Tag Archives: redefining darkness records

Album Review – Abraded / Ethereal Emanations from Chthonic Caries (2025)

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The newborn spawn by this American beast sees the band pushing deeper into filth, spewing slime-drenched Deathgrind, balancing frenetic blasting, grooves, grime, and putrefaction with unadulterated passion.

Formed in the festering underground of Cleveland, Ohio in 2018, the ruthless Death Metal/Grindcore entity Abraded delivers raw, repulsive Death Metal rooted in the old school traditions of the genre’s most grotesque pioneers. Drawing influence from legends like Napalm Death, Assück, Agathocles, Repulsion, Autopsy, and Carcass, the band is back in action with Ethereal Emanations from Chthonic Caries, following up on their 2023 offering Unadulterated Perversions. Originally recorded in 2017, mixed by Patric Pariano at Aggressively Uninterested Studios, mastered by Will Killingsworth at Dead Air Studios, with additional drum programming by Black Art Audio, an infernal cover art by Mihály Zichy, and layout by Nestor Carrera, the new album by the band’s mastermind Patric Pariano on guitars and drums alongside vocalist Mark Gallon and bassist David Kirsch sees the band pushing deeper into filth, spewing slime-drenched Deathgrind, balancing frenetic blasting, grooves, grime, and putrefaction with unadulterated passion.

It’s pedal to the metal from the very first second in the demented Ethereal Emanations, with Mark’s gurgling, deranged vocals matching perfectly with the song’s violent vibe, and with Patric kicking some serious ass on drums. Their depraved, gory party goes on in full force in Menticide, perfect for slamming like a wild beast inside the pit, followed by Uroboric Incest, presenting hints of Progressive Death Metal added to its core essence, with their guitars, bass and drums hammering our cranial skulls mercilessly, not to mention all inhumane screeches and gnarls by Mark. And Collectivized Enmeshment is another song where Patric’s riffage will cut your skin deep, supported by David’s thunderous bass punches in a hurricane of first-class, no shenanigans Grindcore.

Compensatory Contrarianism is highly recommended for some vigorous headbanging while Abraded keep firing their trademark riffs and evil vociferations, keeping the album’s aura burning, whereas Theonemesis should sound absolutely amazing and devastating if played live. It’s Grindcore at its finest, with no filters, no fillers, only our good old savagery and hatred, and the band still has a lot of fuel to burn starting with Mass Formation Psychosis, a bludgeoning tune that lives up to the legacy of the style. Chthonic Caries, the second composition to “form” the name of the album, is a bit generic compared to all other songs; while the album ends with its most intricate and demonic tune of all, entitled Theodicy, where Patric distills his Grindcore riff-fueled venom until the very last second like a true beast.

Executed with a relentless DIY ethos that was undoubtable carried over from founding member Patric Pariano, Ethereal Emanations from Chthonic Caries cements Abraded’s status as one of the most promising acts in the resurgence of the American Brutal Death Metal and Grindcore scene, and you can show your total support to such a vicious beast by following it on Instagram, by streaming its gory creations on Spotify, and of course by grabbing a copy of the album from the Redefining Darkness Records’ Bandcamp or webstore (in the United States or the EU / rest of the world), or by clicking HERE. Ethereal Emanations from Chthonic Caries transpires gore, violence, insanity and heaviness just the way we like it in extreme music, and you better brace for impact as once Abraded’s music embraces your darkened soul, there’s no way out.

Best moments of the album: Ethereal Emanations, Theonemesis and Theodicy.

Worst moments of the album: Chthonic Caries.

Released in 2025 Redefining Darkness Records

Track listing
1. Ethereal Emanations 2:04
2. Menticide 2:49
3. Uroboric Incest 2:35
4. Collectivized Enmeshment 2:27
5. Compensatory Contrarianism 3:10
6. Theonemesis 2:43
7. Mass Formation Psychosis 2:48
8. Chthonic Caries 2:52
9. Theodicy 4:28

Band members
Mark Gallon – vocals
Patric Pariano – guitars, drums
David Kirsch – bass

Guest musicians
Evan Crouse – guitars (live)
Brad Moore – bass (live)
Jon Gonzalez – drums (live)

Album Review – Disfuneral / In Horror, Reborn (2025)

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This Archaic Death Metal entity from France will crush your souls armed with their sophomore album, delving deeper into themes of death, gore, and horror.

Formed in 2015 in Nancy, France, Disfuneral emerged from the remnants of the band Herpes, embracing a raw and unfiltered approach to Death Metal. Crafting a sound that pays homage to the early days of Death Metal while infusing their unique sense of humor and personality, calling their style as “Archaic Death Metal”, the band formed of Renaud Mann on vocals, Florian Brabant on the guitar, Clément Favre on bass and Nicolas Bauer on drums is set to unleash hell with their sophomore opus, entitled In Horror, Reborn. Recorded by the band itself (vocals, guitars, bass) and by Fabien Cruzille (drums), mixed and mastered by Robert Pehrsson at Studio Humbucker, and displaying a monstrous artwork by Jon Whiplash, the follow-up to their 2022 album Blood Red Tentacle delves deeper into themes of death, gore, and horror, encapsulating the band’s signature sound by blending ferocious riffs, guttural vocals and pounding rhythms, reflecting their strict dedication to the genre’s roots.

Simply hit play and a massive wall of sounds will crush you like an insect in Catacomb Dwellers, with Florian and Clément slashing their stringed axes in the name of classic Death Metal, and it’s pedal to the metal in the infuriated Tombs Vomiting the Dead, led by the hammering drums by Nicolas while Renaud barks and roars manically nonstop. The lancinating, visceral riffs by Florian will pierce your soul in Ripped from Within, a Death Metal beast that sounds and feels as dark and heavy as it can be, whereas Crypt of Demented lives up to its “charming” name, offering an overdose of heaviness and guttural vociferations, with the metallic bass by Clément walking hand in hand with Nicolas’ pounding drums.

Then adding a bit of Crust to their core Death Metal we have Extremity in Morbidity, a fast and furious tune spearheaded by Renaud’s demented roars, and investing in a much more somber, cadenced sound presenting hints of Doom Metal the band brings forward Dark Ages Ritual, with Clément’s bass sounding beyond heavy. Blessed by Decay is another slab of brutality and savagery by those French bastards, with Nicolas dictating the song’s frantic pace with his unstoppable beats, followed by the title-track In Horror, Reborn, presenting everything we love in Death Metal and more, sounding ruthless from start to finish and inviting us all for some wild mosh pit action. The band then closes the album on a high and demolishing note with Call from the Void, again showcasing Florian’s caustic riffage and Renaud’s deranged vocals.

In a nutshell, fans of bands the likes of Autopsy, Entombed, Necrot and Death Breath will certainly have an excellent time listening to In Horror, Reborn, and you can join those ruthless death metallers by following them on Facebook and on Instagram, by streaming their music on Spotify, and above all that, by purchasing their demented new album from Bandcamp or from the Redefining Darkness’ webstore (in the United States or in the EU and rest of the world). Disfuneral are definitely among us to spread gore, violence and death armed with their unrelenting music, with In Horror, Reborn representing a solid step further in their career and, consequently, a very good reason for us all to dive into the pit to the sound of our beloved Death Metal.

Best moments of the album: Tombs Vomiting the Dead, Extremity in Morbidity and In Horror, Reborn.

Worst moments of the album: Dark Ages Ritual.

Released in 2025 Redefining Darkness Records

Track listing
1. Catacomb Dwellers 4:19
2. Tombs Vomiting the Dead 3:59
3. Ripped from Within 3:34
4. Crypt of Demented 4:52
5. Extremity in Morbidity 2:37
6. Dark Ages Ritual 3:50
7. Blessed by Decay 4:16
8. In Horror, Reborn 3:22
9. Call from the Void 4:30

Band members
Renaud Mann – vocals
Florian Brabant – guitar
Clément Favre – bass
Nicolas Bauer – drums

Album Review – Throne / That Who Sat Upon Him, Was Death (2025)

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One of the strongest bands of the current American extreme music scene is back with a demolishing new album, solidifying themselves as a force to be reckoned with.

Having captivated and crushed those they have encountered with a ferocious, relentless and intricate formula of Melodic and Blackened Death Metal all their own since their inception back in 2014, Jackson, Michigan’s own four horsemen Throne are back with their most focused effort to date, poetically titled That Who Sat Upon Him, Was Death, the follow-up to their 2021 opus Pestilent Dawn, solidifying themselves as a force to be reckoned with, emerging as true contenders in the ever growing American Death Metal scene. Recorded at Bricktop Studios, engineered and mixed by Andy Nelson, mastered by Bradley Boatright at Audiosiege, and displaying a sinister artwork by Brian Sheehan, the new album by Nathan Barnes on vocals and guitars, Tim Kenefic on the guitars, Leslie Drake on bass, and Kollin Perpignani on drums is a lesson in brutality whilst continuing their descent with a heavy blackened lean, sure to satisfy the arm-crossed Suffo-crowd, while at the same time tickling those that worship at the altar of Behemoth.

Nathan and Tim’s wicked riffs kick off the band’s infuriated metal feast in Disentombed, supported by the bestial drums by Kollin in a lesson in vicious extreme music, flowing into the just as demonic To Breathe the Unknown, with Nathan’s devilish Brutal Death Metal-like growls matching perfectly with the demented bass and drums by Leslie and Kollin. They need less than three minutes to crush us mercilessly like putrid insects in Blasphemous Perversion, followed by the also infernal tune Realm of Immolation, where all band members sound like creatures from the netherworld, in special Kollin armed with his demonic blast beats.

Once again venturing through the realms of Brutal Death Metal, it’s time for a no shenanigans, ruthless display of aggression and fury by the quartet entitled Human Frailty, led by the inhumane screeches and roars by Nathan; and the same level of insanity is blasted in the utterly demented, bludgeoning composition titled Upon Deathless Winds, with the caustic riffs by Nathan and Tim walking hand in hand with Kollin’s stone crushing drums. The band still has a lot of fuel to burn, as we can clearly notice in Behold Impurity, offering a boisterous fusion of Black and Death Metal overflowing rage and despair, whereas lastly let’s get pounded into dust by Throne to the sound of Where Angels Cower in Fear, with Nathan’s scorching roars and the thunderous beats by Kollin putting a beyond violent ending to the entire album.

After all is said and done, you’ll find yourself suffocated by the blackened sounds crafted by Throne in their newborn spawn, pointing to a bight future ahead of those American metallers without a shadow of a doubt. Hence, if you want to know more about the band, their music, tour dates and so on, don’t forget to follow them on Facebook and on Instagram, to stream their sick creations on Spotify or any other streaming service, and to purchase a copy of their sulfurous new album from BandCamp or from the Redefining Darkness Records’ webstore in the US or in the EU and UK. Because in the end, that who sat upon him was Death, to the sound of the new opus by one of the most promising bands of the current extreme music scene worldwide.

Best moments of the album: Realm of Immolation, Upon Deathless Winds and Where Angels Cower in Fear.

Worst moments of the album: None.

Released in 2025 Redefining Darkness Records

Track listing
1. Disentombed 4:02
2. To Breathe the Unknown 3:37
3. Blasphemous Perversion 2:54
4. Realm of Immolation 3:43
5. Human Frailty 3:19
6. Upon Deathless Winds 4:22
7. Behold Impurity 4:34
8. Where Angels Cower in Fear 3:38

Band members
Nathan Barnes – vocals, rhythm guitars
Tim Kenefic – lead guitars
Leslie Drake – bass
Kollin Perpignani – drums

Album Review – The Bleeding / Monokrator (2023)

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A ruthless UK Death and Thrash Metal squad attacks with their third full-length album, a blitzkrieg-like listening experience with a full frontal assault that pulls no punches and will leave your head spinning in delight.

After forming in the city of London, England in 2010, the infernal Death/Thrash Metal squad The Bleeding has been on a demolishing roll with the release of an array of EP’s and albums offering their fans top-of-the-line extreme music made in the UK. Now in 2023 the band formed of Jamie Stungo on vocals, Tasos Tzimorotas on the guitars, Jordan Muscatello on bass, and James Loh on drums attacks again with the pulverizing Monokrator, the third full-length opus in their career. Produced by Ronnie Björnström and Tasos Tzimorotas, mixed and mastered by Ronnie Björnström at Björnström Sound & Production, and displaying an old school artwork by Juanjo Castellano, Monokrator combines thrash elements comparable to latter day Exodus, Kreator and Destruction with the ferocity of Demolition Hammer, and a vocal attack akin to Jeff Walker and Chuck Schuldiner, to create a blitzkrieg-like listening experience with a full frontal assault that pulls no punches and will leave your head spinning in delight.

Pedal to the metal as it’s time to slam your dammed body into the pit to the sound of Chemical Lobotomy, a fantastic display of Death Metal spearheaded by the venomous blast beats by James while Jamie vociferates rabidly nonstop, followed by Chainsaw Deathcult, absolutely incendiary from the very first second, where the riffs by Tasos will penetrate deep inside your skin while Jordan makes the earth tremble with his sick bass lines. Put differently, if the album had ended here it would have already been a phenomenal release by The Bleeding. After such demented display of extreme music we have Mutation Chamber, slightly slower but still brutal and vile, showcasing another superb job done by Tasos with his demonic riffage, whereas Union of Horror is just as bestial as its predecessors, a beyond electrifying Death Metal onrush once again presenting an insane James on drums supported by the metallic bass punches by Jordan.

Get ready to be smashed like an insect by The Bleeding in Screams of Torment, bringing forward all their dexterity and fury, being therefore tailored for lovers of classic Death Metal; and Tasos will cut your ears with his strident axe in On Wings of Tribulation, another bestial display of Death Metal sounding very technical while Jamie screams mercilessly. The title-track Monokrator is a lecture in Death and Thrash Metal, with Jamie’s devilish roars walking hand in hand with the thunderous instrumental parts crafted by his bandmates, resulting in the perfect soundtrack for some frantic action inside the circle pit. And lastly, the band invites us all to kill inside the pit in Throes of Repulsion, sounding and feeling absolutely fast, furious and insane from start to finish, with the caustic riffs by Tasos and the unstoppable beats by James leaving you totally disoriented after all is said and done.

This beast of an album can be appreciated in full on YouTube and on Spotify, but of course if you think you have what it takes to get into the pit together with The Bleeding, you should purchase a copy of the album from their own BandCamp page, as well as from the Redefining Darkness Records’ webstore in the United States (CD or LP) or in Europe (CD or LP), from Apple Music or from Amazon, and don’t forget to also follow the band on Facebook and on Instagram. The Bleeding are not just aiming at putting the UK back on the Thrash and Death Metal map with Monokrator, but they also want to put a huge smile on your face while you listen to the album, keeping their evil motor running for many years to come in the name of good extreme music.

Best moments of the album: Chemical Lobotomy, Chainsaw Deathcult and Monokrator.

Worst moments of the album: None.

Released in 2023 Redefining Darkness Records

Track listing
1. Chemical Lobotomy 3:16
2. Chainsaw Deathcult 3:50
3. Mutation Chamber 4:22
4. Union of Horror 3:50
5. Screams of Torment 4:09
6. On Wings of Tribulation 3:47
7. Monokrator 3:59
8. Throes of Repulsion 3:07

Band members
Jamie Stungo – vocals
Tasos Tzimorotas – guitars
Jordan Muscatello – bass
James Loh – drums

Album Review – Seven Doors / Feast of the Repulsive Dead (2023)

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Behold the spine-chilling debut album by this one-man outfit from the UK, flawlessly combining his passion for 70’s and 80’s horror films with his love for 90’s Death Metal.

A one-man horror-themed Death Metal band formed in 2020 in Cornwall, located in the southwest of the UK, the unrelenting Seven Doors, whose name is inspired by the name of the hotel in Lucio Fulci’s 1981 film The Beyond, is ready to take everything to the next level of horror with the project’s debut full-length album Feast of the Repulsive Dead, the follow-up to its 2021 debut EP The Gates of Hell. Recorded by the project’s mastermind, vocalist and multi-instrumentalist Ryan Wills, mixed by Ben King at Cryptic Sound, mastered by JB Van Der Wal at Hewwetover Studio, and displaying an 80’s horror flick-themed cover art by Dedy Badic Art, Feast of the Repulsive Dead flawlessly combines Ryan’s passion for 70’s and 80’s horror films with his love for 90’s Death Metal, with his musical influences stemming from renowned acts like Death, Gorguts, Asphyx, Malevolent Creation and Cannibal Corpse, resulting in a banger of a record that will certainly grab the attention of Death Metal enthusiasts worldwide.

Fully created by Slasher Dave of Acid Witch, A Quiet Night in the Cemetery is a great intro absolutely inspired by all of those awesome slasher flicks form the 80’s, sending shivers down your spine before Ryan begins decimating his guitar in the title-track Feast of the Repulsive Dead, a lesson in brutality and gore where he roars and gnarls deeply like a creature taken from a horror movie. And Ryan keeps distilling his visceral, in-your-face Death Metal in the also demolishing Stalked, Strangled and Stabbed, displaying an amazing job done with his riffage and his vile but intricate beats; followed by The Morbid Mortician, with the guest solo by Paul Nazarkardeh of De Profundis bringing an extra touch of insanity to the music, therefore living up to the legacy of the genre, with the song’s infuriated riffage being a thing of beauty. Ryan’s fusion of Death Metal and horror continues to impress in Welcome Back to Life, offering more of his demonic growls amidst a neck-breaking sonic devastation, whereas inspired by giants the likes of Immolation, Cannibal Corpse and Morbid Angel, it’s time for a mid-tempo, heavy-as-hell tune titled I’ll Swallow Your Soul, with Ryan once again being on fire with all instruments.

It’s then time to slam into the circle pit to the sound of the Death Metal extravaganza titled The Hack Shack, showcasing a huge dosage of violence and gore spiced up by the hard work Ryan put into each second of the song, feeling very detailed, exciting and brutal, and there’s no time to breathe as Ryan continues to crush our damned souls in Isolated Existence, another Cannibal Corpse-inspired tune presenting hammering drums and demented riffs. After such demolishing tune, a serene intro explodes into sheer violence and hatred in The Graves of Matool. Needless to say, Ryan sounds infernal with both his guttural roars and unstoppable Death Metal riffs; and Ryan still has a lot of fuel to burn with Cannibalistic Humanoid Underground Dwellers, featuring the guest solos by Chris Monroy and Mike De La O of Skeletal Remains, another bestial composition where his bass and drums will hit you hard in the head. Lastly, we have his rendition of Malevolent Creation’s Eve of the Apocalypse (check the original one HERE from their 1992 album Retribution), and I must say what a beautiful tribute by Ryan and his Seven Doors, sounding as demented and obscure as the original version.

“The key theme here for me is density: protein-packed riffs rip along with satisfying retro thickness, sometimes shifting gears up into buzzing tremolo passages, and everything from the kick drum to the vocals just packs onto the satisfying impact. That’s not to say anything is overcrowded, but thin and lifeless death metal this is not. Classic staples of the genre, like larger-than-life solos floating on top of the mix and gnarly bass runs helping to kick off songs, keep Feast of the Repulsive Dead grounded and viciously enjoyable throughout. Whether or not you’re in the right climate to share my mindset, the end of the year – and this year specifically – tends to be rough for many reasons. Let Seven Doors drive away some of those worries through sheer force,” commented Ryan about his fantastic, must-listen new opus, and if you want to show him your support you can follow Seven Doors on Facebook and Instagram, stream his music on Spotify, and purchase a copy of Feast of the Repulsive Dead from his own BandCamp page, or from the Redefining Darkness Records’ webstore in the US (as a CD or an LP) and in Europe (also as a CD or as an LP) sooner than a dead body can resuscitate as a zombie.

Best moments of the album: Feast of the Repulsive Dead, The Morbid Mortician, The Hack Shack and Cannibalistic Humanoid Underground Dwellers.

Worst moments of the album: Absolutely none.

Released in 2023 Redefining Darkness Records

Track listing
1. A Quiet Night in the Cemetery 1:08
2. Feast of the Repulsive Dead 4:56
3. Stalked, Strangled and Stabbed 3:55
4. The Morbid Mortician 5:00
5. Welcome Back to Life 4:20
6. I’ll Swallow Your Soul 4:01
7. The Hack Shack 3:38
8. Isolated Existence 4:13
9. The Graves of Matool 5:40
10. Cannibalistic Humanoid Underground Dwellers 3:13
11. Eve of the Apocalypse (Malevolent Creation cover) 3:05

Band members
Ryan Wills – vocals, all instruments

Guest musicians
Slasher Dave – everything on “A Quiet Night in the Cemetery”
Paul Nazarkardeh – guitar solo on “The Morbid Mortician”
Chris Monroy – guitar solo on “Cannibalistic Humanoid Underground Dwellers”
Mike De La O – guitar solo on “Cannibalistic Humanoid Underground Dwellers”

Album Review – Wretched Fate / Carnal Heresy (2023)

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***Review by Luke Hayhurst, writer for Morbid Wings (Print) Zine, VM Underground Fanzine and Doom-Metal.com***

I find a lot of the cover art that is created by Skadvaldur to be very impressive, but the artwork for Carnal Heresy is a step above even his usual work. This is the sophomoric album from Swedish Death Metal band Wretched Fate and has been put out on CD and LP through those purveyors of all things excellent and dark, Redefining Darkness Records.

Right from the opening moments of Mind Desecrator the carnage on display is all encompassing. A sonically brutal apocalypse of malicious intent laden guitar tones combined with a deep and ominous sounding bass display, as well as a thuggish old school drumming style and gripping vocal work from frontman Adrian Selmani whose rumbling growls are harrowing and yet draw you into every chorus!

Whereas some Death Metal bands like to create a dark and gloomy atmosphere, Wretched Fate sticks doggedly to brutality over everything else, with a viciously technical underbelly in the form of twisting and writhing guitar rhythms. So whilst other bands are focusing on layered atmospherics, Wretched Fate are too busy chugging you into the abyss for any of that!

I wouldn’t expect anything less from an album entitled Carnal Heresy than a full blooded Death Metal beatdown, and these Swedish purveyors of riffs and decimation deliver up a grueling display of powerful and sickening hostility and barbaric violence.

Best moments of the album: I love how the vocals draw you into each chorus!

Worst moments of the album: Nothing, it’s a strong album in all areas.

Released in 2023 by Redefining Darkness Records

Track listing
1. Mind Desecrator 3:24
2. Momentary Suicide 3:25
3. Utterance from the Inhuman Tongue 3:05
4. Cry from Beyond 4:25
5. Umbilical Suffocation 5:26
6. Harlots for Suffering 4:02
7. Upon the Weak 4:40
8. Morbid Testament 4:36
9. Spineless Horror 5:55

Band members
Adrian Selmani – vocals
Mats Andersson – guitars, backing vocals
Fredrik Wikberg – guitars, guitar solo on “Utterance from the Inhuman Tongue”
Robin Magnusson – bass
Samuel Karlstrand – drums

Guest musicians
Alexander Högborn – additional vocals on “Utterance from the Inhuman Tongue”
Mikael Hanni – additional vocals on “Harlots for Suffering”

Links
Wretched Fate Official website | Facebook | Instagram | YouTube | BandCamp | Spotify

Album Review – Detherous / Unrelenting Malevolence (2022)

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***Review by Luke Hayhurst, writer for Morbid Wings (Print) Zine, VM Underground Fanzine and Doom-Metal.com***

Following on from their debut album Hacked to Death in 2019, Calgary, Alberta based Death Thrashers Detherous have returned with an all new bout of sickness in the form of their Redefining Darkness Records released second opus entitled Unrelenting Malevolence.

Opening with the rampaging Interminable Mutilation, Detherous are quick to show off their savage chops, spewing forth with an undiluted barrage of feral old school Thrash vocals, maniacally sadistic and engaging riffs and guitar leads and punishing, inhospitable drum tones. It may be lazy to liken Detherous to early Slayer but the comparison nevertheless holds true, in both the bands relentless violence and forthright vocal delivery.

Where Detherous differs from Slayer can be heard as soon as Suspended in Agony kicks in. With a far more groove laden Death Metal vibe, as well as the odd plunge back into gnarly skull rattling Thrash, Detherous mould and crush their two main influences together brilliantly.

Unrelenting Malevolence is a truly savage sophomoric album, displaying a band who are at home delivering brutalizing force as well as technical wizardry. This is also an album that burrows deep to extract the very best qualities of both Thrash and Death Metal in order to create the best sound they possibly can, and the album is powerful and absorbing as a result.

Best moments of the album: You can’t ask for a stronger opener than Interminable Mutilation, nor a stronger follow up in Suspended in Agony.

Worst moments of the album: I’m hard pressed to find any!

Released in 2022 by Redefining Darkness Records

Track listing
1. Interminable Mutilation 4:27
2. Suspended in Agony 5:10
3. Gruesome Tools of Torture 4:01
4. Encased in Gore 4:30
5. Wretched Formations of Flesh 4:05
6. Reek of the Decayed 5:44
7. Erosion of Reality 3:10
8. Tormented by the Dead 5:02
9. Cataclysmic Devastation 3:48
10. Skull Fracturing Nightmare (Demolition Hammer cover) 5:26

Band members
Damon MacDonald – vocals, guitar
Ryan Hunter – lead guitar
Scott Cressman – bass
Dimitri LaRose – drums

Guest musician
Chris Monroy – additional vocals, guitar solos on “Skull Fracturing Nightmare”

Links
Detherous Facebook | Instagram | Linktree | Spotify | BandCamp | YouTube

Album Review – Zohamah / Spread My Ashes (2019)

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Combining Black, Death and Doom Metal into a poisonous but intoxicating musical cocktail, here comes an Israeli one-man band armed with his excellent debut opus.

An intentionally cryptic band from Israel, Black/Death Metal one-man army Zohamah, which by the way is an expression taken from the Kabbalah that translates to “darkness” or “pollution”, a form of evil that results in kilkull (or spiritual damage), is unleashing upon humanity its first full-length opus, entitled Spread My Ashes, a follow-up to its debut EP Manic Depression, from 2017. Combining Black, Death and Doom Metal into a poisonous but intoxicating musical cocktail, Zohamah is the brainchild of vocalist and multi-instrumentalist H.M. (also known as Hezi Menashe), known from several underground bands such as Romuvos, Spawn of Evil and Immaterial, with all lyrics and music being written by H.M. himself, not to mention the album was also recorded, mixed and mastered by this extremely talented Israeli metaller.

The howling wind warns us all there’s a Black and Doom Metal storm coming in the opening track New World, generated by the somber gnarls and damned riffs blasted by H.M. It couldn’t have sounded more devilish than this, with H.M. also showcasing his superior skills on drums. Then presenting a Black Sabbath-inspired main riff enfolded in absolute obscurity we have The Darkness Whispers in My Ear, where H.M. is once again on fire with his demonic roars and intricate beats amidst the song’s hypnotizing rhythm; followed by Zohamah’s 2017 single, named Emptiness, a feast of the most Stygian sounds a man can generate, with his scorching hot guitar lines blending beautifully with his rumbling bass and rhythmic drumming, bringing elements from the most diverse types of classic extreme music.

A lot more Death Metal than its predecessors, which is noticeable specially on H.M.’s deeper growls, Black Cloud offers three minutes of aggressive, sulfurous and ruthless sounds, and the music remains vibrant and grim until all fades into pitch black darkness, whereas Broken Mirror is another demented creation by H.M., presenting the most melancholic and obscure elements from underground Blackened Doom. In addition, H.M. growls in a true desperate manner, bursting his lungs in pain and anguish. The title-track Spread My Ashes is a disturbing and harmonious instrumental bridge, building the ambience for the song that carries the name of the project, Zohamah, to captivate our senses with its neck-breaking pace, infernal screams and blast beats, ending the album on a high (and visceral) note just the way we love in underground extreme music.

It doesn’t really matter if you appreciate the works of one-man bands like Zohamah or not, you should definitely take a shot at Spread My Ashes, available in its entirety on on YouTube and on Spotify, as this is one of those albums that perfectly represent all the talent, hard work, passion for heavy music and darkness found in the independent Extreme Metal scene. If after listening to Spread My Ashes you feel like you want to know more about H.M. and his Zohamah (and I’m sure you will), you can follow him on Facebook, and show him your utmost support by purchasing the album from the Redefining Darkness Records’ BandCamp page, from the Hells Headbangers’ webstore, from iTunes or from Amazon. In the end, H.M. is not only spreading his ashes on us with Zohamah’s brand new album, but also showing all of us fans of metal music that the Israeli scene is a lot more interesting, vibrant and obscure than we can imagine.

Best moments of the album: The Darkness Whispers in My Ear and Broken Mirror.

Worst moments of the album: None.

Released in 2019 Redefining Darkness Records

Track listing
1. New World 4:45
2. The Darkness Whispers in My Ear 4:38
3. Emptiness 5:04
4. Black Cloud 3:14
5. Broken Mirror 4:29
6. Spread My Ashes 1:52
7. Zohamah 5:42

Band members
H.M. – vocals, all instruments

Album Review – Khandra / There Is No Division Outside Existence EP (2018)

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Progressing in their own unique interpretation of desolation, this cryptic Atmospheric Black Metal entity from Belarus are unleashing upon humanity their second revelation.

Hailing from the Belarusian capital Minsk, Khandra (or Хандра), the Russian word for “melancholy”, are an Atmospheric Black Metal duo comprised of vocalist LDZMR (Vladimir Borodulin) and multi-instrumentalist DMTR (Dmitry Romanovsky) who sparked a bit of interest with their 2017 debut two-song EP All Is of No Avail. Progressing in their own unique interpretation of desolation, those two cryptic entities holed themselves up in the winter of 2018 to invoke and expel their second revelation, a somber and malevolent four-track EP entitled There is No Division Outside Existence, and they had a few interesting comments about their newborn spawn. “The concept of the project is the flaw and inability of consciousness to reflect the boundlessness of the nothingness in the frames of reality that (reality) only exists within and in the sanity. It is a sort of an attempt of exceeding the limits of imagination, which makes the lyrics unavailable for criticism from the point of view of logical thinking. The musical vessel here is a result of expression that has no bonds with any personal emotion of social nature.”

Ominous sounds rising from the pits of hell ignite the atmospheric and menacing intro titled Into the Absolute Nothingness, before demonic, austere waves invades our ears in Decaying into the Ascended, where Dmitry shows no mercy for his stringed weapons, delivering cutting riffs and thunderous bass lines while Vladimir gnarls like a true creature from the underworld. Put differently, it’s a very melodic and electrifying hybrid of old school Black Metal with contemporary Atmospheric Black Metal, with its hellish blast beats adding an extra touch of aggressiveness to the overall musicality, ending in a tribal and visceral way. And the duo continues to fire their Stygian sounds and vociferations in the title-track There is No Division Outside Existence, another infernal creation where the crisp and metallic sounds of the guitar together with the rumbling bass roars create the perfect atmosphere for Vladimir to growl and bark rabidly. And lastly we have Progressing in Desolation, offering the listener almost nine minutes of the darkest form of Atmospheric Black Metal you can think of, spiced up with Doom Metal nuances and the creepy, harsh vocalizations by Vladimir. Moreover, Dmitry is truly infernal with his phantasmagorical guitar, not to mention how well they move from an enraged sonic havoc to more harmonious and mesmerizing lines and then back, with the music remaining dense and strident until its lugubrious grand finale and, therefore, being highly recommended for lovers of the darkest side of metal.

In a nutshell, Khandra are more than just your regular metal band, and There Is No Division Outside Existence, available for a full listen on YouTube and on Spotify, and on sales from their own BandCamp, from the Redefining Darkness Records’ BandCamp, from the Possession Productions’ BandCamp, from iTunes or from Amazon, is the ultimate representation of what the duo is capable of and how deep they can crawl inside your mind. Because, in the end, Khandra are a musical manifestation that can only be illuminated through experience, and all you have to do is listen and absorb.

Best moments of the album: Decaying into the Ascended.

Worst moments of the album: None.

Released in 2018 Redefining Darkness Records

Track listing    
1. Into the Absolute Nothingness 3:27
2. Decaying into the Ascended 7:44
3. There is No Division Outside Existence 5:59
4. Progressing in Desolation 8:31

Band members
Vladimir Borodulin – vocals
Dmitry Romanovsky – guitars, bass

https://youtu.be/VCLQvkk4g2A

Album Review – 1914 / The Blind Leading the Blind (2018)

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It’s time to head into the battlefields of the Great War together with these talented and obstinate Blackened Death and Doom Metal infantrymen from Ukraine.

It’s time to head into the battlefields of World War I together with Ukranian Blackened Death/Doom Metal infantrymen 1914 and their brand new opus, the breathtaking The Blind Leading the Blind. World World I might not get explored as it should very often, as World War II typically overshadows it, but this Liviv-based squad, formed in 2014 at the 100th anniversary of World War I, makes a damn solid case for its historical significance (click HERE for an in-depth interview regarding the band’s ideology), with their unique and incendiary fusion of  Black, Death, Doom and even Sludge Metal being stomping, heavy-as-hell, therefore inspiring the strength and bravery within to march towards death.

Comprised of 2.Division, Infanterie-Regiment Nr.147, Oberleutnant – Ditmar Kumar on vocals, 37.Division, Feldartillerie-Regiment Nr.73, Wachtmiester – Liam Fessen and 5.Division, Ulanen-Regiment Nr.3, Sergeanten – Vitalis Winkelhock on the guitars, 9.Division, Grenadier-Regiment Nr.7, Unteroffiziere – Armin von Heinessen on bass and 33.Division, 7.Thueringisches Infanterie-Regiment Nr.96, Gefreite – Rusty Potoplacht on drums, 1914 pay homage to all that fell fighting the Great War, with their themes covering topics such as the Battle of Gallipoli (and the involvement of Ataturk), the Brusilovsky breakthrough, the Battle of Verdun and the gas attack at Ypres, not being political nor warmongers, but just telling the tales of war, injustice, fear, hopelessness and endless death as they happened. Featuring a deadly, lugubrious artwork by Czech artist Vladimir “Smerdulak” Chebakov, The Blind Leading the Blind is a precious gem of extreme music, positioning 1914 not only as one of the best underground metal bands of the current scene, but of the past decade without a shadow of a doubt.

War In is a beautiful, wicked and dark intro that takes us to the horrors of World War I, exploding into visceral Blackened Death Metal in Arrival. The Meuse-Argonne (inspired by the Meuse-Argonne Offensive, the greatest American battle of the First World War, where in six weeks the AEF lost 26,277 killed and 95,786 wounded), led by the pulverizing drums by Rusty, while Ditmar roars the song’s lyrics manically (“Arrival / The Meuse-Argonne offensive started like clockwork / We planned to break through the Hindenburg line / I know what we are fighting for / Hopefully to end the war”), also bringing the most Stygian elements from classic Doom Metal. Then we have A7V Mephisto, a World War I German tank masterfully translated into a brutal and heavy tune where the entire band showcases their heavy artillery by blasting sheer obscurity inspired by old school Black Sabbath and Celtic Frost, in special Liam and Vitalis with their lethal riffs, but with a more demonic twist; followed by High Wood. 75 Acres of Hell, an infernal display of Black and Death Metal spearheaded by Ditmar’s growls while Armin and Rusty keep the ambience as dense and grim as possible with their respective instruments, displaying the battle for High Wood’s 75 acres, which started on July 14 and raged nearly continuously for 64 days, coming to be known as “The hell of High Wood” or “The rottenest place on the Western Front.”

Bagpipes ignite a sinister and pulverizing cover version for The Exploited’s all-time hit Beat The Bastards, sounding as rebellious and fun as the original version, but of course with a more metallic and crushing vibe, with highlights to the beautiful job done by both Liam and Vitalis with their hellish guitars. In the interesting bridge Hanging On The Barbed Wire, the infantry sings while marching under a heavy storm (“If you want to find the General, / I know where he is, / If you want to find the General, / I know where he is / He’s pinning another medal on his chest / I saw him, I saw him / Pinning another medal on his chest.”), setting the tone for the superb Passchenhell, a wordplay with The Battle of Passchendaele, also known as the Third Battle of Ypres, a campaign of World War I fought by the Allies against the German Empire. Musically speaking, it’s another flawless display of Blackened Death Metal infused with Doom Metal nuances, also featuring the beyond special guest vocalist David Ingram (Benediction, Bolt Thrower, Just Before Dawn). Furthermore, Rusty is once again bestial on drums, whereas Ditmar together with David will haunt your soul with their demonic growling.

“Hello there, soldier! Ready to kill more Germans?” Those warlike words ignite a fantastic sonic havoc by 1914 titled C’est Mon Dernier Pigeon, leaning towards pure old school Black Metal, feeling and sounding as thunderous and menacing as possible and ending in the most demolishing way you can think of; followed by Stoßtrupp, the German word used to describe shock troops or assault troops created to lead an attack, where another eerie, obscure narration suddenly explodes into a darkened feast of Black and Death Metal tailored for cracking your neck headbanging, with Armin sounding vicious with his rumbling bass punches. Lastly, we have The Hundred Days Offensive, an Allied offensive that lasted from August 8 to November 11, 1918, ending World War I, and 1914 turned that battle into 10 minutes of first-class Blackened Death and Doom Metal where you can feel the horrors of the battlefield in the music, remaining very introspective, melancholic, and flowing infernally until the music morphs into the sensational and creepy outro War Out, the perfect ending to such brilliant album.

In summary, The Blind Leading the Blind, which by the way had as its official release date the 11th hour on the 11th day of the 11th month (Central European Time), marking the 100th anniversary of the end of World War I, is a must-have not only for admirers of Extreme Metal, but also for anyone who wants to learn more about World War I in a very unorthodox and exciting way. Available for purchase from the band’s own BandCamp page, as well as from the Archaic Sounds’ BandCamp page, from the Redifining Darkness Records’ BandCamp page, from iTunes and from Discogs, The Blind Leading the Blind definitely redefines the career of 1914, propelling them into a more-than-promising future. Having said that, don’t forget to follow them on Facebook, subscribe to their YouTube channel, grab your weapons and be prepared to face death in the battlegrounds of the Great War.

Best moments of the album: Arrival. The Meuse-Argonne, Beat The Bastards, Passchenhell and C’est Mon Dernier Pigeon.

Worst moments of the album: None.

Released in 2018 Archaic Sound/Redefining Darkness Records

Track listing
1. War In 1:14
2. Arrival. The Meuse-Argonne 6:20
3. A7V Mephisto 8:13
4. High Wood. 75 Acres of Hell 5:27
5. Beat The Bastards (The Exploited cover) 5:02
6. Hanging On The Barbed Wire 2:28
7. Passchenhell (feat. David Ingram) 7:01
8. C’est Mon Dernier Pigeon 5:22
9. Stoßtrupp 6:13
10. The Hundred Days Offensive 10:01
11. War Out 1:55

Band members
2.Division, Infanterie-Regiment Nr.147, Oberleutnant – Ditmar Kumar – vocals
37.Division, Feldartillerie-Regiment Nr.73, Wachtmiester – Liam Fessen – guitar
5.Division, Ulanen-Regiment Nr.3, Sergeanten – Vitalis Winkelhock – guitar
9.Division, Grenadier-Regiment Nr.7, Unteroffiziere – Armin von Heinessen – bass
33.Division, 7.Thueringisches Infanterie-Regiment Nr.96, Gefreite – Rusty Potoplacht – drums

Guest musician
David Ingram – vocals on “Passchenhell”