Tag Archives: doom metal

Album Review – Mondoscuro / Mondoscuro EP (2016)

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Enter the exciting dark world newly created by Italian legendary bands Cadaveria and Necrodeath, and your life will never be the same again.

Rating4

mondoscuro_coverartworkMore than just a regular split album, what you’ll find in the special release entitled Mondoscuro (the fusion of the Italian words “mondo” and “oscuro”, meaning “dark world”) is a fresh and vibrant cooperation between two legendary bands from the Italian metal scene, those being Biella-based Gothic/Horror Metal act Cadaveria and Genoa’s own Black/Thrash Metal squad Necrodeath. Our stunning diva Raffaella Rivarolo, commonly known as Cadaveria, has defined this unique project as “a blood pact between two diabolic entities that will give life to a new irreligious and obscure soul”, while Alberto Gaggiotti, known as Necrodeath’s frontman Flegias and also as Cadaveria’s drummer Marçelo Santos, also defined this collaboration between these iconic bands as “a pact between these entities, which has been haunting us for some time, and now the time has come to exorcise it, entering together in the same studio.” Based on the hellish words by both Cadaveria and Flegias, you can have a very good idea of what you’ll find in Mondoscuro.

The creepy artwork by Italian artist Paolo Perrotta Mazza is a precise depiction of the dark world crafted by Cadaveria and Necrodeath, portraying a mutilated woman with her throat slit and a dead fetus hanging from her stomach. Nothing could better represent the fusion of Black, Death, Gothic and Horror Metal than that, a diabolic combination of different subgenres of extreme music brought forth by two of the most important groups of the Italian underground scene. Furthermore, the way this amalgamation of evil is presented to the listener also deserves our attention, as the bands invert their roles, playing each other’s classics, firing brand new material composed together and paying a tribute to some of their favorite artists, all wrapped up in around 30 minutes of high-quality music emanating professionalism and passion for what they do. What else can you ask for in a heavy music album?

bandpicturecadaveria

Cadaveria

This devilish masquerade ball kicks off with Cadaveria playing Necrodeath’s sonic havoc Mater Tenebrarum, from their 1987 album Into the Macabre (check the original version HERE). There was absolutely no doubt this version was going to sound darkly delicious, with Cadaveria firing her trademark demonic gnarls blended with ominous clean parts after the song’s  somber intro. Not only this song presents a wilder and more metallic side of Cadaveria, but the epic operatic ending (from Keith Emerson’s Inferno outro) features some very special guests including the multi-talented Lindsay Schoolcraft (Cradle of Filth, Schoolcraft, The Astroplex). Then it’s Necordeath’s turn to provide their view of Cadaveria’s Spell, from their 2002 album The Shadows’ Madame (listen to the original version HERE), sounding as infernal as possible. Flegias does a great job on vocals, turning the original song into a more hellish tune, as well as guitarist Pier with his old school Thrash Metal attack through the sound blasted from his six-stringed ax.

The second act brings forward two brand new songs by Cadaveria and Necrodeath, starting with Dominion of Pain, where Dark and Black Metal are united by the demonic vocal duo of Cadaveria and Flegias, who together blast the song’s psychological words flawlessly (“Overtaking the boundaries of consciousness / Dominating the fevers of pain / Exorcising all fears with the violence of truth / Dissipating the ashes of uncertainty.”). In addition to that, Marçelo Santos (or Flegias, if you prefer) does a very good job with his rhythmic beats, with the last piece of the song offering that type of sluggish and somber Doom Metal powerfully blasted by bands like Cadaveria and My Dying Bride. Rise Above, a wicked marriage of Thrash and Gothic Metal fired by Necrodeath with guest vocalist Cadaveria and guitarist Dick Laurent, showcases truly Stygian lyrics (“I found your name trace in the ancient Book of Shadows / I felt your strength inside the circle of a spell / I want reality obey your dark commands / My soul is troubled by indomitable sensations.”) and a fiery Peso providing his share of aggressiveness and harmony to the musicality through his bestial drums. Moreover, its chorus couldn’t sound more old school, highly inspired by the darkest and most macabre metal music from the 80’s.

bandpicturenecrodeath

Necrodeath

The last duo of compositions are in fact cover versions for two of the most important bands in the history of music, American Gothic/Doom Metal band Type O Negative and the unparalleled The Beatles. Cadaveria is the first one to pay homage to Type O Negative through her outstanding version for Christian Woman (check the original version from the 1993 classic Bloody Kisses HERE), a powerful and passionate tribute to Peter Steele (R.I.P.) and his iconic band. Although it doesn’t beat the beauty of the original version for obvious reasons, the low-tuned obscure guitar lines by Dick Laurent and the devilish performance by Cadaveria deserve our humble recognition so amazing they are, all embraced by atmospheric keyboards and a lustful vampiric vibe. And closing this special album we have Necrodeath playing a thrashier-than-ever version of one of the biggest classics by The Beatles, Helter Skelter, from their 1968 cult album The White Album (see the difference from the original version HERE). In this eccentric version of an old school rock anthem, the whole band is on fire, especially Flegias with his deranged growls, turning what used to be just a fast-paced Rock N’ Roll song into a brutal mosh pit-generator.

If you think you have what it takes to survive this brand new dark world created by those two iconic bands from Italy, all you have to do is go check both Cadaveria’s and Necrodeath’s Facebook pages, and purchase your copy of the EP at Cadaveria’s official webshop or at the Black Tears’ webshop. But let me warn you that once you enter this “mondoscuro” built by Cadaveria and Necrodeath there’s no turning back, as you’ll be consumed by their vile and merciless extreme music, becoming a prisoner to their realm of darkness. To be fair, I guess that’s what you’ve always wanted to happen when the band in question is Cadaveria, no doubt about that.

Best moments of the album: Mater Tenebrarum and Dominion of Pain.

Worst moments of the album: None.

Released in 2016 Black Tears

Track listing  
1. Cadaveria – Mater Tenebrarum (Necrodeath cover feat. Lindsay Schoolcraft) 5:29
2. Necrodeath – Spell (Cadaveria cover) 5:14
3. Cadaveria – Dominion of Pain (feat. Flegias and Pier) 5:59
4. Necrodeath – Rise Above (feat. Cadaveria and Dick Laurent) 4:44
5. Cadaveria – Christian Woman (Type O Negative cover) 8:39
6. Necrodeath – Helter Skelter (The Beatles cover) 2:30

Band members
Cadaveria
Cadaveria – vocals
Dick Laurent – guitars
Peter Dayton – bass
Marçelo Santos – drums 

Necrodeath
Flegias – vocals
Pier Gonella – guitars
GL – bass
Peso – drums

Guest musicians
Lindsay Schoolcraft – lead lyric soprano on “Mater Tenebrarum” (Keith Emerson’s “Inferno” outro)
Tiziana Ravetti – dramatic soprano on “Mater Tenebrarum” (Keith Emerson’s “Inferno” outro)
Cristiano Caldera – tenor on “Mater Tenebrarum” (Keith Emerson’s “Inferno” outro)
Ignis Forasdomine – organist on “Mater Tenebrarum” (Keith Emerson’s “Inferno” outro)

Album Review – Shed the Skin / Harrowing Faith (2016)

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Not only an amazing tribute to the life of American musician Tom Rojack (R.I.P.), but also a lesson in old school Death Metal by five skillful veterans.

Rating4

shed-the-skin-album-coverFormed in 2011 in the city of Cleveland, Ohio, in the United States by longtime friends Kyle Severn (drummer from Death Metal legends Incantation) and Matt Sorg (guitarist for Ringworm, Charred Walls of the Damned, Blood of Christ and Beyond Fear, among others) after playing together in a tribute to old school band Blood of Christ at a memorial show for their friend Tom Rojack, who passed away in 1997, Death Metal quintet Shed the Skin are unleashing upon the earth their highly anticipated debut full-length beast entitled Harrowing Faith, following their 2014 7” EP Rebirth Through Brimstone. More than just an album, Harrowing Faith is a statement that proves the fire of traditional and brutal Death Metal is far from being extinguished.

And let me tell you that the name of the band, inspired by the track also named “Shed the Skin” from Blood of Christ’s 1993 four-song promo cassette simply titled Promo ’93, perfectly illustrates what the music by this old school Satanic Death Metal horde will inflict in you. Featuring a gory artwork by James “Human Furnace” Bulloch (Ringworm), Harrowing Faith transpires violence and bloodshed, with each one of its 12 compositions offering the listener the talent and aggressiveness of the band’s five Death Metal veterans in a little less than 40 intense minutes.

The obscure and atmospheric intro Plasmic Flames can be considered the calm before the storm in Harrowing Faith, because when the metallic riffs by Matt ignite the mosh pit-generator Daimonic Adytum all hell breaks loose. Moreover, lead singer and guitarist Ash Thomas (FaithXtractor, Vladimirs, Acheron) vomits his deep guttural like a maniac beast, enhancing even more the impact of this excellent Death Metal devastation. Then we have the title-track Harrowing Faith, a brutal havoc played at full speed where Kyle is absolutely on fire, providing more fuel for Ash to thrive with his demonic gnarls. Albeit very technical, it’s still absolutely raw and dark just the way we love in Death Metal, especially the demented sound of guitars the likes of Cannibal Corpse.

shed-the-skin-bandBlackened bells tow in a sensational demonic intro for the next tune, Putrid and Pious, as fast and aggressive as the previous tunes. The growls by Ash get deeper and deeper, with the album’s outstanding production and hints of Doom Metal taking the song’s pugnacity to a whole new level. A somber ambience grows in obscurity in Unbound Revenant, once again venturing through the realms of Doom Metal, in special the slow and steady drumming by Kyle, being perfect for fans of extremely Stygian music. Right after that doomed exhibit, a sick guitar solo kicks off a two-minute feast of sheer Death Metal entitled Warband Under the Baphomet, with highlights to its amazing vibe, fierce beats and a superb job done by both guitarists Ash and Matt as well as bassist Ed Stephens (Ringworn, Vindicator, Charred Walls of the Damned) with their lacerating strings. And the band keeps the album at a very high level of quality with the deranged composition CSUM, where not only guitars and drums are in total sync, but the hints of progressiveness added amidst all savagery also increase the overall quality of such hostile chant.

In Alpha and Omega, guitar noises grow in intensity and are violently joined by all instruments, generating total madness in the form of high-end Death Metal for the delight of diehard fans of the genre; followed by Cambion, where Ash sounds like a demonic ogre on vocals. Furthermore, this song shows that Death Metal doesn’t need to be played at the speed of light to be awesome, being as heavy as hell due to its amazing riffs and bass lines. There’s still more destruction to come, starting with Inhuman Accretion, a solid composition with demented guitar solos and endless savagery where Kyle is a stone crusher on drums as usual. The last regular song of the album, named Innermost Sanctuary, is very melodic and keeps up with the rest of the album in heaviness, but sounding slightly generic compared to the other songs, with the piercing guitars by Ash and Matt being its best element, whereas the hellish outro Execration Divine, showcasing the Phantom of the Opera-inspired organ by Brian Boston and the demonic guitar lines by Ash and Matt, puts an end to this lesson in Death Metal.

If you’re not yet familiar with the works and projects by each of the five Death Metal war dogs behind Shed the Skin, I suggest you go check their Facebook page, and in case you want to purchase this scorching gem of extreme music called Harrowing Faith simply visit the band’s BandCamp page or the Hells Headbangers Records’ BandCamp page. Wherever Mr. Tom Rojack is, I’m certain he’s truly honored with the final result that Kyle, Matt & Co. achieved with Shed the Skin, a tribute to his life and to all things Death Metal.

Best moments of the album: Harrowing Faith, Putrid and Pious and Warband Under the Baphomet.

Worst moments of the album: Innermost Sanctuary.

Released in 2016 Hells Headbangers Records

Track listing
1. Plasmic Flames 2:06
2. Daimonic Adytum 1:55
3. Harrowing Faith 3:10
4. Putrid and Pious 3:39
5. Unbound Revenant 4:05
6. Warband Under the Baphomet 2:01
7. CSUM 3:28
8. Alpha and Omega 4:44
9. Cambion 4:21
10. Inhuman Accretion 2:42
11. Innermost Sanctuary 4:04
12. Execration Divine 2:38

Band members
Ash Thomas – vocals, guitars
Matt Sorg – guitars
Ed Stephens – bass
Brian Boston – keyboards
Kyle Severn – drums

Album Review – Porta Daemonium / Serpent of Chaos (2016)

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Let the ritual begin to the sound of the old school fusion of Black and Death Metal by this demonic band from Chile.

Porta Damonium_Serpent of ChaosPure evil, hatred and darkness are about to take over the world through the bloodthirsty music by Chilean Black/Death Metal horde Porta Daemonium, who are releasing their debut full-length opus titled Serpent of Chaos, a devastating album comprised of eight cavernous compositions tailored for fans of Immolation, Incantation, Angel Corpse and many other renowned spawners of dark and apocalyptic Death Metal. And if you survive the 27 minutes of bestial growls, demonic riffs and two-fisted beats that envenom the entire album, you’ll be allowed to cross the gates of the netherworld and join this hellish band on their path to eternal damnation.

Hailing from the city of Santiago, the amazing capital of the Republic of Chile, Porta Daemonium started their mischievous career almost 20 years ago, more specifically in the year of 1998, when they were still called Porta Salomoniis. However, due to undisclosed reasons, the project took almost two decades to really take off, having released only a few rehearsal demos and promos through the years (most of them after changing their name in 2011 to Porta Daemonium) until their disfigured progeny Serpent of Chaos finally reached its ultimate form earlier this year. As already mentioned, Serpent of Chaos is a tribute to the true essence of Death Metal, a straightforward and extremely raw album that proves  to the unbelievers how powerful this obscure genre still sounds even after decades being almost unchanged, surviving to all new trends and transformations in music.

First originated in Pagan Europe as an invocation during rituals to summon Choronzon and to activate the eleven dark angels of the broken pentagram, Zazas Zazas Nasatanada Zazas (or “Open, Open, Gates of Hell Open” in English) is a hellish atmospheric intro perfect for the massacre that’s about to come, the ungodly Via Sinistra, where the obscurity of Black Metal and the characteristic deep growling of Death Metal are enhanced by its blackened lyrics (“Glory to the tunnels forgotten, A timeless trails Apofis / Where whisper in the dark. The voices on the other side. / In the realms of Lilith, Under the Tree of Knowledge / Celebrating Via Sinistra.”), not to mention all the destruction generated by drummer Ocultavio while at the same time guitarist Ignigarak fires forbidden riffs from his blasphemous instrument.

After that brutal start, lead singer Avitchi and his horde of chaos bring forth another bestial composition named The Blood of the Dark Madness, a song not recommended for the lighthearted. Quite the contrary, it will definitely darken your thoughts and soul, giving you the chills if you’re a big fan of the early days of Cannibal Corpse and Morbid Angel. And their demonic onslaught goes on with more visceral barks by Avitchi penetrating our ears in To the Left of God, a truly heavy Death Metal chant with a potent Black Metal vibe led by the blast beast by Ocultavio; followed by A Las Primordiales Serpientes del Caos, the only song in Spanish and, in my opinion, the most awesome of all. Although I doubt you’ll be able to recognize any of the words almost vomited by Avitchi even if you speak fluent Spanish, you can still enjoy the amazing job done by Ignigarak with his flammable guitar riffs and solos, as well as the complete anarchy blasted by the whole band to conclude this vile chant.

Porta Daemonium_1Bassist Necroterror and drummer Ocultavio craft a Doom Metal ambience that ignites the most obscure of all songs, the slower and more rhythmic The Apep’s Chaotic Dreams, an interesting variation of the band’s traditional havoc perfect for banging your head nonstop during their live performances, whereas the title-track Porta Daemonium lives up to the tradition of evil and putrid Death Metal, in special its wicked lyrics (“Practice the black tradition, Of walking reigning between the Qliphoths / And leave a key for us, to cross to another side / We will Open the portals to the unknown / In the name of the eleven Ancient Ones”). Moreover, the low-tuned guttural vocals, the drums at the speed of light and the epicness added to its second half help elevate it to one of the top moments of the album without a shadow of a doubt. The sharper guitar lines and cleaner sonority found in the last track of Serpent of Chaos, Under the Sigils of the Fallen Angels, turn it into perhaps the most Black Metal of all, an infernal composition with highlights to the excellent guitar solos by Ignigarak, and when it’s over you’ll be at long last fully consumed by darkness.

Opening the gates of hell and unleashing the Stygian music by Porta Daemonium upon humanity is easier than reciting a satanic mantra. All you have to do is like their Facebook page and purchase your copy of Serpent of Chaos at their BandCamp page. Let the ritual begin to the sound of the old school demonic fusion of Black and Death Metal by this excellent band from Chile, and let’s hope these talented musicians release many more brutal albums like Serpent of Chaos in the coming years for the delight of all fans of extreme music. Zazas Zazas Nasatanada Zazas!

Best moments of the album: The Blood of the Dark Madness, A Las Primordiales Serpientes del Caos and Porta Daemonium.

Worst moments of the album: None.

Released in 2016 Iron, Blood & Death Corporation

Track listing
1. Zazas Zazas Nasatanada Zazas 3:08
2. Via Sinistra 3:24
3. The Blood of the Dark Madness 3:28
4. To the Left of God 3:14
5. A Las Primordiales Serpientes del Caos 3:44
6. The Apep’s Chaotic Dreams 2:56
7. Porta Daemonium 4:20
8. Under the Sigils of the Fallen Angels 3:18

Band members
Avitchi – vocals
Ignigarak – guitars
Necroterror – bass
Ocultavio – drums

Album Review – These Winds Are Not Hope / Yesterday’s Ghosts MCD (2016)

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The five stages of grief, as proposed by the Kübler-Ross model, converted into five dark and emotive compositions by a promising Melodic Post-Metal project from Macedonia.

Rating5

TWANH_Yesterdays GhostsFormed in 2006 in the city of Kumanovo, Macedonia as a studio project by multi-instrumentalist Boban Despotovski (guitarist for Macedonian Heavy/Power Metal band Timesand) together with bassist Miroslav Denkovski (Holocaust, Timesand) and Canadian singer Marc Durkee (Lead Mule, Rain Over St. Ambrose, The Chronicles of Israfel), Melodic Post-Metal band These Winds Are Not Hope is an excellent alternative for fans of mid-tempo heavy music with Melodic Doom and Gothic Metal elements. Forget about those high-pitched screams and drums at the speed of light from other types of heavy music, as the atmospheric music by These Winds Are Not Hope is meant to touch your heart and make you feel more aware of your deepest emotions.

As their first endeavor to invite all headbangers in the world to get in touch with their soulful music, These Winds Are Not Hope have recently released their debut MCD entitled Yesterday’s Ghosts, a five-track concept album about the Kübler-Ross model, or the five stages of grief (a series of emotions experienced by survivors of an intimate’s death). Featuring a cinereous artwork by VeronikaT Photography (Czech Republic) and having each one of its songs representing one of the five stages of grief (Denial, Anger, Bargaining, Depression and Acceptance), Yesterday’s Ghosts presents a smooth pace and a strong and enfolding ambiance in its entirety, helping the listener to cope with the indescribable pain caused by the loss of a loved one.

In the first track of the MCD, titled Desolate Chambers, slow and steady beats commonly found in Funeral Doom are nicely complemented by the melancholic vocals by Marc, while at the same time Boban delivers traditional Doom Metal lines through his guitar, building up the perfect doomed atmosphere for the concept proposed by the band. And hopelessness keeps permeating the air in Yesterday’s Ghosts, a very melodic blend of old school Doom Metal and more modern Gothic Metal, where the mourning guitar riffs by Boban and the low-tuned bass by Miroslav blacken the musicality even more, with its last part getting heavier and more complex.

TWANHAlthough the pensive and sluggish tune The Endless Disconnect showcases lighter-than-usual vocals by Marc, they end up being extremely heavy in regards to words and emotions, enhanced by the yet again melodious guitar lines by Boban; whereas pure melancholy sets the tone in Beyond Repair, the slowest and most sorrowful of all five tracks. Not only Marc has another amazing performance on vocals, but drums sound truly organic despite being programmed, harmonizing the musicality in an effective way. And Boban and Miroslav unite their strings to ignite the fifth stage of grief, which comes in the form of The Death of Hope, a feast of doomed and Gothic soundings with some folk elements added to it to keep the music fresh and vibrant until its beautiful but dark ending.

If you want to know more about These Winds Are Not Hope and how they managed to represent the five stages of grief through their Melodic Post-Metal music, you can go check their Facebook page and YouTube channel, and you can show your support to this interesting project by purchasing Yesterday’s Ghosts (available for a full listen HERE) at the band’s BandCamp page, on iTunes or on Amazon. And on one final side note, every physical copy of Yesterday’s Ghosts includes a razor blade, a symbolic representation of the music by These Winds Are Not Hope and a unique add-on I don’t recall seeing in any combo or special edition released by any renowned band from any type of heavy music lately. Put differently, a peculiar gift from the band to remind you how sharp and cutting the loss of a loved one can be.

Best moments of the album: Yesterday’s Ghosts.

Worst moments of the album: None.

Released in 2016 Kran Records/Sepulchral Silence Records

Track listing
1. Desolate Chambers 5:56
2. Yesterday’s Ghosts 5:45
3. The Endless Disconnect 4:37
4. Beyond Repair 4:51
5. The Death of Hope 4:37

Band members
Marc Durkee – vocals
Boban Despotovski – guitars, keyboards, drum programming
Miroslav Denkovski – bass

Album Review – The Sound That Ends Creation / We Are The Burden (2016)

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Get ready for 21 minutes of brutal and technical Grindcore that will crush your spinal cord mercilessly.

Rating5

the sound that ends creation - we are the burdenIf someone asks you to mention a good one-man or one-woman band in Heavy Metal, the first names that will come to your mind probably play raw and obscure Black Metal. I would say that’s the case in nine out of ten projects, but obviously there are also many excellent multi-instrumentalists generating interesting material in other ramifications of heavy music such as Death and Doom Metal, for example. However, I believe this will be the first time you’ll be facing a one-man army blasting a trenchant fusion of Grindcore and Metalcore, two subgenres of heavy music where you’ll usually find regular bands comprised of at least three members. I’m talking about The Sound That Ends Creation, the indomitable creature generated inside the mind of American musician Chris Dearing in which he plays all of guitar and bass, as well as performing vocals and programming drums.

Formed in early 2016 in the city of Allen, Texas, in the United States, The Sound That Ends Creation blends all main styles found in extreme music, those being Death Metal, Black Metal, Mathcore and even Sludge and Stoner Metal, together with the project’s core essence formed of unrelenting Grindcore. The result of that brutal fusion can be seen in We Are The Burden, the debut album by The Sound That Ends Creation that will crush your spinal cord mercilessly in its 21 minutes of uncompromised devastation. Do not expect any sign of happiness or positivity emanating from the music, but only sheer savagery perfect for slamming into the pit as expected from any good Grindcore band.

Chris comes barking like a rabid dog in the opening track, a two-minute technical Grindcore tune named The Complex, also blasting the first wave of heavy riffs and violent beats in We Are The Burden. Moreover, drums sound amazingly organic despite being programmed, which is also the case in Burn the Trees, Burn the Bark, a diabolical mix of Grindcore and Black Metal, with its guitar lines being as sharp as the Death Metal-inspired growls by Chris. It doesn’t matter if the music gets faster than a bullet or as sluggish and somber as traditional Doom Metal, the entire song kicks fuckin’ ass. And the distorted mind of Chris provides the listener another two-minute havoc overflowing anger and hatred entitled A Cyclical Dawn, with highlights to all its tempo changes, which in my opinion means a lot considering the fact this is a relatively short composition.

TSTECLOGOThe Fires Are Growing trespasses the boundaries of heaviness, almost feeling like pure old school Death Metal at times while also sounding extremely progressive, flowing to a lancinating ending before the most intricate composition of the album, Machinations Of Progress, brings forth chaos and harmony at the same time. Highly recommended for fans of complexity and fury in music the likes of old school Carcass, this is the perfect example of how our lone wolf is capable of sounding like many well-established Technical Death Metal bands even being by himself and having no support from any record label. And how about an atmospheric break titled Interlude before Chris’ onslaught returns? You better take that time off to breathe, because what he delivers in A Hollow Pine Box is simply awesome. Not only guitars are superb (as well as all rhythmic beats and breaks), but there’s also room for hints of Pantera and the low-tuned sonority of Stoner Metal, enhancing the song’s impact on the listener.

If you’re still alive after such level of devastation, there’s still more madness in the form of music for you. Pounding his guitar and bass, Chris offers more high-quality Death Metal and Grindcore in less than two minutes titled Bottom Feeders, followed by The Open Eye, where the high-pitched growling by Chris together with his deeper guttural brings more flavor to the overall result. And closing the album with a beautiful message about how cruel and heartless we can all be, Chris presents the extremely technical A Portrait Of Inhumanity, a brutal Death Metal assault with progressive notes where Chris has another visceral performance on vocals.

After listening to such an inspiring album, I suggest you all go get in touch with Chris and his electrified The Sound That Ends Creation at the project’s Facebook page, Twitter and YouTube channel, and if you love the demolishing sound of raw and technical Grindcore you can purchase We Are The Burden at The Sound That Ends Creation’s BandCamp page. Chris’ 21 minutes of ruthless and virulent music are definitely worth the investment, and by buying the album you will also help this talented artist in perpetrating the awesomeness and energy of the independent scene of extreme music.

Best moments of the album: Burn the Trees, Burn the Bark, The Fires Are Growing and A Hollow Pine Box.

Worst moments of the album: None.

Released in 2016 Independent

Track listing
1. The Complex 2:06
2. Burn the Trees, Burn the Bark 2:18
3. A Cyclical Dawn 2:24
4. The Fires Are Growing 2:08
5. Machinations Of Progress 2:10
6. Interlude 1:13
7. A Hollow Pine Box 2:07
8. Bottom Feeders 1:38
9. The Open Eye 1:59
10. A Portrait Of Inhumanity 3:14

Band members
Chris Dearing – vocals, all instruments

Album Review – ThrOes / This Viper Womb (2016)

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After a few years in the making, the Tasmanian devil Trent Griggs and his henchmen finally bring to life over one hour of unrelenting flesh-eating Dissident Metal not recommended for the faint-hearted.

Rating4

THROES_TVW_COVERWhat I’m about to say might sound a bit cliché, but based on the aggressive and defiant nature of the music found in This Viper Womb, the brand new album by Dissident Metal act ThrOes, I believe we should start calling this awesome band from Hobart, the capital and most populous city of of the Australian island state of Tasmania as the “Tasmanian Devils of Extreme Metal”. Tasmanian devils are not only hostile carnivores, but also extremely asocial and neither demonstrate nor respond to affection, behavioral attitudes that match perfectly with the vicious vocal attacks, savage guitar riffs, crushing drums and even the idiosyncratic sounds of an instrument called EBow found throughout the entire album. In other words, ThrOes are unleashing a wild beast upon humanity, and it seems they’re not worried at all about the noxious effects of their music on the human mind.

Conceived by multi-instrumentalist Trent Griggs in December 2003 and having released a four-song promotional demo titled The Drowning Rituals in 2005, this interesting Avant-garde Black Metal one-man project has been going through a slow and steady process of evolution and materialization, impacted by several factors such as Trent’s perfectionism (a good element in this case, by the way), the distance between Trent and the other musicians who helped him in This Viper Womb, and also his time off in 2015 to focus on the birth of his first son Dorian. Now in 2016 it’s time for Trent, together with Australian vocalist James Ludbrook (Damaged, Terrorust) and the bestial American drummer Kevin Talley (Chimaira, Suffocation, Dying Fetus, Six Feet Under, DevilDriver), to envenom the world with the uproar caused by the ten distinct compositions from This Viper Womb.

As soon as you hit play and the opening track Permanent Midnight starts, you’ll face the spoken words by Terence Mckenna taken from the lecture “Culture And Ideology Are Not Your Friends”, presented at the Whole Life Expo in Denver in April 1999, just to show you how unconventional ThrOes are. Thus, it doesn’t take long for the atmosphere to be filled by the sick screams by the unstoppable Trent, sounding like a heavier version of the iconic Mike Patton, with all instrumental pieces being obscure, violent and reverberating, not to mention the song’s lyrics depicting the torments of a disturbed mind (“Holes for filling / With drink and smoke and coke and dope / and crack and smack, xanax, prozac, / panic attacks, terror attacks / It’s a head shrinker’s racket but they’re kidding no-one, we are drowning in this”). This is one of the craziest types of music you’ll find anywhere thanks to our Tasmanian friends, and that madness goes on in Shock to the Guts, another perfect example of what Dissident Metal means. Kevin simply kicks ass with his precision in this innovative fusion of Black, Death, Industrial, Doom and Progressive Metal, piercing your ears while the guitar solos bring some serenity amidst sheer rebelliousness.

The sinister Dead Lights already starts with Trent growling like a demon, with the additional vocals by James Ludbrook increasing even more the pandemonium generated and the bass lines by Trent adding a lot of groove to the music. Now you better get ready for eight minutes of distorted passages and desperate harsh vocal lines in Conscience Makes Cowards (I couldn’t agree more with the name of the song), which sometimes gets to such a high level of progressiveness you might get lost in time and space until Trent calls you back to reality with his hellish screams; followed by Nothing Left for the Vultures, an explosion of sharp growls and metallic riffs by Trent accompanied by the beyond complex drumming by Kevin.

throesCutting guitars and the deranged vocal duo Trent and James are the main ingredients in the extremely heavy Nowhere Else, a unique composition that leans towards Progressive Black Metal, with its second half being a descend into the underworld so disturbing it is until it finally reaches its hopeless conclusion. The eccentric title-track This Viper Womb, which emanates progressiveness and obscurity, is a funereal ode to dementia with sluggish beats and bizarre sounds in the background while insanity keeps growing and filling the song’s atmosphere, and ThrOes bring forward more Extreme Metal to you in Lavish the Anguish, full of distortions and focusing more on instrumental pieces in the first half before Trent and James begin their vocal onrush, boosting the song’s ferocity.

If you survived ThrOes’ merciless strike of extreme music until this point of the album, their coup de grâce comes in the form of Feed It, a furious Black Metal-inspired chant showcasing harmony and despair mixed in the riffs and anguished vociferations by Trent. Moreover, I guess I don’t need to say how amazing the drums by Kevin sound once again in this boundless turmoil of Dissident Metal, right? And what better way to end such a distinguished amalgamation of crazy emotions and sounds than with an eerie instrumental outro that goes on for over five minutes? That’s what Trent offers us all in D.N.A. Corruption before returning to his obscure lair in Tasmania.

The exotic and blackened world of ThrOes can be better appreciated through their Facebook page, YouTube channel (where you can listen to the whole album with lyrics for every song), SoundCloud and official blog, and you can grab your copy of This Viper Womb at the Aesthetic Death Records’ webshop. In This Viper Womb, the Tasmanian devil Trent and his henchmen bring forth over one hour of unrelenting flesh-eating Extreme Metal not recommended for the faint-hearted, finally putting the vastly wild and mysterious Tasmania on the map of heavy music for the total delight of fans all over the world who are always searching for this type of fresh and innovative band.

Best moments of the album: Permanent Midnight, Dead Lights and Feed It.

Worst moments of the album: Conscience Makes Cowards.

Released in 2016 Aesthetic Death Records

Track listing
1. Permanent Midnight 4:54
2. Shock to the Guts 7:16
3. Dead Lights 6:41
4. Conscience Makes Cowards 8:29
5. Nothing Left for the Vultures 8:41
6. Nowhere Else 6:52
7. This Viper Womb 6:02
8. Lavish the Anguish 5:15
9. Feed It 6:31
10. D.N.A. Corruption 6:00

Band members
Trent Griggs – vocals, guitars, bass, ebow
James Ludbrook – additional vocals
Kevin Talley – drums (session)

Album Review – Grotesque Ceremonium / Demonic Inquisition (2016)

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Call it Torturing Metal, Inquisitor Metal or simply old school Death Metal, the destructive music by this one man-army from Turkey will inflict some good pain on your body and soul.

Rating5

153-1Before starting reading this review, go down to the very end of it and take a good listen at the brutal devastation called “Burned At The Stake” by Turkish Death Metal one-man army Grotesque Ceremonium. Are you done listening to it? Good, because that will make it a lot easier for you to understand what an “unholy old school Death Metal band influenced by early 90’s dark, putrid evil” is, also setting the tone for every single song in Demonic Inquisition, the debut full-length album by this promising project led by the multitalented musician Batu Çetin.

Formed in 2014 in Ankara, Turkey, and having released a debut EP entitled Blasphemous Goat Observance that same year, Grotesque Ceremonium return in Demonic Inquisition with a concept album about the Dark Ages and the Medieval Inquisition, where all punishments and inquisition methods were performed by demons and Baphomet’s evil army against all believers of God. Singing about witches, witchcraft, demonic punishments and tortures in the depths of hell (the satanic temple of Baphomet), Mr. Batu Çetin will take you on a tormenting journey accompanied by the sound of his old school extreme music, leaving your agonizing soul completely disoriented and desolated. What else do you need in good Death Metal music, right?

Putrid growls and snarls permeate the air in Defiled Spirits Of Unholy Torments, where Batu displays a very good control of all instruments, in special his obscure riffs and drums like what we see in bands such as Cannibal Corpse and Morbid Angel, therefore sounding as Death Metal as possible. The title-track Demonic Inquisition builds a direct link with the opening track, enhanced by its profane vociferations and a hellish ambience. By growling deeper and deeper, Batu takes us to the hideous pits of Medieval Inquisition in a little over six minutes or torturing passages and pure Death Metal, exactly the way it’s supposed to sound.

In Burned At The Stake, which is obviously about one of the most heartless forms of torture, Batu translates the unbearable pain caused by fire into brutality with his guitar lines and rhythmic drumming, whereas in Malefizhaus & Hexengefangnis, the witch prisons built during the Bamberg Witch Trials with a capacity of 30 to 40 prisoners each, our one-man army once again provides his vision of such disgusting event through his old school musicality, with highlights to his satanic riffs and nefarious growling. If you feel your head burning after all the darkness spilled by Grotesque Ceremonium so far, get ready for more aggressiveness in Barbaric Apostasy, where despite adding hints of Blackened Doom to his beats, Batu never deviates from the foundations of Death Metal. Put differently, simply bang your fuckin’ heads to this amazing feast of extreme music until your brain detaches from your skull.

gro-bandAgonized Screams Of The Damned might be faster than the previous songs, but it’s still sluggish and extremely heavy, which obviously turns it into one of the most devastating songs of the album (if not the most). Moreover, Batu keeps roaring his fiendish gnarls and delivering his very traditional guitar lines, and pay attention to how vocals and riffs follow the exact same pattern during the entire song, showing how methodical this musician is. Following a similar sonority, we are embraced by total fuckin’ darkness in a disquieting composition entitled In The Cauldrons Of Hell, which blends the heaviness of old school Death Metal with the funereal beats from Doom Metal and Blackened Doom.

The last original track in Demonic Inquisition, named Crushing Morbid Death, is sheer Death Metal with no extra ingredients or any type of shenanigans: it’s simply Batu blasting his wicked growls, riffs and drumming in three minutes of Stygian music. And lastly, the cover version for Profanation, by old school American Death Metal band Incantation, lives up to the original version from 1992, an amazing tribute to one of our death metaller’s main influences with highlights to its “lovable” lyrics (“Pentagram is hailed in hell / Star of death brings infinite life / Enter the circle and desecrate / Devours the soul, embalminate the body…”). Not only that, keep in mind Batu is not a full-bodied band like Incantation, but just one single person, yet again showcasing his refined abilities as a musician.

This impactful display of putrescent Death Metal, available as a jewel box CD limited to 500 copies (including an 8-page booklet) or as a digital download, can be purchased at the band’s BandCamp page, at the Satanath Records’ BandCamp page and webstore, or at Discogs. Perhaps we should say Grotesque Ceremonium, the disfigured child created by the mind of Mr. Batu Çetin, is a forbidding form of Death Metal called “Torturing Metal” or maybe even “Inquisitor Metal” due to its vile nature. A good epitome of what Batu is capable of generating in music, and an excellent alternative for any fas avid for the heaviest form of Death Metal you can think of.

Best moments of the album: Malefizhaus & Hexengefangnis and Agonized Screams Of The Damned.

Worst moments of the album: None.

Released in 2016 Satanath Records/More Hate Productions

Track listing
1. Defiled Spirits Of Unholy Torments 4:52
2. Demonic Inquisition 6:28
3. Burned At The Stake 3:08
4. Malefizhaus & Hexengefangnis 5:24
5. Barbaric Apostasy 5:49
6. Agonized Screams Of The Damned 3:53
7. In The Cauldrons Of Hell 4:47
8. Crushing Morbid Death 2:53
9. Profanation (Incantation cover) 5:04

Band members
Batu Çetin – vocals, all instruments

Album Review – Cairiss / Fall EP (2016)

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Enjoy this outburst of different emotions and feelings, embraced by the heavy sounds of Post-Metal and the delicate but obscure ambience of Atmospheric Black Metal.

Rating5

Fall ArtworkThe album I’m going to talk about belongs to one of those bands that are capable of transforming all the ravage, darkness and anger of raw Black Metal into daintiness and melancholy without losing that inner aggressiveness necessary in good extreme music. However, don’t ask any of the members from British Atmospheric Black/Post-Metal act Cairiss how exactly they do that, as there’s no magic formula to reach the musicality presented in their debut EP entitled Fall. They simply let their hearts guide their creativity, resulting into an outburst of different emotions and feelings embraced by heavy passages, piercing sounds and a delicate ambience.

Founded in Southampton, UK in 2013 by guitarist Ethan Bishop in collaboration with his partner, vocalist Freyja Brown, this promising female-fronted band released their first demo track, named Disgraced (one of the songs from the EP, by the way) in 2014, which has generated so far over 80,000 views on YouTube and over 600 downloads via their Bandcamp page. Highly influenced by bands such as Opeth and Alcest, Cairiss offer in Fall a 30-minute passionate voyage through the worlds of Atmospheric Black Metal, Post-Metal and Progressive Metal split in three distinct compositions, all wrapped up by a dark and minimalist artwork designed by Freyja herself.

For The Lives He Stole, with its serene and charming piano notes, brings forward a soothing ambience that gradually moves to a heavier sounding beautifully enhanced by the smooth voice of Freyja, suddenly exploding into demonic growls and, consequently, reminding me of the contemporary music by Danish one-woman project Myrkur. Furthermore, Ethan and his bandmate Martin Williams do a great job on guitars, firing melancholy and pain through their riffs while drummer Connor Frapwell adds his share of Doom Metal and Atmospheric Doom to the musicality with his hefty beats. Not only that, the slow and somber breaks and soulful guitar solos are more-than-welcome ingredients to this 12-minute aria, with the darkness contained in the musicality growing until the song’s introspective ending.

cairissStrong emotions arise when the classy chant Disgraced, their aforementioned debut single, kicks off with beautiful Doom Metal riffs boosting its obscurity while its angelic ambience brings peace to our hearts. In this precise fusion of traditional Black Metal and Atmospheric Black Metal, the amazing Freyja ranges from the most charming clean vocals to pure hellish screeches (which obviously bring with them some traditional blast beats by Connor to properly blacken the whole composition), turning this into the most complete, exciting and well-crafted of the three tracks in Fall.

Last but not least, we have the title-track, Fall, a delicate Post-Metal composition focused on the smooth vocals by Freyja accompanied by some acoustic guitar lines and a calm environment. It’s undoubtedly the least Black Metal of all songs, getting closer instead to being a soundtrack to a drama movie with a touching ending. In other words, this is another taste of the uniqueness this talented band is capable of delivering to fans of complex and heavy music, leaving the doors open for more of their stylish Post-Metal in a not-so-distant future.

Which surprises the minds of Ethan and Freyja have for us as Cairiss evolve as a band only time will tell, but in the meantime there’s already a lot to relish in Fall, which can be listened in its entirety on their YouTube channel and purchased at their BandCamp page or on iTunes. Let’s just hope the wait for the next step in their career doesn’t take too long and that they release either another EP or maybe their first full-length album soon, permeating the air with their sophisticated and heartwarming music once again for our total delight.

Best moments of the album: Disgraced.

Worst moments of the album: None.

Released in 2016 Independent

Track listing
1. For The Lives He Stole 12:47
2. Disgraced 9:35
3. Fall 7:56

Band members
Freyja Brown – vocals
Ethan Bishop – guitars
Martin Williams – guitars
Sam Weston – bass
Connor Frapwell – drums

Album Review – Ulcer / Heading Below (2016)

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Trenchant riffs, bestial vocals and wicked beats overflowing from the third full-length installment by a band from Poland that has always been loyal to the foundations of Death Metal.

Rating5

ulcer-heading-below-frontThree years after the release of Grant Us Death, the implacable Polish Death Metal squad Ulcer strikes again with their third full-length album, entitled Heading Below, which will certainly drag you down to the underworld with its 50 minutes of devastating old school Death Metal in the vein of Swedish classics. Bursting with trenchant riffs, bestial vocals and wicked beats while dealing with topics like hate, anti-religion and death, this is a highly recommended albums for fans of the genre, and also an album that effectively solidifies Ulcer’s career not only in Poland, but anywhere in the world where Death Metal is respected and admired.

Formed in 2006 in the city of Lublin (around 200km southeast of the capital Warsaw) and featuring members from established bands such as Blaze of Perdition, Abusiveness, Deivos and Dira Mortis, Ulcer can be considered one of the (relatively) new European bands with the strongest loyalty to the roots of Death Metal, keeping their sounding as raw and aggressive as possible, but with the addition of distinct elements from other subgenres of Extreme Metal to keep the music always fresh and exciting. If the name of the band is not enough to prove you how vile and gruesome the music in Heading Below is before you hit play, take a good look at the austere cover art by Polish artist Piotr Kurek of Mentalporn (who was responsible for the artwork for another Polish Death Metal band  recently reviewed by The Headbanging Moose, the also excellent Embrional) and you’ll then realize it’s brutal Death Metal we’re talking about, and nothing else.

How else could a good Death Metal album start than with some eerie noises suddenly exploding into sheer inhumanity? That’s the opening track, named Down Below, a sonic thunder that will crush you mercilessly led by the demolishing riffs by guitarist Lucass and Mścisław, with hints of Black Metal inserted into the musicality to darken the final result even more. In Fiends Forever, melodious but fierce guitar lines open the gates for the bestial vociferations by frontmen D. and Angelfuck and the heavy beats by drummer Vizun, until the song’s Cannibal Corpse-inspired ending; whereas Sights To See presents ruthless Death Metal with hints of Hardcore and Black Metal, which obviously enhances the song’s savageness. D. and Angelfuck are once again a dynamic duo of destruction, spearheading one of the best and most devastating moments of the album for sure.

All In Vain is one of those songs where an epic intro morphs into blasting metal with huge doses of anger, with Vizun being the band’s unstoppable stonecrusher while bassist Szwed provides the low-tuned creepy lines we love in extreme music, all embraced by a somber atmosphere. As aforementioned, Ulcer definitely know how to grab the best elements from other subgenres of heavy music, as for example the Doom Metal-ish vibe that complements the ferocity of their Death Metal in the elegantly fast and furious The Phantom Heart, another brutish hymn perfect for some sick mosh pits. You Called, We Came is a direct Death Metal composition tailored for diehard fans of boisterous extreme music, with absolutely no magic ingredients added to its formula but old school destruction. Moreover, Lucass and Mścisław fire exactly what the music demands through their devilish guitars. On the other hand, despite presenting some good moments (like the guitar solo halfway through it), Miscarriage’s Lullaby is way below the quality found in the rest of the album.

UlcerphotoThe mid tempo Death Metal chant Howl Of The Jackal sounds very old school, obscure and hellish, with both vocalists offering precise guttural howls and harsh screams while the rest of the band smashes their instruments manically. Yet again, an ominous aura boosts the song’s vileness and, consequently, it’s overall quality, elevating it to the status of one of the best composition in Heading Below. Lastly, the bold and demonic 9-minute aria Enshrouded In Nothingness begins by displaying the darkest form of Blackened Doom you can think of, with its disturbing sonority being fairly different from the rest of the album. In addition, the second part of the song becomes a blend of Death and Symphonic Black Metal, always getting back to its original sluggish rhythm until its desolating conclusion, showing how versatile the band can be without affecting their Death Metal core.

Heading Below can be purchased at the Arachnophobia Records’ BandCamp page or webstore, and more details about the reverberating Death Metal by Ulcer can be found at their Facebook page and SoundCloud. As I said in the beginning of this review, Heading Below will help Ulcer cement their path to success without a shadow of a doubt due to its high level of energy, violence and devastation, keeping the demonic fires of Death Metal alive for the total delight of lovers of a type of heavy music that always takes the word “heavy” to a new limit.

Best moments of the album: Sights To See, The Phantom Heart and Howl Of The Jackal.

Worst moments of the album: Miscarriage’s Lullaby.

Released in 2016 Arachnophobia Records

Track listing
1. Down Below 6:04
2. Fiends Forever 5:46
3. Sights To See 4:29
4. All In Vain 6:09
5. The Phantom Heart 6:16
6. You Called, We Came 4:14
7. Miscarriage’s Lullaby 4:47
8. Howl Of The Jackal 5:12
9. Enshrouded In Nothingness 9:06

Band members
D. – vocals
Angelfuck – vocals
Lucass – guitars
Mścisław – guitars
Szwed – bass
Vizun – drums

Album Review – Slitherum / Godbox Suicide (2016)

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A Dark Metal album that beautifully represents all the diversity, radiance and finesse of the Greek culture, crafted by a power trio ready to conquer the world of heavy music.

Rating4

frontIn order to properly celebrate the 300th album review by The Headbanging Moose, let’s go back to a country that has always played a very important role in the history of immigration to Canada, especially during the early 20th century, building a healthy and flourishing relationship with “The Great White North”. Known for their incomparable history, rich cuisine and astonishing landscapes, Greece has always been a place where past, present and future meet, creating a distinct atmosphere not found anywhere else in the world, and the same can be said about their multilayered music as you’ll be able to see in Godbox Suicide, the debut full-length album by Gothic/Industrial Metal act Slitherum.

Amazing groups from the Hellenic Republic such as Diablery, Primeval Mass and Defision have already had their powerful music reviewed at The Headbanging Moose, not to mention the iconic Rotting Christ, all of them shaping their own style by blending elements from different genres and subgenres of rock and heavy music similarly to what Slitherum offer us in their new album. Formed in 2015 in the city of Athens, the power trio comprised of Nick Marinos on vocals, Giannis Kalamatas on guitars, bass and synths, and Antonis Kanaras on drums will take you on a journey through the realms of obscure and melodic music, showcasing all their skills and their passion for Dark Metal.

Godbox suicide starts with Λεχωνα (pronounced “Lechona”), which is Greek for a woman who has just given birth, an atmospheric intro that “gives birth” to the album and sets the tone for Feet, presenting a groovy sounding with the resonant bass lines by Giannis building the perfect ambience for the devilish growls by Nick. Not only it sounds like a hybrid of Moonspell and early In Flames, but it’s quite interesting how they add pure Hard Rock elements amidst the havoc generated by their Death and Black Metal vein, creating a fresh and solid sonority.

The title-track Godbox Suicide offers the listener slightly more melodic lines in a journey back to the 80’s, mainly due to the Type O Negative-inspired vocals by Nick. This is one of those top-notch Gothic Rock and Metal tunes tailored for lovers of the dark side who enjoy dancing facing the wall (if you know what I mean), with highlights to its powerful solos and extremely catchy chorus; whereas Vulnus, the Latin word for wound or injury, is another thrilling Gothic Metal composition with vocals leaning towards Black and Doom Metal, being melancholic, sorrowful and venomous. In addition, the spot-on Doom Metal beats by Antonis boost the song’s impact on the listener, making the whole experience of listening to Slitherum a lot more pleasant.

slitherumKeyboards bring forward an electronic vibe before Antonis smashes his drums in the awesome Industrial Metal chant Mother, with Nick going from the deepest low vocals to the harshest screeches while Giannis keeps kicking ass with his riffs and solos. After listening to this song, you’ll realize how much those Greek guys simply love all the alternative and obscure subgenres of heavy music and how elegantly and passionately they mix all their main influences into their musicality.

Before Godbox Suicide is over, Slitherum have another blast of their dark music entitled Child, a mesmerizing and atmospheric power ballad led by its strong bass lines and synths where Nick has a great performance declaiming the song’s cryptic lyrics, sometimes sounding like the weird creations by Faith No More (which just proves how versatile Slitherum are). And then the wicked composition Cure concludes the album in the darkest way possible, working almost as a regular outro but with extra layers added to it, including some eerie vocal lines in the background.

This up-and-coming Greek band can be found on Facebook and on YouTube, and Godbox Suicide can be purchased at Discogs as a CD or as a special vinyl version. Godbox Suicide is not only an album that beautifully represents all the diversity, radiance and finesse of the Greek culture, but also an album that will help this talented band go places and spread their peculiar metal music throughout the entire world.

Best moments of the album: Feet, Godbox Suicide and Mother.

Worst moments of the album: Cure.

Released in 2016 Independent

Track listing
1.Λεχωνα (“Lechona”) 3:31
2.Feet 3:13
3.Godbox Suicide 3:23
4.Vulnus 4:12
5.Mother 2:42
6.Child 5:00
7.Cure 4:35

Band members
Nick Marinos – vocals
Giannis Kalamatas – guitars, bass, synths
Antonis Kanaras – drums