Tag Archives: doom metal

Metal Chick of the Month – Lady IX

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On the Isle of Vanaheim grant me one last poisoned kiss…

Dark. Mysterious. Delicate. Unique. These are just some of the words that can be used to describe our metal lady of the month of September, and after reading more about her I’m sure several other words related to beauty and darkness will come to your mind. Well, to be honest, there isn’t a lot of information about her personal life anywhere, just to show you how cryptic she is and how she likes to keep her fans curious to know more about her life and her work. No one knows her real name, but we can all call her by her alter-ego Lady IX, the mesmerizing frontwoman and songwriter for Belgian Gothic/Doom Metal outfit Hyldr, who’s also an aspiring writer and the author of the Hyldr Chronicles, a lover of YA books (aka young adult fiction) and audiobooks, and above all that, a lover of your blood. Yes, you read it right, so you better get ready to enter the Stygian realm of Lady IX and her Hyldr here on The Headbanging Moose because, as you might have noticed, there’s no turning back after she sinks her fangs in your jugular.

It’s absolutely unclear if Lady IX was born in Wales, in Belgium or anywhere else, nor if she actually resides in Brașov, a city in the Transylvania region of Romania ringed by the Carpathian Mountains, which would make total sense based on her obscure and hypnotizing persona. What we know is that it was back in 2021 when Lady IX decided to form the Gothic/Doom Metal beast Hyldr, focusing on an emotional approach to morbid themes inspired by her own book, the aforementioned Hyldr Chronicles, using it as a template for the band’s song concepts. By the way, the name Hyldr is a reference to a Valkyrie that one character, a Japanese woman who ends up in the middle of a Viking turmoil, wishes she could become in the book, presenting elements of the supernatural combined with doses of Greek tragedy.

Currently formed of our diva Lady IX on vocals, keyboards, lyrics and songwriting alongside guitarists VI and Jean Dark, bassist Wôde, and drummer Saïko, Hyldr take the listener on an unforgettable musical adventure, bringing to our avid ears a captivating fusion of sounds inspired by both cinematic and operatic works, crafting a realm that fans cannot resist. Having released so far the singles Heart of Soil and Your Frozen Chest, plus their debut full-length opus Order of the Mist, all in 2022, the band conjures a treat for fans of Paradise Lost, Moonspell, Ghost, Draconian, Saturnus, and others who appreciate the ominous beauty of Gothic and Doom Metal. For instance, Order of the Mist (which title refers to rulers of the underworld in Nebelwood Forest where the shape-shifting Huldra folk have the power to bring back the dead) offers our damned souls eight distinguished tracks that are sometimes haunting and hypnotic, sometimes epic and melodic, including the two aforementioned songs Heart of Soil and Your Frozen Chest, as well as Nibelungen and The Blade Of Gold. Furthermore, the band is already gearing up for the future, having already composed the sequel to Order of the Mist while they’re at the same time looking for a label to help them spread their caustic fusion of Gothic and Doom Metal worldwide.

Speaking of the song Nibelungen, where they venture into the depths of their genre to create a truly hypnotic piece and where Lady IX seamlessly blends into the mesmerizing excerpts from Fritz Lang’s cinematic masterpiece Die Nibelungen, it’s not just a stunning fusion of visual darkness and enchanting music inspired by the magnificent work of Richard Wagner’s Der Ring des Nibelungen, but Lady IX and the rest of the band also hope that the fans connect with the official video for the song in a significant way, especially given its relevance in today’s world. “I hope that our fans and new ones will be curious enough to perhaps go and find the original film and watch it. Such an old movie in black and white must be daunting to a lot of people, but this sort of cinematographic relic really is worth the effort,” commented Lady IX about the song and the video, also offering a playful proposition. “We also would like the fans to crowdfund a remake of the entire film with all Hyldr band members playing the main roles! A worldwide financial success awaits!” Hence, you can enjoy Nibelungen and all other songs and videos from Hyldr directly from Spotify, from BandCamp, or from Youtube.

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Now switching gears a little from music to literature, let’s talk about the inspiration for the existence of Hyldr, Lady IX’s own Hyldr Chronicles, a YA science fantasy horror book fully written by our beloved diva of darkness. In this YouTube playlist, Lady IX reads the ghostly yet relaxing audiobook by the fire, chapter by chapter, and tells the gory folktale of a young woman from Otarunai in Japan who has an uncanny ability to see the dead and sometimes communicate with them. One traumatic day, she is torn from her troublesome coastal village and finds herself trapped in a world where sinister Norse mythology becomes a harsh reality. Before new chapters are read or written, Lady IX will occasionally allow her loyal Huldra listeners of the Hyldr Chronicles to join in interactively by choosing paths for the characters to take. By the way, the specific order of the songs in the album Order of the Mist does not follow the chronology of the Hyldr Chronicles, but slices the story up “like a dissected corpse” as mentioned by the band. “All our songs are connected, distilling a larger story,” said Lady IX about the uniqueness of her book and her band’s new album.

Her official YouTube channel, as well as the official YouTube channel for Hyldr, are actually full of other surprises the likes of Hyldr Chronicles. For example, there’s a playlist called Ghostly Choirs, where you can enjoy the harrowing singing from the Hyldr Chronicles by Lady IX; another one named Order of the Mist Vocal Autopsy, where Lady IX’s vocals are put under a microscope from the album Order of the Mist; and one named Lady IX Songs, where you can enjoy a variety of videos with Lady IX including our diva singing the song My Bones To The Sea, by Harakiri for the Sky. As you can see, despite the fact that there are almost zero details about Lady IX’s personal life available online, her music, her creations and her passion for everything that’s dark and gothic are easy to find, taking you on a one-way journey to the deep and somber lair ruled by our hypnotizing metal lady and her Hyldr.

Lady IX’s Official Facebook page
Lady IX’s Official Instagram
Lady IX’s Official YouTube channel
Hyldr’s Official Facebook page
Hyldr’s Official Instagram
Hyldr’s Official YouTube channel

Album Review – Temple of Katharsis / Macabre Ritual (2023)

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Let the macabre dance begin to the sound of the debut opus by this ruthless Black Metal horde hailing from Greece.

A must to hear for fans of bands such as Rotting Christ, Varathron, Katavasia and Naer Mataron, among several others, the sulfurous Macabre Ritual is the long-awaited debut album from Greek Black Metal beast Temple of Katharsis, founded in 2011 in Kastoria, a city in northern Greece in the region of Western Macedonia. Currently formed of the band’s founder, vocalist and bassist Hellmaster 666 alongside guitarist Zeratul and drummer Nodens, Temple of Katharsis will take us to the depths of darkness in a harrowing exploration of Black Metal mastery that will leave you breathless. Produced, mixed and mastered by Major at H12 Audio, this abyssal odyssey features eight unholy hymns that will cast a malevolent spell upon all who dare to listen, resulting in a testament to the band’s unwavering dedication to their craft and the Black Metal genre.

The cinematic, somber intro Abyssal Cold Void will captivate your senses before the trio crushes our souls with The Burning Flood of Antichrist, where Hellmaster 666 barks and gnarls in a pure devilish manner in the name of old school Black Metal supported by the classic blast beats by Nodens and the scorching riffs by Zeratul. They keep blasting their infernal music, piercing our minds and souls mercilessly, in Erasure of Religious Existance, where Hellmaster 666 and Zeratul are on fire armed with their stringed axes, sounding perfect for some nonstop headbanging; followed by In the Dungeons with the Rats, displaying a beautiful name for another sulfurous creation by Temple of Katharsis, and those Greek black metallers continue their path of obscurity and hatred with their Stygian riffs and cryptic growls throughout the entire song without a single second of peace or hope.

Blending the past, present and future of Black Metal, it’s time for the melodic yet vile and visceral Ο Αρχιερεύς Των Λύκων (The Archpriest of the Wolves), spearheaded by the unstoppable drums by Nodens; and there’s no sign of the band slowing down as Inside the Medieval Crypt is total fuckin’ darkness led by the demonic growls by Hellmaster 666, who also shows no mercy for his bass. Then it’s time to open the gates of the underworld and let all creatures from the abys consume our damned souls to the sound of The Kingdom of Hades, a lesson in classic Black Metal where Zeratul delivers intricate, venomous riffs for our total delight, before the trio’s last breath of insanity and sulfur comes in the form of the title-track Macabre Ritual, where they incorporate elements from Melodic Black Metal and Doom Metal into their core blackened sound, resulting in a solid composition showcasing their usual aggressiveness (albeit a bit too repetitive for seven minutes of music).

Such devilish, macabre album of Black Metal made in Greece can be appreciated in all of its glory on YouTube and on Spotify, but in order to show your utmost support and admiration for Temple of Katharsis you should definitely purchase a copy of the album from the band’s own BandCamp page, from the Theogonia Records’ BandCamp page or webstore, or from Apple Music, and don’t forget to also give Temple of Katharsis a shout on Facebook. Let the macabre dance begin to the sound of the newborn spawn by this ruthless Greek trio, taking us all on a one-way journey to the pits of the underworld.

Best moments of the album: The Burning Flood of Antichrist, Ο Αρχιερεύς Των Λύκων (The Archpriest of the Wolves) and The Kingdom of Hades.

Worst moments of the album: Macabre Ritual.

Released in 2023 Theogonia Records

Track listing
1. Abyssal Cold Void (Intro) 2:19
2. The Burning Flood of Antichrist 5:03
3. Erasure of Religious Existance 6:02
4. In the Dungeons with the Rats 6:21
5. Ο Αρχιερεύς Των Λύκων (The Archpriest of the Wolves) 7:37
6. Inside the Medieval Crypt 7:14
7. The Kingdom of Hades 6:56
8. Macabre Ritual 7:05

Band members
Hellmaster 666 – vocals, bass
Zeratul – guitars
Nodens – drums

Album Review – Marduk / Memento Mori (2023)

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One of the pillars of Swedish Black Metal is back with a devilish new album encapsulating the raw and unrelenting intensity that has become synonymous with the band’s sound, reminding us that we all must die.

Four years after the release of their warlike opus Viktoria, the renowned, ruthless Swedish Black Metal horde Marduk is ready to haunt our souls once again with Memento Mori, the fifteenth studio album in their undisputed career. Produced, recorded, mixed and mastered by Magnus “Devo” Andersson at Endarker Studio, with photography by Håkan Sjödin and layout and design by the band’s own Daniel “Mortuus” Rostén at Holy Poison Design, Memento Mori encapsulates the raw and unrelenting intensity that has become synonymous with the band’s sound, showcasing the signature blend of aggressive guitar riffs, thunderous drums and chilling vocals by vocalist Daniel “Mortuus” Rostén, guitarist Morgan “Evil” Steinmeyer Håkansson and drummer Simon Schilling, plus guest bassists Magnus “Devo” Andersson and Joel Lindholm, evoking a sense of darkness and despair and, therefore, once again proving why Marduk will always be one of the pillars of Swedish Black Metal.

A wicked, sinister intro gradually evolves into the infernal title-track Memento Mori, spearheaded by the massive beats by Simon and the always demonic gnarls by Mortuus in a straightforward feast of classic Swedish Black Metal for the masses; and there’s no time to breathe as the band offers another Stygian creation titled Heart of the Funeral, bringing forward all elements we learned to love in their music, with Evil’s riffs sounding truly scorching. Blood of the Funeral, the first single of the album, is an absolute banger, with Mortuus vociferating the song’s devilish lyrics majestically (“High on the flesh / Of the knell and the psalm / Drunk on the blood / Of the funeral / Ridden by lust / And sepulchral thirst / I come dressed in hunger / And the trauma of birth”), flowing into the phantasmagorical, haunting aria Shovel Beats Sceptre, a neck-breaking tune by Marduk where Devo and Simon will crush your skull mercilessly with their hammering kitchen. Then back to their more venomous, demolishing mode, Devo and Simon continue to attack our souls with their rumbling bass and drums in Charlatan, while Evil extracts pure Black Metal magic from his guitar.

Coffin Carol is undoubtedly one of the most infernal and demented of all songs from the album, with Mortuus sounding bestial throughout the entire song while Evil and Devo deliver a flawless Black Metal stringed attack for our total delight. Furthermore, they keep attacking our senses with absolutely no remorse in Marching Bones, where Mortuus keeps roaring and barking in the name of Black Metal while Simon pounds his drums with tons of groove and fury, even presenting the more rebellious elements from the music by bands like The Misfits. The haunting intros found in some of the songs add a nice touch to the entire album, which is also the case in Year of the Maggot, exploding into their classic Black Metal and overflowing darkness and rage, presenting not a single second of peace as expected. Their second to last sonic attack comes in the form of Red Tree of Blood, offering our putrid ears another endless dosage of pure Black Metal led by the hellish roars by Mortuus and the always demented blast beats by Simon; whereas lastly it’s time for a sinister Doom Metal-infused aria titled As We Are, showcasing truly anguished, deep gnarls by Mortuus while his bandmates simply darken our minds with their Stygian sounds.

“Memento Mori is, all at once, a bold leap forward, a calculated sidestep, and a wistful backward glance. Meaning, we have broken new ground without forgetting our legacy or the journey that brought us to this point,” commented the bestial Mortuus about the band’s newborn black mass, and you can put your damned hands on this demonic album by clicking HERE, as well as show your support to those Swedish demons by following them on Facebook and on Instagram to be updated about their tours, their music and plans for the future, and by streaming their venomous creations on YouTube and on Spotify. Marduk’s new album is here to remind us that we all must die, distilling their Black Metal to perfection like they’ve always done, and like they will always do until their very last breath.

Best moments of the album: Heart of the Funeral, Blood of the Funeral, Coffin Carol and Marching Bones.

Worst moments of the album: None.

Released in 2023 Century Media

Track listing
1. Memento Mori 3:30
2. Heart of the Funeral 2:23
3. Blood of the Funeral 5:05
4. Shovel Beats Sceptre 5:02
5. Charlatan 4:12
6. Coffin Carol 4:02
7. Marching Bones 4:03
8. Year of the Maggot 4:14
9. Red Tree of Blood 3:50
10. As We Are 5:36

Band members
Daniel “Mortuus” Rostén – vocals, bass, lead guitars on “Blood of the Funeral” and “As We Are”
Morgan “Evil” Steinmeyer Håkansson – guitars
Simon Schilling – drums

Guest musicians
Magnus “Devo” Andersson – bass
Joel Lindholm – bass
LG Petrov – additional vocals on “As We Are”

Interview – Moloch (ZØRORMR)

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Enter the Stygian realm of Moloch and his ZØRORMR in this exclusive interview where we talk about his latest offer The Monolith and a lot more.

Moloch (ZØRORMR)

The Headbanging Moose: Thanks a lot for taking time to answer some of our questions, Moloch. Could you please start by introducing yourself and ZØRORMR to our readers?

Moloch: As Fernando Pessoa would put it: “I am nothing. I’ll never be anything. I couldn’t want to be something. Apart from that, I have in me all the dreams in the world.”

THM: I read in another one of your interviews that ZØRORMR means “The Serpent of the South”, a play on the Old Norse words sør (south) and ormr (serpent). How relevant do you think the name ZØRORMR still is compared to when you started the band back in 2010?

M:  That’s a good question. A lot has changed since I started Zorormr around 2010, and I think the “Norwegian vibes” are not so much present on the new record. Zorormr has outgrown its initial influences and is an abomination in its own right. I would have thought of a different name for the project now, but I don’t know if it would make a difference to the music.

THM: Now let’s talk about your awesome new album The Monolith. What are the main differences you see in your new album versus your previous releases, and do you think the album is exactly how you were expecting it to be, or is there something that still bothers you in it? I personally think the sound in it is a step forward from The Aftermath.

M: I think that “The Monolith” sounds the way it should. It’s a different album than “Corpus Hermeticum“. It has more darkness in it, and the sound design reflects that. Arek Jablonski (the sound engineer) has done a terrific job on the record. His mixing corresponds with my older recording and “Corpus…” so the result is very aggressive but still has all the qualities of contemporary production. Everything is in place, and in a way, it’s like a monolith.

THM: Although ZØRORMR is considered a one-man project, you’ve been working with guest or session musicians since your 2010 debut album Kval, more specifically with guitarist Quazarre and drummer Icanraz. What’s your relationship or connection with those two musicians, and why have you selected them to be a regular part of ZØRORMR?

M: We’ve known each other for twenty years. We’ve collaborated artistically on so many levels that it’s hard to mention here all our ventures. We’re also good friends. Quazarre has been helping me out with every Zorormr record. He is a skilled guitarist and vocalist. You could say that he helped me become a better artist myself. As for Icanraz, he’s an excellent drummer whose style fits perfectly into what you can hear in Zorormr. So far, every time we’ve worked together, we had something special going on. They’re both “regular members” of Zorormr, even if they don’t admit it. (laugh)

Album Review – ZØRORMR / The Monolith (2023)

THM: How were the recordings of The Monolith? Did everything occur as planned, or did you have to change the way you were doing things due to an unforeseen situation?

M: Frankly, it was a long and painful process. I had the music written back in 2016. I started recording in 2017 and finished it at the end of 2021. Meanwhile, I had many “tough times” along the way, so I couldn’t focus on recording “The Monolith”. I thought about ending Zororormr, and not only that… But I fought for myself. I started making darksynth, performing live, and slowly wanting to return to the latest Zorormr album. I owed that to myself, my friends, and those few fans that follow my musical journey. I’m glad I went through with it because the end result is something I can be proud of. Maybe one of the most important records of my life…

THM: Now that The Monolith has already seen the light of day, what’s next for ZØRORMR? Are you going to take the music from The Monolith to the stages anywhere, or will the focus be on creating more music in the coming months or years?

M: After “Corpus Hermeticum” I was ready to hit the road. I even looked for musicians to accompany me. But I couldn’t find the right people whose commitment to the band would allow us to perform Zorormr’s music. In 2016 I was on a downward spiral, and I stopped looking for musicians for Zorormr. Two years later, I was already performing with my darksynth project. I could have used some hired musicians, but it didn’t feel right. Nowadays, I’m focusing on different things. But I think that “The Monolith” is not the last thing you’ve heard from Zorormr…

THM: Who are your biggest idols and influences in music and in life in general? Although the music by ZØRORMR is Black Metal, do you draw inspiration from any non-metal artists to compose your music?

M: This a tricky question to answer since, in postmodernity, the influences create an endless whirlpool from which we can choose. It would be easier to answer this question when I was younger. Nowadays, I think it’s better to leave it to the listener to try and find the sources of inspiration for Zorormr. If you listen carefully, you will find some of them. And there are some hints in the lyrics too!

Album Review – ZØRORMR / The Aftermath EP (2016)

THM: I’m a huge fan of the Polish underground. There are so many amazing bands there from different styles including Sarmat, Hellfuck, Hyl, Chimera, Chainsword and Odraza, just to name a few, but all amazing. Are you proud of the current metal scene in Poland, or do you think it could be even better?

M: I wouldn’t consider myself an expert on the scene. Nor do I find pleasure in reviewing other bands’ work. But objectively, Polish extreme metal bands have a lot to offer, and I’m glad that we have so many great bands around here.

THM: Do you have any hobbies you would like to share with us, like collecting anything specific, playing a sport, anything that’s outside of music but that helps you relax and focus on your work as a musician?

M: There is never enough time to do what I want to do. I try to focus on making music as my main activity. But I do read, for example, Bukowski or Ellis, or some fantasy novels. I have a passion for B-movies. I bought a bunch of VHS tapes recently, so I suppose I’m starting to collect these. I’m an escapist. So whatever allows me to escape from the problems of this dreadful world is good enough for me. Sometimes it’s just a hike in the mountains or sitting by the seaside. Watching Star Trek TNG is also a comforting experience… I also like going to the forest. It always makes my demons go away (laugh).

THM: Once again, thank you very much for your time! Please feel free to send your final message to our readers, and any other comments you would like to make!

M: Thanks for having me! Stay heavy my friends!

Links
ZØRORMR Official Website | Facebook | Instagram | YouTube | Spotify | BandCamp

Album Review – Blackbraid / Blackbraid II (2023)

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The witch hawk Jon Krieger returns from the solitude of the Adirondack Mountains with his stunning sophomore album, an expansion of his own sound exploring his strong relationship with nature.

Part of the growing indigenous Black Metal scene in the United States, Blackbraid is an Atmospheric Black Metal project from the solitude of the Adirondack Mountains, in New York, formed in 2022 by Native-American vocalist and multi-instrumentalist Jon Krieger, known by his pseudonym Sgah’gahsowáh, a Mohawk name meaning “the witch hawk”. Inspired by giants the likes of Dissection, Gorgoroth, Immortal, Bathory and Mayhem, among others, Sgah’gahsowáh views Blackbraid as a project that can help listeners reconnect with nature and help him explore his own relationship with it, which can be experienced in his sophomore opus Blackbraid II. Recorded, mixed and mastered by Neil Schneider (Calling of Phasmic Presence, Diplegia, Vintertodt), who also plays drums in the entire album, and displaying a stylish artwork by Adrian Baxter, Blackbraid II is an expansion of the sound developed in the project’s debut album Blackbraid I, also incorporating more native instrumentation to the project’s already dense and multi-layered sound.

The fires of Black Metal are burning accompanied by the acoustic guitars by Sgah’gahsowáh in the intro Autumnal Hearts Ablaze, captivating our senses before we face the heavy and majestic The Spirit Returns, bringing to our ears an avalanche of intricate melodies, enraged vocals and scorching riffs carefully brought into being by our lone wolf while also presenting a fantastic balance between Atmospheric Black Metal and old school Black Metal. Then a wild howl kicks off over seven minutes of breathtaking metal music entitled The Wolf That Guides the Hunters Hand, with Neil crushing his drums like a beast, therefore offering Sgah’gahsowáh exactly what he needs to shine on vocals as well as on the guitars and bass. After such intense tune we’re treated to the whimsical, tribalistic interlude Spells of Moon and Earth, taking us on a journey to the Adirondack Mountains before Sgah’gahsowáh comes ripping in Moss Covered Bones on the Altar of the Moon, starting with some tribal beats and a sinister atmosphere, and sounding beyond perfect for headbanging together with Sgah’gahsowáh, who delivers some killer riffs and solos from his stringed axe until the very end.

A touch of melancholy and somber passages will darken your minds in the infernal Black Metal aria A Song of Death on Winds of Dawn, where Sgah’gahsowáh shows no mercy for our damned souls, blasting his guitars and bass in the most visceral way imaginable for over 11 stunning minutes. It’s then time for another introspective interlude by Sgah’gahsowáh titled Celestial Passage, once again bringing a doomed and melancholic ambience to the album and setting the tone for Twilight Hymn of Ancient Blood, featuring a guest guitar solo by Randy Moore (Spiritworld), with Neil pounding his drums while at the same time Sgah’gahsowáh’s riffage sounds absolutely caustic and heavy, adding elements from classic Doom Metal to his already demonic sound. As the album progresses you can feel Sgah’gahsowáh investing into more Stygian sounds as if his mind and soul were consumed by darkness, which is absolutely clear in Sadness and the Passage of Time and Memory, an enfolding, multi-layered music journey showcasing his usual deep, demonic gnarls, before we face his personal tribute to the mighty Bathory with A Fine Day to Die (check out the original version HERE, from the 1988 masterpiece Blood Fire Death), just as intense and magic as the original, but of course with Sgah’gahsowáh adding his own twist to the overall result.

In summary, what Sgah’gahsowáh and his Blackbraid are doing not only for the Native-American Black Metal scene, but also to Black Metal as a whole, is beyond fantastic, and Blackbraid II, available for a full listen on YouTube and on Spotify, will help him cement his name in the underground and get us all excited for the future of the project. Hence, don’t forget to start following Blackbraid on Instagram for news and tour dates (and believe me, Blackbraid’s live performances are absolutely stunning), to stream the project’s atmospheric and bold creations on YouTube and on Spotify, and above all that, to purchase a copy of the breathtaking Blackbraid II from the project’s own BandCamp page, from Apple Music or from Amazon. And may the spirit of the witch hawk of Black Metal live forever and ever.

Best moments of the album: The Spirit Returns, The Wolf That Guides the Hunters Hand, A Song of Death on Winds of Dawn and Sadness and the Passage of Time and Memory.

Worst moments of the album: None.

Released in 2023 Independent

Track listing
1. Autumnal Hearts Ablaze 2:10
2. The Spirit Returns 4:37
3. The Wolf That Guides the Hunters Hand 7:34
4. Spells of Moon and Earth 2:24
5. Moss Covered Bones on the Altar of the Moon 13:30
6. A Song of Death on Winds of Dawn 11:04
7. Celestial Passage 2:24
8. Twilight Hymn of Ancient Blood 6:59
9. Sadness and the Passage of Time and Memory 7:02
10. A Fine Day to Die (Bathory cover) 8:15

Band members
Sgah’gahsowáh – vocals, guitars, bass

Guest musicians
Neil Schneider – drums (session)
Randy Moore – lead guitars on “Twilight Hymn of Ancient Blood”

Album Review – Tsjuder / Helvegr (2023)

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This legendary horde is finally back with a new opus, a must-listen for admirers of old school Norwegian extreme music and a serious contender for Black Metal album of the year.

The path to the underworld is open once again as Oslo, Norway’s own Black Metal legends Tsjuder are back in action with a sulfurous new opus, titled Helvegr, which by the way means “Path to the Underworld” or “Road To Hel”, their sixth studio album and the perfect follow-up to their 2015 effort Antiliv. Known best for their relentless, aggressive approach to Black Metal, Tsjuder have been responsible for some of the most hate-filled ferocity perpetrated under the banner of True Norwegian Black Metal since their inception in 1993, with the iconic Nag on vocals and bass, and Draugluin on the guitars, supported by drummer Jon “The Charn” Rice, taking their darkness to a whole new level in Helvegr. Not only that, the mixing and mastering by Pål Emanuelsen at North Waves Studios, plus the wicked artwork by Jonas Svensson and Laura Nardelli, turn it into a must-listen for admirers of old school Norwegian extreme music, and into a serious contender for Black Metal album of the year.

The opener Iron Beast brings forward absolute madness and hatred from the very first second, while Nag screams the song’s infernal lyrics manically (“Black metal razor blades / Fifty cal hellraiser / Barbed wire wrapped / Diesel monster unleashed / Aw, come on! Raise Hell!”) in a lecture in Norwegian Black Metal; whereas the caustic riffage by Draugluin and the brutal drums by Jon will crush your damned body to pieces in Prestehammeren (or “the priest’s hammer” from Norwegian), a fast and demented display of Black Metal by Tsjuder that will please all fans of the genre. Then a melodic, sinister start evolves into another sonic beast entitled Surtr, with the blast beats by Jon bringing sheer aggressiveness to their sound while Nag continues to vociferate like a demonic entity. There isn’t a single second of peace in Gamle-Erik (or “Old Erik”), featuring a guest guitar solo by Pål Emanuelsen, with Nag once again sounding inhumane on vocals as well as armed with his thunderous bass lines while Draugluin slashes his guitar in the name of Black Metal; and Chaos Fiend is as chaotic as its name states, with Jon hammering your skull with his vile drumming, offering Nag everything he needs to darkly growl and snarl in another fantastic depiction of first-class Norwegian Black Metal.

Tsjuder Tribute to Bathory Scandinavian Black Metal Attack

Featuring guest vocals by Seidemann (of 1349 and Mortem), Gods of Black Blood offers another round of Tsjuder’s hellish words (“We stride triumphant, Hellspawned Demon Lords / Trampling the fallen, Violated agonized wailing / Worldgrinders, necrotic sovereigns”) while the music once again exhales Black Metal; and after such intense, darkened feast, it’s time for the grim and phantasmagorical title-track Helvegr, leaning towards Doom Metal and even Blackened Doom, sounding, sluggish, evil and melodic from start to finish. Then back to their more ferocious and satanic mode we have Faenskap og Død (“hell and death”), a hurricane of Black Metal masterfully crafted by Tsjuder where the razor-edged riffs by Draugluin will pierce your mind and soul mercilessly. Lastly, the doomed Hvit Død (“white death”) is not a bad outro, but it takes away some of the fire and electricity from the album. In other words, it could have been placed before the previous song as an intro to give it a stronger meaning. Furthermore, if you go for one of the special or deluxe editions of the album you’ll be treated to the bonus disc Tsjuder Tribute to Bathory Scandinavian Black Metal Attack, a killer EP that is definitely worth the extra money, beautifully representing Tsjuder’s respect and admiration for one of the pillars of Norwegian Black Metal, with their cover version for Satan my Master being absurdly awesome.

In case you want to give Helvegr a try before purchasing it, you can stream the album in full on YouTube and on Spotify, but I bet you’ll get addicted to their music and grab your favorite version of the album from the band’s own BandCamp page, from Season of Mist in Europe or in the US (and if I were you I would go for the LP box + digital or for the digibox + digital as both come with some fantastic items including the aforementioned EP), or by clicking HERE or HERE. Don’t forget to also follow such imposing Norwegian horde on Facebook and on Instagram for news, tour dates and so on, and to stream their entire catalogue on Spotify. We’ll undoubtedly see Helvegr as part of most “top metal albums of the year” lists this year, and of course in almost all “top Black Metal albums of the year” lists, reinforcing the power, impact and importance of Tsjuder to the entire metal scene, and leaving us all eager for their next blast of Black Metal magic in a not-so-distant future.

Best moments of the album: Iron Beast, Prestehammeren, Chaos Fiend and Gods of Black Blood.

Worst moments of the album: Hvit Død.

Released in 2023 Season of Mist

Track listing
1. Iron Beast 3:37
2. Prestehammeren 4:01
3. Surtr 6:59
4. Gamle-Erik 3:46
5. Chaos Fiend 4:02
6. Gods of Black Blood 5:19
7. Helvegr 7:36
8. Faenskap og Død 3:08
9. Hvit Død 2:52

Tsjuder Tribute to Bathory Scandinavian Black Metal Attack bonus disc
1. The Return of Darkness and Evil 4:53
2. Satan my Master 2:02
3. Born for Burning 5:11
4. Reaper 2:33
5. Raise the Dead 3:53

Band members
Nag – vocals, bass
Draugluin – guitars, backing vocals
Jon “The Charn” Rice – drums

Guest musicians
Pål Emanuelsen – guitars solo on “Gamle-Erik”
Seidemann – additional vocals on “Gods of Black Blood”

Album Review – Krigsgrav / Fires in the Fall (2023)

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Behold this grandiose, atmospheric and haunting album of Black, Death and Doom Metal masterfully crafted by an amazing band from Dallas, Texas.

The sky darkens, the wildfires roar, and Fires in the Fall, the new album by American Black/Death/Doom Metal entity Krigsgrav emerges from the smoke. Formed in 2004 in Dallas, Texas, Krigsgrav (which by the way means “war grave” in Swedish) approach two decades as a project co-created by vocalist and multi-instrumentalist David Sikora, appealing to the autumnal heart beating within fans of Agalloch, Mother Of Graves, and My Dying Bride alike. Mixed and mastered by Owe Inborr at Wolfthrone Studios, and displaying a classy artwork by Cameron Hinojosa, Fires in the Fall offers the listener over 52 minutes of darkness and doom (or as the band likes to call it, Atmospheric Blackened Doom) carefully brought into being by the aforementioned David Sikora on drums, clean vocals and bass alongside Justin Coleman on vocals, guitars and synths, and Cody Danielson also on the guitars, resulting in the perfect follow-up to their 2021 album The Sundering.

Like a creature arising from the underworld the band comes crushing our senses in The opening tune An Everflowing Vessel, dark and sinister from the very first second, showcasing poetic yet acid lyrics (“Man’s foolish pride and perdition / Seems our hereditary mission / with blindness and ignorance / only a toxic future awaits”) while the guitars by Justin and Cody will pierce your mind mercilessly; and more of their first-class Doom Metal-infused riffs and bass lines permeate the air in The Black Oak, again showcasing a deep, demonic vocal performance by Justin while David keeps hammering his drums in the name of darkness. There’s not a single space left empty by those three skillful musicians in The World We Leave Behind, where Justin and Cody are on fire with their riffs and solos generating a menacing atmosphere tailored for admirers of the genre, exploding into the visceral and heavy-as-hell In Seas of Perdition, a brutal composition by Krigsgrav overflowing rage and madness where David sounds fantastic with both his blast beast and rumbling bass.

Then featuring guest vocals by Chris “Blutjäger” Sweigart (who was the band’s vocalist from 2004 until 2010, and also former vocalist of Obsidian Throne), it’s time for the Stygian hymn Shadowlands, with the band blasting obscure Doom Metal for the masses while their bass lines couldn’t have sounded heavier and more metallic. In Journeyman the lyrics reek of desolation (“Through times fertile, but wrought with storms / Traversing paths to an unknown end / A beacon lit and a brother’s code / May we never again kneel in suppression”) while the music is a grandiose and imposing hybrid of Black, Death and Doom Metal dictated by David’s galloping drums, followed by Alone With the Setting Sun, the last song of the regular version of the album, offering us all melancholic passages and a pensive ambience while also being full of breaks and variations, alternating between absolute darkness and ethereal moments, and with David once again stealing the show with his infernal drums. And if you go for the CD version of the album you’ll be treated to When I’m Gone, Let the Wolves Come, definitely worth the investment in the physical copy, a top-notch extension of the album presenting all elements that make it so compelling.

The talented guys from Krigsgrav are waiting for you on Facebook and on Instagram with news, tour dates and other nice-to-know details about the band, and don’t forget to also stream their creations on Spotify and to purchase a copy of Fires in the Fall from their own BandCamp page or by clicking HERE. “We wrote Fires in the Fall almost immediately after we completed writing The Sundering, so it almost feels like a double album, but they are very different,” shared Justin Coleman about their new opus. “We intentionally approached writing Fires in the Fall with the idea that it would be more atmospheric, and we would let the music breathe a bit more. That’s why the songs have more of a tempo change than those on The Sundering. With Fires, we wanted everything to be grandiose and bigger, but really emphasize giving each song a haunting feel.” Well, we must all agree they more than succeeded in making the music found in their new album even more atmospheric and epic than before, setting fire to the current underground scene and paving an even more interesting path ahead of them.

Best moments of the album: The Black Oak, In Seas of Perdition and Journeyman.

Worst moments of the album: None.

Released in 2023 Wise Blood Records

Track listing
1. An Everflowing Vessel 6:27
2. The Black Oak 6:21
3. The World We Leave Behind 6:12
4. In Seas of Perdition 4:27
5. Shadowlands 7:49
6. Journeyman 7:31
7. Alone With the Setting Sun 7:27

CD bonus track
8. When I’m Gone, Let the Wolves Come 6:39

Band members
Justin Coleman – vocals, lead and rhythm guitars, synths
David Sikora – drums, clean vocals, bass
Cody Daniels – lead and rhythm guitars, bass on “Alone With the Setting Sun”

Guest musician
Chris “Blutjäger” Sweigart – vocals on “Shadow Lands”

Album Review – Burial Hordes / Ruins (2023)

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An uncanny force hailing from Greece attacks again with their fifth full-length opus, a beautifully balanced yet fearsome album of Blackened Death Metal.

Emerging from the scorching pits of Athens, Greece after a five-year hiatus, Black/Death Metal outfit Burial Hordes brings forth an outstanding slab of Blackened Death Metal that harnesses both chaos and atmosphere in equal parts, which is exactly what they have to offer us all in their brand new opus Ruins. The follow-up to their 2018 album Θανατος αιωνιος (The Termination Thesis), and featuring a classy artwork by Khaos Diktator Design, the excellent Ruins is a beautifully balanced yet fearsome album right off the bat, wit the band formed of D.T. (Ravencult) on vocals, and T.K. (Dead Congregation) and D.D. (Enshadowed, Anticreation) on the guitars and bass, supported by session drummer Eugene Ryabchenko (Fleshgod Apocalypse), slipping into different dimensions only to come back with renewed anger, being therefore highly recommended for fans of Incantation, Dead Congregation, Deathspell Omega, and Enshadowed, just to name a few.

The opening track In the Midst of a Vast Solitude is simply infernal and devastating from the very first second, with Eugene sounding bestial on drums and, therefore, offering D.T., T.K. and D.D. everything they need to generate a beyond Stygian and captivating ambience of Black and Death Metal. T.K. and D.D. keep darkening the skies with their scorching riffs in Insubstantial, a headbanging creation by the band where D.T. continues to roar like a demonic entity, followed by Perish, bringing forward another five minutes of absolute darkness and insanity by Burial Hordes where Eugene once again dictates the song’s pace with his sick blast beats, feeling solid and sulfurous while presenting Doom Metal elements in its second half. And investing in a hammering, heavy-as-hell sound it’s time for the Blackened Doom-infused aria Wandering Stream of Wind, with the guitars by T.K. and D.D. piercing our souls mercilessly.

Then tribal beats ignite the flawless, pulverizing Black and Death Metal extravaganza Infinite Sea of Nothingness, a demonic composition showcasing the always visceral growls by D.T., or in other words, succumb to the dark side of music to the sound of this precious gem of the underground extreme scene. There’s no sign of slowing down; quite the contrary, their Black Metal madness goes on in Isotropic Eradication, where Eugene crushes his drums supported by the devilish riffage by his bandmates, followed by Purgation, offering our putrid ears more of the band’s hellish sounds. Moreover, it will penetrate deep inside your psyche and demolish your hopes and dreams, with D.T.’s deep guttural sounding inhumane and absolutely evil. Lastly, the ending of the album could have been a little heavier and darker than what’s offered in …to the Threshold of Silence, but the song is still amazing and brings forward more of their evil roars, harsh riffs and pounding drums.

This ruthless Greek horde is waiting for you on Facebook to join them in their battle for extreme music, and if you want to show them your utmost support you can stream Ruins in its entirety on Spotify and purchase a copy of it from their own BandCamp page or from the Transcending Obscurity Records’ webstore, as well as from Apple Music or Amazon. Easily one of the best albums of late in the Blackened Death Metal spectrum, Ruins represents an evolution in the sound of Burial Hordes, and I can’t wait to see what’s next for such powerful and important name of the always prolific Greek underground scene.

Best moments of the album: In the Midst of a Vast Solitude, Infinite Sea of Nothingness and Purgation.

Worst moments of the album: …to the Threshold of Silence.

Released in 2023 Transcending Obscurity Records

Track listing
1. In the Midst of a Vast Solitude 4:57
2. Insubstantial 4:46
3. Perish 5:06
4. Wandering Stream of Wind 5:54
5. Infinite Sea of Nothingness 5:24
6. Isotropic Eradication 4:51
7. Purgation 4:23
8. …to the Threshold of Silence 5:44

Band members
D.T. – vocals
T.K. – guitars, bass
D.D. – guitars, bass

Guest musician
Eugene Ryabchenko – drums (session)

Album Review – Smoulder / Violent Creed of Vengeance (2023)

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Let’s all head into the battlefield together with this must-see international Epic Heavy/Doom Metal horde armed with their breathtaking sophomore album.

Playing Epic Heavy/Doom Metal in the tradition of Tales of Medusa, Solitude Aeternus, Manilla Road, early Blind Guardian and Fates Warning, the multinational Smoulder have just unleashed their second full-length opus, titled Violent Creed of Vengeance, the follow-up to their 2019 critically acclaimed debut Times of Obscene Evil and Wild Daring and their 2020 EP Dream Quest Ends. Recorded at Soundwell Studio  by Valtteri Kallio and Jani Snellmain, mixed by Arthur Rizk, mastered by Roland Rodas at Cavern of Echoes, and displaying a beautiful cover Art by Michael Whelan, the album represents a huge step forward in the career of vocalist Sarah Ann, guitarists Shon Vincent and Collin Wolf, bassist Adam Blake and drummer Kevin Hester, featuring seven front-to-back bangers that will surely please all fans of the genre and, therefore, inviting us all to head into the battlefield together with such talented Canadian-American-Finnish metal horde.

Shon and Collin waste no time and begin their epic stringed attack in the opening tune Violent Creed of Vengeance, a battle hymn perfect for raising our horns high in the sky, not to mention the soaring vocals by Sarah add an extra touch of electricity to their music; and it’s then pedal to the metal as it’s time to head into the battlefield to the sound of The Talisman and the Blade, a lesson in Power Metal inspired by that addictive sound form the 80’s, with Kevin being fantastic behind his drums while Adam blasts his bass in the best NWOBHM style. The melodious guitar lines by Shon and Collin permeate the air in Midnight in the Mirror World, where their Doom Metal vein pulses harder than ever. Furthermore, it’s indeed a dark and sinister tune that exhales epicness through its lyrics (“Tenebrous figure / Dwelling deep, within the infinite gates / A foreboding wind blows / With the first stars / He wakes, signaling personal dawn / Gaze across pale nebulas”).

The band then offers a thrilling fusion of the music by Warlock, Iron Maiden and Manowar entitled Path of Witchery, with Sarah kicking some ass on vocals as usual while Kevin sounds bestial behind his drums; whereas the somber narration by English writer Michael Moorcock kicks off another metallic extravaganza entitled Victims of Fate, offering our ears striking riffs and solos, rumbling bass lines and of course the band’s undisputed energy. After such imposing tune, we have a Heavy and Speed Metal attack titled Spellforger, showcasing more of their classy lyrics beautifully declaimed by Sarah (“This impoverished child, distinct from the rest / Their mind contains untold fortitude / Ancient coven sensed their presence / Trained their young as a Spellforger”), and you better get ready for almost ten minutes of epic and doomed Heavy Metal in the form of Dragonslayer’s Doom, with Sarah leading her horde while Adam’s bass lines bring endless intricacy to the overall result. Needless to say, that beautiful epicness goes on until the song’s climatic finale, putting a powerful ending to the album.

You can join Smoulder in their epic quest for heavy music by streaming their fantastic new album Violent Creed of Vengeance in full on YouTube and on Spotify, and of course by purchasing a copy of it from the band’s own BandCamp page, or from the Cruz Del Sur Music webstore as a CD, a red vinyl, a beer vinyl, or a cassette, and don’t forget to also follow the band on Facebook and on Instagram for news, tour dates and other nice-to-know details about those Finland-based Canadian metal warriors. Smoulder are definitely growing in a very healthy and exciting manner in the world of heavy music, therefore becoming one of the must-see bands of the current metal scene, and the electricity flowing from Violent Creed of Vengeance will undoubtedly help them to reach new heights and keep carrying the flag of Heavy Metal wherever they go armed with their music.

Best moments of the album: The Talisman and the Blade, Path of Witchery and Spellforger.

Worst moments of the album: None.

Released in 2023 Cruz Del Sur Music

Track listing
1. Violent Creed of Vengeance 5:05
2. The Talisman and the Blade 4:47
3. Midnight in the Mirror World 6:55
4. Path of Witchery 4:26
5. Victims of Fate 7:41
6. Spellforger 3:31
7. Dragonslayer’s Doom 9:51

Band members
Sarah Ann – vocals
Shon Vincent – guitar
Collin Wolf – guitar
Adam Blake – bass
Kevin Hester – drums

Guest musician
Michael Moorcock – narration on “Victims of Fate”

Concert Review – Khemmis (Lee’s Palace, Toronto, ON, 05/02/2023)

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Not even a cold and rainy night could stop the metalheads in Toronto from enjoying another fantastic feast of underground heaviness and doom.

OPENING ACTS: Wake and Conjurer

Despite the bad weather that’s been hitting Toronto for days with nonstop rain and colder-than-expected temperatures, the cozy Lee’s Palace received an awesome number of fans this Tuesday night for the Deceiver North America MMXXIII Tour, featuring the bands WAKE, CONJURER and KHEMMIS, on another fantastic event organized by Noel Peters of Inertia Entertainment. One of the concert goers was Keith Ibbitson of Lower Eastside Photography, who took care of the amazing pictures from this review, and as you can see based on the photos taken it was indeed an incendiary night of underground Black, Doom, Death and Sludge Metal in the city, courtesy of three of the most interesting bands you can find out there.

The first band to hit the stage was Calgary, Alberta-based Black/Death Metal act WAKE, and it was an unforgettable experience for all fans at an already packed venue. Still promoting their 2022 album Thought Form Descent, those five Canadian metallers delivered an electrifying performance to the crowd, with their intense sound and powerful vocals inspiring everyone for some good headbanging throughout the entire set. The lighting and sound were on point, adding to the overall atmosphere of the show. Playing a mix of old and new songs that had the crowd singing along, Wake’s performance was flawless, not to mention the venue itself was perfect for the show, with a great layout and plenty of space for everyone to enjoy the music. Overall, it was an amazing display of heavy music and great vibes, and if you get the chance to see Wake live, don’t miss it!

Setlist
Infinite Inward
This Abyssal Plain
Swallow the Light
Venerate (The Undoing of All)

Band members
Kyle Ball – vocals
Arjun Gill – guitars
Rob LaChance – guitars
Ryan Kennedy – bass
Josh Bueckert – drums

Right after Wake, it was time for UK’s Sludge/Doom/Post-Metal outfit CONJURER to deliver a solid performance that was nothing short of electrifying, having the crowd fully engaged form start to finish. Mixing some of their old songs with newer ones from their 2022 opus Páthos, the band formed of Dan Nightingale, Brady Deeprose, Conor Marshall and Noah See showcased all their versatility and growth as musicians, hammering the heads of each and every person at Lee’s Palace with their sluggish, heavy-as-hell sounds. Kudos to the venue for another excellent lighting, adding an extra layer of intensity to Conjurer’s performance, and if I were you I wouldn’t miss their show in your city if Sludge Metal is your cup of tea. Needless to say, I can’t wait to see them perform again in Toronto.

Setlist
It Dwells
Scorn
Choke
Hollow
Suffer Alone
Retch
Cracks in the Pyre
Hadal

Band members
Dan Nightingale – guitars, vocals
Brady Deeprose – guitars, vocals
Conor Marshall – bass
Noah See – drums

KHEMMIS

After opening for Opeth and Mastodon in the beginning of 2022, and also for Trivium close to the end of the year, Denver, Colorado’s own Doom Metal entity KHEMMIS returned to Toronto now in 2023, this time as the headliners, for another lesson in doom. Having recently launched a two-track EP titled Where the Cold Wind Blows, Khemmis kicked some ass from start to finish, opening their set with the excellent Avernal Gate, followed by one of the songs form their new EP, the also amazing Sigil. The crowd was buzzing with excitement as the quartet continued their electrifying set until the very end, closing their performance with the thrilling song A Conversation with Death.

The crowd at Lee’s Palace was obviously headbanging along with the music, and Khemmis fed off of their energy, delivering an even more powerful and intense performance than expected. Overall, it was an incredible night of heavy music at Lee’s Palace spearheaded by those American metallers, who proved once again why they are one of the most exciting bands in the genre today and why they keep coming back to Toronto (either as an opening act or as the main attraction) so often. Well, as a matter of fact, Khemmis mentioned during their performance that Toronto has the most underrated food in the world, saying that every single time they come to the city to play a concert they have the tastiest food in the world. In other words, they love Toronto from the bottom of their blackened hearts not only because we’re the best metalheads in the world, but also because they know that they never have to play with an empty stomach in the city. It’s like a win-win situation where they get fed with first-class food, while we get fed with first-class music, right?

Setlist
Avernal Gate
Sigil
Candlelight
Bloodletting
Three Gates
House of Cadmus
Above the Water
The Bereaved
A Conversation with Death

Band members
Ben – vocals, guitars
Phil – vocals, guitars
David Small – bass
Zach – drums

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