Album Review – Serpentrance / Akra Tapeinosis (2021)

This infernal Russian Sepulchral Death Metal horde comes ripping with their debut full-length opus, offering us all their raw and vile view of “the Utmost Humiliation”.

3.5rating

serpentrance-akra-tapeinosis-2021Recorded, mixed and mastered by the band’s own guitarist Spīritō Destitutus in the desolate temples of doom, and displaying a beyond blasphemous artwork by the band’s own vocalist Morkh at Nether Temple Design, the excellent Akra Tapeinosis (or “the Utmost Humiliation”), is not only the debut full-length opus by Russian horde Serpentrance and the follow-up to their 2015 EP The Besieged Sanctum, but also a lesson in Black, Death and Doom Metal by this uncanny entity, or as the band itself likes to label their own sound, a fulminating exhibit of “Sepulchral Death Metal”. Formed in 2014, the band currently comprised of the aforementioned Morkh and Spīritō Destitutus together with bassist HTM and drummer Noersyl Skept is ready to darken the hearts of the unbelievers with their unique style and otherworldly sounds, proving once again why Russia is the go-to place for the most disturbing forms of extreme music you can think of.

Gregorian vociferations permeate the air in the Stygian opening tune Vomit & Myrrh, exploding into a primeval fusion of Black and Doom Metal that will haunt the souls of the lighthearted where Morkh sounds like a creature from the underworld on vocals, while Noersyl Skept hammers his drums in great fashion; followed by Clothed in Abomination, with its darkly poetic words (“Cathedrals howling in awe / The old woman of apocalypse awakes / To feed the hunger of the devoted ones / By the coffins of the blessed tree”) being beautifully complemented by a raw, sluggish sonority. Furthermore, the riffs by Spīritō Destitutus exhale pure sulfur, supported by the menacing bass by HTM in an ode to Blackened Doom. And Spīritō Destitutus keeps slashing his stringed axe with tons of hatred and obscurity in The Tarnished Shrines of God, another venomous tune by Serpentrance where the deep guttural growling by Morkh will penetrate deep inside your psyche and drag you into pitch black darkness for all eternity.

After such intense and bold display of damnation and hatred, get ready for over 11 minutes of a demented hybrid of Black, Death and Doom Metal by the quartet spearheaded by the demonic riffage by Spīritō Destitutus and the thunderous drums by Noersyl Skept entitled Underneath Babylon, not to mention how vile Morkh’s roars sound and feel in a lecture in sheer doom for admirers of the most sulfurous side of music. And last but not least, we’re treated to the superb The Black Dawn of Sophia, offering our avid ears one final round of Serpentrance’s wicked lyrics (“Man, hast thou felt the rising winds of death / Howling among these ancient marble walls? / There, below, crawling the procession / Groveling beneath the corroding sun”) to close the album on a high and infernal note. Put differently, it’s a flawless, neck-breaking aria that positions the band as one of the most interesting names of the Russian underground scene, ending the album on an absolutely cadaverous vibe.

serpentrance-2021If you think you can endure sheer darkness in the form of the Sepulchral Death Metal blasted by Serpentrance, you can stream the full album on YouTube, and in case you survive that metallic onslaught you can join Serpentrance’s horde by following them on Facebook and getting to know more about the band, their tour dates and their plans for the future. And above all that, of course, don’t forget to purchase a copy of Akra Tapeinosis from the Godz ov War Productions’ BandCamp page or webstore in CD, LP or cassette formats, showing your true love and admiration for sick and impious doom. Serpentrance are just starting in their grim and sulfurous career, and Akra Tapeinosis is the undisputed statement that they’re indeed following the right (and by that I mean infernal) path to conquer the world of extreme music in a not-so-distant future.

Best moments of the album: Vomit & Myrrh and The Black Dawn of Sophia.

Worst moments of the album: None.

Released in 2021 Godz ov War Productions

Track listing  
1. Vomit & Myrrh 7:34
2. Clothed in Abomination 7:38
3. The Tarnished Shrines of God 7:14
4. Underneath Babylon 11:35
5. The Black Dawn of Sophia 9:10

Band members
Morkh – vocals
Spīritō Destitutus – guitars
HTM – bass
Noersyl Skept – drums

Album Review – Chainsword / Blightmarch (2021)

These vicious Polish troopers are ready to spread the flames of war and conflict in a death and doom inferno armed with their brutal debut opus.

Founded in 2016 in Warsaw, Poland with the sole purpose of waging war, a five-men Death Metal squad known as Chainsword is ready to spread the flames of conflict in a death and doom inferno armed with their debut opus, entitled Blightmarch, living up to the legacy of renowned acts the likes of Unleashed, Bolt Thrower and Benediction, among several other Death Metal giants. Mixed, mastered and reamped by Haldor Grunberg at Satanic Audio, and displaying an old school, warlike artwork by Argentinian draftsman and painter Wilson Germán Arrieta, Blightmarch will invite you to head into the battlefield alongside vocalist Herr Brummbär, guitarists Sarin Spreizer and Herr Hornad, bassist Wutender Ente and drummer Herr Feldgrau, turning into ten first-class Death Metal tunes all the darkness, hatred and violence of war.

And those troopers are ready to pulverize us all with their heavy artillery in the opening tune Ost Front 1943 – Stalingrad, where Herr Brummbär vociferates like a demonic entity while Herr Feldgrau blasts his drums in great Death Metal fashion, kicking off the album on an infernal note; whereas in Spinehammer the band’s guitarists Sarin Spreizer and Herr Hornad fire unrelenting Thrash and Death Metal riffs for our total delight, resulting in a fulminating tune perfect for slamming into the pit (not to mention Herr Brummbär sounds even more demented on vocals), followed by Horus, the Chosen Son, where we’re treated to austere words barked by Herr Brummbär (“The foundation of terror / The shadow of torment / When hate consumes / the souls of man / It now is my mission / My final conquest / The right hand of chaos / That I become”) accompanied by the thunderous kitchen by Wutender Ente and Herr Feldgrau. More of the sick riffage by Sarin Spreizer and Herr Hornad permeates the air in the obscure Death Metal hymn Ost Front 1942: Moskau, with the rhythmic beats by Herr Feldgrau inviting us all to crack our necks headbanging like maniacs, and another Stygian wall of sounds smashes our senses in the vile Dead Hand Call, where Chainsword’s guitar duo not only keeps delivering sheer violence through their riffs, but also through their sick solos.

Bringing elements from Thrash and Groove Metal to their core malevolence, Chainsword will destroy anyone who crosses their path in Exterminatus, a lesson in Death Metal showcasing a brutal drumming by Herr Feldgrau amidst tons of groove and harmony blasted by the band’s stringed trio, and there’s no time to breathe as they continue their ode to violence and war in Daemonculaba, a true headbanger where Herr Brummbär roars and growls manically, always supported by the visceral riffs and bass jabs by his bandmates. Then featuring guest guitarist Cheesy Dude (aka Piotr Sadza of Belzebong and Weedpecker) and guest vocalist Nun (aka Lech Kowal of Sun No More), the title-track Blightmarch is as vile and demonic as its predecessors, keeping the album at a high level of animosity, whereas their war-like Death Metal keeps crushing our skulls in Dreadquake Mortar, sounding heavier-than-hell and demented from start to finish, with Herr Brummbär stealing the spotlight with his grim guttural lines. Lastly, we face 06.08 9:15, with the name of the song representing the date and time when the American B-29 bomber Enola Gay dropped an atomic bomb on the Japanese city of Hiroshima, August 6, 1945 at 9:15am. Musically speaking, it’s another old school, vicious Death Metal onrush to end the album in the heaviest and darkest way possible.

In case you’re curious to know how Chainsword’s hybrid of Death Metal and war sounds in Blightmarch, you can stream the album in its entirety on YouTube and on Spotify, but of course if you consider yourself a true Death Metal soldier you should definitely purchase the album from Chainsword’s BandCamp page, from the Godz ov War Productions’ BandCamp page or webstore, or from Apple Music. Also, in order to properly enlist in their army of extreme music, simply follow them on Facebook and on Instagram for more of their music, news, tour dates and everything else surrounding Chainsword in the battlefield. Having said that, what are you waiting for to put your dirty hands on such pulverizing album of Death Metal made in Poland? Let’s all join the attack!

Best moments of the album: Spinehammer, Exterminatus and Daemonculaba.

Worst moments of the album: Horus, the Chosen Son.

Released in 2021 Godz ov War Productions

Track listing
1. Ost Front 1943 – Stalingrad 4:03
2. Spinehammer 3:30
3. Horus, the Chosen Son 4:24
4. Ost Front 1942: Moskau 4:19
5. Dead Hand Call 3:37
6. Exterminatus 4:56
7. Daemonculaba 4:31
8. Blightmarch 3:42
9. Dreadquake Mortar 3:51
10. 06.08 9:15 5:15

Band members
Herr Brummbär – vocals
Sarin Spreizer – guitar
Herr Hornad – guitar
Wutender Ente – bass
Herr Feldgrau – drums, vocals

Guest musicians
Cheesy Dude – guitars on “Blightmarch”
Nun – additional vocals on “Blightmarch”

Album Review – Bestial Warfare / Desecrating Goat Assault EP (2020)

A ruthless German Black and Death Metal brigade is ready to attack armed with their fulminating new opus, overflowing darkness, blasphemy and rage.

Recorded, mixed and mastered by (((CYPHX-AUDIO))), and displaying a Stygian artwork by Art of Sickness 666 and an old school logo by Cyanide Grave, the debut EP by German Black/Death Metal horde Bestial Warfare, entitled Desecrating Goat Assault, has everything a fan of the most demonic and obscure type of extreme music can ask for, following up on their critically acclaimed 2018 demo Genocide. Dealing with controversial themes such as war, darkness, blasphemy and death, the band formed in 2017 in Marburg, Hesse, a town north of Frankfurt, and currently comprised of Decius Christgrinding Hammerfist on guitar and vocals, Blashphemer Evocator Incinerator Mass on bass and vocals, and Death Tyrant of Satanic Vengeance on drums, takes no prisoners in their quest for violence and obscurity, with Desecrating Goat Assault perfectly representing everything this amazing underground German brigade stands for.

Tribal beats and a putrid stench of evil kick off the heavy-as-hell Impaled Human Scum, with Decius vomiting the song’s blasphemous words manically, always supported by the heavy artillery of Blashphemer with his wicked bass and Death Tyrant with his vicious beats; and Decius and his Stygian riffs will pierce your ears in the disturbing fusion of Black and Death Metal titled Genocide Ceremony (Congregation Ablazed), showcasing infernal beats and fills, gruesome vociferations and metallic bass jabs, or in other words, a lesson in extreme music made in Germany. Then we have Human Sacrifice (Pig Messiah Decapitated), as demented and disturbing as its predecessors, where those three metallers prove they’re never tired of hammering their sonic weapons and, therefore, providing us fans a hurricane of Black and Death Metal not recommended for the lighthearted, not to mention Death Tyrant sounds like a stone crusher on drums. Iron Bloodlust Inflamed is another explosion of vile and crushing sounds by Bestial Warfare, with Decius taking the lead with his vomiting, guttural roars while Blashphemer continues to pound his Stygian bass nonstop, and finally there’s nothing better than paying a tribute to darkness and old school Black Metal than with the sulfurous hymn Antichrist Offensive, where they continue to smash everything and everyone that crosses their path and with Death Tyrant and Decius making a demonic duo with their respective blast beats and scorching riffage.

The gates of hell are open and Bestial Warfare are ready to attack armed with their fulminating new EP Desecrating Goat Assault, and in order to join this evil brigade from Germany simply go check what they’re up to on Facebook and purchase a copy of the album from the Godz ov War Productions’ BandCamp page or webstore in CD or cassette format. After two first-class, demonic releases such as Genocide and Desecrating Goat Assault, what’s next for Bestial Warfare? Well, it doesn’t matter if it’s another EP or a full-length album, as long as they keep spreading darkness and blasphemy all over the world with their infernal creations I’m sure fans of extreme music will have a very good reason to keep banging their heads in the name of pure evil.

Best moments of the album: Genocide Ceremony (Congregation Ablazed) and Human Sacrifice (Pig Messiah Decapitated).

Worst moments of the album: None.

Released in 2020 Godz ov War Productions

Track listing
1. Impaled Human Scum 5:36
2. Genocide Ceremony (Congregation Ablazed) 4:27
3. Human Sacrifice (Pig Messiah Decapitated) 3:29
4.Iron Bloodlust Inflamed 4:07
5. Antichrist Offensive 4:02

Band members
Decius Christgrinding Hammerfist – guitar, vocals
Blashphemer Evocator Incinerator Mass – bass, vocals
Death Tyrant of Satanic Vengeance – drums

Album Review – Barbaric Horde / Axe of Superior Savagery (2020)

An uncanny entity from Portugal is unleashing upon us a savage beast that lives up to the legacy of dirt and raw old school Black Metal.

The gates to the underworld are open in the beautiful city of Lisbon, Portugal, thanks to the venomous and unrelenting fusion of Black and Death Metal played by a mysterious entity that goes by the name of Barbaric Horde, ready to decimate your senses and leave you completely disoriented after the 28 minutes of infernal music found in their debut full-length opus, nicely titled Axe of Superior Savagery, are over. Featuring an old school artwork by Warhead Art and layout by Maciej Kamuda Art, Axe of Superior Savagery is a much bolder beast than their 2016 demo Gasmask Perpetrators and their 2017 demo Tainted Impurity, while at the same time keeping the band’s utterly raw and dirty core musicality intact, therefore living up to the legacy of the early days of Black Metal.

And this uncanny Portuguese entity quickly arises from the pits of hell with the fulminating opening track Tyrant of the Dark Trynity, offering our putrid ears a high dosage of evil in the form of insane blast beats, crude riffs and Stygian vociferations. Put differently, it can’t get any more underground than this, followed by Antichrist Command, bringing forward blasphemous, acid lyrics (“Flames of holocaust unconquerable / A new world alliance / Forged on the caustic fires of vengeance / Hideous fiends throw the kings head to the rats / One by one the knife will do god’s work”) amidst another infernal and visceral display of Black Metal infused with Death Metal elements. Then rumbling, doomed bass lines permeate the air in the also wicked Venomous Infernal Carnage, with extreme aggression flowing from their riffage while the song’s apocalyptic and tribal beats give the overall sonority a sense of despair and violence; and even more disturbing than its predecessors, Barbaric Provocation is a lesson in primeval Black Metal showcasing gruesome gnarls and roars, while the guitars and bass keep reverberating and piercing our ears mercilessly.

Furious and frantic drums dictate the rhythm in the ode to darkness and blasphemy titled Bow Before the Altar of Satan, where razor-edged guitar riffs will cut your skin deep and make you bleed in the name of extreme music, whereas the title-track Axe of Superior Savagery will simply smash your skull with its fusion of the rawest forms of Black and Death Metal. Hence, it couldn’t have sounded more demonic, as if Cannibal Corpse and Mayhem merged into one single entity of pure evil. Vicious guitars and a menacing, bold atmosphere are the main ingredients in the also disturbing chat Storms of Primitive Violence, sounding and feeling berserk and insane form start to finish, also presenting a very raw sound that will please all fans of the genre, before they offer us all one final blast of demented sounds not recommended for the lighthearted in the form of Wrath of Goetic Glorification, where truly demonic growls from the depths of the underworld lead this sick display of pure and unfiltered Black Metal, ending the album on a perturbing note.

Barbaric Horde’s infuriated display of Black and Death Metal can be better appreciated in its entirety on YouTube, and you can also show your support to the underground of the underground by listening to more of their music on Spotify and by purchasing Axe of Superior Savagery from the Godz ov War Productions’ BandCamp or webstore, from Rex Diaboli’s BandCamp or Big Cartel, or from Discogs. This eerie Portuguese horde, which I suspect is formed by two devilish members, is showing a lot of potential with Axe of Superior Savagery, aiming at carving their name in the Portuguese metal scene as one of the most barbaric, inhumane and dirty entities playing our beloved Black Metal, consequently putting a huge smile on Satan’s face for effectively representing him in our decaying and rotten world through their hellish music.

Best moments of the album: Antichrist Command and Bow Before the Altar of Satan.

Worst moments of the album: Venomous Infernal Carnage.

Released in 2020 Godz ov War Productions/Rex Diaboli

Track listing
1. Tyrant of the Dark Trynity 4:23
2. Antichrist Command 3:02
3. Venomous Infernal Carnage 4:32
4. Barbaric Provocation 2:57
5. Bow Before the Altar of Satan 3:27
6. Axe of Superior Savagery 3:03
7. Storms of Primitive Violence 3:34
8. Wrath of Goetic Glorification 3:31

Band members
*Information not available*

Album Review – Odraza / Rzeczom (2020)

A unique and caustic album of Black Metal made in Poland about myths, projections, appearances, fears we fight, and the legacy we cannot deny.

Formed in the year of 2009 in the obscure basements and gray courtyards of the charming city of Kraków, in Lesser Poland by vocalist, guitarist and bassist Stawrogin (Gruzja, Massemord and Totenmesse) and guitarist, bassist and drummer Priest (Massemord, Totenmesse and Voidhanger), the Stygian Black Metal duo known as Odraza, or “disgust” from Polish, returns from the pits of the underworld with their sophomore studio album Rzeczom (“things”), the follow up to their 2014 debut opus Esperalem Tkane. Recorded, mixed and mastered at Impressive-Art Studio in Beskidu Małego, Poland, and portraying the stunning Polish model Dorota Maria Kuźmicka as its cover art, Rzeczom will take you on a dark and captivating journey through the wicked world of Odraza. “We dedicate Rzeczom to ourselves, the authors. It is a diary; excerpts from our lives and the lives of the people once close to us come across the words by the authors that inspire us. It is about myths, about projections, appearances, fears we fight, and the legacy we cannot deny. It is also about the lie – after all, it is but us who decide how many of those memories reflect what has never been,” darkly commented the duo about their new and weird creation.

In the opening tune titled Schadenfreude (“malicious joy” or “spitefulness” from German), an eerie, cryptic intro quickly explodes into modern and visceral Black Metal led by the duo’s scorching riffs, with Priest blasting savagery and intricacy through his beats nonstop. The album couldn’t have started in a better (and more venomous) way, I might say, with the duo’s rumbling bass igniting the title-track Rzeczom, sounding as if Triptykon went full Blackened Doom. Moreover, Stawrogin growls and barks like a true demonic beast throughout the entire song, spiced up by somber passages and vicious backing vocals, resulting in a song definitely not recommended for the lighthearted. Then back to a more ferocious and berserk mode those Polish metallers fire the Behemoth-inspired W Godzinie Wilka (“at the hour of the wolf”), bringing to our ears Blackened Death Metal at its finest with Stawrogin’s harsh gnarls being effectively supported by Priest’s pounding drums; whereas a serene, acoustic intro permeates the air in …Twoją Rzecz Też (“…your thing too”), evolving into a metallic and alternative, almost circus-like onrush of sounds showcasing the band’s versatility and their will to never sound outdated or repetitive.

Once again sounding wicked and vile form start to finish, the duo surprises us with another round of unusual extreme music in Długa 24 (“long 24”), where Stawrogin does a very entertaining job with both his darker vocals and his clean vociferations, followed by Świt Opowiadaczy (“dawn of the storytellers”), offering the listener six minutes of obscure passages and endless violence flowing from their damned instruments, with Priest stealing the spotlight with his frantic and intricate drumming. And venturing through the realms of Doom and Stoner Metal to give their core Black Metal an even more badass vibe, they offer us all Młot Na Małe Miasta (“a hammer for small towns”), with both Stawrogin and Priest extracting electricity from their stringed weapons and, therefore, keeping the album at a high level of obscurity and madness.

After such demented tune, we’re treated to Najkrótsza Z Wieczności (“the shortest of eternities”), a contemplative and melancholic display of extreme music made in Poland where Stawrogin devilishly declaims the song’s Polish words, being multi-layered and grim just the way we like it in Extreme Metal. Following this cryptic composition, a phantasmagorical storm is about to begin in Bempo, growing in intensity until morphing into ass-kicking Blackened Death Metal led by Priest’s always fulminating drums, also showcasing a razor-edged guitar solo by guest musician Azar. And last but not least, it’s time for Odraza to stun us once and for all with eight minutes of absolute darkness in the instrumental aria Ja Nie Stąd (“I’m not from here”), starting in a progressive and atmospheric manner and flowing beautifully to the riffage and beats by the band’s dynamic duo until its inevitable and ethereal end.

This precious gem of contemporary Black Metal made in Poland can be better appreciated in its entirety on YouTube and on Spotify, but of course you should definitely buy a copy of the album from Odraza’s own BandCamp page, as well as from the Godz Ov War Productions’ BandCamp page or webstore and from Discogs, showing your true support to the talented Stawrogin and Priest and to the entire underground scene. Also, don’t forget to follow Odraza on Facebook and to subscribe to their YouTube channel for news, tour dates and more of their distinguished music. It doesn’t matter if you are a native Polish metalhead or if you don’t understand a single word said by the band in Rzeczom, this is the type of album that’s a must-have in your collection of dark and acid extreme music, and just like Odraza dedicated the album to themselves, you can go ahead a dedicate it to your own Black Metal persona in your most introspective moments in life.

Best moments of the album: Schadenfreude, W Godzinie Wilka and Młot Na Małe Miasta.

Worst moments of the album: Długa 24.

Released in 2020 Godz Ov War Productions

Track listing
1. Schadenfreude 4:18
2. Rzeczom 5:21
3. W Godzinie Wilka 4:50
4. …Twoją Rzecz Też 5:43
5. Długa 24 2:06
6. Świt Opowiadaczy 6:01
7. Młot Na Małe Miasta 5:41
8. Najkrótsza Z Wieczności 5:06
9. Bempo 6:29
10. Ja Nie Stąd 8:01

Band members
Stawrogin – vocals, guitars, bass
Priest – guitars, bass, drums

Guest musician
Azar – guitar solo on “Najkrótsza Z Wieczności” and “Bempo”

Album Review – HerezA / Death Metal Drunks (2019)

Join this horde of ruthless headbanging bastards in their quest for metal and booze, armed to the teeth with their brand new opus of straightforward Death N’ Roll.

Vodka, whiskey, gin, rakija, black tooth grin, tequila, Jägermeister and Jack Daniel’s, all mixed with humongous dosages of rebelliousness, depravity and violence. That’s the extremely combustible recipe found in Death Metal Drunks, the brand new album by Croatian/German Punk/Death Metal horde HerezA and a fantastic follow-up to their 2017 release I Become Death. As the band itself likes to say, there’s no “pre”, no “post”, no “tech”, no “prog” and not even any “swe” references or connotations in their new opus, but a straightforward Death N’ Roll attack highly recommended for fans of the demolishing music played by iconic acts like Cannibal Corpse, Napalm Death, The Exploited, Carcass, Kreator, Motörhead and several other relentless rock and metal entities.

Formed in 2014 in Beli Manastir, Croatia, but currently located in the beautiful Stuttgart, capital of southwest Germany’s Baden-Württemberg state, what used to be a duo comprised of vocalist Ivan Kovačević and guitarist Slobodan Stupar is now a full-bodied squad with the additions of bassit Holger and drummer Thomas Polder, which translates into not only a more dynamic musicality but also makes it possible for HerezA to tour a lot more, spreading their nihilistic, inebriate and boisterous creations to the four corners of our decaying world. Produced by Slobodan himself, recorded, mixed and mastered by Mario Marković, and featuring an absolutely superb cover art by Croatian artist Andrej Bartulović (All Things Rotten), perfectly representing what HerezA are all about, Death Metal Drunks is one of those albums that will put a huge smile on your face every single time you listen to it, inspiring you to join other metalheads into the sickest circle pits you can think of.

Wicked distortions and a menacing aura suddenly explode into sheer violence in the form of music in Back From The Grave, where Ivan’s roars sound even more enraged than in their previous album, while guest vocalist Adrie Kloosterwaard (Sinister) delivers deep, guttural Cannibal Corpse-inspired lines to make things even more brutal. Then Slobodan shows no mercy for our necks with his incendiary riffs in Genocid, where Thomas keeps hammering his drums frantically, therefore being recommended for fans of a thrashier and more hardcore version or our good old Death Metal; whereas Kopam Oči, Režem Jezik, Prste, Nos I Uši (“I dig my eyes, I cut my tongue, my fingers, my nose and my ears” from Croatian), featuring guest vocals by Igor Buljin (Gorthaur’s Wrath), follows a similar pattern as most songs in I Become Death, or in other words, it’s  an onrush of vicious sounds that will inspire you to slam into the pit like a maniac while Slobodan and Holger don’t stop slashing their stringed weapons mercilessly.

Blazing guitars and punk-infused drums dictate the rhythm in the boozy metal hymn Death Metal Drunks, by far my favorite song of the album showcasing utterly entertaining lyrics vociferated by Ivan (“We are back once again / To show you how it’s done / Pedal to the metal, full speed ahead / Breaks are for the weak / Head through the wall, we don’t care at all / Heading for selfdestruction / Give us booze, give us beer / We are ready for execution”), followed by Rak n’Roll, bringing forward less than two minutes of total sonic anarchy as if the Exploited and Napalm Death had a son (and if that son was trained by Cannibal Corpse), with highlights to Thomas’ crushing performance on drums. Horses bring the noise in Dullahan, a thunderous tune infused with badass Rock N’ Roll elements the likes of Motörhead, also presenting a great job done by Slobodan with his scorching riffs and featuring the third guest vocalist of the album, Aleister Kainulainen (King Satan), to give the whole song and extra kick. And if you think HerezA will slow down at any given point you’re absolutely wrong, as Do Kosti Bez Milosti (“to the bone without mercy”) is another overdose of violence, insanity and rage sung in their mother tongue Croatian, with Ivan’s demented growls and Thomas’ nonstop beats inspiring the listener to violently crack their spinal cords in half.

Beneath The Wheels Of Death is hell on wheels once again led by the berserk grunts by Ivan while Slobodan delivers spot-on riffs and solos, and there’s no time to breathe at all as after a weird semi-acoustic intro the quartet blasts their own version of what can be called “Country Metal” in Necrobitch, Cowgirl From The Morgue, with its lyrics seeming like they were taken from a Steel Panther song but embraced by the heaviness and speed of Punk Rock. In addition to that, pay good attention to how Holger’s groovy and rumbling bass lines add a lot of electricity to the overall result. In Stupid Spoiled Whore the quartet once again brings to our ears very “classy” lyrics (“Spoiled, rich, little girl / You have everything in the world / Mommy and daddy love you so / They can’t see you’re just a / Piece of shit / You make me sick / An ugly boar / Stupid spoiled whore / Shit for brains / You leave stains / Everywhere you go / You’re stupid spoiled whore”), with the music being a feast of raw, razor-edged noises and tones that couldn’t sound more violent. And lastly, Monstrum is a beyond thrilling and deranged way to close such excellent album of extreme music where Thomas steals the spotlight with his frantic drumming while Ivan, Slobodan and Holger fill out every empty space with their respective growls, riffs and bass punches.

After all is said and done, I have only one very simple question to you, and I’m pretty sure your answer will be positive. Do you consider yourself a Death Metal drunk? Well, if you’re reading this review to the very end I believe you are, which means you’re more than ready to join HerezA in their quest for metal and booze by following them on Facebook, and especially by purchasing your copy of Death Metal Drunks (available for a full listen on Spotify and on YouTube) from the Godz ov War Productions’ BandCamp or webstore, as well as from Apple Music and Discogs. And after putting your hands on the album and hitting play, you know what to do. It’s booze, slamming, more booze, headbanging while slamming, an extra dose of booze, and so on.

Best moments of the album: Kopam Oči, Režem Jezik, Prste, Nos I Uši, Death Metal Drunks and Do Kosti Bez Milosti.

Worst moments of the album: None.

Released in 2019 Godz ov War Productions

Track listing
1. Back From The Grave (feat. Adrie Kloosterwaard) 2:56
2. Genocid 1:58
3. Kopam Oči, Režem Jezik, Prste, Nos I Uši (feat. Igor Buljin) 2:53
4. Death Metal Drunks 3:10
5. Rak n’Roll 1:34
6. Dullahan (feat. Aleister Kainulainen) 2:42
7. Do Kosti Bez Milosti 3:15
8. Beneath The Wheels Of Death 2:10
9. Necrobitch, Cowgirl From The Morgue 3:23
10. Stupid Spoiled Whore 2:35
11. Monstrum 1:38

Band members
Ivan Kovacevic – vocals
Slobodan Stupar – guitar, vocals
Holger – bass
Thomas Polder – drums

Guest musicians
Adrie Kloosterwaard – vocals on “Back From the Grave”
Igor Buljin – vocals on “Kopam Oči, Režem Jezik, Prste, Nos I Uši”
Aleister Kainulainen – vocal on “Dullahan”

Album Review – Gruzja / I Iść Dalej (2019)

A raw and visceral manifestation of Black Metal overflowing dirty sex, drugs, alcohol and extreme aggression, directly from Poland into your deranged mind.

“Music against aesthetisation
Music against shopping centres
Gals, devil, railway sidings…”

From the filthy, moist and drunken basements of Poland, one of the most prolific countries in the world of underground Extreme Metal, here comes a cryptic and heavy-as-hell entity known as Gruzja (which I believe is Polish for “Georgia”), distilling their vicious, nihilistic Black Metal in their brand new opus entitled I Iść Dalej, which translates to English as “and go ahead” or “and move further”. Recorded in the summer of 2018 in Tbilisi, the capital of the country of Georgia, and mixed and mastered by HG, I Iść Dalej is an amalgamation of infernal sounds, alcohol, pus, rot, ugliness and dirty sex, perfectly representing the everyday life of the band’s mysterious members, or as in their own words, “the spirit is local, but the music – from afar. Gruzja deals with art and, consequently, it is part of a culture. A culture of violence.”

A very unique intro of wicked sounds and noises warms up our senses for an avalanche of distorted, pulverizing riffs and crushing beats in Gruzini (“Georgians”), offering us three and a half minutes of raw and vile Black Metal where the vocal lines are beyond infernal, all spiced up by the fact everything is sung in Polish, of course. Then even more phantasmagorical, disturbing and crude we have Moja Ratyzbona (“my Regensburg”), with its riffage sounding crude and old school, accompanied by the song’s Doom Metal-inspired sluggish beats, while its putrid vociferations add an extra touch of evil to the musicality (not to mention how demented the clean vocals also sound and feel), whereas in Opuść Mnie (“leave me”) we’re treated to an austere wall of Black Metal sounds with an epic vibe perfect for crushing your skull into the circle pit, with an endless amount of aggressiveness and rage flowing from all instruments, in special from its frantic beats.

Manam is another perturbing chant by Gruzja, an excellent representation of what Extreme Metal is all about in the Polish underground scene, blending the most obscure elements from Black Metal to the atmospheric and gloomy waves of Doom Metal with vocals that couldn’t sound more desperate than this; followed by Jego Głos (“his voice”), presenting some amazing nuances of Punk and Hardcore added to their core Black Metal, therefore making their music even more rebellious and potent like if the instrumental parts from Motörhead were blended with the rabid and raspy vocal lines of The Exploited. And get ready for over four minutes of visceral sounds and tones in Ilu Nas Było? (“how many of us were there?”), darkening the skies like we expect from classic Doom Metal, with the strident tone from the guitar potentializing the gruesome and demonic roars blasted by the band’s uncanny lead singer, almost vomiting the song’s Polish words in our faces. Lastly, Gruzja offer us Iść Dalej (“go ahead”), completely different form the rest of the album, feeling more like a remix version of a song than an original composition per se (or maybe it’s just an outro, who knows). It’s not bad at all, but it takes away a little of the insane and hellish atmosphere from all previous songs.

Take a listen at this disturbing and very enjoyable album of underground music in full on YouTube or on Spotify and get ready to be smashed like an insignificant insect by the unruly and deranged Gruzja, and in order to show your true support to this very interesting Polish band simply follow them on Facebook, and purchase I Iść Dalej from the Godz ov War Productions’ BandCamp or webstore. In a nutshell, I Iść Dalej is a raw and visceral album of Black Metal overflowing sex, drugs, alcohol and an infinite amount of our good old aggression. What else can you ask for in underground extreme music, right?

Best moments of the album: Moja Ratyzbona and Opuść Mnie.

Worst moments of the album: Iść Dalej.

Released in 2019 Godz ov War Productions

Track listing
1. Gruzini 3:28
2. Moja Ratyzbona 4:18
3. Opuść Mnie 3:59
4. Manam 4:50
5. Jego Głos 3:08
6. Ilu Nas Było? 4:40
7. Iść Dalej 4:20

Band members
*Information not available*

Album Review – Hell’s Coronation / Unholy Blades of the Devil EP (2018)

An infernal duo hailing from Poland consolidates their pact with darkness with a brand new EP of devilish “Nekroritual Black Doom Metal”.

Forged in the year of 2016 in the scorching fires of Gdańsk, Poland, hometown of the almighty Blackened Death Metal institution Behemoth, Black Metal duo Hell’s Coronation has risen from the underworld to unleash upon humanity what they like to call “Nekroritual Black Doom Metal” with their brand new EP titled Unholy Blades of the Devil. Featuring a diabolical cover art by Polish artist Lord K. (aka Piotr Jeziorski), who also worked with the band on their 2017 EP Antichristian Devotion, Unholy Blades of the Devil brings forward around 15 minutes of sheer darkness, hatred and blasphemy, courtesy of the talented Zepar on vocals, guitars and keyboards, and the unrelenting Coffincrusher on bass and drums. In other words, the pact with darkness has been consummated, and Hell’s Coronation are more than willing to provide a soundtrack to that.

A dark, eerie and lustful intro titled Empty Shells Of The Sacrament presents wicked noises and moans, hypnotizing us all before all hell breaks loose in Temple Of Wickedness, with Zepar gnarling in the most malignant form possible while Coffincrusher fires some rhythmic and utterly Stygian beats. In a nutshell, the whole song exhales the most primeval form of Black Metal, boosted by a high dosage of Doom Metal and obscurity coming from its scorching riffs and background vociferations, remaining sluggish and austere until its hellish ending. And Sulfur keeps reeking in the air in the also disturbing Descent Into The Depths Of Unspeakable Evil, where Zepar continues to pave his path of darkness with his almost-vomiting, sick growls and devilish guitar lines, supported by the dense “hell’s kitchen” by Coffincrusher and by his own phantasmagorical keyboards.

The following chant, entitled Satanic Scepter, is an old school and extremely vile display of underground Black Metal led by the infernal roars by Zepar, with its lyrics being so dark and intense they deserve to be fully appreciated even if you can’t understand what’s being growled (“The most distant circles of hell / They infect a soul with possessed dance / Devilish spells run from the edge of the dimensions / I kneel before the fire / Bidding with ghosts / Madness flows through the umbilical cord / From the wolf`s womb was born the antichrist / Rebirth emperor and enlightenment guide / In the light of the black flame / Time to say what`s unspoken / I gave you a treasure chest and cup of semen / By extinguishing all the sun / I give you the scepter of the night / Cold and wild spectacle of master of the land”). And lastly Luciferian Wind Blows From The North displays a beyond creepy intro guided by the howling wind and the sinister keys by Zepar, opening the gates to the netherworld and bringing elements from Blackened Doom to increase its bitter taste, in special its slow and steady beats and macabre riffs. After listening to such devilish display of underground metal, the EP couldn’t have ended in a more diabolical way, I might say.

If you have what it takes to enter the dark and sinister world ruled by Hell’s Coronation, you should definitely visit their Facebook page for news and other nice-to-know details about the band, and grab your copy of Unholy Blades of the Devil (available for a full listen HERE) directly from the Godz ov War Productions’ BandCamp or webstore, as well as from Discogs in CD or in cassette format. Unholy Blades of the Devil might be just the second installment by this up-and-coming Polish act, but it already showcases a band that’s truly focused on writing high-end music and, of course, on worshiping darkness, and I’m sure not only fans of extreme music from all over the world will enjoy their music, but if their EP reaches the hands of a guy like Adam “Nergal” Darski, he’ll be more than proud of his fellow Gdańsk-based infernal duo without a shadow of a doubt.

Best moments of the album: Descent Into The Depths Of Unspeakable Evil and Satanic Scepter.

Worst moments of the album: None.

Released in 2018 Godz ov War Productions

Track listing  
1. Empty Shells Of The Sacrament 1:54
2. Temple Of Wickedness 6:41
3. Descent Into The Depths Of Unspeakable Evil 6:02
4. Satanic Scepter 5:37
5. Luciferian Wind Blows From The North 8:04

Band members
Zepar – vocals, guitars, keyboards
Coffincrusher – bass, drums

Album Review – Loathfinder / The Great Tired Ones EP (2017)

A newborn Blackened Doom entity hailing from Poland will bring endless obscurity, fearfulness and anguish to your mind and soul with their menacing 28-minute debut opus.

We might not have the slightest idea of who they really are, but we know without a shadow of a doubt that their spine-chilling, perverse Blackened Doom lives up to the legacy of bands such as Forgotten Tomb, Woods of Ypres and the early days of Katatonia, also presenting an ominous vein inspired by the most funereal form of Atmospheric Black Metal. I’m talking about a newborn evil entity known as Loathfinder, who have just released their debut EP titled The Great Tired Ones, a 28-minute opus that, above all things, will bring endless obscurity, fearfulness and anguish to your mind and soul.

Founded somewhere back in time in the imposing city of Cracow, one of the most fertile cities not only in Poland but in the entire Europe in regards to arts and music, Loathfinder are a remorseless spawner of the most obscure elements found in Extreme Metal, with The Great Tired Ones being the amalgamation of all their evil. Displaying a visceral artwork by Polish illustrator Robert A. von Ritter (Diabolizer, Armagh, Ragehammer), with the design and colors originated by Polish illustrator and graphic designer Maciej Kamuda (HerezA, Misanthropic Rage, Virgin Snatch), this is an album that will certainly be part of your personal playlist for a long time if you love the rotten and grim sounds of old school Blackened Doom piercing your ears.

Flies buzzing and thunderous bass and guitar lines ignite the damned feast named Genetic Gloom, with the cavernous growls coming from an unknown creature impregnating the musicality through and through. Furthermore, a few moments of tranquility are meticulously inserted amidst the ominous Blackened Doom that reeks in the air, with steady beats dictating the song’s lugubrious rhythm. Darker and more aggressive due to its infernal gnarls and deep guttural growls, Feast on My Entrails presents lyrics that couldn’t be more putrescent (“My cradle is rotten / Black fingers ream my ribs from inside / As I gaze into sky with learned apathy / And miss places I’ve never been / When venom is dripping from every wall / Only thing you can do is spit, spit and spit”), which together with its mesmerizing riffs and rumbling ambience (led by the song’s Stygian bass lines) turn it into a macabre hymn of darkness.

Metallic and lancinating bass sounds kick off another vile creation by Loathfinder, the excellent Scents of Regression, bringing forward putrid growls and doomed beats in total sync, increasing the song’s obscurity even more. Not only that, this song also offers the listener a solid Doom Metal sonority with the band’s blackened vein pulsing inside it, enhanced by sharp guitar solos and riffs. And lastly we have the title-track The Great Tired Ones, where a truly macabre intro goes on for about a minute until all instruments rise from the pits of hell, also displaying acid lyrics perfect for the music played (“Through the black eyes / Of agonized priestess / We were allowed to see / The gathering / Of faceless / Of whipped / And lost in time / The Great Tired Ones / Black chain of greatest lies / The Great Tired Ones / One were all, all were One”). If you love Blackened Doom, get ready for almost ten minutes of mournful passages, cutting guitars and desperate growls, ending with rancid gnarls that will darken your mind instantly.

You can savor the 28 minutes of hatred and anguish found in The Great Tired Ones by clicking HERE, and also grab your copy of this devilish album at Loathfinder’s BandCamp, at the Godz ov War Productions’ BandCamp, or at Discogs. This is a beyond solid debut album by Loathfinder, with no fillers, no artificial sounds and no happy feelings, but only the deepest rooted form of our good old Blackened Doom, and if those enigmatic musicians were capable of delivering such high-quality music with their very first release, I’m sure Blackened Doom will remain strong and menacing for years with Loathfinder being one of the new remarkable names of the genre.

Best moments of the album: Feast on My Entrails.

Worst moments of the album: None.

Released in 2017 Godz ov War Productions

Track listing
1. Genetic Gloom 6:08
2. Feast on My Entrails 6:50
3. Scents of Regression 5:25
4. The Great Tired Ones 9:37

Band members
*Information not available*

Album Review – HerezA / I Become Death (2017)

This Croatian bulldozer is ready to take the underworld of heavy music by storm with their savage sophomore opus, a vortex of devastation blending the most hazardous attributes of Punk and Death Metal that will crush your skull ruthlessly.

Rating4

hereza_coverForged in the deepest fires of Beli Manastir in July 2014, a town in eastern Croatia close to the border with Hungary, Punk/Death Metal infernal duo HerezA, which by the way is Croatian for “heresy”, has been battling against all odds in a country otherwise barren for their music style, violently carving their name in the entrails of their homeland through their wicked creations. After the release of their debut album Misanthrope in 2015, lead singer Ivan Kovačević and multi-instrumentalist Slobodan Stupar are ready to take the underworld of heavy music by storm with their savage sophomore opus, a vortex of devastation accurately named I Become Death.

Displaying a darkly intimidating artwork by Polish illustrator and graphic designer Maciej Kamuda, I Become Death will utterly shatter your neck and dismantle your braincase in its 30 minutes of vicious extreme music, bringing forward the most hazardous attributes of Death, Thrash and Black Metal, magnifying their impact with the addition of elements from D-Beat Crust, Hardcore and Punk Rock. Everything is played at the speed of light with all instruments breathing fire and hatred, featuring obviously the well-known high-quality melody and cohesiveness of European Metal. Put differently, HerezA sounds like an unstoppable sonic Leopard 2A7, one of Germany’s most successful and powerful battle tanks in history, aiming directly at your head.

The most brutal Blackened Death Metal is blasted by Slobodan in the title-track I Become Death, a monstrous business card presented by the Croatian duo where Ivan gives life to the destroyer of worlds with his infernal growls through the song’s bestial lyrics (“I come in form of devastating waves / Penetrating radiation filling up the graves / Where I go, I bring the hellish fire / A burning inferno my only desire”). And there’s no time for your head to stop buzzing, as another fantastic sick devastation in the form of music named Jebem Vas U Usta Ladna (or “fucking your cold mouth” from Croatian) comes crushing mercilessly, with Slobodan exhaling anger and aggressiveness through his Death Metal beats and flammable riffs while Ivan keeps growling like a maniac; followed by Homo Homini Lupus Est (“man is a wolf” from Latin), not only an amazing portrait of their fusion of Punk and Death Metal with a strong D-Beat Crust vibe, but also an underground hymn for slamming into the mosh pit.

Get ready to be pulverized like an insignificant insect by this demented duo in the frantic Uništi, Pali, Ruši (Croatian for “destroy, burn, tear it down”), the best tune of the album in my opinion where cutting guitar lines and wicked Black and Death Metal beats make the music sound as if Cannibal Corpse went The Exploited. And again drinking from the fountain of D-Beat Crust and mixing it with elements from Black Metal, Ivan continues to fire his beastly growls in In The Name of God, a song spiced up by its anti-religious lyrics (“They’ve build their biggest temples / To worship their false saints / Covered with diamonds dressed in gold / A hunger for money never getting old”), whereas in the brutish Full Moon Slaughter the duo viciously puts the pedal to the metal, with Slobodan delivering tons of melody through his riffs, but obviously always sounding insanely heavy, leaning towards old school Scandinavian Melodic Death Metal.

hereza_bandNeplodna Jama, or “barren dich”, is perhaps the song with the highest amount of old school Punk Rock and contemporary Punk Metal elements, with the guttural vocals by Ivan being the song’s Death Metal ingredient, feeling like this time it’s The Exploited going Cannibal Corpse. Torn from the Death’s Bed, the slowest composition of all, presents solid guitar lines and beats by Slobodan in sync with the gnarls by Ivan (albeit not as kick-ass as the rest of the album), while in Pošast (“vermin”) the band gets back to their electrified amalgamation of Punk Rock and Death Metal, inspiring you to ferociously smash some skulls into the pit. And Tombcrawler, the high-octane deathblow in I Become Death, begins in a somber way before bursting into sheer brutality, keeping the rampage going on in full force until the song’s sinister neck-breaking ending.

In case you’re thinking “HerezA are awesome, but how am I going to see them live if they’re only two guys?”, let me tell you there’s nothing to worry about, as the duo is joined on stage by their henchmen Bojan Babic on guitar, Milan Prodanovic on bass and Leonardo Markovic on drums, which means their apocalyptic music is materialized quite often at metal pubs and venues in Croatia for the total delight of headbangers all over Europe eager for a sonic bloodbath. And even if you’re not planning a trip to Croatia anytime soon, you can still follow Ivan and Slobodan at their official Facebook page, and purchase I Become Death at the Godz ov War Productions’ BandCamp page. After listening to the extreme compositions by this Croatian bulldozer, your metallic senses will never be the same again.

Best moments of the album: Jebem Vas U Usta Ladna, Uništi, Pali, Ruši and Full Moon Slaughter.

Worst moments of the album: Torn from the Death’s Bed.

Released in 2017 Godz ov War Productions

Track listing
1. I Become Death 4:15
2. Jebem Vas U Usta Ladna 2:30
3. Homo Homini Lupus Est 3:05
4. Uništi, Pali, Ruši 2:20
5. In The Name of God 1:25
6. Full Moon Slaughter 3:35
7. Neplodna Jama 1:55
8. Torn from the Death’s Bed 2:16
9. Pošast 3:33
10. Tombcrawler 4:14

Band members
Ivan Kovačević – vocals
Slobodan Stupar – all instruments, backing vocals

Guest musician
Denis Sloboda – guitar solo on “In the Name of God” and “Pošast”