Tag Archives: extreme metal

Album Review – Lunatic Hooker / Embracing The Filth (2017)

Posted on by
Reply

Be embraced by the filthy and crushing Grindcore with a Sludge Metal twist crafted by five British musicians who got together to reignite their inner fire and passion for extreme music.

The music business can be spirit crushing and soul destroying, where bands that start as groups of friends with a passion for music can end up disillusioned, with the flames of their passion near extinguished. This happened to British musicians George (vocals), Ross (guitar), Tim (guitar), Duncan (bass, vocals) and Rafael (drums) in their respective bands, but rather than let those last flickering embers burn out for good, they got together to reignite the fire, forging in 2014 a new evil entity that goes by the name of Lunatic Hooker, blasting a roaring fusion of Grindcore and Sludge Metal perfect for nonstop slamming and headbanging.

After the release of a two-track demo in 2015 and a single with their cover version for Motörhead’s all-time classic (We Are) The Road Crew in 2016, this London-based squad is unleashing upon humanity their debut full-length opus, titled Embracing The Filth. Featuring twelve tracks of unrelenting, punishing and pulverizing Extreme Metal, all enfolded by a captivating artwork by Dan Capp (Winterfylleth) and crackling with that irresistible rediscovered electricity, Embracing The Filth is one of those albums you might not know what you’re dealing with at first, but that you’ll get addicted to as soon as you hit play and let its piercing sounds invade your ears.

Rafael and his doomed beats ignite the sludgy party named My God Is Bigger than Yours (what a clever name for a song), before chaos reigns through the putrid gnarls by George and the dirty and fast riffage by Ross and Tim. Once again uniting Grindcore with Sludge Metal, demonic sounds emanate from all instruments in Beard Feared, in special the blast beats by Rafael and the devilish growling by George, with its brutal slamming rhythm drawing influences from Slayer, Napalm Death and other devastating groups; followed by The Pen Is Mightier than the Sword, another song with a very intelligent name that also presents crushing riffs and beats while George sounds more demonic than ever (and let me say that, if you survive the intense circle pit this song can generate, you’re pretty much immortal), and Unearthed Dead Children, a sonic onslaught of Grindcore bursting heaviness through the cavernous growls by George and Rafael’s ruthless drumming.

The title-track Embracing the Filth lives up to its name, being a dirty, crude and absolutely vile composition of darkness. Moreover, it feels like the guitars by Ross and Tim are an extension of George’s sick vocals, consequently enhancing the song’s overall impact, with Rafael once again showing no mercy for his drum set. In Blood Eagle we face an eerie start that lasts for almost half of the song before the band gets back to their sick high-speed musicality, with its guitars and drums exhaling sheer Grindcore, whereas Fucks All brings elements from Hardcore and Thrash Metal to their already aggressive sonority. Tim and Ross keep firing some sick dirty riffs to make the whole song more demonic, also presenting Black and Death Metal blast beats thanks to the unwearying Rafael. And the excellent Cult Chaos begins at full speed, reminding me of some of the most visceral creations by Cannibal Corpse, with all instruments sounding extremely sharp from start to finish. Hence, this slamming composition should work really well during their live performances.

In Transformation Walrus, a song inspired by and featuring footage in its official video from Kevin Smith’s 2014 film Tusk, darkness takes control of the band from the very first second, with George leading his crew with his deranged growls, before See the Light, perhaps the most violent of all tracks, showcases deeper guttural vocals by George and the merciless drums by Rafael highly influenced by old school Death Metal. In other words, Lunatic Hooker offer us two and a half minutes of pure brutality, with some harmonious guitar lines and solos to give more balance to the overall result. There are two more songs to go in this demonic opus, starting with Spain in the Neck, another recommended soundtrack for a sick mosh pit where Ross and Tim sound like two beasts with their flammable strings, while Rafael keeps the adrenaline high with his unstoppable beats. And finally, the closing of their awesome casket comes in the form of a 6-minute demented extravaganza named Sarlac, where George reaches the deepest and most obscure growls of the entire album. Slow and steady, almost sounding like Funeral Doom, this composition is very different from all previous tracks, showing the band’s crisp versatility in Extreme Metal.

If you feel more than ready to be embraced by Lunatic Hooker’s filthy and crushing Grindcore with the sluggish twist coming from their Sludge Metal vein, go join their demented crew at their official Facebook page and enjoy more of their cutting music at their YouTube channel. In Embracing The Filth, available at the band’s Big Cartel, at the Black Bow Records’ BandCamp and on Amazon, Lunatic Hooker were extremely successful in concentrating all their passion for extreme music and transform that metallic amalgam into reality, leaving all doors open for another blast of their vicious music anytime soon, and hopefully for many years to come as well.

Best moments of the album: My God Is Bigger than Yours, Embracing the Filth and Cult Chaos.

Worst moments of the album: Blood Eagle.

Released in 2017 Black Bow Records

Track listing
1. My God Is Bigger than Yours 3:16
2. Beard Feared 2:32
3. The Pen Is Mightier than the Sword 3:08
4. Unearthed Dead Children 2:48
5. Embracing the Filth 3:07
6. Blood Eagle 4:13
7. Fucks All 2:46
8. Cult Chaos 3:24
9. Transformation Walrus 3:32
10. See the Light 2:35
11. Spain in the Neck 2:46
12. Sarlac 6:24

Bonus track
13. (We Are) The Road Crew (Motörhead cover) 2:44

Band members
George – vocals
Ross – guitar
Tim – guitar
Duncan – bass, vocals
Rafael – drums

Album Review – Hellfire / Goat Revenge EP (2017)

Posted on by
Reply

From the ominous pits of the Ukrainian underworld, comes a triad of black metallers ready to crush your soul with their demolishing debut album.

Are you ready for a demonic storm of Black Metal made in Ukraine, with strong influences from old school Thrash and Death Metal? If instead of simply answering yes you began banging your head and raised your devilish horns, then the darkened, blasphemous music crafted by the vicious power trio known as Hellfire in their debut EP titled Goat Revenge might be exactly what you’re looking for in extreme music. In a little less than 25 minutes, Hellfire unleash sheer fury and hatred upon humanity in Goat Revenge (which by the way features a beyond traditional and macabre artwork by artist Oleg Satanyugin), showcasing all their loyalty and passion for underground Black Metal.

Forged in 2014 in the hellish fires of Kremenchuk, an important industrial city in the Poltava Oblast, in central Ukraine, by lead singer and guitarist Karagh and bassist Necrobaphomet (former members of Ukrainian Black Metal band Paranomia), Hellfire have been gaining a lot of positive feedback wherever they play in their homeland, inspiring the trio to keep moving forward and never turning their backs to traditional Black Metal. If you check their biography online, you’ll see they don’t assign “regular instruments” to themselves, but they use more obscure words to describe their roles in the band. Karagh is responsible for “all guitar holocaust, screams and bulldozer”, Necrobaphomet takes care of the “four strings fornication and obscurant propaganda”, and their third element, drummer Skullcrusher, provides the “drums of doom and coffins”. After reading that, how putrid and aggressive do you think Hellfire might sound?

Goat Revenge starts with an Intro comprised of a minute of flies buzzing, gun shots and ominous sounds, directly followed by the cutting tune Hellmass Attack, where the band delivers devilish Black Metal with huge influences from Death Metal and hints of the badass Rock N’ Roll by Motörhead. Moreover, Karagh blasts pure evilness through his demonic growls and metallic riffs, boosting the song’s already visceral sonority. Following a similar pattern from its predecessor, the title-track Goat Revenge is led by the infernal and rhythmic beats by Skullcrusher, while its main riff will incite you to bang your head nonstop. In addition to that, Karagh sounds filthier on vocals than before, with Necrobaphomet maintaining a high level of obscurity in the music with his roaring bass guitar.

War Apocalypse Battery, another thunderous, badass composition by Hellfire and a mandatory choice for their live performances, presents a solid melody without abandoning the band’s old school sonority thanks to the amazing job done by all band members, in special Karagh with his fiery guitar; whereas investing in a darker and more visceral Black Metal sounding, the power trio fires pure hatred and evil through their music in Field of Screams, with Skullcrusher doing justice to his nickname by pounding his drums manically. And adding some groove to their musicality, Unholy Cult presents a more rhythmic display of their blasphemous Black Metal, with Karagh and Necrobaphomet slashing their strings in a powerful way while Skullcrusher takes care of the intricacy in the music through his beats.

Unleash the Beast is the closest the band gets to the most primeval form of Black Metal, with the song’s fiendish gnarls and blast beats impregnating the air and disturbing our minds. Not only that, Karagh once again offers the listener trenchant riffs during the whole song, and maybe because it’s the longest of all tracks it’s also the one presenting the highest amount of progressiveness and variations, resulting in an amazing full-flavored Extreme Metal chant. Lastly, the band hits us ruthlessly with their most vile fusion of Black and Death Metal titled Lord of the Mighty Horns, one more great option for their live concerts. The drumming by Skullcrusher reminds me of old school Cannibal Corpse, while Necrobaphomet leads the song’s pugnacious ending with his rumbling bass lines, concluding the album on an extremely savage note.

If you have the guts to brave the ominous pits of the Ukrainian underworld to the sound of Hellfire, simply visit their Facebook or VKontakte for news about the band (including their tour dates if you live in Ukraine or if you’re planning on visiting the country anytime soon), listen to Goat Revenge on Spotify, and purchase your copy of the album at the Witches Brew’s BandCamp or webshop, on iTunes or on Amazon. Hellfire will certainly crush your soul with their unrelenting Black Metal, which in the end is everything you crave when listening to good extreme music, right?

Best moments of the album: Hellmass Attack, War Apocalypse Battery and Unleash the Beast.

Worst moments of the album: None.

Released in 2017 Witches Brew/Iron County Records

Track listing
1. Intro 0:53
2. Hellmass Attack 2:43
3. Goat Revenge 3:37
4. War Apocalypse Battery 3:44
5. Field of Screams 2:29
6. Unholy Cult 2:53
7. Unleash the Beast 4:39
8. Lord of the Mighty Horns 3:24

Band members
Karagh – guitars, vocals
Necrobaphomet – bass
Skullcrusher – drums

Album Review – Infernäl Mäjesty / No God (2017)

Posted on by
1

A powerful album of Canadian Thrash and Death Metal that confirms there’s no god in our decaying world, but only an infernal majesty of extreme music reigning supreme among us.

Formed in the distant year of 1986 in the city of Toronto, Canada, but currently located on the opposite side of the country, in the beautiful city of Vancouver, Thrash/Death Metal squad Infernäl Mäjesty has been unleashing complex and exciting metal tunes upon humanity since their inception, starting with their 24-track demo recorded at the renowned Metalworks Studios in Toronto (owned by members of Canadian Hard Rock band Triumph) and their 1987 debut album None Shall Defy, and culminating with the release of their brand new opus now in 2017 titled No God.

Featuring an elegant cover art by Safir & Rifas (based on their 2014 oil on canvas art named “Death Angel”), No God offers the listener 11 imposing thrash tunes for the delight of fans of the heaviness and aggressiveness of giants such as Slayer, Behemoth and Testament, masterfully played by founding members Chris Bailey (vocals), Steve Terror (guitar) and Kenny Hallman (guitar), together with newcomers Daniel Nargang on bass and Kiel T. Wilson on drums. “We put a lot into it physically and mentally and feel it has a classic Infernäl Mäjesty undertone while artfully expanding into episodes of melodic cacophony. Recorded at our studio in Vancouver, Canada and produced by Steve Terror, Chris Bailey and Ken Hallman, we enrolled the masterful mixing skills of Chris ”Hollywood” Holmes and believe this to be our best works since None Shall Defy”, says the band about their brand new spawn.

Chris and his horde begin their ominous attack from the very first second of the belligerent tune Enter The World Of The Undead, where we’re furiously invited to enter their world of Thrash and Death Metal to the sound of the cutting riffs by Steve and Kenny, while Kiel keeps up with the legacy of iconic drummers such as Dave Lombardo, Gene Hoglan and Tom Hunting. Dark and acrid words flow from Chris’ visceral growls in the rhythmic onslaught of extreme music called In God You Trust, also presenting a hellish aura in the background which ends up enhancing the song’s obscurity; followed by a very aggressive and infernal composition named Signs Of Evil, displaying a similar pattern than both previous songs, with highlights to the unstoppable Kiel behind his drums and to the once again sharp guitar riffs and solos by Steve and Kenny. And in Another Day in Hell the music feels like it’s rising from the pits of the underworld, with the initial roar by Chris being a sign of how heavy this tune will be. Not only it brings an old school sonority the likes of Unleashed, but its calmer but blackened breaks make the whole composition even more menacing.

Kingdom Of Heaven, a mid-tempo straightforward Death Metal chant with thrashing elements added to it, presents a neck-breaking start with lots of groove emanating from Kiel’s drumming, while Steve, Kenny and Daniel slash our skin with their razor-edged strings, whereas the title-track No God is a blasphemous feast of Death and Thrash Metal perfect for their live performances, with Chris vociferating the song’s wicked lyrics manically (“Born of fire from the starless depths of hell / The red cross turns black so many dead sent up the stacks / Spill the blood of virtue for the empire of gold / Satan laughing defecating into open mouths below”), therefore being one of the strongest compositions of the whole album. Then we have an eerie instrumental track about the 9/11 attacks titled False Flag for Europe, paving the path for the rhythmic Nation of Assassins, starting in a darker and heavier pace before exploding into a thrilling hurricane of metal, with Chris darkly screaming the song’s name while the rest of the band blasts a very cohesive fusion of Thrash and Death Metal.

The killer drumming by Kiel and the straightforward guitars by both Steve and Kenny are all Chris needs to fire his infuriated growls in the fantastic House Of War, with the aggressiveness of the entire song being way above average. All band members are absolutely on fire, delivering an intricate but always crude and primeval hymn for admirers of traditional Death Metal that has all it takes to become an underground classic. Systematical Extermination keeps the quality of the album at a very good level, albeit being less creative than the others (it might have been more effective if it was a little shorter, though), while in Extinction Level Event a truly macabre intro morphs into a pounding sonic devastation. Steve and Kenny continue with their merciless slashing, also blasting melodious lines to give more balance to all the havoc going on, with Kiel helping Chris to poetically scream about the end of mankind until the song’s somber ending.

Infernäl Mäjesty is another one of those amazing bands that makes us proud of being Canadian, and if I were you I would certainly like their Facebook page, listen to more of their demonic Thrash Metal at their YouTube channel and at their BandCamp page (where No God will be available soon), and grab your copy of No God at the High Roller Records’ webstore in different formats (CD digipak, LP black, LP splatter and LP royal blue), at the Napalm Records’ webstore, at the Season of Mist’s webstore, at Target, at Record Shop X, on Amazon and several other locations (please note that “False Flag for Europe” and “House Of War” are on the CD and digital download, but not on the vinyl edition because they are already on a custom House Of War 7”). After listening to this raging lecture of Extreme Metal, I’m more than inclined to believe there’s no god, but only an infernal majesty of metal music reigning supreme among us.

Best moments of the album: Enter The World Of The Undead, No God and House Of War.

Worst moments of the album: Systematical Extermination.

Released in 2017 High Roller Records

Track listing
1. Enter The World Of The Undead 5:44
2. In God You Trust 5:14
3. Signs Of Evil 4:53
4. Another Day in Hell 6:37
5. Kingdom Of Heaven 6:46
6. No God 5:58
7. False Flag for Europe 2:05
8. Nation of Assassins 6:24
9. House Of War 4:47
10. Systematical Extermination 6:28
11. Extinction Level Event 6:08

Band members
Chris Bailey – vocals
Steve Terror – guitar
Kenny Hallman – guitar
Daniel Nargang – bass
Kiel T. Wilson – drums

Album Review – Mustan Kuun Lapset / Saatto (2017)

Posted on by
1

A fresh new start for an amazing Dark Metal band from Finland, with their renovated attitude and passion for heavy music translated into nine excellent compositions blending different styles and emotions.

Rating4

mkl_saatto_coverart2500pisLegendary Finnish Dark Metal group Mustan Kuun Lapset, which is Finnish for “Children of the Black Moon”, have finally resurrected from the depths of abyss since ending their career in 2007, setting to release in 2017 their first official full-length album since their 2011 compilation 14 Talvea and their 2007 album Viimeinen Laulu Kuolemasta. And their brand new album, entitled Saatto (the Finnish word for “procession” or “follow-through”), not only brings forward MKL’s new lineup, but it’s also a fresh new beginning for this talented band, with their renovated attitude and passion for heavy music translated into nine excellent compositions blending different styles of Extreme Metal.

Founded in the city of Hollola under the name Häiriö (or “disorder” in Finnish) in the distant year of 1993, MKL recorded a few garage tapes during their first couple of years, never releasing them to the public. In 1996, after changing the name to Mustan Kuun Lapset, the band released their first demo titled Kunnes Loppuu Yö, being on a roll for the next decade before it was time to close the coffin in December 2007 due to lack of time and commitment. Fortunately for fans of their dark music, in 2015 MKL decided to start all over again, now hailing from the city of Lahti and as already mentioned with a reformulated lineup, culminating with the release of their brand new diverse, many-sided record Saatto, and I’m sure even if you have absolutely zero knowledge of the Finnish language you’ll have a blast listening to it.

Right after the atmospheric intro Ja Toinen Yötä Rakastaa, or “and another night love”, we have the melodious Peikonmieli (“the troll’s mind”), with the soulful guitar lines by Pete Lehtinen and Heikki Piipari dictating the song’s very pleasant pace and sonority, whereas the harsh vocals by Pete sound like a blend of Symphonic Black Metal and Melodic Death Metal. And the aura generated by the first song goes on in Kuolemanvirta (“death power”), where drummer Mikko Hautala showcases his abilities by being fierce and melodic at the same time with his darkened Doom Metal beats.

An obscure start announces another epic and powerful composition by MKL, Amor Vincit Omnia, which is Latin for “love conquers all”, with Pete doing an amazing job not only on vocals and guitars but also with his synths, delivering a rousing musicality with hints of Scandinavian Folk Metal full of variations and tempo changes. Cilice brings forward more folk elements, gently morphing into Dark Metal with Pete firing some deeper guttural growls amidst his harsh gnarls, all embraced by the band’s solid instrumental, while Sudenilma (“wolf’s air”) offers the listener heavier, headbanging riffs that lean towards pure Melodic Death Metal from Scandinavia. In addition, Mikko delivers faster beats nicely complemented by the bass lines by Ville Pelkonen, not to mention the song’s outstanding guitar solo as the icing on the cake.

mkl_promokuvaValkoinen Satama – Haaksi (“white haven – the ship”) is the first part of a two-piece story, epic and metallic from the very first second thanks to the awesome job done by both guitarists with Pete getting a lot darker on vocals. The second part of this journey, titled Valkoinen Satama – Tyven (“white haven – calm”), is a smooth, melancholic acoustic ballad wtih female vocals that end up providing a good balance to all the obscurity from the first part, an interesting variation to the MKL we’re used to. And closing the album we have the title-track Saatto, also the longest of all tracks, which begins in an introspective way, as calm and serene as the previous track, suddenly exploding into kick-ass modern Melodic Death Metal. In this multilayered composition, MKL bring forth cleaner vocals and plenty of epicness flowing from all instruments, in special the precise beats by Mikko, until the song’s thrilling conclusion.

You can witness the rebirth of the Finnish children of the black moon, appreciate their music and get updates about their upcoming projects and concerts at their Facebook page, and you can also put your metal hands on Saatto at the Inverse Records webstore or at Record Shop X. Mustan Kuun Lapset have not arisen from the ashes in vain, they’re back from the netherworld with an invigorated passion for metal to deliver their diehard fans more of their high-end music and to show the new generation how good Scandinavian Metal should always be done, and by supporting them you’ll not only help to keep that metallic fire burning, but also become part of their inspirational career.

Best moments of the album: Peikonmieli, Amor Vincit Omnia and Saatto.

Worst moments of the album: Cilice.

Released in 2017 Inverse Records

Track listing
1. Ja Toinen Yötä Rakastaa 2:06
2. Peikonmieli 5:19
3. Kuolemanvirta 5:47
4. Amor Vincit Omnia 4:59
5. Cilice 5:12
6. Sudenilma 5:17
7. Valkoinen Satama – Haaksi 5:29
8. Valkoinen Satama – Tyven 5:08
9. Saatto 8:45

Band members
Pete Lehtinen – vocals, guitar, synths
Heikki Piipari – guitar
Ville Pelkonen – bass
Mikko Hautala – drums

Album Review – Goatchrist / Discipline and Terror (The Timeless Praxes of the Drakon Covenant) EP (2016)

Posted on by
1

Offering an exciting amalgamation of styles and elements, one of the most gripping Blackened Death Metal projects from the UK is back with the next step in its prosperous career.

Rating5

goatchrist-discipline-and-terror-the-timeless-praxes-of-the-drakon-covenant-coverIt’s becoming a delightful routine at The Headbanging Moose to publish a detailed review of the idiosyncratic and whimsical creations by British Blackened Death Metal project Goatchrist at least once a year. With that said, as 2016 draws to its dramatic close, there’s nothing better than carrying on with this special tradition with another top-tier EP by this West Yorkshire-based act led by the young and restless Dominator Xul’Ahabra, this time vampirically entitled Discipline and Terror (The Timeless Praxes of the Drakon Covenant).

Featuring American musician Invoker (Defecrator, Gloriam Draconis) on vocal duties instead of Dominator himself, Discipline and Terror (The Timeless Praxes of the Drakon Covenant) is a robust continuation to the prosperous career of the talented Dominator, being different in many aspects from his previous releases, the 2014 full-length She Who Holds the Scrying Mirror and the 2015 EP The Epic Tragedy Of The Cult Of Enlil, by offering the listener new vibrant elements of extreme music spiced up with nuances of other non-metal genres. And despite all advancements and variations in the music found in the EP, it still has that Goatchrist trademark sounding that makes this project stand out in the independent scene.

Bursting violence and anger, Enter Morain presents elements from Black, Death and Thrash Metal united in an aggressive way, with Invoker firing some Hardcore rasp vocals while Dominator delivers his usual darkened riffs and beats, never slowing down and always sounding electrified. The sensational The Burning of Jerusalem follows a pattern closer to Goatchrist’s previous releases, with its guitar riffs and solos, as well as its rhythmic blast beats, bringing a lot progressiveness and epicness to the musicality, making Invoker’s work on vocals easier and more dynamic when growling the song’s insurgent lyrics (“Now burn, Jerusalem. / For your reign has been broken, / By the sword of Western might / Know that we, your enemy, / Gift this blaze to thee, / So ye may bathe beneath its radiant light.”). Moreover, the compelling experimentations of Dominator with all his eccentric sounds and instruments are always a breath of fresh air to his compositions, sounding as if there were three or four songs in one like what we can witness in this excellent tune.

goatchrist-discipline-and-terror-the-timeless-praxes-of-the-drakon-covenant-newlogoThen out of nowhere, Dominator simply surprises us with a gentle atmospheric (and almost symphonic) ballad named A Meditation in Dead Stillness, very introspective and melancholic from start to finish, not to mention its beautiful name, working as a cinematic intermission to all madness flowing from the following song, the elaborate The Shadow of Malintent. Invoker darkly declaims the song’s elegiac lyrics (“The darkness is coming / And I too there dwell: / Older than day or night, / With fury that none may quell. / Sever your causal ties. / And lift your head to meet / with my gaze; then in a daze / See your ego’s defeat.”) while the music brings forward a Blues-ish vibe with elements from classic Western scores, Doom Metal and Blackened Doom, never getting full Black Metal but still feeling as Stygian as the other songs. In addition, the precise sync between Dominator’s guitar solos and bass lines with Invoker’s growls help the duo tell the story proposed magnificently.

Dominator Xul’Ahabra and his Goatchrist, an amazing project that has been on an upward spiral in the Extreme Metal independent scene in the UK since its inception, can be contacted through their official Facebook page, and their brand new opus Discipline and Terror (The Timeless Praxes of the Drakon Covenant) is available at their BandCamp page, where you can also take a very good listen at and even buy all Goatchrist’s previous albums. In summary, Discipline and Terror (The Timeless Praxes of the Drakon Covenant) is another solid step in Dominator’s career, offering fans of extreme music an exciting amalgamation of styles and elements and, consequently, fortifying the name of Goatchrist and helping the project achieve new heights and spread darkness all over the world.

Best moments of the album: The Burning of Jerusalem.

Worst moments of the album: None.

Released in 2016 Independent

Track listing
1. Enter Morain 4:27
2. The Burning of Jerusalem 7:31
3. A Meditation in Dead Stillness 2:08
4. The Shadow of Malintent 8:43

Band members
Invoker – vocals
Dominator Xul’Ahabra – all instruments

Album Review – Lectern / Precept Of Delator (2016)

Posted on by
Reply

It doesn’t matter what happens to the world of music, these Italian metallers will never back off, always blasting our ears with their high-quality brutal Death Metal.

Rating5

lectern_precept-of-delatorIf there’s an underground Death Metal band that deserves our utmost respect for never giving up on extreme music, remaining always loyal to their foundations and beliefs despite all the hurdles faced during their entire career, it’s Italian death metallers Lectern. Since their inception in 1999 in the Italian capital city of Rome, the band led by lead singer and bassist Fabio Bava has been through several lineup changes, enduring an increasing lack of support from record labels and even the general public to any type of Extreme Metal, which ended up hampering the band from producing music for many years. But if you think that all those issues would cease their inner fire to craft old school brutal Death Metal, you’re absolutely wrong.

Inspired by all Death Metal bands from the United States from the 90’s, especially the ones based in Tampa, Florida, Lectern have always delivered excellent music to fans of the genre, starting with their debut EP Bisbetical in 1999, followed by a series of albums released after a huge hiatus, those being the EP Salvific Of Perhaps Lambent (2010) and the self-titled EP Lectern (2014), and their first full-length album Fratricidal Concelebration (2015). Now in 2016 it’s time for Lectern to haunt the world once again with Precept Of Delator, their brand new beastly album which features a Satanic old school artwork by Indonesian musician and artist Adi Dechristianize and an unbounded amount of sheer aggressiveness.

The opening track Gergal Profaner offers brutal devastation from the very first second, with drummer Marco Valentine being that rhythmic annihilator we all enjoy in technical Death Metal, while the band’s mastermind Fabio keeps growling like a beast. In short, this is awesome straightforward Death Metal for lovers of extreme music, period. Singing about the Catholic Church and their issues with pedophilia (“Palpation of sacramentarian / Sworn with fratricidal scars / Molested flesh / Eluded truth”), Palpation of Sacramentarian feels like old school Cannibal Corpse with a Thrash Metal vibe, with guitarist Pietro Sabato and Gabriele Cruz firing those traditional kick-ass riffs that always inspire us to slam into the pit; followed by the Satanic Fluent Bilocation, a brutal metallic massacre with Fabio and Marco dictating the rhythm with their respective gnarls and boisterous beats. In addition to that, the insanely good neck-breaking riff in the middle of the song keeps up with the basis of the Death Metal institution, proving how much those guys love that type of music.

lectern-2016Distil Shambles is a metal storm bursting aggressive growls and beats upon the listener, with all its tempo changes adding tons of ferocity and electricity to the musicality, as well as an excellent solo to close the song in an apocalyptic way. Then we have some ominous voices kicking off the obscure and putrid chant Pellucid, tailored for fans of pure pugnacity in music, with the guitars by both Pietro and Gabriele sounding truly menacing during the song’s five minutes of the most violent Death Metal you can think of. And Lectern continue their path of doom in Diptych of Perked Oblation, blasting brutal music with guitars and drums smashing your brain while Fabio roars each word of the song manically, turning this into a beyond excellent composition for their live performances.

Garn for Debitors brings forward two minutes of crushing riffs and drums, another song that sounds like the early days of Cannibal Corpse, and if you survive this hurricane of metal music you’re definitely a true badass headbanger ready for the title-track Precept of Delator and its pure Satanic lyrics (“With blasphemy reasons burn / Infamous scriptures / Devotional calvary / Precept of delator / Evil truth”). It might not be as fast-paced as its predecessors, but it’s dark and thrilling, with highlights to the furious riffage and solos by Pietro and Gabriele. Closing this brutal album we have another shot of traditional Death Metal titled Discorporation with Feral, showcasing a good pace and the deranged, deep growls by Fabio as its main ingredients.

All the exciting history, the metallic victories and the inspiring losses of such amazing underground band can be better appreciated at their Facebook page, and you can enjoy their extreme and technical music at their YouTube channel, ReverbNation and SoundCloud. Precept Of Delator, available for purchasing at the Via Nocturna’s BandCamp page and at the band’s Big Cartel page, is a solid and uproarious declaration by Lectern which confirms that it doesn’t matter what happens to the world of music, these Italian metallers will never back off, continuing to blast our ears with their belligerent Death Metal for many years to come.

Best moments of the album: Gergal Profaner, Fluent Bilocation and Diptych of Perked Oblation.

Worst moments of the album: Discorporation with Feral.

Released in 2016 Via Nocturna

Track listing
1. Gergal Profaner 3:50
2. Palpation of Sacramentarian 5:13
3. Fluent Bilocation 3:45
4. Distil Shambles 3:35
5. Pellucid 5:05
6. Diptych of Perked Oblation 3:55
7. Garn for Debitors 2:15
8. Precept of Delator 4:34
9. Discorporation with Feral 4:43

Band members
Fabio Bava – vocals, bass
Pietro Sabato – guitar
Gabriele Cruz – guitar
Marco Valentine – drums

Album Review – Atonismen / Wise Wise Man EP (2016)

Posted on by
Reply

Enjoy a feast of dark, symphonic and dense metal music, crafted by a talented Russian multi-instrumentalist and his loyal and dynamic duo of guitarists.

Rating4

coverOriented in Dark Metal on one side and chamber music on another, Russian metallers Atonismen will surprise you with the density, professionalism and comprehensiveness of their music. Formed earlier this year by Russian singer and multi-instrumentalist Alexander Orso in the charming and historical city of Saint Petersburg, Atonismen fire a precise amalgamation of the darkest elements from Doom and Gothic Metal with choir-like sounds and an epic atmosphere surrounding everything in their debut EP, titled Wise Wise Man, offering the listener a unique experience in heavy music and a journey through the realms of Symphonic Metal.

The high level of professionalism in Wise Wise Man can be noticed not only through the amazing skills of Alexander and his crew, but also on the overall production of the album, very crisp and full of layers thanks to the top-notch job done by Russian musician Sergey “Lazar” Atrashkevich (Arkona), who produced, recorded, mixed and mastered the EP at CDM Records. And the band is already reaping the rewards of such dedication to their music, supporting renowned bands such as The 69 Eyes, Sonic Syndicate and Graveworm in Moscow, and joining the tour of well-known Russian folk band Izmoroz in their homeland. After taking a good listen at the eight distinct tracks of Wise Wise Man, you’ll see they more than deserve that recent but amazing success.

In the excellent Almagest, an atmospheric intro explodes intro bold Symphonic Metal with hints of Black and Pagan Metal added to  increase its epicness, with keyboards and drums leading this electric tune while Mr. Orso blasts his strong and powerful voice perfect for this type of music. Their Dark Metal vein gets stronger in the mesmerizing composition Sorry, where guitarists Alexander Senyushin and Child Catherine beautifully add the word “metal” to it through their potent and aggressive riffs. Furthermore, Mr. Orso is a wrecking machine on drums, delivering exactly what heavy and atmospheric metal music needs to be great. My Tale brings forward a beautiful dose of melancholy to the album, with Mr. Orso also thriving with his passionate clean vocals while a dark ambience embraces the listener in this lovable power ballad, not to mention the potency provided by the astounding guest choir Silver Voice.

atonismenThe title-track Wise Wise Man is a full-bodied Dark Metal song the likes of Moonspell with vicious guitar lines by the stunning Child Catherine and the competent Alexander Senyushin, again with keyboard notes bringing more mystery to the musicality; whereas Wiegenlied, the German word for “lullaby”, is a somber ballad full of traditional folk elements and an eerie rhythm that enfolds the listener before a sonic havoc named In Timeless Clamor comes crushing mercilessly. The metallic bass lines by Mr. Orso and the flammable riffs by the band’s guitar duo are amazingly heavy, sounding almost like sheer Black Metal at times, with vocals reminding me of the iconic Fernando Ribeiro thanks to their passion and violence. And I’m not sure if the last two songs can be considered bonus tracks or not, but we’re treated to two alternative versions for the title-track “Wise Wise Man”. The dark mix is very electronic and could easily be part of the soundtrack of a movie or played at a Halloween party, while the industrial mix is an upbeat and thrilling blend of heavy and electronic music, another perfect choice for providing a horror flick an extra touch of wickedness.

Enjoying and supporting the symphonic and extreme creations of Atonismen is quite easy, as all you have to do is visit their Facebook, VKontakte, YouTube channel and SoundCloud, as well as buy your copy of Wise Wise Man at their official BandCamp page. This feast of dense and symphonic Extreme Metal, beautifully engendered by Mr. Orso and his loyal guitar duo, was made to be relished and admired by all fans of the dark side of music, cementing a very promising start in their career in Heavy Metal.

Best moments of the album: Sorry and Wise Wise Man.

Worst moments of the album: Wiegenlied.

Released in 2016 Independent

Track listing
1. Almagest 7:31
2. Sorry 7:21
3. My Tale 8:51
4. Wise Wise Man 5:29
5. Wiegenlied 3:50
6. In Timeless Clamor 5:13
7. Wise Wise Man (dark mix) 5:51
8. Wise Wise Man (industrial mix) 5:30

Band members
Alexander Orso – all instruments, vocals
Alexander Senyushin – guitars
Child Catherine – guitars

Album Review – N.K.V.D. / Totalitarian Industrial Oppression (2016)

Posted on by
Reply

Join the metallic army of Industrial Black Metal brought forth by an interesting project from France inspired by dictatorship, totalitarianism and oppression.

Rating4

nkvd_tioNarodnyi Komissariat Vnutrennikh Del (Russian for “People’s Commissariat for Internal Affairs”), or simply N.K.V.D., was the public and secret police organization of the Soviet Union that directly executed the rule of power of the Soviets, including political repression, during the era of Joseph Stalin, being active from 1943 to 1946. Almost 60 years after its dissolution, here we have the new generation of N.K.V.D., this time an Industrial Black Metal project formed by French multi-instrumentalist Loïc.F in Montpellier, a city in southern France, blasting their disturbing and uproarious dark music inspired by dictatorship, totalitarianism and oppression, among other obscure topics from a not-so-distant past.

N.K.V.D.’s brutal, cold Black Metal has been haunting the souls of the living since 2005 with a series of outstanding releases, those being their debut EP Diktatura in 2007, their first full-length album Vlast in 2011, and finally the album Hakmarrja in 2014. By the way, an extract of the song “Hakmarrja” appears in the recently released movie The Blair Witch Project, just for you to get a sense of how obscure their music is. After a decade of existence, as both Diktatura and Vlast have been sold out for years, Loïc.F together with Krucyator Productions and Clan of Exclusion decided to release a compilation entitled Totalitarian Industrial Oppression, uniting the two records in one with a remastered version of Vlast. Featuring a tyrannical artwork by H & Secret Shelter, this special compilation offers the most solid and disquieting Industrial Black Metal you can think of, taking you to the darkest years of political repression in the history of mankind.

The menacing and phantasmagoric intro Ch.R.I kicks off the first part of the album, the EP Diktatura, opening the gates for a pulverizing Industrial Metal hymn with a true Black Metal aura titled Kadyrovski Klan, which makes Ministry and Nine Inch Nails sound like the Teletubbies so heavy it is. Moreover, Loïc.F was capable of creating such a diverse and dense sounding by himself he truly deserves to be called a one-man army, not to mention the song’s sensational marching ending. Then we have another dissonant and disturbing composition, Die Blinde Wissenschaft (or “the blind science” from German), even more furious than its predecessor and a delight for the lovers of the genre, where all spaces are filled with metallic and aggressive sounds; followed by Incipit SSSR, a song that will pierce your mind so belligerent it is, the perfect soundtrack for a warlike horror movie with the vocals by guest musician Eric Syre sounding truly demonic and full of hatred. And closing the EP we have the perturbing soundtrack-inspired track Sloboda, which somber ambience in the beginning gives place to pure epicness in the form of Industrial Metal that “marches” powerfully until the song’s end.

promo-pictureLet me warn you that the second part, the remastered album Vlast, is not going to be any lighter than Diktatura, starting with the thunderous and explosive noises that smoothly morph into mean Atmospheric Black Metal in Geheime Staats Polizei (German for “Secret State Police”), where although drums are programmed, they add an impeccable level of violence to the overall result. The second version of Incipit SSSR, featuring guest musician H.S on vocals, is as epic and obscure as the original version, with its demonic warlike aura embracing the listener while Loïc.F does a great job by adding the necessary samples to the music, making the whole song more realistic; whereas Ibn Al Khattab presents a flammable feast of blast beats, menacing voices and another killer performance by H.S, with Loïc.F creating an eruption of dark sounds in the background, turning it into one of the best tracks of the album. And in Alkhan-Kala, we face a wicked narration in the beginning followed by more sheer darkness in the form of Extreme Metal, sounding like an industrial army marching to war.

Get ready for war in the last batch of industrialism and dictatorship from Totalitarian Industrial Oppression. In Geniul Din Carpati (or “Genius of the Carpathians” from Romanian), Loïc.F definitely knows how to start a song in a very impactful way, with the strident and resonant sound of drums penetrating your mind despite the entire song not being  as gripping as the rest of the album. As industrialist as possible, Krasnaya Paranoia shows no sign of happiness or peace, with its imposing background being the perfect stage for guest vocalist Tyrant Moloch to provide his gnarls to another brutal creation by N.K.V.D., while in Socijalisticka Federativna Republika Jugoslavija we have an army chant to kick off things in a proper, ominous way. If you pay good attention to the entire album, you’ll notice this is an alternative (or more complete) version of “Sloboda”, exhibiting similar samples, rhythm and tempo changes, but with a stronger vibe and density. The last track of the album, Grozny, is simply disturbing, showcasing heavy guitar sounds and fierce drums in a solid fusion of Black and Industrial Metal, something Loïc.F has mastered doing. It’s basically an instrumental tune that would have been much more effective if slightly shorter, but still quite enjoyable.

If you want to join the metallic army of N.K.V.D. forged in their autocratic realm of Industrial Black Metal, simply visit their Facebook page for more information on this unique project. And obviously don’t forget to support the independent scene by purchasing your copy of Totalitarian Industrial Oppression by visiting their BandCamp page, the Krucyator Productions’ BandCamp page or webstore, or also at Discogs.

Best moments of the album: Kadyrovski Klan, Geheime Staats Polizei and Ibn Al Khattab.

Worst moments of the album: Geniul Din Carpati and Grozny.

Released in 2016 Krucyator Productions

Track listing
Part 1 (Diktatura EP)
1. Ch.R.I 1:14
2. Kadyrovski Klan 4:48
3. Die Blinde Wissenschaft 4:16
4. Incipit SSSR 4:42
5. Sloboda 6:39

Part 2 (Vlast)
6. Geheime Staats Polizei 5:37
7. Incipit SSSR 4:32
8. Ibn Al Khattab 3:02
9. Alkhan-Kala 4:12
10. Geniul Din Carpati 4:17
11. Krasnaya Paranoia 4:25
12. Socijalisticka Federativna Republika Jugoslavija 5:47
13. Grozny 5:11

Band members
Loïc.F – guitars, bass, programming, samples

Guest musicians
Eric Syre – vocals on “Incipit SSSR” (Diktatura version)
Masterssatan – vocals on “Die Blinde Wissenschaft”
H.S  – vocals on all Vlast album, except on “Krasnaya Paranoia”
Tyrant Moloch – vocals on “Krasnaya Paranoia”

Album Review – Arkaik Excruciation / Cursed Blood of Doom (2016)

Posted on by
Reply

Invoking the impure sense of primitivism through their aggressive and ruthless music, here comes a new Spanish Black and Death Metal quartet with their excellent debut full-length album.

Rating5

front_cover_aeIt doesn’t matter if you go to Catalonia, Andalusia, Galicia, Madrid or any other region in Spain, you’ll always find amazing heavy music all over “la piel del toro”. And if the genre in question is extreme music things get even better, with names such as Sartegos, Balmog, Xérion and Suspiral, as well as bands already reviewed by The Headbanging Moose like Tsar Bomb, Mørknatt and EvnaR, proudly carrying the flag of Spanish Extreme Metal and turning the whole country into an oasis of cutting riffs, blast beats and demonic growls. Thus, that distinguished selection of extreme groups has recently been joined by another hellish band named Arkaik Excruciation, who are releasing their debut full-length album entitled Cursed Blood of Doom, a solid tribute to the foundations of Black, Death and Thrash Metal.

Invoking the impure sense of primitivism through their aggressive and ruthless music since their inception in 2014, when they released their first demo tape named Among the Vortex of Chaos, this La Coruña-based horde of darkness adds the most obscure elements from extreme music to their creations, something you can easily notice and truly enjoy while listening to each track from Cursed Blood of Doom, featuring an obscure artwork by artist Alejandro Tedín. There’s no secret ingredient in the music by Arkaik Excruciation, just well-engendered extreme music by four talented musicians, presented as eight powerful and straightforward tracks embellished by classy and somber names. In other words, how not to get thrilled by a song named “Swallow the Black Wings of Agrat bat Mahlat”, right?

Rude and putrid sounds will invade your ears in the bestial Black and Death Metal composition Spiral Scythes of Endless Pain, a darker version of Cannibal Corpse where drummer M. presents his business card through his demonic beats and fills, while lead singer and guitarist M.S. enhances the song’s ferocity with his metallic riffs and cavernous growls. And the song doesn’t actually end, it simply builds a direct link to the brutish Night of Sodom, where the band’s fast and furious carnage goes on with M.S. getting even more aggressive on vocals. In addition, the musicality feels more Death than Black Metal at times, showcasing the bands versatility when switching between extreme styles.

bandStills of Fire and Poison is an eerie interlude comprised of noises that feel they’re coming from the pits of hell, opening the gates for the infernal Swallow the Black Wings of Agrat bat Mahlat, a pulverizing lesson in dementia and heaviness in Extreme Metal and definitely one of the top moments of such obscure album, with highlights to the sick drumming by M. In addition to that, its guitars also keep spreading a constant and deranged sensation of hatred until its funereal ending, paving the way to Anesthesic Ritual of Silence and its initial wicked noises, replaced by the hellish guitars by M.S. and K. Moreover, M. provides some spot-on Doom Metal-inspired beats to this semi-instrumental track, while M.S. just keeps gnarling a little in the background in a dark and satanic way.

Suddenly, all hell breaks loose in the most demented of all tracks, Into the Fields of the Sun-Blood, a kick-ass hybrid of Black Metal with the extreme pugnacity of old school Death Metal where the screams by M.S. are effectively complemented by all other instruments and their nonstop savagery, creating a damned ambience that will devour your soul. The creepy and short Clockwork Devotional Saw works as a bridge to the last song of the album, the demented Sadistic Scourge, where elements from Black, Thrash and Death Metal are united in a high-octane demolishing way. K. and F. are unrelenting with their strings, whereas M. fires his groovy and menacing beats, fading into ominous noises and vociferations that go on for over two minutes until the song is finally over.

In case you want to know more about the demonic realm of Arkaik Excruciation, go check their Facebook page, and if you want to purchase a copy of the maleficent Cursed Blood of Doom (which can be enjoyed in its entirety HERE), you’ll find it for sale at their own BandCamp page, at the Caverna Abismal Records’ BandCamp and Discogs page, or at the Duplicate Records’ BandCamp and webstore. And, from now on, always remember that if you’re searching for good Extreme Metal, the region of Galicia (as well as the rest of spain) is your go-to place.

Best moments of the album: Night of Sodom, Swallow the Black Wings of Agrat bat Mahlat and Into the Fields of the Sun-Blood.

Worst moments of the album: Anesthesic Ritual of Silence.

Released in 2016 Caverna Abismal Records / Duplicate Records

Track listing
1. Spiral Scythes of Endless Pain 5:18
2. Night of Sodom 4:18
3. Stills of Fire and Poison (Interlude) 2:02
4. Swallow the Black Wings of Agrat bat Mahlat 5:50
5. Anesthesic Ritual of Silence 4:15
6. Into the Fields of the Sun-Blood 7:26
7. Clockwork Devotional Saw (Interlude) 0:26
8. Sadistic Scourge 7:15

Band members
M.S. – guitars, vocals
K. – lead guitars
F. – bass
M. – drums

Album Review – Hostis / Hostis (2016)

Posted on by
Reply

Experience all the destruction caused by the first-class fusion of Death and Thrash Metal by this technical band from Montenegro, blasting their austere message against politics, religion and media manipulation.

Rating4

1-cover-artFans of the demolishing sound bred by extreme music giants such as Kreator, Sepultura, Exodus and Cannibal Corpse have a very good reason to turn their eyes to the cities of Budva, a Montenegrin town on the Adriatic Sea, and Tivat, a coastal town in southwest Montenegro located around 40 minutes from Budva. If you truly enjoy breaking your neck headbanging to traditional Death and Thrash Metal, I recommend you take a shot at the self-titled debut album by Montenegrin act Hostis, a 6-track album containing 6 crushing composition by a band whose name has 6 letters. Hence, the final number is 666, which means no further explanation is required regarding the core essence of Hostis and their purpose in our dying world.

Founded in 2010 by Srđan Mišović (vocals and programming), Miloš Klikovac (guitars) and Aleksandar Dragojević (bass guitar), all members of Montenegrin Atmospheric Death Metal band Abhoth, Hostis base their lyrics on social issues, mostly against political and religious dogma and indoctrination and media manipulation. Their debut album also features special guitar solos by Montenegrin musician Stefan Stanišić, as well as solos by Luka Milošević (Deadly Mosh, Istrulity) and Dušan Mlađenović (Alister), both hailing from Serbia. In addition, the stunning old school artwork drawn and initially coloured by Zvonimir Grabić, with the whole graphic design and editing done by Milena Nićić (Myllen), increases the darkness and impact of the music found in Hostis to a point the whole album feels like a classic Death Metal album from the 90’s and not like the debut release from a brand new band.

Tailored for admirers of the cutting and sharp sound of old school Thrash Metal riffs, the opening track Hostis is an instrumental extravaganza containing all elements we love in extreme music such as technical solos, nonstop drums and endless heaviness. In other words, a great display of modern Thrash and Death Metal flawlessly delivered by all band members, getting the listener more-than-ready for the havoc beautifully entitled Beneath The Machinery Of Demise. When Srđan starts growling the song’s lyrics like a demonic beast (“Throne of megalomania / Upon the ashes of scattered lives / Twisting the fragments of reality / Beneath the machinery of demise”), supported by the piercing guitar lines by Miloš, you’ll definitely feel tempted to bang your head like a maniac or slam into the pit to this brutal and dense Death Metal chant.

hostisThe sensational Mutilation Of Truth kicks off as pure Bay Area Thrash the likes of Exodus and Testament, with the vocals by Srđan leaning towards the deepest guttural found in Death Metal. Moreover, it’s amazing how Hostis sound so polished and crude at the same time, with the potent sounds of all instruments being enhanced by the album’s outstanding production, not to mention all the song’s tempo changes that end up increasing its overall quality and potency. Demigods is another bestial fusion of Death and Thrash Metal led by the scorching riffs by Miloš, with the bass guitar by Aleksandar truly adding the world “metal” to the musicality. It’s another song that sounds like two or three in one, showcasing the band’s versatility and dexterity to keep their music interesting all the time.

There isn’t a single song that doesn’t sound brutal and technical in Hostis, which is also the case in the seven minutes of low-tuned progressive and demonic sounds found in In Shadow Of The Crucified, a rhythmic aria of darkness exhibiting awesome guitar lines and solos and the always cavernous growls by Srđan. And how do you think the album ends? Well, obviously with more devastation brought forth by such talented band, this time named Gods Are Dead. We must admit it’s pretty hard for most human beings to reach such demented level of guttural growls, which makes the work done on vocals by Srđan even more impressive. And after a creepy break halfway through the song, Hostis return in full force and keep delivering first-class Extreme Metal until all is said and done.

Do you want to experience all the destruction caused by the infernal and intense music crafted by this high-skilled band from Montenegro? Simply go check their Facebook page for news, tour dates and future projects, and their YouTube channel to listen to their music at top volume just like any good Death and Thrash Metal band deserves. And if you want to buy this excellent album, you can find it on sale at Discogs by clicking HERE or HERE. The extreme aggression of Death and Thrash Metal, together with an acid message against politics and religion, always results in top-notch music, and with Hostis that magic formula will certainly continue to have an amazing impact on fans of extreme music for many years to come.

Best moments of the album: Mutilation Of Truth and Demigods.

Worst moments of the album: None.

Released in 2016 Miner Recordings

Track listing
1. Hostis 5:44
2. Beneath The Machinery Of Demise 6:35
3. Mutilation Of Truth 6:16
4. Demigods  6:25
5. In Shadow Of The Crucified 7:02
6. Gods Are Dead 7:28

Band members
Srđan Mišović – vocals, programming
Miloš Klikovac – guitars
Aleksandar Dragojević – bass

Guest musicians
Stefan Stanišić – lead guitar
Luka Milošević – lead guitar
Dušan Mlađenović – lead guitar