Tag Archives: doom metal

Album Review – Gespenst / Forfald (2016)

Posted on by
Reply

Four lengthy, atmospheric and lugubrious tracks not recommended for the lighthearted, thoroughly crafted by a brand new Danish Black Metal act that will mercilessly disturb your peace of mind.

Rating5

gespenst-forfald-cover-artHailing from Aarhus, the second-largest city in Denmark located around 190 kilometers northwest of the capital Copenhagen, Black Metal act Gespenst (translated to English as “phantom”) is a fresh and uproarious new project featuring former members of Glorior Belli, Woebegone Obscured and Horned Almighty, among other bands, who together bring forth an atmospheric and ominous fusion of Scandinavian Black Metal with Funeral Doom, adding touches of Dark Ambient to their already eccentric extreme music. And the result of that devilish amalgamation, their debut full-length album entitled Forfald, will definitely disturb your peace of mind.

Forfald is the Danish word for “decay”, and that’s quite the sensation you’ll feel while listening to the album’s four lengthy and disturbing tracks. Listening to Forfald is like witnessing the ruin of mankind, descending into an abyss of anguish and darkness to the sound of the lugubrious music engendered by Gespenst. In its almost 40 minutes of duration, Forfald doesn’t provide any single second of tranquility or happiness, always extracting the deepest fears and most obscure thoughts from the listener. Another important piece of the music by Gespenst is the fact that some of their songs are entirely sung in Danish, a bold move that adds an extra layer of mystery and rawness to their music, enhancing the experience of listening to such somber album.

The blackened guitar lines by guitarist and keyboardist Genfærd kick off the demonic hymn Sorgens Taage, which would translate as “sorrow fog” in English, bursting agony and hatred while lead singer and bassist Galskab fires his devilish growls, increasing the obscurity of such an atmospheric and epic composition. This 9-minute aria brings forward somber Atmospheric Black Metal with hints of Funeral Doom and a sensational darkened vibe, with all the changes in rhythm, ferocity and melody adding an extra taste to it, with the doomed ending led by the sluggish beats by guest drummer Andreas Joen piercing your heart mercilessly. Even slower and more tenebrous, Revelation of Maggots offers the listener old school disquieting Funeral Doom, with highlights to the disturbing lyrics grasped by Galskab (“A sea of worms, in crawling pace / All over me, consumes my face / But I still see, without my eyes / As maggots feast, and hatch to flies”). Furthermore, Genfærd makes sure his guitar emanates grief and harasses the listener’s mind, and despite a few breaks a melancholic rhythm is maintained throughout this damned creation by Gespenst, with yet again a sepulchral ending, this time enhanced by a somber narration and anguished screams in the background.

gespenst-photoMin Sjæl Raadner (Danish for “my rotten soul” or “my soul rots”), the shortest of all tracks, presents an atmospheric and sinister beginning before the band attacks us with their dynamic blend of Black and Doom Metal, where the guitar riffs once again sound dark and harmonious, consequently dragging us to the Stygian world of Gespenst. Put differently, this is a song that can easily become a funeral hymn for lovers of extreme music. And in Life Drained to the Black Abyss we’re treated to 12 minutes of sheer darkness, with a horror movie-inspired intro progressively growing into beautiful Funeral Doom with the beats by Andreas getting sharper than before, feeling like a storm is about to begin in the background while Galskab spews the song’s lyrics about the derangement of the human mind (“My eyes have been eternally fixed / At the spectrum of darkness / A blackened stream of despair / It seems I have always been here”). In addition, when the musicality gets heavier, leaning towards classic Black Metal, it’s time for Genfærd to take the lead and guide the band’s demonic performance, haunting our perverted souls until the song’s obscure conclusion.

In summary, this is another of those albums not recommended for the average listener due to its disturbing level of agony and pain, but if you love that extremely dark side of music I can guarantee Forfald has a lot to offer you. You can take a listen at the entire album HERE, and go check Gespenst’s Facebook page for more details on the band’s current and future plans. And if you want to purchase Forfald, you can do so by visiting the band’s BandCamp page, the Hellthrasher Productions’ webstore and BandCamp page, or the Duplicate Records’ webstore and BandCamp page. This Danish Black Metal group has all it takes to take the underworld of extreme music by storm, with Forfald representing exactly what they are capable of with their instruments in their hands and a lot of darkness in their hearts.

Best moments of the album: Min Sjæl Raadner.

Worst moments of the album: None.

Released in 2016 Hellthrasher Productions / Duplicate Records

Track listing
1. Sorgens Taage 9:04
2. Revelation of Maggots 10:54
3. Min Sjæl Raadner 7:17
4. Life Drained to the Black Abyss 12:14

Band members
Galskab – vocals, bass
Genfærd – guitar, synths

Guest musician
Andreas Joen – drums 

Live musicians
Christian Søgaard – guitar
Andreas Tagmose – bass
Mads Mortensen – drums

Album Review – Warcrab / Scars of Aeons (2016)

Posted on by
4

Enjoy one of the most complete and thrilling Sludge Metal albums of the past few years, courtesy of six exceptional musicians from the UK.

Rating4

coverIt’s time to get extremely heavy with the precise fusion of Death, Sludge and Doom Metal blasted by British squad Warcrab, a sextet that has been on the road since 2009 offering their warlike music to fans of the dark side of underground metal, starting with their self-titled debut EP in 2012 and then with their 2014 EP named Ashes of Carnage. Hailing from Plymouth, a city on the south coast of Devon, England, Warcrab are back with new material and will crush your head with the darkened and sluggish compositions found in Scars of Aeons, their debut full-length album and one of the best of the genre from the past few years in my humble opinion.

The music by Warcrab is not only highly recommended for connoisseurs of Sludge Metal, but it’s also an amazing alternative for fans of bands like Bolt Thrower, Amon Amarth and Slayer due to the more aggressive approach coming from their Death Metal influences. That exciting mix of different types of extreme music led them to play numerous shows across the UK in 2015, sharing the stage with renowned artists such as Vader, Incantation and Desecration, which also turned out to be an excellent source of creativity and potency for the music found in Scars of Aeons. If there’s a word that can be used to define their musicality, I would say that word is “heaviness”.

The intro to the opening track Conquest couldn’t be more obscure and damned, but it’s when drummer Rich Parker starts pounding his drums that a dark feeling truly impregnates the air. Martyn Grant’s vociferations boost the vileness of the song, with guitarists Paul “Budgie” Garbett and Leigh Jones being spot-on with their heavy and demonic riffs throughout the song’s eight raw and fierce minutes, ending with a sensational solo by lead guitarist Geoff Holmes. The following song, Destroyer of Worlds, is tailored for breaking your neck and pulverizing your spinal cord, with the Death Metal vocals by Martyn matching perfectly with the musicality generated by the rest of the band. It is a kick-ass combination of the heaviness and moodiness of Sludge Metal with the belligerence of Death Metal, or in other words, the level of brutality in this amazing composition is definitely not for the lighthearted. And increasing their speed a bit and leaning towards a more Death Metal vibe, Warcrab keep attacking us all with their visceral music in the solid In the Shadow of Grief, where all guitarists are in perfect sync while Rich continues to fire his rhythmic and potent beats.

group-photoIn the sensational Bury Me Before I’m Born, Geoff’s soulful solos are exactly what’s needed to give more balance to the overall inhumanity generated by the band in the beginning of the song, before Martyn growls his possessed words in a demonic way. Moreover, it has a primeval and tribal feel that gets mesmerizing as the song progresses, with the thunderous bass by Dave “Guppy” Simmonds snarling like an evil monster in the background. Warcrab still have a 10-minute ode to darkness and hate to offer us all, the title-track Scars of Aeons, a groovy and powerful composition where Martyn leads the band’s Doom Metal assault with his deranged growls and screams. Despite being a neck-breaking tune, it also brings forward a good amount of melody and harmony to the listener, proving how talented the whole band is, gradually slowing down and getting more and more blackened and melancholic until all is said and done.

As aforementioned, I consider Scars of Aeons one of the most complete and thrilling Sludge/Doom Metal albums of the past few years, offering all the elements traditionally found in this type of music and at the same time presenting a fresh vibe thanks to the sensational job done by all Warcrab guys with their instruments. They deserve our respect and support for carrying the flag of extreme music in such a classy way, and in order to do that we should all give them a shout at their Facebook page, bang our heads to their music at their YouTube channel, and obviously purchase Scars of Aeons at the Black Bow Records’ BandCamp page.

Best moments of the album: Destroyer of Worlds and Scars of Aeons.

Worst moments of the album: None.

Released in 2016 Black Bow Records

Track listing
1. Conquest 8:29
2. Destroyer of Worlds 4:47
3. In the Shadow of Grief 5:56
4. Bury Me Before I’m Born 4:51
5. Scars of Aeons 10:09

Band members
Martyn Grant – vocals
Geoff Holmes – lead guitar
Paul “Budgie” Garbett – guitar
Leigh Jones – guitar
Dave “Guppy” Simmonds – bass
Rich Parker – drums

 

Album Review – Construct Of Lethe / The Grand Machination EP (2016)

Posted on by
Reply

The letters from Lucifer to archangels Gabriel and Michael after his fall to Earth as reimagined by Mark Twain, all embraced by a dark and dense atmosphere crafted by an amazing project led by veteran musician Tony Petrocelly.

Rating5

tgm-album-cover“Man is a marvelous curiosity. When he is at his very, very best he is a sort of low grade nickel-plated angel; at his worst he is unspeakable, unimaginable; and first and last and all the time he is a sarcasm.” – Letters from the Earth, by Mark Twain

Taking inspiration from Letters from the Earth, a posthumously published work of American author Mark Twain (1835–1910) with the title story consisting of eleven letters written by the archangel Satan after the fall (as he views the rise and fall of Christ) to archangels Gabriel and Michael about his observations on the curious proceedings of earthly life and the nature of man’s religion, The Grand Machination, the brand new EP by American Death Metal band Construct Of Lethe, will fulfill your needs of well-written extreme music with a dense and meaningful storyline complementing all the reverberation and aggressiveness flowing from the instruments.

Although the band is based in the city of Woodbridge, located in Northern Virginia, in the United States, Construct of Lethe are an international musical collective representing both the simultaneous culmination and dissolution of numerous bands and projects such as Against the Gods, Bethledeign, Xaoc, Dead Syndicate and Pain Tank. Formed in 2010 by multi-instrumentalist Tony Petrocelly, the band released on the first day of 2016 their debut full-length album, entitled Corpsegod, but it seems Tony and his henchmen didn’t want to wait too long to provide their fans another blast of their technical and dark Death Metal, culminating with the release of The Grand Machination in the beginning of October. Featuring an obscure cover art by Paul Gerrard and with vocalist David Schmidt reinterpreting and perverting Mark Twain’s Letters from the Earth, The Grand Machination brings forward a fresh view of the story for the ones who have already read the book, and a fantastic introduction to anyone who’s in touch with it for the very first time.

In the opening track, titled Lux in Tenebris (“light in the darkness”), an ominous intro is joined by dark and heavy guitars before a demonic fusion of Death and Doom Metal impregnates the air, with Dave sounding like a poet from the underworld declaiming the song’s beautiful lyrics (“Embrace me Thanatos that I might fall / Seduce me Hypnos that I might lap the silver waters and forget / But lo, at his heel bone I stood shackled and forced to witness / My glass eyes were held open by another’s will”). In addition, veteran drummer Kevin Talley, who has already worked with renowned bands such as Suffocation, Six Feet Under and DevilDriver as well as underground bands reviewed by The Headbanging Moose like Omega Diatribe and ThrOes, makes sure his beats reach the perfect level of complexity and obscurity requested, enhancing the song’s impact on the listener.

construct-of-letheDeath and Doom Metal are then joined by hints of Black Metal mainly due to the blast beats by Kevin, consequently making the whole ambience even more frightful, in Ascendit Ex Inferos (“he ascended from hell”), with its lyrics reaching a whole new level of obscurity (“Hear uttered a child’s creation / Upon festering incantations carried with miasmic breath / Logic castration, a eunuch of natural order”). Furthermore, it’s Tony who steals the spotlight with his cutting riffs in this maleficent tune, supported by Patrick Bonvin and his excellent solos. Then it’s time for the entire band to increase their brutality and fire the most demonic of all songs, titled Apotheosis Calvarium, where Death and Black Metal are united in a putrid and menacing way and Patrick once again delivers his share of amazing guitar solos, while Dave is the devil incarnate on vocals just the way the concept of the album demands.

Expandentes Putrescat (“spreading rot”) is where Construct Of Lethe get truly blackened, an intricate composition showcasing bestial drums and flammable guitars, surrounded by a hellish atmosphere that goes on until the song’s eerie conclusion; followed by Bibere Venenum in Auro (“drink poison in gold”), a traditional Death Metal song with highlights to the grotesque growls by Dave and the barbaric aura crafted by Kevin behind his drums. Yet again, Patrick keeps firing his old school solos nonstop, adding more electricity to this dense and somber chant. Lastly, the title-track The Grand Machination brings more darkness to the listener with its melodious guitars and Doom Metal-inspired drumming. The second half of the song leans towards a crude mix of Black and Death Metal, with its neck-breaking riff accompanying Dave and his Stygian poetic growls as the proper conclusion to this disturbing album.

You can visit the band’s official Facebook for more details on their music, listen to their obscure Death Metal on their YouTube channel (where you can take a shot at the entire EP, by the way), and you can grab a digital copy of the album at their BandCamp page, which includes instrumental demo versions of two of the regular album songs with a Cannibal Corpse-inspired vibe as bonus tracks. In Letters from the Earth, there’s an excerpt about the Bible that says “it is full of interest. It has noble poetry in it; and some clever fables; and some blood-drenched history; and some good morals; and a wealth of obscenity; and upwards of a thousand lies.” Well, maybe we should say the same about The Grand Machination, adding to that the album’s excellent riff-writing and demonic ambience. I bet Mark Twain and Lucifer would both agree with us on that.

Best moments of the album: Apotheosis Calvarium and The Grand Machination.

Worst moments of the album: None.

Released in 2016 Edgewood Arsenal Records

Track listing
1. Lux in Tenebris 4:48
2. Ascendit Ex Inferos 2:42
3. Apotheosis Calvarium 5:26
4. Expandentes Putrescat 5:03
5. Bibere Venenum in Auro 3:16
6. The Grand Machination 4:13

Digital Edition bonus tracks
7. Apotheosis Calvarium (demo version) 2:12
8. Bibere Venenum in Auro (demo version) 2:15

Band members
Dave Schmidt – vocals
Tony Petrocelly – guitar, bass
Patrick Bonvin – lead guitars

Guest musician
Kevin Talley – drums

Album Review – Hammerhands / Largo Forte (2016)

Posted on by
Reply

The soundtrack to your darkest days is here, courtesy of a talented Canadian band and their sluggish, heavy and rowdy music.

Rating4

hh-largo-forte-coverFew subgenres of heavy music can be so disturbingly awesome as Sludge and Doom Metal thanks to those low-tuned sounds, wicked screams and sluggish beats that penetrate our hearts and souls every single time we listen to them, making our lives a little more miserable just the way we like it. Hailing from the city of Mississauga, Ontario (extremely close to our “headquarters”), here comes Canadian Sludge Metal quartet Hammerhands offering their moodiness, blasphemy and grudge in their brand new album, entitled Largo Forte, a solid display of atmospheric and doomed heavy music that will accompany your misery during those dark and rainy days.

Formed in the year of 2012, Hammerhands released their debut album, Glaciers, one year later in 2013, also releasing that same year a special covers EP named 1995 containing their versions for two of their biggest influences in music (“X.Y.U.” by The Smashing Pumpkins, and “To Bring You My Love” by PJ Harvey). It might have taken three years for the band to release new original material, but based on the music found in Largo Forte it was definitely worth the wait. Featuring a dark and pensive artwork by their own bassist Justin Hunt, Largo Forte brings forward the band’s trademark Atmospheric Sludge and Doom Metal blended with Alternative Metal and other subgenres of heavy music, generating a metallic ambience tailored for fans of sheer heaviness.

The rumbling bass by Justin kicks off the groovy Eighteen, a sluggish composition that becomes a dark feast of modern and crude Sludge Metal when the inebriate and desperate vocals by NJ Borreta join the musicality, with its anguish ending only increasing its impact even more; followed by THUNDERCHUNK, a dense Stoner Metal chant emanating pure anger from its lyrics (“You are a brave man, / some father’s son. / Hammer your hard head, / against the ground. / You’re going to flex your muscles, / and bare your teeth. / Break everything around you, / you know I’ll hold my god damn stance.”). Guitarist Collin Young does a superb job with his wicked noises while drummer Jon Galletly delivers those slow and extremely heavy beats we love in this type of music, with yet another ending transpiring hopelessness and anguish.

hammerhandsHigh Plains is just perfect for an eerie strip-tease done by a mischievous and devilish woman, an obscure Sludge and Doom Metal tune led by the thunderous bass by Justin and the slow and steady beats by Jon, not to mention the spot-on vocals by Collin throughout the entire song. And the title-track Largo Forte begins as obscure as its predecessor, with the bass lines kicking you in the face while Collin fires some Sabbath-inspired riffs in the background. Moreover, the music is kept low and dark almost in its entirety, suddenly exploding into pure hatred through the desperate screams by NJ. Mezzo Grave, displaying some wicked noises and screeches, works as a bridge to If You’re Not Part of the Party, You’re Part of the Problem, showcasing downright distortion and an endless dosage of aggressiveness. The thunderous sounds blasted by bass and drums will pierce your mind, whereas NJ continues delivering his anguished lines until the song’s chaotic and heavy ending.

With a start lot lighter than all previous tunes, Where We Go brings forward more melodious and melancholic sounds thanks to the guitar lines by Collin. Albeit being a good composition, it’s slightly below the rest of the album in terms of quality and creativity, but fortunately that doesn’t last long as we’re treated to the almost pure Doom Metal tune Darkerness with its low-tuned sonority and slow, heavy pace. This song presents a tormented intro that goes on for over two minutes, warning the listener that darkness is upon us, which is only confirmed through its macabre lyrics (“We’ll gut them, / and bleed them dry. / They’ll scream for hope, / but die inside. / Now that they plunge, / there is no right. / This place, / no light.”). Furthermore, as already happened in previous songs, its ending is a noisy and deranged chaos. In The Hardest Thing we have one final blast of distress, with Collin declaiming the lyrics through his somber and funereal vocals while the rest of the band plays some sort of Tarantino-inspired noisy Blues, an interesting way to close such a substantial album.

There’s a nice way to enjoy the whole album on YouTube in the 49-minute official video crafted by the band, displaying deserted landscapes, predatory reptiles, burning lava, among other beautiful scenes from Mother Nature, and you can also visit their Facebook page and YouTube channel to know more about their music and future projects. Obviously, you can purchase Largo Forte at Hammerhands’ BandCamp page to show your true support to these talented Mississaugans whose job is to provide us fans of Sludge metal exactly the type of music needed on our gloomiest days.

Best moments of the album: THUNDERCHUNK, High Plains and If You’re Not Part of the Party, You’re Part of the Problem.

Worst moments of the album: Where We Go.

Released in 2016 Independent

Track listing
1. Eighteen 4:58
2. THUNDERCHUNK 7:11
3. High Plains 4:57
4. Largo Forte 6:44
5. Mezzo Grave 2:34
6. If You’re Not Part of the Party, You’re Part of the Problem 3:39
7. Where We Go 5:50
8. Darkerness 7:58
9. The Hardest Thing 5:25

Band members
NJ Borreta – vocals, guitar
Collin Young – guitar, vocals on “High Plains”, “Where We Go” and “The Hardest Thing”
Justin Hunt – bass, backing vocals
Jon Galletly – drums, backing vocals

Guest musician
Andrew Couto – saxophone on “Darkerness”

Album Review – Rigor Mortis BR / The One Who… (2016)

Posted on by
Reply

Feel the stiffness of death dominate your body after being crushed by the brutal Death Metal blasted by this old school quartet made in Brazil.

Rating5

capa02-grandeRigor mortis (or “stiffness of death” from Latin), is one of the recognizable signs of death caused by chemical changes in the muscles post mortem, which cause the limbs of the corpse to stiffen. Just add to that a “BR”, and the final result will exhale putridity and toughness, the two main elements found in the impetuous Death Metal played by the excellent Brazilian underground squad Rigor Morts BR, who are releasing a feast of old school extreme music entitled The One Who… for the delight of fans of Suffocation, Cryptopsy, Dying Fetus and Cannibal Corpse. If you’re ready to bang your head like a maniac until your neck stiffens to the point you cannot move it anymore, then Rigor Mortis BR will definitely help you achieve your main objective.

Formed in the 90’s by guitarist Alexandre Rigor in the city of Porto Alegre, the capital of Brazil’s most southern state, Rio Grande do Sul, Rigor Mortis BR offer fans of heavy music a lecture in brutality mixed with a refined technique, always loyal to the foundations of Death Metal by keeping their musicality extremely raw and visceral. Going beyond the limits of the human mind and especially of our actions and primeval nature in their lyrics, Rigor Mortis BR have been fighting for years against financial setbacks and the hassles of finding a record label, but it seems they have finally found the right partner for the release of The One Who…, as the entire team from Sangue Frio Produções are huge supporters of the Brazilian underground scene and certainly provided everything Rigor Mortis BR needed to spread their carnivorous Death Metal all over the world.

A short macabre Intro prepares the listener for Dialeto de Morto (“dialect of the dead”), a putrid Death Metal composition that takes violence to the limit, with bassist Christian Peixoto blasting some low-tuned punches before drummer Ricardo “Chakal” Chiarello begins his furious performance. Their sonic carnage continues with the demented Psychotropic Illness, where lead singer Leafar Sagrav (or Rafael Vargas backwards) sounds truly possessed due to his bestial deep gnarls while Alexandre Rigor delivers old school riffs through his evil guitar; followed by Human Flesh Juice, with the putrescent growls by Leafar and the insane beats by Chakal leading this infernal tune that brings forward traditional Death Metal with hints of Black Metal. Despite being cavernous at all times, it’s still very technical, showcasing how skillful the entire band is, as for example the wicked solos by Alexandre.

Medieval Impalement, the longest of all tracks, presents elements from sluggish and evil Doom Metal with Leafar offering some hellish gnarls commonly found in Black Metal, therefore enhancing the song’s obscurity. It’s tailored for fans of the heaviest form of Death Metal you can think of, where the sounds brought forth by Alexandre on guitars are insanely menacing. Following that damned song, Rigor Mortis BR keep paving their furious path of devastation with Find Body Parts Toy, with highlights to its unstoppable beats and another demented performance by Leafar on vocals. The second song of the album sung in Brazilian Portuguese and a demonic composition that sounds absolutely demolishing, Febrônio Índio do Brazil, is about a famous Brazilian serial killer known as “Filho da Luz” (or “son of light”), with the entire band translating the violence and bloodshed of his lunatic acts into their merciless Death Metal.

Interlúdio is a very quick break before all hell breaks loose once again with Raw Meat Sugar, with Chakal sounding as if he’s pounding his drums with a sledgehammer, consequently reaching a whole new level of heaviness and being highly recommended for some sanguinary mosh pits and ferocious headbanging. And closing the album we have the title-track The One Who…, bringing forward some modern elements without losing its old school essence. While Leafar’s growls and screams get deeper and deeper, Alexandre fires razor-edged riffs that will cut your ears mercilessly until the end of this bestial song.

In order to explode your ears and stiffen your neck headbanging to the music by Rigor Mortis BR, go check their Facebook, YouTube and ReverbNation. There are several locations where you can purchase The One Who…, as for instance the Sangue Frio Produções’ webstore, The Metal Vox, Heavy Metal Rock, the Odicelaf webstore and directly from the band’s Facebook shop. By supporting bands like Rigor Mortis BR, you are not only providing your neck an endless source of pain due to the brutality emanating from their music, but you’re also helping underground Death Metal to stay alive, which is always a good thing.

Best moments of the album: Dialeto de Morto, Human Flesh Juice and Raw Meat Sugar.

Worst moments of the album: None.

Released in 2016 Sangue Frio Records

Track listing
1. Intro 0:23
2. Dialeto de Morto 2:31
3. Psychotropic Illness 4:45
4. Human Flesh Juice 3:26
5. Medieval Impalement 6:14
6. Find Body Parts Toy 3:58
7. Febrônio Índio do Brazil 3:28
8. Interlúdio 0:24
9. Raw Meat Sugar 3:56
10. The One Who… 2:48

Band members
Leafar Sagrav – vocals
Alexandre Rigor – guitar
Christian Peixoto – bass
Ricardo “Chakal” Chiarello – drums

Interview – Cadaveria

Posted on by
Reply

Descend into the dark world of Cadaveria and Necrodeath in this exclusive interview to The Headbanging Moose where Cadaveria herself and Flegias discuss the past, present and future of their music, their high-yielding longtime partnership and the metal scene in Italy, among other topics.

cadaveria

Cadaveria

The Headbanging Moose: First of all, could you please give a brief introduction of who Cadaveria is for the readers of The Headbanging Moose who for some reason don’t know you and your music yet? How would you define your style, and what’s your main objective with your music?

Cadaveria: CADAVERIA was formed in 2001 by Marçelo Santos (Flegias) and I with the intent to create a virtual space where to freely express ourselves as musicians and extreme artists. Since then we released five full length albums, a double DVD and, recently, an EP, entitled Mondoscuro, with the cooperation of Necrodeath. Basically our music is a personal mix of Black Metal and Death Metal with Doom and Gothic influences. Fans and critics have labeled it Horror Metal, not just for my dark and pale image, but rather for the obscure atmospheres evoked by our songs. This definition leaves us free to experiment while we compose and to play the music we like and feel, with no particular boundaries and without following any trend.

THM: What was the main idea that originated the amazing and distinct project Mondoscuro? You defined it as “a blood pact between two diabolic entities that will give life to a new irreligious and obscure soul”. Could you please explain that in more details for our readers?

Cadaveria: The idea to work with Necrodeath was flowing in our minds since a long time. These two bands have an individual history and they have always walked along parallel paths without meeting each other, but at the same time there is a strong connection between them, for the fact we share two band members: our drummer, Marçelo Santos/Flegias, is Necrodeath’s singer and GL/Peter Dayton plays the bass in both the bands. Last year we felt the time has come to make it real, so we started thinking about this EP and its contents. We wanted to create something special, not an ordinary split EP, and we wanted the two bands interact on the same songs. Finally Mondoscuro features two brand new and co-written songs, two covers (one of The Beatles and one of Type O Negative) and two unusual “exchange of roles”, that see CADAVERIA reinterpreting a classic by Necrodeath and Necrodeath performing a CADAVERIA hit. The EP title reminds of “Mondocane Project One” split by Necrodeath and Schizo, released in 1990, and it also refers to the cinematographic genre “Mondo film” of explicit documentaries, born in the 60s and depicting sensational, bloody and shocking scenes. The cover artwork synthesizes this topics in some way.

THM: How is your relationship with the other half of Mondoscuro, the unstoppable Black/Thrash Metal band Necrodeath? As you and Flegias have been together for decades already, since your time with Opera IX from 1992 to 2001, how easy was the process for you to compose songs together for this very special album, as well as playing each other’s songs (Cadaveria playing Mater Tenebrarum and Necrodeath playing Spell)?

Cadaveria: The creation of Mondoscuro was quite demanding. The involved bands have different methods concerning songwriting, so sometimes it was hard to merge forces. I enjoyed a lot to write the lyrics for Necrodeath’s song “Rise Above”, to cover “Mater Tenebrarum” and of course to duet with Flegias. This was a great for us both, although we play together since 1991. Recordings took place in two different Italian studios, so that each band preserved its own sound, vocal duets took place in the same studio where CADAVERIA recorded the rest of the EP and the recording studios worked in connection, in order to give unity to the final product.

mondoscuro_coverartwork

Album Review – Mondoscuro / Mondoscuro EP (2016)

THM: Two tracks in Mondoscuro that certainly caught my attention were your cover version for Type O Negative’s classic Christian Woman, and Necrodeath firing a sick version for The Beatles’ Helter Skelter. Why did you and Necrodeath chose those specific songs to be part of Mondoscuro? What do they represent to your life and career?

Flegias: “Christian Woman” is part of “Bloody Kisses”, an album that Cadaveria and I have consumed and listened to so many times in our early years, it is part of our background. It formed that particular “doom-and-romantic” soul that you can often find in CADAVERIA compositions. The rest of CADAVERIA band love it as well and when we proposed to cover Christian Woman there was a standing ovation. For what concerns “Helter Skelter” we wanted to pay homage to a song that is considered the first heavy metal track ever composed in all the history of heavy metal. In addition, Peso, Necrodeath drummer, is a great expert of The Beatles and of Ringo Starr, a genius and a great innovator of the drums.

THM:  Another interesting detail in Mondoscuro is that, in the brand new song Rise Above, the first few sentences of the lyrics are in Italian, your mother tongue. English might be the “official language” of Dark Metal, but don’t you think more songs in Italian would bring an extra layer of obscurity and lust to the music? I’m asking this because I personally enjoyed a lot the energy of the Italian words in Rise Above and I would love to see more of that in the music by Cadaveria.

Flegias: Despite the fact the last full length from Necrodeath, “The Seven Deadly Sins”, was half written and sung in Italian, for me to sing in Italian was more difficult than to do it in English. By the way I’m very satisfied of this choice made by Cadaveria concerning the language to use in this song, the parts to leave in Italian and the parts of the lyrics I had to sing.

Cadaveria: I usually write lyrics in Italian then I translate them into English. Sometimes I feel English doesn’t get the proper synonym for a word. In those cases the temptation to leave it in Italian is strong, but usually I search and find a satisfying solution. This time, with Rise Above, I decided in advance what parts to compose and leave in Italian. The very beginning is a prologue, a sort of ritual or a prayer and it sounded so good like this. The following verses came to me in rhyme, so they were born to live in Italian.  But I don’t think an entire album in Italian would be a good idea. I like to use this language when verses are particularly poetic and the music is very atmospheric, but I think Italian lyrics would sound a bit punk-hardcore on a fast tempo.

THM: In regards to your career, what has changed in the music by Cadaveria from when the band started back in 2001 (with the release of The Shadows’ Madame in 2002) until today, and what have the biggest challenges been for the band to stay alive and kicking ass through the years?

flegiasnecrodeath

Flegias (Necrodeath)

Cadaveria: We grew up as musicians and producers of ourselves. And we grew up as human beings, so the music we play now is on a higher level, enriched by our experiences. Passion and independence are still the same. This is probably what made us survive in the music business. I’m very proud of the fact we have our own style, that makes us be noticeable among so many clones.

THM: What’s next for Cadaveria? After the excellent album Silence, from 2014, and now Mondoscuro, what does the future hold for the band? Can we expect another project like Mondoscuro soon, or is it time for a brand new Cadaveria album to become alive?

Cadaveria: In the last four years we never stopped working, we have released the Horror Metal album, re-mastered and released our debut full length The Shadows’ Madame, we gave life to the retrospective double DVD Karma, then it was the time for Silence album and now Mondoscuro EP, without counting we played about 60 live gigs in Europe and outside it. It’s time to take a short break. I need to recharge energy and to find new inspiration before starting working on a new album, that could be the last one for us. And so it must be unique and perfect. In the meanwhile Mondoscuro will be released on vinyl by the end of this year and in Spring 2017 we will re-release our 2nd album Far Away From Conformity (2004). Both releases will be via Sleaszy Rider records. We will continue to play live here and there and I hope to be invited to play in places where we have never been before.

THM: Talking about your personal life now, what does Raffaella Rivarolo do in her free time that Cadaveria doesn’t do, and vice-versa? How do you work on the transition between the two, and how do you manage to keep both entities separate in your life? Or are Raffaella and Cadaveria the exact same person, sharing all their likes and dislikes all the time?

Cadaveria: Well, basically Cadaveria and Raffaella are the same person, it’s just a matter of names… (but many people call me Cadaveria or Cada in private life too). I love art and when I’m not busy with music I make videos (music videos, institutional, etc) to pay my bills. I travelled a lot in the last two years to follow an Italian athlete who cycled the world by bike. I made some video documentaries about this. You will find a lot of Raffaella in CADAVERIA lyrics… the experiences I live flow into CADAVERIA songs.

cadaveria_silence

Album Review – Cadaveria / Silence (2014)

THM: I’ve been reviewing so many incredible Italian bands lately it’s hard to name just a few, for example we have the electrified Metalcore by Moth’s Circle Flight, the fusion of Black and Heavy Metal blasted by Malamorte, the badass Rock N’ Roll by Helligators and Roadless, the beautiful Gothic and Doom Metal by Witches Of Doom, among many others. How do you see the state of the underground metal scene in Italy today? What have been the biggest improvements in Italian metal, and what’s still far from being acceptable in your opinion?

Cadaveria: Italy counts many new bands that try to emerge and be noticed in the underground music scene. But in Italy everything connected to culture is very difficult to carry out and unfortunately music is not considered a major art here. I always say to new comers: do it just for yourself, release your passion and don’t think about success. Rather try to make the difference.

THM: Here at The Headbanging Moose we have a special section called Metal Chick of the Month, where every month we pay a tribute to an already established and prominent woman in metal such as Masha Scream (Arkona) and Lena Abé (My Dying Bride), or to an up-and-coming lady from an underground band that’s starting to make a difference in heavy music. How do you see the importance of women in metal today? And who are your biggest female idols in music?

Cadaveria: Yes and I can see it today and, however, I have never experienced any discrimination for being a female. Male or female it doesn’t matter. The most important thing is to be strong and faithful to yourself. Music has no sex. The first female voice I heard in extreme metal was Sabina Classen. I was in the beginning of my career so I’m in a certain sense connected with her. I do not have idols but I like Skin’s voice very much.

THM: How about your current and upcoming tour dates to support the release of Mondoscuro? How have the fans reacted to the new songs and to the overall project during your live performances? And can we expect a Cadaveria tour to Canada and the United States in a not-so-distant future? We have a huge Italian community here in Toronto that would love to have you perform in front of them, no doubt about that.

cadaveria-pic03

Beautiful witch give light to this black muddy sky…

Flegias: We did a unique show for Mondoscuro at an important festival in Italy last month. We had the opportunity to play a great show with a specific scenic design that evoked the birth and death theme of Mondoscuro. Just to mention a detail, Cadaveria appeared on stage in a mortuary body bag… and we performed some songs singing together. All was perfect and really great, but this will remain unique and once in a lifetime. The effort to bring two bands like this on the same stage into the same show is very big. We spent a lot of energies in this and we decided that it will not be possible to replicate this project live on stage in the future.

Cadaveria: We will bring at least one song from Mondoscuro in CADAVERIA future set list. As I said I need a pause, so next shows will happen in 2017. We would love to tour your country! We had received a couple of offers in the past but we need also a US tour segment to add, to make costs be covered. We really hope the Italian community in Toronto who wants to see us playing there will make their voices be heard by local promoters. Ask them to invite us. We are available and ready to kick ass.

THM: Thank you very much for your time, I truly appreciate that.  Please feel free to send a final message to all our readers and all metalheads not only in Canada, but everywhere else in the world.

Cadaveria: Flegias and I want to thank you a lot for your attention and interest. Hail to all CADAVERIA and Necrodeath fans. Check out Mondoscuro!

Links
Cadaveria Official Website | Facebook | Twitter | YouTube
Necrodeath Official Website | Facebook | Twitter | YouTube

Album Review – Mondoscuro / Mondoscuro EP (2016)

Posted on by
1

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)

Posted on by
1

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)

Posted on by
Reply

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)

Posted on by
Reply

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