Album Review – Dusk / The Relic (2022)

Known for incorporating Atmospheric Black Metal into Hard Bass Industrial, this uncanny Costa Rican entity will darken your mind with their sophomore opus.

Known for incorporating Atmospheric Black Metal into Hard Bass Industrial, full of unrelenting, uncaring and pounding blast beats and inhuman growling vocals mixed with modern rhythms such as Darkstep and other electronic influences, Dusk are an Industrial Black Metal project formed as an official band in 2016 in San Jose, Costa Rica, highly influenced by the music by Borgne, Perturbator and Blut Aus Nord, just to name a few. Now in 2022 this uncanny entity is back with a new opus, entitled The Relic, their sophomore full-length album following up on their 2021 release The Hermit, as well as on their EP’s Eko (2016), Epoka (2018) and Threnody (2019), showcasing all the talent and insanity of Shaman on vocals, Implacable on the guitar, Pàlak on bass, and Dusk on all programming, synthesizers and effects.

Eerie background noises ignite the opening track Relic I, bringing to our ears infernal bursts of dementia through the riffage by Implacable and all effects blasted by Dusk, while Shaman fires sinister, demonic roars that will haunt your souls in the name of Industrial Metal. Relic II is even more epic and imposing thanks to its dense atmosphere while Implacable keeps slashing his stringed axe accompanied by the low-tuned bass by Pàlak, offering Shaman exactly what he needs to sound like a beast incarnate on vocals. In other words, it’s first-class Industrial Black Metal made in Costa Rica, whereas like the soundtrack to a devilish, underground horror movie it’s time for the quartet to captivate our senses and drag us into darkness with Relic III, where Dusk showcases all his talent as the awesome Industrial Metal musician he is in the most experimental of all songs, evolving into the sonic beast Relic IV, spearheaded by the venomous gnarling by Shaman while Dusk keeps blackening the ambience with his wicked synths and effects in a display of primeval Industrial Metal with an Atmospheric Black Metal vibe. The last of the “relics”, obviously titled Relic V, will darken your thoughts to the sound of the crushing riffs, bass lines and synths by the band, resulting in a beyond Stygian creation that lives up to the legacy of Industrial Black Metal.

The unique and somber music brought into being by Dusk might not be an easy listen at first for the regular rock and metal fan, but after diving deep into their chaotic world of industrial and blackened sounds I’m sure you’ll get addicted to all of their demented creations, just like what they have to offer us all in The Relic. Hence, don’t forget to give the band a shout on Facebook and on Instagram, to subscribe to their YouTube channel for more of their sick compositions, and to purchase their brand new opus soon from their own BandCamp page. Dusk are undoubtedly one of the biggest names of the underground scene in their homeland Costa Rica, sounding more infernal and sinister with each one of their releases and, therefore, leaving us eager for more of their perturbing Industrial Black Metal in the coming years.

Best moments of the album: Relic II and Relic IV.

Worst moments of the album: None.

Released in 2022 Independent

Track listing
1. Relic I 7:42
2. Relic II 6:43
3. Relic III 5:39
4. Relic IV 8:09
5. Relic V 8:47

Band members
Shaman – vocals
Implacable – guitar
Pàlak – bass
Dusk – programming, synthesizers, effects

Album Review – Tristwood / Blackcrowned Majesty (2020)

Behold the final part of a saga about the return of a legendary ruler named Ar’ath to Ma’haxul through the eyes of an infernal Industrial Black and Death Metal band from Austria.

Blasting their venomous hybrid of Avantgarde, Black, Death and Industrial Metal with Grindcore nuances (being even labeled Blackened Grindcore by some fans and critics) since their inception in 2001 in the city of Linz, Austria, the cryptic entity known as Tristwood is ready to raise some hell with their fifth full-length opus entitled Blackcrowned Majesty, a musical journey led via Nihilist, early Bathory, Oxiplegatz, Morbid Angel, Hellhammer, Skinny Puppy and Killing Joke into the world of the real underground of the rough 80’s and early 90’s. Representing the final part of a saga about the return of a legendary ruler named Ar’ath to Ma’haxul, born out of pure blackness and disaster, the album describes in a musical way how she flows to the north after her destruction and is crowned again by her faithful. The album art, created in the summer of 2019 in the Alps by Ani van Sunnjurck, is the basis and building block of the story, showing the anti-hero Rauthra and hinting at his outer appearance as well as his quest from northern shores to the interior of the country to join Ar’ath. Comprised of Deimon on vocals, synths and flute, Jegger on vocals and guitars, Neru on guitars, backing vocals and synths, JD on bass and fretless bass solos, and HMG on drums, Tristwood are on fire throughout the almost 40 minutes of music found in Blackcrowned Majesty, uniting a very entertaining concept with their usual musical madness and rage.

Arising from the underworld like evil creatures of darkness, Tristwood begin blasting their fusion of industrial, electronic and extreme music in Re-Enthronement Of The Damned, bringing forward an infernal sound masterfully crafted by all band members, with HMG being beyond pulverizing on drums while Deimon and Jegger keep growling like true demons. In the heavier and more caustic He Who Traversed A Greater Oblivion, the scorching riffs by Jegger and Neru will pierce your ears mercilessly in a frantic and chaotic fusion of Industrial and Black Metal, whereas wicked, uncanny sounds ignite the electro-dark title-track A Blackcrowned Majesty, before all hell breaks loose in another hellish extravaganza by Tristwood. Moreover, the background synths and keys by Deimon and Neru add a touch of dementia to the music, while JD simply hammers his metallic bass nonstop. And it’s time to bang our heads like maniacs to the obscure and futuristic Her Wraith Through Stygonian Lands, where Deimon and Jegger are once again berserk on vocals, supported by the classic beats by HMG and the venom and acid flowing from the band’s stylish guitar riffs.

The quintet keeps smashing our skulls in The Hall Of Rauthra´s Fate, a vicious fusion of Black and Industrial Metal presenting machine gun-like blast beats, razor-edged riffs and demonic gnarls and roars, sounding as dark and grim as it can be from start to finish; and there’s no sign of Tristwood slowing down at all as they continue to fill every single space in the air with sheer darkness, hatred and lunacy in Acherontic Deathcult, with the whimsical keys and synths by Deimon and Neru bringing a welcome balance to their sonic havoc. Then inhumane, desperate screams are potentialized by the band’s high-octane guitars and drums in the visceral Bone Cathedral, a lesson in contemporary Industrial Extreme Metal by Tristwood, not to mention how thunderous the bass by JD sounds during the entire song, followed by the Stygian and captivating Nightshade Eternal, the epic finale to the saga of Rauthra, where the sick and deranged harsh growls by Deimon and Jegger are effectively spiced up by all background elements and the always pounding beats by HMG, flowing smoothly and infernally until its abrupt and somber ending.

Will Rauthra join the Nightshade? All you need to do to have the answer to that question is listening to Blackcrowned Majesty in full, and in order to do that simply go to Tristwood’s official BandCamp page, where you can obviously purchase your copy of the album and show your support to such talented Austrian band. In addition, don’t forget to give the guys from Tristwood a shout on their Facebook page, where you can get more details about the band, their future releases and tour dates. In summary, Tristwood undoubtedly reinvented themselves in Blackcrowned Majesty, adding another solid stone to their ever-growing castle of Industrial Black and Death Metal with such multi-layered and distinguished concept album and, consequently, paving a promising path for those Austrian veterans who know how to make some reverberating and loud noise when armed with their weapons of sonic destruction.

Best moments of the album: He Who Traversed A Greater Oblivion, Her Wraith Through Stygonian Lands and The Hall Of Rauthra´s Fate.

Worst moments of the album: None.

Released in 2020 Independent

Track listing
1. Re-Enthronement Of The Damned 4:16
2. He Who Traversed A Greater Oblivion 4:23
3. A Blackcrowned Majesty 5:18
4. Her Wraith Through Stygonian Lands 4:54
5. The Hall Of Rauthra´s Fate 4:08
6. Acherontic Deathcult 4:24
7. Bone Cathedral 4:24
8. Nightshade Eternal 6:16

Band members
Deimon – vocals, synths, flute
Jegger – vocals, guitars
Neru – guitars, backing vocals, synths
JD – bass, fretless bass solos
HMG – drums

Album Review – The Promise Of Plague / The Tomb Of Lost Lovers (2019)

The debut album by this American quartet is an obscure fusion of black, industrial, punk and electronic, and you’ll simply love this style known as “Electro Black”.

Featuring members and ex-members of bands like Abominant, Fatal Step, Astrum Empyrean Asunder, Absence of Faith, Märcoda and Assisting Sorrow, the Louisville, Kentucky-based four-piece Industrial Black Metal entity known as The Promise Of Plague is back in 2019 with their debut full-length opus entitled The Tomb Of Lost Lovers, a huge step forward for the band in terms of creativity, strength and overall sound production compared to their 2016 demo Sleepwalking Into Armageddon. Comprised of Jim Higgins and Ashley Vega on vocals, Jerry Barksdale on guitars, keys and programming, and Chris Dalton on bass, The Promise Of Plague play an obscure and piercing fusion of Black and Industrial Metal infused with Punk Rock and electronic elements, or as some people like to say, they play a fairly new style called “Electro Black”.

And their Electro Black becomes already crystal clear in the opening track You Became My Noose, ignited by cutting guitars and electronic beats intertwined with whimsical keys, with Jim alternating between demonic roars and clean, anguished vocals and also presenting symphonic nuances in the background as a welcome add-on. Tim keeps gnarling in great Black Metal fashion in The Quiet, while Jerry slashes his guitar and Ashley brings some finesse to the music with her vocals in a short and sweet display of modern Industrial Black Metal; followed by These Stones Were Meant To Be Thrown, where its imposing and rockin’ vibe reminds me of the primeval days of the unparalleled Cradle of Filth. Furthermore, Jerry and Chris are ruthless with their stringed weapons, while Jim and Ashley make an amazing duet once again exhaling anger, passion, melancholy and darkness from their vocal lines, sounding at the same time furious and doomed. And what can I say about their cover version for Venom’s Warhead? It’s just as raw and infernal as the original one released in 1984 (check it out HERE), showcasing a great job done by Jerry with his scorching hot riffs and the hints of Doom Metal added to the musicality to make it more demonic.

Then leaning towards the classic Doom Metal played by Black Sabbath and Celtic Frost we have Insolent, sounding and feeling considerably different from the previous songs of the album and presenting another spot-on performance by both Jim and Ashley on vocals. In other words, it’s dark, heavy and damned, ending in the most melancholic and beautiful manner you can think of. Chris’ low-tuned bass lines fill every empty space in the somber Mine Is A Place Called Hell, where Ashley’s clean vocals make a very interesting paradox with Jim’s hellish screeches in what’s perhaps the most electronic of all songs, perfectly depicting what Electro Black is all about. And lastly, the title-track Tomb Of Lost Lovers is a rumbling and dancing hybrid of classic Black Metal with electronic music, with Jerry bringing tons of epicness with his keys. Not only that, it should work really well at a dark electro party, with all band members delivering sheer aggression and electricity form their respective instruments.

I guess after reading this humble review of The Tomb Of Lost Lovers you got really curious about what Electro Black is, right? If your answer is yes, go check what The Promise Of Plague are up to on their official Facebook page, and grab your copy of the album directly from the band’s own BandCamp page. In a nutshell, The Promise Of Plague might not be reinventing the wheel with their fusion of metal and non-metal styles, but they have certainly unleashed an interesting and entertaining beast of heaviness, fury and darkness with their debut album, pointing to a very healthy future for the quartet and, who knows, inspiring more underground musicians who are starting their careers in heavy music to venture through the realms of Electro Black, a subgenre of metal that will never go mainstream without any doubt, and we’ll always love it that way.

Best moments of the album: These Stones Were Meant To Be Thrown and Insolent.

Worst moments of the album: None.

Released in 2019 Independent

Track listing
1. You Became My Noose 3:54
2. The Quiet 1:53
3. These Stones Were Meant To Be Thrown 4:38
4. Warhead (Venom cover) 3:03
5. Insolent 5:44
6. Mine Is A Place Called Hell 3:18
7. Tomb Of Lost Lovers 3:50

Band members
Jim Higgins – vocals
Ashley Vega – vocals
Jerry Barksdale – guitar, keys, electronics
Chris Dalton – bass

Album Review – Borgne / [∞] (2018)

A cold, mechanical and inhumane hybrid of Industrial and Black Metal, as martial as it is hypnotic, bred by a veteran Swiss entity celebrating twenty years of chaos in the underground scene.

The path of Swiss Industrial Metal entity Borgne has never been straight. Founded by veteran multi-instrumentalist Bornyhake in 1998 in Lausanne, a city on Lake Geneva, in the French-speaking region of Vaud, Switzerland, when Borgne (which is French for “one-eyed”) debuted with a demo, the project went off the radar for almost a decade, coming back at full throttle in 2007 with two full-length albums released almost simultaneously. Another ten years and four full-length albums after, this idiosyncratic Swiss band, which recently became a two-piece army with longtime live keyboardist Lady Kaos becoming a permanent member, returns with their eight and most enigmatic opus to date, titled [∞], a cold, mechanical and inhumane hybrid of Industrial and Black Metal, as martial as it is hypnotic, beautifully freezing your every feeling.

Darker, more industrial and much more personal, [∞] will offer your metallic ears blistering Black Metal done in a synthetic way with a dense, suffocating sound and some dark ambient passages, going towards everything Borgne did in the past. “8 / ∞” is not only a number but a symbol, symbol of infinity, infinity you close inside brackets. 8 is not only a number but a word, word of hatred to break all the brackets. After twenty years of chaos, [∞] is the 8th Borgne full-length album. Featuring 8 tracks of non-traditional Black Metal, written in French and English. Chaos, darkness, feelings, loneliness, anger, insanity, suffering and death… 8 words to describe it. The most electric and complicated, fragile and deep, industrial and cold, strange and tormented album Borgne ever did,” said Bornyhake about his newborn spawn.

And the duo builds an enfolding and creepy atmosphere with their keys, beats and background effects in the opening track La Porte Du Chaos (or “the door of chaos” in English), with the music exploding into a modern and imposing hybrid of Industrial and Black Metal, an insane and mesmerizing amalgamation of sounds where Bornyhake desperately screams and gnarls from the bottom of his Stygian heart. Then there’s not a single empty space in the whimsical and modernized Peu Importe Si Elle M’Aura Aveuglé (which means something like “it doesn’t matter if she has blinded me”), with both Bornyhake and Lady Kaos kicking ass with their blast beats and ominous keys, respectively, with an epic and darkened aura permeating the air. Moreover, Bornyhake’s roars in French will certainly pierce your mind throughout this multi-layered Industrial Black Metal extravaganza. In the stunning Un Temps Périt (or “a time perishes”), a gentle intro led by Lady Kaos’ hypnotizing keys evolves into a mournful musicality, presenting hints of Blackened Doom and Doom Metal and, therefore, feeling ethereal and somber at the same time from start to finish. And in Comme Si Ça S’Arrêtera… / Stone (or “as if it will stop… / stone”), get ready for over 10 minutes of absolute madness, electricity and darkness, with Bornyhake generating a path of devastation with his modernized blast beats, while the second half of the song is an intricate musical journey of pulverizing drums, obscure keyboards and endless dementia.

Bornyhake and Lady Kaos don’t stop captivating our senses with their unique sonority in I Tear Apart My Blackened Wings pt.1, another slow and melancholic creation by the duo where they deliver obscurity and hope all at once, or in other words, simply close your eyes and get lost in this thrilling hymn of modern industrial music. I Tear Apart My Blackened Wings pt.2 / Sun, the second part of this grandiose aria by Borgne, will blow your senses with its demonic drumming and scorching riffage in a very detailed and complete blend of the violence of Black Metal with the innovative approach of Industrial Metal, changing its shape and form quite a few times before its stylish acoustic ending, followed by Mis À Mort, Mis À Nu (which means “put to death, exposed”), a blast of sonic experimentations and piercing tones and noises, with Lady Kaos once again bringing tons of epicness to the overall musicality with her distinguished keys while Bornyhake keeps haunting our souls with his gnarls and slashing riffs. If anyone asks you what Borgne is all about, you can use this song to show what the duo is capable of, flawlessly depicting all the band’s creativity, stamina and rage. Lastly, be prepared to be embraced by a whirlwind of soothing sounds in Chuter, an “extended” outro to a beautiful album of contemporary extreme music where both Bornyhake and Lady Kaos showcase their refined techniques by creating a captivating ambience and, as a consequence, dominating our minds.

You can take a detailed listen at the flammable [∞] on YouTube, and purchase the album directly from Borgne’s BandCamp or Big Cartel (in CD or tape format), as well as from the Avantgarde Music’s BandCamp or Big Cartel. Also, don’t forget to check their Facebook page for some nice-to-know details about the band including their tour dates, something that does happen a lot as Bornyhake and Lady Kaos have the help of bassist Tumulash and guitarist Onbra Oscoura during their live performances. To sum up, [∞] is not just the brand new album by Borgne, but a solid statement that modern and mechanized extreme music is stronger than ever (especially in places like Switzerland, where the scene has always been extremely fertile), and that Borgne is one of those bands any type of metalhead should try at least once in their lifetime to change their perception of dark and underground music.

Best moments of the album: La Porte Du Chaos, Un Temps Périt and Mis À Mort, Mis À Nu.

Worst moments of the album: None.

Released in 2018 Avantgarde Music

Track listing
1. La Porte Du Chaos 7:17
2. Peu Importe Si Elle M’Aura Aveuglé 7:12
3. Un Temps Périt 6:03
4. Comme Si Ça S’Arrêtera… / Stone 10:20
5. I Tear Apart My Blackened Wings pt.1 9:02
6. I Tear Apart My Blackened Wings pt.2 / Sun 8:04
7. Mis À Mort, Mis À Nu 6:59
8. Chuter 7:05

Band members
Bornyhake – vocals, guitars, drums
Lady Kaos – keyboards

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

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


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

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

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

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

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

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

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

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

Released in 2016 Krucyator Productions

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

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

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

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

Album Review – Plutonium / Born Again Misanthrope (2016)

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


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