Tag Archives: symphonic black metal

Album Review – Paradise In Flames / Blindness (2024)

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Behold the new album by this sulfurous Symphonic Black Metal horde from Brazil, portraying religion as a psychological illness, and how men become blind in the pursuit of power.

Telling part of the story of a philosophical work that portrays religion as a psychological illness, illustrating how men become blind in the pursuit of power, the incendiary Blindness, the band new offering by Santa Luzia/Belo Horizonte, Minas Gerais, Brazil-based Symphonic Black Metal band Paradise In Flames and the follow-up to their 2021 album Act One, will be a blast for anyone with an interest in Cradle of Filth, Dimmu Borgir, and Satyricon. Produced by André Carvalho, mixed and mastered by Tue Madsen, and displaying a sinister artwork by Marcelo Almeida, representing Plato’s allegory of the cave, the new album by O. Mortis on vocals, A. Damien on vocals and guitars, R. Aender on bass, G. de Alvarenga on keyboards and backing vocals, and S.J. Bernardo on drums sounds dark, imposing, multi-layered and sinister just the way we like it in extreme music, undoubtedly taking the band’s name to new heights in their already solid career.

The eerie, phantasmagorical intro Desolate World, inspired by present-day Cradle of Filth, sets the stage for the band to haunt our souls with Concerto No.6 in C Minor, Cold Spring, with the keys by G. de Alvarenga bringing an extra touch of darkness to the already venomous sound blasted by his bandmates, not to mention A. Damien and O. Mortis make a fantastic vocal duo. Then in the pulverizing Black Wings the entire band takes their insanity and passion for the dark side of music to a whole new level, offering layers and layers of powerful metal music infused with classical and operatic moments, therefore resulting in a full-bodied aria of Symphonic Black Metal; followed by Reasons To Not Believe, offering another round of whimsical keyboards intertwined with the caustic riffs by A. Damien and R. Aender, with A. Damien once again roaring like a demonic creature. Their imposing sounds permeate the air in I Feel The Plague, showcasing the band’s trademark Stygian wall of sounds led by the infernal beats by S.J. Bernardo in one of the most detailed songs of the album; and they keep distilling their evil sounds and tones in The Cure, once again blending the fury of S.J. Bernardo’s drums with the finesse of G. de Alvarenga’s keys.

Then a moment of serenity invades our minds in The Priest, before all morphs into more of their chaotic Black Metal with O. Mortis stealing the spotlight with her powerful operatic vocals in paradox with the harsh gnarls by A. Damien. In Endless Night Battle, one of the most epic of all songs, their guitars sound utterly caustic during the entire song, not to mention how S.J. Bernardo pounds his drums like a beast; whereas War Sonata sounds and feels absolutely inspired by the recent sluggish, grim creations by Dani Filth and his horde, and Paradise In Flames sound truly majestic throughout the entire song, with all background elements supporting the vocals by A. Damien and O. Mortis majestically. There’s still a lot of fuel to burn (in hell) starting with Age Of Death, another solid composition bringing forward more of the delicate yet devilish keys by G. de Alvarenga amidst a dense and enfolding musical extravaganza; and last but not least, the band will attack our senses with Angels & Devils, with A. Damien alternating between evil screeches and deep, brutal guttural lines while R. Aender and S.J. Bernardo will make your cranial skull tremble armed with their ruthless kitchen.

There are countless places where you can purchase the excellent Blindness, including the band’s own webstore and Linktree, as well as Apple Music, and don’t forget to also give those Brazilians servants of darkness a shout on Facebook and on Instagram, to subscribe to their YouTube channel, and to stream their music on Spotify. Religion  is indeed a psychological illness that’s driving humanity to its doom, and the fantastic music found in Blindness represents exactly all the darkness and evil we’re marching towards if that doesn’t change anytime soon.

Best moments of the album: Black Wings, I Feel The Plague and War Sonata.

Worst moments of the album: Reasons To Not Believe.

Released in 2024 Xaninho Discos/Demoncratic Records

Track listing
1. Desolate World 1:00
2. Concerto No.6 in C Minor, Cold Spring 3:37
3. Black Wings 4:00
4. Reasons To Not Believe 3:32
5. I Feel The Plague 4:17
6. The Cure 3:13
7. The Priest 3:26
8. Endless Night Battle 4:18
9. War Sonata 3:28
10. Age Of Death 4:15
11. Angels & Devils 3:52

Band members
O. Mortis – vocals
A. Damien – vocals, guitars
R. Aender – bass
G. de Alvarenga – keyboards, backing vocals
S.J. Bernardo – drums

Album Review – Vesperian Sorrow / Awaken the Greylight (2024)

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Embark on a beautiful Symphonic Dark Metal experience made in Texas, exploring realms of the cosmos, sorrow, sadness, and darkness.

Considered the premiere Symphonic Dark Metal band in North America, Austin, Texas-based Symphonic Black Metal horde Vesperian Sorrow evokes the darkest depths of searing human tragedy juxtaposed with soaring heights of orchestrated, symphonic melody in their fifth studio album, titled Awaken the Greylight, the follow-up to their 2012 album Stormwinds of Ages. Displaying a sinister artwork by Caelan Stokkermans, the venomous Awaken the Greylight is a haunting and immersive sonic experience by Orlando Logan Olivero on vocals, Will Rohirrim on the guitars, Gabe Reyes on bass, and Christopher Nunez on drums and keyboards, not to mention the band as usual takes a distinctive approach in their lyrical content, exploring realms of the cosmos, sorrow, sadness, and darkness throughout the entire album.

The opener As The Pillars Were Raised is utterly symphonic, epic and majestic, starting the album on a high and Stygian note, with Orlando roaring like a demonic entity for our absolute delight and with Will stealing the spotlight with his wicked guitar solo; whereas Antediluvian – Proceeding The Unshaping is another sulfurous blast of Symphonic Black Metal by the quartet, with Christopher crushing his drums while Orlando vociferates in the best Dani Filth style, resulting in a lecture in obscurity and heaviness. Then we have An Epistle To The Prime Vivified, presenting a beautiful name for a five-minute feast of melodic and ethereal sounds, with Will and Gabe filling all spaces in the air with their respective riffs and bass, followed by Traverse The Vorthonian Passage, blending the epicness of Symphonic Metal with the ferocity of pure Black Metal, and the result is a phantasmagorical tune where Orlando’s vocals alternate between deep, enraged gnarls and soaring clean vocals. And after such imposing tune, A Dire Flight for the Black Fragment keeps the epicness flowing strong through the album, with Will once again embellishing the airwaves with his classy riffs and solos.

Christopher sounds fantastic with both his drums and keys in Seek the Last Priestess of Tyyk, generating a striking atmosphere perfect for the deep roaring by Orlando in one of the strongest and most detailed songs of the album; followed by They Beheld the Chainbreaker’s Crowning Defiance, another lesson in Symphonic Black Metal that carries a gorgeous name, showcasing razor-edged riffs and intricate yet hammering drums, and I would definitely love to see this song performed by the band with a supporting orchestra. There’s still a lot more from those Texan metallers, starting with Who Dwells Whithin The Blight Moon, blending the music by Dimmu Borgir with Melodic Death Metal elements found in the music by Arch Enemy, and the final result is simply breathtaking, whereas The Excillion Ontogenesis is a more direct and visceral creation by the quartet, with the keys by Christopher bringing a welcome touch of finesse to it. And lastly, the quartet will explode our senses one final time with Awaken the Greylight, offering more of their fusion of sharp riffs, low-tuned bass, and stylish keys while Orlando keeps growling like there’s no tomorrow.

Those Texan creatures of the night are waiting for you on Facebook and Instagram with news, tour dates and so on, and you can also stream all of their sinister creations on Spotify or any other streaming service. However, in order to show them your true support, you should grab a copy of the excellent Awaken the Greylight from their BandCamp page or from Apple Music, adding even more darkness to your already Stygian collection. Awaken the Greylight is as aforementioned an amazing sonic experience brought into being by Vesperian Sorrow, elevating the name of the band to new heights and, consequently, inspiring them to keep embellishing the airwaves with more of their stylish music in the coming years.

Best moments of the album: Antediluvian – Proceeding The Unshaping, Seek the Last Priestess of Tyyk and Who Dwells Whithin The Blight Moon.

Worst moments of the album: None.

Released in 2024 Black Lion Records

Track listing
1. As The Pillars Were Raised 6:26
2. Antediluvian – Proceeding The Unshaping 5:52
3. An Epistle To The Prime Vivified 5:06
4. Traverse The Vorthonian Passage 5:14
5. A Dire Flight for the Black Fragment 5:51
6. Seek the Last Priestess of Tyyk 6:00
7. They Beheld the Chainbreaker’s Crowning Defiance 6:57
8. Who Dwells Whithin The Blight Moon 4:30
9. The Excillion Ontogenesis 4:15
10. Awaken the Greylight 4:48

Band members
Orlando Logan Olivero – vocals
Will Rohirrim – guitars
Gabe Reyes – bass
Christopher Nunez – drums, keyboards

Album Review – Yass-Waddah / Lust for Domination (2023)

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A lone wolf hailing from Spain will take you on a dark and mysterious Symphonic Black Metal journey to the sound of his third and bestial full-length opus.

Formed in 2011 in , Venice, Italy, but currently located in Tenerife, in the Canary Islands, Spain, the unrelenting Symphonic Black Metal one-man army Yass-Waddah, which name was taken from the novel Cities of the Red Night, by American writer and visual artist William Burroughs (with Yass-Waddah being the name of a city, a “female stronghold” where “everything is true and nothing is permitted except to the permitters”) has just unleashed its third full-length opus, titled Lust for Domination, the follow-up to the project’s 2020 album This Reality Is Just a Deception. Written, recorded, mixed and mastered by the project’s mastermind, vocalist and multi-instrumentalist Pietro Baldan, displaying a sick artwork by Gragoth of Luciferium War Graphics, and featuring guest drummer Arnaud Krakowka (Embryonic Autopsy, Shivered), Lust for Domination will take you on a dark and mysterious journey highly recommended for fans of Cradle of Filth, Dimmu Borgir and Septicflesh, among others.

A sinister intro suddenly explodes into a Black Metal feast titled Ride The Kali Yuga, with Arnaud kicking some ass on drums while Pietro sounds devilish with both his gnarls and riffs; and Pietro and Arnaud continue to darken the skies with their fusion of Symphonic and Melodic Black Metal in Decomposition Of Virtues, again showcasing an overdose of Stygian, infernal roars and visceral yet melodious riffs. Then after a grim spoken excerpt their Black Metal onrush goes on in Sophisticated Use Of Force, with the sound of the guitars living up to the legacy of classic Scandinavian Black Metal, whereas Collective Catatonia lacks the same energy and variations from the previous tracks, but the project’s core elements are there and the drumming by Arnaud sounds solid from start to finish. Then we have Ouroboros, perhaps the rawest, most Black Metal of all songs, where Pietro goes straight to the point with a sonic avalanche distilling his demonic gnarling and razor-edged riffs for our total delight, while also presenting some interesting tempo changes throughout the song.

The second half of the album begins with the beautifully titled Envelope Filled With Black Sand, where Pietro and Arnaud slow things down a bit while still sounding as heavy and obscure as possible, while Pietro delivers some striking solos to give the whole song an extra kick; followed by In The Name Of Progress, another infernal attack by the duo with Pietro taking the lead with his scorching vocals and riffs while Arnaud continues to smash his drums in the name of extreme music. Then investing in a even more demonic sonority we have Flesh Suit, where Pietro’s screeches and gnarls exhale Black Metal while the instrumental pieces sound absolutely demolishing. Their second to last Black Metal extravaganza, titled Burn Your Flag, will leave you totally disoriented due to its endless rage, madness and heaviness, presenting an amazing job done by Pietro on vocals supported by the thunderous drums by Arnaud, before we face one final demonic attack by Pietro and his Yass-Waddah entitled Fortune Favours The Brave, ending the album on a sulfurous note thanks to his always scorching riffs and rumbling bass.

In a nutshell, the bestial and symphonic Lust for Domination, which is available for a full listen on YouTube and on Spotify, will definitely help Pietro cement the name of Yass-Waddah in the underground extreme scene, bringing to our avid ears all of his talent, creativity and, of course, passion for heavy music in the form of an amazing album tailored for admirers of the genre. Hence, in order to support Pietro, you can purchase his new album directly from his BandCamp page as well as from Apple Music, inspiring our beyond talented musician to keep crafting majestic Black Metal music for many years to come under his Stygian and thrilling alter-ego Yass-Waddah.

Best moments of the album: Ride The Kali Yuga, Ouroboros and Burn Your Flag.

Worst moments of the album: Collective Catatonia.

Released in 2023 They Live We Sleep Recordings

Track listing
1. Ride The Kali Yuga 3:58
2. Decomposition Of Virtues 3:55
3. Sophisticated Use Of Force 3:33
4. Collective Catatonia 3:52
5. Ouroboros 3:04
6. Envelope Filled With Black Sand 4:17
7. In The Name Of Progress 2:48
8. Flesh Suit 3:18
9. Burn Your Flag 4:11
10. Fortune Favours The Brave 2:44

Band members
Pietro Baldan – vocals, guitars, bass

Guest musician
Arnaud Krakowka – drums (session)

Album Review – Mental Cruelty / Zwielicht (2023)

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A German Blackened Deathcore outfit arises from chaos with their fourth studio album, pushing the band’s sound to new blacker intensities.

Rising from the ashes of personal and professional chaos, Karlsruhe, Germany-based Blackened Deathcore outfit Mental Cruelty has been blasting our ears with their incendiary fusion of Black Metal, Symphonic Black Metal, Symphonic Deathcore and Brutal Deathcore since their inception in 2016, becoming standard-bearers for the sound in Europe. Now in 2023 the band currently formed of newcomer Lukas Nicolai on vocals, Nahuel Lozano and Marvin Kessler on the guitars, Viktor Dick on bass and Danny Straßer on drums returns in full force with Zwielicht, or “twilight” in German, the fourth studio album in their career. Mixed and mastered by Josh Schroeder at Random Awesome! Recording Studio, and displaying a classy artwork by Mariusz Lewandowski (R.I.P.), the album pushes the band’s sound to new blacker intensities forged in emotional riffing, heavy “back to the roots” breakdowns, and epic orchestral arrangements that surpass the already elite standards that have become synonymous with their name, being highly recommended for fans of Lorna Shore, Ingested and Vulvodynia, just to name a few.

The cinematic intro Midtvinter will embrace your soul and take you to Mental Cruelty’s demonic lair for all eternity, exploding into Obsessis a Daemonio (or “possessed by a demon” in Latin), where Lukas sounds truly possessed on vocals while Danny smashes his drums nonstop, all spiced up by grandiose, epic background sounds in a flawless fusion of Symphonic Black Metal and Deathcore. As imposing and sinister as the previous track, Nahuel and Marvin continue to deliver sheer aggressiveness and insanity through their riffs in Forgotten Kings, another pulverizing creation by the quintet; whereas not a single space is left empty in Pest thanks to the rumbling bass by Viktor and the stone crushing beats by Danny, making a beautiful paradox with the orchestral and symphonic elements in the background. Then drinking form the same Stygian fountain as Lorna Shore we have Nordlys (“Northern Lights” in Norwegian and Danish), offering more of the demonic, enraged roars by Lukas and sounding absolutely grim and infernal form start to finish.

Leaning towards pure Symphonic Black Metal, the band will darken the skies in Mortal Shells, showcasing their always thunderous kitchen supporting the venomous riffs by Nahuel and Marvin, whereas the interlude Zwielicht brings to our ears an embracing dosage of poetry declaimed in German by Lukas, before the band takes our minds and souls by storm with Symphony of a Dying Star, bringing forward more of their undisputed hybrid of Black Metal and Deathcore with symphonic elements, sounding absolutely thrilling from start to finish with Danny stealing the show with his demolishing drums. In The Arrogance of Agony we’re treated to wicked lyrics (“The glance of death as I look into the mirror / The faceless staring back at me can’t recognize this person / This is something that I used to be”) amidst a solid display of extreme music, followed by the breathtaking A Tale of Salt and Light, offering us all one final round of their poetic words (“Blessed are the ones who walk the salty desert / Blessed are the ones who conquer their fear in the ocean / Every second I battle the current / Swim against the whim of nature / Hunters of the deep circle of my path / Hopes washed away by the pull of the tide”) while the band’s guitar duo keeps slashing our ears with their riffs and solos, resulting in a climatic conclusion to such diverse and vibrant album.

“Let us embrace a new era of darkness by bringing the ‘black’ into blackened heavy music. Join us on the way down to infernal gates of hell to be rebirthed back to life. The album will contain the most mind-bending variety of different heavy musical influences and sounds. Epic symphonic orchestras accompanied by slam breakdowns; this will have it all. Inspired from metaphors written by nature, death, and inner demons,” the band commented about their newborn beast, available for a full listen on YouTube and on Spotify, and you can purchase a copy of it by clicking HERE or HERE, not to mention the guys from Mental Cruelty are also eagerly waiting for your feedback on their music on Facebook, on Instagram and on YouTube. Just like the name of the album, the music by Mental Cruelty perfectly depicts the feeling we all sense during twilight, as their music gets darker and darker while there’s still fragments of light in our sight throughout the album, and may this new version of the band keep on delivering amazing albums like Zwielicht to us fans of heavy music for many years to come.

Best moments of the album: Obsessis a Daemonio, Symphony of a Dying Star and A Tale of Salt and Light.

Worst moments of the album: None.

Released in 2023 Century Media

Track listing
1. Midtvinter 1:43
2. Obsessis a Daemonio 5:07
3. Forgotten Kings 5:57
4. Pest 5:52
5. Nordlys 5:19
6. Mortal Shells 6:11
7. Zwielicht 1:33
8. Symphony of a Dying Star 4:11
9. The Arrogance of Agony 5:22
10. A Tale of Salt and Light 7:31

Band members
Lukas Nicolai – vocals
Nahuel Lozano – guitars
Marvin Kessler – guitars
Viktor Dick – bass
Danny Straßer – drums

Album Review – Argenthorns / The Ravening (2023)

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Prepare yourself for a breathtaking Symphonic Black Metal journey to the war-torn, magical and baroque world of Argenthorns.

A new and mysterious Symphonic Black Metal project from the land of a thousand lakes, more precisely from the Finnish city of Lahti, Argenthorns will take you on an epic cloak and dagger adventure in the project’s debut opus The Ravening, all taken from the mind of its sole member, vocalist and multi-instrumentalist Juuso Peltola, the man behind Warmoon Lord and Old Sorcery who goes by the name of Mason Rofocale in this epic and baroque metal saga. Mastered by Gabriele Gramaglia (Cosmic Putrefaction, Vertebra Atlantis, and many more), and displaying a stylish, classic artwork by Swedish master Pär Olofsson, The Ravening marks the first chapter of Mason Rofocale’s occult chronicle through lands unknown, a Black Metal tale told the way it used to be in the 90’s with piercing screams, fascinating keyboards and icy cold riffs, recommended for fans of Dimmu Borgir, Bal-Sagoth, Odium and Limbonic Art.

The cinematic and phantasmagorical intro Hanen Salissaan Kastoimme Unenhoureet Vereen (“In Hane’s hall, we drenched the sleeping whores in blood” from Finnish) will captivate your senses before Juuso smashes our cranial skulls in The Manor of the Demon Duke, a pulverizing Symphonic Black Metal aria showcasing fast and electrifying riffs, menacing drums and Juuso’s infernal gnarls, resulting in a grandiose start to such compelling tale. Juuso wastes no time and continues to tell the album’s story in the most metallic way possible in In the Hoary Shadows of the Blighted Gardens, where all background keys, orchestrations and sounds provide him with the perfect atmosphere for his wicked Black Metal vociferations; whereas his old school Black Metal vein gets stronger in I: Incursion II: a Procession of Spectres, bringing forward his passion for the 80’s and 90’s sound while also adding his own twist to the music, ending in a doom-ish, sluggish manner.

Investing in a more orchestral, imposing sonority, Juuso will embellish the airwaves with his piercing guitar lines in Malefic Chronicle, enhancing the song’s punch and heaviness with his classy drums and whimsical keys; and in Wings of Psychomachia he adds elements from Atmospheric Black Metal and also from Doom Metal to his core sound, resulting in a song that exhales melancholy and introspection while also evolving into a Symphonic Black Metal voyage that will smash your mind mercilessly. Then epic keys ignite the second to last song of the album, titled The Grand Hallowing of the Tyrant, with Juuso declaiming the song’s words in a poetic way before gnarling and roaring like a demonic beast, feeling modern yet deeply rooted in classic Black Metal (not to mention his amazing riff work), flowing into the also cinematic outro Elpyminen (“recovery” from Finnish), putting a mesmerizing and climatic finale to Juuso’s blackened musical journey.

The multi-talented metal warrior Juuso, or maybe I should say Mason Rofocale, is eager to know what you think of his music on Facebook, and you can show him all your support by purchasing a copy of the intense and multi-layered The Ravening from his own BandCamp page, from the Avantgarde Music’s BandCamp page, from Sound Cave (as a CD, a vinyl, or a special galaxy vinyl), as well as from other sources such as mvdshop.com. Prepare yourself for a breathtaking journey to the war-torn, magical and baroque world of Argenthorns, but I must warn you that once you enter such metallic realm you might never come back.

Best moments of the album: The Manor of the Demon Duke, In the Hoary Shadows of the Blighted Gardens and The Grand Hallowing of the Tyrant.

Worst moments of the album: None.

Released in 2023 Avantgarde Music

Track listing
1. Hanen Salissaan Kastoimme Unenhoureet Vereen 1:36
2. The Manor of the Demon Duke 3:55
3. In the Hoary Shadows of the Blighted Gardens 5:29
4. I: Incursion II: a Procession of Spectres 7:21
5. Malefic Chronicle 5:28
6. Wings of Psychomachia 7:02
7. The Grand Hallowing of the Tyrant 5:19
8. Elpyminen 2:17

Band members
Juuso Peltola – vocals, all instruments

Album Review – When Plagues Collide / An Unbiblical Paradigm (2023)

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Belgium’s own Symphonic Deathcore institution returns with an even more impressive and bold opus that will certainly reach deep inside your blackened heart and soul.

Five years after the release of their excellent debut full-length album Tutor of the Dying, Zaventem, Belgium-based Symphonic Deathcore beast When Plagues Collide is back with an even more impressive and bold album, their sophomore effort titled An Unbiblical Paradigm, highly recommended for admirers of the music by Shadow Of Intent, Lorna Shore and Thy Art Is Murder, among others. Recorded, mixed and mastered by Yarne Heylen at Project Zero Studio, the new album by vocalist Wouter Dergez, guitarists Santy Van der Mieren and Joris Dergez, bassist Joshua Kinsbergen and drummer Siebe Hermans continues to showcase a focused and sharp band venturing through the realms of Melodic Death Metal, Symphonic Black Metal and Metalcore just like in Tutor of the Dying, but this time the quintet took up their music a notch, delivering an even stronger and more electrifying work that will certainly reach deep inside your blackened heart and soul.

An atmospheric start gradually evolves into a Symphonic Deathcore attack titled Converted Into Cipher, with Siebe hammering his drums mercilessly while Wouter roars and screams like a demonic beast, or in other words, it’s indeed a fantastic tune to kick things off; and things get even heavier and more infernal in Death In Progress, featuring guest vocals by Sven de Caluwé (Aborted, Coffin Feeder, Bent Sea), with Santy and Joris kicking some serious ass armed with their axes in the name of first-class Deathcore. God Complex is absolutely epic, imposing and majestic from start to finish, with the deep guttural by Wouter sounding truly inhumane in paradox with the song’s background keys, not to mention how thunderous the kitchen crafted by Joshua and Siebe is, whereas in The Glutton we face wicked lyrics barked by Wouter (“In the absence of daylight / We lay dying in the palm of the promised land / Where failure meets hate and mercilessness / Dominated by the sick and the cold / These barren grounds were always welcoming the nomads we are / An eternity of dying is nothing -Death is our womb”) amidst a furious Symphonic Deathcore madness.

Then the band’s stringed trio formed of Santy, Joris and Joshua will make your head tremble with their venomous riffs and bass lines in Monopoly Of Violence while Siebe keeps pounding his drums nonstop, followed by the demented The Grand Mouth Of Hell, most probably their darkest creation to date, showcasing all of their talent, rage and passion for extreme music spearheaded by the hellish gnarls by Wouter and the always piercing riffage by Santy and Joris. In Devourer Of Memories the band offers us all another round of their acid words (“This inexorable wind collects the lives of the lost and the wandering / Spreading sorrow and despondency / Whilst offering salvation through the breath of extinction / Reaching out her cold hands to deliver and ensure the loss of our cherished and beloved”) spiced up by their sick, heavy-as-hell sound, while ending the album we have the melancholic and atmospheric outro In Alle Stilte (or “in complete silence” from Dutch), with its delicate background sounds walking hand in hand with the words declaimed by Wouter.

The talented and hard working guys from When Plagues Collide are waiting for you with their undisputed Symphonic Deathcore on Facebook and on Instagram, and you can also stream all of their creations on Spotify. Furthermore, above all that, don’t forget to purchase a copy of the breathtaking An Unbiblical Paradigm from Apple Music, or click HERE for all things When Plagues Collide. It’s simply amazing to witness the growth of When Plagues Collide from their previous effort Tutor of the Dying to the sensational An Unbiblical Paradigm, positioning those Belgian metallers as one of the references in Symphonic Deathcore worldwide and, consequently, giving us several reasons to keep banging our heads and raising our horns to their first-class music.

Best moments of the album: Death In Progress, God Complex and The Grand Mouth Of Hell.

Worst moments of the album: I think In Alle Stilte could have been placed before Devourer Of Memories, which would have given the album a much more climatic ending.

Released in 2023 Necktwister/Sonic Rendezvous

Track listing
1. Converted Into Cipher 3:52
2. Death In Progress 5:03
3. God Complex 3:25
4. The Glutton 3:38
5. Monopoly Of Violence 4:23
6. The Grand Mouth Of Hell 4:33
7. Devourer Of Memories 4:39
8. In Alle Stilte 2:46

Band members
Wouter Dergez – vocals
Santy Van der Mieren – guitar
Joris Dergez – guitar
Joshua Kinsbergen – bass
Siebe Hermans – drums

Guest musician
Sven de Caluwé – additional vocals on “Death In Progress”

Concert Review – Rotting Christ (Lee’s Palace, Toronto, ON, 03/05/2023)

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And the city of Toronto became part of a global cult of melodic and ritualistic Black Metal thanks to the undisputed music by the almighty Rotting Christ. 

OPENING ACTS: Gaerea, UADA and Carach Angren

I must confess I was a little worried about what would happen to the GAEREA, UADA, CARACH ANGREN and ROTTING CHRIST concert at Lee’s Palace in Toronto last night, as part of their amazing Under Our Black Cult North American Tour 2023, mainly due to the shitty weather that has been punishing the United States and Canada in the past month or so. If you go to Gaerea’s official Facebook page, you’ll see they had to miss a few concerts in the US due to the nasty weather conditions, and after the heavy snow storm that hit Toronto this Friday I wasn’t sure if the concert was actually going to happen. Fortunately for all of us Torontonians who headed to a sold-out Lee’s Palace last night the weather was perfect for this time of the year (it wasn’t even that cold), and not only the four bands played, but they all kicked some serious ass.

My only complaint is once again related to the time the doors opened, already after 7pm, and the time Portuguese Black Metal entity GAEREA hit the stage, at 7:30pm sharp. This means a lot of people who were still lining up outside of the venue until around 7:40pm missed the first few minutes from Gaerea’s performance. Why can’t the venues open their doors at least one hour prior to the first band, and come up with a faster way to check ID’s and tickets so that fans can enjoy all bands they paid some good money to see? Anyway, Gaerea were phenomenal during their short but powerful concert, playing only songs from their 2022 opus Mirage such as Salve and Laude while their mysterious frontman kept mesmerizing us all with a unique performance that reminded me of a darkened mix of Iggy Pop and Depeche Mode’s Dave Gahan. It was a dark, atmospheric and evil performance by the quintet, and I can’t wait to see them return to Toronto in the near future.

Setlist
Intro
Deluge
Salve
Mirage
Urge
Laude
Outro

Band members
*Information not available*

After a very quick break, it was time for American Melodic Black Metal horde UADA to pulverize our damned souls with one of the most atmospheric concerts I’ve seen in a while, playing long, intricate and visceral songs the likes of the title-track from their 2020 opus Djinn, plus The Purging Fire and Cult of a Dying Sun, with the strong smell of incense from the beginning of the show generating a captivating ambience for all fans at the venue. Jake Superchi was insane on vocals and guitar, headbanging manically while also growling like a beast for our total delight, while his band members, particularly drummer Josh Lovejoy, kept the music flowing majestically until the very last second. UADA are already gearing up for their first South American tour this October, which not only  means those guys are becoming bigger and bigger in the metal scene, but also that if you live in one of the South American cities they’re visiting in a few months you can rest assured you’re in for a fantastic treat.

Setlist
The Purging Fire
Djinn
Snakes & Vultures
Cult of a Dying Sun
Black Autumn, White Spring

Band members
Jake Superchi – vocals, guitars
James Sloan – guitars
Nate Verschoor – bass
Josh Lovejoy – drums

The third opening act of the night, Dutch Symphonic Black Metal demons CARACH ANGREN, also brought forth an ass-kicking concert, perhaps not as detailed or melodic as Gaerea or UADA, but full of energy and absolutely phantasmagorical. Blending songs from all of their albums with their latest opus Franckensteina Strataemontanus, from 2020, the duo Seregor (aka Dennis Droomers, who’s by the way in a relationship with the stunning Sandie Gjørtz, the frontwoman for Danish Melodic Death Metal outfit Defacing God) and Ardek (aka Clemens Wijers), with the support of the butcher Bastiaan Boh on the guitars and Gabe Seeber on drums, delivered a very theatrical concert for the crowd in Toronto, inspiring the fans to ignite some circle pits and even a wall of death with their devilish music. The only thing that bothered me a lot was the lack of a bassist while Ardek had two keyboards, but as weird as it might look the band has a lot of chemistry onstage and you end up forgetting about that minor detail right after the first song.

Setlist
Electronic Voice Phenomena
The Ghost of Raynham Hall
The Carriage Wheel Murder
The Necromancer
Bitte Tötet Mich
Operation Compass
Franckensteina Strataemontanus
A Strange Presence Near the Woods
Monster
Bloodstains on the Captain’s Log

Band members
Seregor – vocals, guitars
Ardek – keyboards, piano, orchestrations, backing vocals
Bastiaan Boh – guitars
Gabe Seeber – drums

ROTING CHRIST

It was around 10:20pm when the main attraction of the night, Greek Black Metal institution ROTTING CHRIST, showed Toronto once again why they’re one of the most important names in the history of extreme music, and will always be a reference to any metalhead who’s into the darkest side of metal. It’s beyond impressive how the iconic Mr. Sakis Tolis and his brother Themis Tolis are still so energetic on stage after so many decades on the road, hypnotizing the crowd and making every single one of their concerts simply memorable. In addition, I need to mention bassist Kostas Heliotis and guitarist Kostis Foukarakis also added their share of heaviness and electricity to the show, headbanging nonstop, interacting with the fans, and of course, playing all songs to perfection.

I was finally able to witness the guys playing songs form their awesome 2019 album The Herectics live, those being Fire, God and Fear and The Raven, and both were superb. However, their classics including the opening tune 666, Kata Ton Daimona Eaytoy, Elthe Kyrie, In Yumen-Xibalba and Noctis Era were the most electrifying moments of the show as expected, generating intense, unstoppable mosh pits for the delight of everyone who decided to brave the storm that became the main pit. And how not to love Rotting Christ when they worship our buddy Satan by playing on the same night the songs Apage Satana, Societas Satanas, and the majestic Grandis Spiritus Diavolos? That was superb, and the energy flowing between the band and the crowd was insane.

Whenever the mighty Rotting Christ takes the city of Toronto by storm again, I’ll certainly be there. It’s one of those must-see shows by a band that loves what they do and that loves to witness their fans going mental during their live performances. The temperature inside Lee’s Palace was so hot that some people had to wait after the show was over for their shirts to dry from all their sweat before enduring another cold winter night in Toronto, but after all was said and done everything was totally worth it. Sakis is an unstoppable metal beast, the city of Toronto loves him, and hopefully next time he’s in the city with his horde they can play in front of an even bigger crowd. And until that day comes, we should all keep these words deep inside our herectic hearts… NON SERVIAM!

Setlist
666
Kata Ton Daimona Eaytoy
Fire, God and Fear
Dub-sag-ta-ke
Apage Satana
Elthe Kyrie
Demonon Vrosis
Societas Satanas
Non Serviam
In Yumen-Xibalba
Grandis Spiritus Diavolos
The Raven

Encore:
Noctis Era

Band members
Sakis Tolis – vocals, guitars
Kostis Foukarakis – guitars, backing vocals
Kostas Heliotis – bass, backing vocals
Themis Tolis – drums

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Album Review – Heiden / Andzjel (2022)

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Wandering across different genres and inspirations, this Czech Progressive Black Metal entity offer in their ninth studio album a stunning view of the inhospitable beauty of the White Carpathians.

Having started up in 2003 as a Pagan Black Metal band, Brno, Czech Republic-based Progressive Black Metal entity Heiden wanders across different genres and inspirations, returning now in 2022 to a Dark Metal sound with their newborn opus entitled Andzjel, or “angel” in English, their ninth studio album expanding the perspectives of their audience base through dark, elegant and atmospherically authentic music. Mixed and mastered by Karl Daniel Lidén at Tri-Lamb Studio, and displaying a classy artwork taken from the personal collection of inhabitants of the Žítková village and repainted by Luděk Řezáč, Andzjel presents seven songs thematically set in the inhospitable beauty of the White Carpathians, offering an insight into the souls of the local people, sharing the soil, blood, healing and knowledge passed down through generations, showcasing not only the talent but also the deep connection the band comprised of vocalist, guitarist and bassist Kverd, guitarist Tom, keyboardist Werlinga and drummer Einsk have with their homeland.

The strident guitars by Kverd and Tom ignite the imposing opening tune Nevěřím těm očím (“I can’t believe those eyes” from Czech), blending elements from Progressive and Symphonic Black Metal and, consequently, generating a Stygian atmosphere perfect for the cryptic gnarls by Kverd; and switching gears to a more melodic and melancholic vibe we’re treated to V hodině vlka (“in the hour of the wolf”), getting closer to modern-day Post-Metal while Einsk does a beautiful job with his minimalist beats and Werlinga’s keys embellish the airwaves in great fashion. Continuing to showcase their more Jazz-ish side, Musím ti tolik říct (“I have so much to tell you”) brings to our ears another ass-kicking round of keys by Werlinga accompanied by the classy guitars by Kverd and Tom, followed by Září (“September”), as wicked and obscure as its predecessors, sounding very detailed and enfolding from the very first second with Eisnk alternating between shee violence and more intimate, rhythmic beats, resulting in a lecture in Post-Metal infused with tons of progressiveness.

Sviť, měsíčku, jasno, an adaptation of a Moravian folklore song from the Kopanice region that means “shine, moon, clear”, brings forward two and a half minutes of experimentations and eerie sounds, which could have been extended to something more complete instead of working as just an interlude, though, whereas Běsů se nezbavíš, or “you can’t get rid of demons”, is another solid hybrid of Progressive Metal and Post-Rock and Metal, at the same time soothing your soul before smashing you with a visceral sonic attack led by the devilish vocals by Kverd. Lastly, the quartet will captivate our senses once again in Patřím sem (“I belong here”), with Werlinga and Eisnk being  in absolute sync with their respective keys and beats, not to mention how caustic the guitars by Kverd and Tom sound, consequently putting a dark and climatic ending to the album.

If you want to know more about Heiden, get in touch with the band and show them all your support, you can start following them on Facebook and on Instagram, subscribe to their YouTube channel and stream their unique creations on Spotify, and above all that, purchase a copy of Andzjel from their own BandCamp page or webstore, or simply click HERE to get fully immersed in the obscure realm of Heiden. The phenomenon of the Žítková goddesses, which the postwar totalitarian regime permanently eradicated, is still present in Andzjel, inviting us all to learn more about the history of the Czech Republic while enjoying the first-class experimentations by those four skillful musicians, proving the Czech underground scene is and will always be a fantastic source of great music.

Best moments of the album: V hodině vlka, Září and Běsů se nezbavíš.

Worst moments of the album: Sviť, měsíčku, jasno.

Released in 2022 Magick Disk Musick

Track listing
1. Nevěřím těm očím 5:57
2. V hodině vlka 5:37
3. Musím ti tolik říct 4:18
4. Září 5:34
5. Sviť, měsíčku, jasno 2:25
6. Běsů se nezbavíš 3:51
7. Patřím sem 5:07

Band members
Kverd – vocals, guitars, bass
Tom – guitars
Werlinga – keyboards
Einsk – drums

Album Review – Diabolical Raw / Elegy of Fire Dusk (2022)

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Behold this grandiose album of Symphonic Black and Death Metal, telling a deep and detailed story inspired by ancient Central Asian Turkish mythology.

Having entered the Turkish Extreme Metal scene in the city of Izmir in the now distant year of 1998 under the name Diabolical and currently located in Hanover, Germany, the fantastic Symphonic Black/Death Metal duo now known as Diabolical Raw, comprised of vocalist Ozan Erkmen and multi-instrumentalist Ozan Tunc, is back from the pits of hell with their sophomore full-length opus, the imposing and epic Elegy of Fire Dusk, the follow-up to their critically acclaimed 2019 album Estrangement. Recorded, mixed and mastered by the band itself, and displaying a sinister yet gorgeous artwork by Mukadder “Muko” Karaoğlan, the album tells a story inspired by ancient Central Asian Turkish mythology that develops around Kaygun, the daughter of a small clan leader, showing that not only the music found in the album is grandiose, but there’s also a lot of depth in its lyrics.

Middle-Eastern elements spice up the bold, obscure intro Revelations, opening the gates of the underworld for the duo to crush our souls in Commands of the Gods, with Ozan Tunc generating a menacing ambience with his riffs, drums and all orchestrations, resulting in an imposing Dimmu Borgir-style aria showcasing the demonic vocal potency by Ozan Erkmen. Wise Old Woman is another blast of obscurity in the form of top-notch Symphonic Extreme Metal that feels like the soundtrack to a hellish horror movie, where Ozan Tunc sounds possessed by an evil entity behind his drums; and there’s no time to breathe as the duo’s fusion of Black Metal with symphonic elements and a Stygian storytelling is offered to us all in Entry into Erlik’s Hell, with Ozan Tunc extracting sheer darkness from his guitars, bass and drums while Ozan Erkmen roars and barks manically for our total delight. They keep guiding us through the realms of Turkish mythology in the incendiary aria Tilgen’s Fall, blending the most pulverizing elements of classic Black Metal with pure symphony, and get ready to be decimated by the duo in Face the Judgement, a brilliant Symphonic Black and Death Metal extravaganza spearheaded by the massive, unstoppable beats by Ozan Tunc, flowing into the instrumental interlude Uprising, which will captivate our senses before we’re treated to Talking With Gods, sounding as if it was taken directly form the soundtrack to an epic, demonic movie, with Ozan Tunc being simply majestic throughout the entire song.

No sign of slowing down as Diabolical Raw keep hammering our heads with their Symphonic Black Metal in The Invincible Army, where the wicked, evil vociferations by Ozan Erkmen will haunt your soul for all eternity while Ozan Tunc generates a beautiful wall of sounds in the background. Then an otherworldly roar by Ozan Erkmen kick off the infernal tune The Last War With Evil, the perfect combination of the rawness and violence of traditional Black Metal riffs with the finesse of Symphonic Black Metal, reminding me of some of the most visceral creations by Cradle of Filth, followed by its second part entitled The Last War With Evil II, once again exploding our senses with their somber sounds and wicked vociferations. Put differently, I must say that Ozan Erkmen might be one of the best Extreme Metal vocalists of the current scene. The Council at the Asar Land is one of the most symphonic and detailed of all songs, a flawless fusion of heaviness and orchestral elements thanks to a brilliant job done by Ozan Tunc, in special his venomous blast beats, before the album ends with the cinematic outro Epic Grandeur, putting a classy finale to all the madness and obscurity crafted by the duo.

In a nutshell, Diabolical Raw simply nailed it with Elegy of Fire Dusk, one of the best Extreme Metal albums of 2022 hands down, and if you want to show your support to such talented duo you can start following them on Facebook and on Instagram, subscribe to their YouTube channel and stream more of their hellish creations on Spotify, and of course, above all that, purchase a copy of such awesome album from their own BandCamp page or from the Base Record Production’s BandCamp page. Do you think you have what it takes to face ancient Central Asian Turkish mythology in the form of Symphonic Black and Death Metal? If your answer is yes, don’t waste your time and go prove to Diabolical Raw that you’re a loyal servant of the dark side of music, inspiring the duo to keep embellishing the airwaves with their unparalleled music for many years to come.

Best moments of the album: Commands of the Gods, Entry into Erlik’s Hell, Face the Judgement and The Last War With Evil.

Worst moments of the album: None.

Released in 2022 Base Record Production

Track listing
1. Revelations 2:31
2. Commands of the Gods 6:18
3. Wise Old Woman 5:33
4. Entry into Erlik’s Hell 8:02
5. Tilgen’s Fall 7:19
6. Face the Judgement 6:06
7. Uprising 2:06
8. Talking With Gods 6:37
9. The Invincible Army 5:54
10. The Last War With Evil 8:30
11. The Last War With Evil II 7:42
12. The Council at the Asar Land 7:45
13. Epic Grandeur 2:36

Band members
Ozan Erkmen – vocals
Ozan Tunc – all instruments

Album Review – Citadel / Remember Your Past (2022)

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Let your darkest thoughts guide you to the sound of the debut album by a promising “Second Wave Orchestral Black Metal” band hailing from France.

A musical project which began two years ago at the initiative of a single man, Meddy Beaufils Motte, responsible for the guitars, keyboards and orchestrations, and joined a few weeks later by vocalist and guitarist Jeff Grimal, Bordeaux, France-based Symphonic and Atmospheric Black Metal act Citadel has just released their debut full-length effort, entitled Remember Your Past, a “Second Wave Orchestral Black Metal” feast highly influenced by bands the likes of Emperor, Dimmu Borgir, Der Weg Einer Freiheit and Enslaved. Mixed and mastered by Mathis Delepierre, and displaying a sinister artwork by the band’s own Jeff Grimal, Remember Your Past offers the listener seven tracks which form the personal story of a character with a specific life path, ranging from the common murderer to the spiritual man, while mixing different universes (those being science fiction, fantasy and, of course, reality), therefore showcasing all the talent and passion for heavy music by the aforementioned Jeff and Meddy together with bassist Benoit Gateuil and drummer Léo Isnard.

A beyond cinematic and phantasmagorical Intro sets the stage for Citadel to crush our souls with I See You, where Léo begins his sonic attack armed with his devilish drums, providing Jeff with all he needs to gnarl like a creature form the abyss. In other words, it’s kick-ass old school Black Metal with atmospheric nuances, not to mention how sharp the riffage by Jeff and Meddy sounds. The Cradle of Filth-inspired keys by Meddy ignite the also infernal Look, Your Pathetic Attempts, an imposing composition by those French metallers that lives up to the legacy of primeval Black Metal, with Jeff being once again demonic on vocals, roaring deeply and with tons of hatred in his heart; whereas the rumbling bass by Benoit offers a solid support to the strident guitars by Jeff and Meddy in The Road, where Jeff sounds even more demented on vocals than before, consequently enhancing the song’s obscurity and madness in the name of Atmospheric Black Metal.

Your Choice is simply brutal and dense from the very first second thanks to the thunderous kitchen crafted by Benoit and Léo while Jeff keeps screaming with tons of anger, also showcasing orchestral passages and piercing guitars, followed by Resurection, where a serene, melancholic start suddenly evolves into an instrumental Black and Doom Metal aria led by the intricate beats by Léo (and all that progressiveness permeates the air until the very end). Then back to a more visceral and raw mode the quartet fires sheer insanity through their sonic weapons in You’re a Piece of Shit, with Léo and Benoit punching us in the head mercilessly while Jeff and Meddy bring forward their trademark razor-edged Black Metal riffs. Finally, before all is said and done, there’s time for Citadel to captivate our senses one last time with a sinister Outro, fading into the unknown for our total delight.

Such acid and obscure album made in France can be appreciated in its entirety on YouTube and on Spotify, but of course in order to add it to your personal, devilish collection you should purchase it by clicking HERE and selecting your favorite version of it. In addition, don’t forget to start following Citadel on Facebook for news, tour dates and other nice-to-know details about the band, showing all your support to French Black Metal. Remember Your Past is not just dark or evil, but a musical representation of all the talent that emanates form those four metallers, and of course the insanity and obscurity from the human mind. In other words, simply join Citadel in their quest for extreme music, and let your darkest thoughts guide you while enjoying the epic Black Metal blasted by the band throughout their infernal debut opus.

Best moments of the album: Look, Your Pathetic Attempts, The Road and You’re a Piece of Shit.

Worst moments of the album: Resurection.

Released in 2022 Cold Dark Matter Records/Duality Records/Enter the Void Records

Track listing
1. Intro 2:10
2. I See You 4:01
3. Look, Your Pathetic Attempts 4:59
4. The Road 7:44
5. Your Choice 6:11
6. Resurection 6:45
7. You’re a Piece of Shit 5:04
8. Outro 5:32

Band members
Jeff Grimal – vocals, guitars
Meddy Beaufils Motte – guitars, keyboards, orchestrations
Benoit Gateuil – bass
Léo Isnard – drums