facebook, on Instagram and on YouTube, and to grab your copy of From the Abyss or to stream the album in its entirety by clicking HERE, keeping the flame of Colombian Melodic Death Metal burning bright for many years to come. After four ass-kicking albums and extensive tours all over the world, I wonder what’s next for such distinct band, and the answer to that seems quite simple after listening to their new album in full a few times, that Eshtadur will keep delivering first-class metal music no matter what, never selling off nor slowing down.
Best moments of the album: The Adverse Side, The Red Door and The Oathbreaker.
Worst moments of the album:She the Void.
Released in 2020 Blood Blast Distribution
Track listing 1. Lowborn Bastard 5:28
2. The Adverse Side 3:44
3. The Red Door 5:00
4. The Fall 3:46
5. She the Void 6:56
6. All She Wrote (FireHouse cover) 4:17
7. Transient Stranger 4:18
8. The Oathbreaker 4:41
9. The Fear Difusser 4:29
10. Disphased Dimension 4:35
Band members Jorg August – vocals, guitars
Alejo Guitarecho – guitars
Andres El Negro – bass
Guest musicians Michał Łysejko – drums (session)
Riche Brown – guitar solo on “Lowborn Bastard”
Zaher Zorgati – vocals on “All She Wrote”
Henrik Danhage – guitars on “All She Wrote” and “She the Void”
Adrián Holguín – guitars on “The Fear Difusser”
Let the witch hunt begin to the sound of the infernal fusion of Black and Thrash Metal by this dynamic duo hailing from Colombia.
Spawned in the year of 2008 in the ardent fires of Pasto, the capital of the department of Nariño, in southern Colombia as an hellish duo comprised of guitarist and composer David HellRazor and vocalist and bassist Alejandra Blasfemia, Black/Thrash Metal outfit Lucifera started off playing a much more conventional form of Thrash Metal, evolving into an obscure and demonic beast over the years while still maintaining the amazing dynamism between the band’s founding members. Now in 2019 it’s time for Lucifera to spread darkness and blasphemy with their highly anticipated fourth full-length and defining opus entitled La Caceria De Brujas, or “the witch hunt” in English, taking the band’s primeval elements to a whole new level of malignancy, hatred and professionalism.
Featuring a menacing design by HR Design, from the band’s hometown Pasto, La Caceria De Brujas offers the listener a 39-minute tour de force of the blackest Thrash Metal and thrashiest Black Metal split into eight demonic hymns that will please all of fans of true, ancient metal music from the very depths of the underworld. In addition, one very interesting and important detail about La Caceria De Brujas is the fact that the lyrics for each song were pretty much written by a different musician. For instance, the lyrics for “Arde En Llamas” were written by Sonia Sepulchral (Bolivia), “Sigillum Diaboli” by Alicia Leguizamon (Colombia), “Sortilegio” by Clara Kultarr (Peru), “Ceremonia Secular” by the band’s own she-demon Alejandra Blasfemia (Colombia), “Pacto Pagano” by Melissa Kalissa (Colombia), “Conjuro” by Silvia Gers (Argentina), and “Brujeria” by Adriana Mavir (Mexico). However, that doesn’t mean the songs feel or sound disconnected; quite the contrary, the transition from song to song couldn’t have sound more powerful and thrilling, adding an extra touch of obscurity to the entire album thanks to this amazing “coven” of lyricists.
Evil distortions and vociferations kick off the blasphemous, belligerent and pulverizing opening track Arde En Llamas, with Alejandra sounding like the beast incarnate on vocals, while David blasts truly demonic sounds from his sonic weapons. Furthermore, you can sense influences from the early days of Slayer and classic Black Metal in their music, which obviously translates into absolute awesomeness. And Alejandra keeps growling manically (and always in Spanish, which makes her message even more obscure and vibrant) and punching us in the head with her rumbling bass in Sigillum Diaboli, a frantic hymn perfect for slamming into the circle pit to the vicious riffs by David, followed by Sortilegio, even more satanic than its predecessors by blending the speed and rawness of Thrash Metal with the darkness of Black Metal, with David sounding bestial not only with his riffs but also with his crushing beats. Then a disturbing intro taken from the original motion picture soundtrack “The Witch – Witch’s Coven” (written and performed by Mark Korven in 2015) ignites the demonic Ceremonia Secular, with the guitars by David bringing thunder to the overall musicality, resulting in a fantastic headbanging, mid-tempo display of extreme music that flows infernally until its grand finale.
Putting the pedal to the metal, the Colombian duo gets back to a more dissonant, high-octane sonority in Pacto Pagano, showcasing guitars and bass in absolute sync which consequently generates a menacing ambience for our total delight, while Alejandra’s gnarls sound like the utmost depiction of madness and rage. Following a similar disruptive, devilish pattern as its predecessor, Conjuro is another superb exhibit of underground Thrash and Black Metal by Alejandra and David, who by the way is on total fire with his riffs and solos, making our heads tremble in a demented way, which is also the case in Brujeria, where David demolishes his drums providing Alejandra all she needs to unleash her inner demon on vocals, or in other words, her anguished roars match flawlessly with the song’s thunderous bass and riffs from start to finish. Lastly, ending such sensational album the duo offers us Evocación Del Caos, by far the most obscure of all songs, an instrumental extravaganza presenting hints of Doom Metal and Blackened Doom forming a damned sonority that goes on and on, mesmerizing our senses and darkening our minds until all fades into a cold void, giving place to a final and very unsettling combination of evil sounds and tones.
In summary, let the witch hunt begin to the sound of the beyond fulminating fusion of Black and Thrash Metal found in La Caceria De Brujas, courtesy of this talented and electrifying Colombian duo, and in order to show all your support to Lucifera go check what they’re up to on Facebook and grab your copy of such blasphemous and sulfurous album from the Dunkelheit Produktionen’s BandCamp page or webstore in CD format or as a limited black, red or sun-amber edition LP (including an A2 format poster and a metalpin). Because if you’re going to be part of a coven, you better choose one where you can also enjoy first-class metal music, like what Lucifera more than succeeds in providing to our ears always avid for ass-kicking underground Extreme Metal.
Best moments of the album:Arde En Llamas, Sigillum Diaboli, Pacto Pagano and Conjuro.
Summoning the forces of chaos through the primordial horror of sinister music under the cloak of Satanic and anti-Christian opposition, here comes a Colombian infernal horde armed with their brand new opus.
Forged in the deepest fires of Pasto, the capital of the department of Nariño in southwestern Colombia, in 2007 by vocalist and multi-instrumentalist Brannagh Bapheker, but currently located in Pereira, the capital city of the Colombian department of Risaralda located in the foothills of the Andes, the demonic Black Metal act known as Evil Nerfal is unleashing upon the earth their second full-length opus, titled Bellum Est Pater Omnium, which translates from Latin as “war is the father of all”, summoning the forces of chaos through the primordial horror of sinister music under the cloak of Satanic and anti-Christian opposition, inspired by the early days of Mayhem, Marduk, Sarcófago, Enthroned and Denial of God.
Bellum Est Pater Omnium is an album that mixes European Black Metal elements from the 90’s with influences from old school metal made in South America, also including elements of Death Metal and western classical music. The result of this symbiosis is a Black Metal characterized by extreme intensity and speed, overloaded with contrasts of times (medium and slow speeds), polysemic in its riffs, versatile in the configuration of melodies and, above all, polyphonic, full of nuances, harmonizations and superposition of musical figures. Furthermore, the philosophical substratum that sustains the repertoire of lyrics of songs is based on the ontological configuration of evil, a poetic that evokes the cosmic supremacy of Satan, imbricated in knowledge, the anti-christian force, the anti-culture par excellence, while the strength of an inner experience that advocates for freedom in the opposition, in the experience, because Black Metal is a “consistent existential praxis”. And if none of this makes any sense to you, simply hit play and let you soul be darkened by the scorching music by Evil Nerfal.
An orchestral intro titled Coriolan (Overture) lets the curtains fall majestically for the furious and austere Fuck Off Jesus Christ, with Brannagh Bapheker extracting sulfurous riffs from his guitar while at the same time gnarling like a demonic entity. Furthermore, Purson Dominus crushes his drums ruthlessly, spreading sheer blasphemy and hatred in this devilish hybrid of Black and Death Metal. After such demented start we have In Endless Torment, another infernal creation by this Colombian outfit that might sound slower than its predecessor, but it’s still as dark as the pits of hell, with Brannagh once again delivering ominous riffs and bass punches while the beats by Purson alternate between a Doom Metal-inspired pace and the utter aggression from classic Black Metal.
The temperature rises once again in a hellish display of old school Black Metal titled Foedus Versus Deus (Against The Great Drone Of History), with the vocals by Brannagh bringing nuances of the rage of classic Death Metal, resulting in one of the best songs of the album without a shadow of a doubt; whereas En Las Fauces Del Demonio (Taedium Daemoni) begins as a diabolical march of extreme music led by the thunderous beats and fills by Purson, exploding into cataclysmic Black Metal to the growls by Brannagh. Moreover, the beauty of this song is the fact it’s sung in their mother tongue Spanish, sounding even more pulverizing, wicked and eccentric. And their sonic onrush of otherworldly sounds and noises goes on in the belligerent Agon (Bellum Est Pater Omnium), with both Brannagh and Purson firing sheer Black Metal through their instruments, summoning all the evil present in our decaying society.
Satanic Madness Black Metal Unleashed is an instrumental extravaganza led by Brannagh and his classic guitar riffs while Purson keeps the pace at a dark and demolishing level, setting the tone for the hard-hitting Sathanas Kingdom Rises, a demonic, chaotic devastation bred by the duo that will please all fans of underground Extreme Metal where Brannagh screams and growls like a beast nonstop, and with the merciless pounding drums by Purson making the whole song even more impactful. Then we have Vestigial (Manifiesto De Misantropía), their second blast of unrelenting Black Metal sung in Spanish, also presenting hints of the most vicious form of Death Metal in its blasphemous waves with Purson showcasing a great performance with his intricate, raging beats and fills, before an epic and orchestral outro named Egmont (Finale) puts a climatic end to this precious gem of underground extreme music.
You can join Evil Nerfal in their blasphemous and sulfuric quest for Black Metal by visiting their Facebook page and by listening to their music on SoundCloud, and if you want to show your true support to devilish Black Metal from the underworld you can purchase the scorching Bellum Est Pater Omnium (which by the way is available for a full listen on YouTube) from the GrimmDistribution’s BandCamp page, on iTunes, on Amazon or at Discogs. May Evil Nerfal continue to pave their path of obscurity, blasphemy and hatred for many years to come, proving high-end underground Black Metal is stronger than ever even in places far away from its birthplace Scandinavia.
Best moments of the album: Fuck Off Jesus Christ, Foedus Versus Deus (Against The Great Drone Of History) and Sathanas Kingdom Rises.
Worst moments of the album: None.
Released in 2018 GrimmDistribution
Track listing 1. Coriolan (Overture) 2:25
2. Fuck Off Jesus Christ 4:20
3. In Endless Torment 4:44
4. Foedus Versus Deus (Against The Great Drone Of History) 4:31
5. En Las Fauces Del Demonio (Taedium Daemoni) 5:25
6. Agon (Bellum Est Pater Omnium) 4:16
7. Satanic Madness Black Metal Unleashed (Instrumental) 5:35
8. Sathanas Kingdom Rises 4:18
9. Vestigial (Manifiesto De Misantropía) 3:42
10. Egmont (Finale) 1:36
Band members Brannagh Bapheker – vocals, guitars, bass
Purson Dominus – drums
Descend into the crypts of Hades to the sound of the perturbing and dense Black Metal brought forth by this ruthless Venezuelan horde.
Forged in the scorching fires of Maracaibo, Venezuela in 2014 from the ashes of a band called Daemonhorn, but currently located in Colombia, old school Black Metal horde Theurgia are among us to blast pure hatred and violence with the release of their debut full-length album, titled Transformation. Recorded at Fenix Estudio in Barranquilla, Colombia, mixed and mastered at Dae Home Studio, and featuring an ominous album art created by John Quevedo Janssens (with the art in the digital edition being designed by the band’s own vocalist and guitarist Daemonae), Transformation brings all elements that make traditional Black Metal so compelling and menacing, helping the band carve their name in the history of underground South American extreme music.
The word “Theurgia” is the Lesser Key of Solomon (also known as Clavicula Salomonis Regis) called “Ars Theurgia Goetia”, the invocation of 31 demonic entities (those being emperors, dukes, kings and princes) with special characteristics. With such an imposing name, the music by Theurgia couldn’t sound more perturbing and dense than what they offer us in Transformation, with their lyrics talking about important topics such as general philosophy and war (in full gear). In the 40 minutes of visceral, disturbing music of the album, the band comprised of lead singer and guitarist Daemonae, guitarist Mortum P., bassist Teuterastus and drummer Hellbeats deliver an enraged message to the world, stating that darkness is upon us and there’s nothing we can do to avoid our grievous fate. In other words, if you’re searching for high-end raw old school extreme music or even the perfect soundtrack to the apocalypse, Transformation has exactly what you need to enfold your darkest and most villainous thoughts.
An intro directly from the pits of hell, titled The Torch ov Creation, announces devastation is about to break loose in ILV (The Verb of Waters), which begins in a doom-ish mode until Daemonae starts to fire his blackened growls while Hellbeats lives up to his own moniker on drums, with the music gradually evolving to raw and furious old school Black Metal. If that solid start is not heavy enough for you, the title-track Transformation presents the Venezuelan quartet on their most menacing beast mode, with Mortum P. delivering truly infernal riffs that effectively complement the demented drumming by Helbeats. Put differently, this full-bodied ode to darkness will offer your ears a chaotic havoc of Black Metal sounds led by the aggressive gnarls by Daemonae.
Transmutation (Of Synesthetic Formula) brings forward more of the band’s evil and obscure sounds, with Daemonae vociferating like a demonic entity while Teuterastus and Hellbeats threaten us all with their rumbling instruments, disturbing our senses until the songs climatic ending. Then we have My Oeneric Dreams, a short, ominous bridge to the visceral Procesio IV – Monotonous Chant, another song that begins in a Doom Metal fashion before exploding into a haunting feast of Black and Death Metal. This is a top-notch blackened aria where Hellbeats sets fire to the musicality with his drums, while Mortum P. distils his sulfuric riffs mercilessly. If you’re a fan of vile Blackened Death Metal, this song is simply tailored for your avid inner demon.
There’s no time to breathe with an onrush of crushing extreme music named Procesio V – Dolorvm, presenting an imposing sonority generated by the mesmerizing Black Metal riffs by Mortum P. and the unearthly bass by Teuterastus; followed by Procesio VI – Mea Spíritus in Opium (the creation of our souls before apparent orthodox existence), where the band gets to a truly demented level, delivering high dosages of putrid gnarls, devilish riffs and blast beats, resulting in a scathing descend into the crypts of Hades with Theurgia, therefore ending the album on a high note. And as a bonus track to the physical version of the album we have their cover version for Dissection’s Retribution – Storm of the Light’s Bane(check the original version HERE), taken from the tribute album “In Memory of Jon Nödtveidt – A Tribute to Dissection”, bringing all the fury of the original song by Dissection with Theurgia’s own perverse twist.
Overflowing rage, despair and electricity, the brand new album by this implacable Colombian act will certainly help the band cement their name in the Extreme Metal underground scene worldwide.
Formed in the fall of 2005 in Pereira, the capital city of the Colombian department of Risaralda, Melodic Death/Black Metal act Eshtadur has been on a roll since their inception, making a name for themselves in all four corners of the world with their unrelenting fusion of extreme sounds in the vein of bands such as At The Gates, Behemoth, Soilwork, Dimmu Borgir and Septicflesh, always adding imposing and symphonic elements to their music to make it even more impactful to our ears. For instance, the band has already toured Colombia, Peru and Mexico, they headlined a stage at Rock Al Parque (which is not only the largest rock festival in Colombia and one of the most important in Latin America, but also arguably the largest free rock festival in the continent) in 2016, and they’re getting ready for their first ever US dates and many other festival appearances in the coming months.
Having already released the full-length albums Dominated by Dummies, in 2011, and Stay Away from Evil and Get Close to Me, in 2013, as well as their debut demo Rebellion of Angels, in 2007, and the EP Oblivion, in 2015, the band comprised of Jorg August on vocals and guitars, Alejo Bet on guitars, Victor Valencia on bass and Mauro Marin on drums is effectively expanding their exposure to the metal scene worldwide with their third full-length installment, the excellent Mother Gray, featuring a classy artwork designed by French artist Sylvain (Razorimages), guest guitar solos by Christofer Malmström (Darkane), and an endless amount of electricity and rage flowing from all their instruments, all led by the desperate growls by Jorg.
The heavy and dark guitars by Jorg and Alejo ignite the aggressive opening track Belong To Nowhere, a high-end fusion of Symphonic Black Metal with Death and Melodic Death Metal where Mauro sounds possessed with his demonic blast beats while Jorg screams in a rabid and desperate manner throughout the entire song. Building an instant connection with the previous tune, Plaguemaker keeps the menacing aura crafted by the band even stronger, displaying a good balance of guitar lines, growls and potent drumming, while the keyboards in the background give it a Dimmu Borgir-inspired vibe; followed by the Melodic/Symphonic Metal aria Cornered At The Earth, where the band engages in their most sinister mode by deepening their growling and strengthening their beats, culminating in a violent and gripping rhythm boosted by its dark lyrics (“Gray the future and gray the earth / Dust in the soil, foil the religion / And the permanent conclusion of being the one who brings pest /Back to the world”). Whereas the Doom Metal-inspired Desolation brings forward a melancholic intro that slowly grows into an imposing sonority, as heavy and dense as it can be, with some faster moments to keep it fresh and vibrant. Moreover, the desperation flowing from the vocals is outstanding, going on and on until the song’s visceral ending to the sound of deep and putrid roars.
Getting back to a faster and more melodic sounding but still presenting the band’s characteristic symphonic elements, also showcasing fiery guitar riffs and solos as well as total havoc blasted by Mauro’s insane beats, the powerful Time Hole To Paris will certainly generate some sick mosh pits during their live concerts, while in March Of The Fallen we face an epic and somewhat funereal beginning to yet another ominous creation by Eshtadur, an eccentric “waltz” of Dark Metal with its keyboards and vocals taking the obscurity to a whole new level, again presenting more of those putrid gnarls before all is said and done. And as their “formula” seems to be one Stygian song followed by a sonic demolition, it’s time to speed things up again with the high-octane chant The Day After I Die, presenting slashing guitars blended with epic keys and rabid growls, without a single second of peace during its five minutes of sheer devastation.
As the first bonus track added by Eshtadur to Mother Gray, we have another symphonic extravaganza that will attack our senses named Heavens to The Ground (originally released in their 2015 EP Oblivion), with the guitars by Jorg and Alejo and the drumming by Mauro being in absolute sync, while the song’s keys make sure the atmosphere remains eerie for the otherworldly vociferations by Jorg. The second bonus offered by the band is entitled Last Day Of The Condors, also from their EP Oblivion, sounding slightly similar to its predecessor (in special its guitar and vocal lines), not as tasty but still very enjoyable. And lastly we have a very cohesive, potent and fresh version they recorded in 2014 for Survivor’s hit Burning Heart (check out the original version HERE) featuring guest musicians Björn “Speed” Strid (Soilwork) and Christopher Clancy (Mutiny Within) on vocals, and Per Nilsson (Scar Symmetry) and Allan Marcus (Arecibo) on lead guitars. Survivor might be better known by the usual rocker for the all-time Rocky Balboa-classic “Eye of the Tiger”, but this song also represents all the passion Survivor had for rock music, not to mention this cover version is Eshtadur’s own tribute to Survivor’s longtime frontman Jimi Jamison (R.I.P.), who died of a heart attack in September 2014.
If you enjoyed all the fury blasted by Eshtadur in Mother Gray, I highly recommend you go check their Facebook page and YouTube channel for more of their kick-ass music, and if you want to purchase Mother Gray (which you can listen in its entirety on Spotify), you can grab your copy of the album at the Bleeding Music Records’ BandCamp, on iTunes, on Amazon, or at several other locations such as Barnes & Noble and ImportCDs. As mentioned in the beginning of this review, Mother Gray overflows rage, despair and energy, and as you’re more than aware of, those are some of the main elements which make us love Heavy Metal so much. In other words, Eshtadur nailed it with Mother Gray, surely making all metalheads in Colombia proud of their music.
Best moments of the album: Belong To Nowhere, Cornered At The Earth and Time Hole To Paris.
Worst moments of the album: None.
Released in 2017 Bleeding Music Records
Track listing 1. Belong To Nowhere 3:27
2. Plaguemaker 4:28
3. Cornered At The Earth 5:01
4. Desolation 6:50
5. Time Hole To Paris 5:21
6. March Of The Fallen 7:32
7. The Day After I Die 5:06
Oblivion/Burning Heart bonus tracks 8. Heavens to The Ground 3:26
9. Last Day Of The Condors 3:15
10. Burning Heart (Survivor cover) 4:33
Band members Jorg August – vocals, guitars
Alejo Bet – guitars
Victor Valencia – bass
Mauro Marin – drums
An everlasting feeling of heaviness and obscurity in over 50 minutes of beautiful Doom and Gothic Metal forged in the dark flames of Colombia.
Although it might have taken almost 10 years for Colombian Gothic/Doom Metal act Charm Designer to release their first full-length album, entitled Everlasting, the final result is so compelling, professional and melodious it looks like these dark metallers have been doing this for ages. In its over 50 minutes of melancholy, Everlasting offers us metalheads everything we look for in obscure music, definitely putting the city of Bogotá, Colombia in the map of Gothic and Doom Metal, and obviously paving Charm Designer’s path to stardom in the always exciting underworld of Heavy Metal.
Formed in the year of 2006 and having released a demo named Manifested in 2006 and an EP named Blood sounds in 2008, Charm Designer are finally back with a new opus, having recorded Everlasting with legendary German producer Waldemar Sorychta, known for his work with Samael, Lacuna Coil, Moonspell, among other renowned bands, being the first time for him to produce a Latin American band. Featuring a beautiful artwork by Costin Chioreanu (Twilight13media), who has provided his art to bands such as Arch Enemy, Paradise Lost and Opeth, Everlasting will fulfill your needs for heaviness and heartache through its nine powerful chants, and when it’s over you’ll certainly hit play again from the beginning, feeling completely embraced by the band’s gentle darkness.
The title-track Everlasting ignites the dark flames of the album, reminding me of the latest installments by Dark Metal masters Moonspell, being heavy, dense and alluring at the same time. Lead singer/guitarist Andrés Herrera does a great job with both his growls and clean vocals a la Niilo Sevänen (Insomnium), which is also the case in the even more doom-ish and obscure The Replicant. Furthermore, this tune gets closer to the traditional Doom Metal from the UK due to its deeper growling, with drummer Diego A. Morales smashing his drum set while the bass lines by Diego M. Giorgi sound as infernal as possible.
Presenting a strong Gothic Metal/Hard Rock vein, these Colombian metallers deliver a beautiful composition full of melancholy and passion entitled Never After, another song inspired by the unique music by Moonspell and the best of the entire album in my humble opinion. Andrés is on fire with his somber vocals and powerful guitar riffs and solos, and albeit I have absolutely no idea who’s the woman doing the female vocals, she surely adds an additional layer of awesomeness to the musicality. Then we have Disruption, a feast of the most downhearted form of Doom Metal enhanced by its background keyboards and mesmerizing rhythm, where even the smoother passages offer heaviness in the form of the bass lines by Diego M.; followed by Mentors, a solid Doom Metal chant with hints of Gothic Rock where Andrés leads the sounding with his excellent riffs, thus inspiring Diego A. to increase his fierceness on drums.
In Inertial Drain, an acoustic start grows into modern Symphonic Gothic Metal, with the Paradise Lost-inspired drumming by Diego A. and the song’s magnetic riffs enfolding the listener in an ode to grief and misery. In addition, no matter if its comfortless lyrics are screamed or darkly declaimed by Andrés, the final result is simply amazing. The next tune, Endowar, is a lot faster and more violent than most songs despite its symphonic keyboards, showcasing a great job done by Andrés who sounds like a hellish beast without exaggerating on his harsh screams.
However, it doesn’t take too long for Charm Designer to get back to what they do best, in other words, stunning Doom Metal as in the occult hymn By The Unmasked, where the whole band delivers what can be called “dark music under a starless night” (and what a beautiful guitar solo by Andrés, making this excellent tune even more enjoyable). Policy of Truth, , another tribute to the most melancholic form of heavy music, is the icing on the cake in Everlasting, bringing forward an exciting rhythm perfect for the vocal lines by Andrés, as well as more of those gorgeous (and mysterious) female vocals.
In order to truly experience the everlasting feeling of heaviness, sorrow and obscurity brought forth by Charm Designer in their brand new album, go visit their Facebook page, YouTube channel, SoundCloud and ReverbNation, and grab your copy of Everlasting at the Inverse Records webshop, on Amazon and several other locations. Your heart and soul will never be the same after tasting the puissant Doom and Gothic Metal by this talented Colombian band, I must warn you.
Best moments of the album: Never After, Disruption and By The Unmasked.
Worst moments of the album:Mentors.
Released in 2016 Inverse Records
Track listing 1. Everlasting 5:00
2. The Replicant 5:12
3. Never After 6:52
4. Disruption 6:37
5. Mentors 4:51
6. Inertial Drain 7:04
7. Endowar 4:33
8. By The Unmasked 7:41
9. Policy of Truth 4:17
Band members Andrés Herrera – vocals, guitars
Diego M. Giorgi – bass
Diego A. Morales – drums
Additional musician Diego A. Hernández – guitars (live)
He’s dead? Not anymore…” – Herbert West, Reanimator
Funebria, the name of a rare manuscript “Carmina Funebria in Obitum Clarissimi” of influences in opus “Cantiones Profanae” and a fascination for funeral processions, is also the name of Venezuelan Black Metal horde 
If you want to have a much better taste of all the darkness and wrath flowing from Funebria’s music, you can enjoy their new album in its entirety on 
THE HEADBANGING MOOSE 