Album Review – Muertissima / Inquisition (2021)

Let the inquisition begin to the sound of the dynamic and pulverizing debut opus by this demented Death Metal act from France.

Hailing from the always beautiful and charming Paris, France, a demented Death Metal horde that goes by the curious name of Muertissima (which would translate from Spanish as something like “very dead”) is ready to attack armed with their debut opus, entitled Inquisition, highly recommended for fans of the music by bands the likes of At the Gates, Carcass and Morbid Angel. Passionate about all genres of Extreme Metal, guitarist Stephane Prados composed the majority of the songs without imposing any constraints of styles or structures, which ended up giving the album a dynamic Death Metal vibe combined with Black and Thrash Metal nuances to generate an original old school sound. Recorded at Lower Tones Place Studio, Inquisition is the perfect welcome card by the aforementioned Stephane and his henchmen Simon Perrin on vocals and bass, Matthias “Macchabée” Bonhoure on the guitar, and Cédric Dupuy on drums, leaving you completely disoriented after its almost 50 minutes of savagery are over.

Cédric begins hammering his drums like a demented beast in the opening tune Lockdown, accompanied by the sick riffage and guttural roars of his bandmates, whereas Simon continues to growl manically in Rise and Fight, another pulverizing display of the band’s classic Death Metal that will inspire you to slam your cranial skull into the circle pit. The rumbling bass by Simon is gradually joined by the razor-edged riffs by Matthias and Stephane in Cerveza, a true headbanger spearheaded by the massive beats by Cédric that should work perfectly when played live, followed by the title-track Inquisition, another Death Metal onrush provided by the quartet with Simon’s screams getting more and more demented as the music progresses, also presenting some welcome elements from Groove and Progressive Death Metal. And it’s time for more insanity in the form of extreme music with Godslayer, where the band’s guitar duo sounds utterly infernal with their axes supported by the rumbling bass by Simon and the always vicious beats by Cédric.

There’s no time to breathe as Muertissima keep crushing us all in Glory to Loki, another solid tune where their Cannibal Corpse-inspired guitars walk hand in hand with the demonic gnarls by Simon, and never slowing down nor selling out, Cédric’s hellish drums provide the rest of the band all they need to be even more ferocious with their respective instruments in Wild Hunt. Composing a Death Metal song that’s seven minutes long is a risky move, but Muertissima did a very decent job in Shooting Gallery, providing some interesting breaks and variations amidst their usual aggressiveness, with both Matthias and Stephane dictating the rhythm with their unstoppable guitars. They surpass the seven-minute barrier one more time in Prometeus, where Simon roars with tons of anger and hatred in his heart supported by the rest of the band, and the music remains heavy, dense, obscure and caustic until the very last second. Finally, sinister, acoustic guitars and the sound of the ocean are the main ingredients in Libertad, the most unique song of the album where the band seems to be inspired by classic Spanish music, resulting in a nice surprise despite not being Death Metal at all.

In a nutshell, the unstoppable Muertissima offer in Inquisition exactly what any fan of underground Death Metal is looking for, sounding sharp, straight to the point and electrified from the very first second of the album until its eccentric ending, positioning them as one of the most interesting new names of the French scene. Hence, don’t forget to give the guys from Muertissima a shout on Facebook and on Instagram, and above that, to purchase your copy of Inquisition from countless locations including Rock Metal Market, Wow HD, Barnes & Noble, Fnac, Cultura, Waterloo Records, and The Record Exchange. And then simply hit play and let the fires of the band’s inquisition of old school Death Metal burn your soul for all eternity.

Best moments of the album: Cerveza, Godslayer and Prometeus.

Worst moments of the album: Wild Hunt.

Released in 2021 Music-Records

Track listing
1. Lockdown 4:41
2. Rise and Fight 3:27
3. Cerveza 4:46
4. Inquisition 4:42
5. Godslayer 4:37
6. Glory to Loki 4:18
7. Wild Hunt 4:24
8. Shooting Gallery 7:28
9. Prometeus 7:05
10. Libertad 4:21

Band members
Simon Perrin – vocals, bass
Matthias “Macchabée” Bonhoure – lead guitar
Stephane Prados – rhythm guitar
Cédric Dupuy – drums

Metal Chick of the Month – Ira Sidenko

ira01

How to open your heart in the chaos of life? Learn to give and to share, to hustle and strive…

If you consider yourself a diehard fan of both old school and modern-day Death Metal, I’m certain you’ll have a very good time with our metal chick of the month of September. Not only she’s the owner of a potent and visceral voice, but her charisma, together with her onstage (and onscreen) performance, turn her into a must-listen and see for any admirer of first-class extreme music. I’m talking about the unstoppable Russian growler Ira Sidenko, also known as Irina Sidenko (or even Ирина Сиденко in Russian), the frontwoman for Tomsk, Russia-based Death Metal brigade Dehydrated, and a metalhead who is always expressing her passion for Heavy Metal through her music and art.

Born in the city of Tomsk, in Tomsk Oblast, a federal subject of Russia (an oblast) that lies in the southeastern West Siberian Plain, Ira studied at Tomsk State University, or TSU, known in her mother tongue as Томский Государственный Университет, or ТГУ, but it’s not clear exactly what course or courses she took at TSU. It was in 2008 when she founded Dehydrated (being named Dehydrated Entrails from 2008 until 2009, when they changed their name to the current one) together with guitarist Evgen Tsibulin, bassist Evgeny Zimin and drummer Alexey Ablayev, with only Ira and Evgen being still in the band from its original formation. Playing a fusion of classic Death Metal with other styles such as Deathcore, Grindcore, Groove Metal and even Progressive Metal, among others, the band didn’t know exactly what they wanted to play at first, but they knew it was going to be hard and aggressive, experimenting with several genres and subgenres of heavy music as aforementioned. By the way, when asked about the origin of the band’s name, Ira explained that’s how you feel after a concert, feeling dehydrated both physically and mentally after all the exchange of energy between the band and the crowd.

Having already played in several international festivals including Metal Head’s Mission (Ukraine), Metal Crowd (Belarus), Petrogrind (St. Petersburg), Metal Maidens (Kaluga), and Cieszanów Rock Festiwal (Poland), as well as tours around Russia and Eastern Europe, the band has unleashed upon humanity an array of high-quality albums and EP’s, those being the 2009 demo Suffering from Mummification, the full-lengths Duality of Existence (2011), Zone Beneath the Skin (2012) and Awake in Era (2012), the EP’s Mind Extract (2011), Piranha or Whale? (2019) and Piranha or Whale (Part II) (2020), and a 2011 split with the bands PureFilth, Grace Disgraced and Redrvm. Furthermore, in one of her interviews, Ira mentioned that her favorite Dehydrated album to date is Awake in Era, as she considers it more professional and more atmospheric than the other releases, with each of its songs representing a different story, but I’m sure that opinion will change with each of their releases just like what happens with any musician. And when asked about what Dehidrated means to her, she said that as music is her life, the band represents life to her, always showing a lot of love for her own work.

Dehydrated are a DIY band, doing everything themselves and relying a lot on the internet for sales and promotional activities just like countless underground bands worldwide. Ira mentioned that services like BandCamp, Spotify, Patreon and YouTube have been helping the band a lot with their promotion, but that at the same time they still have a hard time trying to organize tours all by themselves.  Hence, if you want to give the music by Dehydrated a try, you can stream all of their creations on BandCamp, on Spotify and on YouTube, where you can have an absolute blast with songs the likes of Hell Doesn’t Exist, Parallels, Sickness, Outlaws, Thirst of Dose, Werewolf, Alive Underground, Piranha or Whale, and their excellent covers for Motörhead’s Ace of Spades and Lake of Tears’ U.N.S.A.N.E.

Apart from her career with Dehydrated, you can also find Ira kicking some ass with a female-fronted metal band from Saint Petersburg, Russia named Fallcie for a while, and she can also be seen as a guest vocalist in the song А Время Шло, from the 2020 EP А Время Шло (or “time went on”) by Kaluga, Russia-based Melodic Death Metal band Last Trial. In addition, Ira is also an amazing online vocal coach as you can see on her own YouTube channel, not only providing some great tips to growlers worldwide, but also uploading to her channel cover versions for countless songs the likes of Slaughter to Prevail’s Hell, Rammstein’s Sonne, Linkin Park’s From the Inside, Decapitated’s Homo Sum, Death’s Without Judgement, Vader’s Hexenkessel, and Whitchapel’s I Dementia.

All those top-notch cover versions are not in vain, as all of those bands are also part of Ira’s idols and influences list. As a matter of fact, when asked about how she would define the sound by Dehydrated, she mentioned it’s a fusion of different styles from bands such as Death, Gojira, Animal as Leaders, and so on. Regarding her personal preferences, our beloved growler mentioned the first bands she fell in love with were Rammstein and Slipknot, later moving on to Black and Death Metal and getting absolutely addicted to that. Furthermore, the first time she heard a Death Metal band was when she got to know the music by Aborted, also getting hooked to the music by Whitechapel, Deicide and Vital Remains. However, Ira said she doesn’t have any limits when listening to music, being also a fan of Jazz, Blues, Grindcore and many other distinct styles, but of course always praising metal behemoths the likes of Motörhead, Manowar and Metallica.

This slideshow requires JavaScript.

Ira also provided her view on how to become a metal vocalist in one of her interviews, saying that there’s no secret to that but several years of practice and studies (and tons of mistakes) and a never-ending desire to grow, always searching for the right sound and for professional development. Although she mentioned she hadn’t had an older brother to show her metal music, Ira mentioned she had a friend with whom she used to listen to Rammstein together, which inspired her to form a band and, later, as her taste for music became heavier and heavier, she naturally decided to learn how to do guttural by herself. Having the flexibility to sing in English, Russian and German, Ira believes her vocal performance and her confidence have improved a lot since the band’s 2009 debut demo Suffering from Mummification, again pointing out to the importance of constant learning to become a better vocalist.

When asked about the metal scene in Russia (and in Eastern Europe in general), she thinks the bands in Russia need to show more of their own culture and ideas when creating music instead of trying to mimic famous European or American bands, but of course she acknowledges there are tons of fantastic bands in her homeland such as Katalepsy and Arkona. Moreover, in regards to her hometown Tomsk, she said that there was a time when Siberia, where Tomsk is located, once had a very strong metal scene, but that has changed over time and today the scene is not as powerful and the attendance to metal concerts has dropped significantly. She complemented by saying that not only in Tomsk, but in the entire Russia (and maybe we can also add the rest of the world to the mix), you can only get in contact with metal music through the internet, as the radio and TV do not offer any space to bands like Dehydrated, and there aren’t any major festivals either to promote the bands. She still thinks that there are great bands coming from her hometown, though, such as Apokefale and Dark Revenge, which needless to say need our total support to avoid getting extinct.

Last but not least, our Russian growler believes that becoming a Death Metal vocalist isn’t easy at all, it doesn’t matter if you’re a man or a woman, but of course it can be a little bit tougher to girls depending on the situation due to the sexism that still happens in the metal community all over the world. She said that once in a while she’s the target of that sexism, but she doesn’t really care about it and keeps working hard to make Dehydrated a better band and to make herself a better vocalist. When asked about how she responds to those attacks, she said she simply doesn’t answer back to the haters, ignoring them on social media and focusing on what really matters, which is the opinion and support of her fans, her friends and her family. And to be fair, she’s more than right in doing so, avoiding bringing that negativity to her work as a musician, therefore keeping her haters screaming in anger (but not as greatly as her) for not engaging in a virtual battle with her. That’s how you recognize a true musician, and let’s hope Ira keeps growling in our faces for many years to come with her ass-kicking band.

Ira Sidenko’s Official VKontakte
Dehydrated’s Official Facebook page
Dehydrated’s Official VKontakte
Dehydrated’s Official Instagram
Dehydrated’s Official YouTube channel

“We are very pleased to be able to create and do what we like, we do not know for how long but the only certainty is that there is only one here and now. We look to the future positively.” – Ira Sidenko

Album Review – Serpentrance / Akra Tapeinosis (2021)

This infernal Russian Sepulchral Death Metal horde comes ripping with their debut full-length opus, offering us all their raw and vile view of “the Utmost Humiliation”.

3.5rating

serpentrance-akra-tapeinosis-2021Recorded, mixed and mastered by the band’s own guitarist Spīritō Destitutus in the desolate temples of doom, and displaying a beyond blasphemous artwork by the band’s own vocalist Morkh at Nether Temple Design, the excellent Akra Tapeinosis (or “the Utmost Humiliation”), is not only the debut full-length opus by Russian horde Serpentrance and the follow-up to their 2015 EP The Besieged Sanctum, but also a lesson in Black, Death and Doom Metal by this uncanny entity, or as the band itself likes to label their own sound, a fulminating exhibit of “Sepulchral Death Metal”. Formed in 2014, the band currently comprised of the aforementioned Morkh and Spīritō Destitutus together with bassist HTM and drummer Noersyl Skept is ready to darken the hearts of the unbelievers with their unique style and otherworldly sounds, proving once again why Russia is the go-to place for the most disturbing forms of extreme music you can think of.

Gregorian vociferations permeate the air in the Stygian opening tune Vomit & Myrrh, exploding into a primeval fusion of Black and Doom Metal that will haunt the souls of the lighthearted where Morkh sounds like a creature from the underworld on vocals, while Noersyl Skept hammers his drums in great fashion; followed by Clothed in Abomination, with its darkly poetic words (“Cathedrals howling in awe / The old woman of apocalypse awakes / To feed the hunger of the devoted ones / By the coffins of the blessed tree”) being beautifully complemented by a raw, sluggish sonority. Furthermore, the riffs by Spīritō Destitutus exhale pure sulfur, supported by the menacing bass by HTM in an ode to Blackened Doom. And Spīritō Destitutus keeps slashing his stringed axe with tons of hatred and obscurity in The Tarnished Shrines of God, another venomous tune by Serpentrance where the deep guttural growling by Morkh will penetrate deep inside your psyche and drag you into pitch black darkness for all eternity.

After such intense and bold display of damnation and hatred, get ready for over 11 minutes of a demented hybrid of Black, Death and Doom Metal by the quartet spearheaded by the demonic riffage by Spīritō Destitutus and the thunderous drums by Noersyl Skept entitled Underneath Babylon, not to mention how vile Morkh’s roars sound and feel in a lecture in sheer doom for admirers of the most sulfurous side of music. And last but not least, we’re treated to the superb The Black Dawn of Sophia, offering our avid ears one final round of Serpentrance’s wicked lyrics (“Man, hast thou felt the rising winds of death / Howling among these ancient marble walls? / There, below, crawling the procession / Groveling beneath the corroding sun”) to close the album on a high and infernal note. Put differently, it’s a flawless, neck-breaking aria that positions the band as one of the most interesting names of the Russian underground scene, ending the album on an absolutely cadaverous vibe.

serpentrance-2021If you think you can endure sheer darkness in the form of the Sepulchral Death Metal blasted by Serpentrance, you can stream the full album on YouTube, and in case you survive that metallic onslaught you can join Serpentrance’s horde by following them on Facebook and getting to know more about the band, their tour dates and their plans for the future. And above all that, of course, don’t forget to purchase a copy of Akra Tapeinosis from the Godz ov War Productions’ BandCamp page or webstore in CD, LP or cassette formats, showing your true love and admiration for sick and impious doom. Serpentrance are just starting in their grim and sulfurous career, and Akra Tapeinosis is the undisputed statement that they’re indeed following the right (and by that I mean infernal) path to conquer the world of extreme music in a not-so-distant future.

Best moments of the album: Vomit & Myrrh and The Black Dawn of Sophia.

Worst moments of the album: None.

Released in 2021 Godz ov War Productions

Track listing  
1. Vomit & Myrrh 7:34
2. Clothed in Abomination 7:38
3. The Tarnished Shrines of God 7:14
4. Underneath Babylon 11:35
5. The Black Dawn of Sophia 9:10

Band members
Morkh – vocals
Spīritō Destitutus – guitars
HTM – bass
Noersyl Skept – drums

Album Review – Nunslaughter / Red is the Color of Ripping Death (2021)

Cleveland, Ohio’s own infernal squad returns with another bestial display of their trademark “Devil Metal”, their first album in seven years.

3.5rating

nunslaughter-red-is-the-color-of-ripping-death-2021Cleveland’s own infernal squad Nunslaughter requires no introduction. Since their inception in the distant year of 1987, those Ohio natives have prolifically perfected their own brand of what they like to label as “Devil Metal”, an evil blend of classic Death and Thrash Metal with Hardcore Punk, and now in 2021, at long last, the band is back in action with Red is the Color of Ripping Death, their first album in seven years. Recorded, mixed and mastered by Noah Buchanan, the album is a lesson in savagery, speed and sulfur by vocalist Don of the Dead, guitarist Tormentor, bassist Detonate and drummer Wrath, proving Nunslaughter are far from calling it quits even after so many years on the road. Furthermore, many are still mourning the loss of legendary drummer Jim Sadist (RIP), and while Red is the Color of Ripping Death is their first full-length without him playing on it, some of the 14 songs contained herein are unfinished or unrealized music that Jim and founding frontman Don of the Dead wrote years ago, giving the whole album an even more special feel and taste.

Wrath begins hammering his drums manically in the opening tune Murmur, a lecture in fast and heavy Death and Thrash Metal by the band to properly kick things off, not to mention how vile Don’s growls sound, whereas in Broken and Alone they speed up their pace and add a good amount of Hardcore and Punk Rock to their core sonority, with Tormentor treating us with his incendiary, slashing riffage. Then it’s time for a darker and more venomous tune by the quartet named To a Whore, once again inviting us all to slam into the pit to the Stygian riffs and bass jabs by Tormentor and Detonate, respectively; followed by Banished, not as infuriated as its predecessors but still showcasing the band’s trademark heaviness and spearheaded by the deep roars by Don, and the title-track Red Is the Color of Ripping Death, a hurricane of Death and Thrash Metal tailored for admirers of that beautiful sound from the Bay Area, with Wrath once again hammering his drums nonstop. Tormentor continues to extract sheer violence from his guitar in Eat Your Heart, while Don vociferates rabidly amidst a very melodic but at the same time brutal sonority, and in Annihilate the Kingdom of God the unrelenting Don beautifully declaims the song’s austere words while his bandmates keep delivering endless aggression, with Detonate and Wrath sounding bestial with their evil kitchen.

Living up to the legacy of old school thrash the likes of Slayer and Overkill, the quartet fires the absolutely infernal Beware of God, with Don leading his demented horde with his sick growling and screams, whereas another round of deranged roars, classic blast beats and flammable riffs comes in the form of Black Cat Hanging, keeping the album at a high level of animosity for our total delight. And are you ready to be smashed like an insect? Because that’s what will happen to you in Dead in Ten, spearheaded by the fulminating drums by Wrath and the wicked riffage by Tormentor in a superb display of extreme music by Nunslaughter. Then let’s all “calm down” a bit and enjoy a headbanging extravaganza entitled The Devil Will Not Stray, where the band adds hints of Black and Doom Metal to make things even more devilish, while they get back to a more ferocious sonority in The Temptress, with Wrath kicking ass on drums once again supported by the metallic bass jabs by Detonate. Casket Lid Creaks is another slower-than-usual song that albeit displaying the band’s heaviness and obscurity, it doesn’t really take off. Detonate still showcases a great job with his low-tuned bass, though. Lastly, less than one minute is everything the band needs to crush anyone that’s still alive in Below the Cloven Hoof, putting a beyond demonic ending to such awesome album.

nunslaughter-2021In case you want to join Nunslaughter in their quest for metal, depravity and evil, you can start following the band on Facebook and on Instagram for news, tour dates and other nice-to-know details about them, stream more of their savage creations on Spotify, and above all that, purchase the awesome Red Is the Color of Ripping Death from their own BandCamp page or from the Hells Headbangers Records’ webstore in CD or cassette format. As Jim Sadist would say, “red is the color of ripping death,” and I’m sure he’s truly proud of his bandmates for their new album. Long live Jim Sadist, and long live Nunslaughter.

Best moments of the album: Broken and Alone, Red Is the Color of Ripping Death, Beware of God and Dead in Ten.

Worst moments of the album: Banished and Casket Lid Creaks.

Released in 2021 Hells Headbangers Records

Track listing 
1. Murmur 1:33
2. Broken and Alone 1:50
3. To a Whore 2:34
4. Banished 2:48
5. Red Is the Color of Ripping Death 3:34
6. Eat Your Heart 2:41
7. Annihilate the Kingdom of God 2:48
8. Beware of God 1:49
9. Black Cat Hanging 2:13
10. Dead in Ten 3:39
11. The Devil Will Not Stray 2:51
12. The Temptress 2:01
13. Casket Lid Creaks 3:04
14. Below the Cloven Hoof 0:52

Band members
Don of the Dead – vocals
Tormentor – guitars
Detonate – bass
Wrath – drums

Album Review – Silent Obsession / Countdown EP (2021)

This up-and-coming Algerian Death Metal outfit is back with an in-depth extreme musical perspective into the devastating, global apocalypse.

3.0rating

silent-obsession-countdown-ep-2021Following the release of their 2020 EP Lost, Algiers, Algeria-based Death Metal outfit Silent Obsession is back with another short and sweet display of violence, heaviness and speed in the form of a new EP entitled Countdown. Written and composed by the band’s mastermind and guitarist Max Marginal and produced by Redouane Aouameur of Fermata Studios, the EP portrays an in-depth extreme musical perspective into the devastating, global apocalypse carefully brought forth by the aforementioned Max together with Danny on vocals and guitars, Manil on bass, and Ben Der on drums. “It’s about the apocalypse, the end of the world,” commented Max, also complementing by saying that “Silent Obsession reaches a highest level of a global mental failure, when madness become something legit in this society,” giving us all a very good idea of all the aggressiveness and brutality found in the band’s new EP.

After the short and infernal intro Apocalyptic Manifestation, Silent Obsession come crushing our souls with their venomous Death Metal in End of an Era, where Ben Der showcases all his talent behind his drums, providing Danny and Max all they need to slash their strings mercilessly and with Danny also vomiting the song’s acid words nonstop. There’s absolutely no time to breathe as the quartet keeps hammering our skulls with their old school Death Metal in Exhausted Resource, another violent and heavy-as-hell creation where Manil and Ben Der are on fire with their thunderous kitchen accompanied by the monstrous roars by Danny and the always visceral riffage and wicked solos by Max, living up to the legacy of bands the likes of Morbid Angel, Cannibal Corpse and Deicide and, therefore, leaving us utterly eager for more of their music in a not-so-distant future.

silent-obsession-2021If you’re curious to know how ass-kicking Algerian Death Metal sounds, you can listen to Silent Obsession’s new EP on YouTube and on Spotify, and soon you’ll be able to purchase it from your regular retailers and show your support to the underground from “Algiers the White.” Also, don’t forget to follow the band on Facebook for news, tour dates and other nice-to-know details about Max and his henchmen. Silent Obsession couldn’t have released their new EP about the end of the world in a more appropriate time, as it looks like that’s exactly what we’re experiencing everywhere with viruses, natural disasters, wars, conflicts, hunger and climate change disturbing our peace. At least, as I always say, we’ll have another set of high-quality songs to be added to the end of the world’s soundtrack when that inevitable moment comes, and let’s hope the band releases a more robust full-length opus in the coming months to show us everything they got in the name of old school Death Metal.

Best moments of the album: Exhausted Resource.

Worst moments of the album: None.

Released in 2021 Independent

Track listing
1. Apocalyptic Manifestation 0:30
2. End of an Era 2:55
3. Exhausted Resource 2:51

Band members
Danny – vocals, guitars
Max Marginal – guitars
Manil – bass
Ben Der – drums

Album Review – Fleshtorture / Grotesca Doctrina De La Perversidad (2021)

A fulminating display of Death Metal made in Nicaragua, dealing with the poisonous hypocrisy of faith in unseen gods and the structures of domination built around those abominable names.

3.5rating

fleshtorture-grotesca-doctrina-de-la-perversidad-2021Armed with riffs that no god could stand against and a vocal roar to cut through lies and debasement, León, Nicaragua-based Death Metal bulldozers Fleshtorture are back in action with the third and most powerful full-length album of their career, the devastating Grotesca Doctrina De La Perversidad, or “grotesque doctrine of perversity” in English. A consistently stunning display of real Death Metal from start to finish, dealing with the poisonous hypocrisy of faith in unseen gods and the structures of domination built around those abominable names, the album is highly recommended for fans of renowned Death Metal titans the likes of Cannibal Corpse, Deicide, Suffocation and Incantation, showcasing all the talent and violence of vocalist Xhugore, guitarists Lenin Galo and René Schock, bassist Hanry Cano and drummer Rudy Wolf. Add to that the visceral recording by Hector Cerrato at Zombie Records, the vile mixing and mastering by Chris Wisco, the sharp production by Joi Brute, and the demented artwork by John Quevedo Janssens, and there you have an essential  album that will certainly leave a permanent scar on the tortured visage of Death Metal.

In the insane Intro: Grotesca Doctrina de la Perversidad, gruesome, cryptic vociferations will warm us up for the bestial Canibalismo Eclesiástico (“ecclesiastical cannibalism”), where Xhugore’s roars together with the frantic drums by Rudy Wolf are a stunning invitation for all of us to slam into the pit like true maniacs, not to mention the awesome Cannibal Corpse-inspired riffs by the band’s guitar duo; and their Death Metal extravaganza goes on in the visceral tune Blasfemando en el Trono de Dios (“blaspheming on the throne of god”), showcasing another amazing job done by Lenin Galo and René Schock on the guitars accompanied by the menacing bass jabs by Hanry Cano. The band continues hammering their wicked instruments in Flagelando al Mesías (“flogging the messiah”), with Rudy Wolf dictating the song’s demonic pace while Xhugore barks the song’s Spanish lyrics with tons of hatred and darkness, followed by Tumba de Niños (“children’s tomb”), another ode to old school Death Metal with the band’s own twist. Furthermore, its backing vocals provide a very effective support to Xhugore, while the guitars keep piercing our souls mercilessly until the very last second.

Crucificado, Muerto y Sepultado (“crucified, dead and buried”) is undoubtedly one of the most violent compositions of the album, a circle pit-catalyst that will please all fans of classic Death Metal with Rudy Wolf once again taking the lead with his rhythmic and utterly aggressive beats and fills, whereas sinister sounds permeate the air in Aberracíon Maligna (“malignant aberration”), with the band offering a Doom Metal-ish side of their music evolving into another showcase of sheer brutality. Needless to say, Lenin Galo and René Schock are on fire with their riffs and solos, and more of their sulfurous and blasphemous sounds comes in the form of Morgue (“morgue”), again presenting wicked vociferations by Xhugore amidst a rumbling atmosphere crafted by Hanry Cano and Rudy Wolf. The band’s last breath of malignancy and depravation is offered to us in Crematorio (“crematorium”), less intense than its predecessors but still dark and heavy, with their guitars again penetrating deep inside your skin while also presenting Xhugore’s trademark guttural gnarls, flowing into a quick and phantasmagorical Outro to darkly conclude such hellish piece of music.

fleshtorture-2021If carnivorous and blasphemous Death Metal is your cup of tea (or maybe I should say “cup of blood”), then you should definitely take a full listen at the new album by Fleshtorture on YouTube or on Spotify, but of course in order to show those Nicaraguan metallers your true support you can purchase a copy of the album from their own BandCamp page, from the Brute! Productions’ Big Cartel, from the Sevared Records’ webstore, from Apple Music or from Amazon. In addition, don’t forget to also follow such distinguished Death Metal force on Facebook, keeping up to date with all things Fleshtorture and, above all that, inspiring them to continue their path of perversity and violence just like what they offered us all in the excellent Grotesca Doctrina De La Perversidad.

Best moments of the album: Canibalismo Eclesiástico, Flagelando al Mesías and Crucificado, Muerto y Sepultado.

Worst moments of the album: Crematorio.

Released in 2021 Brute! Productions

Track listing 
1. Intro: Grotesca Doctrina de la Perversidad 0:42
2. Canibalismo Eclesiástico 4:17
3. Blasfemando en el Trono de Dios 4:20
4. Flagelando al Mesías 4:30
5. Tumba de Niños 3:16
6. Crucificado, Muerto y Sepultado 5:20
7. Aberración Maligna 5:20
8. Morgue 3:58
9. Crematorio 4:59
10. Outro 0:18

Band members
Xhugore – vocals
Lenin Galo – guitars
René Schock – guitars
Hanry Cano – bass
Rudy Wolf – drums

Album Review – Antediluvian / The Divine Punishment (2021)

A lesson in savagery thematically centered around the many manifestations of carnal deviance by a blasphemous horde hailing from the Great White North.

3.5rating

antediluvian-the-divine-punishment-2021Nearly eight years after the release of their sophomore album λόγος, Canadian Black/Death Metal horde Antediluvian returns with a new full-length opus entitled The Divine Punishment, a lesson in savagery thematically centered around the many manifestations of carnal deviance. Formed in 2006 in Guelph, Ontario, but currently located in Edmonton, Alberta, the band comprised of Haasiophis on vocals and guitars, Aedh Zugna on bass and Mars Sekhmet on drums offers in their newborn spawn a contorted rendering of the spirit, once pure, blemished and bespoiled through sexual blasphemy, turning the album into much more than a return to form for Antediluvian, but a reflection of the band’s evolution from their inception, extrapolated over the near-decade since their last album, to reveal a meticulously sculpted masterwork that continues to push boundaries just as the band has done for the last 15 years.

Eerie sounds ignite the almost 10 minutes of insanity in the opening track Obscene Pornography Manifests in the Divine Universal Consciousness, before morphing into a raw and absurdly grim Black Metal extravaganza where Haasiophis roars and gnarls like a demonic entity nonstop, accompanied by the sulfurous drums by Mars Sekhmet, and keeping the flames of the underworld burning bright this Stygian horde fires the excellent All Along the Sigils Deep, blending the furious Death Metal riffs by Haasiophis with the Black Metal atmosphere crafted by Aedh Zugna and Mars Sekhmet. How the Watchers Granted the Humans Sex Magick in the Primordial Aeon carries a darkly poetic title to a visceral and utterly primeval Black Metal aria by Antediluvian, once again presenting the infernal growling by Haasiophis amidst atmospheric, cryptic background elements; whereas Guardians of the Liminal is shorter than its predecessors but still fulminating to the core, also bringing some progressiveness and experimentations added to their Black Metal sonority and with Mars Sekhmet taking the lead with his rhythmic beats, followed by the no-shenanigans, brutal Tamasic Masturbation Ritual, a hybrid of the most putrid forms of Black and Death Metal where Haasiophis vociferates rabidly from start to finish.

Sadomaniacal Katabasis (Last Fuck of The Dying) brings to us fans one minute of pure, fuckin’ sonic devastation to crush our damned souls before the trio blasts our ears with Temple Prostitute, starting with a beyond disturbing intro and quickly exploding into a dissonant feast of deep guttural growls, frantic beats and obscure riffs and bass jabs, keeping the album at a gargantuan level of dementia. Then get ready for another bestial display of Black and Death Metal by Antediluvian in Circumcision Covenant, with Aedh Zugna hammering his bass supported by the intricate beats by Mars Sekhmet, whereas an ode to the number of the beast entitled White Throne goes on for way too long (if it was a little shorter it would have been a lot more effective, I might say). Fortunately, their second to last blast of demonic sounds, entitled The Liar’s Path, puts the band back on track, offering another crude, boisterous Black Metal exhibit with Haasiophis stealing the spotlight with both his inhumane gnarls and sick riffage. And lastly we have Winged Ascent unto the Twelve Runed Solar Anus, an insane way to conclude the album with its nine minutes of sheer obscurity and hatred in the form of metal music where Haasiophis and Aedh Zugna will pierce your ears with their stringed weapons, while Mars Sekhmet sounds like the apocalypse on drums, before all fades into the void in a truly climatic and sinister manner.

antediluvian-2021This Stygian horde hailing from the Great “Dark” North is waiting for you to join them in their quest for blasphemy and extreme music on Facebook and on Instagram, and don’t forget to also stream their vile creations on Spotify. The Divine Punishment, available for presale from the Nuclear War Now! Productions’ BandCamp page and soon from the Nuclear War Now! Productions’ webstore (as well as from Apple Music and Amazon), is indeed a fantastic display of everything Antediluvian stands for, providing fans of Black and Death Metal with the perfect soundtrack for 666 days of carnal deviance, profanity and punishment, exactly the way we like it when the music in question is so dark and evil.

Best moments of the album: All Along the Sigils Deep, How the Watchers Granted the Humans Sex Magick in the Primordial Aeon and Winged Ascent unto the Twelve Runed Solar Anus.

Worst moments of the album: White Throne.

Released in 2021 Nuclear War Now! Productions

Track listing   
1. Obscene Pornography Manifests in the Divine Universal Consciousness 9:47
2. All Along the Sigils Deep 6:03
3. How the Watchers Granted the Humans Sex Magick in the Primordial Aeon 8:36
4. Guardians of the Liminal 4:13
5. Tamasic Masturbation Ritual 3:15
6. Sadomaniacal Katabasis (Last Fuck of The Dying) 1:11
7. Temple Prostitute 5:14
8. Circumcision Covenant 5:23
9. White Throne 6:42
10. The Liar’s Path 5:39
11. Winged Ascent unto the Twelve Runed Solar Anus 9:02

Band members
Haasiophis – vocals, guitars
Aedh Zugna – bass
Mars Sekhmet – drums

Album Review – Mental Torment / ego:genesis (2021)

This amazing Ukrainian doom horde returns from the underworld with over 50 minutes of music covering the catharsis that a person goes through in a moment of despair and hopelessness.

3.5rating

mental-torment-ego-genesis-2021Forged in the fires of Kiev, Ukraine back in 2009, the Stygian Death and Doom Metal entity known as Mental Torment returned from the ashes like a dark phoenix in 2020 after a five-year hiatus to crush us all once again with their undisputed Funeral Doom Metal, resulting now in 2021 in their sophomore effort titled ego:genesis. Bringing to our avid ears over 50 minutes of doom split into seven distinct tracks, ego:genesis covers the catharsis that a person goes through in a moment of despair and hopelessness, searching for answers to eternal questions, resisting the inevitable and final acceptance of their fate, all carefully brought into being by Roman Sagajdachnyj on vocals, Anatolii Doroshenko and Mykhailo Chuha on the guitars, Andrii Avramets on bass, Yaroslav Mosiievsky on keyboards and Artur Myrvoda on drums, being therefore highly recommended for fans of the music by October Tide, Paradise Lost, Anathema, Katatonia and Swallow the Sun, among other torchbearers of pure doom.

The gentle, melancholic keys by Yaroslav kick off the eight-minute aria Acceptance, already showcasing the band’s passion for doomed and obscure music, before Artur begins hammering his drums with tons of anger. Needless to say, fans of bands like  Paradise Lost and My Dying Bride will certainly love it. And the strident and piercing guitars by Anatolii and Mykhailo set the tone in the sluggish and grim New Days Old Wounds, accompanied by the thunderous bass by Andrii and, therefore, offering Roman all he needs to vociferate and roar in the best Doom Metal way possible; whereas Yaroslav strikes again with his sinister keys in Untitled, before the music explodes into a slow and heavy-as-hell fusion of Death and Doom Metal spearheaded by the classic drums by Artur while the growls by Roman get more anguished and desperate as the music progresses.

Even heavier and more demonic than its predecessors, the multi-layered Conclusion will crush your damned soul mercilessly to the sound of the vicious guttural by Roman and the crisp guitars by Anatolii and Mykhailo while Andrii keeps smashing his bass flawlessly, and more of their delicate but at the same time caustic Funeral Doom Metal is offered to us all in The River, with the gruesome roaring by Roman generating a Stygian paradox with the whimsical piano notes by Yaroslav. Then keeping the album as doomed and infernal as possible, the band once again slams our heads with their boisterous music in Black, with Roman taking the lead once again with his deep growling while his bandmates add a touch of progressiveness to the overall result, followed by the closing tune Oblivion, an instrumental outro where the band’s guitar duo delivers a stunning stringed performance supported by the stylish beats by Artur, blackening the skies one last time for our total delight.

mental-torment-2021If you love funereal and melodic Doom Metal from the bottom of your damned heart, you should definitely start following Mental Torment on Facebook, on Instagram and on VKontakte for news, tour dates and other nice-to-know details about such awesome Ukrainian band, and also subscribe to their YouTube channel for more of their eerie and captivating music. And above all that, of course, let’s show our utmost support to those talented metallers by purchasing their fantastic new album from their own BandCamp page or Facebook webstore, as well as from the Metallug Music Facebook webstore soon. In the end, Mental Torment did a beautiful job turning our darkest emotions and feelings such as despair, hopelessness, fear and anger into cohesive and thrilling music, leaving us all eager for more of their music in the coming years and, consequently, keeping the fires of Ukrainian doom burning brighter than ever.

Best moments of the album: Acceptance and Conclusion.

Worst moments of the album: None.

Released in 2021 Metallurg Music

Track listing 
1. Acceptance 8:15
2. New Days Old Wounds 7:19
3. Untitled 7:21
4. Conclusion 7:34
5. The River 7:48
6. Black 7:01
7. Oblivion 5:54

Band members
Roman Sagajdachnyj – vocals
Anatolii Doroshenko – guitars
Mykhailo Chuha – guitars
Andrii Avramets – bass
Yaroslav Mosiievsky – keyboards
Artur Myrvoda – drums

Album Review – Sarmat / RS-28 (2021)

Behold the debut album by this Polish brigade, offering us all a mixture of Death and Black Metal split into eight visceral tracks about destruction, military industry and human fears and obsessions.

3.5rating

sarmat-rs-28-2021Having their name taken from “The Weapon of Ultimate Destruction”, the Russian super-heavy intercontinental ballistic missile (ICBM) RS-28 SARMAT (also known as SATAN 2), Poland’s own Black/Death Metal brigade Sarmat has just unleashed upon humanity their debut full-length opus, titled RS-28, a lesson in violence by Łukasz Kobusiński on vocals, Daniel Szymanowicz on guitars, bass, keyboards and VST instruments, and Krzysztof “Kopyś” Kopczeński also on the guitars, supported by session drummer Krzysztof Klingbein. Engineered, mixed and mastered at Santa Studio by Arkadiusz “Malta” Malczewski and displaying a sinister artwork by Lord K., RS-28 offers a mixture of Death and Black Metal split into eight visceral tracks about destruction, military industry and human fears and obsessions, being highly recommended for admirers of the savagery blasted by renowned bands like Sarmat’s countrymen Behemoth.

A Black Metal onrush will smash you like an insect from the very first second in Coldgrinder, with Daniel and Kopyś, accompanied by Krzysztof, hammer their sonic weapons mercilessly, all spiced up by Łukasz’s demonic, deep guttural roars. Then a beyond sulfurous intro morphs into sheer adrenaline and violence in Evilution, inviting us all to bang our heads in the name of evil, with Krzysztof once again showcasing his heavy artillery behind his drums while Łukasz keeps vociferating the song’s wicked words like a true beast (“Confronting with the evil-ution / Controlling the creature’s instinct / Ceremonial madness in psychotic eyes / The sentence for all cold life”); and the band explodes our senses with the infernal The Shining of Oneiros, a bestial display of Blackened Death Metal spearheaded by the inhumane growling by Łukasz. Then we have the title-track RS-28, darker and more doomed than its predecessors, with Daniel and Kopyś being on absolute fire with their axes delivering a malevolent riffage that lives up to the legacy of classic Death Metal.

Another grim, melancholic start quickly explodes into pulverizing Black and Death Metal in Seeds of Uncertainty, where Krzysztof proves once again why he was chosen as the session drummer for the album while Łukasz keeps growling to the wicked riffs by the band’s guitar duo; whereas the warlike lyrics darkly roared by Łukasz (“Revolt / You don’t live in my war / Pain makes me stronger everyday / Life is war, not illusion”) set the tone in the Doom Metal-infused tune You Don’t Live in My War, where the bass lines by Daniel sound utterly thunderous from start to finish. Following such demented tune we have Blackout (Scenario for Tomorrow) part I, just as pulverizing as the rest of the album, bringing to our ears first-class Polish Blackened Death Metal where the sound of the guitars will pierce your minds without a single drop of mercy, flowing into the hellish and obscure Blackout (Scenario for Tomorrow) part II, ending the album on a Stygian note to the devilish growls by Łukasz, always supported by the band’s unstoppable riffs and blast beats.

sarmat-2021Sarmat’s insane display of Blackened Death Metal can be better appreciated in full on YouTube and on Spotify, but of course in order to join their metallic brigade you should definitely purchase a copy of RS-28 from their own BandCamp page, from allegrolokalnie.pl, from Selfmadegodrecords, from Apple Music, from Amazon or from Discogs, and don’t forget to also follow such promising band on Facebook and on Instagram and to subscribe to their YouTube channel. Sarmat have certainly crafted their own “weapon of ultimate destruction” with RS-28, a kick-ass album that proves once again that the fusion of extreme music and war will always bring a positive outcome to us metalheads from all over the world.

Best moments of the album: Evilution, The Shining of Oneiros and Blackout (Scenario for Tomorrow) part I.

Worst moments of the album: You Don’t Live in My War.

Released in 2021 Independent

Track listing 
1. Coldgrinder 3:19
2. Evilution 5:45
3. The Shining of Oneiros 4:11
4. RS-28 3:51
5. Seeds of Uncertainty 3:36
6. You Don’t Live in My War 5:38
7. Blackout (Scenario for Tomorrow) part I 3:32
8. Blackout (Scenario for Tomorrow) part II 3:41

Band members
Łukasz Kobusiński – vocals
Daniel Szymanowicz – guitars, bass, keyboards, VST instruments
Krzysztof “Kopyś” Kopczeński – guitars

Guest musician
Krzysztof Klingbein – drums (session)

Album Review – Defacement / Defacement (2021)

A dissonant Death and Black Metal statement of utter violence and despair against the endless inner struggle caused by the growing lack of meaning in this thing we call life.

3.5rating

defacement-defacement-2021What started in 2019 as the side project of an underground Black Metal band called Deathcrush quickly evolved into one of the most promising acts in the realm of dissonant Death and Black Metal and certainly one that doesn’t fear to experiment, although they remain faithful to Extreme Metal’s sonic roots. I’m talking about Utrecht, Netherlands-based entity Defacement, who after their self-produced debut Deviant are back from the underworld with their self-titled sophomore opus, a statement of utter violence and despair against the endless inner struggle caused by the growing lack of meaning in this thing we call life. Recorded, mixed and mastered at Catacomben Studios, displaying a sinister cover painting by Dusty Ray, and with art direction and layout by Francesco Gemelli, the album is a work poised between horror and introspection, showcasing all the talent and obscurity by vocalist and bassist Forsaken Ahmed, guitarist Khalil Azagoth and drummer Mark Bestia.

Limbo I is a beyond eerie intro sounding as if the gates to the netherworld have been wide open, haunting our souls before Defacement come ripping like a ravaging beast in Shattered, where Mark is simply demonic behind his drums, providing Ahmed all he needs to roar and scream in great Death Metal fashion (not to mention the pulverizing riffage by Khalil). In other words, it’s a lecture in modern-day Death and Black Metal, offering us all almost ten minutes of disturbing sounds and noises, endless obscurity and absolutely no sign of hope. Then even more atmospheric and ethereal, the interlude Limbo II will warm up our senses for the Blackened Doom-infused aria Disavowed, another vile and Stygian creation by the trio with Mark dictating the song’s infernal pace while Ahmed continues to burst his lungs vociferating nonstop, always accompanied by Khalil and his razor-edged guitar lines.

The second act of the album begins with the interlude entitled Limbo III, offering more whimsical sounds while at the same time warning us all of the dissonant metal attack that’s about to come in Disenchanted, which begins in full force to the hellish blast beats by Mark. Needless to say, Khalil is once again on fire with his intricate and extremely caustic riffage, while Ahmed showcases all the dark and fury inside his heart through his putrid roars, followed by their last instrumental bridge Limbo IV, once again displaying serene and calming sounds before Defacement crush our souls one last time in Wounded, featuring guest vocals by Brendan Sloan (Convulsing). The band brings to our ears over eight minutes of sheer brutality and dementia in the form of Death and Black Metal, with the riffs by Khalil reminding me of classic names of the Norwegian scene such as Mayhem and Immortal, flowing majestically until its hammering grand finale.

defacement-2021Although the album is only going to be launched in the beginning of September, you can already pre-order your copy from the I, Voidhanger Records’ BandCamp page and from Apple Music, and while you wait for it you should definitely start following Defacement on Facebook for news, tour dates and other nice-to-know information about the band, and stream more of their visceral music on Spotify. From chaotic blasting madness to melancholic slow passages and ambient interludes, Defacement’s atmospheric journey into the depths of the mind is going to leave a mark in the Extreme Metal scene, as well as an ugly scar on your soul, pointing to a promising and utterly vile path ahead of those unrelenting Dutch metallers.

Best moments of the album: Shattered and Wounded.

Worst moments of the album: None.

Released in 2021 I, Voidhanger Records

Track listing 
1. Limbo I 2:06
2. Shattered 9:30
3. Limbo II 0:55
4. Disavowed 6:38
5. Limbo III 1:05
6. Disenchanted 9:51
7. Limbo IV 1:12
8. Wounded 7:55

Band members
Forsaken Ahmed – vocals, bass
Khalil Azagoth – guitars
Mark Bestia – drums

Guest musician
Brendan Sloan – vocals on “Wounded”