Tag Archives: poland

Album Review – Sothoris / Domus Omnium Mortuorum (2025)

Posted on by
Reply

Enter the house of all the dead to the sound of the scorching newborn spawn by this ruthless Blackened Death Metal horde from Poland.

Forged in the fires of Miłosław, Poland in 2016, the ruthless Blakened Death Metal horde Sothoris arises from their Stygian lair once again to darken the skies to the sound of their newborn spawn, entitled Domus Omnium Mortuorum, or “house of all the dead” in English, following up on their 2022 sophomore album Wpiekłowstąpienie. Recorded, mixed and mastered by Krzysztof Kostencki at Tetra Wave Studio, with artwork by Bartosz Szczepaniak and Maksymilian Krasoń, and band photo session by Maciej “Wuja” Chomik, the new album by vocalist Raven, guitarists Hex and Setrial, bassist Lord Ghash, and drummer Hrist sees the band offer their trademark mixture of Black Metal ferocity and Death Metal power while its lyrical layer showcases a study of human wickedness, being therefore a must-listen for fans of extreme music with a deep and dark meaning.

A wicked intro gradually morphs into a scathing beast named Wieczornica (“evening party”), spearheaded by the hellish riffs by Hex and Setrial, whereas Szkarłat (“scarlet”) offers a more visceral display of Blackened Death Metal, with Raven gnarling rabidly like a demonic entity while the rumbling bass and blast beats by Lord Ghash and Hrist sound utterly demolishing. Then with an incandescent name like Lawa (“lava”) the music had to be absolutely scorching, which is exactly what we get, with the venomous roars by Raven crushing our putrid souls mercilessly, whereas Hrist then hammers his drums in the Behemoth-fueled Byłem Faustem (“I was Faust”), which will surely make their world renowned countrymen proud.

Dzieci Diabła (“the devil’s children”) is another thunderous display of extreme music by Sothoris, with the band’s guitar duo firing pure malignancy through their unstoppable, vile axes, and the band takes no prisoners in their quest for Black and Death Metal in Pro Memoria, or “for the sake of memory” from Latin, led by the inhumane drumming by Hrist. Needless to say, it should sound brilliant if played live. Then presenting elements of progressive music added to their core essence we have Dym (“smoke”), where Hex and Setrial once again steal the show with their heavy-as-hell riffage, and last but not least, we’re treated to one final metallic cult by Sothoris titled Piętno (“stigma”), where the bass lines by Lord Ghash will hammer your cranial skull mercilessly.

“This album uses a certain artistic game. We go back in time to the 19th century. The starting point for this idea, the inspiration is the monument of Karl Robert Lachmann, the only son of a German, aristocratic family, who died in the Franco-Prussian War (1870-1871), vandalized by cemetery robbers, located in the mausoleum in Jałowiec,” commented frontman Raven, and if you have what it takes to enter the band’s house of the all dead, you can find those Stygian beings on Facebook and on Instagram, stream their sulfurous music on Spotify, and purchase Domus Omnium Mortuorum from BandCamp or from the Fetzner Death Records webstore as a CD or a cassette. But you better be warned, once you enter such a vile and cryptic house, your life (and death) will never be the same.

Best moments of the album: Szkarłat, Byłem Faustem and Pro Memoria.

Worst moments of the album: Dym.

Released in 2025 Fetzner Death Records/ADG Records

Track listing
1. Wieczornica 5:31
2. Szkarłat 5:43
3. Lawa 6:39
4. Byłem Faustem 6:03
5. Dzieci Diabła 4:53
6. Pro Memoria 4:52
7. Dym 4:57
8. Piętno 5:25

Band members
Raven – vocals
Hex – lead guitars
Setrial – rhythm guitars
Lord Ghash – bass
Hrist – drums

Album Review – Syllogomania / Syllogomania (2025)

Posted on by
Reply

An uncanny Post-Black Metal entity from Poland will attack your senses with its debut opus, a record of the past while also representing the chaos we constantly stumble over in our present and future.

The term “syllogomania” refers to the compulsive hoarding of items, leading to a cluttered living space and significant disruption to social and professional life, often stemming from loneliness, social isolation, and a lack of motivation to maintain order. In the underground of heavy music, Syllogomania is the brand new Post-Black Metal project by the uncanny vocalist and multi-instrumentalist A.I.G., formed in Kraków, Poland between 2021 and 2022 from the ashes of his previous band. Recorded at A.I.G.’s own home studio, mixed and mastered by Przemysław Nowak at Impressive-Art Studio, and displaying a sinister artwork by A.I.G. himself, his debut self-titled album is a record of the past, while also representing the chaos we constantly stumble over in our present and future, the moments we see the lives of our oldest relatives come to an end, and finally our own life that we have already lost from the start, which we lived in vain.

The title-track Syllogomania is very experimental, cryptic and demented, with A.I.G. delivering some circus-inspired sounds that will captivate your senses and drag you to total darkness before he starts distilling his devilish gnarls, followed by Drink The Fire, Fan The Flames, a more straightforward Blackened Death Metal beast by our lone wolf, with all beats and guitar lines reeking of absolute madness. A.I.G. then speeds things up and crushes our damned souls with his harsh and caustic Post-Black Metal in Of Emptiness, alternating between sheer savagery and epic neck-breaking moments; and continuing his path of total devastation and hatred he offers us all Slumber, where his anguished roars will penetrate deep inside your putrid mind like a vile parasite. Lastly, we face Modlitwa, or “prayer” from Polish, featuring guest vocals by Stawrogin (Gruzja, Odraza, Totenmesse), the most apocalyptic ending possible to the album, sounding very dynamic, diverse and full of nuances and layers.

A solitary, heavy, aggressive and rotten Black Metal creature from the dust-choked streets of Krákow, Syllogomania‘s debut record is an unforgiving assault on the senses, an intense dive into the chaos of a mind consumed by its own existence, highly recommended for fans of Shining, MGLA, Forgotten Tomb, Gaerea, Odraza, Aenaon, and Psychonau. You can find more information (but not too much) about the mysterious, grim Syllogomania on Facebook and on Instagram, and purchase the album from the project’s own BandCamp or from the Loudriver Records’ BandCamp or webstore. In a nutshell, Syllogomania is a brutal snapshot of a childhood choked by mould, insects, and an unrelenting pile of dust covered boxes, untouchable, suffocating and the still-coming madness we keep falling into. Dust. Emptiness. Anger. Nothing more, nothing less.

Best moments of the album: Of Emptiness and Slumber.

Worst moments of the album: None.

Released in 2025 Loudriver Records

Track listing
1. Syllogomania 6:04
2. Drink The Fire, Fan The Flames 4:14
3. Of Emptiness 6:27
4. Slumber 7:28
5. Modlitwa 8:22

Band members
A.I.G. – vocals, guitars, bass, drum programming

Guest musician
Stawrogin – vocals on “Modlitwa”

Album Review – +MROME+ / Boneyard Twist (2025)

Posted on by
Reply

Poland’s own uncanny force is back with its fourth studio opus, offering nine raw tracks that represent a return to the project’s dark roots from the mid 90’s.

Reaping the harvest on scorched soil since their inception in the already prehistorical year of 1995, Andrychów, Poland’s own Black/Death Metal entity +MROME+ is back three years after Barbaric Values with their fourth installment, entitled Boneyard Twist. Recorded live in studio during a one-day session on November 18, 2023 at Heaven’s Sound Studio under the ear of Marcin Piekło, who also worked out the final sound of the album, with vocals recorded in February 2024 at Piekłoniebo, and adorned by a painting by Mateusz Gawęda, the new album by Ataman Tolovy on vocals and synths, Key V on the guitars, and P on drums contains nine raw tracks that represent a return to their dark roots from the mid 90’s, inspired by the First Wave Black Metal and complemented by hard-shell lyrics dealing with grave residents, history, disabilities of body and mind, necromancy, and even monks exploding.

The party begins in full force with Figures, with their experimental, idiosyncratic blend of Black and Death Metal being boosted by the venomous roars by Ataman Tolovy. Key V then delivers his trademark scathing riffs in Hypercarnivore, accompanied by the Doom Metal-infused drums by P, and of course the final result is a haunting beast of extreme music; and the harsh vociferations by Ataman Tolovy will send shivers down your spines in Mind upon Matter, another blast of primeval Black and Death Metal by the trio. Aristocrat, the first single of the album, also presents the heavy-as-hell riffage by Key V while P dictates the song’s Stygian pace behind his drums, followed by Pigheart, a hammering tune by such an uncanny trio, with Ataman Tolovy’s vocals sounding even more enraged and sinister.

Then rumbling, metallic sounds are the main ingredients in Of Man and Lamb, offering an avalanche of raw, cryptic Black and Death Metal where Ataman Tolovy roars and screams manically nonstop, flowing into the disruptive (yet a bit lengthy) interlude Bonemass, which sets the tone for the beautifully titled Embarrassment of Whores, leaning towards a fusion of Death and Doom Metal, with the sluggish beats by P matching perfectly with the vile guitar lines by Key V, resulting in a lecture in extreme music by those Polish metallers. And lastly, we’re treated to the also venomous The Opening Bat, which starts in a horror movie-like mode before morphing into a rockin’ feast spearheaded by Key V’s slashing riffage.

+MROME+ continue to entirely be a studio project focused on creative process and concepts behind the music, lyrics and graphics in Boneyard Twist (which is by the way available in full on YouTube), staying away from any type of social media except for their presence on BandCamp and on Spotify (although their new album is not available there yet), and that Stygian approach matches perfectly with the music found in their newborn spawn. Boneyard Twist is raw and unique, devilish and caustic, and while those mysterious musicians from Poland keep breathing, we can rest assured the world will have to face more scathing albums like that in the coming years, and that’s simply awesome.

Best moments of the album: Hypercarnivore, Pigheart and Embarrassment of Whores.

Worst moments of the album: Bonemass.

Released in 2025 NRA

Track listing
1. Figures 4:39
2. Hypercarnivore 4:04
3. Mind upon Matter 2:49
4. Aristocrat 3:39
5. Pigheart 3:57
6. Of Man and Lamb 3:22
7. Bonemass 2:39
8. Embarrassment of Whores 5:24
9. The Opening Bat 4:43

Band members
Ataman Tolovy – vocals, synthesizer
Key V – guitar
P – drums

Album Review – Eight Lives Down / Fates (2025)

Posted on by
Reply

This multinational Progressive/Groove Metal four-headed creature is back with its sophomore opus, looking at forces beyond human control and how we respond in the face of helplessness.

Looking at forces beyond human control and how we respond in the face of helplessness, building and exploring tensions created from a sense of unease, Fates, the sophomore album by the multinational Progressive/Groove Metal four-headed creature Eight Lives Down, is a journey into the shadows of mortality. Recorded and mixed by Dan Baune at Tectonic Tone, mastered by Rasmus Andersen at Raw Sound Studio, and with a classy artwork by Diana Sawicka of What the Moon Brings, the follow-up to their 2020 debut Humans turns inward and downward, fixating on death, decay, and forces beyond human control. It’s a gaze into the abyss, and a study in how we respond when all sense of agency is stripped away, all masterfully brought into being by Aliki Katriou on vocals, Paul Allain on the guitar, Marcin Orczyk on bass, and Rodrigo Moraes Cruz on drums.

Dark and sluggish sounds kick off the opening tune Void before exploding into a modern-day blend of Groove and Progressive Metal, all embraced by Aliki’s vicious, raspy vociferations, who also declaims the words to the next song, titled Dog’s Breakfast, with tons of passion (“Everything changed seemingly overnight / Everything messed up and suddenly felt so right / Everyone covered eyes and ears / And climbed inside the anthill / Of despair and death / To practice learned helplessness”) amidst an overdose of heaviness. Fishbones sounds less violent while also leaning towards more melodic and experimental sounds, with Paul’s guitar transpiring electricity; and Aliki’s dark and pensive vocals are perfect for Phobia, again exploding into a feast of heavy and groovy sounds with Rodrigo dictating the song’s frantic pace with his classic beats and fills. Deicide brings forward more of the band’s caustic riffs supported by Marcin’s heavy-as-hell bass and Rodrigo’s killer beats; and Aliki sometimes sounds like a Death Metal version of the iconic Mike Patton, which is obviously awesome, like in the visceral tune The Point.

Then the band switches gears to a more melancholic, darker sonority in Green Light in the Distance without forgetting to blast our faces with their harsh sounds and tones; and the quartet still has a lot of fuel to burn, with Left Behind being a very good example of how they can mix harsher metal sounds with nuances from several non-metal styles. Marcin then blasts his bass, extracting pure metallic sounds in Storm, while Aliki keeps declaiming the song’s Stygian words nonstop (“It starts like liquid, water / One and the same / And I find comfort in the shelter / Hiding from the blame / I feed off you every day / And you infect my mind / In this race of coming out ahead / I’ve already fallen behind”). Constantinople is a bit disappointing compared to the rest of the album, sounding generic at times, but the band gets back on track in The Process of Dying, one of the most diverse, dynamic and vibrant of all songs, with Aliki kicking some serious ass on vocals. Furthermore, the bonus track (available on Spotify) featuring the iconic metal choir Hellscore, directed by Noa Gruman, sounds even more powerful.

Musically, Eight Lives Down maintained their progressive spin, with raw thrash foundations audibly peaking through in Fates (available in full on  Spotify), while the album weaves Greek Zeibekiko, snotty Punk, Black Metal, NWOBHM, and even Brazilian Forró rhythms into a dynamic sonic landscape, being therefore highly recommended for fans of System of a Down, Rage Against the Machine, Sepultura, Carcass, Pantera, Prong, Faith No More, Lamb of God, and Jinjer. you can find those unstoppable metallers on Facebook and on Instagram, subscribe to their YouTube channel, and purchase Fates from their own BandCamp page, from their webstore, or by clicking HERE. In other words, simply sit down, relax, and descend into the abyss of heavy music crafted by Eight Lives Down. You won’t regret the experience at all.

Best moments of the album: Void, Phobia, Storm and The Process of Dying.

Worst moments of the album: Constantinople.

Released in 2020 Independent

Track listing
1. Void 4:51
2. Dog’s Breakfast 5:39
3. Fishbones 4:35
4. Phobia 4:28
5. Deicide 4:20
6. The Point 3:17
7. Green Light in the Distance 7:16
8. Left Behind 4:48
9. Storm 7:33
10. Constantinople 4:56
11. The Process of Dying 7:17

Spotify bonus track
12. The Process of Dying (Hellscore version) 7:14

Band members
Aliki Katriou – vocals
Paul Allain – guitar
Marcin Orczyk – bass
Rodrigo Moraes Cruz – drums

Guest musicians
Hellscore – metal choir on “The Process of Dying”

Album Review – Eteritus / Odium et Irae dei Super Vos (2025)

Posted on by
Reply

This Polish Black and Death Metal horde returns with their fourth studio opus, overflowing a dark and heavy atmosphere while still presenting their share of brutality and melody.

Musically directed towards Black Metal, but still showcasing the band’s trademark Death Metal core, Odium et Irae dei Super Vos, or “the hatred and wrath of God be upon you” from Latin, marks a new era for Toruń, Kujawy-Pomerania, Poland-based Black/Death Metal entity Eteritus. Recorded at Slav Sound Studios (guitars) and at Sala Prób Toruń (vocals, bass, drums), mixed and mastered by Mariusz Konieczny at Heavy Gear Studio, and displaying a sinister artwork by Moon Ring Design, the new album by vocalist Oz, guitarist Slav, bassist Kinio, and drummer Nitro overflows a dark and heavy atmosphere while still presenting their share of brutality and melody, being therefore tailored for admirers of the music by Entombed, Dismember, Gorefest, and Vader, among several other servants of total darkness.

The piercing, devilish guitars by Slav are suddenly joined by Nitro’s blast beats in the opening tune Mystic Trifixion, a solid, no shenanigans fusion of Black and Death Metal, whereas an atmospheric and melancholic start to the acoustic guitars by Slav morphs into a Doom Metal-infused aria entitled Semper Fidelis, with Oz darkly vociferating the song’s caustic words. Call of the Rising Darkness carries a poetic name for an overdose of Blackened Death Metal led by Nitro’s intricate yet violent beats and fills; and Slav and Kinio keep blasting their stringed weapons in Ashes over the Fire, offering more of the band’s sulfurous blend of Death Metal. Then the menacing bass by Kinio kicks off the infernal Celebration ov Wolves, bringing forward a demented hybrid of Black, Death and Doom Metal where Oz gnarls like a demonic entity; while Dark Crusader, the second to last song of the album, keeps darkening the ambience with Nitro once again taking the lead with his classic drumming. And last but not least, the quartet will crush our damned souls one final time with In the Arms of Endless Night, a multi-layered aria from the underworld showcasing an overdose of vile riffs and roaring vocals for our total delight.

Following up on the releases of their 2014 debut EP Tales of Death, their 2016 first full-length Following the Ancient Path, their 2018 sophomore opus Order of Death, and their third installment Rotten Transition, released in 2021, Odium et Irae dei Super Vos represents another solid step in the career of Eteritus, who are by the way waiting for you on Facebook with news, tour dates, and more of their demented music. You can also stream all of their excellent albums on Spotify, and of course grab a copy of their sulfurous new album from their own BandCamp or from Via Nocturna’s BandCamp, keeping the fires of Polish extreme music burning as bright as possible, once again proving that if Black and Death Metal are your true passion, you must move to Poland.

Best moments of the album: Semper Fidelis, Celebration ov Wolves and In the Arms of Endless Night.

Worst moments of the album: Ashes over the Fire.

Released in 2025 Via Nocturna

Track listing
1. Mystic Trifixion 5:04
2. Semper Fidelis 5:03
3. Call of the Rising Darkness 5:29
4. Ashes over the Fire 3:07
5. Celebration ov Wolves 6:16
6. Dark Crusader 4:24
7. In the Arms of Endless Night 7:58

Band members
Oz – vocals
Slav – guitars
Kinio – bass, backing vocals
Nitro – drums

Album Review – Amalekim / Shir Hashirim (2025)

Posted on by
Reply

This obscure horde from Italy and Poland returns with their caustic third studio offering, encasing more dissonant sounds while embracing once again the occult, the profane, and the hermetic.

Formed in 2020 by vocalist and guitarist Mróz, Italian/Polish Black Metal horde Amalekim (by the way, Amalek was a nation that harassed the rear caravan of Israelites during the Exodus, seen as the absolute nemesis of the Jews) continues to trace their obscure path in 2025 with their third full-length offering, titled Shir Hashirim, or “שִׁיר הַשִּׁירִים‎”, a Hebrew phrase that translates to “Song of Songs”, the follow-up to their 2023 opus Avodah Zarah. Mixed and mastered by the band’s own bassist Azghâl, with a stunning cover illustration once again painted by Igor Datkiewicz, the new album by the aforementioned Mróz and Azghâl alongside guitarist Atanor and drummer Ktulak walks a more innovative path, encasing more dissonant sounds while embracing once again the occult, the profane, the hermetic, not only in the music, but also in the concept and lyrics. The parable of the two mothers and Solomon, as shown on the cover, lends itself to a complex interpretation, such as the role of power and the choice to submit to it, dogmatic authority, divine law, and how these references, crystallized and widespread in everyday existence, are in reality fragile and not so unshakeable.

Their devilish Black Metal mass begins with the beyond phantasmagorical Chant I: Ra’al Zorem, offering an overdose of blast beats, venomous gnarls and an endless sense of hatred and despair; whereas as imposing as the opening tune, the title-track Chant II: Shir Hashirim will demolish your senses to the slashing riffs by Mróz and Atanor while also presenting haunting background sounds and vocalizations, flowing into Chant III: Mesharet HaShilton, which after a serene, eerie start explodes into an overdose of Black Metal led by Ktulak’s hammering drums. And their fourth offering, entitled Chant IV: Sodot HaYekum, exhales a humongous amount of darkness and sulfur, with Mróz roaring with tons of anger and anguish in his blackened heart.

Mróz and his henchmen continue to crush our putrid bodies in Chant V: Tanur Nitzchi, with Azghâl and Ktulak bringing forward their caustic Marduk-inspired kitchen; and there’s no sign of peace or hope in Chant VI: Tisha Daltot, with the visceral riffage by Mróz and Atanor walking hand in hand with Ktulak’s unstoppable blast beats in the name of Black Metal. Then such an amazing horde presents their most demonic side in Chant VII: Haka’as HaNachash, a lecture in old school and modern-day Black Metal where Mróz sounds deeply infuriated on vocals. Lastly, the album ends on a high and Mephistophelian note with Chant VIII: Mishteh Malkhuti, a slab of devilish Black Metal magic spearheaded by the always demented drums by Ktulak.

As in their previous work, the biblical metaphor is at the heart of Shir Hashirim, while the music remains as caustic, venomous, occult and devilish as it has been a constant in the music by Amalekim. There are so many layers and different ways to interpret their music it’s hard to put all that into words; however, you can always check what the band’s up to on Facebook and on Instagram to get to know more about them, their music, beliefs and ideas, as well as their tour dates, and not only stream their unique creations on Spotify, but also show them your utmost support by purchasing their newborn spawn from their own BandCamp, from the Avantgarde Music’s BandCamp, or from Sound Cave. The music found in Shir Hashirim might not be an easy listen for the average rock and metal fan, but once you dive deep into their world of harsh and occult Black Metal, you won’t ever want to come back.

Best moments of the album: Chant II: Shir Hashirim, Chant IV: Sodot HaYekum and Chant VII: Haka’as HaNachash.

Worst moments of the album: None.

Released in 2025 Avantgarde Music

Track listing
1. Chant I: Ra’al Zorem 5:14
2. Chant II: Shir Hashirim 4:33
3. Chant III: Mesharet HaShilton 4:03
4. Chant IV: Sodot HaYekum 4:56
5. Chant V: Tanur Nitzchi 4:55
6. Chant VI: Tisha Daltot 4:23
7. Chant VII: Haka’as HaNachash 4:17
8. Chant VIII: Mishteh Malkhuti 5:50

Band members
Mróz – vocals, guitars
Atanor – guitars, backing vocals
Azghâl – bass, backing vocals
Ktulak – drums

Album Review – Frightful / What Lies Ahead (2025)

Posted on by
Reply

Playing old school Death Metal with Thrash Metal and Grindcore influences, this Polish horde attacks again with their ruthless sophomore beast.

Playing old school Death Metal with Thrash Metal and Grindcore influences the likes of Carcass, Exhumed, Demolition Hammer and Sepultura, Gdańsk, Poland-based outfit Frightful is back in action with their second full-length installment, entitled What Lies Ahead, continuing the path of destruction initiated with their 2021 debut full-length Spectral Creator. Recorded, mixed and mastered by Maciej Nejman at Studio 147, with a classy yet venomous cover art by N. Zuki of Belial NecroArts (and layout by Paweł Ozon of XXV The Sign), the new album by Oskar Wańka on vocals and bass, Paweł Snarski and Eryk Jakubczyk on the guitars, and Krzysztof Pochranowicz on drums offers exactly what admirers of classic Death Metal need, positioning the band as a force to be reckoned with not only in their homeland, but anywhere in the world where high quality Death Metal is properly appreciated.

The opener Cloaked by Nothingness already provides us with a harsh, raw and visceral sonority boosted by its cryptic words (“Embraced by spectred deny / Forming disease in the absence of light / Levitating inside / Extinction is a matter of time”), inviting us all to slam into the pit and succumb to the dark side of metal; and Paweł  and Eryk’s infuriated thrashing riffs set the tone in Disincarnate Sower, resulting in a caustic metal feast where Oskar gnarls like a demon nonstop. Krzysztof  then hammers his drums like a demented beast in What Lies Ahead, offering more of the band’s frantic fusion of Black, Death and Thrash Metal, whereas the band attacks in full force in No Fear, with Oskar growling rabidly while firing low-tuned, menacing bass lines at the same time, supported by the bestial drumming by Krzysztof.

Into the Phantom Hearts is perhaps the song with the darkest lyrics (“At beginning of curse / So pure, unsullied / By permanent abuse / Now be left with grief / Punctured hearts turns quickly into frost / Unable to take them strokes / Hardened in acts and riven in thoughts / As result left with nothing”), while the music is a true hurricane of Blackened Death and Thrash Metal sounds; whereas Paweł  and Erik continue to distill their devilish riffs in Farewell, sounding tailored for fans of the dark arts and pure circle pit action. The album gets better and better as the music progresses, with the fulminating Cathedrals of Creation bringing forward the slashing riffs by the band’s guitar duo while Oskar growls and barks in the name of evil; and last but not least, Frightful will destroy our frail bodies without mercy in Inexplicable, speeding things up while also adding an extra dosage of sulfur to their music.

If you believe you have what it takes to join Frightful in their quest for the harshest, most inhumane form of Death Metal you can think of, you can start following the band on Facebook and on Instagram for news, tour dates and so on, and of course stream more of their caustic creations on YouTube, on Spotify or on any other streaming platform. And above all that, don’t forget to purchase a copy of the excellent What Lies Ahead from the Godz ov War Productions’ BandCamp or webstore, supporting the band in their dark path and, therefore, adding more fuel to the always beautiful Polish Death Metal scene, inspiring other bands like Frightful to keep releasing excellent albums like what they masterfully crafted in their newborn spawn.

Best moments of the album: Into the Phantom Hearts, Farewell and Cathedrals of Creation.

Worst moments of the album: What Lies Ahead.

Released in 2025 Godz ov War Productions

Track listing
1. Cloaked by Nothingness 5:45
2. Disincarnate Sower 4:46
3. What Lies Ahead 4:57
4. No Fear 4:27
5. Into the Phantom Hearts 6:01
6. Farewell 3:37
7. Cathedrals of Creation 4:38
8. Inexplicable 5:42

Band members
Oskar Wańka – vocals, bass
Paweł Snarski – guitars
Eryk Jakubczyk – guitars
Krzysztof Pochranowicz – drums

Album Review – Hållbar / Nemesis (2025)

Posted on by
Reply

Behold this excellent album of “Contemporary Black Metal” made in Poland, reminding us all that sometimes we are our own worst enemies.

Forged in the fires of Warsaw, Poland in 2023, Melodic Black/Death Metal horde Hållbar, a Swedish word that translates to “durable” or “sustainable” in English, is ready to crush our souls with their first full-length album, simply titled Nemesis. Self-recorded at Okrutnik Studio, mixed and mastered by Filip “Heinrich” Hałucha at Heinrich House Studio, and with artwork and design by Dariusz Barabaś from Seeg Design and Bartosz Rybitwa, the debut opus by Gosia Marczak on vocals, Przemysław Janusz Gracel and Jakub Bałdyga on the guitars, Bartosz Wietnam Mitura on bass and Sebastian Kredek Cieciera on drums brings to our avid ears a crossover between Black Metal and Melodic Death Metal with Deathcore-like female screams, or in other words, a unique belnd that the band likes to call as “Contemporary Black Metal”.

The cryptic, eerie intro Ambiguous Loss will darken our minds before the band comes ripping in Mental Apraxia, with Sebastian hammering his drums manically, offering Gosia all she needs to bark and roar like a true she-demon; and the guitars by Przemysław and Jakub exhale heaviness and sound as sharp as a knife in Face to the Ground, presenting a great fusion of Melodic Death and Black Metal. The title-track Nemesis brings forward obscure lyrics barked by Gosia (“You’re the hero of your personal myth / You’re an obdurate cancer running through my veins / You’re the buffalo with predator’s teeth / Nemesis! Oh! / Show me everything it is worth to die for / Nemesis! / Show me everything you just want to die for / Let them free!”), whereas Bartosz and Sebastian make the earth tremble with their metallic kitchen in the venomous Love/Hate Language.

After such a hurricane of blackened sounds, we face a more introspective, serene start in Fears, with Gosia gnarling deeply before all explodes into a headbanging extravaganza led by the massive drums by Sebastian, resulting in maybe the most Black Metal of all songs. The band continues to pave their darkened path in Voodoo Doll, another excellent option for some vigorous headbanging with the riffs by Przemysław and Jakub transpiring sulfur; and there’s no time to breathe as their caustic fusion of Death and Black Metal keeps penetrating deep inside our souls in Aposiopesis, while Gosia blasts an overdose of harsh roars in Tormentor, supported by the thunderous sounds crafted by her bandmates. Puppet String, the second to last song of the album, again ventures through darker lands, sounding perfect for some mosh pit action, whereas lastly we have Possibilities, a solid tune that puts a visceral yet melodic ending to the album.

“Nemesis is a tale of unprocessed experiences and emotions that, difficult and aggravating at first, eventually teach important lessons – stories of mental illness, codependency, perfectionism, patterns of unreflective behavior and loneliness. Nemesis is about each of us, because we are sometimes our own worst enemies,” commented Gosia about the band’s debut offering, and you can join the band in that never-ending fight against our inner demons by following them on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming their music on Spotify, and by grabbing a copy of Nemesis from BandCamp or from DistroKid. We’re definitely our worst enemies in life, which is why we have high quality bands like Hållbar among us, to give us strength through their music to continue moving forward no matter what.

Best moments of the album: Face to the Ground, Fears and Aposiopesis.

Worst moments of the album: Tormentor.

Released in 2025 Independent

Track listing
1. Ambiguous Loss 0:41
2. Mental Apraxia 3:54
3. Face to the Ground 3:19
4. Nemesis 3:10
5. Love/Hate Language 3:47
6. Fears 3:33
7. Voodoo Doll 4:45
8. Aposiopesis 3:29
9. Tormentor 3:24
10. Puppet String 4:05
11. Possibilities 3:51

Band members
Gosia Marczak – vocals
Przemysław Janusz Gracel – guitar
Jakub Bałdyga – guitar
Bartosz Wietnam Mitura – bass
Sebastian Kredek Cieciera – drums

Album Review – Todestrieb / Corona Tenebra (2024)

Posted on by
Reply

An up-and-coming Polish Black Metal duo is crowned in darkness to the sound of their debut opus, dealing with themes like spirituality, gnostic Satanism, blasphemy, theology and philosophy.

Formed in Krakow, Poland in 2023 by vocalist Res and guitarist and bassist Blein, the ruthless Black Metal duo Todestrieb (a German word that translates to “death drive” or “death wish” in English, from the classical Freudian psychoanalytic theory) is set to darken our minds and souls with their debut album, titled Corona Tenebra, or “crown of darkness” from Latin. Recorded at No Solace Studio, mixed and mastered at Impressive Art Studio, with a fiery artwork by Izabela Grabda and with guest Michał “The Fall” Stępień (Mgła, Hauntologist, Owls Woods Graves) on drums, Corona Tenebra consists of five tracks and an outro inspired by the music by Watain, Odraza, Drastus, Kriegsmaschine, Tortorum, Funeral Mist and many more, with its lyrics circling around themes like spirituality, gnostic Satanism, blasphemy, theology and philosophy.

Res and Blein are definitely another prolific duo of the underground, and the dense atmosphere and enfolding darkness found in Axis Nihil are proof of their talent, supported by the complex yet vile drums by Michał. Then investing in a more direct form of Black Metal the band will pulverize our senses with Na Twoje Przeciwienstwo, which is Polish for “for your opposite”, where Res not only sounds demonic on vocals, but the fact the lyrics are in Polish gives the song an even edgier vibe. Blein’s visceral riffs and bass add a touch of lunacy to Po krokach naszych tylko cisza, or “after our steps only silence”, another song where the duo continues to experiment with darker than usual sounds; followed by the title-track Corona Tenebra, a lecture in Polish Black Metal, or in other words, a blasphemous, infernal blast of obscurity where Res keeps roaring like a true demon supported by the classic drums by Michał. They still have time for one final exhibit of their passion for all things evil in Misterium Fidei, which is Latin for “the mystery of faith”, with the incendiary riffs by Blein burning our souls mercilessly, ending with ע, the letter “p” or number 70 in Hebrew, a whimsical outro to their more-than-demolishing opus.

As Blein and Res are crowned in total darkness to the sound of their vile debut offering, you can show them your support by following them on Facebook and on Instagram for all things Todestrieb, and of course you can purchase a copy of Corona Tenebra from Avantgarde Music or from Sound Cave (as a digipak CD, a red vinyl, or a very special vinyl + CD bundle). Corona Tenebra is a spiritual and philosophical voyage through the realms of Black Metal, and I’m sure after such an imposing album we’ll hear a lot more from Todestrieb in the near future as they’ll keep darkening our minds and souls with their music without showing a single drop of mercy.

Best moments of the album: Na Twoje Przeciwienstwo and Corona Tenebra.

Worst moments of the album: None.

Released in 2024 Avantgarde Music

Track listing
1. Axis Nihil 5:09
2. Na Twoje Przeciwienstwo 6:50
3. Po krokach naszych tylko cisza 6:25
4. Corona Tenebra 4:38
5. Misterium Fidei 3:49
6. ע          0:56 ע

Band members
Res – vocals
Blein – guitars, bass

Guest musician
Michał “The Fall” Stępień – drums (session)

Album Review – Deamonolith / The Monolithic Cult of Death (2024)

Posted on by
Reply

This Polish cult will attack you with their debut offering, a 35-minute amalgamation of heavy and experimental sounds highly recommended for fans of the darkest side of Death Metal.

Formed in 2022 in Warsaw, Poland, Experimental/Progressive Death Metal act Deamonolith has just unleashed upon humanity their debut album, titled The Monolithic Cult of Death, a 35-minute amalgamation of heavy and experimental sounds highly recommended for fans of the darkest side of Death Metal. Recorded by Paweł “Janos” Grabowski at JNS Studio (guitars, bass and drums), by Szymon “Sigmar” Grodzki at Invent Sound Studio (vocals), and by Przemysław “Imp” Moszczyński (saxophone), mixed and and mastered by Paweł “Janos” Grabowski at JNS Studio, displaying a creepy artwork by Michał “Xaay” Loranc, with logo by Ihasan Art and layout by Paweł Ozon of XXV The Sign, plus several special guests to give their music even more depth, the debut offering by Kobuch on vocals, Major and Sunrise on the guitars, Lukas on bass, and Desecrate on drums and dark ambients will take you on a journey to the most obscure corners of the human psyche, overflowing heaviness, rage and evil.

Dark, devilish sounds arise from the underworld in The Afterfall, exploding into a visceral blend of Black and Death Metal led by the crushing drums by Desecrate while Kobuch roars manically, flowing into The Ultimate Solution, a slab of brutality where the thunderous kitchen by Lukas and Desecrate will make the earth tremble in the name of extreme music; and the following piece, titled The Fall, The Reek & Forlornness, is even more explosive and vile, with the riffs by Major and Sunrise sounding absolutely scorching. The Acknowledgment continues to burn our damned souls with the band’s venomous fusion of Black and Death Metal, with the Immolation-inspired vocals by Kobuch being an ode to classic Death Metal, immediately connecting with the longest of all parts of the song, Conquerors of the Void, a brutal Death Metal attack by the band overflowing hatred and obscurity, with Desecrate once again pounding his drums nonstop while also presenting a melancholic break and vibrant progressive passages, before all comes to an end in When All Has Been Done, with Lukas’ bass and Desecrate’s beats once again sounding ruthless accompanied by the wild riffage by Major and Sunrise until the song’s grim finale.

The Monolithic Cult of Death, which by the way contains only one song that lasts for longer than 35 minutes like the version available on Spotify (with cut episodes in the YouTube and CD versions to make the listening of the album easier), definitely sends a strong and sound message to the metal community about what Deamonolith are capable of, and if you want to know more about the band and show them your support you can find them on Facebook, Instagram and YouTube, and of course purchase a copy of their debut opus from the Godz ov War Productions’ BandCamp or webstore, as well as from Ancient Dead Productions. In other words, it’s time to join Deamonolith’s cult of death, with their first ever album being the perfect soundtrack to such a unique and devilish celebration.

Best moments of the album: The Ultimate Solution and The Acknowledgment.

Worst moments of the album: None.

Released in 2024 Godz ov War Productions/Ancient Dead Productions

Track listing
1. The Afterfall 5:19
2. The Ultimate Solution 3:53
3. The Fall, The Reek & Forlornness 4:19
4. The Acknowledgment 3:18
5. Conquerors of the Void 12:34
6. When All Has Been Done 5:47

Band members
Kobuch – vocals
Major – guitars
Sunrise – guitars, classical guitar
Lukas – bass
Desecrate – drums, dark ambients

Guest musicians
Łukasz Wypych – saxophone
Magdalena Sienkiel – piano
Sebastian Świciak – piano
Michał “Xaay” Loranc – male clean vocals, choir
Anna Malarz – female vocals