This Canadian entity will show you that hell is other people with their excellent newborn spawn of Black Metal, imbibing influences from several of its related subgenres.
Hailing from Windsor, a city in Ontario, Canada, across the Detroit River from the US city of Detroit, Post-Black Metal outfit Hell is Other People (by the way, “Hell Is Other People” is a quote from Jean-Paul Sartre’s No Exit) has elegantly and passionately crafted a brilliant Black Metal album, titled Moirae (which means “goddesses of fate or destiny” in Greek), that imbibes influences from several of its related subgenres such as Atmospheric Black Metal, Post-Black Metal and even DSBM in parts, forming a cohesive, expressive and all-encompassing sound that the band is comfortable in carrying throughout. Displaying a stunning cover art by Adam Burke of Nightjar Illustration, the new album by Nathan Ferreira on vocals and bass, Nathan Boots and Nicholas Luck on the guitars, and James Ditty on drums is a beautifully tempered opus with a remarkable range of expression that comes across as genuine and heartfelt, being recommended for fans of Agalloch, Altar of Plagues, Winterfylleth, White Ward, and Drudkh.
The dark, caustic riffs by Nathan Boots and Nicholas walk hand in hand with the sluggish Doom Metal beats by James in the title-track Moirae, while the vocals by Nathan Ferreira exhale pure Atmospheric Black Metal, sounding anguished and grim. Moreover, it’s impressive how they sound devilish while at the same time so elegant and delicate throughout the entire song. Fates keeps the ambience as somber and pensive as possible, with the hammering drums by James dictating the pace while Nathan Ferreira continues to roar and gnarl in a great fusion of Black Metal with Post-Metal, followed by Degrade, offering us all almost eight minutes of breathtaking, deep and meaningful music that will tear your soul apart to the minimalist yet sharp and austere riffage by the band’s guitar duo, starting in a serene manner before the band attacks once again with their visceral Post-Black Metal, building an instant bridge with the also venomous Loss, where Nathan’s enraged growls are nicely boosted by the intricate yet demented drumming by James while their guitars continue to exhale the harshest and most piercing sounds found in contemporary extreme music. And all comes to a climatic and epic conclusion in Atropos, offering our damned ears an overdose of heaviness and atmospheric elements, with James kicking our asses on drums, while Nathan Boots and Nicholas continue to cut our skin deep with their razor-edged axes, with all layers, breaks, passages and variations turning it into a must-listen for admirers of the genre.
If you want to put your damned, dirty hands on the excellent Moirae, you can find the album available from the band’s own BandCamp page, as well as from the Transcending Obscurity Records’ BandCamp page, main store, US store, or EU store in different formats and as part of some very special bundles, and don’t forget to also give those talented Canadian musicians a shout on Facebook and on Instagram, keeping an eye on the announcements of their live concerts, to stream their music on Spotify, and to stay updated with all things Hell Is Other People by clicking HERE. In the end, after listening to Moirae, you’ll finally realize that hell is indeed other people, and that the Post-Black Metal by this amazing Canadian band is perfect for representing all that darkness and melancholy found inside each one of us.
If you agree with the statement that humanity is a mistake, you’ll have an absolute blast with our metal lady of this month of April here on The Headbanging Moose, setting fire to our rotten and decaying world with her inhumane gnarls, unique looks and devilish attitude. Known in the underworld of extreme music as the ruthless frontwoman for bands the likes of Lebenssucht, Humanitas Error Est and I Am All Wounds, she’s the perfect depiction of the importance of women in the current Black Metal scene worldwide, inviting us all to her Stygian lair to the sound of her sulfurous and harsh yet mesmerizing music. Her name is Anett Hauzu or Anett Gebauer, but you might know her for her demonic monicker S Caedes, a German Black Metal she-wolf that will crush your damned soul with her undeniable talent and passion for the darkest side of music and arts in general.
Born and raised in Leipzig, the most populous city in the German state of Saxony, S Caedes, which by the way is the combination of “sadist” (S) and “carnage” (Caedes, in Latin), with both words standing for her character, is much more than “just” a Black Metal vocalist, being also a skillful and innovative photographer and model, and according to S Caedes herself, she’s also a “blood fetishista” and a “fucked up mind”. Married to Australian vocalist and multi-instrumentalist Chris Gebauer, of bands such as Deadspace, Humanitas Error Est and I Am All Wounds (and as you might have notice, those two are definitely “partners in crime” in most of their music projects), S Caedes mentioned in one of her interviews that she was discovering different styles of metal music when she was around 12 or 13 years old, getting to know Black Metal and falling in love with it at the age of 14, saying Black Metal was then able to provide her with a special feeling that no other type of music could. “It’s just the feeling of knowing exactly where you stand with yourself. I’m strictly anti-religious and disgusted by humanity. It’s not an empty phrase for me, it’s just… me. Black Metal stands for the hate and aggression I always had and still have inside. I can’t put it better in words. When you’re really into Black Metal, you’ll know what I mean. Either you feel it or not,” commented S Caedes, who also said that after discovering Black Metal she always wanted to be on stage and scream the hell out of her throat, but she didn’t do anything to create a band then.
It was close to the end of 2012 when S Caedes together with drummer Ahephaïm started searching for musicians to finally form a Black Metal band, which was the initial spark for what would become Leipzig, Germany-based Brutal Black Metal entity Humanitas Error Est. One year later, S Caedes and Ahephaïm finally had a complete band lineup and started creating songs for their first album as Humanitas Error Est, resulting in their 2016 eleven-track beast Human Pathomorphism. A project with negative thoughts against any religions and pure misanthropy, Humanitas Erorr Est “is about confronting the world with its own brutality, its own sadism, its own hypocritical statement of liberty. It’s about unleashing indomitability, stir up hatred. It’s a scornful critical examination at mankind itself,” as stated by the band itself, with their name being the idea of Ahephaïm, a very unique, not cliché-ridden name that represents exactly what they stand for, meaning as already mentioned “humanity is a mistake” or “humanity is an error” in Latin.
After the tough decision of disbanding in 2019, S Caedes and Ahephaïm spent the better half of 2019 and early 2020 searching for the right musicians to propel them forward, with their new lineup being comprised of our metal lady and the band’s drummer, of course, together with Basmu (aka Chris Gebauer) on vocals, Arboria and Mictician on the guitars, and Fenrir on bass, turning the band into a multinational horde with members from Germany, Belgium, France and Australia. After the band being reborn like a phoenix, a new song was released back in 2020 entitled An Inexcusable Existence, available for purchase directly from their BandCamp page, following the same misanthropic and anti-human tropes expressed in their earlier work, and you can compare their new sound with their older songs the likes of Raping Religions and Pain Feeder to see their inner fire is still intact. Moreover, the band is currently working on a new album, which I’m sure will be amazingly brutal.
Her other major band, the venomous Depressive Suicidal Black Metal outfit Lebenssucht, is also a multi-national group with most members being the same as from Humanitas Error Est, those being S Caedes on vocals, Ahephaïm on drums, Arboria on the guitars, Basmu on bass, and the non-Humanitas Error Est member Irleskan, from Austria, on lead guitars. One interesting fact about Lebenssucht is that the band was originally formed by S Caedes and Ahephaïm together with a third member, renowned vocalist and multi-instrumentalist Déhà (from bands like Acathexis, Déhà and Yhdarl, among several others, and who also mastered the debut album by Humanitas Error Est), who left the band in 2019. Despite not being a member of Lebenssucht anymore, Déhà is seen like a brother by S Caedes, showing all respect and admiration they have for each other. Lebenssucht, which means “lust for life” or “life addiction”, don’t have any limits as per S Caedes herself, and although the style played by the band is labeled as Depressive Suicidal Black Metal, the project is not about bringing hatred to the world. “It’s about enjoying your life, no matter what price you have to pay for. It’s about turning negativity into strength. Life is our drug,” commented S Caedes. If you want to properly experience the music by Lebenssucht, you can find their 2016 debut EP Fucking My Knife and their 2020 full-length opus -273,15°C (which represents absolute zero, the lowest possible temperature where heat energy is absent in a substance) on Spotify and on BandCamp, and enjoy the officials videos for A Hole in My Heart, Mirrors and Beloved Depression on YouTube, and stay tuned as their next album is going to sound even harsher, according to S Caedes herself.
Apart from her work with Humanitas Error Est and Lebenssucht, the unstoppable S Caedes is also one half of the stunning Black Metal duo I Am All Wounds, together with her life partner Chris Gebauer, describing their music as “two souls colliding in a frenzied internal storm”, or “a sonic illustration of two beings woven together in fervent longing, an unyielding force,” having recorded the EP Keep Me Breathing in 2020, available on their BandCamp page and which contains the beautiful song You’re The Air That I Breathe. Not only that, she has also participated in a live improvisation recording named XXVI – IX – MMXV together with Ahephaïm and Déhà, recorded on September 26, 2015 (but released only in 2020) at Gate 32 Studios in Sofia, Bulgaria.
If you think all of those bands are projects are enough for S Caedes, you’re absolutely wrong, as our diva of darkness can also be found as a guest vocalist in the song Libido Dominandi, from the 2019 EP of the same name released by Australian Depressive Black/Gothic Metal act Deadspace; and also doing vocals on the songs The Unfair Betrayal, Insomnia and Morbus, from the 2019 album Morbus, and additional vocals on the 2019 live album Live at Brutal Assault 2017, both by Déhà’s Drone/Doom/Black Metal project Yhdarl; plus a couple of other guest appearances with the Black Metal bands Withering Night and Absolutus. Do you want more? What if I told you S Caedes was also the artwork model and was responsible for the editing in Deadspace’s 2019 EP Libido Dominandi; took care of the logo and layout for the 2020 EP Nuclear Sundown, by German Black/Doom Metal one-man project Exitium Sui; did the photography for the 2016 demo Century of the Goat, by German Black/Thrash Metal band Goatfuck; and also took care of the layout for the 2020 EP Keep Me Breathing, by her own project I Am All Wounds?
Not only that, S Caedes also did lots of videos for different bands (either her own or other unrelated bands), including the videos for the songs Moksha, by Deadspace; Serpent on a Cross, by Spectral Damnation; A Hole In My Heart, by Lebenssucht; An Inexcusable Existence, by Humanitas Error Est; teasers and trailers for Deadspace and Lebenssucht; and just finished the music video for Demenzia Mortis, which is yet to be released. When asked how she’s capable of maintaining a healthy balance between so many bands and projects with diverse sounds, she said that as each band carries a special part of her character and her view of life she needs them all to express herself with all emotions, always remaining true to herself and her principles, and saving enough physical and mental energy for each one of them.
This slideshow requires JavaScript.
As expected, S Caedes is obviously highly influenced by countless Black Metal bands, but that doesn’t mean that she doesn’t enjoy other styles such as Dark Ambient, Doom Metal, Martial Industrial, Death Metal and so on, and that she doesn’t own records from completely different artists such as Shakin’ Stevens and Rosenstolz. Among her favorite bands you’ll find great names the likes of Darvaza, Ritual Death, Merrimack, Vortex Of End, Aversio Humanitati, Regarde Les Hommes Tomber, Arkhon Infaustus, Benighted, Ondskapt, just to name a few; on the Dark Ambient side she likes listening to Slaughter Natives, Gnaw Their Tongues, Triarii and Puissance, among others; and on the Martial Industrial side S Caedes likes groups such as Ordo Rosarius Equilibrio, in special their song The Love & Defiance of Being Alive. “People who know me well often call me complicated concerning my taste of music. I don’t agree with that, I just don’t listen to every shit, that’s the point. Music needs to be able to crawl in my head and stay there, squeeze out my inner self, fuck my brain an give me goosebumps or the will to mosh like a psycho,” commented S Caedes about her unique taste in music, always focusing on the importance of Black Metal in her life and career. “Black Metal is my life, as ridiculous as it maybe sounds to some readers, it’s like that. It’s my personal freedom, I can lay down and just be who I really am.”
Regarding her vocal style and technique, S Caedes said in one of her interviews that in the beginning she just tried out what she could do with her voice, with her training songs being Sluts of Hell from Nattefrost and Bleached Bones from Marduk, and her throat was always scratching like hell after. She then started searching online for instructions on how to use her voice properly and found a very helpful video named The Zen Of Screaming, by renowned vocal coach Melissa Cross, also asking other vocalists for their advice. “It’s really great to discover your voice, trying out what is possible,” commented S Caedes, who also said that it’s important to reach a good balance to be able to sing extreme music. Moreover, when asked about her view of touring with a band and playing live, she mentioned that her bands’ audiences should always be ready to engage with them, as the bands always deliver a very emotional and honest performance. “The advantage of being on stage is that you can let out all your emotions in such extreme way, which is simply not possible when you’re at home. On stage I’m completely in rage, it’s like a shot in my head, letting the audience suck what comes out. Blood always brings me to this special state of mind. I’m a heavy blood fetishist (real blood, no fake shit!), it’s a big passion of mine and I just love being covered in it. When the music begins, I’m not thinking anymore, I’m just 100% in the songs and always give my everything. Off stage… well, I fought several years against all of these rule-based behaviors and finally succeed to be able to do in life what satisfies myself. Family and friends call me a bulldozer. Typical Aries. I agree with that. I’m a sadist. I like to torture slaves. I’m not beating around the bush with that. In addition, I’m also working as photographer and model. So, yeah I have quite a lot to do, but it’s exactly what makes me happy. I don’t care about being evil (whatever that means). I only care about my very needs.” She also said that she really doesn’t care if she plays in front of 50 or 5000 people, mentioning their performances at Underground Remains Open Air, Night Of Blasphemy and Boarstream Open Air as really mind-blowing moments.
When asked about the current Black Metal scene worldwide and in her homeland Germany, S Caedes said she sees it as a big family, finding like-minded people who are able to understand her point of view as opposed to the stress and hypocrisy that comes from living in a regular society. “Most people have their daily routine with all these stupid rules (e.g. dress code at work). Black Metal helps (helped me) to break through (social) conventions, finding myself and staying true to myself. Black Metal can help to relieve everyday’s negativity,” said our Black Metal she-demon, who also believes the Black Metal scene in Germany is a bit more elitist than in other countries as the scene is very developed with lots of festivals, labels and bands. “The fact is that I don’t care from which country a band is. It’s all about the music. Nothing more, nothing less.”
S Caedes is also an accomplished photographer and fetish model, usually under the name Anett Gebauer, having her own website named Anett Gebauer Photo & Film dedicated to that form of art, and stating that her intent is to express various moods and emotions that are sometimes hidden from the naked eye. “Through the visual arts, I work to uncover underlying voices in order to portray alternative perceptions of life without limits. My work is about exposing the beauty of raging desires, unleashing your inner self, and for those who like it the morbid and obscure way, also daring to drown in deep dark waters. I invite you to take a deeper look under the surface. Through my images, I study the unconscious creatures of the collective human existence – pulsating, seductive and also shocking.” She also offers band shootings, CD artwork, music video creation and retouchings, is bookable for events and live photography, and does self-photography and work as a model. “I am a lover of dark arts, spanning from visual arts, film, music and literature. I create art that is rooted in life, with either positive or negative influences. All my work is inspired by bare emotions and the depths of human existence. I am forever excessive, perfervid, dirty-minded and stay always hungry for more.” Furthermore, she has already been part of several exhibitions, including Heart Of Darkness, in 2018 in the United States; Radiant Art Festival, in 2016 in Belgium; Session Noire, in 2011 in Germany and Belgium; and Art-P, in 2009 and 2010 also in Germany, among others.
Last but not least, S Caedes has a peculiar view on different topics, sometimes controversial, sometimes fairly straightforward. For instance, she said that one of the things she wishes the most is that the endless suffering of animals would finally end and that they would be accepted and respected as sentient beings; and also that her mom is her real life childhood hero, as she’s still grateful to her for a lot of things. “Honestly, I didn’t want me as a daughter,” commented S Caedes, who also said that as a wrestling fanatic her biggest heroes in the sport are Triple H and Sabu. “There was just so much blood in their matches, an intoxicating and formatively awesome sight for me.” As you can see, S Caedes is not just an amazing musician and artist, but also a great human being with a lot to offer to the metal community, always carrying the flag of Black Metal, the flag of freedom of expression and the flag of arts in general proudly high, and we’ll always be grateful to her for being so awesome and for creating such inspiring music and imagery.
After the 56 minutes of intense and pensive Depressive Suicidal Black Metal thoroughly crafted by this Romanian quartet reach deep into your soul, you’ll never be the same again.
Born in 2007 in the city of Timișoara, the main social, economic and cultural centre in western Romania located around 550km northwest of the capital Bucharest, and functioned in the early days as a one-man band until de beginning of the recordings of the demo Silver Melancholy in late 2008, self-released in 2009, Depressive Suicidal Black Metal act Katharos XIII return after their 2011 debut Dead Emotions with their second full-length installment, titled Negativity, comprised of seven tracks emerged from the dark chambers of human psyche, questions and deep melancholy into black chords, a truly unique combination of different layers and influences.
Featuring a somber artwork by Romanian artist Alexandru Das (Argus Megere, North, Ordinul Negru), Negativity offers the listener an amalgamation of personal experiences (all kinds of abuse, paranoia, severe depressions), strange stories, movies (Greenaway, Lynch) and books (Eliade, Cioran, Zola), all thoroughly put together by the talented F on vocals, guitars and keyboards, Andrei on guitars, SQ on bass and Sabbat on drums, resulting in a unique experience of extreme music for admirers of the genre. And if you feel your heart got darker after listening to the album’s 56 minutes of intense and pensive Black Metal, that means Katharos XIII succeeded in sending you the desired message through their disturbing music.
Opening the album on a high note we have XIII, a modern approach to Black Metal sounding very melodic and epic thanks to the excellent guitars by F and Andrei, with the devilish gnarls by F bringing more obscurity to the overall result. Moreover, its riffs get to a very traditional mode halfway through it, while the song’s atmosphere keeps growing in intensity and mystery, flowing to an ominous ending led by the demonic vociferations by F. Slightly different than its predecessor, the title-track Negativity goes full Black Metal, overflowing blast beats, flammable riffs and infernal growls, also presenting elements from Atmospheric Black Metal and Doom Metal, not to mention its disturbing lyrics (“Burn in the kingdom of the blind / A garden that cannot be seen / By the ones who ignore the creation / The path of the eternal self-torment”) and its beyond somber break.
The steady beats by Sabbat together with the darkened keys by F create a truly somber ambience in No One Left to Lead the Way, a perfect fusion of Black Metal with Blackened Doom supported by a strong harmonious background, flowing into a smooth but very obscure ending; followed by The Chains are so Beautiful, where a melancholic and grim beginning led by Sabbat with his sluggish beats and bassist SQ with his low-tuned roars gradually leans towards old school Doom Metal, supporting the very macabre spoken words by F (“I will tell you a story / Stories as we all like to hear / The amphetamine has won the game / Enslaving the pain inside soul / Close your eyes and sleep tight / While the angels watch you closely / Nothing bad to happen to you / Only to fall into their arms”), before exploding into visceral and deranged Black Metal until its introspective finale.
Spearheaded by the piercing riffs by Andrei, World’s Coffin sounds like a blackened waltz, with F grasping his words bestially, blending old school Black Metal with contemporary Symphonic Black Metal the likes of Dimmu Borgir. Furthermore, the bass by SQ keeps rumbling in a demonic way in the background, topped with a soulful solo by Andrei. I Die Everytime I Walk This Path brings forward a serene and contemplative intro, generating a comforting but at the same time perturbing ambience where F instead of growling simply grasps in a vile manner. Not only that, tempestuous moments are thoroughly inserted in this Blackened Doom aria, with the beautiful work done by Andrei and SQ with their strings taking you to a dark dimension ruled by Katharos XIII. Lastly, closing this amazing album of extreme music the band offers a darkened assault titled Inside, with Sabbat pounding his drums vigorously while Andrei blasts straightforward demonic riffs, reaching an epic and reverberating stage before the song’s climatic and violent conclusion.
In other words, are you prepared to have your mortal soul embraced in the endless darkness crafted by Katharos XIII? If you can’t wait for that to happen, then you should definitely visit Katharos XIII on Facebook to know more about this distinct Romanian band, and purchase your copy of Negativity through the Loud Rage Music’s BandCamp or webshop, as well as at Discogs. As mentioned before, after listening to Negativity, you’ll never be the same again, and all you’ll have to do is to thank this amazing Romanian quartet for such unique experience of dark and mournful sounds.
Best moments of the album: XIII, Negativity and World’s Coffin.
Worst moments of the album: None.
Released in 2017 Loud Rage Music
Track listing 1. XIII 9:50
2. Negativity 6:13
3. No One Left to Lead the Way 6:24
4. The Chains are so Beautiful 8:21
5. World’s Coffin 5:58
6. I Die Everytime I Walk This Path 12:03
7. Inside 7:16
Band members F – vocals, guitars, keyboards
Andrei – guitars
SQ – bass
Sabbat – drums
Over 30 minutes of chilling and despondent Atmospheric Black Metal by an unknown entity from the Pacific Northwest that will darkly guide you on a one-way journey to emptiness.
“None are more hopelessly enslaved than those who falsely believe they are free.” – Johann Wolfgang Von Goethe
Chilling and despondent music from the Pacific Northwest is what you’ll hear on the impressive self-titled debut album by Atmospheric/Depressive Black Metal entity NONE, a dark, full-bodied album comprised of three freakish and distinct arias interconnected by the howling winds of winter that will certainly appeal to fans of the Atmospheric Black Metal and DSBM (Depressive Suicidal Black Metal) crafted by groups such as Shining, ColdWorld and Woods of Desolation. Misery, grief, negativity and hopelessness are just a few elements you’ll find in the music by NONE, darkly guiding you on a one-way journey to emptiness.
Formed in 2015 in the city of Portland, Oregon, in the United States, NONE doesn’t carry its simple but enigmatic name in vain. NONE is precisely that, as they have no faces and they are no one, being solely represented by the depressive and obscure sounds emanating from each one of the three multi-layered compositions of the album. Drawing influences from the most melancholic and austere forms of atmospheric extreme music, NONE can quickly become the soundtrack to your most obscure moments, showing you that solitude might not be a bad solution at all in our lives.
In the opening track, simply titled Cold, the atmosphere couldn’t feel more sinister and disheartened, with its background noises and smooth piano notes quickly exploding into a puissant sonority. This is beautiful Depressive Black Metal perfect for closing your eyes and letting darkness embrace you, showcasing not only demonic gnarls and Stygian Black Metal guitars, but also presenting acoustic elements to bring some sort of false peace and hope to our hearts, before its climatic ending gets back to a somber and heavy sonority.
Also phantasmagorical and doomed, Wither is a direct sequel to its predecessor, with its Black Metal sounds invading our ears and souls while its hellish growls transpire hatred and despair. Furthermore, it brings forward a distressing aura found in the most sluggish and evil form of Blackened Doom, resulting in a delicate and at the same time powerful creation by NONE. And in Suffer we finally reach the stage where all songs together become one, displaying anguished screams and slow-paced Doom Metal beats complemented by the song’s serene piano notes. It’s a strong conclusion to the story being told by this arcane creature known as NONE, morphing into a desolated ending where it’s clear that darkness has taken full control of our souls.
You can purchase a digital copy of NONE at the Hypnotic Dirge Records’ BandCamp, but if you prefer to actually put your hands on such bitterly cold and mordant Depressive Black Metal work-of-art, the album is available in a 6-panel digipack (limited to 300 copies) at the Hypnotic Dirge Records’ webstore, where you can also find it as a T-shirt + CD bundle, or at Discogs. You already know that after following the dark path crafted by this unknown entity there’s no way back, but I guess you really don’t care about the consequences. Quite the contrary, that’s exactly where you want to be.
Hailing from Windsor, a city in Ontario, Canada, across the Detroit River from the US city of Detroit, Post-Black Metal outfit Hell is Other People (by the way, “Hell Is Other People” is a quote from Jean-Paul Sartre’s No Exit) has elegantly and passionately crafted a brilliant Black Metal album, titled Moirae (which means “goddesses of fate or destiny” in Greek), that imbibes influences from several of its related subgenres such as Atmospheric Black Metal, Post-Black Metal and even DSBM in parts, forming a cohesive, expressive and all-encompassing sound that the band is comfortable in carrying throughout. Displaying a stunning cover art by Adam Burke of Nightjar Illustration, the new album by Nathan Ferreira on vocals and bass, Nathan Boots and Nicholas Luck on the guitars, and James Ditty on drums is a beautifully tempered opus with a remarkable range of expression that comes across as genuine and heartfelt, being recommended for fans of Agalloch, Altar of Plagues, Winterfylleth, White Ward, and Drudkh.
If you want to put your damned, dirty hands on the excellent Moirae, you can find the album available from the band’s own BandCamp page, as well as from the Transcending Obscurity Records’ BandCamp page, main store, US store, or EU store in different formats and as part of some very special bundles, and don’t forget to also give those talented Canadian musicians a shout on Facebook and on Instagram, keeping an eye on the announcements of their live concerts, to stream their music on Spotify, and to stay updated with all things Hell Is Other People by clicking HERE. In the end, after listening to Moirae, you’ll finally realize that hell is indeed other people, and that the Post-Black Metal by this amazing Canadian band is perfect for representing all that darkness and melancholy found inside each one of us.
THE HEADBANGING MOOSE 