Tag Archives: symphonic black metal

Album Review – Rapheumets Well / The Exile (2016)

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Once you let your soul become part of the electrifying saga brought forth by this unstoppable Extreme Metal act from the United States, there’s no turning back.

Rating4

Rapheumets Well - The Exile 2016 - Album Cover- smallNot only the small city of Hickory, located in the state of North Carolina, United States has a Symphonic/Progressive Black Metal band, but the music played by this band is so complex and thrilling I wouldn’t be surprised if suddenly the city turned into a worldwide reference for this type of Extreme Metal. Thus, if you like the theatrical havoc generated by Fleshgod Apocalypse and Dimmu Borgir, for example, you’ll fall in love for the music found in The Exile, the brand new concept album by the symphonic horde known as Rapheumets Well. Formed in 2008 and having released their debut album Dimensions in 2014, which featured ten songs that progressively tell a larger story portrayed in a complex saga of Atai (ancient architects), who aid in the propagation of sentient life throughout the multi-verse, Rapheumets Well return with the second “chapter” of a narrative that will blow your mind while their music penetrates deep into your soul.

Taking place during the “Soyumoth’s War” in the plain of Sovael, The Exile is in fact a fictional journey that viciously represents the hardships of life in a weird and complex way, thoroughly engendered by drummer and lyricist Joshua “Nassaru” Ward. In order to get in touch with this alternative universe created by Joshua, you can take a look at Sovael – The Great Divergence, which is indeed the inspiration for both of the band’s albums, or maybe I should say the albums are the soundtrack for the saga. Either way, I recommend you take a deep breath before you dive into the world of Rapheumets Well, because things are about to get extremely serious, heavy, symphonic and epic.

The acoustic intro in the opening track, Resurrecting The Blood Gate, doesn’t last long as symphonic and blasting sounds quickly invade our ears in a majestic way, with lead singer Tripp King vociferating the lyrics like a lunatic beast. Moreover, the sonority crafted by Joshua on drums is nicely complemented by keyboardist Aaron Rogers, enhancing the complexity and punch of this tune. In The Blight of Sotath Shal, wicked keyboards explode into brutal Black Metal with guitarists Daniel Presnell and Hunter Ross delivering solid riffs while Joshua keeps firing his blast beats, whereas in The Epic of Darmak, even more imposing and dense, the beautiful female vocals by Annette Greene provide a gentle balance to all destruction led by Tripp, turning this into one of the best songs of the album for sure.

Rapheumets WellCrucible of Titans (an awesome name for a song, by the way) couldn’t sound less violent and transcendent, with its polished production enhancing the reach of each instrument and therefore making us feel them inside our minds during this powerful blend of Atmospheric and Symphonic Black Metal; followed by Resurgence, a chant full of melancholy and anger where all three vocalists have amazing performances and, once again, the keyboards by Aaron generate a wicked atmosphere. In addition, this is the best song to enjoy the intricate bass lines by Jon Finney, especially if you’re a lover of the rumbling sound generated by this distinct instrument.

In Witch of Dark Spire, a lot more direct but as powerful as all previous tracks, the guitars by Daniel and Hunter are absolutely on fire, turning this into the most metallic of all tunes. However, in order to add some romance to this sonic havoc, we have Annette sounding like an angelic spirit with her smooth vocals. The title-track The Exile elevates even more the overall quality of the album, showcasing an astral intro that gently flows into potent and visceral music. Joshua is insanely amazing on drums with his fills and unstoppable beats, not to mention the yet again elaborate guitar riffs by both Daniel and Hunter and the demonic growls by Tripp. And as a formidable conclusion to this epic saga, Planetary Cenotaph brings forward more Symphonic Metal and huge doses of brutality meticulously tailored for all types of metalheads, with highlights to the entrancing ambience crafted by both Aaron and Annette.

While the aforementioned “Soyumoth’s War” goes on at the plain of Sovael, you can join Rapheumets Well on Facebook, YouTube, ReverbNation and SoundCloud, and grab your copy of this intense and multilayered soundtrack named The Exile at the band’s BandCamp page or at the Test You Metal Records’ Big Cartel page. But let me warn you that once you let your soul become part of the electrifying saga brought forth by Rapheumets Well, there’s no turning back.

Best moments of the album: Resurrecting The Blood Gate, The Epic of Darmak and The Exile.

Worst moments of the album: The Blight of Sotath Shal.

Released in 2016 Test Your Metal Records

Track listing
1. Resurrecting The Blood Gate 4:44
2. The Blight of Sotath Shal 3:53
3. The Epic of Darmak 4:59
4. Crucible of Titans 4:14
5. Resurgence 6:07
6. Witch of Dark Spire 5:17
7. The Exile 6:13
8. Planetary Cenotaph 5:05

Band members
Tripp King – harsh vocals
Annette Greene – choir, female clean vocals
Daniel Presnell – guitar
Hunter Ross – guitar
Jon Finney – bass
Aaron Rogers – keyboards
Joshua “Nassaru” Ward – drums, clean vocals

Album Review – Frozen Ocean / The Prowess Of Dormition EP (2016)

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Open your ears and your heart, and follow the ear-splitting sound of a frozen ocean of Atmospheric Black Metal hailing from the almighty Russia.

Rating4

hi-res coverSince the year of 2005, Russian multi-instrumentalist Vaarwel (who’s also a member of the excellent Russian bands Goatpsalm and Smothered Bowels) has been crafting music of incredible power, imagination, diversity and depth, releasing his creations under the banner of  Frozen Ocean. Hailing from the city of Moscow, Russia, this unstoppable metaller seems to have an endless fountain of creativity inside his blackened mind, always expressing his unique view of obscure themes such as winter, death and depression, and always avoiding any labels or preset formulas (let’s simply call his music Atmospheric Black Metal for you readers to understand the whole concept a little better). For instance, he was capable of delivering nothing less than 7 (seven!) Frozen Ocean albums in 2011, five of those being full-length ones. And now, in 2016, he has already started spreading his starless arias all over the world with a brand new EP entitled The Prowess Of Dormition.

It doesn’t matter if you’re a fan of bands such as Moonsorrow, Borknagar and Sigh, or if you prefer rawer Black Metal acts like Dark Funeral and Immortal, the music found in The Prowess Of Dormition will definitely leave a (good) scar on your metallic soul due to its beauty, heaviness and complexity. Featuring an absorbing artwork by British artist/photographer Kieran Wakeman (Divine Chaos Art), who has already worked with bands such as Cadaveria, The King is Blind and Terror Universal, the EP has a lot to offer us metalheads in its 25-minute journey through gelid landscapes and dark thoughts, split in four distinct harmonious tunes.

The atmospheric intro in No Blizzard promptly invites the listener to the cold and desolated realms of Frozen Ocean, with Vaarwel making sure the harmony and pace of the song generate the necessary ambience for his harsh growls. In addition, Doom Metal elements are brought forth especially by the song’s gentle keyboard notes and constant beats delivered by Vaarwel, luring us to go even deeper into his dark world. And this doom-ish vibe goes on in the very somber and melodic Once Aglow, where there’s a lot of melancholy and sorrow flowing from Vaarwel’s growling. Moreover, the nice break halfway through it provides the listener some well-deserved peace of mind, before obscurity returns in this flawless fusion of Atmospheric and Symphonic Black Metal.

Frozen Ocean 3Det Siste Snøfallet (Norwegian for “the last snowfall”) begins at full force with its relentless beats and riffs, which aim at representing the harshest snowfall in the history of mankind. It’s a captivating instrumental tune where Vaarwel showcases all his abilities as a musician (and as a lover of dark music), working as an “extended” intro to the title-track, The Prowess Of Dormition, an amazing composition that offers the listener Frozen Ocean’s trademark Black Metal with hints of Folk and Viking Metal. Its keyboards get even more prominent and sinister, yet again providing a smooth break with endless amounts of feeling and melancholy until the music flows into a climatic ending, therefore concluding the album brilliantly.

In a nutshell, although The Prowess Of Dormition has been released as “just” an EP, it’s substantially more intricate and intense than most full-length records you might find anywhere, proving how talented Vaarwel is and providing hints of what this Russian one-man army might breed next. And in order to keep updated with everything happening with Frozen Ocean, go check their Facebook, VKontakte, YouTube, SoundCloud and BandCamp, and also buy your copy of The Prowess Of Dormition at the Apocalyptic Witchcraft Recordings’ official BandCamp and Big Cartel pages or at CD Baby. Just open your ears and your heart, relax, and follow the ear-splitting sound of this frozen ocean of extreme music.

Best moments of the album: The Prowess Of Dormition.

Worst moments of the album: None.

Released in 2016 Apocalyptic Witchcraft Recordings

Track listing
1.No Blizzard 6:06
2.Once Aglow 7:10
3.Det Siste Snøfallet 5:19
4.The Prowess Of Dormition 6:15

Band members
Vaarwel – vocals, all instruments

Album Review – Against The Plagues / Purified Through Devastation (2015)

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The devastating new album by this Blackened Death Metal band from Chicago is undoubtedly the perfect soundtrack for the total extermination of our species.

Rating4

ALBUM_COVER_2015We all know that the human race has proven countless times to be a failed experiment of Mother Nature and that, consequently, there’s only one last resort to restore balance to the world, which is the total extermination of our species. Thus, as there’s no other way out, why not conducting that mandatory purge to the sound of the demolishing music found in Purified Through Devastation,  the brand new release by American Blackened Death Metal act Against The Plagues?

Based in Chicago, Illinois, this brutally heavy and technical band has been pulverizing the world with their Blackened Death Metal since their inception in 2005, mixing speed and slower tempos in a precise and explicit way for the delight of fans of extreme music. Featuring another first-rate artwork by renowned Swedish artist Pär Olofsson (you might remember him from some of our previous reviews such as the latest albums by Exodus and Irreversible Mechanism), six of the nine tracks in Purified Through Devastation were already part of either their 2012 EP The Quaternion or their 2015 EP Extermination Event, which altogether offer the listener a concept album that will leave you disoriented after its 47 minutes of annihilation are over.

Their pulverization begins in less than five seconds in Man’s Modern World, where lead singer Shaun Albro delivers potent screams and growls (hence leading the band’s dense musicality) while drummer Varyen Chylinski shows no mercy for mankind, sounding like a machine gun behind his drums. The brutal and atmospheric All Flesh Had Corrupted, showcasing a more modern version of Death Metal due to its background sounds, continues the band’s carnage and also presents some amazing guitar lines by Jon Corston and Aaron Covarrubias, especially their solos. And what can be said about Praetorian Icon, slightly faster, heavier and more demonic than the previous tracks, reinforcing their impressive technique to sound so destructive and tuneful at the same time?

photoThe next song, Theokratia, is a magnificent neck-breaking chant perfect for admirers of Melodic Death Metal but with sharper instruments, in special the bestial drumming by Varyen and the even deeper growls by Shaun. And their heavy artillery doesn’t give any sign of slowing down as seen in TerrorForm, where hints of Symphonic Black Metal blend perfectly with their traditional shredding, beats and screams, making it a highly-recommended tune for getting smashed in the circle pit. The same is valid for the awesome chant Extermination Event, where its initial siren alerts a scathing bloodshed is about to begin in the form of demented Death Metal.

Let’s say the album needed a short break from all extermination going on with the instrumental track Falling Further, but it’s just for less than two minutes before the psychotic tune Enblightened comes crushing your skull with its Black Metal elements, enhancing the already amazing harsh vocals by Shaun. And lastly, we have the threatening Enemy Herein to close the album, with all instruments getting darker than usual and Jon and Aaron firing more of their striking guitar solos.

Against The Plagues can be found on Facebook and ReverbNation, and there are so many awesome versions of Purified Through Devastation available for sale I don’t know where to start. You can grab your copy of the album at their BandCamp page, a limited edition CD signed by all members at their Big Cartel page, and both the regular version of the album or a special combo CD + T-shirt at the Non Serviam Records webstore. If the brutal extermination of mankind deserves a proper soundtrack, Against The Plagues are indubitably the ones to help us with that gruesome task.

Best moments of the album: Man’s Modern World, Theokratia and Extermination Event.

Worst moments of the album: Enemy Herein.

Released in 2015 Non Serviam Records

Track listing
1. Man’s Modern World 7:06
2. All Flesh Had Corrupted 4:58
3. Praetorian Icon 5:25
4. Theokratia 7:47
5. TerrorForm 5:12
6. Extermination Event 3:56
7. Falling Further 1:39
8. Enblightened 4:46
9. Enemy Herein 6:49

Band members
Shaun Albro – vocals
Jon Corston – guitar
Aaron Covarrubias – guitar
Milo Kovacevic – bass
Varyen Chylinski – drums

Album Review – Forte Ruin / Forte Ruin EP (2015)

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A cohesive and entertaining display of Melodic Death Metal, directly from Finland into our minds and souls.

Rating5

EP_CoverIf someone says Finnish Melodic Death Metal band Forte Ruin are more like a family than just a regular band, that person won’t be lying at all. The guitar duo comprised of Saku and Samu Aaltonen, together with drummer Jere Aaltonen, are the electric brotherhood that keeps the band’s engine running fast and efficiently, with lead singer Arttu Ruusunen, bassist Arto Viitanen and keyboardist Veli-Matti Kyllönen adding loads of extra fuel to their compositions, thus culminating in high-end music like what you’ll find in their self-titled debut EP, Forte Ruin.

The band was originally founded in 2011 in the city of Lahti, Finland under a different name, but after some major changes in their line-up they decided it was also necessary to adopt a new heading for their six-piece cohort. In regards to the overall production of the EP, it is truly remarkable how professional and organic the band sounds, having recorded everything by themselves without the help of any external sources, except for the recording of drums in a real studio. And after listening to this short and sweet display of Melodic Death Metal you’ll feel eager for more of their dynamism and energy in an upcoming EP or even a full-length studio album in a not-so-distant future.

You can sense influences from In Flames, Soilwork and the more contemporary American Alternative/Melodic Death Metal in the first of the three tracks, Alienated Humanity, where as expected there’s an embracing and eerie atmosphere created by its keyboards thanks to the excellent job done by Veli-Matti. In addition, its strong vocal lines (especially the screams and growls by Arttu) and catchy chorus enhance the impact of the song to the listener, making it the perfect opening to instantly captivate the crowd during their live performances.

Forte Ruin promoIn the excellent 45 Days, a thrilling start is augmented by powerful drums and solid riffs until the music reaches its full force, yet again showcasing ass-kicking sinister keyboard notes. Moreover, its straightforward rhythm and harmonious instrumental end up turning it into the best of all three tracks in my opinion, with highlights to the tuneful guitar lines by Saku and Samu and to the keen progressive touch added by the whole band at the end of the song.

Lastly, Enter The Masquerade presents melancholy and melody together in a pleasant composition the likes of the latest works by Arch Enemy and other Scandinavian Melodic Death Metal bands. Its clean vocals are more incisive and therefore more effective in this tune, with elements of Symphonic Black Metal and Progressive Metal increasing the song’s range and complexity. Not only this is another track with a powerful chorus, but its ending is a thing of beauty and the perfect hook for their next release.

Forte Ruin can be reached at their Facebook page, YouTube channel and SoundCloud, and you can also become part of their family by purchasing their EP at their BandCamp page or at the Record Shop X webstore. As long as we keep supporting underground metal music, bands like Forte Ruin will keep rising from all over the world, and while those bands keep working hard and never give up their dreams and goals, more amazing music such as this cohesive and exciting EP of Melodic Death Metal will keep invading our minds and souls for our total amusement.

Best moments of the album: 45 Days.

Worst moments of the album: None.

Released in 2015 Independent

Track listing
1. Alienated Humanity 3:46
2. 45 Days 3:41
3. Enter The Masquerade 5:52

Band members
Arttu Ruusunen – lead vocals
Saku Aaltonen – guitars & backing vocals
Samu Aaltonen – guitars & backing vocals
Arto Viitanen – bass & backing vocals
Veli-Matti Kyllönen – keyboards
Jere Aaltonen – drums

Album Review – Rifftera / Pitch Black (2015)

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Don’t be afraid of the dark and let this high-end futuristic Melodic Death Metal album satisfy your metallic desires.

Rating4

rifftera-coverAfter releasing a couple of demos in the past few years, it’s time for Finnish Melodic Death Metal band Rifftera to strike the world of heavy music with their debut studio album Pitch Black, a slashing feast of metallic and melodic tunes tailored for fans of Soilwork, In Flames, Arch Enemy, Megadeth, Trivium, among many other amazing heavy bands. In other words, if you’re one of those people who believe harmony and violence should always walk hand in hand to generate good music, Pitch Black will satisfy you in every sense, keeping you entertained from start to finish.

In my humble opinion, what really makes this promising band formed in 2010 in Vaasa, Finland stand out from other similar bands is the harmonious complexity of their compositions, which ends up helping the band tell the different stories within each song of the album, their evolution and consequences. For instance, although Pitch Black has only eight songs it goes on for over 54 minutes, an average of almost seven minutes per song. Not only that, I believe they wouldn’t have been able to produce an album so unique and complete without the futuristic sounding of the synths by keyboardist Antti Pöntinen, who is capable of leading the musicality even with all the heaviness of guitars, drums and harsh screams surrounding him.

And it’s those electronic effects generated by Antti that start the party in Back To Life, a violent Melodic Death Metal song that blends the Gothenburg sound with a more modern Finnish touch. In addition, singer/guitarist Janne Hietala does an awesome job delivering sheer rage through his vocal lines, enhanced by the song’s strong riffs and catchy chorus. Then we have One Step Closer,  where its synths remind me of some sounds from the classic album Turbo by Judas Priest, adding a lot of energy to the savagery brought forth by the other members of the band. However, in the faster and more brutal tune Lightbringer, synths remain in the background while the songs vicious riffs by Janne and Mikko and the nonstop drums by session drummer Thomas Tunkkari take the spotlight. It seems they love the “harsh screams during most parts of the song/clean vocals on chorus” formula, and they prove they have a very good reason for that, as this song is a pure delight for fans of Melodic Death Metal from Scandinavia.

Rifftera-PromoAshes Fall is another track full of melody and anger where a solid instrumental perfect for headbanging takes over the ambience, with its second half being truly melancholic, in special its guitar riffs and solos. The only negative comment in this song is that this time the chorus is not so powerful, harming the final result a bit. On the other hand, their Thrash Metal vein arises in the superb Rotten To The Core, featuring Swedish singer Björn “Speed” Strid from Soilwork, a flawless exhibit of melodic riffs, solos and drumming with spot-on lyrics about how all politicians are always deceiving us with their greedy lies and false promises (“How would this time be any different? / Haven’t we learned before? / How would this one make any difference? / You know one / You know ’em all”). It’s impossible not to love this whirlwind of ruthless Melodic Death Metal, one of the best contemporary compositions you can find anywhere, and I believe this is the path Rifftera should take in their future releases. Fans will surely have a good time inside the circle pits when this song is played, with kudos to Janne for sounding as choleric on vocals as the musicality demands.

They keep their music at a high level in Open Wounds, with Thomas contributing to its progressiveness and rage behind his drums, and pay attention to how the keyboards remain sharp and enhance the eerie atmosphere amidst the nonstop metal sounding. In the also wonderful The Ruins Of The Empire, the initial riff is so thrilling it’s hard not to play some air guitar and bang your head to it, with the sick growls by Janne during the chorus taking it to a deeper level of fury. Furthermore, there’s even time for a keyboard solo in this excellent tune, and it’s also remarkable how the professionalism and quality of the sound elevate the final result considerably. And finally, it looks like the last part of the album is dedicated to the heavier and darker side of Rifftera, which is confirmed in the title-track Pitch Black.  Its acoustic intro sets the tone for their most epic creation, flirting with Symphonic Black Metal so obscure and heavy it gets, with some moments reminding me a little of the guitar duos from the epic songs by Iron Maiden. It’s a sonic exhibit of wickedness and despair, almost a metal opera with imposing synths and orchestrations leading the music to a climatic ending.

In summary, if Melodic Death Metal is what you love the most in life, don’t be afraid of the dark and go check Rifftera’s Facebook page and YouTube channel, and buy your copy of Pitch Black at Record Shop X or Inverse Store, you won’t regret that at all. These talented Finnish metallers put their hearts and souls into the making of this high-end futuristic album, something you can feel in each and every song, turning it into a must-have item in your collection of melodic and angry tunes.

Best moments of the album: Lightbringer, Rotten To The Core and The Ruins Of The Empire.

Worst moments of the album: Ashes Fall.

Released in 2015 Inverse Records

Track listing
1. Back To Life 5:22
2. One Step Closer 5:53
3. Lightbringer 5:27
4. Ashes Fall 7:03
5. Rotten To The Core (feat. Björn “Speed” Strid) 6:20
6. Open Wounds 5:24
7. The Ruins Of The Empire 6:40
8. Pitch Black 11:48

Band members
Janne Hietala – guitar, harsh vocals
Mikko Kuoppamaa – guitar, clean vocals
Antti Pöntinen – keyboards
Jupe Karhu – bass

Guest musicians
Björn “Speed” Strid – additional vocals on “Rotten To The Core”
Thomas Tunkkari – session drummer

Album Review – Sarpentra / Supernova (2015)

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Obscure and enigmatic, this impressive Blackened Death Metal band from Russia will break into your psyche and give you a unique sense of freedom with their thunderous music.

Rating4

Sarpentra - Supernova - coverLet me start by telling you how different this review is going to be, as for the first time ever I have absolutely no idea who the band members are for the band in question, Russian Blackened Death Metal entity Sarpentra, and according to different sources I’ve been in contact with they’re keeping their names in secret on purpose. The band itself states that Sarpentra are “more than a group of people who play music. It is an idea, symbiosis of spirit, music and mind, compounded in a single organism, which creates its own fate.” With that said, I guess the best option in this case is simply absorbing and enjoying their music without worrying about who’s playing it, don’t you agree?

And what Sarpentra have to offer us in their debut full-length album, entitled Supernova, definitely makes up for that lack of information on the band members. The entire album presents an incredible mix of extreme aggression and mystical instrumentation, following a similar music pattern from icons such as Nile and Behemoth, or as the band likes to say, it’s “an eleven-tracked hymn to domination of mind above stagnation, bigotry and imitation of life and freedom.” And in case you still don’t get it, just hit play and you’ll be taken into a music journey full of orchestrations, choirs, beautiful guitars and devastating drums that will make your metallic head spin around like a violent whirlwind.

Right after the quick sinister intro Archaios Ophios (Initiation), Sarpentra’s brutal and technical Death Metal comes crashing like a thunder storm in Iron Nails Run In, a modernized version of extreme music intensified by the addition of symphonic elements, where its Black Metal blast beats and evil progressiveness are truly outstanding. In the pure Blackened Death Metal tune Splendor Solis, the guttural vocals sound vile and ruthless in contrast to the eerie ambience generated by synths and backing vocals, with its guitar solos providing a good balance amidst all the sonic devastation; while the supernatural intro and Middle-Eastern guitar scale in the excellent Sempiternal transport the listener to a hopeless and deserted land. It’s a flawless blend of old school Death Metal and Symphonic Black Metal, reminding me of some classics by Behemoth due to its blackened vocals and intricate guitar riffs and solos.

sarpentraThe boisterous Odium (The Temple of the Sacred False) is a short and skilful exhibit of extreme music, an evil old school Death Metal song with demonic vociferations more than perfect for fans of Extreme Metal, followed by the imposing symphonic instrumental track V.V.V.V.V., or “vi veri veniversum vivus vici” (a Latin phrase meaning “by the power of truth, I, while living, have conquered the universe”), and the amazing I Set the World on Fire, where its drums are absolutely on fire while its vocals are bursting with anger. Complex and electrifying, in special its razing guitar lines, this is the next step in the expedition to the deranged land created by this extremely sharp and talented band.

The War Anthem doesn’t have “war” in its name in vain: it’s yet another inhuman tune where it’s quite clear they’re trying to blacken their Progressive Death/Black Metal as much as possible. Furthermore, those guys love shredding and delivering fast guitar solos more than their own lives without a shadow of a doubt. Then we have the title-track, Supernova, where you can feel the solar power present in the album art through their mix of Death, Black, Symphonic and even Progressive Metal, a feast for music lovers. In addition, there’s something primeval and mysterious in this song that makes it so interesting it’s hard to describe, you have to listen to it carefully to understand what I’m trying to say.

Anyway, Omnia Vincam  (Latin for “I will conquer all”) is an eerie instrumental track impregnated with occult voices that opens the gates for the most epic song of the album, Prometheus Unbound, where its energy and intensity provide the listener the ultimate journey to Sarpendra’s godforsaken land. Showcasing a very cohesive and majestic instrumental from start to finish, all orchestrations and backing vocals perfectly support the depiction of an ancient civilization worshiping the demigod Prometheus, finally unleashed from his burdensome chains.

There are infinite ways to get in touch with Sarpentra and know more about their elaborate music, such as their official Facebook page, VKontakte and YouTube channel, and you can buy the striking Supernova at the band’s Big Cartel, Amazon, iTunes and Google Play. It doesn’t matter how enigmatic and obscure Sarpentra are, their music is all that’s needed for a unique experience of mind and soul, breaking into your psyche and giving you a sense of freedom in a way only sumptuous heavy music is capable of doing.

Best moments of the album: Iron Nails Run In, Sempiternal and Prometheus Unbound.

Worst moments of the album: None.

Released in 2015 Independent

Track listing
1. Archaios Ophios (Initiation) 0:20
2. Iron Nails Run In 4:34
3. Splendor Solis 3:04
4. Sempiternal 5:36
5. Odium (The Temple of the Sacred False) 2:58
6. V.V.V.V.V. 2:23
7. I Set the World on Fire 4:13
8. The War Anthem 3:11
9. Supernova 5:10
10. Omnia Vincam 2:02
11. Prometheus Unbound 7:17

Band members
*Information not available*

Album Review – Cradle of Filth / Hammer Of The Witches (2015)

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The metallic coven instituted by one of the most important Extreme Metal bands of all time keeps haunting our world with their thrilling and malevolent music.

Rating3

CoF_Hammer of the WitchesI don’t understand why some people are so skeptical when British Extreme Metal behemoths Cradle of Filth are about to release a new album. Despite some very few letdowns, and I’m not talking about entire albums but just one or another song, Dani Filth and his sinful horde have always delivered first-class dark music, where the combination of symphony, heaviness, controversial themes and intricate and deranged lyrics goes beyond what almost all metal bands in the world can do. And now joining their collection of perversity, which includes masterpieces such as Cruelty and the Beast, Midian, Damnation and a Day and Godspeed on the Devil’s Thunder, we have Hammer Of The Witches, the eleventh studio album in their distinguished career and, more important than that, another solid display of black magic by one of the most important extreme bands from the past decades.

The album is named after the Malleus Maleficarum, a medieval document of guidelines regarding the persecution and torture of witches, just for you to have an idea of how obscure Hammer Of The Witches is. In regards to the artwork, designed by Latvian artist Arthur Berzinsh, Dani mentioned in one of his interviews that it is “a lavish walk-through of the lyricism, drawing on rich renaissance themes and displaying them in beautiful-yet-unsettling scenarios. Half of the detailed pieces are totally original for the release, others are Berzinsh classics cunningly tailored to the themes of the album, which are themes rife with heady witchcraft, be it persecution, retribution or unfettered spiritual liberation. The female form is rampant throughout the artwork, unashamedly displayed in its classical rendition of beauty… and horror.” In my humble opinion, that stylish explanation summarizes not only the imagery, but also the music found in the album. You can also see Dani giving more details about it in this official interview on YouTube.

Is there a better way to start a Cradle of Filth album than with one of their traditional intros, like Walpurgis Eve? This is already a good sign that the album will be kick-ass, which is confirmed when the havoc begins in Yours Immortally…, a song that perfectly represents the mix of raw Black Metal and traditional Heavy Metal only Dani & Co. can provide us. In addition, while Dani delivers his trademark high-pitched demonic screams, Martin “Marthus” Škaroupka keeps improving his importance in the bestial sounding crafted by the band. Enshrined In Crematoria has its good and bad moments, the good ones happening when they speed up the rhythm and the guitar riffs by Richard Shaw and Marek “Ashok” Šmerda lead an awesome sonic attack, whereas its slow parts sound too bland and generic; followed by Deflowering The Maidenhead, Displeasuring The Goddess, with its musicality containing elements from Midian and The Manticore and Other Horrors boosted by some crazy guitar solos. Moreover, I guess I don’t need to say Dani is by far one of the best lyricists of all time (“Religion caw epistles / Twisted laws extend their thristles / A crown to justify / Our place atop this hellbound carriage”), and Lindsay Schoolcraft not only delivers some wicked keyboard notes but her smooth and powerful voice also adds a lot of passion to the song.

CoF 2015Blackest Magick In Practice showcases a beautiful and melancholic start, focusing on Symphonic Gothic Metal without losing the band’s characteristic ferociousness. Its guitar riffs couldn’t sound more amazing, and Dani’s vocals sound great during the entire track, it doesn’t matter if he’s simply screaming like a demon or delivering his deeper dark growls. Then the band offers us the calm but somber intro The Monstrous Sabbat (Summoning The Coven), right before the title-track Hammer Of The Witches comes ripping with its imposing sounding where the keyboards by Lindsay get a lot more focus. It’s the most symphonic of all tracks so far, an awesome feast of the Symphonic Black Metal that longtime fans of the band learned to love. I have to say the initial “electronic” seconds in Right Wing Of The Garden Triptych (check the uncensored version of the official video HERE, it’s much better than the censored one on YouTube) scared the hell out of me especially because this was the first single released, but fortunately that was just a quick intro as the music itself is simply outstanding, varying from sheer brutality to gentle piano passages. Dani is absolutely on fire with his diabolic screams as well as Marthus and his wicked blast beats, not to mention the band’s Stygian lyrics being a delight for fans of devilish music as always (“Unforgiving proof accrual begs this cruel rebirth / A living fuel for the blaze of renewal, razing the earth / Pariahs and Messiahs of the highest worth / Fodder for the denizens of risen, hissing Hell”).

It’s not a true Cradle of Filth release without a ghoulish song about vampires, and in Hammer Of The Witches that comes to light (or darkness) in The Vampyre At My Side, an old school Cradle of Filth tune where you can feel the music rising to its climax amidst rawer moments in which the guitar riffs get thrashier than usual. Do I need to say anything about yet another excellent performance by Dani and Marthus? Anyway, the organ intro in the next song, Onward Christian Soldiers, generates a somber atmosphere perfect for the dense and violent exhibit of modern Extreme Metal that follows. This is one of the best tracks of the album (if not the best), a stunning epic composition with lots of variations where its riffs remind me of some of their songs from the brilliant Dusk… and Her Embrace. And finally, Blooding The Hounds Of Hell is a more-than-suitable symphonic outro to close all the stories told throughout the album, transpiring sorrow and darkness.

You can choose your version of the album at the Nuclear Blast webstore, but if I were you I would definitely purchase one of the special editions that come with two bonus tracks, King Of The Woods and Misericord, as they’re both savage and erotic. Based on the magnificent witchcraft found in Hammer Of The Witches, it looks like the metallic coven instituted by Cradle of Filth, who are in their best shape of the past few years, will keep haunting our world with their thrilling music for many years to come.

Best moments of the album: Yours Immortally…, Right Wing Of The Garden Triptych, The Vampyre At My Side and Onward Christian Soldiers.

Worst moments of the album: Enshrined in Crematoria.

Released in 2015 Nuclear Blast

Track listing
1. Walpurgis Eve 1:29
2. Yours Immortally… 6:00
3. Enshrined In Crematoria 5:46
4. Deflowering The Maidenhead, Displeasuring The Goddess 6:59
5. Blackest Magick In Practice 6:50
6. The Monstrous Sabbat (Summoning The Coven) 1:51
7. Hammer Of The Witches 6:28
8. Right Wing Of The Garden Triptych 5:54
9. The Vampyre At My Side 5:45
10. Onward Christian Soldiers 6:59
11. Blooding The Hounds Of Hell 2:10

Deluxe Edition bonus tracks
12. King Of The Woods 6:17
13. Misericord 6:19

Band members
Dani Filth – lead vocals
Richard Shaw – guitars
Marek “Ashok” Šmerda – guitars
Daniel Firth – bass
Lindsay Schoolcraft – female vocals, keyboards
Martin “Marthus” Škaroupka – drums

Album Review – Down To Hell / V Zajatí Temnoty (2015)

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Let’s brave the world of Melodic and Symphonic Black Metal created by this talented Slovak six-piece band who sings entirely in their mother tongue.

Rating5

coverFounded in 2006 in the city of Malaciek (or Malacky), Slovakia, around 35 km north from the capital Bratislava, what Melodic/Symphonic Black Metal band Down To Hell have to offer the fan of heavy music goes beyond your usual symphonic and extreme elements. Their music relies heavily on contrasts, as in singing as well as their instrumental and lyrics written in the form of stories, providing a more complete experience to the listener. In addition, although they say they play Symphonic Black Metal, which instantly brings bands such as Dimmu Borgir to your mind, they sound rawer and more inclined to old school Black Metal than that.

However, the most noteworthy characteristic in the music by Down To Hell is the fact they did not “surrender” to the English language, singing their songs entirely in their mother tongue, Slovak, which adds an extra touch of darkness to their 2014/2015 debut full-length album V Zajatí Temnoty, or “Captive Darkness” in English. The only thing in English ends up being the band’s own name, which makes me wonder why they’re not called “Dole Do Pekla” instead. Anyway, let’s get down to business and see what V Zajatí Temnoty is made of.

Ticho Pred Búrkou, or “calm before the storm”, is exactly what this piano intro represents, and you can get a sense of how symphonic their music is before the actual storm begins in Pán Vetra, Búrky A Mrakov (“lord of wind, storms and clouds”), with the growls by singer/guitarist “Kani” Miroslav Gajdár matching perfectly with the musicality proposed while the keyboards by “Lubo” Ľubomír Müller complement the havoc created by the song’s guitar riffs and drums in a very interesting way. Slightly darker than the previous tune, Skazení (“wicked”) sounds almost like raw Black Metal in some instances but pure symphony in others, with the nice job done on guitars enhancing its overall quality. It’s the first song of the album to showcase the clean vocals by the gorgeous “Maťa” Martina Bilkovičová, who has a very good chemistry with Kani and his screams.

Keeping up with the previous songs, Bosorské Sólo is another great mix of extreme music and melodic instrumental, where it’s interesting to notice how drummer “Beňo” Dušan Šelc can easily change from a more rhythmic drumming to furious blast beats, providing more progressiveness to the music; followed by the “sudden attack” offered by the band in Krvavé Jazero (“bloody lake”). This song, which has a solid flow from start to finish, is how dark music should always be, with the smooth voice by Maťa being like a dream amidst its nightmare-ish beats. Unfortunately, the band disappoints a little in Prízrak (“phantom”), which despite starting differently than the other songs in a thrashier way, it doesn’t know if it’s Melodic Black Metal, Pop Metal or Symphonic Metal. It’s still an enjoyable tune, but below the album average especially as it’s not very clear what its final goal was.

dth_allThe final triade in V Zajatí Temnoty couldn’t have started in a better way than with Smrť (“death”), where not only the guitar lines by Kani and “Ťapo” Martin Matlovič sound amazing, but Kani also does an awesome job ranging from high-pitched roars to truly deep guttural. Besides, pay attention to how the band is able to sound cruel and harmonic at the same time, just like what Extreme Metal icons Cradle of Filth perfectly do, and you’ll understand why this is one of the top moments of the album. Then we have the dark ballad/waltz Nemŕtva Nevesta (“undead bride”), where the clean vocals by Maťa steal the show, achieving an even more pleasant performance due to the keyboard notes by Lubo; and finally the excellent Drak (“dragon”), a fast and metallic tune that has that amazing European touch to increase its quality and cohesiveness, including elements from genres such as Folk and Viking Metal, with Lubo and bassist “Miro” Miroslav Hulka being responsible for building the whole ambience for the rest of the band.

To sum up, if you want to brave the world of Symphonic Black Metal sung in its entirety in a language other than English, visit Down To Hell’s official Facebook page, YouTube channel, Bandzone.cz and, of course, buy their music at their BandCamp page. This six-piece Slovak band truly knows what they’re doing, and I’m sure their non-English words won’t restrain them from reaching new heights with their music so talented they are.

Best moments of the album: Pán Vetra, Búrky A Mrakov, Krvavé Jazero and Smrť.

Worst moments of the album: Prízrak.

Released in 2015 Independent

Track listing
1. Ticho Pred Búrkou 1:41
2. Pán Vetra, Búrky A Mrakov 5:26
3. Skazení 6:43
4. Bosorské Sólo 8:40
5. Krvavé Jazero 7:10
6. Prízrak 7:48
7. Smrť 6:39
8. Nemŕtva Nevesta 7:35
9. Drak 6:28

Band members
“Maťa” Martina Bilkovičová – clean vocals
“Kani” Miroslav Gajdár – guitar, screams, growls
“Ťapo” Martin Matlovič – guitar
“Miro” Miroslav Hulka – bass guitar
“Lubo” Ľubomír Müller – keyboards
“Beňo” Dušan Šelc – drums

Album Review – Dys Inbunden / One With Morbidity, The Opus Misanthropy (2015)

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Come worship the Other Side to the sound of the new demonic opus by this extremely talented and sinful Swedish cult.

Rating3

One-with-morbidity-the-opus-misanthrop_OmslagCall it “Deaosophic Metal”, Progressive Black Metal or simply Black Metal. The music disseminated by Dys Inbunden, one of the most nihilistic death obsessed bands in the world, in their masterfully chaotic new album One With Morbidity, The Opus Misanthropy, is going to hit you with an avalanche of depression, suicide, darkness and death beyond dispute. Even if you’re not a huge fan of extreme music, I strongly recommend you take a shot at this amazing album so intense it is.

Forged in the fires of Stockholm, Sweden in 2012 and after releasing their debut album (or their “first opus”, as the band refers to it) entitled Pandemonium Unchained in 2013, Dys Inbunden spent a dark period in 2014 recording their new opus with Honza Kapák at Hellsound Studio, in the Czech Republic. The result, as aforementioned, is awesomely professional and instigating, carving the band’s trademark on the global map of Extreme Metal. And now, after reading this quick intro about the hostile Dys Inbunden and their blasphemous creation One With Morbidity, The Opus Misanthropy, I dare you to hit play if you have the guts.

Well, if you were tough enough to do it, you’ll already face One With Morbidity, one half of the album title, which starts as the intro to some sort of occult ceremony that goes on for a while before a sonic apocalypse begins. What an outstanding production, where you can clearly listen to each instrument while at the same time it’s fuckin’ dark and heavy as hell. Not only that, Mr. Gefandi Ör Andlät knows how to desecrate our minds with his blustering screams. The second half of the album title, Opus Misanthropy, presents hints of Symphonic Black Metal in a poignant atmosphere, where even the clean cultic vocals sound intimidating, not to mention the spot-on orchestrations by Magister Nocturnal, which are not too portentous but adequate to the band’s purpose.

If you’re still alive and sane, the symphonic and devilish track Odious Worship Of Annihilation will mercilessly invade your soul, with Gefandi Ör Andlät sharpening his vocals to an even deeper satanic level while the instrumental keeps dense and extremely well-crafted. There’s not a single second of hope for over seven minutes of music in this tune, one of my favorites of the entire album hands down. Mischievous Paths Of Nocturnal Lust, the longest track of the album, doesn’t disappoint, with the duo of darkness offering us another Black Metal raid with extra layers of insanity, rhythmic variations and progressive passages. Its vocals and riffs are of course fiendish, and I’m sure you’ll feel your brain detaching from your skull to the sound of this evil feast. Then we have Through Demise and Decay, with its powerful riffs and harsh screams being its main ingredients, as well as those sick blast beats the way we love in Black Metal and a “chorus” that seems to incite a demonic worship; and The Illuminating Gaze Of Lucifer, where its Doom Metal vibe blended with the battering ram from Black Metal generate an interesting outcome. Moreover, as the name of the song contains the word “Lucifer”, it’s quite obvious the prince of darkness must be honored to be the inspiration for it.

dys inbundenDraconigena, a word that means “dragon-born” or “someone or something born of a dragon”, showcases Dys Inbunden spitting fire through their music. This is a very progressive and extreme tune, with highlights to the superb guitar lines by Gefandi Ör Andlät and its venomous ambience, sounding like three or four different songs in a combination of complexity and bestiality, and I guess I don’t need to say how solid the final result is. And continuing with the innovative names, Larva Pazuzu is the union of the words “larvae”, which in Roman mythology means a malevolent spirit of the dead or “a terrifying mask”, and “Pazuzu”, which in Assyrian and Babylonian mythology was the king of the demons of the wind and son of the god Hanbi, also representing the southwestern wind, the bearer of storms and drought. The music itself couldn’t be more direct, an awesome massacre where both Gefandi Ör Andlät and Magister Nocturnal sound deeply infuriated (and whoever is playing the drums is a beast).

Just when you think they’re going to take a break amidst so many wicked tunes, they continue their path of destruction with Nihilist Pariah, a raw old school Black Metal tune tailored for diehard black metallers, boosted by the deluxe production of the album, followed by Crown Of Carcosa, another masterful display of extreme music where the nuances of darkness brought forth by its symphonic elements sound really interesting. And what starts as a song by Opeth or Dream Theather evolves to a deranged but very melodic carnage in He Who Worships Death, with highlights to its high-end drumming and the uproar caused by the demonic voice of Gefandi Ör Andlät. Lastly, we have the frenetic Dimension Of Nihility, as vile as it can be, with the flawless support provided by Magister Nocturnal allowing Gefandi Ör Andlät to add more experimentations and a stronger taste to the music, and nothing is more suitable to end this Black Metal rite than a melancholic piano outro, named Without Life And Movement.

To be fair, it’s extremely difficult to summarize this Stygian masterpiece in just a few lines, so I deeply recommend you go like their Facebook page and check their music on YouTube, as well as buy One With Morbidity, The Opus Misanthropy at their official webstore, at the Liflätinn Productions webstore, on Amazon or at many other locations to really feel their music in your flesh. In other words, it’s time for us all to worship the Other Side to the sound of the new amazing opus by this talented and sinful Swedish cult.

Best moments of the album: Odious Worship Of Annihilation, Through Demise and Decay, Draconigena and Larva Pazuzu.

Worst moments of the album: Opus Misanthropy.

Released in 2015 Liflätinn Productions

Track listing
1. One With Morbidity 6:47
2. Opus Misanthropy 6:56
3. Odious Worship Of Annihilation 7:47
4. Mischievous Paths Of Nocturnal Lust 9:04
5. Through Demise and Decay 8:07
6. The Illuminating Gaze Of Lucifer 8:59
7. Draconigena 6:25
8. Larva Pazuzu 3:38
9. Nihilist Pariah 7:54
10. Crown Of Carcosa 5:35
11. He Who Worships Death 6:49
12. Dimension Of Nihility 6:07
13. Without Life And Movement 2:31

Band members
Gefandi Ör Andlät – vocals, lead guitar
Magister Nocturnal – bass, piano, orchestrations

Album Review – Amanita Virosa / Asystole (2015)

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It’s time to go absolutely mental with the extreme and melodic music by this poisonous Finnish band.

Rating4

amanita-coverImagine one day you’re just wandering aimlessly in the woods when you suddenly spot a harmless and probably edible mushroom, and you think “why not give it a try?” Well, you might be facing one of the deadliest of all known poisonous mushrooms in the world, commonly known as the European destroying angel, which will fatally damage your liver and kidneys, taking you to the Other Side sooner than you expected. The scientific name of that lovely mushroom is Amanita Virosa, thereby chosen to be the name of a demented Finnish band that plays a brutal and melodic mix of different subgenres of metal music, kindly denominated by the band itself as “Hospital Metal”.

Formed in 2008 in the town of Mikkeli, Finland, around 240km from the capital Helsinki, what this talented sextet offers in Asystole, their first full-length album, definitely represents the conjunction of the words “hospital” and “metal” as stated by the band. By the way, in case you don’t know it, in medicine, asystole (colloquially known as flatline) is a state of no cardiac electrical activity, one of the conditions that may be used for a medical practitioner to certify clinical or legal death. And that’s exactly what will happen to you after the ruthless heart-stopping assault of hate, sorrow, mental distress and despair found in the entire album.

The semi-acoustic intro Vita a Mortam (Latin for “life from death”) is a little “tricky”, as it suggests the music will be calm or at most some traditional metal music, but then all hell breaks loose when My Slightest Hope begins, and let me tell you there’s no hope for the faint at heart in this song. It’s dark Symphonic Metal with elements of Black Metal the likes of Dimmu Borgir, with the possessed-like vocals by frontman Clamors together with the keyboards by Cantor Satana standing out amidst the sonic havoc. Even more symphonic and impetuous, I can imagine how fun the band should look on stage playing the awesome …Of Failing, which showcases Cantor Satana and drummer Torsoholocaust as the leaders of a music revolution: they do not stop for a single second at all, making this tune perfect for mosh pits and crowd surfing.

AV_AV_1b_copyIn the bloodthirsty Valuta Vereni Tähän Maahan (Finnish for “drain the blood of this country”), by the way the only track sung in their mother tongue, Amanita Virosa provide us all an ideal soundtrack to a Horror flick mainly due to its rawer and more exotic touch, with Clamors seeming really comfortable growling in Finnish throughout the whole song. Then it’s time for guitarists Kingcohol and Melnik13 (where the fuck did they find those names?) to showcase their skills with powerful riffs and solos in No Life King, an extreme exhibition of violence blended with a beautiful metallic melody where the band shows no mercy for our necks and souls.

Dead Inside is the perfect example of the “Hospital Metal” proffered by Amanita Virosa, where Melodic Death Metal meets Symphonic Black Metal in order to generate a crazy heavy mixture that ends up working pretty well, giving the song a nice desperate vibe and pointing it out as one of the best tracks to be played live. Following that sheer derangement, we have another song focused on keyboards and the deep growls by Clamors, entitled Mental Failure, with highlights to its “psychiatric” intro and its clean but extreme musicality, and the very technical tune Suck The Poison, relatively slower, more melancholic and symphonic than the other tracks, with its keyboards sounding like they’re its spinal cord. And last but not least, Dead Body Love keeps up with the energy found in rest of the album thanks to a powerful performance by the entire band, closing Asystole in a very effective way.

In summary, Asystole is a very good heavy music album that offers something new to the listener even in an era where almost nothing seems original anymore. Therefore, all you have to do now is visit their Facebook and SoundCloud pages, and also buy their music at the Inverse Records webstore, because it’s time to go absolutely mental with the fresh and extreme “Hospital Metal” brought forth by this amazing band from the land of ice and snow. This, my friends, is the only type of poison you should be injecting in your veins.

Best moments of the album: …Of Failing, Valuta Vereni Tähän Maahan and Dead Inside.

Worst moments of the album: Mental Failure.

Released in 2015 Inverse Records

Track listing
1. Vita a Mortam 1:58
2. My Slightest Hope 4:45
3. …Of Failing 4:14
4. Valuta Vereni Tähän Maahan 4:18
5. No Life King 4:38
6. Dead Inside 5:18
7. Mental Failure 4:53
8. Suck The Poison 5:18
9. Dead Body Love 4:06

Band members
Clamors – vocals
Kingcohol – guitar
Melnik13 – guitar
Robustuz – bass
Cantor Satana – keyboards
Torsoholocaust – drums