An infernal invocation to darkness by a ruthless Colombia-based horde, positioning the band as one of the driving forces of the South American extreme music scene.
Funebria, the name of a rare manuscript “Carmina Funebria in Obitum Clarissimi” of influences in opus “Cantiones Profanae” and a fascination for funeral processions, is also the name of Venezuelan Black Metal horde Funebria, founded in 2004 in Maracaibo, a city in northwestern Venezuela and the capital of Zulia state (but currently based in Bogota, Colombia), having started following the path of pure old school Black Metal with their debut demo Manifiesto Al Esclavo, released in 2005. Currently comprised of Daemonae on vocals and guitars, Blackmiroz also on the guitars, Perverssturm on bass and backing vocals, and Naberius on drums, the band is unleashing upon humanity their third full-length album, entitled Death of the Last Sun, highly recommended for admirers of the music by Behemoth, Hate, Decapitated and Svart Crown, among others. Recorded mixed and mastered at DAE Home Studio by Ranndy Garcia (aka Daemonae), known for his work with Black Metal act Theurgia, Death of the Last Sun is an invocation to darkness in the most tight and raw way imaginable, positioning the band as one of the driving forces of the South American extreme music scene.
The tolling of the bells darkens our minds and hearts in the intro AIN, before all hell breaks loose in Ominous Armaggeddon, a visceral, straightforward Black Metal feast spearheaded by the infernal beats by Naberius while Daemonae roars and barks like a true demonic entity, also presenting progressive and groovy elements to spice the whole song up considerably. After such intense start to the album, more of their venomous fusion of Black and Death Metal is offered to our avid ears in the obscure tune Upheaval & Decadence, with hints of Doom Metal added to its already somber vibe, not to mention how ruthless Daemonae and Blackmiroz are with their riffage; and there’s no time to breathe as those South American beasts keep smashing our skulls mercilessly in Bleeding Sacrament, another brutal display of Black Metal infused with Daemonae’s trademark Death Metal growls that will put a grim smile on the faces of fans of extreme music.
Ethereal Form Of Saints sounds and feels as doomed as its predecessors, with Perverssturm firing low-tuned, bestial bass punches straight to our faces, therefore supporting the headbanging riffs by his bandmates, resulting in a massive tune where every single space in the air is filled with sulfur and hate. Dawn Of Black Inericon might be the shortest song of the album, but that doesn’t mean it’s not as dense, bold and Mephistophelian as all other songs, with Daemonae once again taking the lead with his deep roars supported by Naberius’ massive drums, whereas closing the album there’s more evil and hatred in the form of Black Waters Caesar, a lecture in old school and modern-day Black Metal full of breaks and variations, scorching riffs, bass jabs and the always demented beats by Naberius. Put differently, what a pulverizing conclusion to Death of the Last Sun, leaving us all eager for more of Funebria’s infernal creations in a not-so-distant future.
If you want to have a much better taste of all the darkness and wrath flowing from Funebria’s music, you can enjoy their new album in its entirety on YouTube and on Spotify, but of course you should definitely purchase the album from Dark Terror Temple’s BandCamp page, from the Satanath Records’ BandCamp page, from Apple Music or from Amazon to show your utmost support to such distinguished South American horde. In addition, don’t forget to follow the band on Facebook for news, tour dates, plans for the future and so on, proving you’re indeed a servant of the underworld as you like to brag about. Funebria are one of those bands whose sound is always evolving in the best way possible without abandoning their roots, and Death of the Last Sun is indeed a fantastic representation of their talent, their passion for Black Metal and their loyalty to this always brutal and captivating style.
Best moments of the album: Ominous Armaggeddon and Black Waters Caesar.
Worst moments of the album: None.
Released in 2021 Dark Terror Temple/Satanath Records
Track listing 1. AIN 0:52
2. Ominous Armaggeddon 6:35
3. Upheaval & Decadence 4:43
4. Bleeding Sacrament 4:13
5. Ethereal Form Of Saints 5:35
6. Dawn Of Black Inericon 3:52
7. Black Waters Caesar 5:17
Band members Daemonae – guitars, vocals
Blackmiroz – guitars
Perverssturm – bass, backing vocals
Naberius – drums
An obscure French horde returns from the underworld with their sophomore opus, offering the listener eight tracks of primitive and soily sounds at the crossroads of Black, Doom and Sludge Metal.
Brought into being in 2017 by former members from The Great Old Ones, Spectrale, Omrade and Würm, Paris, France-based Blackened Sludge/Post-Metal entity Demande À La Poussière, or “Ask the Dust” from French (and also the title of American novelist John Fante’s best-seller book), aim at spreading darkness and weariness through a grey horizon beyond which no one hopes to see the sun shine again with their sophomore effort entitled Quiétude Hostile, or “hostile quietude”, offering the listener eight tracks of primitive and soily sounds with abrasive and bitter lyrics at the crossroads of Black, Doom and Sludge Metal. Comprised of Christophe Denhez on vocals and guitar, Neil Leveugle on bass and acoustic guitar, Edgard Chevallier on guitar and drone, and Vincent Baglin on drums, the band likes to label their music as a fusion of Apocalyptic Doom and Post-Black Metal, the perfect description to what’s found in their newborn spawn enfolded by a sinister artwork by Aurélie-Raidron. In other words, you’ll be overwhelmed by its thick, sludgy and groove-laden guitar lines, and by its vicious and intense vocals. It will annihilate your nervous system with an absolutely obsessive rhythmic section at the limit of paranoia.
Enraged screams from the pits of the underworld ignite the Stygian aria Léger Goût De Soufre (or “slight taste of sulfur”), exploding into disruptive Industrial Death Metal led by the crushing drums by Vincent while Christophe barks and roars like a rabid beast, whereas Morphème is more progressive and melodic thanks to the guitars by Christophe and Edgard, supported by the low-tuned bass by Neil throughout over six minutes of unrelenting Doom and Sludge Metal for our vulgar delectation. Then the bass jabs by Neil sound even more menacing in the Post-Black Metal extravaganza Éréthisme, where Vincent alternates between a sluggish drumming and infernal blast beats and fills, darkening the skies for all eternity; and the quartet keeps hammering our cranial skulls mercilessly in the title-track Quiétude Hostile, another brutal and dissident display of extreme music spearheaded by Christophe’s devilish gnarls while Vincent continues his path of devastation behind his drums.
In Perdu (“lost”), featuring guest contrabassist Jiu Gebenholtz, we’re treated to a slow and steady intro showcasing eerie drone elements in the background, evolving into an introspective and experimental piece for admirers of the genre, and if you think they’ll give us a single moment of peace you’re absolutely wrong, as Demande À La Poussière fire another demented Sludge and Doom Metal tune titled Bois De Justice (“wood of justice”), where all guitars sound as venomous and piercing as possible, not to mention Christophe’s hellish, deep growling, ending in sheer Black Metal splendor. After such furious display of extreme music, their second to last onrush of evil, death and fear comes in the form of L’oubli Du Contrasté (“forgetting the contrast”), blending the most demented elements of Sludge and Post-Black Metal, therefore generating the apocalyptic vibe that became the band’s trademark. Lastly, with guest Dima Dudko (White Ward) on saxophone, the band delivers their most experimental tune to date titled Expiravit, offering us all over nine minutes of creepy, atmospheric sounds, visceral bass punches by Neil and headbanging beats by Vincent that combined will put you in a trance until the very last second.
If you think you have what it takes to face all the darkness, melancholy, insanity and hostility found in the new album by Demande À La Poussière, you can take a full listen at the album s many times as you want on Spotify, but of course I highly recommend you purchase a copy of it and show your true support to the underground by clicking HERE. Also, don’t forget to give those French metallers a shout on Facebook, as I’m sure they would love to hear from you all your comments about their sick creations. Fans of bands the likes of Neurosis, Mayhem, Cult Of Luna and Akhlys, among many others, will surely have a very good time listening to each and every track from Quiétude Hostile, while fans of pitch black darkness will finally enjoy the perfect soundtrack of this slow depression that walks alongside us every day, even though we keep a smile on our faces.
Best moments of the album: Morphème, Quiétude Hostile and Bois De Justice.
Worst moments of the album:Perdu.
Released in 2021 My Kingdom Music
Track listing 1. Léger Goût De Soufre 5:14
2. Morphème 6:11
3. Éréthisme 5:43
4. Quiétude Hostile 5:12
5. Perdu 7:21
6. Bois De Justice 6:13
7. L’oubli Du Contrasté 6:22
8. Expiravit 9:17
Band members Christophe Denhez – vocals, guitar
Neil Leveugle – bass, acoustic guitar
Edgard Chevallier – guitar, drone
Vincent Baglin – drums
Guest musicians Dima Dudko – saxophone on “Expiravit”
Jiu Gebenholtz – contrabass on “Perdu”
The shackles of your demons fall silent… The shackles of your demons fall…
It’s time for the skies to get dark and melancholic here on The Headbanging Moose thanks to the doomed music blasted by our metal lady of the month of May, and I bet you’ll get absolutely addicted to her music right after the very first listen (in case you know nothing yet about her and her bands and projects, of course). Though of German descent, she was born on February 9, 1988 in Cape Town, a port city on South Africa’s southwest coast, and currently resides in Sweden, where she joined Swedish Doom Metal band Draconian as the replacement to former singer Lisa Johansson in 2012. I’m talking about the multi-talented Heike Langhans, a songwriter, singer and designer well known for her work in the Gothic and metal scenes, always exploring a vast array of styles including Dark Wave, Electronic and Gothic Rock, among several others, therefore conquering the blackened hearts of the damned ones.
Drawn to melancholy Gothic music during her teenage years, Heike Langhans (which correct pronunciation is ‘hey-keh’ and ‘lung [the organ] – huns [like guns]’, as it’s a German name) began to dabble in composition, writing and singing at a very young age, already being part of school choirs at the age of eight, although she got sick of singing in groups, left that behind and started doing her own thing. She played piano occasionally, but mostly played classical guitar, which helped a lot in her writing process, and used to sing with her father when he played guitar at social gatherings. Heike joined her first band when she was around 15 years old, an all-girls band comprised of friends of her that was mainly a fun holiday thing, while she kept doing music on her own until she joined a proper band at the age of 19. Needless to say, she kept doing her own thing on the side to stay focused and as an outlet for her frustrations with the world and her surroundings.
Active since 2005, our South African started her career being associated with a few distinguished projects and bands, those being her Dark Electronic solo project :LOR3L3I:, South African Symphonic Metal band Inferium, and South African Black/Thrash Metal band Warthane, with her vocals being known to be sorrowful and her music peculiar and melancholic in nature. Regarding :LOR3L3I: (also known as LOR3L3I, LORELEI, or simply Lorelei), everything started back in 2006 as a melancholic electronic side project, with the name Lorelei having almost acted as an alter ego in a sense. According to Heike herself, the songs are raw and unpolished, a “spur-of-the-moment” type project where she just pours her heart into a song, record it and then struggle to touch it again, and you can take a very good listen at all her demos on her official BandCamp page, savoring delicate creations such as Jade Light and Fables. “I’ve said many times that I will never be able to sing these songs live, simply because I’ll be too emotional. It’s hard for me to wear my heart on my sleeve sometimes, so music is the only way. Lorelei is definitely my outlet and it’s quite revealing in many ways. Many people think me intimidating and secretive, but I’m more of an open book than what they care to realize,” commented Heike about her solo endeavor.
Inferium and Warthane are completely different stories, as they were already relatively established bands when Heike joined them. Under the moniker Heike Van Dominic, she was Inferium’s vocalist from 2005 until 2010, joining the band when they were still an instrumental group. They were the only band she knew doing Symphonic Metal at that time, with a huge influence from bands like Nightwish and Within Temptation. She said in one of her interviews that the band had a lot of potential and that they were doing quite well, but as they had a lot of issues with finding time and money to record and push it further they decided to call it quits in 2010. “I’ll always remember and enjoy my time in Inferium and I’ll forever be sad about the stellar songs that were to come, but it’s a sweet memory,” said Heike. Right after Inferium disbanded, more specifically in 2011, our diva, again under the name Heike Van Dominic, recorded the female vocals for the album Black Divine, by Warthane, which you can enjoy in its entirety on Spotify. Not only that, she also used her graphic designer skills to create the album’s stylish, somber artwork, proving how focused and talented she is it doesn’t matter which band or project she’s involved with.
Since 2012, Heike has been acting as the singer for Swedish Gothic/Doom Metal act Draconian, a cult band that started back in the already distant year of 1994 as Kerberos, playing Melodic Heavy and Death Metal with Black Metal influences, changing its name to Draconian around seven months after its inception. Heike joined the band following the departure of singer Lisa Johansson in 2011 after having made contact with guitarist Daniel Arvidsson, then with vocalist Anders Jacobsson to try an audition in Sweden. At first, she struggled to get a work visa in Sweden, which hampered the band’s ability to record an album, and until obtaining the visa she performed as a temporary singer for Gothic Rock band The Great Sleep in South Africa, as you can see for example in the song The Last Funeral. At the end of 2013, she finally received her work visa and was able to emigrate to Sweden, when she started working with Draconian while at the same time she started playing as a guest singer, guitarist and keyboardist in 2015 for Swedish Doom Metal band ISON, a side-project of Daniel Änghede (of Crippled Black Phoenix and Hearts of Black Science). She mentioned her main reasons for joining ISON were being able to play an instrument again like what she used to do in her teens, and putting a part of her own soul into it within a genre that was not electronic. You can have a very good taste of the music by ISON on their BandCamp page, with their first three albums having Heike on vocals, those being Cosmic Drone, Andromeda Skyline and Inner Space, or go to YouTube and search for their official videos such as the one for the song ISAE, as well as other precious gems like the duo playing a stunning acoustic version for The Final Cut by Pink Floyd (and you can compare their beautiful rendition with the original one HERE).
Finally, in 2015 Heike was able to record her first album with Draconian, by the way the sixth in the band’s career, the excellent Sovran, which she was not only responsible for the female vocal parts, but she also collaborated on writing the lyrics for tracks Dusk Mariner, Dishearten and The Marriage of Attaris, showing how easy it has been for Heike to connect with everyone at Draconian. “When I came to Sweden, I thought it would be very intimidating to have to all of a sudden be in this professional studio and work with world-class producers, and I underestimated myself a lot. But once I actually started doing it, I realized I was completely over-thinking everything. The guys were really laid back and easy to work with,” commented Heike. Then in 2020 she released with Draconian their second opus together, entitled Under a Godless Veil, where once again she was responsible for part of the lyrics, more specifically for the lyrics for the song Sleepwalkers, on top of her usual vocal duties. She also mentioned in one of her interviews that her work with Draconian hasn’t had any negative impact on her solo project :LOR3L3I: so far; quite the contrary, several Draconian fans kept writing her and asking her to continue to create music under her solo project, although she said nowadays she doesn’t have enough time to focus on that. It doesn’t matter if you’re a longtime fan of Draconian or a newcomer to their doomed world, you must check all of their official videos on YouTube such as the ones for the songs Sorrow Of Sophia, Sleepwalkers, Lustrous Heart, The Sacrificial Flame, Moon Over Sabaoth and Stellar Tombs, all of their creations on Spotify, as well as live footage the likes of Pale Tortured Blue live at MS Connexion Complex in Mannheim, Germany in 2019, and simply get lost in their realm of melancholy.
Apart from all of those previous and current bands and projects, you can also enjoy Heike’s unique voice as a guest vocalist in several other bands from all over the world. For instance, she played live with Finnish Atmospheric Doom/Death Metal band Hallatar in 2018, with whom she also recorded vocals for the song My Mistake and narrations for the songs Raven’s Song, Pieces and Spiral Gate from their 2017 album No Stars Upon the Bridge; she was a guest vocalist in the song Vision VII: One with the Soil from the 2017 album Visions, by Austrian Post-Black Metal act Anomalie; she also recorded the female vocal parts for the song The Path to Puya, from the 2019 album Aamamata by Spanish Doom/Gothic Metal act Helevorn; and vocals for the song Wolves at the Border, from the 2015 album Signal, by Swedish duo Hearts of Black Science. Not only that, Heike also did the layout and band photos for the 2020 album Premonitions, by International Epic/Atmospheric Black Metal band Sojourner, and was responsible for the vocals, keyboards, songwriting, lyrics, vocal recording, artwork, layout and design in the 2020 album Another World, by International Atmospheric Doom Metal band Light Field Reverie.
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When asked about her main idols and influences in music, Heike said it’s actually hard to pinpoint influences because many of her personal likes are not in any genres considered as Gothic in modern terms. However, the bands she related to early on would be Fields of The Nephilim, The Awakening, Sisters of Mercy, The Cure, Type O Negative, Dead Can Dance and Lycia, to name a few. In addition, as far as more modern Goth-inspired music goes, she has spent a great deal of time listening to Diary Of Dreams, Tiamat, Tristania, Paradise Lost, Anathema, Sins Of Thy Beloved, Katatonia, Draconian, and of course My Dying Bride. She said her passion for metal started when she was a teenager, as she used to get her father’s Pink Floyd and Meat Loaf CD’s and listen to them on repeat in her room while singing along, also watching renowned acts like Black Sabbath on VH1 and taping whatever metal she could find onto VHS or cassette. By the time she was 16, she was consuming a lot of metal from all sub-genres, gradually focusing on what suited her best emotionally speaking like Gothic, Symphonic and Doom Metal, only getting into Black Metal in her 20’s, but of course the emotional aspect and the melodies found in Doom Metal turned it into her all-time favorite genre as it certainly triggers a lot more in her personally.
In regards to touring, Heike said in one of her interviews she would love to tour around a South America, South Africa and Australia with Draconian, understanding that requires a lot of traveling and a huge investment, of course. “I look forward to traveling to countries to enjoy the scenery, food and people. The music is just our way of saying thank you for having us. It would feel slightly selfish to think our music is what made the show worth it, if you know what I mean,” complemented Heike, who also has a deep connection with the metal scene in her homeland. “Despite what most South Africans make themselves believe, Cape Town actually has a great metal scene and more bands than you might think. I can count on one hand the amount of friends I have there who ISN’T a musician. It’s a very creative and beautiful town.” She recommends Atmospheric Black Metal band Crow Black Sky, 2017 Battle for Wacken winners Megalodon, scene-legend Industrial Metal band Terminatryx and a few new-comers such as Constellatia as excellent bands from her beautiful country (and city) that we should all take a listen at.
Moving from South Africa to Sweden wasn’t an easy task for Heike, as it took around 19 months for her to receive her residence permit renewal in Sweden due to the country dealing with an influx of refugees. Based in Säffle, a municipality in Värmland County in west central Sweden, with the rest of the band since December 2019, Heike said she obviously misses Cape Town, her friends, the forwardness of people, Afrikaans jokes and Afrikaans words that you really can’t say anywhere else, but of course that she loves Scandinavia and that her head and her heart are in the North. Her Swedish might not be perfect yet, but her Afrikaans (Dutch) and German background ended up helping her a lot in understanding the language in the beginning, and she’s picking it up quite fast in her own opinion. She also commented about the fact that a lot of people in Sweden and in different parts of the world keep asking her why she’s white, which she believes that happens due to the idea the media sells that everyone in the African continent is black, complementing by saying she usually takes the opportunity to explain how things really work in South Africa.
Lastly, although Heike seems to be an unstoppable music-making machine, she’s just a regular human being like all of us who has her favorite hobbies and pastimes when she’s not singing, recording or performing on stage. As an avid gamer, she said she loves playing World of Warcraft and old school RPG’s the likes of Icewind Dale, Baldur’s Gate, Neverwinter Nights and Lionheart, as well as newer games like Skyrim, but of course she spends a great amount of time doing art, mostly digital and editing. There are days when she doesn’t want to deal with technology and she focuses of drawings and illustrations by hand, though. She also enjoys painting and photography, albeit she considers those quite expensive hobbies, and sewing, showing how versatile and talented she is. Furthermore, Heike is a big supporter of the Ubuntu Liberation Movement in South Africa, the Venus Project and the Zeitgeist Movement, always focusing on human liberation and free energy. “I will not eat or drink anything that comes from big corporations. Yes it’s difficult, but I refuse to support them. I also don’t eat meat any more, and I don’t really care what people have to say about that. I think that once people really put in the time and effort and research, not only from a health or principle perspective, but from an environmental perspective, they will realize that there is a lot that they are not being told. If they want to follow all the bullshit lies in the industry, then fine. But I will actively be against that. That’s what I think being an activist is about,” said our dauntless diva, and you can know a lot more about Heike, her bands, projects and so on by watching several online interviews with her, such as this one at FemME 2015 and this one for Metal & High Heels in 2019, letting her smooth and enchanting words and her undeniable charisma penetrate deep inside your doomed soul.
“I love slow and melancholic music. It brings my inner suffering to the surface and Doom Metal makes me feel like it’s okay to be an emotional being that suffers in this strange world.” – Heike Langhans
An excellent album of old school death and doom mixed with brighter melodies and alluring rhythms, representing unexpected experiences and emotions we are forced to face in our lives.
Formed in 2013 in the city of Vilnius, Lithuania’s capital, Death/Doom Metal entity Sullen Guest has just released their third full-length opus, simply titled Chapter III, based on the foundations of old school death and doom sounds while at the same time mixed with brighter melodies and more alluring rhythms. One of the most important roles in the album is the emotional vocals, which inevitably forces the listener to experience the emotion of the lyrical character, not to mention the main inspiration for the lyrics has been the ailment of the soul, death and fragility of life. Mixed and mastered by L. Baškys at Lapės Records and featuring a cryptic life-and-death artwork by Lithuanian artist Arūnas Staugaitis, Chapter III flawlessly translates into music the meaning behind the name Sullen Guest, representing unexpected experiences and emotions we are inevitably forced to face in our lives such as pain, death, loneliness, fear and betrayal, with even the group members themselves having symbolic “guest” names in Latin that reflect these emotions, those being Inanitas on vocals and guitar, Tenebra also on the guitar, Demissio on bass and Doloribus on drums.
The Stygian guitars by Inanitas and Tenebra ignite the black mass Nothing Will Be Forgotten, as sluggish and somber as it can be, living up to the legacy of classic Blackened Doom while also reminding me of the early days of Tristania (but of course without the female vocals). Doom Metal lyrics are always a thing of beauty, and it couldn’t have been any different than that in Dewfall (“Dew grace once has fallen upon me / You were my friend, but I could not be with you / I reached for emptiness / Looking to the past wishing all could be different”) while the music remains dense and grim from start to finish, with Doloribus crushing his drums with tons of rage and melancholy; whereas Mortal Cord is another brutal creation by Sullen Guest where Inanitas keeps vociferating like a demonic entity while Demissio and Doloribus dictate the pace with their infernal kitchen until the very last second.
Even more doomed and nocturnal than its predecessors, Footprints brings forward a beautiful melody accompanied by the lugubrious bass lines by Demissio (which will certainly please all fans of 90’s and 2000’s Doom Metal), and with the anguished roars by Inanitas being the icing on the cake. Then blending the ferocity of Death Metal vocals with the darkness of Doom Metal riffs we’re treated to Limbonic Perdition, where Inanitas and Tenebra are once again on fire with their stringed axes, generating an enfolding atmosphere that lurks in the dark ready to attack; whereas the venomous Doom Metal riffs by Inanitas and Tenebra are the main ingredient in the funereal hymn Samsara, while Doloribus keeps pounding his drums slowly and steadily, therefore generating a neck-breaking, obscure rhythm while the stench of hopelessness permeates the air. And closing the album it’s time for a serene and gentle instrumental tune titled October Lullaby, where the band darkly jams until all fades into the unknown.
I bet you’re more than curious to know how the fusion of death and doom made in Lithuania sounds, and luckily Chapter III is available in full on YouTube and on Spotify for your total delight. Also, don’t forget to check what the band is up to on Facebook and on Instagram, to subscribe to their YouTube channel for more of their unique music, and above all that, to put your filthy hands on Chapter III by purchasing it from their own BandCamp page, from Apple Music, from Amazon or from Discogs, allowing such distinguished band to haunt your damned soul for all eternity. Because, as you might already know, as soon as you start listening to Chapter III there is no light in your window anymore. You have been visited by Sullen Guest.
Best moments of the album: Dewfall and Samsara.
Worst moments of the album: None.
Released in 2021 Metallurg Music
Track listing 1. Nothing Will Be Forgotten 7:39
2. Dewfall 7:01
3. Mortal Cord 5:03
4. Footprints 6:37
5. Limbonic Perdition 7:00
6. Samsara 5:45
7. October Lullaby (instrumental) 4:54
Band members Inanitas XII – vocals, guitar
Tenebra I – guitar
Demissio XIII – bass
Doloribus XI – drums
After over a decade of silence, this infernal Italian horde returns from the netherworld with an amazing, ritualistic concept album based on the figure of the Mother Goddess.
Born in 1994 in Reggio di Calabria, a coastal city in southern Italy, by the will of their vocalist Daemonia, influenced by obscure Italian metal music, 90’s Epic Black Metal horde Demonia Mundi returns in full force after 12 years of silence with their new long-awaited full length album titled In Grembo Mater…, their best and most ambitious work to date, a stunning concept album featuring a furious metal journey enhanced by beautiful folkish atmospheres that reminds of cult bands such as Death SS, Opera IX, Windir and Limbonic Art. Currently comprised of the aforementioned frontman Daemonia together with guitarists Morlock and Vagrant, bassist Beast and drummer Uw, this Stygian Italian entity brought into being a concept album based on the figure of the Mother Goddess, a ritualistic path in which the music is a soundtrack that leads the listener during the evocation and invocation of familiar demons, realized using also traditional and ritualistic instruments used thousand years ago during the Matriarchal Era previous to our Patriarchal Era, with the album art representing the double-headed axe, or the weapon symbol of the Mother Goddess.
The fires of Black Metal burn bright accompanied by melancholic acoustic guitars in the intro Iniziazione (or “initiation” in English), with the vociferations by Daemonia setting the tone for A:·A:·Of Black Fogs And Shaded Empires, exploding into a Dimmu Borgir-inspired hybrid of Symphonic and Epic Black Metal led by the incendiary riffs by Morlock and Vagrant, therefore sounding dense and bold from start to finish. Uw and Beast generate a venomous base for their bandmates in the infuriated hymn Et In Arcadia Ego, exhaling sulfur and hatred while once again presenting an old school Black Metal sonority with imposing and epic background elements, ending in a darkly tribal way; whereas an acoustic start evolves into a feast of Black and Doom Metal in Alesa, where Daemonia’s devilish gnarls will haunt your soul for all eternity supported by the pounding beats by Uw and all phantasmagorical sounds that permeate the atmosphere in this hellish composition.
And cryptic, eerie sounds enfold us all in The Golden Bough, before Beast begins hammering his bass in great fashion, once again morphing into a disruptive and vicious display of Symphonic Black Metal that sounds majestic and infernal, with Uw being unstoppable behind his drum set, while razor-edged riffs and the otherworldly growling by Daemonia are the main ingredients in the also demolishing Hieros Gamos, not to mention the song’s skull crushing aura. After such disruptive tune we have Intra Grembo, where the band slows things down a bit and sounds more melodic than before, spearheaded by the stylish guitars by Morlock and Vagrant. However, although they tried to make it sound like a black mass, it unfortunately falls flat in the end. Lastly, another Stygian intro evolves into the early Cradle of Filth-inspired hymn The Horned And His Thousand Whelps, where all band members are on fire with their sonic weapons, in special Daemonia with his vicious roaring and Uw with his violent but very intricate beats and fills, until the music fades into a ritualistic, horror movie-ish ambience that goes on until the very last second.
In a nutshell, if you consider yourself a lover of the darkest side of music, I’m sure you’ll have an absolute blast listening to In Grembo Mater…, which is by the way available for a full and detailed listen on YouTube and on Spotify, as the album brings forward all elements we learned to love in such distinct type of heavy music through the years. In addition, if you want to put your evil hands on this amazing opus, you can purchase it from several locations including the Cult Of Parthenope’s BandCamp page, Season of Mist, IndieMerchstore and Amazon, or simply click HERE for other places where you can buy or stream the album. Also, don’t forget to follow Demonia Mundi on Facebook for news, tour dates and more of their demonic music. It might have taken over a decade for Daemonia and his venomous horde to provide us fans with a new batch of devilish arias, but after listening to In Grembo Mater… we must all admit the wait was absolutely worth it, inviting us all to worship the Mother Goddess to the sound of their wicked Black Metal.
Best moments of the album: A:·A:·Of Black Fogs And Shaded Empires, The Golden Bough and The Horned And His Thousand Whelps.
Worst moments of the album:Intra Grembo.
Released in 2021 Cult Of Parthenope
Track listing 1. Iniziazione 2:28
2. A:·A:·Of Black Fogs And Shaded Empires 6:49
3. Et In Arcadia Ego 6:13
4. Alesa 5:49
5. The Golden Bough 4:57
6. Hieros Gamos 5:03
7. Intra Grembo 6:43
8. The Horned And His Thousand Whelps 8:16
One of the most promising metal acts from the Czech Republic returns with their awesome sophomore opus, again dealing with topics of our own existence and naturalism.
Established in Pilsen, a city in the western Czech Republic, in the fall of 2015, Melodic Death/Thrash Metal unity Innersphere has just released their sophomore opus, entitled Omfalos, the follow-up to their critically acclaimed 2018 debut effort Amnesia. Produced, mastered and engineered by Dan Friml (Mean Messiah), recorded at The Barn, and displaying a darkly stunning artwork by Martina Samková (Ghost in the Shell, Llyr), Omfalos, which derives from the Greek ομφαλός (omphalos), meaning “center of the world”, once again deals with topics of our own existence and naturalism through mysterious stories with many metaphors, all beautifully brought into being by the ominous quartet comprised of Míra Litomerický on vocals, guitars and samples, Lukáš Mai also on the guitars, Marek Hubocký on bass and Filip Wintr on drums.
The atmospheric and somber intro Presentiment warms up our senses for The Darkest Hour, an imposing Progressive Metal tune showcasing obscure lyrics growled by Míra (“Droughts, plague, famine – we all blame the gods – surrendered / Cannot escape our fate – raising blackest thought – in this hour”) while the instrumental parts remain dense and captivating from start to finish; and enhancing their aggressiveness considerably, Míra and Lukáš sound infernal with their riffs in Above accompanied by the crushing drums by Filip, therefore resulting in a multi-layered, bold Melodic Death Metal aria. Then it’s time to set fire to the album in Fire, where the classic, strident riffage blasted by the band’s guitarists walks hand in hand with the bass punches by Marek, reverberating in the air in great Black and Death Metal fashion, whereas the title-track Omfalos is a headbanging beast led by the intricate drumming by Filip, with all background elements and orchestrations adding a touch of epicness to the overall result. Not only that, Míra’s roaring gets deeper and more enraged as the music progresses for our total delight.
In Wisdom, a sinister, Blackened Doom-infused intro evolves into a massive wall of sounds, showcasing neck-breaking riffs and beats, a mournful atmosphere and the always demonic vociferations by Míra, ending in a beyond climatic manner; and putting the pedal to the metal, Filip fires some tribal beats in the violent Blackness, with the bass by Marek sounding truly thunderous in an amazing display of their trademark fusion of Melodic Death and Thrash Metal, not to mention the song’s sick guitar solo. Back to a more somber vibe, the quartet brings forward a fusion of Death, Black and Doom Metal in Nature Of Sorrow, which unfortunately falls flat after a while, sounding a bit generic compared to the rest of the album; however, Innersphere gets back on track with their second to last explosion of Melodic Death and Thrash Metal, titled The Embodiment, where they keep slashing their stringed axes nonstop, providing Míra all he needs to growl and scream demonically. Finally, melancholic piano notes ignite the closing aria The Fall, once again investing in a Blackened Doom sonority (in special through the deep gnarls by Míra and the sluggish beats by Filip), flowing smoothly until its Stygian finale.
Such intense fusion of melodic, progressive and dark music can be appreciated in its entirety on YouTube and on Spotify, and you should also show your support to the guys from Innersphere by following them on Facebook and on Instagram for new, tour dates and so on, and subscribe to their YouTube channel for more of their awesome music. And above all that, you should definitely add Omfalos to your vast collection of metal albums by purchasing it from their BandCamp page, from the Slovak Metal Army webstore, from Apple Music or from Amazon. The guys from Innersphere more than succeeded in depicting the center of the world through their unique music, leaving us more-than-curious to know what’s next in their shining path of life and death.
Best moments of the album: Above, Omfalos and Blackness.
Worst moments of the album:Nature Of Sorrow.
Released in 2021 Slovak Metal Army
Track listing
1. Presentiment 1:14
2. The Darkest Hour 4:13
3. Above 5:05
4. Fire 4:49
5. Omfalos 4:17
6. Wisdom 6:13
7. Blackness 4:03
8. Nature Of Sorrow 5:48
9. The Embodiment 4:47
10. The Fall 6:05
Band members Míra Litomerický – vocals, guitars, samples
Lukáš Mai – guitars
Marek Hubocký – bass, backing vocals
Filip Wintr – drums
One of the most celebrated cult acts from the Argentinian scene is back with a brand new EP, offering us all a rusty-cage raw, drugged-out and dark fusion of Stoner, Sludge and Doom Metal.
A cult band in the Stoner and Doom Metal scene, Paraná, Argentina’s own Sahara released two celebrated studio full-length albums as well as a live album and a split with Mephistofeles before involuntarily disbanding in 2019. However, with the help of Mephistofeles members Gabriel Ravera on bass and Ivan Sacharczuk on drums, Sahara’s founder, vocalist and guitarist Martin Ludi decided to continue with the band, firing on all cylinders now in 2021 with a brand new four-track EP fittingly titled The Curse, the result of what Sahara have become and a hint of what the future holds for the band. Recorded at Evil Fidelity Studios on tape by John Follador and mixed by Dangerous, The curse offers fans of the genre a rusty-cage raw, drugged-out and dark fusion of Stoner, Sludge and Doom Metal that sounds at he same time punkish and impossibly catchy, proving the band’s comeback is not a curse, but in fact a blessing to the South American underground.
Vile and dirty from the very first second, the trio smashes their instruments flawlessly in the 70’s-inspired opening tune Hell on Earth, showcasing an amazing job done by Ivan with his old school drumming while Martin fires at the same time devilish riffs and Ozzy Osbourne-ish vocals; whereas the low-tuned, crude bass by Gabriel kick off the venomous Altar of Sacrifice, bringing to our ears more of their classic Doom Metal (not to mention the sick guitar solos by Martin), being tailored for admirers of damned and sharp doom. Following such obscure creation, Gallows Noose has a mysterious and hypnotizing vibe found in the music by Black Sabbath and Candlemass while also presenting elements from Psychedelic Rock, with Martin and Gabriel being in absolute sync with their stringed weapons by darkly jamming like there’s no tomorrow. Lastly, closing the EP it’s time for an instrumental extravaganza in the form of the title-track The Curse, where the bass punches by Gabriel will smash your heads mercilessly accompanied by the Stoner and Doom Metal beats by Ivan.
Like a violent phoenix arising from the ashes, Sahara are back in action stronger than ever with their newborn spawn The Curse, reclaiming their throne as the kings of doom in the Argentinian scene and, of course, aiming at spreading their damned wings and reaching new heights in the world of heavy music. Having said that, don’t forget to start following Martin and his henchmen on Facebook and on Instagram for news, tour dates (if we’ll ever have those again, of course), more of their music and other nice-to-know info about the band, and above all that, to grab your copy of The Curse from the Regain Records’ BandCamp page or from the Shadow Records’ webstore, showing everyone you’re a true servant of doom and, therefore, allowing Sahara’s Stygian curse to haunt your soul for all eternity.
Best moments of the album: Hell on Earth.
Worst moments of the album: None.
Released in 2021 Regain Records
Track listing 1. Hell on Earth 4:57 2. Altar of Sacrifice 3:00 3. Gallows Noose 6:13 4. The Curse (Instrumental) 2:53
Band members Martin Ludi – vocals, guitar Gabriel Ravera – bass Ivan Sacharczuk – drums
Comprised of four Canadian musicians who share the same passion for heavy music, this newborn and fully virtual Sludge Metal entity is ready to show us all the power of the riff with their debut EP.
Formed during the first pandemic lockdown, Canadian Sludge Metal project Grale is comprised of musicians who share a friendship with artist and producer Greg Dawson (guitarist for Canadian Doom Metal beast Olde) and a love of heavy music. Already an all-star unit featuring the aforementioned Greg Dawson on the guitars, Daniel Allen (of Indian Handcrafts) on vocals and guitars, Mark Rand (of Cross Dog) on bass and Kevin Farmer (of The Compound) on drums, Grale also enlisted contributions from members of metal heavyweights Sacrifice, Revocation and Gargoyl to elevate their “pandemic project” into a fully-fleshed and ferocious five-song assault, their debut EP entitled AGITACIÓN. Recorded at BWC Studios by Greg (who was also responsible for all mixing and mastering), Bandage A/V by Mark, Farmer Sound by Kevin and The Bethlab by Daniel, each song from the EP evolved from one good riff, with the band creating and collaborating remotely, focused on forging an organic new sound that would have followers of High on Fire, Motörhead or Judas Priest banging their heads in approval.
And guest vocalist Rob Urbinati (of Sacrifice) lends his enraged roars to Grale in the opening tune Meth Aggressor, making a dynamic duo with Daniel while the music showcases a visceral fusion of Death and Sludge Metal led by the massive riffs by Daniel and Greg, and with Kevin pounding his drums in great fashion. Then in No Justice For All the quartet brings forward a Mastodon-inspired sound (which means a more Progressive Metal vein, of course) where Daniel keeps vociferating nonstop accompanied by the low-tuned, rumbling bass by Mark and the always hammering beats by Kevin; whereas Grale slow things down considerably, investing in an old school Doom Metal sonority in The Blade, featuring guest guitar solos by Luke Roberts (of Gargoyl and Battlebear) and David Davidson (of Gargoyl and Revocation), with Daniel and Greg being once again merciless, worshipping the power of the riff with their guitars. The Emptiness Project is another dense and aggressive Sludge and Stoner Metal tune blasted by the quartet where all instruments are in absolute sync in the name of madness, with the piercing sound of the guitars walking hand in hand with the groovy bass jabs by Mark, and lastly, back to a more Progressive Sludge Metal sound, Grale offers us all the heavy and thrilling Terror Control, presenting visceral, raspy vocal lines, slashing riffs and crushing drums, therefore putting an awesome ending to the EP and leaving us eager for more of their sick music.
I’ve already seen countless bands and artists releasing awesome material during this never-ending pandemic, but I must admit what the guys from Grale did together is beyond impressive taking into account they never even met in person to create their songs, rehearse or record them. If you’re curious to know how four guys from four different locations sound together in this virtual world we’ve been living in, simply go check the full EP on YouTube and on Spotify, and if you like what you see don’t forget to show them your support by following them on Facebook and on Instagram, and of course by purchasing AGITACIÓN from their own BandCamp page (or click HERE for all places where you can get to know more about the band and purchase their music). In such difficult times, heavy music once again conquers all, uniting not only us fans but also talented musicians from all over the world (or in the case of Grale, from here in Canada) and keeping us sane until the pandemic is finally over. And I it takes even longer for this madness to finally end, at least we can rest assured the guys from Grale are among us to prove once and for all there’s nothing more comforting than the power of the riff.
Best moments of the album: Meth Aggressor and The Emptiness Project.
Worst moments of the album: None.
Released in 2021 Independent
Track listing 1. Meth Aggressor 4:31 2. No Justice For All 3:24 3. The Blade 4:04 4. The Emptiness Project 4:13 5. Terror Control 5:25
Band members Daniel Allen – vocals, guitar Greg Dawson – guitar Mark Rand – bass Kevin Farmer – drums
Guest musicians Rob Urbinati – vocals on “Meth Aggressor” Luke Roberts – guitar solo on “The Blade” David Davidson – guitar solo on “The Blade”
A primordial feeling of anguish speaks through five Croatian musicians and the dissonant fusion of Black, Death and Doom Metal found in their brand new EP.
A primordial feeling of anguish speaks through five musicians hailing from Zagreb, Croatia that gathered around a vision of perpetual struggle of critical reason against the pale, gray and uninspiring surroundings. That’s the core essence of the dissonant Black, Death and Doom Metal entity known as Muka, who are among us to arouse and awake our humanity, our striving for freedom and rejection of false existence, flawed idols and deceptive personalities. Comprised of Ivan Borčić on vocals, Edin Karabašić and Goran Tatalović on the guitars, Stjepan Dianić on bass and Marin Lelas on drums, Muka are unleashing upon our rotten society their third EP, entitled Patologija Poniznosti (or “the pathology of humility” in English), following up on their 2017 EP Sveta Stoka. Recorded, mixed and mastered by Filip Pacak, and displaying a raw and stylish artwork by Jelena Murk, Patologija Poniznosti will penetrate deep inside your soul mercilessly throughout its 25 minutes of extreme music styles fused in a special and vile atmosphere, positioning it as Muka’s strongest release since their inception in 2012.
Blending the heaviness of Doom Metal with the aggression and darkness of Black and Death Metal the band fires the Stygian hymn Idolomantis Diabolica (“an idol man of diabolics”), with Ivan roaring like a true demon while Edin and Goran extract sheer sulfur form their guitars; whereas the rhythmic beats by Marin together with the rumbling bass by Stjepan kick off the Blackened Doom-inspired tune Unatoč Svemu (“in spite of everything”), gradually evolving into a demented sonic beast with Ivan vociferating the song’s Croatian words darkly and rabidly. Čezneš, or “you disappear”, is another headbanging, grim creation by Muka, with Marin and Stjepan making our heads tremble while Edin and Goran slash their stringed weapons extracting minimalist but extremely acid riffs, and a neck-breaking, venomous sound permeates the air in U Zabludi (“mistaken”), bringing forward hints of Post-Metal to the band’s core Black Metal and showcasing an amazing job done by Marin behind his drum set, while his bandmates fire endless dementia and hatred through their strings and screams. Finally, their last breath of evil and obscurity comes in the form of Ljudi (which translates as “people” or “men”), where the strident guitars by Edin and Goran walk hand in hand with the metallic bass jabs by Stjepan, concluding the album on the most insane and disturbing way imaginable.
As aforementioned, Patologija Poniznosti, which can be enjoyed in its entirety on Spotify, is by far Muka’s heaviest and most detailed release to date, pointing to an even brighter future ahead of those Croatian metallers. Hence, don’t forget to give them a shout on Facebook, to subscribe to their YouTube channel for more of their cryptic creations, and to grab your copy of their new EP from their BandCamp page, from the No Profit Recordings’ BandCamp page, from Apple Music or from Amazon. You don’t need to speak or understand Croatian to capture the message and vibe of the music by Muka, which just proves how sharp and piercing their sound can be. Simply hit play and immerse yourself in a world of despair, inner struggles and pain, courtesy of five talented musicians who definitely know how to turn all of those negative and somber feelings into first-class extreme music.
Best moments of the album: Idolomantis Diabolica and U Zabludi.
Worst moments of the album: None.
Released in 2021 Independent
Track listing 1. Idolomantis Diabolica 6:00
2. Unatoč Svemu 5:30
3. Čezneš 5:02
4. U Zabludi 3:39
5. Ljudi 5:33
Band members Ivan Borčić – vocals
Edin Karabašić – guitar
Goran Tatalović – guitar
Stjepan Dianić – bass
Marin Lelas – drums
Arising from the underworld like a demonic beast, one of the most hardworking bands of the Canadian scene returns with another round of their acid Doom Metal in their third full-length album.
Patiently awaiting for their next victim on the darkest corners of Malton, a neighborhood in the northeastern part of the city of Mississauga, Ontario, Canada, located to the northwest of Toronto, the unrelenting Doom Metal entity known as Olde is back in action after four long years with their third full-length opus, entitled Pilgrimage, following up on the heaviness, aggression and madness of their 2017 album Temple. Written, performed, recorded, mixed and mastered by Olde, with all production and mastering being done by the band’s own guitarist Greg Dawson at BWC Studios in Kingston, Ontario, displaying an apocalyptic artwork by Alexandre Goulet, and featuring guests Daniel “Chewy” Mongrain (of Voivod) and Nichol S. Robertson on the guitars and Nick Teehan on saxophone, Pilgrimage will smash your cranial skull mercilessly, showcasing all the passion for doom by vocalist Doug McLarty, guitarists Chris Hughes and Greg Dawson, bassist Cory McCallum and drummer Ryan Aubin.
Arising from the underworld like a demonic beast, the sluggish beats by Ryan dictate the pace in the massive title-track Pilgrimage, with Chris and Greg extracting sheer obscurity from their axes while Doug delivers his usual roars for our total delight, whereas accelerating their pace like a behemoth of doom, Cory’s rumbling, low-tuned bass will pierce your soul in A New King, while the guitars by Chris and Greg exhale dementia and darkness from start to finish in a great display of Sludge and Doom Metal. Then we have Medico Della Peste, an awesome creation by those five talented Canadians bringing to our ears everything we love in Doom and Stoner Metal, including slow and steady beats, dirty riffs, soulful solos and the trademark raspy vocals by Doug; and the sharp but very delicate sound of their guitars is a thing of beauty in the atmospheric In Defiance, with Cory and Ryan generating a sinister wall of sounds with their bass jabs and classic drums, sounding perfect for breaking your neck headbanging.
More of the band’s classic Doom Metal is offered to our avid ears in The Dead Hand, once again dragging us down to the underworld, showcasing wicked lyrics barked by Doug while his bandmates make sure every single space in the air is filled with insanity, not to mention the sick sax solo by guest Nick Teehan. Then the tribal drums by Ryan ignite the damned feast entitled Depth Charge, tailored for admirers of the genre, bringing forward a violent yet melodic guitar solo to enhance our senses and with Doug once again leading his demented horde with his deep voice. In Under Threatening Skies we’re treated to over six minutes of first-class Canadian doom spearheaded by the visceral riffage by Chris and Greg together with the thunderous bass by Cory, resulting in an awesome composition that lives up to the legacy of old school Doom Metal; whereas raw riffs and slow, primeval beats kick off the closing tune Wastelands, where a menacing sonority flows slowly and majestically until the very end with Doug once again screaming in anger and pain, putting a vintage ending to the album.
After all is said and done, you’ll be more than tempted to succumb to the most doomed side of music together with Olde, with Pilgrimage representing another awesome step in their already solid career. Hence, don’t forget to follow those Canadian metallers on Facebook and on Instagram, to stream their damned catalogue on Spotify, and to put your dirty hands on a copy of Pilgrimage by purchasing it from their own BandCamp page, from the Sludgelord Records’ BandCamp page or from the Seeing Red Records’ webstore. Let’s all walk together with Olde on their journey of doom to the sound of their newborn spawn, showing the entire world that whenever their music sounds as heavy, grim, unfriendly and sluggish as it can be, that means it’s mission accomplished for such hardworking band of doom from the Great White North .
Best moments of the album: A New King, Medico Della Peste and Under Threatening Skies.
Worst moments of the album: None.
Released in 2021 Sludgelord Records/Seeing Red Records
Track listing 1. Pilgrimage 5:03
2. A New King 5:20
3. Medico Della Peste 4:05
4. In Defiance 6:44
5. The Dead Hand 5:11
6. Depth Charge 3:47
7. Under Threatening Skies 6:08
8. Wastelands 5:44
Band members Doug McLarty – vocals
Chris Hughes – guitars
Greg Dawson – guitars
Cory McCallum – bass
Ryan Aubin – drums, guitar solos
Guest musicians Daniel “Chewy” Mongrain – guitars
Nichol S. Robertson – guitars
Nick Teehan – saxophone
Funebria, the name of a rare manuscript “Carmina Funebria in Obitum Clarissimi” of influences in opus “Cantiones Profanae” and a fascination for funeral processions, is also the name of Venezuelan Black Metal horde Funebria, founded in 2004 in Maracaibo, a city in northwestern Venezuela and the capital of Zulia state (but currently based in Bogota, Colombia), having started following the path of pure old school Black Metal with their debut demo Manifiesto Al Esclavo, released in 2005. Currently comprised of Daemonae on vocals and guitars, Blackmiroz also on the guitars, Perverssturm on bass and backing vocals, and Naberius on drums, the band is unleashing upon humanity their third full-length album, entitled Death of the Last Sun, highly recommended for admirers of the music by Behemoth, Hate, Decapitated and Svart Crown, among others. Recorded mixed and mastered at DAE Home Studio by Ranndy Garcia (aka Daemonae), known for his work with Black Metal act Theurgia, Death of the Last Sun is an invocation to darkness in the most tight and raw way imaginable, positioning the band as one of the driving forces of the South American extreme music scene.
If you want to have a much better taste of all the darkness and wrath flowing from Funebria’s music, you can enjoy their new album in its entirety on YouTube and on Spotify, but of course you should definitely purchase the album from Dark Terror Temple’s BandCamp page, from the Satanath Records’ BandCamp page, from Apple Music or from Amazon to show your utmost support to such distinguished South American horde. In addition, don’t forget to follow the band on Facebook for news, tour dates, plans for the future and so on, proving you’re indeed a servant of the underworld as you like to brag about. Funebria are one of those bands whose sound is always evolving in the best way possible without abandoning their roots, and Death of the Last Sun is indeed a fantastic representation of their talent, their passion for Black Metal and their loyalty to this always brutal and captivating style.
Brought into being in 2017 by former members from The Great Old Ones, Spectrale, Omrade and Würm, Paris, France-based Blackened Sludge/Post-Metal entity 
If you think you have what it takes to face all the darkness, melancholy, insanity and hostility found in the new album by Demande À La Poussière, you can take a full listen at the album s many times as you want on 
Formed in 2013 in the city of Vilnius, Lithuania’s capital, Death/Doom Metal entity 
I bet you’re more than curious to know how the fusion of death and doom made in Lithuania sounds, and luckily Chapter III is available in full on 
Born in 1994 in Reggio di Calabria, a coastal city in southern Italy, by the will of their vocalist Daemonia, influenced by obscure Italian metal music, 90’s Epic Black Metal horde 
In a nutshell, if you consider yourself a lover of the darkest side of music, I’m sure you’ll have an absolute blast listening to In Grembo Mater…, which is by the way available for a full and detailed listen on 
Established in Pilsen, a city in the western Czech Republic, in the fall of 2015, Melodic Death/Thrash Metal unity 
Such intense fusion of melodic, progressive and dark music can be appreciated in its entirety on 
A cult band in the Stoner and Doom Metal scene, Paraná, Argentina’s own 
Like a violent phoenix arising from the ashes, Sahara are back in action stronger than ever with their newborn spawn The Curse, reclaiming their throne as the kings of doom in the Argentinian scene and, of course, aiming at spreading their damned wings and reaching new heights in the world of heavy music. Having said that, don’t forget to start following Martin and his henchmen on 
Formed during the first pandemic lockdown, Canadian Sludge Metal project 
I’ve already seen countless bands and artists releasing awesome material during this never-ending pandemic, but I must admit what the guys from Grale did together is beyond impressive taking into account they never even met in person to create their songs, rehearse or record them. If you’re curious to know how four guys from four different locations sound together in this virtual world we’ve been living in, simply go check the full EP on 
THE HEADBANGING MOOSE 