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Album Review – Unviâr / Disglaç (2025)

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This unique Atmospheric Black Metal band from the beautiful region of Friûl will hypnotize you with their first full-length album, revolving around the complex yet unavoidable relationship between man and nature.

An Atmospheric Black Metal project hailing from a small land in Mitteleurope called Friûl, where the Celtic, Germanic, Slavic, Latin worlds coalesce in a unique mosaic of nature, people, magic, culture, languages and traditions, Unviâr, which means “winter” in Friulian, is an ode to the band’s homeland and to its people that pits the constant research and reworking of territorial identity against rampant hyperglobalization. Recorded, mixed and mastered by Davide Zago, and showcasing a stunning artwork by Paolo Girardi, Disglaç, or “defrost” in English, is the band’s follow-up to their 2023 debut EP Faliscjis, revolves around the complex yet unavoidable relationship between man and nature, a work that will delight fans of early Ulver, Drudkh, and Agalloch carefully brought into being by Daniele Tollon on vocals and guitars, Manuel Scapinello also on the guitars, Luca Franzin on bass, and Giulia Zuliani on drums.

The cello by guest Massimo Silverio already adds endless darkness to the band’s core sound in Nevere, or “never” in English, exploding into pure, unfiltered Atmospheric Black Metal led by Guilia’s venomous blast beats, not to mention the ferocity flowing from Daniele’s roars. Corints (“currents”) is another dark and visceral tune blending Black Metal with Post-Metal nuances, with the guitars by Daniele and Manuel exhaling fire; and Guilia takes the lead once again and kicks off the headbanging title-track Disglaç, supported by the massive bass lines by Luca, venturing through more melodic and even acoustic lands while also showcasing the band’s trademark heaviness as if it was three or four songs in one. Ritîr, which means “withdrawal” or “retire,” is a more straightforward Atmospheric Black Metal extravaganza, again presenting the striking riffage by Manuel; whereas last but not least, Massimo Silverio returns with his cello in Sul Ôr, which should translate as something like “on the gold,” closing the album on a pensive, grim mode, with even Daniele’s vocals getting deeper and more introspective.

Featuring dark music and a heavy epicness born from a dark naturalistic romanticism, a music that, with penetrating force, will firmly root itself in the listener’s heart, Disglaç brings forward the ancient voice of the land, the innate call of natural theophany, emerging as an intimate and reserved work, but precisely for this reason pure and uncontaminated. You can get to know more details about such an amazing band, including their live performances, on Facebook and on Instagram, stream their undisputed music on any platform like Spotify, and of course purchase their new album from their own BandCamp, from ATMF’s BandCamp, or from Metal Odissey as a CD or as an LP. Unviâr have simply  mastered the art of Black Metal with their debut album, crafting music that’s rooted in the early days of the genre while also looking forward, never sounding dull or repetitive. They’re one of the must-see names of the current scene worldwide, and I bet you’ll have an absolute blast once you dive deep into the irresistible world of Disglaç.

Best moments of the album: Nevere and Disglaç.

Worst moments of the album: None.

Released in 2025 ATMF

Track listing
1. Nevere 11:31
2. Corints 7:52
3. Disglaç 9:44
4. Ritîr 7:30
5. Sul Ôr 8:19

Band members
Daniele Tollon – vocals, guitars
Manuel Scapinello – guitars
Luca Franzin – bass
Giulia Zuliani – drums

Guest musician
Massimo Silverio – cello on “Nevere” and “Sul Ôr”

Album Review – Depravity / Bestial Possession (2025)

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Emerging from the pits of the underworld after a gap of five long years, this Australian Death Metal creature returns with their edgier and most violent album to date.

Emerging from the pits of the underworld after a gap of five long years since their 2020 opus Grand Malevolence, Perth, , Australia’s own Death Metal creature Depravity picks up from where it left off, ensuring that things remain that way as the band proceeds to add more nuance and color to their brand of music on their latest album, titled Bestial Possession. Maintaining the same line-up of Jamie Kay (The Ritual Aura) on vocals, Jarrod Curley (Pathogen) and Lynton Cessford (Iniquitous Monolith) on the guitars, Ainsley Watkins (Scourge) on bass, and Louis Rando (Impiety, The Furor) on drums, Depravity were able to retain their sound in Bestial Possession while fleshing out their compositions, always rooted in the old school sound but not necessarily sounding old school, with the gradual incorporation of Brutal and Technical Death Metal influences having a slightly contemporary edge. Add to that the demonic artwork by Paolo Girardi (Cryptopsy, Skaphos), and there you have one of the must-listen albums of the past few years for admirers of bands the likes of Morbid Angel, Suffocation, Deicide, Hate Eternal, and Nile.

Get ready for a ruthless onrush of malignancy in the form of the opening tune Engulfed in Agony, with Louis destroying our damned souls with his relentless blast beats accompanied by the scorching riffs by Jarrod and Lynton, followed by Eunuch Maker, portraying a controversial yet charming name for a Death Metal song, with their nonstop riffage providing Jamie with exactly what he needs to vociferate like a rabid beast. In Call to the Fallen a quick intro evolves into a groovy Death Metal sonority where the metallic bass by Ainsley will hammer you right in the head; and Awful Mangulation brings to our avid ears another blast of undisputed animosity and rage by those bastards from Down Under, where the guitar work by Jarrod and Lynton couldn’t have sounded more infuriated.

Rot in the Pit, one of the first singles released, reminds me a lot of some of the more recent creations by Cannibal Corpse, with Louis stealing the spotlight with his demented beats and fills; and they definitely know how to name their compositions like what happens with Aligned With Satan, flirting with Progressive Death Metal the likes of Blood Incantation, and of course it sounds incredible. Blinding Oblivion offers a straightforward, no shenanigans display of classic Death Metal where Jamie’s infernal roars walk hand in hand with the demonic kitchen by Ainsley and Louis, and let’s slam into the pit like true bastards to the sound of Legacy, sounding utterly fast, furious, and evil, with Jamie’s gruesome guttural being nicely supported by some rebellious backing vocals. Lastly, closing the album we face the venomous Catastrophic Contagion, a lecture in Australian Death Metal as the icing on the band’s blood-soaked cake.

Exuding sheer class, confidence, and maturity, Depravity function perfectly as a unit as we can all see in Bestial Possession, offering an avalanche of first-class Death Metal to us all before this tumultuous year ends. Hence, don’t forget to give them a shout, or even a guttural roar, on Facebook and on Instagram, staying up to date with their demented live performances, to stream their incendiary discography on Spotify, and obviously to purchase the excellent Bestial Possession from their own BandCamp, or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. Australia might be a country known for its deadly animals, but once you get a taste of the violence crafted by Depravity in their new album Bestial Possession, you’ll then realize there’s something even more dangerous lurking in the shadows Down Under.

Best moments of the album: Eunuch Maker, Awful Mangulation and Aligned With Satan.

Worst moments of the album: None.

Released in 2025 Transcending Obscurity Records

Track listing
1. Engulfed in Agony 4:44
2. Eunuch Maker 4:43
3. Call to the Fallen 5:13
4. Awful Mangulation 3:31
5. Rot in the Pit 3:52
6. Aligned With Satan 4:47
7. Blinding Oblivion 4:26
8. Legacy 3:14
9. Catastrophic Contagion 4:23

Band members
Jamie Kay – vocals
Jarrod Curley – guitar
Lynton Cessford  – guitar
Ainsley Watkins – bass
Louis Rando – drums

Album Review – Grima / Nightside (2025)

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This cryptic, haunting Atmospheric Black Metal entity returns with its sixth offering, a dark ritual of ancient forest magic honoring the spirit of the Siberian Taiga.

With already 10 years of scene-stealing experience behind them, the cryptic, looming stars of Siberian Atmospheric Black Metal known as Grima are unleashing upon humanity their sixth full-length offering, the breathtaking Nightside, a dark ritual of ancient forest magic following up on their critically acclaimed 2022 opus Frostbitten. Produced by the band itself alongside Vladimir Lehtinen, recorded by Vilhelm and Serpentum at Grima The Mighty Studio, mixed and mastered by Vladimir Lehtinen at Blastbear Sound, and displaying a somber and classy artwork by Paolo Girardi, the new album by twin brothers Vilhelm on vocals and guitars, and Morbius on the guitars, with the support of session musicians Serpentum on bass, Vlad (Morokh, Solarfall, Ultar) on drums, Valentina Astashova (Eoront, WirgHata) on keyboards, and Sergey Pastukh on the bayan, is set to honor the spirit of the Siberian Forest, Taiga, while also bringing to our avid ears an overdose of high quality atmospheric and extreme music.

Serene, gentle sounds permeate the air in the atmospheric intro Cult, with the bayan by Sergey adding an extra touch of finesse to the overall result, exploding into Beyond the Dark Horizon, where Vilhelm’s harsh, devilish gnarls will send shivers down your spine supported by the classic Black and Doom Metal beats by Vlad, therefore resulting in a bold, dense and multi-layered aria of darkness by Grima. Then the striking sound of the bayan once again brings sheer magic to Flight of the Silver Storm, with the guitars by Vilhelm and Morbius exhaling Black Metal, being perfect for some vigorous headbanging in the bitterly cold darkness of the Siberian Tundra; and the gentle guitar lines by the Siberian twins ignite the also enfolding Skull Gatherers, with Serpentum and Vlad generating a heavy, pounding ambience tailored for Vilhelm’s venomous roars. Then featuring guest vocals by Savely Nevzorov (Deafknife, Ultar) and Ilya Panyukov, Impending Death Premonition is a lecture in Atmospheric Black Metal showcasing striking yet melodious riffs intertwined with sheer violence, anger and obscurity.

The second half of the album begins with the breathtaking The Nightside, with its menacing wall of sounds dragging us all to the cold landscapes of Siberia while their riffs and blast beats, supported by the whimsical keys by Valentina, sound utterly dynamic and captivating. They continue to darken the Siberian skies with their harsh but extremely beautiful music in Where We Are Lost, with Vilhelm and Morbius delivering a thrilling riff attack; whereas Savely and Ilya return in full force in Curse of the Void, starting again in an embracing, mysterious manner before such an amazing metal entity from Russia crushes our souls with their stylish Atmospheric Black Metal sounds. Lastly, the band invests in a more melancholic, cadenced sonority in Mist and Fog, bringing more elements from Doom Metal and even Depressive Black Metal to their core sound, with Vilhelm taking the lead with his sharp, devilish gnarling before all flows into the climatic outro Memories of a Forgotten Home, bringing some peace to our hearts and soothing our souls as we succumb to the enfolding darkness of the Taiga in the harshest of winter.

In addition to their unforgettable sound, the band’s eerie, piercing looks, towering like living trees with intimidating carved wooden masks and branched fingers, adds another haunting element to their brutal yet beautiful output. Hence, with their mysterious visual aura and intriguing sound, on Nightside, Grima continue to prove themselves as an unmissable band to watch within the genre, and you can explore their distinguished realm by following them on Facebook, Instagram, and VKontakte, stream their music on Spotify, and purchase their newborn beast from BandCamp, from Napalm Records, or simply by clicking HERE, letting the darkly menacing beauty of the night sky from the Taiga penetrate deep inside your soul to the sound of one of the best albums of extreme music of the year.

Best moments of the album: Flight of the Silver Storm,  Impending Death Premonition, The Nightside and Curse of the Void.

Worst moments of the album: None.

Released in 2025 Napalm Records

Track listing
1. Intro (Cult) 2:00
2. Beyond the Dark Horizon 3:36
3. Flight of the Silver Storm 6:01
4. Skull Gatherers 5:37
5. Impending Death Premonition 6:25
6. The Nightside 7:29
7. Where We Are Lost 6:31
8. Curse of the Void 4:35
9. Mist and Fog 5:09
10. Outro (Memories of a Forgotten Home) 2:03

Band members
Vilhelm – vocals, guitars
Morbius – guitars

Guest musicians
Serpentum – bass (session)
Vlad – drums (session)
Valentina Astashova – keyboards (session)
Sergey Pastukh – bayan (session)
Savely Nevzorov & Ilya Panyukov – vocals on “Impending Death Premonition” and “Curse of the Void”

Album Review – Cryptopsy / As Gomorrah Burns (2023)

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And Gomorrah will burn to the sound of the incendiary new album by one of the fiercest Death Metal bands to ever rise from the Canadian scene.

Known as one of the fiercest Death Metal squads to ever rise from the Canadian scene since the band’s inception in the distant year of 1992, Montreal, Quebec-based Technical Death Metal juggernauts Cryptopsy are back to pummel our collective senses anew with their eighth studio album, the infernal As Gomorrah Burns, their first record in over 10 years. Produced, mixed and mastered by the band’s own by guitarist Christian Donaldson, with additional mixing by Dominic Grimard (who’s also their touring bassist), and displaying a stunning artwork by Italian painter Paolo Girardi, As Gomorrah Burns pits the Biblical story of Sodom and Gomorrah against the modern-day Internet, with its stories based on real-life incidences such as online stalkers, cults, misinformation, isolation and intimidation showing how it’s both the birthplace of invention and a cesspool of exploitation, therefore proving why the band formed of vocalist Matt McGachy, guitarist Christian Donaldson, bassist Olivier Pinard and drummer Flo Mounier will forever be one of the references in the history of Canadian Death Metal.

The massive, ruthless drum attack by Flo sets the tone in Lascivious Undivine while Matt roars like a true beast in the name of Technical and Brutal Death Metal. It’s a bit generic, though, but a decent start to the album; and they keep destroying their instruments in In Abeyance, with Matt barking the song’s wicked lyrics nonstop (“Boom / I was promised a utopia / I’ve been silenced and isolated / Cast aside human garbage / Tortured monotonous futile existence / Another day, yet another pointless trip”), whereas Godless Deceiver sounds very technical yet violent and frantic just the way we like it in Death Metal. Furthermore, Christian’s riffage sounds absolutely mental accompanied by the metallic slabs by Olivier armed with his bass, followed by Ill Ender, a fantastic creation by the quartet presenting an amazing job by Christian and Olivier with their stringed axes, consequently adding a lot of groove and insanity to the overall result (not to mention how demented Flo is behind his drums once again).

Flayed the Swine showcases a band that’s once again extremely technical and vile, with the song exhaling madness through its lyrics (“Blasted little rotting pick / Egotistical asshole / This puny little mongrel / I will put an end to this / This simple-minded shit”), whereas their grim and thunderous metal attack continues in full force in The Righteous Lost, with Olivier stealing the spotlight with his menacing, in-your-face bass jabs, keeping the album at an insane level of aggressiveness and intricacy. Obeisant is another hellish hurricane of Death Metal sounds spearheaded by the unstoppable blast beast by Flo and the deep, inhumane growls by Matt, a song beyond perfect for heading into the circle pit for some high-quality action, flowing into the closing tune Praise the Filth, offering us all almost six minutes of total darkness and rage where Christian and Olivier are once again flawless with their stringed weapons. Put differently, we face nonstop adrenaline flowing from all instruments, putting a heavy and pulverizing ending to As Gomorrah Burns.

“We are back,” said frontman Matt McGachy. “I want our fans to know we’re more than a legacy band. Yes, we have had massive cult favorite albums – like None So Vile – but we are creating modern and relevant extreme music 30 years later. We’re so proud of As Gomorrah Burns, and we can’t wait for you to hear it!” Hence, if you want to stay updated with all things Cryptopsy and let the guys know how much you love their music, you can get in touch with them on Facebook and on Instagram, subscribe to their YouTube channel and stream more of their music on Spotify, and of course purchase a copy of the breathtaking As Gomorrah Burns from their BandCamp page or by clicking HERE. Having said all that, let Gomorrah burn to the incendiary new album by one of the torchbearers of Canadian death!

Best moments of the album: In Abeyance, Ill Ender and Obeisant.

Worst moments of the album: Lascivious Undivine.

Released in 2023 Nuclear Blast

Track listing
1. Lascivious Undivine 3:50
2. In Abeyance 2:56
3. Godless Deceiver 3:40
4. Ill Ender 4:19
5. Flayed the Swine 4:25
6. The Righteous Lost 4:16
7. Obeisant 3:52
8. Praise the Filth 5:50

Band members
Matt McGachy – vocals
Christian Donaldson – guitars
Olivier Pinard – bass
Flo Mounier – drums

Album Review – Ferum / Asunder / Erode (2022)

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A ruthless entity arises from the underworld with an obsessive and monolithic record, showcasing the boldness and rot of American death doom and the introspection and emotion of English death doom.

Formed in 2017 in Bologna, Italy, but currently scattered between Bologna and Tallinn, the capital of Estonia, the ruthless Death/Doom Metal entity known as Ferum (which means “wild”, “untamed” or “fierce” in Latin) is unleashing upon us all their debut full-length opus, entitled Asunder / Erode, following up on their 2018 EP Vergence. Recorded and mixed by the band’s drummer Are Kangus at Walter Productions, mastered by Dan Swanö, and displaying a fantastic cover art by Paolo Girardi (read more about the concept and process HERE), Asunder / Erode is a clear step forward in the career of vocalist and guitarist Samantha Alessi, bassist Matteo Anzelini and the aforementioned Are Kangus compared to their previous release, offering fans of heavy music an obsessive and monolithic record showcasing at the same time the boldness and rot of American death doom and the introspection and emotion of English death doom, with its slow, funereal riffs and cavernous atmosphere positioning it as one of the best albums of the genre of the past few years.

The massive, sluggish beats by Are kick off the thunderous opening tune Halfhead, with Samantha roaring deeply like a she-demon while also extracting sheer malignancy from her axe. In other words, it’s dark, sinister and somber just the way we like it in Doom Metal, which is also the case with The Undead Truth, featuring the iconic Mike Perun of Cianide on vocals, sounding even more demonic and grim with Samantha firing obscure riffs nonstop supported by the low-tuned bass by Matteo, not to mention how intricate and vibrant the drumming by Are is. Then continuing their path of old school, sulfurous Death and Doom Metal the trio brings forth the headbanging Desolate Vantaa, a song perfect for breaking your neck in half to the pounding drums by Are while Samantha darkly vociferates the song’s lyrics; and dark clouds are above us in the damned tune Belong, where Samantha and Matteo are in total sync with their stringed weapons, generating a menacing, reverberating sound tailored for admirers of the most obscure form of Doom Metal.

Get ready for almost seven minutes of infernal epicness in Monolithic Acquiescence, presenting elements from Blackened Doom in its core while remaining loyal to the foundations of Death Metal thanks to another awesome performance by Samantha on vocals; whereas investing in a more ferocious vibe, the trio delivers endless violence and heaviness in Entrails Of Linnahall, with Are dictating the song’s brutal pace while also alternating between pure Death Metal and slow, sinister passages. A deep roar by Samantha kicks off the Stygian extravaganza titled Resurgence In Bereavement, another dense, multi-layered composition showcasing Are’s classic Doom Metal beats, growing in intensity and fear until all fades into the void for our total delectation, while eerie vocalizations and minimalist sounds will darken our minds in Outro – Spesso Il Male Di Vivere Ho Incontrato, which is not a bad idea for an outro but it could have been slightly shorter to keep the energy level in the album even higher. Nothing to worry about, though, as in the end the album kicks some serious ass from start to finish.

As already mentioned, the wild and fierce hybrid of Death and Doom Metal blasted by Ferum in Asunder / Erode is a must-listen for anyone who enjoys a good dosage of obscurity and hatred in metal music, proving how focused the trio was while recording the album and, consequently, pointing to an exciting future ahead of them. Having said that, don’t forget to start following Samantha and the boys on Facebook and on Instagram for news, tour dates and other important information about the band, to purchase your copy of Asunder / Erode from the Avantgarde Music’s BandCamp page or from Sound Cave as a CD, a color vinyl or a black vinyl, and to stream all of their devilish arias on Spotify. Ferum are definitely on the right path to conquer the world of extreme music based on what they have to offer us all in their new album, leaving us eager (or I might even say desperate) for more of their music in a not-so-distant future.

Best moments of the album: Halfhead, Desolate Vantaa, Entrails Of Linnahall and Resurgence In Bereavement.

Worst moments of the album: Outro – Spesso Il Male Di Vivere Ho Incontrato.

Released in 2022 Unorthodox Emanations/Avantgarde Music

Track listing
1. Halfhead 5:24
2. The Undead Truth 6:28
3. Desolate Vantaa 5:15
4. Belong 5:23
5. Monolithic Acquiescence 6:53
6. Entrails Of Linnahall 5:24
7. Resurgence In Bereavement 6:39
8. Outro – Spesso Il Male Di Vivere Ho Incontrato 3:02

Band members
Samantha Alessi – vocals, guitars
Matteo Anzelini – bass
Are Kangus – drums

Guest musician
Mike Perun – vocals on “The Undead Truth”

Album Review – Lucifuge / Infernal Power (2021)

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The full moon is nigh, and all the witches are about to dance to the infernal fusion of NWOBHM, Punk Rock and early Thrash Metal crafted by an unrelenting beast hailing from Germany.

3.5rating

lucifuge-infernal-power-2021For the past five years, Bremen, Germany-based Black/Thrash Metal beast Lucifuge has been perfecting an addicting fusion of NWOBHM, Punk Rock and early Thrash Metal, all guided by the iron fist of mainman Equinox. Starting in 2018 as a one-man wrecking crew inspired by Venom, Bathory and Hellhammer, Lucifuge have expanded to a full-bodied quartet comprised of the aforementioned Equinox on vocals and guitars, Berenjenix also on the guitars, Matorralix on bass and Dominatrix on drums, taking the band’s signature greasy n’ galloping riffs, locomotive rhythmic (dis)charge and twisted n’ pissed vocals, and spit-shining them with the dirtiest motor oil known to man, resulting now in 2021 in their brand new and fulminating opus Infernal Power, a breathtaking album of unrelenting metal music highly recommended for fans of bands the likes of Exciter, Warfare, Running Wild and Onslaught, embraced by the old school warlike artwork by Italian painter Paolo Girardi.

Rev up your engines as their feast of frantic and dirty sounds is about to begin in Infernal Power, blending old school Heavy Metal the likes of early Running Wild with Punk Rock, with Equinox and Berenjenix being on fire with their lancinating riffs. Put differently, what a bestial way to kick off the album, and they keep slashing their stringed weapons mercilessly accompanied by the furious blast beats by Dominatrix and the in-your-face bass punches by Matorralix in Leviathan Arise; followed by Black Battalions, where its lyrics reek of violence and rebelliousness (“Destruction, Disorder and Desire / They cling to him who braves the gale of high / They rush upon him like a wave and break / in fiery foam against him and they shake / They Open Hell”) while the music is a beautiful, galloping fusion of Heavy, Black and Speed Metal. And putting the pedal to the metal the quartet sounds like a demonic version of the early days of Megadeth in Temples Of Madness, with Equinox delivering his trademark raspy roars nonstop.

Let’s keep slamming into the pit and raising our horns and beers high in the name of metal to the sound of Heresy Shall Remain, with Equinox and Berenjenix once again sounding hellish on the gutiars, whereas in Beneath the Eyes of the Black Flame we face another round of their wicked lyrics (“Solemn dusk descending from the East / Demons rise around us in the mist / Deep beneath the Eyes of The Black Flame / Rise the One whose name shall not be named”) amidst a hurricane of metallic and sulfurous sounds. Then investing in a more melodic sound while maintaining their core essence intact the band offers us Black Light of The Evening Star, not as demented as its predecessors but still extremely enjoyable; and they’ll make your head tremble to the sound of the Speed Metal and Punk Rock hybrid entitled The Doors of Hell May Shake, where Dominatrix is once again insane behind his drums. After such pulverizing tune, it’s time for their own rendition of Good as It Is, from the legendary Japanese Hardcore Punk band G.I.S.M.’s cult second album M.A.N., released in 1987 (and you can check the original version HERE), with Lucifuge’s tribute sounding and feeling beyond stunning and vibrant. And lastly, sounding more epic than usual, Equinox and his henchmen fire the neck-breaking Midnight Sun, with the bass jabs by Matorralix making the earth tremble while the music remains utterly venomous until the very last second.

lucifuge-2021After all is said and done, it’s quite easy to join Equinox and his henchmen in their quest for metal music. All you have to do is stream Infernal Power as many times as you want in its entirety on YouTube and on Spotify, follow the band on Facebook and on Instagram for news, tour dates and other nice-to-know details about such talented horde, and above all that, purchase your copy of their scorching new album from their own BandCamp page, or from the Dying Victims Productions’ BandCamp page or webstore (in CD or LP format). As the band itself likes to say, the full moon is nigh, and all the witches are about to dance. Prepare to feel Lucifuge’s Infernal Power!

Best moments of the album: Infernal Power, Black Battalions and Beneath the Eyes of the Black Flame.

Worst moments of the album: Black Light of The Evening Star.

Released in 2021 Dying Victims Productions

Track listing  
1. Infernal Power 2:52
2. Leviathan Arise 2:55
3. Black Battalions 3:36
4. Temples Of Madness 2:54
5. Heresy Shall Remain 3:05
6. Beneath the Eyes of the Black Flame 2:55
7. Black Light of The Evening Star 3:08
8. The Doors of Hell May Shake 3:48
9. Good as It Is (G.I.S.M. cover) 5:20
10. Midnight Sun 3:59

Band members
Equinox – vocals, guitars
Berenjenix – guitars
Matorralix – bass
Dominatrix – drums