Tag Archives: dark metal

Album Review – Heiden / Andzjel (2022)

Posted on by
Reply

Wandering across different genres and inspirations, this Czech Progressive Black Metal entity offer in their ninth studio album a stunning view of the inhospitable beauty of the White Carpathians.

Having started up in 2003 as a Pagan Black Metal band, Brno, Czech Republic-based Progressive Black Metal entity Heiden wanders across different genres and inspirations, returning now in 2022 to a Dark Metal sound with their newborn opus entitled Andzjel, or “angel” in English, their ninth studio album expanding the perspectives of their audience base through dark, elegant and atmospherically authentic music. Mixed and mastered by Karl Daniel Lidén at Tri-Lamb Studio, and displaying a classy artwork taken from the personal collection of inhabitants of the Žítková village and repainted by Luděk Řezáč, Andzjel presents seven songs thematically set in the inhospitable beauty of the White Carpathians, offering an insight into the souls of the local people, sharing the soil, blood, healing and knowledge passed down through generations, showcasing not only the talent but also the deep connection the band comprised of vocalist, guitarist and bassist Kverd, guitarist Tom, keyboardist Werlinga and drummer Einsk have with their homeland.

The strident guitars by Kverd and Tom ignite the imposing opening tune Nevěřím těm očím (“I can’t believe those eyes” from Czech), blending elements from Progressive and Symphonic Black Metal and, consequently, generating a Stygian atmosphere perfect for the cryptic gnarls by Kverd; and switching gears to a more melodic and melancholic vibe we’re treated to V hodině vlka (“in the hour of the wolf”), getting closer to modern-day Post-Metal while Einsk does a beautiful job with his minimalist beats and Werlinga’s keys embellish the airwaves in great fashion. Continuing to showcase their more Jazz-ish side, Musím ti tolik říct (“I have so much to tell you”) brings to our ears another ass-kicking round of keys by Werlinga accompanied by the classy guitars by Kverd and Tom, followed by Září (“September”), as wicked and obscure as its predecessors, sounding very detailed and enfolding from the very first second with Eisnk alternating between shee violence and more intimate, rhythmic beats, resulting in a lecture in Post-Metal infused with tons of progressiveness.

Sviť, měsíčku, jasno, an adaptation of a Moravian folklore song from the Kopanice region that means “shine, moon, clear”, brings forward two and a half minutes of experimentations and eerie sounds, which could have been extended to something more complete instead of working as just an interlude, though, whereas Běsů se nezbavíš, or “you can’t get rid of demons”, is another solid hybrid of Progressive Metal and Post-Rock and Metal, at the same time soothing your soul before smashing you with a visceral sonic attack led by the devilish vocals by Kverd. Lastly, the quartet will captivate our senses once again in Patřím sem (“I belong here”), with Werlinga and Eisnk being  in absolute sync with their respective keys and beats, not to mention how caustic the guitars by Kverd and Tom sound, consequently putting a dark and climatic ending to the album.

If you want to know more about Heiden, get in touch with the band and show them all your support, you can start following them on Facebook and on Instagram, subscribe to their YouTube channel and stream their unique creations on Spotify, and above all that, purchase a copy of Andzjel from their own BandCamp page or webstore, or simply click HERE to get fully immersed in the obscure realm of Heiden. The phenomenon of the Žítková goddesses, which the postwar totalitarian regime permanently eradicated, is still present in Andzjel, inviting us all to learn more about the history of the Czech Republic while enjoying the first-class experimentations by those four skillful musicians, proving the Czech underground scene is and will always be a fantastic source of great music.

Best moments of the album: V hodině vlka, Září and Běsů se nezbavíš.

Worst moments of the album: Sviť, měsíčku, jasno.

Released in 2022 Magick Disk Musick

Track listing
1. Nevěřím těm očím 5:57
2. V hodině vlka 5:37
3. Musím ti tolik říct 4:18
4. Září 5:34
5. Sviť, měsíčku, jasno 2:25
6. Běsů se nezbavíš 3:51
7. Patřím sem 5:07

Band members
Kverd – vocals, guitars, bass
Tom – guitars
Werlinga – keyboards
Einsk – drums

Album Review – Cadaveria / Emptiness (2022)

Posted on by
Reply

After almost eight years, one of the torchbearers of Italian Dark Metal is back with a fantastic, multi-layered work that seals the artistic and human path of the band.

Almost eight years after the excellent Silence, Black/Gothic Metal entity Cadaveria, the creative alter-ego of Italian-based frontwoman Raffaella “Cadaveria” Rivarolo (one of the first women to hit the Extreme Metal scene in the early 90’s), is back with an exciting new album entitled Emptiness, a fantastic, multi-layered work that seals the artistic and human path of the band currently comprised of the aforementioned Cadaveria together with bassist Peter Dayton and drummer Marçelo Santos, plus guest guitarist Kris Laurent (Cadaveria, The Providence) and additional guitars by Pier Gonella (Athlantis, Necrodeath, Mastercastle). Recorded and mixed at Rrooaarr Sound Studio, mixed and mastered at Shadows Studios, produced by Cadaveria and Pier Gonella, and displaying a stylish artwork by Roberto Toderico, Emptiness represents a rebirth for Cavaderia after a three-year long pause from the scene during which Raffaella had to be treated for cancer, containing four singles digitally released between December 2020 and June 2021 alongside seven previously unreleased songs which combined will smoothly penetrate deep inside your mind in the name of rock and metal.

The band wastes no time and begins their sonic attack in The Great Journey, with Cadaveria’s raspy vocals being accompanied by the classic beast by Marçelo and the rumbling bass by Peter, followed by Shamanic Path, blending their core Gothic Metal with Death and Doom Metal nuances while Cadaveria does an excellent job with both her she-demon screams and anguished clean vocals. Then in the title-track Emptiness our beloved Cadaveria declaims the song’s poetic lyrics in a dark and sinister way while Kris fires traditional riffs that match perfectly with her voice; and Marçelo adds endless fury and heaviness with his drums to The Woman Who Fell to Earth, feeling utterly electrifying from start to finish. Cadaveria sounds truly possessed on vocals supported by her bandmates in Divination, with Marçelo kicking some ass behind his drums, while Matryoshcada is more sluggish and somber than its predecessors, with tons of groove flowing from Peter’s bass while Kris’ riffage sounds inspired by old school Black Sabbath.

In Silver Rain we’re treated to pensive words declaimed by Cadaveria (“The children of my thoughts are running / Away naked up to the hill / Your seeds will sprout inside me to enjoy new Springs together / My mind is clear I carry no weight, no pain on my shoulders / Your seeds will sprout inside me to enjoy new Springs together”) amidst a mesmerizing fusion of Dark and Gothic Metal, whereas Cadaveria and her henchmen continue to explore the realms of Dark Metal in The Cure, with her she-wolf roars walking hand in hand with the piercing guitars by Kris while also presenting the rawness and fury of Black Metal in its core essence. Strident riffs ignite the melancholic, sinister tune Life After, where Cadaveria flawlessly alternates between her raspy gnarls and mesmerizing clean vocals, therefore resulting in a beautiful creation by the band that depicts everything Dark Metal stands for; while in La Casa dell’Anima the fact the lyrics are in Italian is awesome, although the music is not as exciting as the rest of the album. Lastly, the band offers more of their darkened sounds in The Sky That Screams Above Us, a sluggish composition where Marçelo brings forward pure doom through his beats.

You can have a very good time by streaming Emptiness in its entirety on Spotify, and also by following Cadaveria on Facebook and on Instagram for news, tour dates and so on, by subscribing to their YouTube channel for not only more of their music but mainly for their top-notch official videos, and above all that, by purchasing a copy of Emptiness by clicking HERE or HERE. Our beloved diva Raffaella “Cadaveria” Rivarolo didn’t only beat the shit out of cancer, but she did that while at the same time she worked on the awesome music found in Emptiness, proving metal is and will always be the best treatment for any type of disease and also highly recommended for filling that emptiness we all have inside us. Thank you, Cadaveria, and may you keep embellishing the airwaves with your beautiful fusion of Gothic and Black Metal for many decades to come.

Best moments of the album: The Great Journey, Divination and Silver Rain.

Worst moments of the album: La Casa dell’Anima.

Released in 2022 Scarlet Records

Track listing
1. The Great Journey 4:55
2. Shamanic Path 5:10
3. Emptiness 5:00
4. The Woman Who Fell to Earth 5:52
5. Divination 3:07
6. Matryoshcada 5:09
7. Silver Rain 4:24
8. The Cure 4:52
9. Life After 4:35
10. La Casa dell’Anima 4:55
11. The Sky That Screams Above Us 5:33

Vinyl Edition bonus track
12. Return (Deine Lakaien cover) 4:04

Band members
Cadaveria – vocals
Peter Dayton – bass
Marçelo Santos – drums

Guest musicians
Kris Laurent – guitars
Pier Gonella – additional guitars

Album Review – Klendathu / Avarist: The Beginning & The End at Once EP (2022)

Posted on by
1

A Melbourne, Australia-based Blackened Death Metal entity returns with a new concept EP of one massive 25-minute music journey inspired by the ever-present environmental threat on our planet.

After two years since the release of Ad Nauseam, Melbourne, Australia-based Blackened Death Metal entity Klendathu is back in action with a new EP, entitled Avarist: The Beginning & The End at Once, the culmination of a year of hard work to not only improve on Ad Nauseam but to also create something of substance that the band’s mastermind Scott Masson and other people can be proud of. A concept record of just one song, this 25-minute Dark Metal journey will keep the listener’s attention from start to finish, allowing your mind to create a story inside your head. Featuring Ross Savage on drums, who by the way also produced the album, Avarist: The Beginning & The End at Once is inspired by renowned acts the likes of Behemoth, Machine Head, Gojira and Kataklysm, among others, as well as by the ever-present environmental threat on our planet and the suffering of all the poor animals that we enslave, use and discard without mercy every single day.

Like the soundtrack to a sinister thriller, eerie sounds arise amidst chaos until Scott begins hammering his bass accompanied by one of his trademark anguished roars and the blasting drums by Ross, blending elements from Groove and Industrial Metal into his core sonority. The song’s “second act” showcases a heavier-than-hell riffage by Scott while he keeps screaming manically, not to mention Ross’ beats will put you to headbang like a beast, whereas near the eight-minute mark it’s time for some dark vocalizations by Scott spiced up by his piercing guitar lines, and as the song approaches its twelfth minute it’s time for Scott to put the pedal to the metal and invite us all to crush our heads into the circle pit to the sound of his demented growls and Ross’ infernal drums in a fulminating Death Metal assault with hints of Hardcore for our vulgar delectation. We’re 17 minutes in and the music is only getting more apocalyptical and thunderous, not to mention how impressive it is that Scott’s energy level doesn’t go down not even for a single second. And our one-man metal army keeps roaring and roaring in the most demented way, with his riffs piercing through our minds and souls until the song’s obscure and terrorizing finale.

You can join Scott and his Klendathu in such distinguished, heavy and visceral musical voyage by streaming Avarist: The Beginning & The End at Once in its entirety on YouTube and on Spotify, and of course by purchasing a copy of the 25-minute EP from Apple Music or from Amazon. When you think of Black and Death Metal, the first thing that comes to your mind is violence, blood and death, but with Klendathu the multi-talented Scott wants to show us all that although death is necessary and a crucial part of our lives it doesn’t have to be part of our eating habits, blending the importance of veganism and vegetarianism into his visceral music. That’s what Klendathu is all about, and that’s how it will always be thanks to the fantastic job done by our unrelenting Australian metaller.

Best moments of the album: The whole song is amazing, but its last part will pulverize your senses mercilessly.

Worst moments of the album: None, of course.

Released in 2022 Independent

Track listing
1. Avarist: The Beginning & The End at Once 25:49

Band members
Scott Masson – vocals, guitars, bass

Guest musician
Ross Savage – drums (session)

Album Review – Moonspell / Hermitage (2021)

Posted on by
1

Portugal’s own Dark Metal institution returns with their thirteenth full-length album, offering us all a revolutionary and epic journey through the darkest days of human existence.

Portugal’s own Dark Metal institution Moonspell is approaching their 30th anniversary more ambitious and stronger than ever, and in order to proper celebrate such important milestone there’s nothing better than savoring each and every track from their newest opus, entitled Hermitage, the thirteenth studio album in their undisputed career. Recorded, mixed and mastered by Jaime Gomez Arellano (Paradise Lost, Ghost, Sólstafir) at Orgone Studios and featuring a stylish artwork by Latvian artist Arthur Berzinsh, Hermitage is not only the follow-up to their critically acclaimed 2017 album 1755 and their 2015 masterpiece Extinct, but it’s also a revolutionary, wonderfully intuitive and epic journey through the darkest days of human existence masterfully crafted by frontman Fernando Ribeiro, guitarist Ricardo Amorim, keyboardist Pedro Paixão, bassist Aires Pereira and newcomer Hugo Ribeiro on drums, as well as a testament to what they’ve always loved the most, which is honest, emotional metal that binds us even in the darkest times.

Just like the soundtrack to a dark thriller, the opening track The Greater Good will already mesmerize your senses, with the thunderous bass jabs by Aires and the massive beats by Hugo adding heaviness to such atmospheric tune, whereas sheer poetry flows from Fernando’s words (“So close to me, as tight as you can be / Inside the cell / The voice within, the desert wind / Calls out our name / So close, so close”) in Common Prayers, another captivating Gothic Metal aria by Moonspell where Ricardo and Aires are on absolute fire with their stringed weapons, not to mention the epic keys by Pedro. In All or Nothing, the guitars by Ricardo exhale passion and harmony nonstop in a beautiful display of Dark and Melancholic Metal that will please all fans of Moonspell’s most Gothic side, while Fernando is flawless as usual on vocals; and back to a more visceral and atmospheric sonority we’re treated to the dense Hermitage, with Fernando roaring the song’s epic lyrics (“In the circle of life and sin / On this day of apocalypse / On our way to hermitage / It’s the return to innocence”) while Hugo pounds his drums mercilessly. Then the cryptic bass sounds by Aires are intertwined with the classic keys by Pedro in Entitlement, a very melodic tune blending elements from Gothic and Progressive Metal, therefore sounding very experimental at times, with Ricardo taking the lead with his soulful riffs and solos.

It’s time for a fully instrumental voyage through the realms of darkness in the form of Solitarian, offering our ears classic, crying guitars, delicate keys and tribal beats, working as an interlude for the piercing The Hermit Saints, a headbanging extravaganza where all band members are in absolute sync, generating that classy trademark sound found in their latest albums. Moreover, Fernando’s anguished vocals are effectively supported by all background elements, resulting in a lecture in Dark Metal. In Apophthegmata we face an enfolding and smooth start, evolving into a massive sonority where Ricardo and Aires are once again unstoppable with their axes while Hugo showcases all his skills and potency behind his drums and Pedro keeps the ambience as sinister as it can be with his keys; whereas the quintet offers us fans over seven minutes of magnificent Dark Metal titled Without Rule, where the music remains ethereal but at the same time heavy and sharp from start to finish, with Fernando leading his bandmates into the unknown, flowing into the cinematic Black Metal-inspired outro City Quitter, putting a beyond atmospheric conclusion to such multi-layered album. Not only that, if you purchase the superb mediabook or limited deluxe box set versions of Hermitage, you’ll get as a beyond amazing bonus track the song Darkness in Paradise, Moonspell’s cover version for Candlemass’ classic tune from their 1988 album Ancient Dreams (check out the original version HERE), and let me tell you that their tribute to one of the pillars of Doom Metal is just as imposing as the original song, with Fernando stealing the spotlight with his Stygian vocals.

You can enjoy Hermitage in its entirety on Spotify, but this album is so detailed, enfolding and captivating that I highly recommend you purchase a copy of it to add it to your collection of dark and melancholic albums from Moonspell’s BandCamp page or webstore (where you can by the way find the special mediabook edition), or simply click HERE for all locations where you can buy or stream this precious gem of contemporary Dark Metal. Needless to say, don’t forget to follow Moonspell on Facebook and on Instagram to keep up to date with all things surrounding one of the most important metal bands of the European scene. As soon as this pandemic is over, we’ll all be able to leave our hermitages, including the guys from Moonspell, and we’ll finally be able to meet them again on stage to stun us all with the impressive creations of their newborn spawn.

Best moments of the album: Common Prayers, Hermitage, The Hermit Saints and Apophthegmata.

Worst moments of the album: Solitarian.

Released in 2021 Napalm Records

Track listing
1. The Greater Good 5:04
2. Common Prayers 4:08
3. All or Nothing 7:22
4. Hermitage 4:43
5. Entitlement 6:16
6. Solitarian 4:07
7. The Hermit Saints 4:22
8. Apophthegmata 5:41
9. Without Rule 7:42
10. City Quitter (Outro) 2:59

Mediabook/Limited Deluxe Box Set bonus track
11. Darkness in Paradise (Candlemass cover) 7:10

Band members
Fernando Ribeiro – vocals
Ricardo Amorim – guitars
Pedro Paixão – keyboards, samples, programming
Aires Pereira – bass
Hugo Ribeiro – drums

Album Review – Sombria / Chirographon Dei (2020)

Posted on by
Reply

Let your soul be embraced by the beautiful fusion of Dark and Melancholic Metal from the debut album by a promising international group that has all it takes to conquer the world of heavy music.

Formed in 2019 by singer and songwriter Dimi De San, who comes under the name ‘’Valentina Devin’’, and guitarist and composer Raven Seven, Sombria are an international Dark/Melancholic Metal project featuring members from Greece, Norway and Mexico, those being the aforementioned Dimi De San on vocals and Raven Seven on guitars and orchestrations together with session musicians Lucien Keir also on the guitar, Saber Thorn on bass and Winter Cain on drums, aiming at raising awareness through their music, lyrics and performances over many sensitive subjects like child poverty and environmental issues. Now in 2020 this recently formed unity is unleashing upon humanity their debut opus Chirographon Dei, which translates from Latin as something like “the manuscript of the gods”, containing nine original songs recorded, mixed and mastered by Raven Seven at his own studio, all embraced by a gorgeous artwork by Dimi De San, and all depicting everything Symphonic Gothic Metal stands for.

Enfolding orchestrations and piano notes permeate the air in the opening tune Voyage into Lethe, with Dimi embellishing the airwaves with her operatic vocals while Raven Seven extracts somber, minimalist sounds form his guitar in a hybrid of the early days of Nightwish and Tristania. Then leaning towards the most melancholic form of Gothic Metal the band offers our ears the sorrowful Black December, with Saber Thorn and Winter Cain bringing a welcome dosage of Doom Metal to the musicality, followed by Sarcophagus of Roses, another symphonic and epic aria by Sombria where Winter Cain showcases all his dexterity behind his drums, offering Dimi all she needs to shine once again on vocals and, therefore, resulting in the perfect depiction of modern-day Symphonic Gothic Metal. And whimsical piano notes are intertwined with the rumbling bass by Saber Thorn in the gothic extravaganza Mirror of God, where Raven Seven and Lucien Keir make a dynamic duo with their darkened riffage, with the music remaining dense and imposing until the very end.

Dimi takes the lead with her pensive, anguished vocals in the darkly beautiful Ballet of Sadness, a delicate ballad by Sombria that will conquer the hearts of even the toughest metalheads, whereas the crying sound of the violin kicks off the epic and obscure The Soul’s Manuscript, where Winter Cain keeps pounding his drums and bringing doom to us all while Dimi invades our souls with her mesmerizing voice, not to mention the excellent job done once again by the band’s guitar duo. Then like a creature from another world the band comes ripping in the symphonic and heavy-as-hell Wine of Lunacy, where Gothic, Doom and Symphonic Metal are united in the name of darkness. Needless to say, Dimi is once again stunning on vocals, and investing in an even more romantic musicality we have Penitence, with all band members providing Dimi a truly enfolding ambience perfect for her sexy vocals, while the music alternates between heavier moments and menacing passages. Lastly, Sombria’s final breath of obscurity, melancholy and melodious lines comes in the form of the multi-layered Poem from the Dark Gardens, even more epic and operatic than all previous songs, with Raven Seven and Lucien Keir slashing their axes in great fashion supported by all background orchestrations.

The magical and dark world crafted by Sombria in Chirographon Dei can be enjoyed in its entirety on YouTube and on Spotify, but of course in order to show Dimi, Raven Seven and their loyal henchmen all your support and admiration you should grab a copy of the album from the band’s own BandCamp page, from Apple Music or from Amazon. In addition, don’t forget to also follow Sombria on Facebook and on Instagram to keep an eye on everything surrounding such amazing multi-national band, once again demonstrating your passion for the darkest and most melancholic form of heavy music. Sombria’s hybrid of Dark and Melancholic Metal found in their debut opus will surely embrace you like the bitterly cold wind on a winter night, dragging you to their lair and keeping you in the shadows forever and ever. And I’m more than sure that’s exactly what you’re expecting from those ptalented musicians who put their hearts and souls into creating meaningful music for lovers of the dark side.

Best moments of the album: Voyage into Lethe, Sarcophagus of Roses and Wine of Lunacy.

Worst moments of the album: Black December.

Released in 2020 Inverse Records

Track listing
1. Voyage into Lethe 5:47
2. Black December 6:07
3. Sarcophagus of Roses 7:07
4. Mirror of God 6:52
5. Ballet of Sadness 5:01
6. The Soul’s Manuscript 5:45
7. Wine of Lunacy 7:28
8. Penitence 7:11
9. Poem from the Dark Gardens 9:02

Band members
Valentina Devin (Dimi De San) – vocals
Raven Seven – guitars, orchestrations

Guest musicians
Lucien Keir – guitar (session)
Saber Thorn – bass (session)
Winter Cain – drums (session)

Album Review – Klendathu / Ad Nauseam EP (2020)

Posted on by
2

Bang your head to the debut EP by an Australian one-man band with a huge focus on artistic expressionism, animal rights, veganism and the inevitability of the planet’s decline.

The name Klendathu, which means means “triangular” in the Zulu language, is the homeworld of the creatures known as the Arachnids from the 1997 cult movie Starship Troopers, while the expression “ad nauseam” is a Latin term for argument or other discussion that has continued to the point of nausea. However, when you put those two together the result is a Melbourne, Australia-based Blackened Death Metal/Dark Metal one-man project entitled Klendathu, formed in the beginning of 2020 by vocalist and multi-instrumentalist Scott Masson, the lead singer for Metalcore/Deathcore act He Who Seeks Vengeance and more recently for Death Metal band Apocalyptian, both already reviewed at The Headbanging Moose. With a huge focus on artistic expressionism and with its lyrical content inspired by our ecological footprint, environmental issues, animal rights, veganism and the inevitability of the planet’s decline, the project’s debut EP Ad Nauseam will surely please fans of the music by Behemoth, Gorgoroth, Cannibal Corpse, Sylosis, Six Feet Under and Sepultura, among many others, while at the same time sending a strong message to everyone who still thinks our decaying world is doing just fine.

Scott, who’s by the way a very proud vegan and animal rights activist and environmentalist, has already hinted at that theme in his previous records with He Who Seeks Vengeance (They Will Speak Of The Ghosts That We Became, released in 2019) and Apocalyptian (Citizens Of The Apocalypse, released earlier this year), but it’s with Klendathu that Scott finally has all the freedom to be himself and express how he feels about the current state of things. In addition, just to give you an idea of how personal the album is, everything in the album was recorded by Scott himself, with the exception of the mixing part which was done by an electronic producer named Kibosh, and the final result is indeed very personal, heavy and dark.

An ominous intro grows in intensity until dark and damned sounds invade our senses in Denying The Birth, where Scott fires Doom Metal-inspired riffs and infernal blast beats while screaming like a rabid beast, reminding me of old school Behemoth with some phantasmagorical background elements to add an extra kick to it. Then once again demolishing everything and everyone with his insane beats and riffage, Scott vociferates and barks nonstop in Anger Awakening, presenting hints of the Thrash and Groove Metal by Sepultura from their Roots-era while keeping Klendathu’s core obscurity intact, followed by Bargaining The New Revelation, the most vicious and devastating of all songs, with Scott doing a great job with his harsh roars and thunderous bass and drums, therefore  generating a reverberating sound that will crush your skull mercilessly, all spiced up by teen activist Greta Thunberg’s famous one-liner “How dare you!” and other parts of her speech during the UN climate summit in New York on September 23, 2019. After such bold and dense tune, Scott adds nuances of devilish Blackened Doom to his already scorching sonority in The Prelude Depression, where you can easily feel all the anguish and hatred flowing from his demented screams while the song’s keys and piano notes give the overall result a touch of finesse. And last but not least, more groovy and enraged sounds permeate the air in Accepting The End, with Scott going full Death Metal on vocals and firing crisp guitar riffs and solos. Moreover, its modern-day Black Metal-like drums are the ultimate proof that this incendiary song couldn’t have sounded more austere than what it already is.

You can follow Scoot and his very interesting Klendathu on Facebook, showing your appreciation not only for his music but also for his fight for animal rights and his efforts against all environmental issues we’ve been facing in the past few decades, and of course purchase his debut opus Ad Nauseam directly from his BandCamp page, as well as from Apple Music and from Amazon, or stream the EP in full on YouTube and on Spotify. In the end, as long as you bang your head to Klendathu’s flammable music while doing your part in trying to make this world a better place, I’m sure guys like Scott will feel utterly inspired to keep crafting meaningful heavy music for many years to come. That, of course, if the world as we know it doesn’t come to an end first.

Best moments of the album: Bargaining The New Revelation and Accepting The End.

Worst moments of the album: None.

Released in 2020 Independent

Track listing
1. Denying The Birth 6:19
2. Anger Awakening 4:52
3. Bargaining The New Revelation 5:27
4. The Prelude Depression 5:52
5. Accepting The End 5:02

Band members
Scott Masson – vocals, all instruments

Album Review – Kaamos Warriors / Shadows Of Northern Chaos (2019)

Posted on by
Reply

All hail the Finnish warriors of the eternal night and their brand new album of Dark Metal, beautifully reflecting the coldness and melancholy of the North.

Formed as a duo by vocalist and guitarist Mikko Ojala (Crowned with Black, Dark the Suns, The Beauty of Darkened Hearts) and guitarist Jani Moilanen (R2JBros) in the beginning of 2018 in Kempele, a municipality just south of the city of Oulu in Northern Finland, the sinister Dark Metal unity known as Kaamos Warriors is unleashing upon humanity their second full-length opus entitled Shadows Of Northern Chaos, a follow-up to their debut album Ikuisen Talven Sarastus (or “the dawn of eternal winter” in English), released earlier this year. Now a three-piece band with the addition of bassist Jyri Moilanen to their lineup, Kaamos Warriors once again reflect the coldness and melancholy of the North in the eight dark and somber compositions found in  Shadows Of Northern Chaos, combining the bitterly cold elements from Atmospheric and Doom Metal to their core Black Metal essence. As a matter of fact, the word “kaamos” means “the polar night”, or the period of darkness north of the Arctic Circle and south of the Antarctic Circle when the sun does not rise over the horizon, perfectly summarizing what the music by those Finnish metallers is all about.

Mikko and Jani generate a frosty and raw ambience with their riffs in the opening track Wolves in Storm, an ode to the North blending classic Black Metal with contemporary Blackened Death Metal and with Mikko’s vocals sounding deep and obscure just like the music demands. Then we have Chaos Walks the Earth, even darker and more demonic than its predecessor, with its guitars bringing the most visceral tones from classic Death Metal while Jyri’s bass lines sound absolutely ominous, therefore adding an extra dosage of malignancy to the music, all spiced up by spot-on blast beats and strident guitar solos. And get ready to crack your neck headbanging to the boisterous Chaos & Mayhem, where the brutal sounds of guitars and bass fill every single space in the air, resulting in a dense and violent atmosphere that leans towards Melodic Black Metal; whereas Ruined by Plague is a mid-tempo hellish hymn blasted by the trio with a huge focus on the very detailed work done on the guitars, which complemented by Jyri’s thunderous bass turns it into a storm of heavy music.

In the title-track Shadows of Northern Chaos this talented Finnish triumvirate goes full Black Metal, blasting our ears with an infernal sonority led by Mikko’s Stygian, guttural roars while its riffs add hints of melancholy and hopelessness to the overall result, and they keep slashing their strings in Where Shadows Grow, another classic Black and Death Metal composition showcasing spot-on beats, harsh gnarls and a perturbing, winter-like vibe, offering the listener a fusion of sheer aggressiveness and obscurity with a very pleasant melody. Ruins of Hope sounds as if Unleashed met Marduk and Behemoth for a jam session, with Mikko and Jani firing incendiary riffs from their axes while Jyri keeps delivering rumbling bass punches nonstop, and lastly the band fires Moon and Stars, one of the most melancholic and darkest of all tracks where you can feel the bitterly cold epicness of the North flowing from its riffs and beats, flirting with Doom Metal and remaining truly grim and dark until the very end.

If you enjoy this fusion of extreme music with the chilling, melancholic landscapes from the North crafted by Kaamos Warriors, you should definitely follow the band on Facebook, listen to more of their music on Spotify, and purchase their music from different locations such as Apple Music and Amazon. Shadows Of Northern Chaos might not be a masterpiece nor a revolution in Black and Death Metal, but it’s definitely a very good, cohesive and well-balanced album by those warriors of the never-ending northern night highly recommended for fans of the genre, and if in their first year of existence they were already capable of delivering two really entertaining full-length albums, I can’t wait to see what’s next in their promising (and wintry) career.

Best moments of the album: Chaos Walks the Earth, Chaos & Mayhem and Shadows of Northern Chaos.

Worst moments of the album: None.

Released in 2019 Inverse Records

Track listing
1. Wolves in Storm 2:28
2. Chaos Walks the Earth 2:28
3. Chaos & Mayhem 2:06
4. Ruined by Plague 2:35
5. Shadows of Northern Chaos 3:06
6. Where Shadows Grow 3:28
7. Ruins of Hope 2:28
8. Moon and Stars 4:00

Band members
Mikko Ojala – vocals, guitars
Jani Moilanen – guitars (lead/acoustic)
Jyri Moilanen – bass

Album Review – Embrace of Disharmony / De Rervm Natvra (2019)

Posted on by
Reply

A fascinating journey into a unique universe of Avantgarde and Progressive Dark Metal inspired by Lucretio’s poem “De Rervm Natvra” and his theory of the universe.

Forged in in 2006 the fires of Rome, the stunning capital of Italy, with the main goal of uniting the dark and epic Progressive Metal from bands like Symphony X and Adagio with elements from Avantgarde and Extreme Metal bands, as well as several orchestral outfits like Arcturus, Winds, Dimmu Borgir and Opeth, Avantgarde/Progressive Dark Metal four-piece act Embrace of Disharmony is unleashing upon humanity their second full-length opus entitled De Rervm Natvra, which translates from Latin as “on the nature of things”, a fascinating journey into a unique musical universe thoroughly crafted by the band, released five years after their debut album Humananke.

Comprised of Gloria Zanotti on vocals, Matteo Salvarezza on guitars, vocals and programming, Leonardo Barcaroli on bass and Emiliano Cantiano on drums, Embrace of Disharmony offer in De Rervm Natvra a more extreme sonority but at the same time a more avantgarde-ish aura than in Humananke, all spiced up by idiosyncratic electronic elements and a superb lyrical theme based on Lucretio’s poem “De Rervm Natvra” and his theory of the universe. Recorded at Dis(agio)harmony Studios and Hombre Lobo Studios with Valerio Fisik, mixed by Giuseppe Orlando at Outer Sound Studio, and mastered by Mika Jussila at Finnvox Studios, De Rervm Natvra is not only a great piece of symphonic and extreme music, but the overall sound quality of the album is simply outstanding, showing how focused all band members and their entire crew were, delivering first-class metal music to our avid ears.

Ethereal sounds permeate the air in Prohoemivm (“introduction”), with the voices in the background delivering a cryptic message and warming up our senses for the symphonic and eerie Lavdatio Epicvri (“in praise of Epicurus”), where Matteo’s background effects and keys grow in intensity until the entire band begins smashing their instruments furiously. And their venomous version of Dream Theater mixed with Cradle of Filth goes on in the 10-minute extravaganza De Primordiis Rervm (“the beginning”), a darker version of Epic Symphonic Metal with Emiliano sounding like a stone crusher on drums and with the delicate vocals by Gloria bringing more finesse to the overall musicality in an avalanche of symphonic sounds, somber passages, operatic choirs and tons of progressiveness. Then the quartet continues to mesmerize us with their dark symphony in De Motv Primordiorvm Rervm (“the beginning of motion”), another thrilling Progressive Dark Metal voyage where Matteo delivers crisp riffs while Leonardo and Emiliano are at the same time utterly progressive and vicious with their bass and drums, respectively; followed by De Infinitate Orbivm (“infinite worlds”), where a wicked intro evolves into a feast of Symphonic Metal showcasing classic piano notes, a menacing atmosphere and rumbling bass lines. Furthermore, Gloria and Matteo make a very dynamic and inspired vocal duo, while Emiliano doesn’t stop hammering his drums for our total delight.

In De Mortalitate Animae (“the immortality of the soul”), it’s impressive how the quartet is capable of transforming their music into some sort of theater or movie score, showcasing acoustic guitars while the smooth vocals by Gloria dictate the song’s rhythm, also presenting explosions of extreme music intertwined with pure Progressive Metal. De Pavore Mortis (“the terror of death”) starts in a whimsical and serene manner, again morphing into a Symphonic Metal party where Emiliano sounds even more brutal than before on drums while Gloria delivers some vicious, heavier-than-usual vocal lines to add an extra kick to the song; whereas in the Symphonic and Progressive Metal aria De Captionibvs Amoris (“the seizures of love”) we’re treated to the most wicked intro of the entire album, a dark and futuristic start that gets even more enfolding thanks to Matteo’s keys and Emiliano’s beats, generating a powerful paradox of sounds and setting the stage for Gloria to shine on vocals. Lastly we have De Formatione Orbis (“the formation of the world”), the most experimental of all songs, closing the album in a really distinct way and even flirting with Folk Metal at times. Once again presenting a potent vocal duet by Gloria and Matteo and flammable guitar riffs, the music gets a bit too atmospheric compared to the rest of the album, but nothing that could harm its overall electricity and impact.

In summary, Embrace of Disharmony are more than ready to take your hand and guide you through their whimsical and captivating world of heavy music in De Rervm Natvra, which is by the way available for a full listen on Spotify, and in order to show them your true support and admiration go check what they’re up to on Facebook, and purchase De Rervm Natvra from their BandCamp page, Apple Music, Amazon, or Discogs, or click HERE for all available options in the market. Gloria, Matteo, Leonardo and Emiliano might be only four musicians, but what they offer our ears in their new album sounds like if they were a full-bodied orchestra, meaning that not only they’re extremely talented and passionate about what they do, but also that fortunately for all of us we’ll be hearing from Embrace of Disharmony for many years to come, embellishing the airwaves with their fusion of the past, present and future of heavy music.

Best moments of the album: De Primordiis Rervm, De Infinitate Orbivm and De Captionibvs Amoris.

Worst moments of the album: De Formatione Orbis.

Released in 2019 My Kingdom Music

Track listing
1. Prohoemivm / Lavdatio Epicvri 3:05
2. De Primordiis Rervm 9:54
3. De Motv Primordiorvm Rervm 5:58
4. De Infinitate Orbivm 6:53
5. De Mortalitate Animae 7:53
6. De Pavore Mortis 6:12
7. De Captionibvs Amoris 5:53
8. De Formatione Orbis 8:14

Band members
Gloria Zanotti – vocals
Matteo Salvarezza – guitars, vocals, programming
Leonardo Barcaroli – bass
Emiliano Cantiano – drums

Guest musician
Marco Migliorelli – spoken words on “De Infinitate Orbivm” and “De Mortalitate Animae”

Concert Review – Cradle of Filth (The Opera House, Toronto, ON, 03/27/2019)

Posted on by
1

One year after storming Toronto with their Cryptoriana World Tour for the first time, the one and only Cradle of Filth returned for another fantastic round of blasphemy, darkness and seductiveness.

OPENING ACT: Raven Black

First of all, I would like to ask anyone to explain to me why WEDNESDAY 13, the Hollywood-based Gothic/Dark Metal band led by Murderdolls’ frontman Joseph Michael Poole (aka Wednesday 13), didn’t open for the almighty Cradle of Filth last night at The Opera House like they’ve been doing together with Los Angeles-based Gothic/Dark Metal unity RAVEN BLACK during this second round of the Cryptoriana North American tour, nicely named CRYPTORIANA WORLD TOUR 2019 – THE SECOND COMING OF VICE. All websites showed Raven Black scheduled for 7pm, Wednesday 13 for 7:45pm and Cradle of Filth for 8:55pm, but what actually happened last night in Toronto was a huge (and tedious) delay that ended up with Raven Black playing at 7:45pm and Cradle of Filth at 8:55pm, with no sign of Wednesday 13 at all nor any communication from the venue or the organizers. Unless they played at 5pm when no one was there to watch them, or if they wanted to make a very bad joke with their own name saying they were “late” two weeks (as yesterday was Wednesday 27), there’s no official reason for their absence. Can anyone out there explain to me what happened, please?

Anyway, without Wednesday 13, Raven Black was left with the always demanding duty of warming up the fans at The Opera house for another night of wicked, sulfurous and dark metal music. Comprised of the stunning, talented and very sympathetic Raven on lead vocals, The Doctor on lead guitar and backing vocals, Stitches on bass and Muppet on drums and harsh vocals (plus another mysterious, unnamed guitarist who would go on and off stage depending on the song played), Raven Black put on a great show, entertaining the fans avid for the more extreme music by Dani Filth and his horde. Still promoting their 2018 album 13, Raven Black played a fairly different setlist from the ones of this same tour, either by changing the order of the songs or by adding new ones, such as their brand new single named Carnival (a very good song, by the way), probably due to Wednesday 13’s cryptic absence. And it was impossible not to keep your eyes turned to the darkly, darkly sexy Raven, who delivered a very entertaining performance impersonating an evil doll with a special artifact per song, including a hula hoop, handcuffs and a giant teddy bear. My favorite songs of their concert were Dollhouse and Twinkle Twinkle Little Scars, and if you also enjoy this type of freakish, circus-inspired metal music, go take a look at their BandCamp page not only to purchase those two songs but their entire (short but already solid) discography.

Band members
Raven – lead vocals
The Doctor – lead guitar, backing vocals
Stitches – bass
Muppet – drums, harsh vocals

CRADLE OF FILTH

After a short break it was time for British Extreme Metal warlocks CRADLE OF FILTH to haunt The Opera House once again for our total delight, still promoting their 2017 album Cryptoriana – The Seductiveness of Decay, almost exactly one year after their 2018 concert in the city, coincidentally also on a Wednesday night. The setlist was very close to their previous one, with a few changes to some of the songs such as the removal of Beneath the Howling Stars and The Death of Love and the inclusion of Nemesis and Honey and Sulphur. I love all those songs, so I was more than fine with those changes as it’s always a pleasure to see a fantastic band like Cradle of Filth playing different songs live, but there was one huge “mistake” made by the band, which was NOT closing the show with the all-time classic From the Cradle to Enslave. Sorry, Dani, but I can’t forgive you for that even after seeing your Instagram post where you say you were quite sick last night (so sick he said they dropped Saffron’s Curse instead of From the Cradle to Enslave). Just kidding, of course.

Anyway, I can’t get tired of watching Dani growling like a demonic beast (even when he’s under the weather) while his bandmates make sure the atmosphere remains as obscure, devilish and aggressive as possible, with one of the nicest keyboardists in the world, Lindsay Schoolcraft, and the unstoppable guitarist Richard Shaw providing an extra touch of delicacy and madness to the show, respectively. Richard didn’t stop jumping up and down, spinning around, spitting and urging the crowd to go crazy into the circle pit, and all that while at the same time he was flawless with his riffs and solos. That’s what I call a true metalhead, my friends, providing Dani some effective support and relief due to his illness. If you were there, I bet their performance during the unparalleled 10-minute infernal beast Bathory Aria left you completely disoriented. That says it all.

In the end, although we didn’t have Wednesday 13 for some unknown reason, it was indeed another amazing night of Extreme Metal, with Raven Black and specially Cradle of Filth, of course, showing Toronto everything they got. When all was said and done (and after all the devastation the fans were promoting inside the endless circle pit in the center of the venue), everyone had a huge smile on their faces, and not even an exhausting day at work (like the one I had) could stop the crowd from enjoying the concert to its fullest. Furthermore, there were several amazing Cradle of Filth shirts being sold by their crew or worn by the fans as usual, but there was a guy wearing a very specific one that caught my attention, where in the back it said “DANI FILTH LOVES YOU”’. Well, how can we argue with that? He surely loves Toronto, and Toronto loves him and his iconic band back. That is pure, mutual respect and admiration that makes them come back to the city again and again. Hence, it’s been just less than a day after the concert was over, but I’m already eager to see the mighty Cradle of Filth possessing our souls once again here in our beloved Toronto.

Setlist
ACT I
Ave Satani (Intro)
Gilded Cunt
Nemesis
Right Wing of the Garden Triptych
Heartbreak and Seance
Bathory Aria: Benighted Like Usher / A Murder of Ravens in Fugue / Eyes That Witnessed Madness
Wester Vespertine
Dusk and Her Embrace
You Will Know the Lion by His Claw
Creatures That Kissed in Cold Mirrors (Interlude)

ACT II
A Bruise Upon the Silent Moon (Intro)
The Promise of Fever
Saffron’s Curse
Nymphetamine (Fix)
Honey and Sulphur
Her Ghost in the Fog
Blooding the Hounds of Hell (Outro)

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

Album Review – Rotting Christ / The Heretics (2019)

Posted on by
2

Heretics, atheists and rebels, it’s time to burn in the fires of the dark and occult Black Metal masterfully crafted by the greatest Greek institution in the history of heavy music.

“Since man cannot live without miracles, he will provide himself with the miracles of his own making. He will believe in any kind of deity even though he may otherwise be a heretic, an atheist, and a rebel.” – Fyodor Dostoyevsky

It is not a coincidence that our review number 666 exhales blasphemy, heresy and, above all, first-class occult Black Metal and a lot of fire. Hailing from Athens, the capital of the beautiful Greece and the heart of Ancient Greece, here comes the greatest Greek metal institution of all time, the almighty Rotting Christ, spitting fire upon humanity with their fantastic and very atmospheric new opus, entitled The Heretics, their thirteenth studio album and a beautiful follow-up to their excellent 2016 release Rituals.  Recorded at Pentagram Studios in Athens, mixed and mastered at Fascination Street Studio in Örebro, Sweden, and featuring a stunning artwork by Ukrainian designer Vyacheslav Smeshko and cover art by Greek artist Maximos Manolis, Rotting Christ’s new album is absolutely incendiary, going against all types of religion, church and creed.

And when I say incendiary I’m not exaggerating, as pretty much every single song from The Heretics mentions the world “fire”, proving the band’s mastermind, vocalist and multi-instrumentalist Sakis Tolis and his brother, drummer Themis Tolis, knew exactly what they were doing when turning what it truly means to be a heretic into their unparalleled Dark Metal. All lyrics are obscure, austere and rebellious, which together with all beautiful intonations by guests Stelios Steele and Dayal Patterson, as well as an array of guest musicians such as Irina Zybina (vocalist for Russian Pagan/Folk Metal bands Alkonost and Грай), Alexis Karamelis and Melechesh Ashmedi, makes the experience of listening to The Heretics truly hypnotizing, enfolding our souls in darkness and fire while the music remains as heavy, intricate and epic as we got used to from the Tolis Brothers. In other words, are you ready to burn in the purifying fires of the Dark Metal blasted by the one and only Rotting Christ?

The imposing In the Name of God brings forward a very atmospheric start, with the words by Russian philosopher Fyodor Dostoyevsky spoken by guest Stelios Steele setting the stage for the crushing wall of sounds created by the Tolis Brothers, always in the name of fire, not to mention how its headbanging riffs will inspire you to break your neck in half, while Vetry Zlye, also called “Ветры злые” (which translates as “evil winds” from Russian), is another beautiful composition by those Greek metallers with the help of guest vocalist Irina Zybina and her mesmerizing voice, getting closer to what the band did in Rituals and with the drums by Themis sounding as imposing and demolishing as we like it in classic extreme music. “The mind is universe and can make a heaven of hell a hell of heaven”, and it’s with those words by English poet John Milton that Rotting Chirst kick off another thrilling hymn titled Heaven and Hell and Fire, showcasing austere, cryptic lyrics (“Beyond the burning fire, heaven and hell / Today I give you choices: life or death / I offer you desire, I sentence you to death / Today I give you a choice, I give you Hell”) that perfectly match with the song’s flammable, classic and very melodic musicality, with Sakis once again being a beast with his riffs and unmatched roars.

Hallowed Be Thy Name is a mesmerizing and extremely obscure hymn by led by Themis’ pounding beats, with Sakis extracting those low-tuned, Stygian sounds we love so much from his guitar and bass. Put differently, join their mass and burn with them, also savoring the words by William Shakespeare powerfully declaimed by Stelios, putting a majestic end to the song. Following such enfolding tune we have Dies Irae, where Sakis’ work on the guitar is the perfect example of how heavy and harmonious a riff can be at the same time, as well as the song’s background choir bringing even more thunder to this already potent song; whereas in I Believe (or “Πιστεύω”), which is based on a poem by Nikos Kazantzakis, a giant of modern Greek literature, the instrumental pieces are a bit too “polluted”, but nothing that makes the song boring or not enjoyable. Moreover, it should work a lot better live as it has the potential to generate huge circle pits due to its frantic pace. Back to a more visceral mode, we have the fabulous Fire God and Fear, with the words by French philosopher Voltaire (“Those who can make you believe absurdities can make you commit atrocities.”) generating a stunning paradox with the birds gently chirping in the background in the beginning, before the scorching riffs and thunderous drums by the Greek brothers of metal urge us all to bang our heads nonstop. Hence, this is by far one of my favorite songs of the entire album, where we can savor that classic Rotting Christ sonority with a welcome contemporary twist.

Rotting Christ The Heretics Box Collector

The Voice of Universe is another song that will reach deep inside your mind and soul, with Sakis vociferating its insurgent words (“The angel, I won’t serve again / I won’t have a place anymore in heaven / It’s my own soul, it’s my own mind / And can make a heaven of hell, a hell of heaven.”) while Themis keeps blasting his trademark tribal beats, and when you think those Greek metallers couldn’t sound more mesmerizing and brutal at the same time they deliver the excellent The New Messiah, featuring an excerpt from Matthew 24:11 (“And many false prophets will arise and lead many astray.”), with the guitars and all background elements and voices filling out all spaces in the air. And lastly, as the icing on the cake we have the magnificent, somber and ferocious The Raven, based on what’s probably the most famous poem by the iconic american writer Edgar Allan Poe, offering our ears over five minutes of cutting riffs, Black and Doom Metal drums, and endless poetry, with highlights to the sensational job done by Stelios Steele, giving life to Poe’s renowned lines. Actually, if you have some spare money to purchase any of the special editions of the album, you’ll also be able to enjoy the bonus tracks The Sons of Hell and Phobos (also called “The Sons of Hell, Pt. 1 & 2” by some people), two dark and demolishing tunes that make it worth the additional investment, or in other words, two excellent samples of modern-day Black Metal infused with epic and atmospheric elements.

In summary, The Heretics, available for a full listen on YouTube and on sale from several locations such as the band’s own BandCamp page and the Season of Mist webstore (and if I were you, I would go for the limited edition deluxe wooden boxset as it comes with several awesome perks), is definitely an album that will touch your heart and soul, taking you on a fascinating musical ride through the woes of religious wars, Zoroastrianism and the eternal war between good and evil. That’s what the unrelenting Rotting Christ offer us in their top-of-the-line new opus, and may Sakis and his horde continue to burn us all heretics, atheists and rebels with their dark and occult Black Metal for many decades to come.

Best moments of the album: Heaven and Hell and Fire, Hallowed Be Thy Name, Fire God and Fear and The Raven.

Worst moments of the album: I Believe.

Released in 2019 Season of Mist

Track listing
1. In the Name of God 4:13
2. Vetry Zlye 3:14
3. Heaven and Hell and Fire 4:52
4. Hallowed Be Thy Name 5:06
5. Dies Irae 3:45
6. I Believe 3:42
7. Fire God and Fear 4:49
8. The Voice of Universe 5:22
9. The New Messiah 3:07
10. The Raven 5:23

Deluxe Edition/ Limited Edition Deluxe Boxset bonus track
11. The Sons of Hell 4:18

Limited Edition Deluxe Boxset bonus track
12. Phobos 4:12

Band members
Sakis Tolis – vocals, guitars, bass, keyboards, percussion
Themis Tolis – drums

Guest musicians
Giannis Kalamatas – guitars (live)
Van Ace – bass (live)
Stelios Steele – poem intonation on “In the Name of God”, “Hallowed Be Thy Name” and “The Raven”
Alexis Karamelis – backing vocals on “I Believe”
Stratis Steele, Alexandros Louziotis, Giannis Stamatakis & Theodoros Aivaliotis – vocals (choirs)
Nikos Velentzas, Stamatis Ampatalis, Vasilis Koutsoyflakis & Manos Six – percussion
Irina Zybina – female Vocals on “Vetry Zlye”
Dayal Patterson – intonation on “Heaven and Hell and Fire” and “Fire God and Fear”
Melechesh Ashmedi – vocals on “The Voice of Universe”