Tag Archives: melodic black metal

Interview – Zenith Maharg (Necht)

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It’s time to honor the memory of our most ancient ancestors, the Enkari, with an amazing and detailed interview with Zenith Maharg of the Temple of Necht.

Zenith Maharg (Necht)

The Headbanging Moose: Thanks a lot for your time, Zenith Maharg. Could you please start by introducing yourself and the band to our readers? Who are Necht, and what’s your main purpose in this world?

Zenith Maharg:   Hails, Herald Gustavo!  I am the Zenith of the Temple of Necht. I am pleased to be given this opportunity to Illuminate you and your readers. Necht honours the memory of our most ancient ancestors, the Enkari – the earliest civilization yet discovered – and through our black metal Sermons we spread knowledge of their culture, beliefs and history. At our Live Rituals, we embody the Cult of B’ahn, who were the warriors of the Enkari city-state of Lashmir.  The Cult existed to further a state of religiously mandated constant war against their foes in Ishpan, thereby mirroring and supporting the struggles of the Sun God, B’ahn, the Ceaseless Warrior, against the Mother Dragon, Karnifor, and Her constant efforts to swallow the world.

THM: You’re currently supported by your Ascendants Zhargor on the guitars, Aemoh on bass, and Vlasfimos on drums. How did you first get in contact with them, and what do they bring to the music by Necht that others couldn’t?

ZM: The Ascendants of the Temple are all masters of their craft, having honed their skills through many years of practice and countless hours upon battlefields across Canada. Ascendant Vlasfimos and I are long-term collaborators from earlier musical projects. By the Light of B’ahn, we were guided to find in Ascendants Zhargor and Aemoh similarly dedicated warriors of black metal. As every Sermon results from the combined efforts of each member of the Temple, without the participation of each member, Necht would not exist.

THM: You’ve recently released your debut opus, the excellent The Prophecy of Karnifor, which you like to describe as your “long meditation.” Can you tell us a bit more about the whole idea behind it?

ZM: Heed these words carefully, Herald.  The Grand Meditation of The Prophecy of Karnifor introduces to a modern age the wisdom of the Enkari; with this and with each subsequent Meditation, Necht will gradually reveal more of the Enkari, as laid out in the Enkari-B’ahn scrolls.

These scrolls were discovered in the 19th century by German explorer and philosopher, Dr. Karl von Mecklenburg, and our Sermons are based on the contents of the scrolls as translated and published by Dr Birgitta Olsson in 2015.  The scrolls themselves were written by the Qa’ars – priest-kings – of Ishpan, and comprise a record of contemporary observations, personal philosophy and religious passages.

Though long forgotten and hidden behind the fog of thousands of years of distortions and misunderstandings that our societies call ‘religion’ and ‘history’, there are many truths to be revealed by studying the thoughts, history, learnings and the doom of the Enkari.

THM: One of my favorite songs of the album is undoubtedly Stirred By Shadow, I Did Wake, which also has a really cool official video. Can you please explain to us what this amazing song is all about, and how the recordings of the video went?

ZM:   Our gratitude, Herald!  The Sermon “Stirred By Shadow, I Did Wake” tells of how B’ahn awoke to awareness as His Mother moved to devour Him; of how he fashioned both Thunder Shield and Lightning Spear from His rage and light, and confronted the Dragon, refusing to back down in the face of Her eternal and unstoppable power, and committing Himself to always fight.  Therefore, it is only by His constant struggle that we live.

The recording of the Visual Revelation for this Sermon was done under the guidance and direction of Brother Joe Teminsky who, as an Azimuth-level Cultist, shares our vision and understanding of B’ahn’s radiance.  It was important for this Visual Revelation to portray the ominous darkness of the void, the Star Ocean, in which Karnifor ever swims, and Brother Joe helped us capture that perfectly.

Album Review – Necht / The Prophecy Of Karnifor (2024)

THM: You were one of the finalists for Wacken Metal Battle Canada 2023 in Toronto, a concert I had the pleasure of witnessing, and now in 2024 you were summoned to be the guest headliners for the finals in Edmonton. What was the feeling for you and your ascendants to participate in both events, and what are the biggest differences in the band from last year to this year’s concert?

ZM:   We were honoured to be a part of the WMB Canada Finals both in 2023 – where we did holy battle with Strigampire and Eaten by Sharks – and even more honoured to be invited back this year, where we looked on as five combatants furiously fought for the winning spot.  2024 differed in that it included an opportunity to welcome even Junior Initiates, as there was no age barrier to enter the Sacred Hall. Also, as the 2023 WMB Canada Finals was only our 5th live Ritual, we had considerably tightened our performance time of the 2024 Finals. In both cases, however, the atmosphere among the gathered was suitably electric and we were able to Initiate many people into the Cult by administering the Ritual of Ashes, marking the loyal with the Ashes of the Fallen.

THM: Apart from of course Necht and the finalists for this year’s Wacken Metal Battle Canada (Arrow In The Quiver, Age of Ashes, Infrastrvctvre, Beguiler and Dead Velvet), which other bands from Calgary or from the entire Canadian scene do you think are worth checking out?

ZM:   Most definitely, Herald!  Black metal fans should check out our compatriots in Kings Rot (a Cascadian style in the vein of UADA), Svneatr (more progressive) and Black Pestilence (for a punk fusion). Those who enjoy technical death metal with some truly ferocious vocals should indulge their ears with the latest release from Vaegon.  Grand Mal also provide a crushing blackened death metal experience.

THM: Which bands and artists influenced Necht the most, and who would you love to tour with from those major influences?

ZM:   We are very much rooted in second-wave European black metal, with bands such as Dark Funeral and Satyricon providing a foundation for our music. Other bands that have influenced us include  Batushka, Behemoth, Belphegor, Cult of Fire, Gorgoroth, Helrunar and Rotting Christ. We would particularly enjoy the opportunity to conduct a Ritual in the presence of any of these Elders.

Necht

THM: You’ve just played at a very cool underground festival called Decimate Metal Fest 2024 in Millet, Alberta. How was the event as a whole, and what are the next live concerts for Necht?

ZM:   Decimate is a young festival, held in a small town south of Edmonton. It offered the gathered an opportunity to see many bands from Western Canada as well as from the US, and includes camping.  Junior Initiates were welcome at the festival also. The experience was excellent and we hope that B’ahn shines His holy light upon the festival in future years, so that more and more people take the opportunity to attend and support the underground metal scene.

For 2024, we recently completed our “Illuminating The Plains in Furious Radiance” series of Rituals in Alberta.  However, our Zenith has been called overseas, drawn by visions to search for the Obelisk, so we will not be conducting any full Rituals for the rest of 2024 – only our Zenith is sanctioned to perform the Ritual of Ashes – but the Ascendants will host three more Assemblies. At these Assemblies, Ascendant Zhargor will provide the voice for the Sermons.

Saturday, July 6 – Canmore Alternative Metal & Punk Festival (AMP) III at Arts Place, Canmore
Saturday, July 20 – with Kings Rot and Liminal Shroud at The Palomino, Calgary
Saturday, August 17 – with Black Pestilence, Black Solstice, Void of Mood and Putrid Stain at The Slice, Lethbridge.

THM: Now that you’ve released your first album and started promoting it with your insane live performances, what’s next for the band?

ZM:  We will be revealing our next Lesser Meditation, “Dread Is The Consort Of The Dark” before the end of 2024. We have already recorded the footage for the accompanying Visual Revelation, and the Sermon will be recorded shortly.

We will then retire to the sanctity of our Temple to contemplate the wisdom of the Enkari-B’ahn Scrolls once more, and work on another Grand Meditation, which we aim to reveal in 2025.  We also plan to conduct Rituals in other countries during 2025, in order to spread the word of B’ahn more widely.

THM: Thanks again for the interview! Please feel free to leave your final message and considerations to our readers, and I hope to see Necht live again in the near future! Glory to the Sun!

ZM: Our gratitude, Herald.  GLORY TO THE SUN! 

Links
Necht Official Website | Facebook | Instagram | YouTube | Spotify | BandCamp | Linktree

Album Review – Odio Deus / Spiritual Syphilis (2024)

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The debut album by this Norwegian Black Metal horde will attack your senses mercilessly, unveiling the inherent ‘evil’ embedded in organized religions.

Meticulously crafted for approximately two years, evolving from a mere idea to a finished product, Spiritual Syphilis, the debut opus by Oslo, Norway-based Black Metal horde Odio Deus, unveils the inherent ‘evil’ embedded in organized religions, particularly those led by fanatical leaders. Presenting a fusion of traditional Norwegian and Swedish Black Metal heavily influenced by the American Death Metal scene, Spiritual Syphilis is a beast of an album brought into being by Braatebrann on vocals, guitars and bass, Winterheart on the guitars, and the band’s mastermind Telal on drums and bass, or in other words, a collaborative effort with all three members working in unison from inception to completion, being highly recommended for all fans of old school Black and Death Metal.

As soon as you hit play, an ominous start suddenly explodes into chaotic, fierce Black Metal led by the demented drumming by Telal in Curse of Jehovah, definitely not recommended for the lighthearted, setting fire to the atmosphere before the sulfurous The Con Man makes things even more scorching, with Braatebrann’s harsh, devilish vocals being an ode to classic Black Metal. After such an explosive song we have The Chosen People, a massive Black Metal onrush by Odio Deus in the vein of Behemoth where Braatebrann sounds inhumane on vocals, exhaling rage, darkness and evil, whereas the title-track Spiritual Syphilis will smash you like a putrid insect, with Telal crushing his drums mercilessly in an amazing display of both classic and modern-day Melodic Black Metal.

Then the slashing riffs by Braatebrann and Winterheart set the tone in Deceiver, another solid composition by the trio that should work really well if played live; and leaning towards a darker, doomed version of Black Metal, we’re treated to Lenkene er brutt, which means “the chains are broken” from Norwegian, keeping the album at a high level of obscurity thanks to all demonic sounds blasted by the band. Svik, the Norwegian word for “betrayal”, brings forward more of their caustic riffs and hammering drums, with Braatebrann once again leading his horde with his devilish, grim roars and gnarls, whereas Glossolalia is by far the heaviest of all songs thanks to the brutal bass lines by Braatebrann and the always pounding drums by Telal, switching gears to a venomous Black Metal sound halfway through it, therefore resulting in a complete aria. And lastly, Til evig tid, or “for eternity” in English, sounds haunting and multi-layered, albeit not as exciting as the other songs, also presenting a way too lengthy ending but still being very enjoyable.

In a nutshell, Odio Deus simply nailed it with Spiritual Syphilis, with everything related to the album, from its title to its artwork, from its lyrics to its violent and caustic music, perfectly representing all the evil that religion does to mankind. Hence, don’t forget to start following the band on Facebook if you also believe fanatic religion leaders will bring humanity to its downfall, and also to grab a copy of the album from Amazon (and soon from other sources). Odio Deus can be translated from Latin as something like “I hate God”, and that’s exactly what the band proposes with their music, staying true to Black Metal not only regarding its sound, but also its principles, all beautifully offered to us all in the form of Spiritual Syphilis.

Best moments of the album: The Con Man, Spiritual Syphilis and Glossolalia.

Worst moments of the album: Til evig tid.

Released in 2024 WormHoleDeath

Track listing
1. Curse of Jehovah 6:23
2. The Con Man 5:49
3. The Chosen People 4:22
4. Spiritual Syphilis 4:47
5. Deceiver 4:07
6. Lenkene er brutt 4:47
7. Svik 5:44
8. Glossolalia 4:36
9. Til evig tid 6:40

Band members
Braatebrann – vocals, guitars, bass
Winterheart – guitars
Telal – drums, bass

Album Review – Rotting Christ / Προ Χριστού (Pro Xristou) (2024)

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The Hellenic beast of extreme music is back with their imposing fourteenth studio effort, a fervent tribute to the last Pagan kings who resisted the onslaught of Christianity, guarding their ancient values and knowledge.

Celebrating 35 years of existence in the name of extreme music, Athens, Greece’s own Melodic Black/Gothic Metal institution Rotting Christ is unleashing upon us all their fourteenth studio opus, titled Προ Χριστού (Pro Xristou), or “Before Christ” in Greek, the follow-up to their excellent 2019 album The Heretics. Recorded at Devasoundz Studios, produced by the band’s iconic mastermind Sakis Tolis, mixed by Jens Borgen and mastered by Tony Lidgren at Fascination Street Studios, and displaying a stunning artwork by Thomas Cole (which title is “Destruction”, and part of the painting series “The Course of Empire”) with digital processing by Adrien Bousson, the new album by the aforementioned Sakis Tolis on vocals and guitars, Kostas Foukarakis also on the guitars, Kostas Cheliotis on bass, and Themis Tolis on drums serves as a fervent tribute to the last Pagan kings who resisted the onslaught of Christianity, guarding their ancient values and knowledge. In this thematic odyssey, Rotting Christ delves into the legacies of historical figures such as Flavius Claudius Julianus and Nordic mythological kings, embodying the might of Pagan wisdom in the face of Christian adversity. The album encapsulates the essence of Rotting Christ’s signature style – melodic, yet harsh at times – reinventing themselves yet again, while remaining rooted in their 35-year legacy.

Pro Xristou (Προ Χριστού) is a superb, impressive intro, taking the album to a whole new level of epicness and obscurity and getting us more than ready for The Apostate, beginning with the incendiary trademark riffs by Sakis and Kostas Foukarakis and with all background sounds and choir turning it into a whimsical musical voyage tailored for longtime fans of the band. Like Father, Like Son, the first single of the album, presents more of the band’s trademark fusion of Black and Gothic Metal, with of course hints of Epic Metal to make things even more compelling; whereas the riffs by Sakis and Kostas Foukarakis will embellish the airwaves in the smooth but dark The Sixth Day, sounding at times like the most recent creations by Insomnium. Then featuring guest vocalist Amdroniki Skoula we have La Lettera Del Diavolo, or “the devil’s letter” from Italian, and every single time Sakis makes a duet with a woman the final result is stunning, with his bandmates crafting a beyond massive, bold sound in the background, therefore resulting in one of the most epic of all songs (if not the most); and a Black Sabbath-inspired riff guides the music in The Farewell, perfect for some vigorous headbanging to the pounding drums by Themis.

Pix Lax Dax is one of those eerie, mysterious creations by Rotting Christ where the background choir adds tons of epicness and power to the overall result, also with Themis once again hammering his drums in great fashion, followed by Pretty World, Pretty Dies, carrying a very distinct name to an embracing, majestic creation by the band, exhaling Epic Black Metal, and all spearheaded by the unparalleled dark vocals by Sakis,. Needless to say, I can’t wait to see this song played live. More of their puissant Black Metal is offered to us all in Yggdrasil, again blending their caustic, visceral riffs with ethereal and imposing background elements, which makes me believe it will easily become a fan-favorite; while  the last song from the regular version of the album, titled Saoirse, takes their atmospheric and epic power to a whole new level, with Sakis and Themis sounding on absolute fire until the very last second. Furthermore, if you go for the limited edition box version of the album, you’ll get the bonus tracks Primal Resurrection and All For One, both really good songs that are worth the investment in such special version of the album, plus of course all the perks included in the package.

Rotting Christ Προ Χριστού (Pro Xristou) LP Box + Digital Limited Edition

You can put your heretic hands on Προ Χριστού (Pro Xristou) by purchasing it from the Season of Mist webstore, including the already mentioned more-than-special LP box + digital limited edition, a collector’s edition limited to 500 copies worldwide that comes in a box size 32.5cm x 32.5cm x 5cm with gold foil and linen-like lamination, including the album on gold and black marbled 12” double vinyl, cut in 45 rpm for optimum fidelity, in gatefold with gold foil and linen-like lamination with 12-page insert, the aforementioned bonus tracks on black 7″ vinyl in jacket with linen-like lamination, the album with the bonus tracks on CD in digipak with gold foil and linen-like lamination with 16-page booklet, a 240 gsm, 120cm x 180cm linen printed shroud, a stainless steel pendant and necklace in linen bag with the band’s logo, and a numbered certificate, or click HERE to select your favorite version of the album (including all streaming options). Don’t forget to also check what the most important metal band in the history of Greece is up to on Facebook and on Instagram, to subscribe to their YouTube channel, and to stream their superb discography on Spotify. Those Hellenic metallers will take you back to the time before Christ in their stunning new album, keeping the spirit of true extreme music alive, and of course, leaving us all proud for always supporting them in their brilliant journey.

Best moments of the album: The Apostate, La Lettera Del Diavolo, Pretty World, Pretty Dies and Yggdrasil.

Worst moments of the album: Like Father, Like Son.

Released in 2024 Season of Mist

Track listing
1. Pro Xristou (Προ Χριστού) 1:29
2. The Apostate 5:01
3. Like Father, Like Son 4:35
4. The Sixth Day 3:56
5. La Lettera Del Diavolo 4:01
6. The Farewell 6:15
7. Pix Lax Dax 4:33
8. Pretty World, Pretty Dies 4:51
9. Yggdrasil 5:04
10. Saoirse 6:17

LP Box + Digital Limited Edition bonus tracks
11. Primal Resurrection 5:32
12. All For One 3:37

Band members
Sakis Tolis – vocals, guitars
Kostas Foukarakis – guitars
Kostas Cheliotis – bass
Themis Tolis – drums

Guest musicians
Amdroniki Skoula – vocals on “La Letra Del Diavolo”
Nikos Kerkiras – keyboards
Christina Alexiou, Maria Tsironi, Alexandros Loyziotis & Vasilis Karatzas – choir
Andrew Liles – narration on ‘The Apostate” and “Pretty World, Pretty Dies”
Kim Diaz Holm – narration on “Ygdrassil”

Album Review – Necht / The Prophecy Of Karnifor (2024)

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Offering grim, martial and epic tales of the Enkari, the first human civilization, this Canadian Black Metal horde steps out of the shadows of the past to spread the word of their long meditation.

GLORY TO THE SUN!

We humans are and have always been driven by our own imagination. Someone stumbles across an old book as a child and from then on lives a life believing in the resurrection of a man who died in a cruel way, giving rise to white metal as a movement. Born in the fires of the Canadian city of Calgary, Alberta in 2022, the infernal Black Metal entity known as Necht is stepping out of the shadows of the past to spread the word of their long meditation, entitled The Prophecy of Karnifor. Offering grim, martial and epic tales of the Enkari, the first human civilization, inspired by the discoveries of the German explorer and philosopher Karl von Mecklenburg, as unveiled in the controversial research of Dr. Birgitta Olsson, The Prophecy Of Karnifor is a bold, multi-layered feast of Black Metal in the name of B’ahn, Our Father, The Ceaseless Warrior, masterfully brought into being by Zenith Maharg (vocals) and his Ascendants Zhargor (guitars), Aemoh (bass) and Vlasfimos (drums).

As if the band was preparing us for their Stygian cult, we face the imposing intro The Vision of the Qa’ar, exploding into the ferocious Within Her Jaws Dwells The Dark Promise Of Our Death, where Ascendant Vlasfimos sounds utterly infernal behind his drums while Zenith Maharg begins his visceral, demented vocal attack by screaming and roaring manically nonstop. Then continuing their ritualistic feast of darkened sounds, it’s time for Stirred By Shadow, I Did Wake, where the riffs by Ascendant Zhargor will haunt your damned souls accompanied by the classic bass by Ascendant демон in another heavy, grim and venomous creation by the quartet. To Me, The Obelisk Calls blends their core Black Metal with elements from Atmospheric Black Metal, and the final result is a phantasmagorical voyage by Necht, with the drums by Ascendant Vlasfimos once again sounding demolishing; and you better prepare your senses for an overdose of towering, visceral sounds by Necht in the eight-minute beast titled Into Bondage Born, a Melodic Black Metal aria where Zenith Maharg leads his horde with his devilish gnarls while the guitar by Ascendant Zhargor will pierce your minds mercilessly.

And they keep decimating our damned souls in By The Fires Of Ascension Shall I Reach The Sky, with the band’s stringed duo delivering sheer Black Metal madness supported by the always hellish beats by Ascendant Vlasfimos, whereas By Blood And Bone Do We Bind lives up the the legacy of modern-day Melodic Black Metal, blasting our ears with the band’s trademark ferocity and passion for the occult, all of course spearheaded by the demonic growls by Zenith Maharg. There’s time for a cinematic interlude titled Blackened Loom The Walls Of Ishpan, setting the stage for the band to crush our souls one last time in For Violence Was Wrought Upon Me, a Behemoth-inspired extravaganza tailored for fans of Blackened Death Metal, putting a beyond infernal ending to the band’s black mass.

“BRETHREN! Do not fear the shadow. Within the shadow there may be found despair. Within the shadow there may be found death, and dissolution. But within the shadow, there may also be found awakening and enlightenment. For it was in the shadow that our Father, B’ahn, was born. GLORY TO THE SUN!” Those were the words by Zenith Maharg, from the Temple of Necht in the Cult of B’Ahn, citing the Enkari-B’Ahn writings, and if you’re eager to join them in the occult you can start following the band on Facebook and on Instagram, listen to their eerie creations on YouTube and on Spotify, and above all that, grab a copy of The Prophecy Of Karnifor from the band’s own BandCamp page or by clicking HERE. Glory to the Sun, glory to Black Metal, and glory to Necht for bringing into being such an amazing album.

Best moments of the album: Stirred By Shadow, I Did Wake, Into Bondage Born and By Blood And Bone Do We Bind.

Worst moments of the album: None.

Released in 2024 Independent

Track listing
1. The Vision of the Qa’ar 1:42
2. Within Her Jaws Dwells The Dark Promise Of Our Death 7:25
3. Stirred By Shadow, I Did Wake 5:40
4. To Me, The Obelisk Calls 5:26
5. Into Bondage Born 8:37
6. By The Fires Of Ascension Shall I Reach The Sky 6:41
7. By Blood And Bone Do We Bind 7:33
8. Blackened Loom The Walls Of Ishpan 1:46
9. For Violence Was Wrought Upon Me 5:32

Band members
Zenith Maharg – vocals
Ascendant Zhargor – guitars, choir
Ascendant демон – bass, choir
Ascendant Vlasfimos – drums

Album Review – Waves Idle Symmetry / Ametron (2024)

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This talented Black Metal duo hailing form Greece will take you on a stunning and grim journey to the sound of their first full-length album.

Formed in 2021 Chalcis, also called Chalkida or Halkida, the chief city of the island of Euboea or Evia in Greece, the talented Black Metal duo Waves Idle Symmetry is ready to unleash upon humanity their first full-length opus, titled Ametron, following up on their 2022 debut EP Thalassa. Recorded, mixed and mastered by David Prudent at Made in Hell Studio, and displaying a classy artwork by Alexandra Kyritsi, the album presents a much stronger and focused duo comprised of G.K. on vocals, guitars and bass, and C.D. on drums, expanding their music to further horizons by including progressive and technical elements to their sound while always remaining loyal to their core Black Metal essence, turning the journey through the nine tracks of the album into a truly engaging one for all admirers of the genre.

The Middle-Eastern acoustic guitar by G.K. kicks off the Black Metal feast Adrift In Aegean, quickly morphing into an overdose of sharp riffs and blast beats while G.K.’s both clean vocals and demonic roars exhale madness, followed by Waves Aligned, again presenting the duo’s pensive lyrics (“Deserted eyes / Sparking hate and sorrow / Reflecting the uncertainty / That grows inside me / A monster becoming / Fed in a nest of apathy / Egoism reacts in order / To defeat the misery”) amidst a bold, piercing and extreme onrush of old school Black Metal magic. C.D. then delivers intricate yet visceral beats in the headbanging tune Resilient, accompanied by the always incendiary riffage by G.K., whereas the title-track Ametron offers our putrid ears another overdose of hatred, obscurity and fire led by the crushing beats by C.D., flowing into a melancholic, grim sound in All These That Ends, where the gnarls by G.K. exhale endless evil, therefore offering us all pure Black Metal until the very last second.

Then leaning towards contemporary Melodic Black Metal the duo crushes our souls in Mindweaver, bringing forward more of their harsh gnarling, blast beats and incendiary riffs, as well as interesting switches between their more old school sound and their more melodic passages; and it’s time to break our necks headbanging in the name of evil in The Sun Of Despair, with G.K. and C.D. generating a beautiful Black Metal atmosphere with their guitars and drums while G.K. keeps vociferating manically nonstop. The Pillars Of Dignity presents more of their poetic words (“The innocence ends / As reality of failure strikes / Taste how it feels / To reach rock bottom / And trying to stand on your feet / Saviors drift apart / Numbness buried deep inside”) while the music remains imposing and cryptic during the song’s four minutes; whereas lastly the duo offers a climatic, epic tune titled Άπνοια, which is Greek for “apnea” or “shortness of breath”, alternating between demonic, harsh moments and more serene passages, with G.K. sounding evil with his roars and riffs.

While Waves Idle Symmetry are a Black Metal band, after listening to Ametron you’ll realize they’re not your regular Black Metal band, offering an array of styles in their sound to make things bolder and more interesting in the end. Hence, don’t forget to give them a shout on Facebook and stay updated with all things Waves Idle Symmetry, to subscribe to their YouTube channel for more of their music, and of course to grab a copy of their newborn beast Ametron from their own BandCamp page. I think I don’t need to say how awesome the Greek Black Metal scene has always been, and we must thank bands like Waves Idle Symmetry for keeping the spirit alive and for embellishing the airwaves with their fusion of darkness and melody like what they have to offer in their new album, while us fans will have another reason to keep praising the Hellenic gods of metal for always offering us such amazing bands.

Best moments of the album: Waves Aligned, Ametron and The Sun Of Despair.

Worst moments of the album: Resilient.

Released in 2024 Independent

Track listing
1. Adrift In Aegean 5:26
2. Waves Aligned 5:02
3. Resilient 4:52
4. Ametron 4:46
5. All These That Ends 6:03
6. Mindweaver 4:48
7. The Sun Of Despair 4:15
8. The Pillars Of Dignity 3:46
9. Άπνοια 5:46

Band members
G.K. – vocals, guitars, bass
C.D. – drums

Album Review – Dark Horizon / Darkness Falls Upon Mankind (2024)

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As darkness falls upon mankind, this devilish horde from Germany attacks with their sophomore album, exhaling their obsession for mid-90’s Scandinavian and German Black Metal.

Spreading the dark arts all over the world since their inception in 2007 in Kassel, a city in central Germany, the heavy-as-hell Melodic Black Metal horde Dark Horizon has finally unleashed upon us their sophomore black mass, entitled Darkness Falls Upon Mankind, the follow-up to their 2012 debut Diabolic Agreement and their 2017 EP Odyssey. Recorded, mixed and mastered by Andy Classen at Stage One Studio, the new album by Mike on vocals, Adrian on the guitars, Colin on bass, and Daniel on drums exhales their obsession for mid-90’s Scandinavian and German Black Metal, uniting melancholy and disharmony with their passion for absolute darkness, being therefore recommended for admirers of the music by Dark Funeral, Naglfar, Dissection, and Watain, just to name a few.

Secrets Of The Nightmare Prophecies already sounds utterly sharp and melodic, with Mike leading his horde with his demonic screams and gnarls, resulting in a beyond solid start to the album and morphing into the bestial title-track Darkness Falls Upon Mankind, where the song’s blast beats and razor-edged riffs turn it into a must-listen for admirers of 90’s Black Metal. Adrian continues to deliver fire and evil from his axe in The Awakening, a song perfect for some devilish headbanging while Daniel’s drums will decimate your cranial skull. Old Gods offers more of the band’s undisputed Melodic Black Metal, again showcasing the hellish roars by Mike while Colin adds his share of heaviness to the sound with his menacing bass, whereas Tempest Of Ancient Screams is an imposing, heavy-as-hell and absolutely dark composition that lives up to the legacy of the genre, with Adrian doing a superb job with his old school Black Metal riffs.

And Adrian’s strident, visceral riffs continue to darken the skies in In The Hall Of Bloodstreams, where Mike takes his demonic gnarls to a whole new level of obscurity; then get ready for a seven-minute onrush of sulfur and evil titled Am Tag Meines Todes (which is German for “on the day of my death”), bringing to our ears an overdose of caustic riffs and blast beats while Colin hammers his bass mercilessly, with all breaks and variations making it feel like two amazing songs in one. After that we have Funeral, offering us all three minutes of straight-to-the-point Black Metal with no shenanigans nor any artificial elements, followed by Ekpyrosis, another seven-minute song but this time sounding a bit confusing compared to the rest of the album, albeit still showcasing the band’s passion for darkness and evil. And closing the album we’re treated to two very special covers showcasing their influences in music, starting with Naglfar’s The Brimstone Gate (check the original version HERE, from their 1998 cult album Diabolical), and followed by Mithotyn’s King Of The Distant Forest (check the original version HERE, from their 1998 opus King of the Distant Forest), both exhaling the same Black Metal essence from the original versions but of course with Dark Horizon’s own twist.

The guys from Dark Horizon are waiting for you on Facebook, on Instagram and on YouTube with news, tour dates, and more of their caustic Black Metal, and you can obviously add the excellent Darkness Falls Upon Mankind to your devilish collection by purchasing it from their own BandCamp page, as well as from Apple Music or Amazon Music. As darkness falls upon mankind, Dark Horizon will strike us hard with their furious new album, adding another solid stone to the impenetrable Black Metal castle that exists in their homeland, therefore fueling them for more in the coming years for the delight of fans of 90’s Black Metal.

Best moments of the album: Darkness Falls Upon Mankind, Tempest Of Ancient Screams and Am Tag Meines Todes.

Worst moments of the album: Ekpyrosis.

Released in 2024 Independent

Track listing
1. Secrets Of The Nightmare Prophecies 4:25
2. Darkness Falls Upon Mankind 5:23
3. The Awakening 3:21
4. Old Gods 4:53
5. Tempest Of Ancient Screams 3:45
6. In The Hall Of Bloodstreams 3:17
7. Am Tag Meines Todes 7:13
8. Funeral 3:15
9. Ekpyrosis 7:40
10. The Brimstone Gate (Naglfar cover) 4:54
11. King Of The Distant Forest (Mithotyn cover) 5:26

Band members
Mike – vocals
Adrian – guitars
Colin – bass
Daniel – drums

Album Review – Hiraes / Dormant (2024)

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Germany’s own rising metal force strikes back with their sophomore beast, a stirring, intense and dynamic Death Metal affair that is both heavily brutal and dark, yet full of melodic melancholy.

Formed in 2020 in the city of Hanover, the capital and largest city of the German state of Lower Saxony, the unstoppable Melodic Death Metal beast Hiraes strikes back with their highly anticipated sophomore effort, titled Dormant. Produced by the band itself, recorded at LCHQ Studio (vocals), Warehouse Studio (drums) and K-Sound Studio (guitars and bass), mixed and mastered by Jens Bogren and Ricardo Borges at Fascination Street Studios, and displaying a stylish artwork by the band’s own frontwoman Britta Görtz, Dormant is a stirring, intense and dynamic Death Metal affair that is both heavily brutal and dark, yet full of melodic melancholy, masterfully brought into being by the aforementioned she-wolf Britta Görtz alongside guitarists Lukas Kerk and Oliver Kirchner, bassist Christian Wösten, and drummer Mathias Blässe.

Futuristic sounds are quickly joined by the slashing riffs by Lukas and Oliver in Through The Storm, exploding into a feast of modern-day Melodic Death Metal led by the hypnotizing roars by Britta; followed by We Owe No One, one of the coolest songs of the current Melodic Death Metal scene where Britta and the boys are on absolute fire throughout its entirety, presenting amazing riffs supported by the rumbling bass and hammering drums by Christian and Mathias, respectively, being therefore perfect for their live performances. Then slowing things down a bit we have the ballad Undercurrent, while at the same time sounding epic, introspective and delicate, with Britta alternating between her trademark screams and gentle clean vocals; and back to a more visceral sonority it’s time for sheer heaviness spiced up by the striking riffs and solos by the band’s guitar duo in Chance To Fail, not to mention how bestial yet intricate the drumming by Mathias sounds. And the proof of the band’s musical evolution is offered to us all in About Lies, bringing forward almost seven minutes of top-of-the-line contemporary Melodic Death Metal, starting in an enfolding manner and growing in intensity until all spaces are filled with the band’s sharp sounds, resulting in a lecture in the style.

After such insane avalanche of heavy and melodic music, the band offers the cryptic, Stygian interlude Come Alive, a cinematic creation by Hiraes that will hold you in a dark embrace before they come crushing once again in Ocean Child, a hammering, multi-layered tune overflowing passion and hatred, with Britta vociferating rabidly nonstop supported by the headbanging beats by Mathias and the always caustic riffs by Lukas and Oliver, flowing into the breathtaking, menacing Nightflight, a violent onrush of metal music by the quintet that will smash your cranial skull mercilessly, with Britta’s soaring vocals matching perfectly with the electrifying riffage and solos by the band’s axe duo, and with Mathias once again pounding his drums in great fashion. They still have a lot of fuel to burn in Red Soil, a neck-breaking extravaganza bringing forward a massive wall of sounds, including hints of Melodic Black Metal, while also sounding mysterious and utterly obscure; whereas the title-track Dormant closes the album on a whimsical mode, not as striking as the rest of the album, but it’s still a solid composition full of love, rage and darkness.

Due to the use of varying keys and sonic elements, Dormant is undoubtedly fresh without sacrificing the nuances that caused their first album to connect so successfully with fans, and if you want to put your hands on such awesome release you can purchase it from their own webstore, from Napalm Records in the US or in Europe, and by clicking HERE, or you can also stream it in full on Spotify. Don’t forget to also give Britta and the boys a shout on Facebook and on Instagram, staying up to date with all things Hiraes including their incendiary live dates. Dormant will certainly feature among the top metal albums of the year of 2024 due to its endless energy, superb musicianship, and first-class quality of its overall production, and I can’t wait to see what’s next for one of the most electrifying names of the current metal scene worldwide.

Best moments of the album: We Owe No One, Chance To Fail, About Lies and Nightflight.

Worst moments of the album: Dormant.

Released in 2024 Napalm Records

Track listing
1. Through The Storm 4:04
2. We Owe No One 4:11
3. Undercurrent 5:23
4. Chance To Fail 4:13
5. About Lies 6:50
6. Come Alive 1:54
7. Ocean Child 4:21
8. Nightflight 3:48
9. Red Soil 5:44
10. Dormant 5:11

Band members
Britta Görtz – vocals
Lukas Kerk – guitars
Oliver Kirchner – guitars
Christian Wösten – bass
Mathias Blässe – drums

Concert Review – UADA (Lee’s Palace, Toronto, ON, 09/13/2023)

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An atmospheric (and long) night of extreme music spearheaded by the best Melodic Black Metal band of the current scene beautifully darkened the skies of Toronto and the hearts of the metalheads in the city.

OPENING ACTS: A Flock Named Murder, Unreqvited, Cloak and Ghost Bath

There have been countless rock and metal concerts in Toronto since the end of the European summer festivals, and that’s having its toll on the attendance of those concerts as no one has enough time and money to support all those bands when they bring their live performances to the city. That was the case last night when A FLOCK NAMED MURDER, UNREQVITED, CLOAK, GHOST BATH and the mighty UADA took the cozy Lee’s Palace by storm on a night of darkness, blasphemy, deep emotions and truly atmospheric heavy music during their Crepuscule North America 2023. Well, although the show wasn’t even close to be sold out, there were till several brave headbangers at the venue to support those incredible bands, and let’s always keep in mind that we’re talking about the underground of the underground, with zero support from the regular media.

Shortly after the doors at the venue opened at 7pm, Toronto, Ontario-based Black/Death/Post-Metal act A FLOCK NAMED MURDER kicked off the night’s black mass with their short but extremely powerful set, spearheaded by the band’s vocalist and guitarist Ryan Mueller. Having released to date the 2018 album An Appointed Time and the 2022 single Garden of Embers, which I’m pretty sure they played last night (and once again, it’s so hard to keep track of any setlist from almost all underground bands), the quartet put on a solid performance for the crowd, already inspiring some decent headbanging among the attendees. Their music is great and deserves a listen without a shadow of a doubt, and you can do so by visiting their BandCamp page or also by going to Spotify. Needless to say, if they ever play in your city, don’t miss the chance to witness this up-and-coming extreme music horde from Toronto.

Band members
Ryan Mueller – vocals, guitars
Mike Binns – guitars
Mike Wandy – bass
Cam Mueller – drums

Some people (including myself) were a little worried with the number of bands playing last night, as no one knew for sure what time the night was going to end. However, the quality of the music played by all groups was fantastic, which was also the case for the Stygian performance by  Ottawa, Ontario-based Atmospheric Post-Black Metal/Shoegaze/Ambient act UNREQVITED. Although Unreqvited is the solo project of vocalist and multi-instrumentalist William Melsness (also known as 鬼, which means “ghost” in Chinese), the band’s live lineup is formed of William alongside guitarist Victor Forest, bassist Robin Parsons and drummer Alec Curren, and let me tell you that those four guys kicked some serious ass on stage, resulting in a very pleasant surprise for anyone who was not familiar with their music. By the way, Victor and Robin had a fantastic onstage performance, mesmerizing the crowd with their somber sounds. I like to say that the type of music played by Unreqvited is a lot more emotional than heavy or obscure, and you can sense all that by enjoying their 2021 album Beautiful Ghosts and their 2022 single Perpetual Green of the Willow Groves, both available on BandCamp and on Spotify. Needless to say, I hope I can see Unreqvited live again sooner than later.

Band members
William Melsness (鬼) – vocals, guitars
Victor Forest – guitars
Robin Parsons – bass
Alec Curren – drums

It was getting late for a Wednesday night, but who cares? After a quick break it was time for Atlanta, Georgia’s own Black Metal/Black N’ Roll horde CLOAK to bring the energy and fire of their new album Black Flame Eternal to the stage of Lee’s Palace in the most metallic of all concerts of the night. Scott Taysom, Max Brigham, Billy Robinson and Sean Bruneau took no prisoners in their quest for extreme music, blasting our ears with several devilish and frantic tunes including the incendiary Seven Thunders and Black Flame Eternal, inspiring the crowd to raise their horns in the name of evil nonstop, and proving why they’re one of the must-see names of the current Black Metal scene. Just like what said about the previous bands, you can find their music on BandCamp and on Spotify, and if UADA are visiting your city make sure you get to the show early to catch the pulverizing concert by the guys from Cloak.

Band members
Scott Taysom – vocals, guitars
Max Brigham – guitars
Billy Robinson – bass
Sean Bruneau – drums

I think it was already past 10pm when Minot, North Dakota-based Depressive/Post-Black Metal entity GHOST BATH began their sinister and neck-breaking concert. Still promoting their 2021 album Self Loather, the band led by the charismatic vocalist and guitarist Nameless darkened the atmosphere at Lee’s Palace considerably, with their three-guitar attack formed of Nameless together with Tim Church and John Olivier sounding absolutely amazing from start to finish. Apparently they had a few minor sound issues in the beginning of their performance, which might explain the delay in their concert to start, but nothing that would bring any harm their onstage blackened party. All of their albums, including of course their latest offering, are available on BandCamp and on Spotify, so do not waste a single second and go check their insane creations, getting ready to praise darkness and melancholy whenever Ghost Bath invade your damned city.

Band members
Nameless – vocals, guitars
Tim Church – guitars
John Olivier – guitars
Josh Jaye – bass
Chris Piette – drums

UADA

What happens when a concert that was supposed to have started at 10:45pm, which is already late, has a 40-minute delay? Exactly, people start to get back to their homes because of several reasons like catching the last subway or train home, or having to wake up really early to work or go to school. That was basically the main issue with the flawless and beyond atmospheric performance by Portland, Oregon-based Melodic Black Metal titans UADA, resulting in some gaps in the floor section that didn’t look nice, but that didn’t change the fact UADA were fantastic on stage either. Having released their new masterpiece Crepuscule Natura just the Friday before the concert, such uncanny horde formed of vocalist and guitarist Jake Superchi, guitarist Kevin Bedra, bassist Nate Verschoor and drummer Trevor McClain was on absolute fire from start to finish, making everyone who could stay until the very end of their concert extremely happy and satisfied.

The smoke, the dim lights, and the band’s dark and menacing outfits that make it impossible to see their faces (plus of course the incense and the stunning setup of their merch table) are crucial elements of their live performances, and although photographers like my friend Keith Ibbitson of Lower Eastside Photography don’t really like that type of ambience as it gets tough to take clear photos, in the end everything works perfectly and has a reason to be there. From the very first notes of the explosive The Purging Fire, UADA already showed everything they got and their deep passion for dark music. After such hypnotizing start, they had a microphone issue during Snakes & Vultures that seemed to have driven Jake a little upset (which is totally understandable), but the crowd knew it wasn’t the band’s fault at all and enjoyed the song to the fullest even with that minor incident.

The title-track to their 2020 album, the breathtaking Djinn, might be my favorite UADA song to date, and seeing it being played live again (after seeing them opening for Rotting Christ earlier this year) was a thing of beauty, this time sounding and feeling even more powerful, followed by the also imposing and multi-layered In the Absence of Matter. However, it was when they played their two new songs The Dark (Winter) and Retraversing the Void that things got even more majestic, with the quartet playing those songs to perfection and inspiring everyone at the venue to bang their heads nonstop together with them, just to show how powerful their new album is. And finally, closing their cryptic performance they offered our avid ears their already classics Cult of a Dying Sun and Black Autumn, White Spring, putting an epic finale to a night that was extremely long, but at the same time extremely enjoyable. I can’t wait to see UADA again live, hopefully not so late at night due to my other commitments, but to be honest, who cares? Seeing what’s in my humble opinion the best and most innovative band of the current Melodic Black Metal scene kicking ass on stage is worth the effort, and may those mysterious guys return to Toronto for another metallic assault sooner than we can say “UADA”!

Setlist
The Purging Fire
Snakes & Vultures
Djinn
In the Absence of Matter
The Dark (Winter)
Retraversing the Void
Cult of a Dying Sun
Black Autumn, White Spring

Band members
Jake Superchi – vocals, rhythm guitars
Kevin Bedra – lead guitars
Nate Verschoor – bass
Trevor McClain – drums

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Album Review – UADA / Crepuscule Natura (2023)

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One of the rising stars of the current Melodic Black Metal scene returns with their majestic fourth album, unleashing upon us five sonic vessels providing all their memorable hooks, tasteful leads and riding blasts in their distinct style.

Ever since the cloaked Pacific Northwest band appeared on the music radar back in 2014, Portland, Oregon-based Melodic Black Metal horde UADA has always been electrified by both polar worlds. Within the stretch of three albums as well as dense and triumphant live shows across the globe, they have not only spiked the map of extreme metal music but their unrelenting touring schedule and unbridled will to push forward into new horizons has also earned them a reception in all the extremes imaginable, be it worship or spite. Now in 2023 the band formed of Jake Superchi on vocals and guitars, Kevin Bedra also on the guitars, Nate Verschoor on bass and Trevor McClain on drums is unleashing upon humanity their fourth full-length opus, titled Crepuscule Natura (or “nature’s twilight” from Latin), the stunning follow-up to their 2020 masterpiece Djinn. Mixed and Mastered by the band’s own Jake Superchi at Obsidian Spells, and once again displaying an ethereal and occult artwork by Kris Verwimp, Crepuscule Natura offers five metallic vessels within the impressive span of 41 minutes, easily creating a sonic and aesthetic bridge between the band’s 2016 debut Devoid of Light and their 2018 sophomore effort Cult of a Dying Sun, only to forge onward upon the relentless path set forth with Djinn, providing all their memorable hooks, tasteful leads and riding blasts in their distinct style while balancing their epic surging melodies with powerful spurts of aggression.

The opening tune The Abyss Gazing Back is absolutely melodic and hypnotizing from the very first second, with Jake roaring the song’s devilish words (“In the light of Lucifer’s fire I am but a shadow of God: / No sanctity below, nor divinity behind. / Cast out; fallen and risen, here is where I continue my maraud: / For all within ourselves is what we must find. / Grandest gateways illuminate before me, through my own embodiment of thought: / Expanding endlessly in the caverns of the mind”) while his bandmates generate a beyond thrilling Black Metal atmosphere. Then we have the title-track Crepuscule Natura, even more imposing and multi-layered, blending the finesse of Melodic Black Metal with the rawness and savagery of classic Black Metal. Furthermore, Nate sounds bestial on bass accompanied by the infernal drumming by Trevor, resulting in a darkened voyage that will leave you completely disoriented after all is said and done; and the dirty bass by Nate kicks off the beautiful The Dark (Winter), with Jake and Kevin piercing our ears with their stylish riffs in a headbanging extravaganza by UADA that will explode your senses during their live performances.

The initial riffage by Jake and Kevin will embrace you mercilessly for all eternity in Retraversing the Void, inspiring you to keep moving your head sideways (just like what the band likes to do when they’re on stage blasting their sonic magic). It’s a fantastic depiction of modern-day Melodic Black Metal by those skillful American musicians,  not to mention how precise Trevor is behind his drums, all spiced up by another pulverizing vocal performance by Jake. Last but not least, a wild howl ignites the breathtaking 12-minute aria Through the Wax and Through the Wane, again bringing forward the band’s darkly poetic lyrics (“My moon is air / and my star of fire, / below I burn / so my ashes may continue higher / Oh, coldest night / grant me clearest sight / to grow out of your shadow / and be exposed in your searing light”) and their trademark dense, thunderous sounds, with Jake and Kevin sounding flawless armed with their Stygian axes. Moreover, it feels like three or four songs in one so intricate and detailed it is, venturing through the realms of Atmospheric and Melodic Black Metal with a grandiose background and an enfolding vibe, and with Trevor once again kicking some ass on drums, dictating the pace until the song’s climatic, apotheotic finale.

In Crepuscule Natura, which is already available for a full and detailed listen on YouTube, we face a band that’s on absolute fire, ready to unleash the marrow of Blackened Heavy Metal and to show us all why they’re known as the “haunted”. Hence, don’t forget to start following those incredible musicians on Facebook and on Instagram for news, tour dates (like their highly anticipated upcoming concert in Toronto next week) and other nice-to-know details about the band, as well as to stream all of their superb albums on Spotify, and above all that, to purchase a copy of Crepuscule Natura from their own BandCamp page or from the Eisenwald Records webstore (including the exclusive limited die-cut slipcase CD edition + music download card for the album + silver artwork patch bundle), or click HERE for all things UADA. The evolution in the music by UADA since their debut album is a thing of beauty, allowing us to witness with Crepuscule Natura the birth of new fan favorites while their craft remains grandiose, mythical and triumphant.

Best moments of the album: Crepuscule Natura, Retraversing the Void and Through the Wax and Through the Wane.

Worst moments of the album: None.

Released in 2023 Eisenwald Records/Obsidian Spells

Track listing
1. The Abyss Gazing Back 7:50
2. Crepuscule Natura 6:38
3. The Dark (Winter) 7:31
4. Retraversing the Void 7:44
5. Through the Wax and Through the Wane 12:03

Band members
Jake Superchi – vocals, rhythm guitars
Kevin Bedra – lead guitars
Nate Verschoor – bass
Trevor McClain – drums

Album Review – Temple of Katharsis / Macabre Ritual (2023)

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Let the macabre dance begin to the sound of the debut opus by this ruthless Black Metal horde hailing from Greece.

A must to hear for fans of bands such as Rotting Christ, Varathron, Katavasia and Naer Mataron, among several others, the sulfurous Macabre Ritual is the long-awaited debut album from Greek Black Metal beast Temple of Katharsis, founded in 2011 in Kastoria, a city in northern Greece in the region of Western Macedonia. Currently formed of the band’s founder, vocalist and bassist Hellmaster 666 alongside guitarist Zeratul and drummer Nodens, Temple of Katharsis will take us to the depths of darkness in a harrowing exploration of Black Metal mastery that will leave you breathless. Produced, mixed and mastered by Major at H12 Audio, this abyssal odyssey features eight unholy hymns that will cast a malevolent spell upon all who dare to listen, resulting in a testament to the band’s unwavering dedication to their craft and the Black Metal genre.

The cinematic, somber intro Abyssal Cold Void will captivate your senses before the trio crushes our souls with The Burning Flood of Antichrist, where Hellmaster 666 barks and gnarls in a pure devilish manner in the name of old school Black Metal supported by the classic blast beats by Nodens and the scorching riffs by Zeratul. They keep blasting their infernal music, piercing our minds and souls mercilessly, in Erasure of Religious Existance, where Hellmaster 666 and Zeratul are on fire armed with their stringed axes, sounding perfect for some nonstop headbanging; followed by In the Dungeons with the Rats, displaying a beautiful name for another sulfurous creation by Temple of Katharsis, and those Greek black metallers continue their path of obscurity and hatred with their Stygian riffs and cryptic growls throughout the entire song without a single second of peace or hope.

Blending the past, present and future of Black Metal, it’s time for the melodic yet vile and visceral Ο Αρχιερεύς Των Λύκων (The Archpriest of the Wolves), spearheaded by the unstoppable drums by Nodens; and there’s no sign of the band slowing down as Inside the Medieval Crypt is total fuckin’ darkness led by the demonic growls by Hellmaster 666, who also shows no mercy for his bass. Then it’s time to open the gates of the underworld and let all creatures from the abys consume our damned souls to the sound of The Kingdom of Hades, a lesson in classic Black Metal where Zeratul delivers intricate, venomous riffs for our total delight, before the trio’s last breath of insanity and sulfur comes in the form of the title-track Macabre Ritual, where they incorporate elements from Melodic Black Metal and Doom Metal into their core blackened sound, resulting in a solid composition showcasing their usual aggressiveness (albeit a bit too repetitive for seven minutes of music).

Such devilish, macabre album of Black Metal made in Greece can be appreciated in all of its glory on YouTube and on Spotify, but in order to show your utmost support and admiration for Temple of Katharsis you should definitely purchase a copy of the album from the band’s own BandCamp page, from the Theogonia Records’ BandCamp page or webstore, or from Apple Music, and don’t forget to also give Temple of Katharsis a shout on Facebook. Let the macabre dance begin to the sound of the newborn spawn by this ruthless Greek trio, taking us all on a one-way journey to the pits of the underworld.

Best moments of the album: The Burning Flood of Antichrist, Ο Αρχιερεύς Των Λύκων (The Archpriest of the Wolves) and The Kingdom of Hades.

Worst moments of the album: Macabre Ritual.

Released in 2023 Theogonia Records

Track listing
1. Abyssal Cold Void (Intro) 2:19
2. The Burning Flood of Antichrist 5:03
3. Erasure of Religious Existance 6:02
4. In the Dungeons with the Rats 6:21
5. Ο Αρχιερεύς Των Λύκων (The Archpriest of the Wolves) 7:37
6. Inside the Medieval Crypt 7:14
7. The Kingdom of Hades 6:56
8. Macabre Ritual 7:05

Band members
Hellmaster 666 – vocals, bass
Zeratul – guitars
Nodens – drums