Tag Archives: extreme metal

Album Review – Burial / Unholy Sedition (2016)

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Profane, rebellious and vicious music for all diehard lovers of Black Metal, piercing your ravenous ears directly from the UK.

Rating5

CD DigiPak 4 Panel 1 TrayThe good old city of Manchester, England might be known worldwide by the everlasting rivalry between Manchester City and Manchester United, two of the biggest soccer teams in the world, but since 2005 the city has also become a synonym to extreme music due to the scalding Blackened Death Metal forged by an up-and-coming power trio that goes by the name of Burial. After releasing a demo in 2008 named Shadowed by Satan, the EP Dissidence in 2010 and more recently their debut full-length album Beneath the Light in 2013, those black metallers are back with their second opus, entitled Unholy Sedition, a must for lovers of Black Metal, nuns, beer and Satan.

Fans of the music played by bands like Satyricon in their early days will have a great time listening to what this underground British act is capable of offering, being visceral but extremely technical at the same time. In addition, if you already know Burial you’ll notice a slight change in their musicality from their previous album, dropping part of the Death Metal sound and delivering an all-out Black Metal assault. In case this is your first contact with the band, get ready for 30 minutes of brutality in the form of the short, fast and devastating tunes found in Unholy Sedition. You won’t regret being blasted by the band’s ferocious music, I should say.

After a quick distorted intro, the opening track Infernal Spirit brings forward brutal Black Metal led by the bestial beats by drummer David Buchan, while lead singer and bassist Derek Carley varies his vocals from devilish screams to cavernous growls; and without a break they start firing the following tune, entitled Malevolent Possession, displaying some pulverizing riffs by guitarist Richard Barraclough. Not only that, even when they slow down a bit during this enraged song their heaviness remains at an outstanding level. Their malignancy keeps flowing in Satanic Immolation, a sick Black Metal song with hints of Death Metal where it’s amusing how violent the band can get in less than three minutes, with Derek’s vocals sounding exactly as many old school Black Metal vocalists.

Burial Band photoIn the high-speed havoc Coven of Death, David is unstoppable behind his drums, providing Richard the support he needs to craft his blazing riffs before we’re treated to Nothing Awaits, where a Blackened Doom-inspired intro powered by the gruesome vociferations by Derek suddenly explodes into vile Black Metal, with highlights to the metallic guitar lines by Richard. This is perhaps their best song to date, an excellent composition sounding as three distinct songs in one, and therefore showcasing the band’s highly developed abilities with their instruments. And in the rhythmic and dense Defile The Sacrament, right after a somber intro that goes on for almost two minutes, we have a furious fusion of Black and Death Metal with Derek barking like a rabid beast.

Cast To The Flames can be considered the most old school Black Metal of all tracks with the blast beats by David being its guiding “star”, never letting the level of dark energy go down; whereas Beyond Redemption seems to be the most Death Metal of all mainly due to the deep guttural growls by Derek, with its beats at the speed of light demolishing everything and everyone that stands in their way. Before Uholy Sedition comes to its end, Burial offer us all more of their putrid growls and a heavy atmosphere in the Black Metal hymn Devoured By The Earth, displaying sheer violence and gore in the form of music with highlights to the groovy and boisterous drumming by David. And lastly, we have the remarkably short but sensational Extreme Metal anthem Nun Fucking Black Metal, which not only has a beautiful name but also pays homage all things Black Metal, concluding the album on a high note with amazing performances by all band members.

In case you want to know more about the music by Burial, go visit their Facebook or ReverbNation pages, and if you’re interesting in putting your hands on a copy of Unholy Sedition, you can find the album for sale at the UKEM Records’ BandCamp page or webstore (it’s out of stock according to the website, though), or at the band’s official Big Cartel page, where you can also find a nice exclusive bundle including a physical copy of the album and a T-shirt for a very decent price. It’s profane and rebellious Black Metal for diehard lovers of the genre, and also a great option for newcomers to get introduced to the world of extreme music.

Best moments of the album: Satanic Immolation, Nothing Awaits and Nun Fucking Black Metal.

Worst moments of the album: None.

Released in 2016 UKEM Records

Track listing
1. Infernal Spirit 3:03
2. Malevolent Possession 4:00
3. Satanic Immolation 2:22
4. Coven Of Death 2:07
5. Nothing Awaits 3:35
6. Defile The Sacrament 4:14
7. Cast To The Flames 2:55
8. Beyond Redemption 3:57
9. Devoured By The Earth 3:47
10. Nun Fucking Black Metal 1:12

Band members
Derek Carley – vocals, bass
Richard Barraclough – guitar
David Buchan – drums

Album Review – Ragehammer / The Hammer Doctrine (2016)

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Are you ready to follow the awesome doctrine of Black and Thrash Metal established by this ruthless band from Poland?

Rating4

ragehammer-cover-artwork-1000x1000Forged in the scalding fires of Cracow, Poland in 2012, and embracing all the darkness and violence spawned by icons such as Death, Bathory and Slayer, among many other Extreme Metal bands, here comes Black/Thrash Metal horde Ragehammer, tormenting the entire world with their highly anticipated debut album entitled The Hammer Doctrine. Quoting the band, the album was created “with cold hatred of the modern world and contempt for the values of love and humanity”, and just like a hammer this album will smash your face with its relentless brutality.

With controversial topics such as death, anti-religion and desecration flowing from its lyrics, and featuring a demonic artwork by Polish illustrator Robert A. von Ritter (Outre, Bloodthirst, In Twilight’s Embrace) and an outstanding graphic design by Kontamination Design (Blaze of Perdition, Bloodthirst, Voidhanger), The Hammer Doctrine offers the full package to metalheads who nurture a profound passion for sheer violence in music. In other words, Ragehammer devoted all their talent, cruelty and wrath to deliver the most hellish music you can think of during the album’s rambunctious 42 minutes.

Kicking off this insanely good havoc we have First Wave Black Metal, opening the gates of hell (hammer) with highlights to its old school darkened lyrics barked by frontman Heretik Hellstörm (“Neurodeliric screams / Battle cry of the hordes those days / No gods – no masters, creatures and crawling in space / Scarlet slaughterers, living only for metal and hell / Legacy of pride, from tombs it rises again”). Furious circle pits will ignite instantly, with the nonstop riffs by Bestial Avenger and the brutal bass lines by Corpsebutcher crushing you like a helpless insect. In case you survive this first assault, LET’S HAVE A WAR! Unleash The Dogs will bring you war in an infernal Blackened Thrash Metal turmoil, where drummer Mortar keeps up with the tradition of the most influential thrashing drummers of all time. This song proves to me that this band loves a disturbed and violent sounding more than they love their own families, don’t you think?

ragehammerIn Wróg (or “enemy” from Polish), a potent circle-pit generator and a strong sample of what this amazing band is capable of doing, the metallic bass by Corpsebutcher stands out amidst all turbulence and devastation crafted by the entire band; whereas in Warlord’s Fall, a solid fusion of old school Slayer with Hardcore, Ragehammer fire a high-octane tune where Bestial Avenger has a superb performance with his piercing riffs while Heretik Hellstörm keeps barking like a lunatic. In addition, its Doom Metal-ish break gets truly obscure and evil before the music gets back to total anarchy, adding an additional layer of intricacy to it. And bang your heads and enjoy the heavy beats by Mortar in the longest of all tracks, named Knives, highly inspired by traditional Black Metal with the punch of our good old Thrash Metal.

I am the Tyrant brings forward a brutal sonic devastation bred by those Polish metallers, I should say the perfect depiction of what Blackened Thrash Metal is, with Bestial Avenger once again commanding the band’s onrush, followed by the heaviest version of Thrash Metal you can find anywhere, entitled Pure Hatred, where Mortar shatters his drums while Corpsebutcher thumps his bass cords throughout the entire song until its pulverizing ending. Then it’s simply time to slam into the pit and enjoy the amazing synchronicity between Bestial Avenger and Corpsebutcher in what’s definitely the top moment of this great album, the high-speed anthem From Homo Sapiens to Homo Raptor, where Ragehammer make a statement about who they are and their mission (“The dawn of the hammer doctrine / The evolution of mankind / From homo sapiens to homo raptor / Constant warfare – way of life”), giving no signs of slowing down or being less visceral. And finally, they offer the listener a crazy, fast and furious cover version for Spotkanie z Diabłem, or “meeting with the devil” in Polish, by Krzysztof Klenczon i Trzy Korony. It’s incredible what they did to the original version, and the whole band deserves our respect for such a brilliant job giving a new life to an old classic.

Are you ready to follow the ruthless doctrine of Ragehammer and break your neck to the berserk music crafted by this skillful quartet from Poland? If you can’t wait to put your hands on their sonic “hammer”, go grab your copy of The Hammer Doctrine at the Pagan Records’ official BandCamp or webshop, and as I already mentioned, be prepared to have your physiognomy completely disfigured by a wicked blast of extreme music.

Best moments of the album: First Wave Black Metal, From Homo Sapiens to Homo Raptor and Spotkanie z Diabłem.

Worst moments of the album: None.

Released in 2016 Pagan Records

Track listing
1. First Wave Black Metal 4:43
2. Unleash The Dogs 3:46
3. Wróg 4:47
4. Warlord’s Fall 5:48
5. Knives 6:30
6. I am the Tyrant 5:00
7. Pure Hatred 4:22
8. From Homo Sapiens to Homo Raptor 4:33
9. Spotkanie z Diabłem (Krzysztof Klenczon i Trzy Korony cover) 2:38

Band members
Heretik Hellstörm – vocals
Bestial Avenger – guitars
Corpsebutcher – bass
Mortar – drums

Album Review – Paroxsihzem / Abyss of Excruciating Vexes MLP (2016)

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A mini-album of Extreme Metal made in Canada that will suffocate you heartlessly, savagely and diabolically, or everything you always look for when in pursuit of evil music.

Rating5

Paroxsihzem - Abyss of Excruciating Vexes [cover art]If you don’t know what suffocating Black/Death Metal is even being very fond of extreme music, I highly recommend you take a listen at Abyss of Excruciating Vexes, the new release by Canadian metallers Paroxsihzem. For instance, the name chosen by this talented horde formed in 2007 in Toronto, Ontario derives from the word “paroxysm”, which means “a sudden attack or violent expression of a particular emotion or activity”, an honest and precise epitome of what their music represents and all the emotions that will arise when it starts penetrating your mind.

Although Abyss of Excruciating Vexes is a mini-album containing only four brand new compositions and a cover song, you will be able to witness the band moving towards a new and exciting direction in its 25 minutes of the fastest, most violent and most vicious material they have ever done. Featuring a visceral and disturbing artwork by the band’s own lead singer Krag, Abyss of Excruciating Vexes has all the elements we crave in Extreme Metal and more, turning this quick and incendiary album into a must-have item for the collection of any admirer and connoisseur of the darkened heavy music crafted in the underworld.

The dissonant beginning in Dillanties Torture warns the listener of the massacre that’s about to come, a gruesome Black and Death Metal onslaught led by the deep and sick growls by Krag where drummer Abyss seems to be under some kind of evil spell, blasting his furious nonstop beats and fills. In other words, this tune presents a demonic sonority forged in the pits of hell that will please all fans of traditional Black Metal. Then in Bellicose Psychosis you will face bestiality in the form of music, where Impugnor shows how he masters the art of creating wicked riffs, consequently building a dark atmosphere for Krag to fire his vociferations. I would say this is a fusion of pure Black Metal instrumental with pure Death Metal vocals, and the result couldn’t sound more impactful.

Paroxsihzem - photoImpugnor and Abyss are on their satanic mode in BZ Experiment, a song inspired by the Edgewood Arsenal human experiments conducted from 1948 to 1975 by the U.S. Army Chemical Corps, which musically speaking is presented by the band as a feast of blast beats and aggressive riffs and solos, with absolutely no signs of modernity or alternative elements, just plain old school devastation “made in Canada”. Then in the excellent Isolation the band needs less than five seconds to break your spinal cord with their brutal assault of Black Metal, with highlights to the awesome job done by Krag who goes from the deepest guttural a la Chris Barnes to vicious screams closer to what George “Corpsegrinder” Fischer does. Put differently, a powerful “tribute” to ancient and contemporary Cannibal Corpse in what’s the most insane tune of the MLP (and obviously the best).

Lastly, Paroxsihzem have a special gift for us entitled D.C.M., also known as “Dead Cunt Maniac”, a top-notch cover version for a classic song by French Black/Death metal act Arkhon Infaustus, but adding their own touch to the sounding. The song’s growls and riffs get to a truly Stygian level, with its ending leaving you completely disoriented so obscure it is. And you can listen to the entire MLP on the official Hellthrasher Productions’ YouTube channel, if you have an uncontrollable inner desire to experience that disorientation yourself.

All the brutality and doom ignited by Paroxsihzem can be enjoyed by visiting their Facebook page, while Abyss of Excruciating Vexes (which by the way serves as a bridge to the band’s next full-length album) is on sale at the Hellthrasher Productions’ BandCamp page or webshop, released exclusively on 12” vinyl and limited to only 250 copies. This is  high-end Canadian Extreme Metal that will suffocate you heartlessly, savagely and diabolically, or everything you always look for when in pursuit of evil music.

Best moments of the album: Isolation.

Worst moments of the album: None.

Released in 2016 Hellthrasher Productions

Track listing
1. Dillanties Torture 7:06
2. Bellicose Psychosis 3:37
3. BZ Experiment 4:52
4. Isolation 4:00
5. D.C.M. (Arkhon Infaustus cover) 4:57

Band members
Krag – vocals
Impugnor – guitars, bass, backing vocals
Abyss – drums

Album Review – Sacrilegium / Anima Lucifera (2016)

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Behold the spawn of the scalding union between Pagan Black Metal and mysticism, crafted by an old school band from Poland that has risen from the ashes like a demonic phoenix.

Rating4

sacrilegium_anima_lucifera_1000x1000“I have known innumerable Gods
All ethereal and infinite…  the stars.
And I saw God in all the world’s substance
I saw that God is not the only God of the Ultimate Abyss…” – Faust, by Fernando Pessoa

Almost 20 years after the release of their debut album called Wicher, from 1996, Polish Pagan Black Metal warlocks Sacrilegium finally return with their second full-length opus, stylishly entitled Anima Lucifera. The album title, which translated from Latin means “soul of light”, refers directly to a line from a poem by Polish poet Leopold Staff, whose poetry also feature together with the works of important names such as W. B. Yeats and Fernando Pessoa in the fervent lyrics by the band’s lead singer, founder and mastermind Nantur (also known as simply “N”). With that said, you can already envision what you’ll find when you start listening to this excellent extreme music album.

Exploring occult themes which accompanied the band members at the beginning of their journey in the 90’s in Wejherowo, a town in northern Poland not far from the city of Gdańsk, but at the same time expressing the experience the band has gained over the past 20 years not only as musicians but also as human beings, Anima Lucifera offers a lot more to the listener than “just” traditional Black Metal. This esoteric content can be seen already on the artwork by underground designer Marcin Lojek (Thaw, Nadja, Sunrise), building a connection between Sacrilegium’s aggressive past and their arcane and freakish present (and future).

And Sacrilegium actually start the opening track, Preludium / Heavenwings Shrugged, in a completely different way from their 1996 debut, sounding very esoteric, but that’s just until their crude and vicious old school Black Metal feast begins, with the bestial riffs by guitarist Suclagus (or simply “S”) shining amidst the blast beats fired by drummer R. A similar pattern is found in Angelus (Anima Lucifera), where an angelical ambience brings comfort to our hearts in a less ferocious rhythm with some elements of traditional Heavy Metal and even Gothic Metal added to it. The harsh snarls by N and the awesome solos by S make this tune one of my favorites of the entire album, with its second half exploding into brutal Black Metal for the total delight of fans of the genre.

Sacrilegium band 2015Their eccentric and occult vein keeps flourishing in Mare Tenebrarum by blending mysticism with sheer barbarism, and if you love the disturbing sound of Black Metal drumming I can assure you what R provides in this chant is exactly what you’re looking for. Also more melodic than usual, The Serpent Throne showcases a passionate and flammable performance by the entire band, with its spot-on background keyboards increasing its effectiveness. Once again, the music morphs into a violent tune and the band’s characteristic uproar returns at full force, haunting us all until its fiendish ending connects with the next track, entitled …and Soul. A solid riffage and a smooth piano lead the sounding on the first half of the song, and following the band’s distinct “formula” they fire Black Metal like there’s no tomorrow after a short while with highlights to the cavernous growls by N.

Venomous Spell Of Fate transpires brutality and despair from the very first second, with some nice breaks added to provide more intricacy to the overall result. Moreover, R is on his beast mode behind his drum set, contributing to boost the malignancy found in this bestial chant. And following that sonic massacre, dissonant noises kick off the chthonic tune named Desiderium Immortalis, where N offers some possessed screams throughout the whole song. It’s sheer Black Metal with nothing truly remarkable in it, but at least it keeps the album at a good level of quality. Lastly, how about an 8-minute feast of demonic growls, blast beats and guitar riffs played at the speed of light to conclude Anima Lucifera? This is what you’ll be able to enjoy in Anima Lucifera / Epilog, with N leading some sort of black mass so demented his harsh screams are. Thus, when the music is over we have three minutes of obscure and eerie passages similar to how the album started, closing the Black Metal circle generated by Sacrilegium.

Do you want to know more about this old school Polish institution and their rousing Pagan Black Metal? Simply go check their Facebook page for more information on the band, and buy your copy of Anima Lucifera at their BandCamp page or at the Pagan Records’ BandCamp page to truly feel how boisterous and esoteric they can sound at the same time. Sacrilegium offer the perfect marriage between Extreme Metal and mysticism, and they want you to behold the spawn of this scalding union through their devilish music.

Best moments of the album: Angelus (Anima Lucifera), The Serpent Throne and Venomous Spell Of Fate.

Worst moments of the album: Desiderium Immortalis.

Released in 2016 Pagan Records

Track listing
1. Preludium / Heavenwings Shrugged 5:44
2. Angelus (Anima Lucifera) 4:29
3. Mare Tenebrarum 4:33
4. The Serpent Throne 4:49
5. …and Soul 4:53
6. Venomous Spell Of Fate 4:22
7. Desiderium Immortalis 4:35
8. Anima Lucifera / Epilog 8:18

Band members
N (Nantur) – vocals
S (Suclagus) – guitars
C – bass
R – drums

Album Review – Rapheumets Well / The Exile (2016)

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Once you let your soul become part of the electrifying saga brought forth by this unstoppable Extreme Metal act from the United States, there’s no turning back.

Rating4

Rapheumets Well - The Exile 2016 - Album Cover- smallNot only the small city of Hickory, located in the state of North Carolina, United States has a Symphonic/Progressive Black Metal band, but the music played by this band is so complex and thrilling I wouldn’t be surprised if suddenly the city turned into a worldwide reference for this type of Extreme Metal. Thus, if you like the theatrical havoc generated by Fleshgod Apocalypse and Dimmu Borgir, for example, you’ll fall in love for the music found in The Exile, the brand new concept album by the symphonic horde known as Rapheumets Well. Formed in 2008 and having released their debut album Dimensions in 2014, which featured ten songs that progressively tell a larger story portrayed in a complex saga of Atai (ancient architects), who aid in the propagation of sentient life throughout the multi-verse, Rapheumets Well return with the second “chapter” of a narrative that will blow your mind while their music penetrates deep into your soul.

Taking place during the “Soyumoth’s War” in the plain of Sovael, The Exile is in fact a fictional journey that viciously represents the hardships of life in a weird and complex way, thoroughly engendered by drummer and lyricist Joshua “Nassaru” Ward. In order to get in touch with this alternative universe created by Joshua, you can take a look at Sovael – The Great Divergence, which is indeed the inspiration for both of the band’s albums, or maybe I should say the albums are the soundtrack for the saga. Either way, I recommend you take a deep breath before you dive into the world of Rapheumets Well, because things are about to get extremely serious, heavy, symphonic and epic.

The acoustic intro in the opening track, Resurrecting The Blood Gate, doesn’t last long as symphonic and blasting sounds quickly invade our ears in a majestic way, with lead singer Tripp King vociferating the lyrics like a lunatic beast. Moreover, the sonority crafted by Joshua on drums is nicely complemented by keyboardist Aaron Rogers, enhancing the complexity and punch of this tune. In The Blight of Sotath Shal, wicked keyboards explode into brutal Black Metal with guitarists Daniel Presnell and Hunter Ross delivering solid riffs while Joshua keeps firing his blast beats, whereas in The Epic of Darmak, even more imposing and dense, the beautiful female vocals by Annette Greene provide a gentle balance to all destruction led by Tripp, turning this into one of the best songs of the album for sure.

Rapheumets WellCrucible of Titans (an awesome name for a song, by the way) couldn’t sound less violent and transcendent, with its polished production enhancing the reach of each instrument and therefore making us feel them inside our minds during this powerful blend of Atmospheric and Symphonic Black Metal; followed by Resurgence, a chant full of melancholy and anger where all three vocalists have amazing performances and, once again, the keyboards by Aaron generate a wicked atmosphere. In addition, this is the best song to enjoy the intricate bass lines by Jon Finney, especially if you’re a lover of the rumbling sound generated by this distinct instrument.

In Witch of Dark Spire, a lot more direct but as powerful as all previous tracks, the guitars by Daniel and Hunter are absolutely on fire, turning this into the most metallic of all tunes. However, in order to add some romance to this sonic havoc, we have Annette sounding like an angelic spirit with her smooth vocals. The title-track The Exile elevates even more the overall quality of the album, showcasing an astral intro that gently flows into potent and visceral music. Joshua is insanely amazing on drums with his fills and unstoppable beats, not to mention the yet again elaborate guitar riffs by both Daniel and Hunter and the demonic growls by Tripp. And as a formidable conclusion to this epic saga, Planetary Cenotaph brings forward more Symphonic Metal and huge doses of brutality meticulously tailored for all types of metalheads, with highlights to the entrancing ambience crafted by both Aaron and Annette.

While the aforementioned “Soyumoth’s War” goes on at the plain of Sovael, you can join Rapheumets Well on Facebook, YouTube, ReverbNation and SoundCloud, and grab your copy of this intense and multilayered soundtrack named The Exile at the band’s BandCamp page or at the Test You Metal Records’ Big Cartel page. But let me warn you that once you let your soul become part of the electrifying saga brought forth by Rapheumets Well, there’s no turning back.

Best moments of the album: Resurrecting The Blood Gate, The Epic of Darmak and The Exile.

Worst moments of the album: The Blight of Sotath Shal.

Released in 2016 Test Your Metal Records

Track listing
1. Resurrecting The Blood Gate 4:44
2. The Blight of Sotath Shal 3:53
3. The Epic of Darmak 4:59
4. Crucible of Titans 4:14
5. Resurgence 6:07
6. Witch of Dark Spire 5:17
7. The Exile 6:13
8. Planetary Cenotaph 5:05

Band members
Tripp King – harsh vocals
Annette Greene – choir, female clean vocals
Daniel Presnell – guitar
Hunter Ross – guitar
Jon Finney – bass
Aaron Rogers – keyboards
Joshua “Nassaru” Ward – drums, clean vocals

Concert Review – Cradle of Filth (Phoenix Concert Theatre, Toronto, ON, 03/06/2016)

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As Toronto turned 182 years old yesterday, nothing better than celebrating the anniversary of our beautiful city with a gargantuan amount of fuckin’ “filth”.

OPENING ACTS: Ne Obliviscaris and Butcher Babies

COF_Inquisitional Torture 2016What a lovely day in our stunning, charming and multi-cultural city of Toronto. It might not be Summer (and not even Spring) yet, but sunny Winter days with temperatures above the freezing mark like this Sunday are such a thing of beauty they make us completely forget how harsh Winter can be sometimes. Perhaps that was Mother Nature giving her “birthday gift” to all Torontonians who were celebrating the 182nd anniversary of their beloved city. And what could have been better than hosting one of the most influential Extreme Metal bands of all time at the Phoenix Concert Theatre to properly commemorate the date? Finally, after five long years, the iconic Cradle of Filth returned to the “Land of the Moose”, as Dani Filth himself stated during the show.

This metallic feast started at around 7pm, when Australian Extreme Progressive Metal band NE OBLIVISCARIS hit the stage with their fusion of Symphonic Metal, Black Metal, Heavy Metal, Folk Metal and several other subgenres of heavy music blended in their sound. It took a few minutes for those guys from Melbourne, Australia to actually warm up and start entertaining the crowd, but once their concert took off it was indeed a nice experience, especially due to the amazing performances by Tim Charles with his violin and left-handed guitarist Benjamin Baret with his wicked riffs and solos. I confess I didn’t know much about the band before this gig, which means I’ll obviously go after their music to truly understand what they’re all about. And, of course, it’s good to know there’s more high-quality metal music coming from Down Under.

Setlist
Devour Me, Colossus (Part I): Blackholes
Of Petrichor Weaves Black Noise
Xenoflux
Painters of the Tempest (Part II): Triptych Lux
Pyrrhic
And Plague Flowers the Kaleidoscope

Band members
Xen – harsh vocals
Tim Charles – clean vocals, violin
Benjamin Baret – lead guitar
Matt Klavins – guitar
Cygnus – bass
Dan Presland – drums

When their concert was over and we all had a few minutes to rest and have a beer before the next attraction, I have to say it’s always nice when people come to talk to you about anything without being too wasted or high. That happened to me when a guy from Oshawa wearing a Bad Religion T-shirt approached me to say he liked my Pantera T-shirt, and from then we started chatting about music in general, focusing on bands such as Anthrax, Megadeth, Iron Maiden and Volbeat. So kids, next time you go to a concert try not to be so wasted, falling like a bag of potatoes on everyone around you, or too “Justin Bieber-ish” that no one else can touch you or talk to you. There’s always somewhere in between that works a lot better for everybody, got it?

IMG_1117Getting back to the concert, it was then time for the dynamic duo comprised of Heidi Shepherd and Carla Harvey, known as the BUTCHER BABIES, to kick some serious ass on stage and make everyone in the audience go absolutely mental before the main attraction of the night. It was also my first time seeing them live, and I must say those girls know how to put up an entertaining show. Armed with their demonic voices and supported by very competent musicians, especially bassist Jason Klein, those two girls from Los Angeles, California (dressed like an evil version of Babymetal) didn’t stop banging their heads and screaming for a single second, showcasing their deep passion for heavy music while playing every song of their setlist, which was mostly based on their 2015 album Take It Like a Man. There were a few technical issues with their sound, but no one seemed to care about that. All people wanted were more “excuses” to slam into the pit and do some stage diving, and both Heidi and Carla knew exactly how to ignite that fire with their Alternative Metal, playing some high-octane songs such as National Bloody Anthem, The Butcher and, my favorite of the night, Monster’s Ball. Girls, Toronto loves you and we can’t wait to have you back in the city!

Setlist
National Bloody Anthem
Blonde Girls All Look the Same
The Butcher
Gravemaker
Igniter
Jesus Needs More Babies for His War Machine
Monster’s Ball
Magnolia Blvd.
The Deathsurround/Goliath/I Smell a Massacre
Axe Wound

Band members
Heidi Shepherd – vocals
Carla Harvey – vocals
Henry Flury – guitar
Jason Klein – bass
Chris Warner – drums

CRADLE OF FILTH

IMG_1144It was around 9pm when the diabolical intro Humana Inspired to Nightmare announced the gates of Hades were open wide, therefore releasing the devil’s favorite dark angels to spread hell on earth with their unparalleled Extreme Metal. Promoting their latest opus Hammer Of The Witches under their current tour entitled Inquisitional Torture 2016, British titans CRADLE OF FILTH began to mercilessly discharge a flawless mix of classics with brand new chants, driving all fans at the venue utterly crazy. When a concert starts with Heaven Torn Asunder and Cruelty Brought Thee Orchids, you know it’s going to be a fuckin’ massacre.

The most interesting fact for me about their setlist was that it was divided in two “acts”, like a theatre play. There was an intro for each act, followed by a sequence of blasting classics (covering almost all of their albums) that put a huge smile on the face of this guy here, a longtime fan of Dani and his crew. I simply love songs like Lord Abortion, Honey and Sulphur, Her Ghost in the Fog and my top Cradle of Filth song of all time, the insane From the Cradle to Enslave, but their newer stuff such as Right Wing of the Garden Triptych and Deflowering the Maidenhead, Displeasuring the Goddess work so well when played live I’m sure they’ll become a constant part of their future tours. In addition, Dani (who was the demon himself last night), as a treat to all fans for waiting patiently for the band’s return to Toronto, dedicated to all of us For Your Vulgar Delectation, from their previous album (which unfortunately could not have a Canadian tour due to visa issues).

dani_toronto2016_02The whole band was on fire and Dani’s performance was epic, screaming like a rabid demon and wearing his Stygian attire and corpsepaint the way we all love, but I have to say last night belonged to the adorable keyboardist and singer Lindsay Schoolcraft. Although she’s not exactly from Toronto (technically, she’s from Oshawa), she was so excited and pleased to play together with Dani and his crew in her hometown she couldn’t stop smiling, waving to the fans and headbanging like a maniac during the entire concert. I guess I don’t need to say how memorable the night was for our talented Canadian girl, right? The only band member I couldn’t really watch well was drummer Martin “Marthus” Škaroupka, who was “hiding” not only behind his drums, but also behind some kind of aquarium/glass cell to the left of the stage. That was a weird stage setup, by the way, as if they were keeping Marthus caged before he could escape and kill someone, but nothing that would make the whole concert less memorable.

dani_toronto2016And can you guess why Dani, Lindsay, Marthus and the other band members played so well and were so electrified last night? That’s exactly it, because of us, loyal and demented Cradle of Filth fans. I don’t remember seeing a crowd so insane and in sync with the band like that. What the fans did during Gilded Cunt, growling the lyrics together with Dani, and the furious mosh pits during Nymphetamine (Fix), which is in fact a heavy ballad and not a sick blasting tune, was truly outstanding. Even Gimli, the brave dwarf from Lord of the Rings, was among us weating a Testament T-shirt! If you were there, you know who I’m talking about. Anyway, Cradle of Filth provided us fans another memorable metal night at the Phoenix Concert Theatre, and I’m pretty sure we also made the night memorable to the band as well, especially to Lindsay. I just hope Mr. Dani Filth and his horde of darkness do not take another five years to return to the Land of the (Headbanging) Moose. Actually, how about celebrating each and every anniversary of this distinct city together with the band? That’s the type of “filth” I’m sure no one would complain to have around all the time.

Setlist
ACT I
Humana Inspired to Nightmare (Intro)
Heaven Torn Asunder
Cruelty Brought Thee Orchids
Blackest Magick in Practice
Lord Abortion
Right Wing of the Garden Triptych
Malice Through the Looking Glass
Deflowering the Maidenhead, Displeasuring the Goddess
Gilded Cunt

ACT II
Walpurgis Eve (Intro)
Yours Immortally…
Nymphetamine (Fix)
Honey and Sulphur
For Your Vulgar Delectation
Her Ghost in the Fog
From the Cradle to Enslave
The Principle of Evil Made Flesh
Born in a Burial Gown
Blooding the Hounds of Hell (Outro)

Band members
Dani Filth – lead vocals
Richard Shaw – guitars
Marek “Ashok” Šmerda – guitars
Daniel Firth – bass
Lindsay Schoolcraft – female vocals, keyboards
Martin “Marthus” Škaroupka – drums

Album Review – Cult of Erinyes / Transcendence EP (2016)

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High-quality Ritualistic Black Metal blasted by an up-and-coming cult of infernal goddesses that will definitely devastate your mind.

Rating5

CultOfErinyes-EPIn Greek mythology, the Erinyes (also known as Furies) were female chthonic deities of vengeance, sometimes referred to as “infernal goddesses”. Having said that, try to imagine what would happen if a cult dedicated to those hellish deities of the underworld decided to converge all their strength and energy into extreme music. The result would be the Ritualistic Black Metal bred by the skillful Belgian act Cult of Erinyes, who are just about to release a 19-minute opus in cassette format (limited to 100 copies) entitled Transcendence.

Hailing from the always pleasant city of Brussels, Belgium, Cult of Erinyes have always been crafting music in seek of the trinity, the purest form of the universe, which ends up providing a particular atmosphere of their sonority that explains the label of “Ritualistic Black Metal”. The band has already released an EP and two full-length albums since their inception in 2009, but in case you have never heard of them before I should say their new EP Transcendence is a highly-recommended option to join their cult. Featuring a distinguished artwork by Business for Satan, from the city of Strasbourg, France, this obscure EP doesn’t need more than its duration to devastate your mind and make you addicted to their eldritch metal music.

Cult of Erinyes come blasting their evil music from the very first second in Degree of Solitude, a solid fusion of raw Black Metal with a heavy and demonic ambience, with its second half becoming a bestial onslaught of Extreme Metal where lead singer Mastema growls like an ancient demon. In the title-track, Transcendence, the band’s mastermind and warlock Corvus fires his evil riffs and thunderous bass lines, while Mastema continues his vocal tribute to evil. This song showcases lots of elements from Doom Metal, Blackened Doom, Atmospheric Black Metal and Blackened Death Metal, resulting in a demonic composition that will definitely drag you down to the pits of hell.

CultofErinyes_official1And as a sophisticated bonus to admirers of Extreme Metal all over the world, this talented Belgian band offers us their kick-ass cover version for the classic chant Pagan Fears, originally recorded by Mayhem, known as the trailblazers of Norwegian Black Metal and one of the most controversial bands of all time (if not the most controversial one). This is undoubtedly an amazing tribute with the necessary amounts of darkness, despair and violence requested, and in case you want to compare it to the original song you can do that by simply clicking HERE.

To sum up, although Transcendence has only three songs, the quality of the music found in its 19 minutes of brutality and occultism is indeed beyond average, making us all eager for what this cult of infernal goddesses can offer us next. In order to know more about Cult of Erinyes and their high-end Black Metal, go check their Facebook page. And if you truly want to support the underground of extreme music, go purchase Transcendence at the Caverna Abismal Records’ BandCamp page (remember it’s limited to 100 copies only), and relish it while we all wait for another demonic rite by these talented Belgian metallers.

Best moments of the album: Degree of Solitude.

Worst moments of the album: None.

Released in 2016 Caverna Abismal Records

Track listing
1. Degree of Solitude 5:46
2. Transcendence 6:40
3. Pagan Fears (Mayhem cover) 6:32

Band members
Mastema – vocals
Corvus – guitar, bass, keyboards
Baal – drums*

*Former member

Album Review – Plutonium / Born Again Misanthrope (2016)

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Extremely toxic, flammable, unorthodox and unique. That’s the transuranic radioactive Industrial Extreme Metal engendered by Swedish multi-instrumentalist Mr. J.

Rating5

albumcoverBAMThe “most common” form of plutonium known worldwide is the transuranic radioactive chemical element with symbol Pu and atomic number 94, with very harmful effects on the human body due to its radioactivity and heavy metal poison effects. However, what would happen if those lethal characteristics were converted into heavy music? Well, I guess the result would sound pretty much like the eccentric Industrial Extreme Metal by Swedish one-man band Plutonium, as you’ll be able to experience while taking a listen at his brand new full-length album, entitled Born Again Misanthrope.

Plutonium was formed in 2003 in the city of Karlskoga, Sweden by Mr. J (also known as J. Carlsson) as his creative oasis and getaway, and since them the world has already witnessed the uprise of a demo named Wind Of Change (2004) and the full-length albums One Size Fits All (2007) and Devilmentertainment Non-Stop (2011). Featuring nine songs that not only have an unorthodox approach but also present idiosyncratic names, Born again Misanthrope signs an evolution in the music by Mr. J and his radioactive Plutonium, and if you’re expecting something easy to listen and absorb I must warn you this album is definitely not for you.

You can feel how experimental the album is from the very first notes of the opening track, Born Again Misanthrope, a fusion of Black and Industrial Metal with Blackened Doom where a hellish ambience together with demonic (and somehow robotic) growls and traditional Black Metal double bass will pulverize your mind. And even more electronic and deranged, Cortex Vortex would be an excellent soundtrack to a futuristic horror flick, with Mr. J crafting what we can call “Extreme Disco Metal”. Besides, its guitar riffs keep the song at the right level of heaviness in its almost eight minutes of violent experimentations.

The Inverted Panopticon Experience, a demented march of evil that goes on and on for six minutes, is a modernized version of Atmospheric Black Metal with an extra dosage of metallic noises, which might also be called Industrial Black Metal, while Casque Strength presents a hellish video-game sounding in a more melodic form of Industrial Metal. In addition, its constant electronic riff and the hobgoblin-like vocals by Mr. J are very interesting and end up working really well in this high-octane tune. And just when you think Mr. J will bring forward another blasting tune, he delivers the Blues-ish Progressive Doom Metal chant The Masque Of The Green Demon, a weird and obscure tune completely different from the rest of the album, sounding like a psychedelic voyage inside the mind of this crazy Swedish multi-instrumentalist.

plutoniumThe second part of Born Again Misanthrope is as otherworldly as possible, starting with the semi-acoustic and totally ominous composition Renuntiationem, another wicked surprise in the album where the music feels like a representation of a desolated planet, with Mr. J whispering the lyrics instead of screaming, followed by the vibrant Electric Barbwire Crown Of Thorns, a rawer Black Metal chant with the impact of its blast beats and harsher growls being enhanced by huge amounts of progressiveness. Then we have Alice In Plutoniumland (Two Minute Hate Part III), a two-minute instrumental track full of eerie noises and a somber atmosphere (and that’s basically it), before Confessions Of A Suicidal Cryptologist, which is perhaps the most brutal of all tracks, closes the album in the darkest way you can imagine. I’d like to see more of this blackened side of Mr. J, growling like an old school Black Metal vocalist while delivering blazing guitar riffs that will rip your soul apart.

Maybe an extra dosage of electronic background effects and a better sound recording for the drums would elevate the overall quality of the album to a whole new level, but we must acknowledge that Born Again Misanthrope is at a very decent standard taking into account the fact Mr. J is a 100% independent artist who recorded and produced everything without any external help. In other words, imagine what this guy could do with some proper support? And if you’re interested in knowing more about the transuranic radioactive Industrial Extreme Metal engendered by Mr. J, go check his Facebook page, SoundCloud and ReverbNation, and buy Born Again Misanthrope at his BandCamp page. As aforementioned, this is not an easy listen at all, being extremely toxic, flammable and unusual, but I’m pretty sure Mr. J has never wanted his uncanny Plutonium to be anywhere close to the mainstream. Quite the contrary, he is extremely comfortable with where he stands today with his music.

Best moments of the album: Electric Barbwire Crown Of Thorns and Confessions Of A Suicidal Cryptologist.

Worst moments of the album: Renuntiationem.

Released in 2016 Independent

Track listing
1. Born Again Misanthrope 4:37
2. Cortex Vortex 7:53
3. The Inverted Panopticon Experience 6:08
4. Casque Strength 7:35
5. The Masque Of The Green Demon 5:30
6. Renuntiationem 5:32
7. Electric Barbwire Crown Of Thorns 6:34
8. Alice In Plutoniumland (Two Minute Hate Part III) 2:00
9. Confessions Of A Suicidal Cryptologist 7:13

Band members
Mr. J – vocals, all instruments

Album Review – Ghost Horizon / Astral Possession EP (2016)

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An excellent Black Metal release exhaling agony, torment and depression, crafted by a promising American duo that has all it takes to succeed in the world of extreme music.

Rating5

Album CoverStraight from the city of Phoenix, located in the southwestern state of Arizona, in the United States, comes a band that aims at bringing pitch-black darkness not only to their precious Valley of the Sun, but also to the rest of the world with their unconditional rage and hopelessness. This wrathful band is called Ghost Horizon, and the quality of the music they offer us metalheads during the 12 minutes of Melodic and Atmospheric Black Metal found in their debut EP, entitled Astral Possession, is undoubtedly beyond what anyone could expect from such a fresh new act.

Formed in 2015 by ex-Severed Receptors and Psychobliss guitarist Dan Stollings, the obscurity crafted by Ghost Horizon will definitely please fans of bands such as Wolves in the Throne Room, Woods of Ypres and Alcest, among other eccentric Extreme Metal groups. Moreover, when you listen to the music in Astral Possession, you can rest assured you’re listening to truthful music and not to any type of shenanigans many bands tend to deliver just to sound badass or evil. “Ghost Horizon, to me, is everything I ever wanted in a band. I can express both my anger/depression and happiness to whatever degree I wish, while also allowing the two opposite emotions to marry.”, commented Daniel on the direction of the band.

Ghost Horizon pic2The ominous intro in Pale Apparition warms up the listener for a brutal fusion of Doom and Black Metal effectively fired by the duo, with the desperate vocals by Uræus being exactly what the music needs to be more imposing. In addition, string-man Daniel keeps delivering flammable guitar and bass lines until the music flows into a melancholic ending. Spectral Threnody gets even more somber, sounding like Blackened Doom with deeper growls and a sorrowful ambience where Uræus does a superb job on drums with all his tempo changes and blast beats. And lastly, the demonic composition Astral Possession (The Cold Years Unearthed) closes the EP  in a powerful way, bringing forward modern but at the same time raw Black Metal perfect for fans of old school extreme music who are looking for something new in their lives. It’s indeed a feast of classic Black Metal riffs by Daniel which do not sound outdated at all, while Uræus keeps spreading electric darkness through his devilish vocals.

All the agony and torment provided in the form of extreme music by Ghost Horizon can be relished at their Facebook page and SoundCloud, and Astral Possession can pretty soon be purchased through their BandCamp page or on Amazon. Put differently, if you love extreme music exhaling anger, depression, anguish and sorrow all at the same time in a solid and convincing way, don’t waste your time and go check the high-end Black Metal by this dynamic American duo right now.

Best moments of the album: Astral Possession (The Cold Years Unearthed).

Worst moments of the album: None.

Released in 2016 Independent

Track listing
1. Pale Apparition 4:31
2. Spectral Threnody 3:08
3. Astral Possession (The Cold Years Unearthed) 4:08

Band members
Uræus – vocals, drums, additional instruments
Daniel Stollings – guitars, bass

Album Review – Against The Plagues / Purified Through Devastation (2015)

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The devastating new album by this Blackened Death Metal band from Chicago is undoubtedly the perfect soundtrack for the total extermination of our species.

Rating4

ALBUM_COVER_2015We all know that the human race has proven countless times to be a failed experiment of Mother Nature and that, consequently, there’s only one last resort to restore balance to the world, which is the total extermination of our species. Thus, as there’s no other way out, why not conducting that mandatory purge to the sound of the demolishing music found in Purified Through Devastation,  the brand new release by American Blackened Death Metal act Against The Plagues?

Based in Chicago, Illinois, this brutally heavy and technical band has been pulverizing the world with their Blackened Death Metal since their inception in 2005, mixing speed and slower tempos in a precise and explicit way for the delight of fans of extreme music. Featuring another first-rate artwork by renowned Swedish artist Pär Olofsson (you might remember him from some of our previous reviews such as the latest albums by Exodus and Irreversible Mechanism), six of the nine tracks in Purified Through Devastation were already part of either their 2012 EP The Quaternion or their 2015 EP Extermination Event, which altogether offer the listener a concept album that will leave you disoriented after its 47 minutes of annihilation are over.

Their pulverization begins in less than five seconds in Man’s Modern World, where lead singer Shaun Albro delivers potent screams and growls (hence leading the band’s dense musicality) while drummer Varyen Chylinski shows no mercy for mankind, sounding like a machine gun behind his drums. The brutal and atmospheric All Flesh Had Corrupted, showcasing a more modern version of Death Metal due to its background sounds, continues the band’s carnage and also presents some amazing guitar lines by Jon Corston and Aaron Covarrubias, especially their solos. And what can be said about Praetorian Icon, slightly faster, heavier and more demonic than the previous tracks, reinforcing their impressive technique to sound so destructive and tuneful at the same time?

photoThe next song, Theokratia, is a magnificent neck-breaking chant perfect for admirers of Melodic Death Metal but with sharper instruments, in special the bestial drumming by Varyen and the even deeper growls by Shaun. And their heavy artillery doesn’t give any sign of slowing down as seen in TerrorForm, where hints of Symphonic Black Metal blend perfectly with their traditional shredding, beats and screams, making it a highly-recommended tune for getting smashed in the circle pit. The same is valid for the awesome chant Extermination Event, where its initial siren alerts a scathing bloodshed is about to begin in the form of demented Death Metal.

Let’s say the album needed a short break from all extermination going on with the instrumental track Falling Further, but it’s just for less than two minutes before the psychotic tune Enblightened comes crushing your skull with its Black Metal elements, enhancing the already amazing harsh vocals by Shaun. And lastly, we have the threatening Enemy Herein to close the album, with all instruments getting darker than usual and Jon and Aaron firing more of their striking guitar solos.

Against The Plagues can be found on Facebook and ReverbNation, and there are so many awesome versions of Purified Through Devastation available for sale I don’t know where to start. You can grab your copy of the album at their BandCamp page, a limited edition CD signed by all members at their Big Cartel page, and both the regular version of the album or a special combo CD + T-shirt at the Non Serviam Records webstore. If the brutal extermination of mankind deserves a proper soundtrack, Against The Plagues are indubitably the ones to help us with that gruesome task.

Best moments of the album: Man’s Modern World, Theokratia and Extermination Event.

Worst moments of the album: Enemy Herein.

Released in 2015 Non Serviam Records

Track listing
1. Man’s Modern World 7:06
2. All Flesh Had Corrupted 4:58
3. Praetorian Icon 5:25
4. Theokratia 7:47
5. TerrorForm 5:12
6. Extermination Event 3:56
7. Falling Further 1:39
8. Enblightened 4:46
9. Enemy Herein 6:49

Band members
Shaun Albro – vocals
Jon Corston – guitar
Aaron Covarrubias – guitar
Milo Kovacevic – bass
Varyen Chylinski – drums