Tag Archives: death metal

Album Review – Serpentrance / Akra Tapeinosis (2021)

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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”

Album Review – Anthropophagus Depravity / Apocalypto (2021)

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Prepare for a new age of wicked superstition and the rebirth of old and hungry gods to the sound of the debut album by this Indonesian Death Metal tribe.

3.5rating

anthropophagus-depravity-apocalypto-2021Indonesia is a festering sore of Brutal Death Metal, infected with an array of bands that explore the outer limits of savagery and sickness just like Yogyakarta-based horde Anthropophagus Depravity. Writhing like maggots in a wound, these pioneers of putridity eat their way deeper and deeper into the darkness, entwining shuddering heaviness with chilling atmosphere and nightmarish brutality. Their debut full length album, entitled Apocalypto, is a torrent of overwhelming, suffocating horror that feeds upon the vicious rituals of the ancient Mayan religion, with its furious riffs and relentless blasts seeming to force themselves down your throat, choking you with a pitiless intensity. Armed with furious riffs, relentless blasts and nerve-shredding atmosphere, the band comprised of Pandu Herlambang on vocals, Eko Aryo Widodo and Rico Zerico on the guitars, Cahyono Hari Wijayanto on bass and Sahrul Ramadhan on drums is ready to kill with their shuddering heaviness, turning their new opus into a must-have for admirers of the music by Devangelic, Relics of Humanity, Disentomb and Analepsy.

The intro Hymn to Apocalypto kicks off with the vile riffage by Eko and Rico while Sahrul already showcases his rage behind his drums, with its tribalistic second half setting the tone for the Deathslam hymn Forecasting Ruination, with Pandu roaring like a demented beast from the underworld and, therefore, sounding perfect for slamming into the pit to the fulminating beats by Sahrul and the classic Death Metal riffs by the band’s guitar duo. Then a quick cinematic start explodes into sheer brutality in the visceral The Mayan Disaster, continuing their path of devastation, blood and fear, while Eko and Rico’s guitars are nicely supported by Cahyono’s infernal bass punches; and a gruesome gnarl by Pandu ignites another feast of dementia entitled Temple of Sacrifice, with Sahrul showing no mercy for his drums (and consequently for our necks) in a great display of contemporary Brutal Death Metal.

If you think those Indonesian metallers are tired of slamming our heads with their brutal music you’re absolutely wrong, as they offer us the straightforward, in-your-face tune Immolation for the Sacred God, showcasing their usual violence in the form of guttural growls, slashing riffs and pulverizing drums; whereas Pandu sounds even more furious than before in Escape from the Dead Lands, accompanied by the hellish kitchen crafted by Sahrul and Cahyrono. Their second to last Apocalyptic Death Metal extravaganza comes in the form of Ruthless Nation Perished, with Pandu roaring and gurgling rabidly from start to finish, or in other words, it’s another fantastic option for crushing your spinal cord into the circle pit, not to mention its disturbing ending, I might say, flowing into Mantra Solar Eclipse, a six-minute ritualistic, demolishing Death Metal creation by Anthropophagus Depravity that will haunt your souls for all eternity, with Pandu taking the lead once again with his wicked roaring, all spiced up by a sick guitar solo to properly end the album.

anthropophagus-depravity-2021The vile and infernal Death Metal blasted by Anthropophagus Depravity in Apocalypto can be appreciated in full on YouTube and on Spotify, but of course in order to take part in their demonic rituals you should definitely purchase the album from Comatose Music’s BandCamp page or webstore, as well as from Amazon and other retailers like Barnes & Noble. In addition, don’t forget to follow this talented Indonesian tribe on Facebook and on Instagram, and to subscribe to their YouTube channel for more of their pulverizing creations. Having said all that, prepare for a new age of wicked superstition and the rebirth of old and hungry gods, and of course for slamming into the circle pit like a rabid beast, to the sound of Apocalypto.

Best moments of the album: Forecasting Ruination and Ruthless Nation Perished.

Worst moments of the album: None.

Released in 2021 Comatose Music

Track listing   
1. Hymn to Apocalypto 2:46
2. Forecasting Ruination 4:33
3. The Mayan Disaster 3:43
4. Temple of Sacrifice 4:38
5. Immolation for the Sacred God 4:26
6. Escape from the Dead Lands 3:10
7. Ruthless Nation Perished 4:12
8. Mantra Solar Eclipse 6:17

Band members
Pandu Herlambang – vocals
Eko Aryo Widodo – guitar
Rico Zerico – guitar
Cahyono Hari Wijayanto – bass
Sahrul Ramadhan – drums

Album Review – Coiled Around Thy Spine / From The Ashes (2021)

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From the ashes these Italian metallers rise with more of their shredding guitar solos, blasting drums and soaring vocals in the form of their sophomore album, representing an evolution in their visceral sound.

4.0rating

coiled-around-thy-spine-from-the-ashes-2021Three years after the release of their fulminating debut album Shades, vocalist Daniele Rosso and guitarist and bassist Sergio Costa, supported by session drummer Tomonobu ‘Tomi’ Inoue and collectively known as Turin, Italy-based Melodic Death Metal outfit Coiled Around Thy Spine, are back in action with their shredding guitar solos, blasting drums and soaring vocals inspired by classic and new Death Metal in the form of their sophomore effort entitled From The Ashes. A true step up in their career, From The Ashes offers us listeners an evolution in the sound by the Italian duo from their debut album, being highly recommended for fans of renowned acts the likes of Arch Enemy, Death, Trivium, early In Flames and Megadeth, and above all, for anyone who enjoys a huge dosage of violence mixed with great melodies and a very good reason for headbanging like there’s no tomorrow.

And futuristic sounds arise from the underworld in the opening tune Paracosm, before Sergio and Tomi begin their respective riffs and beats attack, exploding into sheer Melodic Death Metal to the wicked roars by Daniele while all is carefully spiced up by a trademark guitar solo by Sergio. Then epic, Stygian background elements set the tone in the visceral tune Back To The Dark Dimension, with Daniele’s growls and screams getting even more enraged while Sergio continues to slash his axe majestically; and there’s no time to breathe as Coiled Around Thy Spine keep crushing our souls with their melodic and intricate Death Metal in Breath Of Existence, where Tomi is once again bestial behind his drums, not to mention the awesome job done by Sergio with both his riffs and bass lines. After such demolishing tune, a sinister and melancholic intro morphs into a mid-tempo Melodic Death Metal feast the likes of early Arch Enemy in Graveyard Of Thoughts, an excellent choice for breaking your neck to the pounding drums by Tomi.

The band keeps exploring darker paths in Burning Souls, another somber creation by Daniele and Sergio showcasing those piercing guitars that only Melodic Death Metal can provide us. It would have been more effective if a little shorter, though, whereas back to a more epic and violent mode it’s time for a fulminating metal onrush entitled Survival Instinct, with Sergio’s riffs generating a flammable paradox with the song’s background keys while Daniele and Tomi fire sheer animosity and hatred through their respective growls and beats. Then get ready to have your ears and minds pierced mercilessly by the scorching riffs by Sergio while Daniele keeps gnarling like a beast in Red Rising Sun, keeping the album as sulfurous and obscure as it can be, while the title-track From The Ashes closes the regular version of the album on a demolishing note, inviting us all to bang our heads and slam into the pit while Daniele vociferates rabidly nonstop. Furthermore, if you go for the special edition of the album you’ll be treated to two amazing cover songs as a bonus, those being Like Hell by Loudness and Bite The Pain by Death (and you can check the original ones HERE and HERE). Needless to say, Coiled Around Thy Spine simply kicked some serious ass with both versions.

coiled-around-thy-spine-2021In a nutshell, the guys from Coiled Around Thy Spine have outdone themselves in From The Ashes (which is available for a full listen on Spotify), delivering a thrilling hybrid of old school and modern sounds that will undoubtedly please any fan of Heavy Metal, even the ones who don’t enjoy extreme music that much. Hence, in order to show those Italian metallers your utmost support, don’t forget to follow them on Facebook and on Instagram, to subscribe to their YouTube channel, and of course, to purchase From The Ashes from their own BandCamp page, as well as from Apple Music or from Amazon. And let’s all hope Coiled Around Thy Spine do not take too long to get back “from the ashes” with more of their sick and visceral music.

Best moments of the album: Back To The Dark Dimension, Breath Of Existence, Survival Instinct and From The Ashes.

Worst moments of the album: Burning Souls.

Released in 2021 Independent

Track listing      
1. Paracosm 5:51
2. Back To The Dark Dimension 4:59
3. Breath Of Existence 5:01
4. Graveyard Of Thoughts 6:05
5. Burning Souls 8:36
6. Survival Instinct 5:51
7. Red Rising Sun 5:45
8. From The Ashes 6:10

Special Edition bonus tracks
9. Like Hell (Loudness cover) 3:40
10. Bite The Pain (Death cover) 4:47

Band members
Daniele Rosso – vocals
Sergio Costa – guitars, bass, synth

Guest musician
Tomonobu ‘Tomi’ Inoue – drums (session)