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Album Review – Spectral Lore / 11 Days EP (2023)

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Embark on a musical voyage together with this Greek Atmospheric Black Metal/Ambient entity, offering us all a powerful concept album about the refugee sea route to Europe through the Mediterranean sea.

A concept album about the refugee sea route to Europe through the Mediterranean sea, 11 Days is a very different album for Athens, Greece-based Atmospheric Black Metal/Ambient entity Spectral Lore, being its first album to feature a specifically political theme. Originally released as a digital album in March of 2023 with the aim to gather funds for refugee and migrant aiding collectives, it functions not just as a musical album with a fictional narrative based on real events, but also as a statement of protest against the policies of the European Union regarding refugees and migrants. Recorded, mixed and mastered by the band’s own mastermind, vocalist and multi-instrumentalist Ayloss (of Auriferous Flame, Clarent Blade, Divine Element, Fortress of the Pearl, Mystras, and several other amazing projects) at Stellar Auditorium, displaying a captivating artwork by Christina Chrysanthopoulou, and featuring an array of special guests, the album describes a fictional journey of survival through the Mediterranean sea using supernatural and mythic elements, in an attempt to tell such a story in a way consistent with Black Metal and Ambient aesthetics, being therefore recommended for fans of Mare Cognitum, Chaos Moon, Midnight Odyssey and Blut Aus Nord, among others.

Featuring guest vocals by an unknown member of Greek Black Metal horde Yovel, Moloch is a multi-layered, harsh and unique creation by Ayloss that alternates between classic Atmospheric Black Metal and Experimental Black Metal moments, with its visceral, cryptic vociferations being beautifully complemented by hammering drums and piercing Black Metal riffs, moving like an arrow on fire in pitch black darkness until the very last second. Then we have Fortitude/Sunrise, with synths, electronics and vocals by guest Nate Collins, another phantasmagorical and ethereal aria that will mercilessly enfold your damned soul for ten minutes. In other words, it’s the utmost definition of ambient music, with all elements connecting to each other to craft an ominous atmosphere; followed by Adro Onzi, featuring guest vocals by V. and a guest guitar solo by K. (both of Greek Black Metal act Voak), guest vocals by Sadistik, and synths by Odile Aurora Strik, an explosion of old school Black Metal with modern nuances that’s simply pulverizing from start to finish. Once again leaning towards Experimental Black Metal, the song showcases an amazing job done by all musicians involved, embellishing the airwaves for impressive 13 minutes and flowing into the also dense and mesmerizing Tremor/Kalunga Line, featuring synths, electronics and vocals by guests Nate Collins and Odile Aurora Strik, again venturing through the realms of atmospheric and ambient music, sounding very delicate yet also dark and grim, therefore closing the album on a whimsical note.

“These kinds of policies with the goal of violently curtailing immigration cause enormous death and suffering, as migrants are forced to take even more difficult and dangerous routes to avoid repression. The primary intention with this album is therefore to call out the xenophobic, nationalist and anti-immigrant ideologies that are still dominant today in Europe, under the veil of fake progressivism and pseudo-humanist rhetoric,” commented Ayloss about all issues going on in Europe, and you can get to know more details and find additional links about everything happening in the region on the project’s BandCamp page, where you can obviously purchase a copy of 11 Days (also available for a full listen on YouTube), as well as from the I, Voidhanger Records’ BandCamp page or from Throne Records as a CD or an LP, keeping in mind all sales from the digital version and proceeds from the physical editions will be donated to pro-refugee organizations and causes. You can also follow Ayloss and his Spectral Lore on Facebook, Instagram and YouTube, and stream more of the project’s music on Spotify, joining Ayloss on a musical journey where fantasy and reality collide in a truly compelling way, again proving how the power of music can have a very positive impact on our rotten and decaying world.

Best moments of the album: Moloch and Adro Onzi.

Worst moments of the album: None.

Released in 2023 I, Voidhanger Records/Throne Records

Track listing
1. Moloch 11:05
2. Fortitude/Sunrise 10:08
3. Adro Onzi 13:45
4. Tremor/Kalunga Line 9:02

Band members
Ayloss – vocals, all instruments

Guest musicians
Nate Collins – synths, electronics and vocals on “Fortitude/Sunrise” and “Tremor/Kalunga Line”
Odile Aurora Strik – synths on “Adro Onzi”, synths and field recording on “Tremor/Kalunga Line”
V. – vocals on “Adro Onzi”
K. – lead guitars on “Adro Onzi”
Sadistik – vocals on “Adro Onzi”
Unknown – vocals on “Moloch”

Interview – Moloch (ZØRORMR)

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Enter the Stygian realm of Moloch and his ZØRORMR in this exclusive interview where we talk about his latest offer The Monolith and a lot more.

Moloch (ZØRORMR)

The Headbanging Moose: Thanks a lot for taking time to answer some of our questions, Moloch. Could you please start by introducing yourself and ZØRORMR to our readers?

Moloch: As Fernando Pessoa would put it: “I am nothing. I’ll never be anything. I couldn’t want to be something. Apart from that, I have in me all the dreams in the world.”

THM: I read in another one of your interviews that ZØRORMR means “The Serpent of the South”, a play on the Old Norse words sør (south) and ormr (serpent). How relevant do you think the name ZØRORMR still is compared to when you started the band back in 2010?

M:  That’s a good question. A lot has changed since I started Zorormr around 2010, and I think the “Norwegian vibes” are not so much present on the new record. Zorormr has outgrown its initial influences and is an abomination in its own right. I would have thought of a different name for the project now, but I don’t know if it would make a difference to the music.

THM: Now let’s talk about your awesome new album The Monolith. What are the main differences you see in your new album versus your previous releases, and do you think the album is exactly how you were expecting it to be, or is there something that still bothers you in it? I personally think the sound in it is a step forward from The Aftermath.

M: I think that “The Monolith” sounds the way it should. It’s a different album than “Corpus Hermeticum“. It has more darkness in it, and the sound design reflects that. Arek Jablonski (the sound engineer) has done a terrific job on the record. His mixing corresponds with my older recording and “Corpus…” so the result is very aggressive but still has all the qualities of contemporary production. Everything is in place, and in a way, it’s like a monolith.

THM: Although ZØRORMR is considered a one-man project, you’ve been working with guest or session musicians since your 2010 debut album Kval, more specifically with guitarist Quazarre and drummer Icanraz. What’s your relationship or connection with those two musicians, and why have you selected them to be a regular part of ZØRORMR?

M: We’ve known each other for twenty years. We’ve collaborated artistically on so many levels that it’s hard to mention here all our ventures. We’re also good friends. Quazarre has been helping me out with every Zorormr record. He is a skilled guitarist and vocalist. You could say that he helped me become a better artist myself. As for Icanraz, he’s an excellent drummer whose style fits perfectly into what you can hear in Zorormr. So far, every time we’ve worked together, we had something special going on. They’re both “regular members” of Zorormr, even if they don’t admit it. (laugh)

Album Review – ZØRORMR / The Monolith (2023)

THM: How were the recordings of The Monolith? Did everything occur as planned, or did you have to change the way you were doing things due to an unforeseen situation?

M: Frankly, it was a long and painful process. I had the music written back in 2016. I started recording in 2017 and finished it at the end of 2021. Meanwhile, I had many “tough times” along the way, so I couldn’t focus on recording “The Monolith”. I thought about ending Zororormr, and not only that… But I fought for myself. I started making darksynth, performing live, and slowly wanting to return to the latest Zorormr album. I owed that to myself, my friends, and those few fans that follow my musical journey. I’m glad I went through with it because the end result is something I can be proud of. Maybe one of the most important records of my life…

THM: Now that The Monolith has already seen the light of day, what’s next for ZØRORMR? Are you going to take the music from The Monolith to the stages anywhere, or will the focus be on creating more music in the coming months or years?

M: After “Corpus Hermeticum” I was ready to hit the road. I even looked for musicians to accompany me. But I couldn’t find the right people whose commitment to the band would allow us to perform Zorormr’s music. In 2016 I was on a downward spiral, and I stopped looking for musicians for Zorormr. Two years later, I was already performing with my darksynth project. I could have used some hired musicians, but it didn’t feel right. Nowadays, I’m focusing on different things. But I think that “The Monolith” is not the last thing you’ve heard from Zorormr…

THM: Who are your biggest idols and influences in music and in life in general? Although the music by ZØRORMR is Black Metal, do you draw inspiration from any non-metal artists to compose your music?

M: This a tricky question to answer since, in postmodernity, the influences create an endless whirlpool from which we can choose. It would be easier to answer this question when I was younger. Nowadays, I think it’s better to leave it to the listener to try and find the sources of inspiration for Zorormr. If you listen carefully, you will find some of them. And there are some hints in the lyrics too!

Album Review – ZØRORMR / The Aftermath EP (2016)

THM: I’m a huge fan of the Polish underground. There are so many amazing bands there from different styles including Sarmat, Hellfuck, Hyl, Chimera, Chainsword and Odraza, just to name a few, but all amazing. Are you proud of the current metal scene in Poland, or do you think it could be even better?

M: I wouldn’t consider myself an expert on the scene. Nor do I find pleasure in reviewing other bands’ work. But objectively, Polish extreme metal bands have a lot to offer, and I’m glad that we have so many great bands around here.

THM: Do you have any hobbies you would like to share with us, like collecting anything specific, playing a sport, anything that’s outside of music but that helps you relax and focus on your work as a musician?

M: There is never enough time to do what I want to do. I try to focus on making music as my main activity. But I do read, for example, Bukowski or Ellis, or some fantasy novels. I have a passion for B-movies. I bought a bunch of VHS tapes recently, so I suppose I’m starting to collect these. I’m an escapist. So whatever allows me to escape from the problems of this dreadful world is good enough for me. Sometimes it’s just a hike in the mountains or sitting by the seaside. Watching Star Trek TNG is also a comforting experience… I also like going to the forest. It always makes my demons go away (laugh).

THM: Once again, thank you very much for your time! Please feel free to send your final message to our readers, and any other comments you would like to make!

M: Thanks for having me! Stay heavy my friends!

Links
ZØRORMR Official Website | Facebook | Instagram | YouTube | Spotify | BandCamp

Album Review – ZØRORMR / The Monolith (2023)

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The unstoppable Polish vocalist and multi-instrumentalist Moloch returns with an incendiary new album, offering us all 46 minutes of raw intensity, embodying nihilism, misanthropy and disdain for an indifferent world.

Prepare to be embraced by absolute darkness, as Opole, Poland’s own Black Metal/Dark Ambient institution ZØRORMR is back from the underworld with its latest offering, entitled The Monolith, following up on its highly acclaimed 2016 EP The Aftermath. Recorded at Red Dragon Studio, Dobra 12 Studio and Via Nocturna Studio, produced by Arkadiusz “Aro” Jabłoński at Monroe Sound Studio, and displaying a wicked cover art by Paweł Kuranda, The Monolith spans over 46 minutes of raw intensity, embodying nihilism, misanthropy and disdain for an indifferent world, all masterfully brought into being by vocalist and multi-insturmentalist Moloch (with the support of guests Quazarre on lead guitars and Icanraz on drums), making it the most personal and formidable ZØRORMR release to date.

Kicking things off in style, the title-track The Monolith is eerie and sinister from the very first second, growing in intensity and obscurity to the Doom Metal beats by Icanraz while Moloch extracts sheer evil form his guitar and bass, exploding into a massive, visceral Black Metal feast with Moloch gnarling majestically. Downward Spiral is another devilish, multi-layered Black Metal aria crafted by Moloch showcasing beautiful guitar solos by Quazarre while Moloch makes sure the atmosphere remains as Stygian as it can be; whereas the sharp, piercing guitars by Moloch supported by the fulminating blast beats by Icanraz will darken the skies in Hollow, the perfect depiction of how brutal yet melodic and mesmerizing the music by ZØRORMR can be, followed by I Have No Mouth, and I Must Scream, showcasing a very peculiar name to a breathtaking, demonic creation by Moloch that lives up to the legacy of Melodic Black Metal, feeling simply infernal from start to finish with Moloch’s growls sounding truly haunting.

The second half of the album begins with the sulfurous The Pentagram, with Moloch being on fire with his enraged vocals, flammable riffs and thunderous bass accompanied by the always vicious drums by Icanraz in a tribute to pure evil; and slowing thing down a bit and beginning in a serene manner we have Return to Nothingness, while of course always sounding macabre. It’s not a bad song, but far from being as strong as the rest of the album, though. Then back to his more demonic mode, Moloch will hammer our heads mercilessly in Per aspera, ad astra (“through difficulties, to the stars” from Latin), where his diabolical vocals sound awesome until the very end while he also fires ass-kicking riffs supported by more of Quazarre’s classy solos; and the album’s last onrush of obscurity, entitled Enter the Void, begins in a somber way to the dirty riffage by Moloch, alternating between doom-ish moments and absolute heaviness, therefore putting a vile and dark ending to an opus not recommended for the lighthearted.

The new installment in the career of Moloch and his ZØRORMR is available for a full listen on YouTube and on Spotify, but of course if you’re a true servant of the dark arts of heavy music you can purchase a copy of the album by clicking HERE (CD) or HERE (digital), and don’t forget to also start following ZØRORMR on Facebook and on Instagram. As aforementioned, The Monolith is Moloch’s most personal album since he started ZØRORMR over a decade ago, bringing forward his past and present sounds while always thinking forward, opening countless roads for him to keep growing as a musician while remaining loyal to the foundations of Black Metal with all of his upcoming releases.

Best moments of the album: The Monolith, I Have No Mouth, and I Must Scream and Per aspera, ad astra.

Worst moments of the album: Return to Nothingness.

Released in 2023 Via Nocturna

Track listing
1. The Monolith 7:39
2. Downward Spiral 5:52
3. Hollow 6:26
4. I Have No Mouth, and I Must Scream 5:03
5. The Pentagram 3:55
6. Return to Nothingness 6:29
7. Per aspera, ad astra 5:32
8. Enter the Void 5:24

Band members
Moloch – vocals, guitar, bass

Guest musicians
Quazarre – lead guitars
Icanraz – drums

Metal Chick of the Month – Lilita Arndt

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lilita01

Eternal darkness is covering my eyes and penetrating me…

Dark skies are over us all once again here on The Headbanging Moose thanks to the raw and visceral Black Metal crafted by a multi-talented woman who will undoubtedly blacken our hearts even more. Hailing from Rivne, a historic city in western Ukraine located over 300 kilometers to the west of the country’s capital Kiev, she’s not only an amazing Extreme Metal vocalist, but she also plays all instruments including lead, rhythm and acoustic guitars, bass and drums for her stunning one-woman Occult and Depressive Black Metal project entitled Ieschure. Her poetic name, Lilita Arndt, adds an extra touch of beauty to her unique creations, and you’ll be more than pleased with her music, her view of Black Metal and how she incorporates all her influences into each one of her songs.

Lilita’s interest in writing and playing music began at a very early stage of her childhood, when she started to write lyrics and later tried to create simple melodies for them on her acoustic guitar, which by the way was her very first instrument, then learning how to play keyboards (followed by all other instruments she currently knows), all self-taught and never having any sort of formal or structured music lessons with anyone. After taking part in different projects as a singer, including an old acoustic project called Embrace of Hedera from 2007 until 2015 which played melancholic, dark and romantic music with acoustic guitars and clean female vocals (and with whom she recorded the album The Castle On The Rolling Hills in 2015), Lilita wanted to explore new territories by creating her own music with her own melodies, lyrics, singing and atmosphere, being the mastermind of her own project and experimenting with melodies and vocals, the main reason why she decided to found her own solo project Ieschure back in 2015.

A word chosen by Lilita after the whole album The Shadow was finished in 2017, Ieschure has the project’s name related to occult things and the meaning of this word is really important for her, although our multi-talented musician prefers it to be known only by herself. Dealing with classic Black Metal lyrical themes such as occultism, witchcraft and death, and using a serpent as her symbol (more specifically as a primitive symbol of power and wisdom but at the same time representing death and damnation), this one-woman Black Metal force has already released an array of bold, captivating albums since the project’s inception in 2015, those being the aforementioned full-length opus The Shadow, in 2017, the EP’s Cold Stars of Eternity and Phantoms of God, in 2020, and more recently the split album Witch’s Consecration, now in 2021, with Brazilian Black Metal horde Promethean Gate. If you want to have a very good taste of how breathtaking the music by Ieschure is, you can enjoy some awesome songs online such as Eternal Agony, Mystic Schizophrenia and Phantoms Of God, or simply go to BandCamp, to Big Cartel and to Spotify (or click HERE) to stream and purchase all of her wicked creations.

Not only the woman responsible for all vocals and instruments in all of Ieschure releases, Lilita also handles all recording, mixing, mastering, lyrics and layout of the albums, which is absolutely in line with her initial dream of having a project of her own. In addition, Lilita has also collaborated in several albums from other bands, with the most memorable for her to date being singing with the bands Detention and Restless. For instance, she recorded vocals for the songs Nidhogg (from the album Lost Souls in a Godless World) and Wolf’s Head (from the album The Battle of Tara) by American Doom/Stoner/Southern Metal band Black Mountain Thunder, both in 2015; vocals for the song The Face of God, from the 2015 self-titled album by American Stoner/Doom Metal band Clawhammer; vocals on the 2014 album Marginal, by Kazakh Depressive Metal band Detention; vocals on the song Rurel, from the 2018 self-titled EP by Italian Black/Folk Metal band Dovrefjell; backing vocals on the songs Spiritueller Selbstmord, from the 2014 album Verwüstung, and Wenn Die Sterne Nicht Mehr Scheinen, from the 2014 EP Horizont, by Ukrainian Black Metal/Ambient band Moloch; vocals on the 2017 album Funeral Impressions, by Italian Funeral Doom Metal band Restless; and vocals on the song Bride of Winter, from the 2016 album Forgotten Tales, by Italian Black Metal band Waldweg; not to mention the cover art for the 2019 EP The Wanderer, by Tuskish Atmospheric Black Metal band Akrunant.

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Regarding her first experiences with Heavy and Black Metal, Lilita mentioned in one of her interviews that she began listening to popular metal bands when she was a teenager, becoming more and more interested in the underground and, consequently, getting attracted to the world of Black Metal. In her opinion, Black Metal is not just a music style, but a dark side of art, an irrational fusion of music, theatre and philosophy, full of paradoxes and concentrating the strongest emotions, hatred and some perverted love to life, which is the main reason why she considers it perfect. She complemented by saying that she has felt the presence of hidden forces in the world since she was a little child, gradually getting more interested in those and in occultism, also saying that realizing that she will die some day was what truly attracted her to that. Apart from drawing inspiration from the works of renowned occultists the likes of Aleister Crowley, Eliphas Levi, Stanislas de Guaita and George Gurdjieff, she also enjoys reading and studying about her work as a designer, all forms of art, mythology, psychology, history, travelling and everything that can give her new knowledge about the world. And in terms of what inspires the music by Ieschure the most, she mentioned Black Metal behemoths such as early Urfaust, Behexen, Rotting Christ, My Dying Bride, Opeth and, above all, Burzum, as his music embodies the ideas of misanthropy and loneliness in the best way imaginable according to our sinister diva.

When asked about her vocal style and technique, Lilita said that her screaming vocals were influenced by classic Black Metal bands, whereas for clean vocals she gets her inspiration from non-Black Metal music, as for example Julie Christmas, her favorite female singer of bands like Battle Of Mice and Made Out of Babies, and Free Dominguez, of Kidneythieves. In addition, regarding her songwriting process, Lilita said the first thing she does is many improvisations on the guitar at her home studio, recording various ideas, listening to them again at a later stage, and if she finds any of those ideas interesting enough she rerecords them to include all other instruments. Also, she complemented by saying most of her time in that process is taken by the lyrics writing process, as she can rewrite those many times and do various vocal improvisations to find the best version, finally rerecording everything.

As a true admirer of the underground, in special the first wave of Black Metal bands, their sound and atmosphere, as well as old Doom Metal, Lilita also said that although she doesn’t listen to a lot of bands from the Black Metal scene in her homeland Ukraine she knows there are several bands and projects in the country who create true underground music, always prioritizing the music instead of fame or money. However, she said she cannot compare herself to any of those bands, as she tries to go her own way with her own opinion about music. In addition, she also mentioned in one of her interviews that she doesn’t usually attend concerts, as for her personally the best way to listen to music is to listen to it in her headphones.

Lastly, when questioned if one day Ieschure will become a full-bodied group with other members joining her, Lilita said that, although she’s always open to change, she doesn’t think that’s a possibility for now. Furthermore, she mentioned that if one day she finds that a good alternative for embodying her ideas she will definitely try working with other musicians, as long as of course they’re sincerely interested in music and follow similar or the same ideas as hers. In the end, it doesn’t matter if she continues to create music as a lone she-wolf or if she finds the perfect lineup for Ieschure, our beloved metal witch will keep experimenting with melodies and vocal styles while always keeping an evil Black Metal atmosphere in the background, playing raw and devilish sounds for our total delectation in the name of darkness, death and the occult.

Ieschure’s Official Facebook page
Ieschure’s Official Instagram
Ieschure’s Official Twitter
Ieschure’s Official YouTube channel

“For me black metal is really a dark side of Art. It’s not just a music style. Mixture of music, theatre and philosophy, more irrational than other music styles, full of paradoxes, concentrating the strongest emotions, hatred and some perverted love to life. That is why it is perfect.” – Lilita Arndt

Album Review – ZØRORMR / The Aftermath EP (2016)

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Enjoy these six powerful and distinct Black Metal chants that together bring to a conclusion the first era in the history of this excellent extreme project from Poland. Arise ZØRORMR, Arise!

Rating5

coverAs today is June 6, 2016 (or 6/6/16), the eleventh edition of the world-famous International Day of Slayer, there’s nothing better than relishing this date with a good dosage of dark and heavy music, and the chosen soundtrack for such a distinct celebration this year by The Headbanging Moose is the six-track diabolical EP entitled The Aftermath, meticulously crafted in the dark shadows of Opole, a city located in southern Poland, by Black Metal one-man army ZØRORMR. Born on the ruins of a dark ambient project named I.A. Serpentor in the beginning of 2010, ZØRORMR already released the albums Kval (2010), HIS (2013) and Corpus Hermeticum (2015), with The Aftermath closing the first era in the history of this excellent project led by Polish artist and multi-instrumentalist Moloch.

Featuring a hellish artwork by Russian artist Timur Khabirov and with the support of guest musicians Przemysław “Quazarre” Olbryt on lead guitar and Icanraz on drums (both from Polish Symphonic Black/Death Metal act Devilish Impressions), The Aftermath consists of four tracks recorded during the Corpus Hermeticum session (with 3 of them never heard before), produced by Arek “Malta” Malczewski (a longtime producer for Blackened Death Metal titans Behemoth), as well as two bonus tracks from the HIS and Kval sessions. The music itself is a hybrid of the works by bands like Rotting Christ, Naglfar and other important names fom extreme music, being also heavily inspired by Heavy Metal from the 80’s.

A heavy storm announces darkness has arrived in The Last Judgement, a classy Black Metal composition with hints of Doom Metal and symphonic elements that kicks off the EP on a high note. Moloch vigorously leads this black mass with his demonic growls and riffs, while Icanraz displays all his skills by blending an occult and tribal drumming with traditional Black Metal blast beats. The Crawling Chaos presents another smooth intro that evolves to lugubrious Black Metal, enhanced by an additional layer of intricacy comprised of interesting Blackened Doom elements, which help the band craft a disturbing and demonic ambience. In addition to that, the infernal screams by Moloch will torture your soul, whereas Quazarre does an outstanding job with his precise guitar solos.

molochThe Adversary is yet again a solid and dense composition offered to the listener by this incredible Polish project, with the sick drumming by Icanraz generating an amazing uproar for Moloch to spill his somber vociferations upon us. And there’s no place to hide from ZØRORMR, as all that heaviness and vileness goes on in the title-track, the grim The Aftermath. Moloch definitely knows how to craft gripping intros to his creations, with the song’s obscure rhythm together with its beautiful piano notes resembling a dark funeral march. In other words, this is an instrumental song that could easily be used as the soundtrack of a demented horror movie.

The first bonus tack, entitled Arise Cthulhu, Arise!, goes full Black Metal, presenting a disquieting musicality perfect for fans of old school extreme music. Every single moment of the song is filled with malevolence and causticity, which is obviously a good thing in Black Metal and, consequently, turns this chant into the best of all six tracks in The Aftermath. Lastly, the second bonus track Zørormr, which carries the name of the band, brings forward sharper riffs and a cutting sonority, concluding the EP in a thrilling way. Despite being another instrumental track by ZØRORMR, it’s fairly different from “The Aftermath” due to the Thrash and Death Metal hints added to it, showcasing the wide musical range Moloch is capable of reaching with his music.

In summary, not only the music found in The Aftermath keeps up with the creations of the biggest Extreme Metal icons from Poland, but it also provides an accurate and outright epitome of everything ZØRORMR have already provided to the world of heavy music, as well as what to expect from this striking project by Moloch in the future. In case you want to follow the “evilution” of ZØRORMR, go check their Facebook page, YouTube channel and SoundCloud page, and if you want to buy a copy of The Aftermath you can find it for sale at the Via Nocturna’s webstore or BandCamp page. Arise ZØRORMR, Arise!

Best moments of the album: The Adversary and Arise Cthulhu, Arise!

Worst moments of the album: None.

Released in 2016 Via Nocturna

Track listing
1. The Last Judgement 6:29
2. The Crawling Chaos 5:15
3. The Adversary 2:54
4. The Aftermath 3:53

Bonus tracks
5. Arise Cthulhu, Arise! 3:27
6. Zørormr 3:01

Band members
Moloch – vocals, guitars, bass, keyboards

Guest musicians
Przemysław “Quazarre” Olbryt – lead guitar
Icanraz  – drums