Tag Archives: doom metal

Album Review – Jordfäst / Av Stoft (2022)

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A ruthless Swedish Black Metal duo returns with their sophomore opus, telling sobering tales of human struggles against societal norms and religious oppression, and the fight for the right to determine one’s own fate.

An old Swedish word for being buried, loosely translated to ”attached to soil”, Jordfäst is also the name of a Skåne, Sweden-based Black Metal duo who unearth the grim past of the Scandinavian peninsula in their songs, channeling the long-forgotten cries of people that once lived. Now in 2022 it’s time for vocalist Olof Bengtsson and multi-instrumentalist Elis Edin Markskog, supported by session drummer Joakim Unger, to unleash upon humanity their sophomore opus entitled Av Stoft, the follow-up to their critically acclaimed 2021 debut full-length album Hädanfärd. Epic and dreaming, conjuring up soundscapes comparable to genre greats such as Ulver, Saiva, and Primordial, Av Stoft, which is Swedish for “of dust”, continues where Hädanefter left off, with folky melodies and theatrical narratives woven into a solid backbone of Black Metal. Recorded at Studio Wheelmust, mixed and mastered by William Blackmon at The Overlook, and featuring guest vocals by Joakim Svensson of Skogen, the album is comprised of two songs which have a combined playing time of 33 minutes, telling sobering tales of human struggles against societal norms and religious oppression, and the fight for the right to determine one’s own fate, with its gloomy layers interspersed with searing melodies reflecting a reality as unforgiving as the northern winter.

Eerie voices are suddenly joined by the massive beats by Joakim in Abortologen (“the abortologist”, from Swedish), bringing to our damned ears over 16 minutes of Scandinavian Black Metal infused with Folk and Doom Metal nuances where Olof roars manically in the name of pure evil, while Elis crafts a beyond caustic and visceral sound with his riffs, bass and keys, not to mention his guitar solos are a thing of beauty, enhancing the song’s epicness and electricity considerably. Put differently, it’s imposing and violent from start to finish, being therefore tailored for admirers of the genre while also ending in a serene way to the sound of a piano. The second song of the album, Kom Eld, Kom Regn (“come fire, come rain”), offers our ears pure Scandinavian Black Metal flowing from the very first second, with its vocalizations adding an extra touch of darkness to the overall result. Furthermore, the song brings forward a headbanging pace led by the strident riffage by Elis while Joakim hammers his drums in great fashion, and the music alternates between sheer aggressiveness and more melodic, Stygian moments. Not only that, Olof sounds absolutely bestial with his enraged roars, without a single second left empty throughout its 17 minutes of Scandinavian awesomeness that builds up to a sinister, epic and chilling ending.

“With Av Stoft we took a more timeless approach by implementing themes which have always been part of humanity’s history and shaped our society. Concepts pertaining to life and death; the right of the lone individual to either end or start one or the other as he sees fit, as well as the consequences that might follow. As on Hädanefter, the stories are told from several perspectives and depict everything from personal suffering to the relentless forces of nature – all of which are indifferent to our suffering and just biding their time to sweep us away, once and for all,” commented the duo about their newborn spawn, which will soon be available for purchase from the band’s own BandCamp page and from Nordvis Produktion, as well as for streaming on Spotify. Hence, don’t forget to start following Olof and Elis on Facebook and Instagram to stay up to date with all things Jordfäst, letting the obscure tales told by the duo in Av Stoft crawl dep inside your mind while they keep carrying the flag of Scandinavian Black Metal armed with their austere music for many decades to come.

Best moments of the album: Kom Eld, Kom Regn.

Worst moments of the album: None.

Released in 2022 Nordvis Produktion

Track listing
1. Abortologen 16:08
2. Kom Eld, Kom Regn 16:59

Band members
Olof Bengtsson – vocals
Elis Edin Markskog – guitar, bass, keyboards, backing vocals

Guest musicians
Joakim Unger – drums (session)
Joakim Svensson – additional vocals

Album Review – Forlesen / Black Terrain (2022)

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This doomed entity hailing from Portland, Oregon brings forward four monolithic songs that will fully immerse the listener in a contrast of the serene and cacophonous in their new opus.

Formed in San Francisco, California at the end of 2016, but currently based in Portland, Oregon, Atmospheric Black/Doom Metal outfit Forlesen draws from Epic Doom, Black Metal, Slowcore and Dark Ambient to subvert traditional songwriting with their new full-length, entitled Black Terrain, which weaves heartbreak and hypnosis to show the band at their most vulnerable and vicious. Mixed by Jack Shirley at The Atomic Garden, mastered by Garrett Haines at Treelady Studios, and displaying a beautiful artwork by Benjamin A. Vierling, Black Terrain brings forward four monolithic songs, at times approaching twenty minutes in length, fully immersing the listener in a contrast of the serene and cacophonous, showcasing the evolution in the sound crafted by vocalist and multi-instrumentalist Ascalaphus (Botanist), vocalist and multi-instrumentalist Bezaelith (Lotus Thief), guitarist Petit Albert (Lotus Thief), and drummer Maleus (Kayo Dot, Maudlin Of The Well) from their debut effort Hierophant Violent,  being therefore highly recommended for fans of Candlemass, Dead Can Dance, Low and Neurosis, among several others.

An eerie, otherworldly start gradually evolves into an atmospheric and somber Doom Metal sonority led by the sluggish beats by Maleus in Strega, while Ascalaphus, Bezaelith and Petit Albert darken the skies with their minimalist but heavy-as-hell riffs and whimsical vocalizations, flowing smoothly while also offering us all a neck-breaking rhythm. Furthermore, its beautiful guitar work will penetrate deep inside our hearts, also showcasing a perfect balance between the delicate vocals by Bezaelith and the devilish roars from her bandmates, making an instant connection with the title-track Black Terrain, where the band continues to permeate the air with their melodic and grim sounds. The whole song is effectively energized by the tribalistic drums by Maleus while Bezaelith delivers introspective, ethereal vocal lines, suddenly morphing into the Black Metal-infused aria Harrowed Earth, bringing to our avid ears a multi-layered, enfolding and caustic explosion of sounds spearheaded by the blast beast by Maleus and the wicked, dirty riffage by Ascalaphus, Bezaelith and Petit Albert. Put differently, it’s Atmospheric Black Metal at its finest, evolving to a more obscure form of Doom Metal as time passes by. Lastly, in Saturnine the lyrics will put you in a doomed trance (“Come now and let it all go… / Time is a beast devouring it’s children / Wild eyed, the ever churning tide / He does suppress the cries of nascent sovereignty / Lest golden ages be undone / Time makes beasts of all its golden children / Wild eyed, the ever churning tide / As we egress through parodies of infancy / And we await being born / Go now and let it all come…”), while the music remains serene, infuriated, lugubrious and alive all at the same time, resulting in a spot-on fusion of Ambient and Doom Metal.

The doomed beast known as Forlesen can be found on Facebook and on Instagram for news, tour dates and other details about their wicked music, and you can also stream all of their creations on Spotify. However, if you want to show your true support to the underground, you should purchase a copy of the eccentric Black Terrain from the I, Voidhanger Records’ BandCamp page, from Metal Odissey as a CD or double LP, or from Apple Music, showing all the passion you nurture in your blackened heart for contemporary doom. The songs in Black Terrain might be lengthy, sluggish, somber and pensive, but that’s exactly what makes the album so compelling, consequently  inspiring the band to keep spreading their wings over this black terrain we live called earth.

Best moments of the album: Strega and Harrowed Earth.

Worst moments of the album: None.

Released in 2022 I, Voidhanger Records

Track listing
1. Strega 19:10
2. Black Terrain 8:57
3. Harrowed Earth 12:29
4. Saturnine 18:07

Band members
Ascalaphus – vocals, guitars, synth, harmonium, bass
Bezaelith – vocals, bass, guitars, synth
Petit Albert – guitars, synth, Hammond B3 organ, backing vocals
Maleus – drums

Guest musician
Leila Abdul-Rauf – glockenspiel, trumpet

Album Review – Reincarnated / Of Boötes Void Death Spell (2022)

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Submit to the sonic onslaught found in the debut album by this infernal death and doom horde from Thailand, sounding absolutely gutted, ghastly and knuckle-dragging.

Diehard fans of bands the likes of Disma, Undergang, Funebrarum, Grave Miasma and early Necros Christos, among others, are wholeheartedly encouraged to submit to the sonic onslaught crafted by Thailand’s own Death/Doom Metal entity Reincarnated in their debut album, the infernal Of Boötes Void Death Spell. Recorded at Dee Music Studio, Nuclear Bomb Studio and TNT Music Productions, mixed at Nuclear Bomb Studios, mastered by Dan Lowdes at Resonance Sound Studio, and displaying a sick logo by Nox Fragor Art, layout and illustrations by Sickness 666 and a devilish booklet artwork By Festeringphlegm, Of Boötes Void Death Spell is basically a Death Metal maniac’s record recorded by the Death Metal maniacs NB on vocals, Patiwat and Saran on the guitars, Chester on bass and Thinnarat on drums, all skillful veterans of the Thai metal underground.

A short and sinister intro welcomes us all to the dark world ruled by Reincarnated in Ophiuchus Crypt, where Patiwat and Saran bring forward sheer doom armed with their riffs in a Blackened Doom feast with elements from Death Metal to make things even more menacing. Then NB’s haunting vocals will send shivers down your spine in Quasar God Oration, a lecture in modern-day Death and Doom Metal while also showcasing an amazing old school feeling, with Thinnarat inviting us all to break our necks headbanging to his devilish beats; whereas the venomous guitars by Patiwat and Saran generate a Stygian atmosphere in Proxima Hibernation, supported by the rumbling bass by Chester and another hammering performance by Thinnarat behind his drums. Triumphant Dead Comet is an avalanche of crushing doom for our total delight, with all infernal beats, riffs and bass lines offering NB exactly what he needs to vociferate like a creature form the underworld; and the sulfurous Tomb of Boötes Void puts a beyond demonic ending to the album, with Thinnarat pounding his drums mercilessly while NB roars and growls from the bottom of his blackened heart in another visceral hybrid of classic Death and Doom Metal.

In a nutshell, let’s say Reincarnated more than succeeded in achieving their goal of playing only the darkest and most doomed-out style of death in their debut full-length opus, sounding absolutely gutted, ghastly and knuckle-dragging until the very last second, with no room for innovation or progression. Hence, in order to show them all your admiration for their services to the underworld, you can start following the band on Facebook and on Instagram, and of course purchase your copy of their venomous newborn beast from the Inhuman Assault Productions’ BandCamp page or webstore. Extreme music made in the scorching hot Thailand has never been more demonic and evil, and thanks to the talented and hardworking guys from Reincarnated we can rest assured darkness will forever emanate from their homeland.

Best moments of the album: Quasar God Oration and Triumphant Dead Comet.

Worst moments of the album: None.

Released in 2022 Inhuman Assault Productions

Track listing
1. Ophiuchus Crypt 7:27
2. Quasar God Oration 7:04
3. Proxima Hibernation 6:48
4. Triumphant Dead Comet 4:55
5. Tomb of Boötes Void 4:33

Band members
NB – vocals
Patiwat – guitars
Saran – guitars
Chester – bass
Thinnarat – drums

Album Review – Black Reuss / Journey (2022)

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Liechtenstein’s own one-man Gothic and Doom Metal band returns with the second part of his four-album concept, surrendering to inner preferences and being less and less controlled by material or negative things.

Formed in 2018 in Triesen, the third largest municipality of the Principality of Liechtenstein, Gothic/Doom Metal one-man army Black Reuss has just released the second part of his four-album concept, entitled Journey, the follow-up to his 2021 album Metamorphosis and a preparation for the upcoming albums Arrival and Death. The man behind Black Reuss, vocalist and multi-instrumentalist Maurizio Dottores, is at home in doomy Heavy Metal with a touch of melancholy and a certain heaviness that has accompanied him in some chapters of his life, with Journey being about surrendering to inner preferences and being less and less controlled by material or negative things, being therefore highly recommended for admirers of the doomed music by Paradise Lost, Type O Negative, Katatonia and Black Sabbath, among others.

Eerie, futuristic sounds ignite the atmospheric Exodus, with Maurizio wasting no time by distilling his trademark fusion of Gothic Rock and Metal while firing sharp riffs from start to finish, and switching gears to a more sinister vibe thanks to his tribal beats and minimalist guitar lines we’re treated to Dejection, living up to the legacy of classic Doom Metal. Moreover, Maurizio’s deep vocals add a touch of anguish to the overall result, whereas experimenting with more unconventional sound and elements it’s time for the somber Egression, where Maurizio does a great job with both his riffs and bass lines; followed by the bold, atmospheric and pensive Hole, where its sonority will embrace you in the name of Gothic and Doom Metal and with Maurizio’s riffage and beats bringing forward sheer heaviness. Slowing things down a bit we have the Gothic Rock feast Fail, where once again Maurizio is on fire armed with his rumbling bass, adding endless groove to the music, while a beyond sinister and atmospheric start evolves into a Gothic Metal extravaganza in Deep-Seated, with Maurizio’s introspective, deep vocals and low-tuned bass lines beautifully darkening the skies, also presenting hints of Southern Rock and Metal for our total delight.

Drinking from the same obscure fountain as renowned acts the likes of Moonspell, My Dying Bride and Paradise Lost, Maurizio brings forth sheer doom in Regression, another first-class composition showcasing sluggish beats and riffs enfolded by an ethereal ambience, and it’s then time for a headbanging tune entitled Dependence, where Maurizio slashes his guitar in great fashion while his beats bring an extra kick to the song, being clearly inspired by the 80’s Gothic Rock scene (and a recommended addition to your road trip playlist, by the way). Integrity keeps the album at a high level of energy and doom, with Maurizio adding a phantasmagorical vibe to it with his keys while his guitar work sounds very melodic and sharp as usual; and the last two songs of the album are also the longest ones, starting with Affection, a slow, reverberating composition that exhales pure Doom Metal with his guitar solos being a thing of beauty, flowing into the pensive and grim Redemption, an atmospheric nine-minute aria where Maurizio declaims the song’s lyrics with tons of anguish while its instrumental pieces are simply spot-on, consequently putting a delicate but impactful ending to the album.

While we wait for the third and fourth chapters in the musical adventure crafted by Maurizio Dottores and his Black Reuss, we can definitely have a very good time enjoying Metamorphosis and of course Journey, which is by the way available in its entirety on Spotify, and you can also show your utmost support to this interesting one-man band from Liechtenstein by following him on Facebook and on Instagram, by subscribing to his YouTube channel, and obviously by clicking HERE and purchasing your favorite version of Journey. What’s next for Black Reuss? How will Arrival and Death sound in comparison to Metamorphosis and Journey? The wait for those questions to be answered is one of the most compelling parts in the music by Maurizio Dottores, a man that’s definitely placing Liechtenstein in the map of heavy music with his unique creations.

Best moments of the album: Hole, Deep-Seated and Dependence.

Worst moments of the album: Egression.

Released in 2022 Independent

Track listing
1. Exodus 5:54
2. Dejection 6:41
3. Egression 4:40
4. Hole 4:20
5. Fail 4:51
6. Deep-Seated 6:02
7. Regression 6:17
8. Dependence 4:44
9. Integrity 4:46
10. Affection 8:39
11. Redemption 9:46

Band members
Maurizio Dottores – vocals, all instruments

Album Review – Provectus / Postero Mundi (2022)

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Inspired by the early pioneers of the genre, this Belgian horde carries the spirit of old school Black Metal in their pulverizing newborn beast.

Founded in 2015 in Vosselaar, a municipality located in the Belgian province of Antwerp, while rooted from the minds of vocalist and guitarist Tempore Anomalia and drummer Obitus, the unrelenting, old school Black Metal horde Provectus focuses on creating quality 90’s Black Metal cutting into a diverse range of lyrical themes, always inspired by the early pioneers of the genre such as Immortal and Dissection. Now in 2022 it’s time for Tempore Anomalia and Obitus, together with bassist Roach, to crush us all with the rawness and brutality found in their first full-length opus Postero Mundi, which translates from Latin as “the next world”, the follow-up to their 2018 debut EP Existential Delusion. Produced and mixed by the band itself, mastered by Yarne Heylen at Project Zero Recording Studio, and featuring a sinister artwork by Kris Verwimp, Postero Mundi carries the spirit of old school Black Metal by distancing itself from the modern fusions and endless subgenres , being therefore highly recommended for admirers of the darkest and most sulfurous side of extreme music.

Sinister organ pipes and epic background sounds invite us all to join Provectus in pitch black darkness in the intro Gloria Dolorem before the trio pulverizes our souls with the title-track Postero Mundi, with Obitus delivering pure hatred from his old school Black Metal blast beats accompanied by the rumbling bass by Roach while Tempore Anomalia vociferates like a true servant of the underworld. In Aetherflow Dimensions we face poetry flowing from the song’s lyrics (“In a distant vision a grace to behold, where the dark has shifted and the space seems so cold. / Mystical and phenomenal sights of blazing lights beckoning to me.”) while the trio keeps hammering their instruments nonstop; followed by Bane of Existence, starting in a melodic, somber manner before Tempore Anomalia begin extracting pure obscurity from his riffage while growling deeply at the same time, and all that heaviness and violence keeps growing in intensity in the name of classic Black Metal.

It’s then time for the phantasmagorical, spine-chilling interlude Lucid Nightmare, led by the unearthly keys by Tempore Anomalia, captivating our souls before we face the imposing Torn Fabric of Time, bringing forward total fuckin’ mayhem in the form of unrelenting Black Metal masterfully blasted by those Belgian demons. Moreover, Obitus is on absolute fire behind his drums making the earth tremble, while Tempore Anomalia declaims the song’s infernal words from the bottom of his blackened heart, not to mention how metallic and sulfurous the bass lines by Roach sound and feel. A gargantuan roar by Tempore Anomalia kick off the fulminating aria Disordered Phenomenon, where his own riffs add tons of malignancy to the overall result and also showcasing another brutal performance by Obitus on drums; whereas in Fractured Entity we have one last round of their wicked lyrics (“The saga continues endlessly. / Insanity drifting the emotionless sea. / Absorbed and hexed by apathy. / The cosmic curse of the entity!”), presenting elements from Doom Metal to enhance the song’s obscurity.

The gates of the underworld are wide open, and Provectus are there waiting for you to join them in the name of old school, visceral Black Metal to the sound of their amazing new album, which by the way is available for a full listen on Spotify. Also, don’t forget to follow the band on Facebook and on Instagram, to subscribe to their YouTube channel, and above all that, to purchase the caustic, devilish Postero Mundi from the band’s own BandCamp page, from the Necktwister’s webstore, or from Apple Music. Provectus are among us to spread sheer hatred and obscurity with their newborn beast, putting Belgium in the map of classic Black Metal and, therefore, giving us all a very good reason to darkly smile while listening to their evil creations on our path to the next world.

Best moments of the album: Postero Mundi, Torn Fabric of Time and Disordered Phenomenon.

Worst moments of the album: Fractured Entity.

Released in 2022 Necktwister

Track listing
1. Gloria Dolorem 1:40
2. Postero Mundi 7:16
3. Aetherflow Dimensions 7:49
4. Bane of Existence 6:53
5. Lucid Nightmare 2:28
6. Torn Fabric of Time 10:02
7. Disordered Phenomenon 4:01
8. Fractured Entity 7:05

Band members
Tempore Anomalia – vocals, guitars, synths, keys
Roach – bass
Obitus – drums

Album Review – Cadaveria / Emptiness (2022)

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

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

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

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

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

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

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

Released in 2022 Scarlet Records

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

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

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

Guest musicians
Kris Laurent – guitars
Pier Gonella – additional guitars

Album Review – Ferum / Asunder / Erode (2022)

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A ruthless entity arises from the underworld with an obsessive and monolithic record, showcasing the boldness and rot of American death doom and the introspection and emotion of English death doom.

Formed in 2017 in Bologna, Italy, but currently scattered between Bologna and Tallinn, the capital of Estonia, the ruthless Death/Doom Metal entity known as Ferum (which means “wild”, “untamed” or “fierce” in Latin) is unleashing upon us all their debut full-length opus, entitled Asunder / Erode, following up on their 2018 EP Vergence. Recorded and mixed by the band’s drummer Are Kangus at Walter Productions, mastered by Dan Swanö, and displaying a fantastic cover art by Paolo Girardi (read more about the concept and process HERE), Asunder / Erode is a clear step forward in the career of vocalist and guitarist Samantha Alessi, bassist Matteo Anzelini and the aforementioned Are Kangus compared to their previous release, offering fans of heavy music an obsessive and monolithic record showcasing at the same time the boldness and rot of American death doom and the introspection and emotion of English death doom, with its slow, funereal riffs and cavernous atmosphere positioning it as one of the best albums of the genre of the past few years.

The massive, sluggish beats by Are kick off the thunderous opening tune Halfhead, with Samantha roaring deeply like a she-demon while also extracting sheer malignancy from her axe. In other words, it’s dark, sinister and somber just the way we like it in Doom Metal, which is also the case with The Undead Truth, featuring the iconic Mike Perun of Cianide on vocals, sounding even more demonic and grim with Samantha firing obscure riffs nonstop supported by the low-tuned bass by Matteo, not to mention how intricate and vibrant the drumming by Are is. Then continuing their path of old school, sulfurous Death and Doom Metal the trio brings forth the headbanging Desolate Vantaa, a song perfect for breaking your neck in half to the pounding drums by Are while Samantha darkly vociferates the song’s lyrics; and dark clouds are above us in the damned tune Belong, where Samantha and Matteo are in total sync with their stringed weapons, generating a menacing, reverberating sound tailored for admirers of the most obscure form of Doom Metal.

Get ready for almost seven minutes of infernal epicness in Monolithic Acquiescence, presenting elements from Blackened Doom in its core while remaining loyal to the foundations of Death Metal thanks to another awesome performance by Samantha on vocals; whereas investing in a more ferocious vibe, the trio delivers endless violence and heaviness in Entrails Of Linnahall, with Are dictating the song’s brutal pace while also alternating between pure Death Metal and slow, sinister passages. A deep roar by Samantha kicks off the Stygian extravaganza titled Resurgence In Bereavement, another dense, multi-layered composition showcasing Are’s classic Doom Metal beats, growing in intensity and fear until all fades into the void for our total delectation, while eerie vocalizations and minimalist sounds will darken our minds in Outro – Spesso Il Male Di Vivere Ho Incontrato, which is not a bad idea for an outro but it could have been slightly shorter to keep the energy level in the album even higher. Nothing to worry about, though, as in the end the album kicks some serious ass from start to finish.

As already mentioned, the wild and fierce hybrid of Death and Doom Metal blasted by Ferum in Asunder / Erode is a must-listen for anyone who enjoys a good dosage of obscurity and hatred in metal music, proving how focused the trio was while recording the album and, consequently, pointing to an exciting future ahead of them. Having said that, don’t forget to start following Samantha and the boys on Facebook and on Instagram for news, tour dates and other important information about the band, to purchase your copy of Asunder / Erode from the Avantgarde Music’s BandCamp page or from Sound Cave as a CD, a color vinyl or a black vinyl, and to stream all of their devilish arias on Spotify. Ferum are definitely on the right path to conquer the world of extreme music based on what they have to offer us all in their new album, leaving us eager (or I might even say desperate) for more of their music in a not-so-distant future.

Best moments of the album: Halfhead, Desolate Vantaa, Entrails Of Linnahall and Resurgence In Bereavement.

Worst moments of the album: Outro – Spesso Il Male Di Vivere Ho Incontrato.

Released in 2022 Unorthodox Emanations/Avantgarde Music

Track listing
1. Halfhead 5:24
2. The Undead Truth 6:28
3. Desolate Vantaa 5:15
4. Belong 5:23
5. Monolithic Acquiescence 6:53
6. Entrails Of Linnahall 5:24
7. Resurgence In Bereavement 6:39
8. Outro – Spesso Il Male Di Vivere Ho Incontrato 3:02

Band members
Samantha Alessi – vocals, guitars
Matteo Anzelini – bass
Are Kangus – drums

Guest musician
Mike Perun – vocals on “The Undead Truth”

Album Review – Anticreation / From The Dust Of Embers (2022)

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Behold this 34-minute aural declaration of war toward the insignificance of all terrain things masterfully crafted by a dynamic duo from Greece.

Born in the beginning of 2021 in Athens, Greece with the intent of creating sprawling, otherworldly abstract Death Metal embraced with lyrics about chaos, death and nightmarish realms and states of consciousness, the ruthless Black/Death Metal duo Necro on guitars and vocals and Noctus on bass and vocals, collectively known as Anticreation, emerges from the abysses of hell with their colossal debut album From the Dust of Embers, a 34-minute aural declaration of war toward the insignificance of all terrain things. Recorded, mixed and mastered at Descent Studio, and with layout by Cold Poison an logo and inner parts by Nox Fragor Art, From The Dust Of Embers is an imposing beast levitating with an immense aura of complete ruin and inevitability highly recommended for fans of Pseudogod, Immolation, Dead Congregation and Lucifyre, showcasing all the fury of Necro and Noctus accompanied by guest musicians Krzysztof Klingbein on drums and Slanderer on ambient and noise tracks.

The sinister intro Faith’s Demystifcation welcomes the listener to the Stygian lair ruled by Anticreation before the duo comes crushing in the title-track From the Dust of Embers, a straight-to-the-point, no shenanigans Black Metal onrush where Krzysztof proves why he was chosen by Necro and Noctus to take care of the drumming duties, and with Necro being not only bestial on the guitar but his guttural vocals are also infernal. Then starting in a beyond phantasmagorical manner, the obscure The Beauty of Lava brings forward elements from Doom Metal and Blackened Doom to make things even more menacing, with Noctus hammering his bass mercilessly, and the duo continues to extract sheer malignancy from their stringed weapons in Abomination Reborn while Krzysztof dictates the pace with his pounding beats. Put differently, it’s sulfurous Black Metal at its finest spiced up by a humongous dosage of Death Metal roars, whereas The Last Perception sounds even more demented and vicious than its predecessors, resulting in a Black Metal extravaganza where Necro’s strident, devilish riffs will pierce your mind ruthlessly.

Krzysztof smashes his drums like a beast in A Journey Into the Throat of Death, giving it a tribalistic vibe while the guitars and bass sound as caustic as possible, flowing into the interlude The Swarm, which will send shivers down your spine thanks to all the eerie, otherworldly noises and sounds crafted by Anticreation until all hell breaks loose in Unborn, a brutal Black Metal aria where Necro and Noctus once again darken our minds with their riffs and bass lines, not to mention how inhumane Krzysztof sounds behind his drums. Kathagiasis, the last song from the regular version of the album, showcases wicked vociferations by Necro accompanied by the menacing bass by Noctus, whereas lastly we’re treated to more of their caustic fusion of Black and Death Metal that’s worth the investment in the digital version of the album with the bonus track The Supreme Terror, which as its name already says will terrorize you for all eternity.

There’s no light at the end of the tunnel for your damned soul, which means the only option left for you is to succumb to the dark side and join Anticreation on their devilish path, and you can do so by following the band on Facebook and by purchasing the amazing From The Dust Of Embers from the band’s own BandCamp page, as well as from the Sentient Ruin Laboratories’ BandCamp page or webstore, or from the Nuclear Winter Records’ BandCamp page. In the end, we’re all insignificant, and Anticreation are among us to show us this unwanted truth armed with From The Dust Of Embers, an album that will surely be considered one of the top metal albums hailing from Greece this year.

Best moments of the album: From the Dust of Embers, Abomination Reborn and Unborn.

Worst moments of the album: The Beauty of Lava.

Released in 2022 Sentient Ruin Laboratories/Nuclear Winter Records

Track listing
1. Faith’s Demystifcation 0:45
2. From the Dust of Embers 4:04
3. The Beauty of Lava 5:44
4. Abomination Reborn 4:48
5. The Last Perception 4:10
6. A Journey Into the Throat of Death 4:33
7. The Swarm 0:45
8. Unborn 4:26
9. Kathagiasis 4:37

Digital Edition bonus track
10. The Supreme Terror 3:16

Band members
Necro – guitars, vocals
Noctus – bass, vocals

Guest musicians
Krzysztof Klingbein – drums
Slanderer – ambient/noise tracks

Album Review – Kreator / Hate Über Alles (2022)

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Let the hate flow through you to the sound of the magnificent new opus by one of the trailblazers of the German Thrash Metal scene.

Recorded at Hansa Studios and Studio Wong, both located in Berlin, Germany, produced by Arthur Rizk, and displaying a classy, demonic artwork by renowned Israeli artist Eliran Kantor, Hate Über Alles is not just the fifteenth studio album by German Thrash Metal masters Kreator, but the band’s first studio album since their 2017 opus Gods of Violence, marking the longest gap between studio albums in their career, and the first to feature former DragonForce bassist Frédéric Leclercq, who replaced longtime band member Christian “Speesy” Giesler in 2019. And what do I think about the album? Well, let’s say Kreator more than nailed it once again, with the iconic Miland “Mille” Petrozza on vocals and guitar, Sami Yli-Sirniö also on the guitar, the aforementioned Frédéric Leclercq on bass, and Jürgen “Ventor” Reil on drums delivering sheer violence, blasphemy and hatred with a welcome dosage of progressiveness and experimentations throughout the entire album, therefore keeping the fires of German thrash burning bright for our total delight.

Sergio Corbucci was an Italian film director, screenwriter and producer who directed both very violent Spaghetti Westerns and bloodless Bud Spencer and Terence Hill action comedies, and there’s nothing better than the Spaghetti Western intro Sergio Corbucci Is Dead to set the stage for Kreator to kill in Hate Über Alles, with both Mille and Sami kicking some fuckin’ ass with their undisputed thrashing riffage. Put differently, a new metal anthem is born overflowing fury and hatred, and of course without a single second of boredom. Then in Killer Of Jesus we face an endless amount of brutality spiced up by absolutely austere lyrics (“Tell the hordes / I’ve come to save them all / Could their souls be dead / Or why can’t I hear their words? / Goddess of time / Always by my side / Faithless redemption / Is this what they have been praying for?”), with Ventor sounding demented behind his drums in another must-listen to any fan of our good old Thrash Metal, whereas the tribal beats by Ventor ignite the neck-breaking Crush The Tyrants, with Mille flawlessly vociferating the song’s visceral words. Strongest Of The Strong is very exciting from start to finish, with Mille and Sami delivering first-class riffs and solos throughout the entire song, resulting in another serious candidate to be part of their live performances, followed by Become Immortal, where I must say I love how Kreator are honoring all metal legends (including themselves) in their past few albums, with the song’s  galloping pace inviting us all to raise our horns together with one of the most important Thrash Metal bands of all time.

Conquer And Destroy brings forward old school Kreator for diehard fans of the band, and it will surely ignite some amazing circle pits if played live while Mille leads his horde with both his piercing vocals and melodic but razor-edged riffs and solos; and featuring guest vocalist Sofia Portanet, the hypnotizing Midnight Sun is by far the most experimental of all songs, with the final result being utterly captivating as if we were part of an uncanny, bloodthirsty Scandinavian midsummer festival. Demonic Future offers us all another round of wicked lyrics roared by Mille (“In terror, in riots in war / Just when you thought that you’ve seen it all / Awareness turns to repulsion / From everywhere, echoing chants / A requiem for their bitter lands / Just when you thought a sick society / Died in their final convulsions / Fantasies of omnipotence / Erased they’ll become aware”) while the music is that beautiful Thrash Metal we love so much, with Frédéric and Ventor making the earth tremble with their respective bass and drums, and when the entire album is awesome a song like Pride Comes Before The Fall that’s “just” very good becomes the “worst” one, albeit still showcasing of course Kreator’s unique thrashing sounds. And last but not least, Kreator darken the skies and send an apocalyptic message to everyone in Dying Planet, presenting hints of Doom Metal in their core sonority and, consequently, inspiring us to break our necks headbanging in the name of darkness together with Mille and his crew.

Kreator Hate Über Alles Deluxe Box

It’s time to let the hate blasted by Kreator in their outstanding new album flow through you, and you can do that by streaming it in full on YouTube and on Spotify, and obviously by purchasing it from the band’s own webstore or by clicking HERE or HERE, where you can by the way find the limited deluxe box including the red and black splatter double vinyl with etching on side D in trifold cover, a digibook CD, a digipack live CD, a photobook, the artprint and a pin. Furthermore, Kreator are waiting for you on Facebook, on Instagram and on YouTube for news, tour dates and more of their flammable music. Because in the end as you might already know it’s hate above all, as long as it’s blasted by an undisputed thrashing institution like Kreator.

Best moments of the album: Hate Über Alles, Killer Of Jesus, Strongest Of The Strong, Conquer And Destroy and Demonic Future.

Worst moments of the album: Pride Comes Before The Fall.

Released in 2022 Nuclear Blast

Track listing
1. Sergio Corbucci Is Dead 0:58
2. Hate Über Alles 3:48
3. Killer Of Jesus 4:05
4. Crush The Tyrants 4:10
5. Strongest Of The Strong 4:01
6. Become Immortal 4:23
7. Conquer And Destroy 4:45
8. Midnight Sun (feat. Sofia Portanet) 3:38
9. Demonic Future 4:43
10. Pride Comes Before The Fall 4:48
11. Dying Planet 6:52

Band members
Miland “Mille” Petrozza – vocals, guitar
Sami Yli-Sirniö – guitar
Frédéric Leclercq – bass
Jürgen “Ventor” Reil – drums

Guest musician
Sofia Portanet – female vocals on “Midnight Sun”

Album Review – Am Himmel / As Eternal As The Starless Kingdom Of Sorrow (2022)

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An ecclesiastical nightmare formed by emanations from the metaphysical voids trapped in the eternal light arises to the sound of its debut effort of unearthly Atmospheric Black and Doom Metal.

“As for thee also, by the blood of thy covenant I have sent forth thy prisoners out of the pit…”

An ecclesiastical nightmare formed by emanations from the metaphysical voids trapped in the eternal light, Atmospheric Black/Doom Metal entity Am Himmel, which translates as “in the sky” from German, is the new solo project from vocalist and multi-instrumentalist JMKP, an old soul from the Netherlands whose inspiration lies between doomy synth-based Drone, raw Black Metal and Shoegaze, channeling ancient and metaphysical energies through the combination of eerie soundscapes with raw and buzzing extreme music in his newborn beast entitled As Eternal As The Starless Kingdom Of Sorrow. There’s a sinister and unearthly atmosphere surrounding the whole record, not just from the devilish growls and shrieks, but also from the hypnotic mystical synth layers, being therefore highly recommended for admirers of the music by Urfaust, Lurker of Chalice and Xasthur, among other servants of darkness.

Bleared By The Infinite Wings is darkly noisy from the very first second, inviting us all to the ethereal world of Am Himmel by blending the melancholy of Atmospheric Black Metal with the obscurity of Doom Metal. Moreover, JMKP does an amazing job with both his sluggish beats and anguished gnarls, and continuing his path of darkness it’s time for The Patience And Silence Of A Saint’s Death, even more somber than its predecessor with our lone wolf’s devilish roars penetrating deep inside your mind in a lecture in Atmospheric Black Metal. Then get ready for over seven minutes of whimsical passages, slow and steady beats and cryptic vociferations in the form of The Virgin Wages Celestial War In The Seraphim Courts, flowing smoothly until the very last second thanks to the piercing riffage by the project’s mastermind; whereas adding elements from Drone and Ambient music to his core sonority JMKP offers us all the visceral The Fumes Of Thy Preposterous Torment, where all background elements match perfectly with his demented gnarling and vile beats, resulting in first-class extreme music. Once again bring to our ears sheer obscurity and despair, JMKP will drag you to his Stygian lair to the sound of his hypnotizing drums and screaming guitars in The Bewildered Firstling Thrusts The Knife Into Her Brother; and lastly, our multi-talented Dutch metaller brings forward another round of wicked, venomous sounds in the title-track As Eternal As The Starless Kingdom Of Sorrow, a song which not only concludes the album on a high note, but that will also please at the same time fans of old school Black Metal and admirers of modern-day Atmospheric Metal hands down.

If you want to put your doomed hands on As Eternal As The Starless Kingdom Of Sorrow, you can soon purchase it directly from Am Himmel’s own BandCamp page, as well as from the Burning World Records’ BandCamp page or webstore (for the US or the rest of the world customers). A starless kingdom bereft of celestial pureness, evoking strange rituals in the gothic catacombs of Christianity and insanity, Am Himmel will certainly change your view of Atmospheric Black and Doom Metal for the better, with As Eternal As The Starless Kingdom Of Sorrow beautifully representing everything JMKP and his new project stand for and, consequently, positioning it not only as one of the most promising names of the Dutch scene, but also as one of the driving forces of the genre worldwide.

Best moments of the album: The Patience And Silence Of A Saint’s Death and The Fumes Of Thy Preposterous Torment.

Worst moments of the album: None.

Released in 2022 Burning World Records

Track listing
1. Bleared By The Infinite Wings 6:56
2. The Patience And Silence Of A Saint’s Death 5:12
3. The Virgin Wages Celestial War In The Seraphim Courts 7:22
4. The Fumes Of Thy Preposterous Torment 6:31
5. The Bewildered Firstling Thrusts The Knife Into Her Brother 6:25
6. As Eternal As The Starless Kingdom Of Sorrow 5:23

Band members
JMKP – vocals, all instruments