• + BEST IN HEAVY METAL - 2012 +

    2 avr. 2014, 11h53m par Coffinwood_Mill

    Hi folks,

    The years have come and gone, and yet for some odd reason I still receive requests for my 'Best Of' journal entries in Heavy Metal, as well as several other genres. Why I still receive these requests I have no idea, but I've relented on being an e-seclusionist curmudgeon and eternally lazy long enough to post my Best in Heavy Metal of 2012 list. I hope whatever poor soul or bored troll that reads this dated meandering of metal finds something that they haven't otherwise heard or thought to listen to since '12. Unlike the previous journal entry, many if not most of the reviews here are sourced from other writers, webzines, and various publications as noted at the bottom of the review. Also, I encourage any suggestions for albums released in 2012 that I've omitted as it's painfully obvious from my list that I can't possibly listen to everything out there.

    Please check out my other Journals for Heavy Metal:

    Best In Heavy Metal 2011
    Best In Heavy Metal 2010

    Journal entry for 2013 is forthcoming. No, for real this time.

    - Coffinwood_Mill

    † Please support the artists listed here and purchase their music or merchandise †

    Upon the first few listens of Atra Mors, my impression towards this record gives off a very large amount of improvement and musical experimentation to leave listeners astounded and spellbinded into a state of sorrow and personal empowerment. Evoken have created a record that almost puts me beyond words, as it reminds me of the crushing, funeral doom endeavors of Mournful Congregation and also the somber, solo echoing guitar riffs stand out and tell stories of their own. Atra Mors, has successfully embedded a vivid distinction of human emotion into music, a very powerful doom metal record which immediately stands out and flows in a rhythmic pattern from one song unto another.

    It starts off with the first track which is titled same as the album and prepares you for a journey towards a personal apocalyptic dreamland. It is a somber starting point which guides listeners into various chambers of one’s own haven of dreams and nightmares alike. From this onward, song after song John Paradiso’s harsh vocals and somber guitar solos embark through various personal visions of times past those to be foretold, expressively as a personal ultimatum as well as the end of all things. All previous pessimistic parables channeled into these recordings and embedded into every structure of what Atra Mors, stands for.

    “Requies Aeterna” is an interlude track which appropriately separates the story of which is being told through waves and musical frequencies of melancholy and carries on with the next track “The Unechoing Dread” and falls into a powerful ending track “Into Aphotic Devastation”. This album is also remarkable being that it is the 100th release from Profound Lore and most definitely a memorable one from beginning to end. Death to false utopian entities and birth of a new musical accomplishment.

    For fans of: Skepticism, Mournful Congregation, Shape of Despair, Thergothon, Dolorian, The Howling Void.

    Great debut!

    Oppression has never felt so satisfying

    Crushing. That’s the one word that keeps springing to mind when I try to come up with an adjective to describe Seattle’s Anhedonist and their debut release, Netherwards. Theirs is a sound that merges the bleak and unrelentingly heavy death/doom of Disembowelment with the plodding, death metal sound of Incantation (though much more doom-oriented) and adds in yet another layer of sonic oppression though an occasional Evoken influence. In fact, I almost feel as though ‘crushing’ doesn’t do the album justice, but it’s the best I seem to be able to muster. In any event, the four tracks and 41 minutes of material the band has assembled on this disc is some of the best death/doom I have heard in quite a while.

    There are a number of factors that contribute to Netherwards’ success but the one that stands out for me the most is the way the band seamlessly shifts between tempos and styles while still maintaining the oppressive and all-encompassing atmosphere that pervades every waking moment of the album. The transition between opening cut, “Saturine”, with its lumbering crust-infused blasts, and second track, “Estrangement”, with its vast and sorrowful rung-out notes is demonstrative of the consistency of vision the band has and that they can channel and harness this vision seemingly irrespective of the approach they choose to take with their songs.

    Netherwards isn’t so much an album to revere for its overt originality as it is its masterful adherence to the assemblage of death/doom building blocks into the kind of strong structures that the blueprints of the original pioneers of the style designed. This isn’t to suggest in any way that there is any plagiarism on display but, rather, that Anhedonist have clearly taken their cues from bands like diSEMBOWELMENT and used that template as the basis from which to build something excellent.


    For fans of: Lycus, Vastum, Swallowed, Ilsa, Encoffination, Atriarch.

    Great debut!

    Når Sirkelen Brytes is the debut full-length from northern Norwegian quintet Taakeferd. The name translates as ‘a journey through fog’ or something along those lines and this is probably an apt description for the no-holds-barred, blazing black metal offered forth on this record.

    Both melodic and raw, the songs on this 53-minute album rip through the speakers with devilish intent, never compromising, delivering nine straight-to-the-point work-outs of shrill and shrieking Black Metal with little or no let-up. The music blasts along fiercely and ferociously and there is barely time to breathe. It’s somehow claustrophobic and suffocating as it pounds along and at times all too familiar but, for all it lacks in originality, Når Sirkelen Brytes deserves respect for the manner in which it sticks to the core principles of what made black metal great in the first place.

    Proficient and evil as fuck in saluting the scene’s brethren well - an album for those who appreciate black metal in the vein of the purveyors of the genre.

    For fans of: Svikt, Framferd, Stridsmenn, Neetzach, Svartskogg, Vuohivasara.

    Great debut!

    Three & Seven is the debut release from enigmatic New York entity Occultation, and a fantastic example of the forward-thinking retro-tinged metal that has seen a surge of renewed interest in recent months. Placing a strong emphasis on crafting a palpably thick witching environment than other releases in the same eclectic category, the band skillfully crafts a black cathedral of sound that drips with Black Sabbath and Mercyful Fate flare. With near every track on the album, Occultation manages to capture perfectly that distinctive sinking feeling in the pit of your stomach upon realizing you’ve stumbled upon something you shouldn’t have – and the subsequently sudden dizzying flash of panic that stems from being unable to find a way out. A grotesque and withered hand greets you from beyond the void, bearing a cryptic invitation into a rich sonic catacomb of horror. You are beckoned.

    For fans of: Sabbath Assembly, Year of the Goat, Uzala, Pallbearer, Essenz, Inverloch.

    Trespass is an album drenched in the bleak and sorrow, resonating an overwhelming sense of hopelessness. The record still moves at an earth shattering pace for the most part but it’s in the atmosphere that it conjures where Trespass truly writhes in the austere.

    Opener “Usurpation” holds as merciless proof, with a sickening barrage of bile fuelled riffs and a remorseless hail of drums that are simply punishing. Most of the songs are succinct lessons in bestial death metal, like the ghastly assault of “Compress” but conversely, “Identical” is a seven minute dirge of rot. First starting with unabashedly doom passages until the halfway mark, Knelt Rote then fearlessly plunge us back into familiar breakneck punishing territory. This is an album that isn’t afraid to dip its toe into a few different sonic waters but the end result, that of ruin and wreckage, is always the same.

    Knelt Rote strike a near perfect balance between devastation and atmosphere. Usually one is sacrificed for the benefit of the other but this is not the case with Trespass. The cold hopeless vibe that runs through the album is altogether affecting but meanwhile, the vocals are utterly caustic and corrosive alongside the scorched earth riffing.

    This is a deeply layered album, with so much density to wrap your ears around. It, in fact, makes it difficult at times to comprehend just how heavy and vicious this record is until you’ve submerged yourself in it for several listens.

    For fans of: Antediluvian, Weregoat, Ritual Necromancy, Grave Upheaval, Temple Nightside, Muknal.

    Great debut!

    It really did not take much time for me to choose Chapel’s debut album for my next presentation so let me explain why by simply mentioning a couple of key points; the band comes from Canada and the album’s title implies mixing Rock ‘N Roll and Satan. That was it; I was sold since I know that a Canadian band cannot fail and the satanic/Rock ‘N Roll blend is destined to succeed. So, let’s see what happened after the play button had been pressed.

    “Rock N Roll From Hell” opens the album with church organ sound creating the required satanic and evil atmosphere and then the song explodes with Motörhead-esque rhythm section with driving drum work and dominating bass action. There is no fancy singing just in-your-face lyrics spitting paying the proper respect to the early Punk scene that blended so well during the early days of Black Metal. This description might sound funny or strange to some but to the Metal connoisseurs this should raise the Venom flag. I guess this presentation could stop right here since whenever a band sounds like Venom should get high rates just for trying… Seriously now, Chapel have managed to get that awesome sound added more Motörhead references and to top things off introduced underlying Sodom structures from their Better Off Dead days. Don’t rush to characterize Chapel as a copycat since the guitar work really makes a difference here presenting really Rock ‘N Roll chord progressions and driving riffs.

    Following the lineup trademark and old-school recipe the band features three members with upgraded bass role as the main ingredient of the rhythm section on the side of the simple yet driving drums. The sound production feels raw and almost sloppy (in a good sense) enhancing the loose atmosphere and supporting the most enjoyable lyrics under cult songtitles like “Alcoholocaust”, “Motorcult” and my personal pick “Satanist”. Especially the latter one has an awesome headbanging guitar groove that no one can resist hitting your ears hard with explosive drum work just for two minutes than are more than enough to wear you down until the next one!

    So, if you like the influences I mentioned above (shame if you don’t) and fancy bands like Midnight putting out ideal music to mosh, headbang and drink a couple of cold ones then Chapel is the perfect choice for you. This is why I trust whatever comes out from the Canadian Metal! Horns UP!

    For fans of: Speedwolf, Hellbringer, Hot Graves, Bunker 66, Sacriphyx, Deathhammer.

    The following questions were excerpted from a black metal math test. Please choose the -best- response for each item.

    1. A dodecahedron is a geometric solid consisting of how many faces?
    a) a lot
    c) 12
    d) sometimes a good burrito makes me feel like dropping a geometric solid

    2. Fill in the blank: The number of black metal records brimming with personality is ___ the number of black metal records you can describe without ever listening to them.
    a) greater than (>)
    c) less than (<)
    d) first let me fill in this commode with my geometric solid

    The correct answers are both C. (Isn't it always?) If you answered A, thanks for at least trying. If you answered B or D, you will be removed from class and strangled with your own intestines shortly.

    Those of you who are left, listen up. The non-believers might have drawn the lines for 21st century black metal between the unrelenting lo-fi antics of facepaint enthusiasts’ hellspawned too late to be authentic second wave retirees and the progged-all-out-of-proportion black-inspired artgaze, but all of us who know better get to listen to idiosyncratic nasty-liciousness like Dodecahedron's Season of Mist debut. The Dutch quintet wallow in the same dreary, melted chords as Sweden's Bergraven and draw from the same poisoned well of electronic space as Snorre Ruch's unfuckwithable Thorns project. But far beyond easy comparisons, this recording spits fiery passion and soaks the audience in its own perfect eccentricities.

    "Allfather" broadcasts the band's intentions with a blitzkrieg of curdled arpeggios and bloodthirsty blasts, but hardly ninety seconds pass before the song cracks the serpents' den wide open and releases a stream of slithery percussion, bass lines, and vocal moaning. Follow-up "I, Chronocrator" uses modern advances in death tech to splice some jazz-prog base pairs into the album's rotted out DNA, then gives up a significant portion of its middle section to a dense feedback drone that devours itself before the black metal combat boot heel drops more mid-paced mindfuckery back onto your skull. "Vanitas" and "Descending Jacob's Ladder" deploy robo-vox from the underbelly of the known universe, the latter sounding as if Lustmord was performed by a dozen damaged T-1000s instead of one sound-sculpting Brit. The extraordinary three-part "View From Hverfell" traces a thematic path I don't understand and don't need to. The songs are long, but never the interminable blur that characterizes half of all extreme "epics" out there, nor the unconscionable bore that plagues the other half.

    Whatever. Ignore all of the bullshit above. All that matters is this:
    We metalheads have sacrificed our time, sanity, and cochlear integrity for a reason. Dodecahedron are that reason.

    For fans of: Waning, Hail Spirit Noir, Krallice, Sektemtum, Smohalla.

    Mutilation Rites’ discography is a bit confounding, traversing multiple line-ups, demos, splits, and EPs. The band’s rapid gestation has been very public, but every minute of their music to-date is worthwhile. Empyrean is the band’s first full-length, and the album’s breakneck plummet through black metal, thrash, death, and doom hits the spot with a vengeance. Mutilation Rites have arrived at their own birth fully grown and bristling with hatred.

    Empyrean is a breathless barrage of ideas. The album’s expeditious, organic metamorphoses will entrap your ears without presenting a single moment of tedium. Mutilation Rites appropriate the droning tonal tropes of atmospheric black metal but turn its churn towards kinetic violence. With little notice, you’ll be dropped into a monstrous groove of thrashing oblivion, recalling the primal essences of both early Exodus and Slayer. These sudden, explosive interludes connect directly to a listener’s headbanging neurotransmitters; Empyrean is a dangerous album.

    Mutilation Rites wield the sinister with swagger. Torrential, tremolo picked riffs often transmit enough melody to invoke Dissection, but this is not a constant. Some tracks take off with locomotive intensity, reminding me of [artistBlack Anvil’s jackhammer majesty. Doomy decelerations present entrancing melancholic detours but are always wrapped in thunderous cacophony. This band thrives on aural impact.

    Much of Empyrean’s immediacy is owed to the band’s preposterous rhythm section and the righteous manner in which it was recorded. Justin Ennis’ drumming is monstrously manic, throwing around swing with impunity and pumping punk life into every corner of this recording. Ryan Jones’ bass is high in the mix, displaying keen interstitial skills and reminding me repeatedly of Frank Bello on Persistence of Time. These sonic landscapes are filled with abject hatred, disgust and sorrow. George Paul’s stone cold crazy, unintelligible screams are your guide on this tour of acrimony. His deranged voice is an important cog in Empyrean’s success, tying it together with an air of utter loathing. We have no idea what the man is saying (there are no printed lyrics), but the intent is blindingly clear; Mutilation Rites are not pleased with existence.

    Empyrean will catch you off guard, luring you in with howling riffs, windswept ferocity and an immersive rhythmic enfilade. Prepare for the unexpected.


    For fans of: Bosse-de-Nage, Ash Borer, Barghest, Obolus, Vattnet Viskar.

    There’s a certain irony to how Revenge can possess such a royal lineage yet still produce some of the rawest blackened death metal to be released in recent years; formed in 2000, the blood of Revenge is thick with remnants of great bands past, an intermingling of Canada’s great blackened death hierarchy that includes the likes of Angelcorpse and Conqueror amongst others. Debuting with the utterly savage Triumph.Genocide.Antichrist in 2003, there was no mistaking Revenge’s Blasphemy inspired racket, a style which borrowed the seminal war metal acts brutality but blasted it all the way to eleven. Scum.Collapse.Eradication much like its predecessors shows no variation upon this style but does offer a bit of insight; with just an ever so slight improvement in the production department Revenge’s newest album reveals just why this Canadian act has become one of the most renowned bands of its kind.

    Untamed as ever, Revenge’s newfound clarity in no way affects their burgeoning war metal mayhem but does make it a bit more listenable; where previous albums were cloaked in a cloud of excess noise and distortion Scum.Collapse.Eradication offers a smog-free view of the bands truly bestial nature, one that is carried out with in crude simplicity. Vermin’s guitar playing is muddy as ever, a juxtaposition of downtuned riffs that take the shape of black metal in their fastest moments and groove heavy death metal during the slower sections. Though some of the faster moments can blend together each of the slower paced segments on the album are excellent, a summoning of bestial thrashing that have you breaking neck in its indomitable groove.

    Aside from annihilating his kit in a hurricane of blast-beats and ridiculous fills, James Read’s horrid squawk also deserves mention; just as raw and primal as the music, his shriek as well as disgustingly low gutturals adds excellently to the albums raw nature. Though not hooks in the traditional sense, his delivery on tracks like the beginning of “Scorned Detractor (Trust No One)” perfectly accents the music, showcasing its deadly flow amongst waves of intelligible growls and grunts.

    From chaotic and spur of the moment shred solos to slow, doomy riffing, it’s in their nature to create the rawest music possible that Revenge excel; now well into their career the band is rightfully held as one of the best blackened death metal bands around and an overall classic within the genre. Scum.Collapse.Eradication sheds just enough light on Revenge’s sound to draw in newcomers while simultaneously keeping the same pitch black approach that has earned them such a cult status. In 2012 Revenge continue their reign as frostbitten warrior kings; the long-running conquerors of blasphemous and bestial blackened death metal.

    For fans of: Proclamation, Conquerer, Diocletian, Black Witchery, Teitanblood.

    Enslaved’s last few albums have been very well received by both fans and critics. The Norwegian black metal pioneers have become more and more progressive over the years, and their latest effort RIITIIR is no exception. The line between experimental and self-indulgent can be a fine one, but a band with Enslaved’s pedigree has earned the benefit of the doubt. The songs on RIITIIR are their longest collection ever, with five of the eight tracks clocking in at more than 8 minutes, the shortest being just over five minutes.

    “Thoughts Like Hammers” kicks off the proceedings, with solemn black metal guitars giving way to acoustic interludes. Harsh vocals from Grutle Kjellson give the song bite and edge, with the smooth melodic tones of Herbrand Larsen a stark contrast. Spoken word vocals are also incorporated into this song.

    RIITIIR is a very dynamic and dense album. The lengthy songs are constructed with layers of guitars and atmospheric keyboards that meander at times, but upon repeated listens burrow their way into the subconscious. It’s a daunting album, but ultimately a rewarding one. The ebbs and flows between progression and aggression keep things interesting, although the scale tilts toward the progressive side of the coin. There are still plenty of good old fashioned riffs, like on “Veilburner” along with more experimental sections.

    “Roots Of The Mountain” is a standout, with a frantic beginning laden with blast-beats and harsh vocals that transitions into a melodic section that is extremely catchy. The song intensifies and mellows several times, and there’s a nice guitar solo as well. The second half of RIITIIR is also strong, with “Storm Of Memories’ probably the best track on album’s latter half. Album closer “Forsaken” is also the longest on the record, at over 11 minutes long. It's an appropriately epic song to finish a very epic album.

    Axioma Ethica Odini was among my top metal albums of 2010, so RIITIIR had a lot of live up to. Upon first listen, it wasn’t even close. But after spending more time with RIITIIR, its strengths became more and more evident. It could definitely be shorter and more focused, but even with a little bloat and meandering, it’s still far superior to what almost anyone else is doing. RIITIIR is an ambitious and skilled effort that while not perfect, is still a really good and highly recommended release.

    For fans of: Emperor, Borknagar, Ihsahn, Arcturus, Primordial.

    If you are looking for a release that features the best of all realms of the extreme, Hellvetron’s Death Scroll of Seven Hells and It's Infernal is it. The flow of this album is amazing and the depths of despair reached by the Hell Paso underground act are as horrifying as they are satisfying. The unholy atmosphere is glaring to say the least, as Hellvetron continues this great year in the extreme underground.

    Hellvetron is effectively two-thirds of extreme black metallers Nyogthaeblisz. Between the two extreme acts, they have solidified a strong underground presence in El Paso, paving the way for many other acts to follow. Hellvetron has been around since 2005, and despite a lack of released material, remain popular among the underground faithful. I would encourage any fan of the unconventional extreme to check out both bands – you won’t be disappointed. Death Scroll of Seven Hells and It's Infernal is really a gift to those craving a Hellvetron release, and I can only hope there is more to come.

    Death Scroll of Seven Hells and It's Infernal is an atypical extreme metal release. There is much more of a doom tempo throughout the offering, which is laden with crawling rhythm. The guitars move seamlessly between harsh riffs to blackened bridges, almost as if conveying an inner struggle. Vocally, the deathly growls weave in and out of the crawling barrage of hellish instrumentation. I liken the sound that Hellvetron creates on ‘Death Scroll of Seven Hells and Its Infernal Majesties’ to that of Anhedonist on their newest release, Netherwards. This offering has a bit more black metal influence, especially in the guitar work, but the two bands pair up nicely. The grim brutality that Hellvetron brings is delivered in a very deliberate manner, and is definitely not overdone or lacking in depth.


    For fans of: Lurker of Chalice, Xasthur, Crebain, Blut aus Nord, Krieg, Deathspell Omega, Craft, Krieg, Sapthuran.

    Rape your face.

    For fans of: Aderlating, De Magia Veterum, Menace Ruine, The Axis of Perdition, Cloak of Altering, NDE, Khanate, Grunt.

    Easily among the more obscure releases a listener will come across this year, Revulsion of Seraphic Grace is nonetheless an admirable piece of work. Sharing more than a few traits in common with Incantation (especially 1992’s Onward to Golgotha), there’s a very old school vibe sense here, only a decidedly American take on old school as opposed to the Swedish sounds so many are playing nowadays.

    Throughout the seven tracks on hand there’s a consistent theme throughout, the marriage of claustrophobic blasting sections and absolutely crushing funeral doom sections. If nothing else sets Father Befouled apart, it may be that – the absolutely cavernous sounding guitar and vocals during the doomier excursions that fill many of the songs (and make up the entirety of album closer “Triumvirate of Liturgical Desecration”). At times the mixing of tempos and the general ‘weirdness’ inherent within much of the music brought to mind Mitochondrion and even last year’s Sonne Adam release Transformation. The doomy moments absolutely seething with similarities to everything Evoken has done since 2001’s Quietus and going back further, Winter’s sole testament Into Darkness.

    At a brisk 36 minutes Revulsion of Seraphic Grace does not overstay its welcome or cause the burnout that can come with music of this style. The mood across the album is particularly suffocating, resonating with increasing intensity after multiple listens – a nigh requirement with how dense the music is. “Irreverent Ascendancy” offers a foremost tour on the oppositions inherent in the album bouncing from a snail-paced opening to an absolutely ravenous set of blast sections before an abrupt end. “Desacrament” absolutely grooves, a blackhole steamroller consuming everything in its path. Production is a bit murky but it’s understandable with the musical intentions and execution, it serves its purpose.

    A release from this deep in the abyss is going to be an acquired taste for whoever happens to come across it. That being said it has a lot going for outright and over time. A nice mix of old school death metal and modern funeral doom, there surely has to be some number of fans out there for this kind of sound (myself certainly among them). Pick it up, soak it in, and embrace the oppressive black that follows.

    For fans of: Doombringer, Sadomator, Antediluvian, Nuclear Desecration, Deiphago, Kerasphorus.

    French avant-garde (post) black metal formation Blut aus Nord are truly in a league of their own.The driving force behind this outfit is a man called Vindsval and the current cycle of albums under the 777 moniker is his most ambitious work to date. Last year saw the release of 777: Sect(s) and 777: The Desanctification, which are both stunning works in their own right. 777: Cosmosophy is the proverbial grand finale of the 777 sequence.

    This third installment of the 777 trilogy is the most ethereal and evocative one. The bleak Godflesh-styled industrial tones are still ominously present but they are pushed in the background by endless layers of dissonant guitar parts, vast keyboard driven themes and other effects that give the album an almost post core/metal feel. Musically it has more in common with the pioneering works of Isis and Jesu than anything remotely resembling black metal. The devil is in details on 777: Cosmosophy. Little elements like the spoken word parts in “Epitome XV,” the relentless plodding in “Epitome XVIII” and the clean vocal parts in “Epitome XVI” are all examples of what makes this album such an evocative listening experience.
    You can’t help being sucked into an endless vortex of musical layers and different moods and transcend to a higher form of consciousness. Only true visionaries can create such stunning and thought provoking art. Sound-wise the emphasis lays on the industrial and electronic effects, which gives 777: Cosmosophy almost a droning doom metal type feel to it. It also enhances the rather cold and eerie atmosphere that creeps through the entire album.

    It’s hard to tell if 777: Cosmosophy is better than 777: Sect(s) or 777: The Desanctification, because all three albums have their own distinct personality and place within the greater musical concept behind the trilogy. What I can say that this record is a worthy closer of Vindsval’s most ambitious work to date. I’m wondering where he and Blut aus Nord will go next...

    For fans of: Deathspell Omega, The Eye, Reverence, Darkspace, The Axis of Perdition.

    It’s taken them eight years, but in 2012 Pseudogod have finally released a much-anticipated package of bestial hate and sonic rampage. A culmination of everything expected after many splits and demos from the Russians, Deathwomb Catechesis is a blackened death metal album comfortable with callback after callback to monsters of yesteryear like Incantation and Immolation. Their debut is all the better for it, too. It’s clear that Pseudogod have not inserted overwhelming amounts of creativity or innovation on their own, but their brand of death metal is particularly inspired and reverential.

    Simplicity can be satisfying, and with this in mind there’s not much to a record like Deathwomb Catechesis. Much of its appeal is strictly in the focus of attitude and direction, as the album rarely deviates from the path of the aforementioned behemoths of death metal and bolstered by constant prayers to almighty Satan. With utter devastation in mind, Pseudogod mold a landscape of rumbling bass and little flair that works as a perfect complement to the vocals, which are absolutely insipid. The growls broil over the old-school-inspired riffs with an unrelenting vehemency, and are the centerpiece of Deathwomb Catechesis.

    The band’s debut is a familiar album that almost falls off the cliff into strictly “derivative” territory but with their precision and technicality -aspects that transcend the sheer scope of the album- do not succumb to this brand of failure. What does manage to set this apart is the modern production that augments the clarity to the maelstrom of riffs, adding another dimension to the already-fertile concoction of hatred. So while Deathwomb Catechesis does not usher in any new waves of innovation to the scene, Pseudogod’s solid album adds, along with labelmates Antediluvian, a much-needed dose of death metal to 2012.

    For fans of: TeitanFyre, Void Meditation Cult, Vasaeleth, Temple Nightside, Heresiarch.

    Despite the fact that Satan Alpha Omega is only the band's third full-length, this group has been playing together since 1989. Style-wise Deiphago could best be described as blackened death metal/grind, with a distinct emphasis on the blackened end of things.

    The album's 11 odes to Satan are a non-stop pummeling of the senses. Songs blur by with a ferocity that at times is simply insane - vocals are spewed forth like vomit and the guitars sound like fiery flames. Make no mistake, this album is not for the faint of heart.

    Casual metal-heads will probably find this album to be nothing but noise; however, those into the heavier end of the spectrum will love the release's "take you by the throat" approach. Highly recommended.

    For fans of: Sadomator, Nuclear Desecration, Abhorer, Weregoat, Weapon.

    Ash Borer formed several years ago and in just a short time was recognized as one of the most prominent black metal bands from California. With a style of raw black metal that is bleak and atmospheric as well as harsh and searing, the group is aligned with such elite artists as the (now defunct) Weakling, Xasthur and Leviathan, along with the Black Twlight Circle (Volhan, Arizmenda, Dolovotre, etc.) and the Rhinocervs cult (Odz Manouk and Tukaaria). Their first demo, released in 2009, was just a mere glimpse of the coming sonic storm unleashed over the following years: a split EP with Santa Cruz’s Fell Voices, an acclaimed self-titled debut album, and a series of decimating live shows. The band’s new album Cold of Ages finds Ash Borer at the height of their powers, one of the most important acts hailing from the American scene alongside the likes of Negative Plane, Avichi, Inquisition, and the aforementioned Black Twilight Circle and Rhinocervs horde. A darker and much more devastating work than the debut, Cold of Ages is a surging, twisted, primal and sprawling epic and will find its place among the most prominent black metal releases of the year.

    For fans of: Fell Voices, Skagos, Bosse-de-Nage, Panopticon, Altar of Plagues.

    Genre mashing two opposing ends of music is where extreme metal really shines, providing everything from instrumental and symphonic heaviness to chorus-chanting pop metal. Another foray into the collision of two worlds, Blacklodge’s MachinatioN is an explosion of dark an unholy black metal delivered through an industrial filter of strobe lights and robotic overlords.

    The album lets the audience know what to expect right off the bat with immediate machine gun drumming mixed into an electronic beat. The result is something along the lines of Marduk or Gorgoroth taking an industrial/techno trip, without letting go of the Satanic themes, and with a hint of the utter darkness you’d expect from Deathspell Omega or Dodecahedron. Even the song titles play with the mash up of styles, with names like “Antichrist Ex Machina” and “Neutron Shiva.”

    MachinatioN is a definitely a different take on this burgeoning sub-genre than what can be heard from other entries in the field. Blacklodge offers a new metal experience, even for those who have already heard the electronic or techno focused material from Nachtmystium, Illidiance, or Nachtblut. The ending of each track tends to work into the beginning of the next song, creating a spectacular flow amidst all the chaos. Despite the introduction of “non-kvlt” elements, MachinatioN isn’t light on the black metal at all, as it’s still completely extreme. The vocals are as harsh and hateful as anything from a USBM band, and the tracks are based around the guitars as much as the industrial aspects.

    The album blends the two opposing worlds together well by effectively utilizing strong drum beats, which bridge the gap between the arms-crossed metal and the head bobbing electronica. Every song has a recognizable hook, but it’s always taken to a heavy (and evil!) place. As far as sub-genres go, industrial black metal doesn’t have a whole lot of flag bearers, and Blacklodge is a welcome and necessary addition to the roster. If black metal purists can get over their elitism long enough to give it a listen, and industrial or techno fans can learn to deal with harsh vocals and heavier songs, both camps could find a new favorite in MachinatioN.

    For fans of: Neo Inferno 262, Aborym, Gorgonea Prima, Diapsiquir, Mysticum, Hell Militia.

    Prepare for a grotesque and bestial assault from the darkest bowels of Chile. The Sun of Moloch has risen to cast its searing rays upon us all. Wrathprayer engulfs listeners in the scorching fumes of ripping, gritty riffs and an ominous, archaic atmosphere. Beginning with a to-be-expected dark occult intro to set the atmosphere (paired with a similar outro) the cruel nature of this album is slowly revealed. It becomes sluggish and dissonant before tumbling into chaotic swelling riffs with distant, cavernous vocals and storming percussive barrages.

    It’s a smooth balance between death and black metal that revels in the old path, maintaining a depraved and sour tone one would expect and at the same time satisfyingly revitalizing it. And this is generally how The Sun of Moloch feels throughout the 40 minutes you'll be enduring. Baneful, filthy and swirling in it's blasphemous tone. The record is spilling over with a ritualistic heat which incorporates the Incantation structure well with touches of Portal-esque writhing. Eerie sampling of discordant strings, screams, chants and moans with ambient rumbling accents some tracks like "The Darkest Fyre" and "From the Depths of the Phlegethon" sliding up the cult factor a few notches.

    Vocal duties (more varied than expected) feel a little subdued by all other elements — there are some great echoing howls and screes that snake their way through. It does sound as if the vocals are emanating from a lightless tomb and considering the nature of the subject and style here matter this distant, ancient quality is a positive.

    The bulk of the experience here surrounds the guitar work which doesn't meander from the traditional bestial template too much — not that I'm really complaining. It's all ugly, abrasive and tasty. The guitar tone is muddy in the most pleasurable way. A choice few spellbinding death grooves and pinched harmonics between the onslaught of blackened, labyrinthine tremolo sections but when these slabs enter it's a fucking blast as they carve out deep ridges in the darkened, ashy landscape. Good examples of these completely monstrous and punishing moments are found in "Devourers of Light", "Ritualization (Rev XIII)" and "In Visceribus Bestiæ".

    The Sun of Moloch does its job exceedingly well, paced so as to not overextend its welcome with some thick production. It's certainly not innovative but fucking terrific regardless. Definitely a record that slays. Highly recommended especially for fans of Witchrist, Mitochondrion, Antediluvian, Teitanblood, etc. For now this is only available on vinyl through Nuclear War Now! Productions but in the coming weeks they will be putting it up for a digital download on the label's bandcamp page.

    For fans of: Antediluvian, Diocletian, Proclamation, Pseudogod, Witchrist, Teitanblood.

    Great full-length debut!

    That release is Flesh Cathedral by Svartidauði, who hail from the far-flung frozen rock in the North Atlantic better known as Iceland. They’ve been contemplating their craft in obscurity for a while, spawning three demos between 2006 and 2010, but now this full-length monstrosity is set to propel them through the ranks. Like LURKER favourites Blut aus Nord,Deathspell Omega or Nightbringer, Svartidauði wield the ability to bend the will of black metal to their own horrific ends, giving rise to a thrillingly unique take on the genre.

    An unshakeable sense of narrative unfolds to the drones of opener ‘Sterile Seeds’. It’s as though the listener has entered the titular Flesh Cathedral itself, blood trickling down carrion walls, preparing to imbibe the psychoactive sacrament to Satan as a demonic choir goads them on. It’s terrifying – and that’s before the riffs take hold. Indeed, a persistent psychedelic nausea binds the record together, enforced by the abstract squealing of guitars and biomechanical lurch of the rhythms. Across four tracks, all well over ten minutes long, Flesh Cathedral becomes the soundtrack of one wretched soul completely losing their mind as the secrets of the universe are torn asunder.

    It’s the band’s stunning versatility that allows for these vivid hallucinations. Avoiding typical all-or-nothing aggression tactics, Svartidauði is a dynamic, shifting entity with a clear vision of how to project its particular grim atmospheres. In fact, everything on display is a small step away from the norm. Vocals lean towards a deep deranged death-rasp, as opposed to the regular eunuch shrieking. Then dense, down-tuned guitars seem to breathe and groan in the slower, more brooding sections, while groove-laden drums intricately build up the tension phrase by phrase before flying off into adept and flexible pummeling at whim. This is definitely HEAVY black metal – immense walls of power chords and a loud grumbling bass tone threaten to swallow the chaotic leads that often try to break free of the writhing mass around them.

    Each composition defies its length, traversing so many different emotions, textures and melodies (yes, they’re present too!) that it feels like Flesh Cathedral should be showcasing even more new material. Without a doubt this is up there among Mgła’s With Hearts Toward None and Dødsengel’s Imperator vying for “best orthodox black metal album of the year”. LURKER is incredibly anxious and excited for its release, although no firm date has been set due to the band being “slow as hell with the layout”. When Flesh Cathedral does finally arrive, if it isn’t one of the true breakthrough hits of the year, I will have lost all faith in the metal underground.

    For fans of: Vemod, Cultes des Ghoules, Hetroetzen, Acrimonious, One Tail, One Head.

    Abominable Putridity - The Anomalies of Artificial Origin
    Aborted - Global Flatline
    Acephalix - Deathless Master
    Aeon - Aeon's Black
    Ævangelist – De Masticatione Mortuorum in Tumulis (I, Voidhanger)
    Agalloch - Faustian Echoes
    Alcest - Les Voyages de l'Âme
    Aldaaron - Suprême Silence
    Alkerdeel - Morinde
    All Pigs Must Die - Curse of Humanity EP
    Aluk Todolo - Occult Rock
    Anaal Nathrakh - Vanitas
    Angel Witch - As Above, So Below
    Antimatter - Fear of a Unique Identity
    Aptorian Demon - Libertus
    Aosoth - Our Crown Of Sins EP
    ARCANUM INFERI - Ars Hermetica
    Antediluvian & Adversarial - Initiated in Impiety as Mysteries - Split
    Antediluvian & Temple Nightside - Cogitating Vacuous
    Aphrenous - Ravaged By The Incessant Scourge Of Deception
    Aptorian Demon - Libertus (Demo)
    Árstíðir Lífsins - Vápna Lækjar Eldr
    Ash Pool - Cremation Is Irreversible EP
    Asphyx - Deathhammer
    Autopsy - All Tomorrow’s Funerals EP
    Aven - The Last Thought Of Judas
    Azaghal - Nemesis
    Azoic - Gateways
    Barghest / False - Split
    Beheaded - Never To Dawn
    Begrime Exemious - Visions of the Scourge
    Behexen - Nightside Emanations
    Bell Witch - Longing
    Bereft - Leichenhaus
    Bestial Holocaust - Into The Goat Vulva
    Birth of Depravity - The Coming Of The Ineffable
    Black Breath - Sentenced To Life
    Black Sheep Wall - No Matter Where it Ends
    Blood of the Black Owl - Light The Fires!
    Blood Mortized - The Key to a Black Heart
    Bologna Violenta - Utopie E Piccole Soddisfazioni
    Bonded By Blood - The Aftermath
    Bone Dance - Bone Dance
    Borgne - Royaume Des Ombres
    Borgne - Titania
    Borknagar – Urd
    Bosse-de-Nage - III
    Blut aus Nord - What Once Was... Liber II
    Candlemass - Psalms for the Dead
    Cannibal Corpse - Torture
    Cape of Bats - Transylvania
    Cattle Decapitation - Monolith of Inhumanity
    Cerebrate- Cerebrate (Demo)
    Chaos Inception - The Abrogation
    Chthe'ilist - Amechth'ntaas'm'rriachth EP
    Church Whip - Church Whip EP
    Coffin Texts - The Tomb Of Infinite Ritual
    Coldworker - The Doomsayer's Call
    Converge & Napalm Death - Split
    Cytotoxin - Radiophobia
    Dantalion - Return To Deep Lethargy
    Daylight Dies - Frail Becoming
    Deathspell Omega - Drought EP
    Demoncy - Enthroned Is the Night
    Denial of God - Death and Beyond
    Der Weg einer Freiheit - Unstille
    Desaster - The Arts of Destruction
    Dephosphorus - Night Sky Transform
    Dephosphorus & Wake – Split
    Desolate Shrine - The Sanctum Of Human Darkness
    Destruction - Spiritual Genocide
    Dødsengel - Imperator
    Dopethrone - III
    Dordeduh - Dar De Duh
    Down - Down IV, Part 1: The Purple EP
    Draumar - Gebirge
    Drawn and Quartered - Feeding Hell's Furnace
    Drudkh - Eternal Turn Of The Wheel
    Dynfari - Sem Skugginn
    Early Graves - Red Horse
    Elizabeth - Where Vultures Land
    Embrace of Thorns - Praying for Absolution
    Enabler - All Hail the Void
    Encoffination - Elegant Funerals for the Unknown Dead EP
    Eschaton - Isolated Intelligence
    Exumer - Fire & Damnation
    Farsot - Insects
    Faustcoven - Hellfire and Funeral Bells
    Fhoi Myore - Fhoi Myore
    Fiends At Feast - Towards the Baphomet’s Throne
    Fvck Mountain - Fvck Mountain EP
    Gnaw Their Tongues & Corephallism - Split
    Goatwhore - Blood For The Master
    Genocide Shrines - Devanation Monumentemples
    Grand Magus - The Hunt
    Grave Endless Procession Of Souls
    Grave Upheaval & Manticore - Split
    Habitual Defilement - The Redemption of Past Supremacy
    Hades Archer - The Curse Over Mankind
    Hail Spirit Noir - Pneuma
    Hammers - Vardøgr
    Hel - Das Atmen Der Erde
    Hell – III
    HeXeN - Being and Nothingness
    Hideous Divinity - Obeisance Rising
    High on Fire - De Vermis Mysteriis
    Hooded Menace - Effigies Of Evil
    Hooded Menace - Necrotic Monuments EP
    Horrendous – The Chills
    Hour of Penance - Sedition
    Hypnosia - Horror Infernal
    JK Flesh - Posthuman
    I Compagni Di Baal - I Compagni di Baal
    Ihsahn - Eremita
    Impiety - Ravage & Conquer
    Impious Baptism - Path of the Inverted Trinity EP
    Impious Baptism - V.A.N.V.D.A. EP
    Incantation - Vanquish In Vengeance
    Intestinal - The Rottening
    Inverloch - Dusk… Subside
    Israthoum - Black Poison and Shared Wounds
    Kaevum - Natur
    Karg - Apathie
    Katatonia - Dead End Kings
    Kommandant - The Draconian Archetype
    Kreator - Phantom Antichrist
    Kuxan Suum - Kuxan Suum
    Les Discrets - Ariettes Oubliées...
    Les Fleurs du Mal - Brunnen
    Little Sister - Little Sister
    Lunar Aurora – Hoagascht
    Lustration - Psymbolik
    Malignancy - Eugenics
    Manetheren - Time
    Manowar - Lord of Steel
    Maranatha - Incarnate
    Marduk - Serpent Sermon
    Martyrdöd - Paranoia
    Mass Burial - Of Carrion And Pestilence
    Master - The New Elite
    Master's Hammer - Vracejte Konve Na Místo
    Melvins - Freak Puke
    Menace Ruine - Alight In Ashes
    Menegroth - Das Rote Werk
    Merrimack - The Acausal Mass
    Mgla - With Hearts Toward None
    Mondstille - Seelenwund
    Mongrel's Cross - The Sins Of Aquarius
    Moss of Moonlight - Seed
    Municipal Waste - The Fatal Feast
    Municipal Waste & Toxic Holocaust - Toxic Waste (Split)
    Mutant Supremacy - Rotting Season EP
    My Dying Bride - A Map of All Our Failures
    Nachtmystium - Silencing Machine
    Nachtruf - Geistwerdung
    Napalm Death - Utilitarian
    Natassievila - Impermanence
    Nawaharjan - Into the Void
    Negative Standards – VI.VII.VIII.IX.X.XI
    Nekromantheon - Rise, Vulcan Spectre
    Neurosis - Honor Found In Decay
    Nigh - Nigh EP
    Nihill - Verdonkermaan
    Nile - At the Gate of Sethu
    Nine Covens - On the Dawning of Light
    Nordvrede - Legion Nordvrede
    Nox Illunis - Metepsychosis
    Obulus - Lament
    Odz Manouk - Odz Manouk
    Ofermod - Thaumiel
    Onirophagus - Defiler Of Hope
    Ophidian I - Selvot Saeclum
    Orange Goblin - A Eulogy For The Damned
    Ormgård - Ormblot
    Overkill - The Electric Age
    Pact - The Dragon Lineage of Satan
    Paradox - Tales of the Weird
    Pendulum - Les Fragments du Chaos
    P.H.O.B.O.S. - Atonal Hypermnesia
    Plague Widow - Plague Widow
    Proclamation - Nether Tombs of Armageddon
    Profezia - The Truth of Ages
    Prognan - Jama
    Psycroptic - The Inherited Repression
    Puteraeon - Cult Cthulhu
    Putrevore - Macabre Kindgom
    Putrified - Neurotic Necrotic
    Ram - Death
    Resurgency - False Enlightenment
    Revel In Flesh - Deathevokation
    Reverence - The Asthenic Ascension
    Revolting - Hymns Of Ghastly Horror
    Rhinocervs - RH 12
    Rituals - Rituals
    Royal Talons - Royal Talons
    Ruined Families - Ruined Families
    Saccage - Death Crust Satanique
    Saint Vitus - LILLIE: F-65
    Satanic Warmaster - In Eternal Fire - Ghost Wolves EP
    Savage Messiah - Plague of Conscience
    Severe - Severe
    shEver - Rituals
    Secrets of the Moon - Seven Bells
    Sektemtum Aut Caesar, Aut Nihil
    Septicopyemia - Supreme Art of Genital Carnage
    Serpent Noir - Seeing Through The Shadow Consciousness - Open Up The Shells
    Serpentine Path - Cerebus + Depravity
    Serpentine Path - Serpentine Path
    Shining - Redefining Darkness
    Sinister - The Carnage Ending
    Spawn of Possession - Incurso
    Struck by Lightning - True Predation
    Sutekh Hexen with Andrew Liles - Breed In Me The Darkness
    Sutekh Hexen - Behind The Throne
    Sutekh Hexen – Larvae
    Sutekh Hexen - Empyraisch
    Swallow the Sun - Emerald Forest And The Blackbird
    Szron - Death Camp Earth
    Tank - War Nation
    Tankard - A Girl Called Cerveza
    Terrorizer - Hordes of Zombies
    Testament - Dark Roots of Earth
    The Howling Wind - Of Babalon
    The End of Six Thousand Years - Perpetuum
    The Moon Mistress - Silent Voice Inside
    The Royal Arch Blaspheme - II
    The Secret - Agnus Dei
    Thy Darkened Shade - Eternvs Mos, Nex Ritvs
    Torch Runner - Committed To The Ground
    Ufomammut - Oro - Opus Alter
    Ufomammut - Oro - Opus Primum
    Umbra Noctis - Il Primo Volo
    Unholy Crucifix - Black Mass Metal
    Unsacred - Where the Light Dims
    Vassafor - The Obsidian Codex
    Velnias - RuneEater
    Vindicator - United We Fall
    Vorkreist - Sigil Whore Christ
    Weapon - Embers and Revelations
    Witch In Her Tomb - Witch In Her Tomb
    Witch Mountain - South Of Salem
    Witchrist - The Grand Tormentor
    Witchcraft - Legend
    Wodensthrone - Curse
    Woman is the Earth - This Place That Contains My Spirit
    Wreck and Reference - No Youth
    Year of the Goat - Angels' Necropolis

  • WolfHall's Review August '12(DE+EN): Various Artists - Kosmoloko 2

    24 août 2012, 18h05m par Wolfhall

    Various Artists - Kosmoloko 2 [Galakthorrö, 2012]

    ★★★★★★★★☆☆ (8/10)

    Willkommen bei der zweiten Ausgabe des schaurig-schönen Miniaturenkabinetts aus dem Hause Galakthorrö. Jeder der Künstler ist mit 2 unveröffentlichten Beiträgen vertreten, eingerahmt von Titeln der Eigentümer selbst. Das Gesamtprogramm ist getrimmt auf LP Länge, da es sowohl als LP und als CD erscheint, und bietet einen Einblick in das aktuelle Schaffen der Kreativen.

    Den Anfang macht November Növelet, mit der unterkühlten Stimme von ‚Mrs. Arafna‘ in einem minimalisch verstörenden Stück, den zweiten Titel trägt der Gesang von ‚Mr. Arafna‘, deutlich melodischer und eingängiger.
    Die besten Stücke kommen jedoch mit ‚‘ von „Subliminal - Embrace“ und mit ‚‘ von „Herz Jühning - Son Of Earth“ daher.
    Hermann Kopp“ fügt instrumental ungeschliffene und experimentelle Teile zum gelungenen Ganzen der Zusammenstellung. Die zwei abschließenden Stücke von „Haus Arafna“ sind für manchen eventuell enttäuschend, weil sie nicht die gewohnten ‚Kracher‘ sind, wie man auf obigem Video zu ‚Lying In State‘ hören kann.

    Jeder der Beteiligten ist sich treu geblieben, was außerordentlich begrüßenswert ist. Klar strukturierte Lieder, die einen nicht erschlagen, aber in die man sich jedoch erst einhören muß. Dann entdeckt man eine unnachahmliche, unverkennbare eigene Handschrift, der man nur Respekt zollen kann.

    Lediglich die Covergestaltung finde ich für die zweite Ausgabe der Zusammenstellung etwas unter Niveau, hatte der erste Teil [Kosmoloko 1]noch prima mit praller Natur zur enthaltenen Musik kontrastreich gepunktet. Nächstes Mal gibt sich ‚Herr Arafna‘, seines Zeichens gelernter Buchdrucker und Schriftsetzer, bestimmt mehr Mühe.

    Unvergesslich ist mir die Begebenheit, daß ich mit den Beiden vor Jahren in
    München einen Abend verbringen durfte. Ich habe sie als sympathische und
    geistreiche Zeitgenossen kennengelernt. Mittlerweile leben sie eher zurückgezogen in Niedersachsen.

    Fenris W.
    Welcome to the second edition of the eerily beautiful Miniature-Cabinet by the
    House of Galakthorrö. Every artist is featured with 2 unreleased tracks, which are kept together by 2 titles of the owners themselves. The entire set is trimmed to LP length, because it is released as a LP and CD version, and offers an insight to the recent creative output of the label.

    The start makes November Növelet, with the super cool voice of 'Mrs. Arafna' in a minimalistic, distorted piece, the follow up track is more melodic and catchy, dominated by the vocals of 'Mr. Arafna'. The best songs involve '' by "Subliminal - Embrace" and '' from "Herz Jühning - Son Of Earth". "Hermann Kopp" adds instrumental, and brute titles to the well turned out compilation. Maybe there is some disappointment, because the two closing titles by "Haus Arafna" aren't the usual 'Hits', listen therefore to the song 'Lying In State' in the video above.

    Well structured songs, not overcharged, but that demand quite a bit of attention
    to get the right access point.
    As a result you will explore an unique distinctive approach, which must be credited.

    Only the artwork is lagging the first issue of 'Kosmoloko'. Vol. 1 had scored with bulging naturalness on the cover, offsetting the restrained sounds it contained. I think 'Mr. Arafna', trained printer and typesetter, will make up for that next time around.

    Many years ago I've spent a night to remember with the couple in Munich. I was very pleased to meet some likeable and witty fellows. Meanwhile they live rather reclusive in Lower Saxony/DE.

    Fenris W.
  • Popularity of Serbian Alternative bands according to Reverbnation

    19 sept. 2011, 16h22m par ZombieB

    Raspevane Dzukele
    Alternative / Punk Rock
    Novi Sad, RS

    youth a.d.
    Alternative / Industrial
    Srbobran, RS

    Alternative / Alternative Rock
    Novi Sad, RS

    Norbert Gobor
    Alternative / Film Music
    Temerin, RS

    Verzija 2
    Alternative / Rock
    Belgrade, RS

    Alternative / Rock
    Žabalj, RS

    Alexandar Ristic & Jovan Savin band
    Alternative / Socialist minima...
    Novi Sad, RS

    Novi Sad, RS

    Alternative / Ambient
    Novi Sad, RS

    Alexandar Ristic - Batiskaf
    Alternative / Serbian Ambienta...
    Novi Sad, RS

    Novi Sad, RS

    Alternative / Indie Rock
    Novi Sad, RS

    Alternative / Rock
    Novi Sad, RS

    Damjan Bujandric
    Novi Sad, RS

    Alternative / Minimal
    Novi Sad, RS

    Alternative / Industrial
    Novi Sad, RS

    Alternative / New Wave
    Sremska Mitrovica, RS

    Alternative / Trip Hop
    Novi Sad, RS

    Alternative / Grunge
    Subotica, RS
  • Album & video release of Youth A.D.

    24 août 2011, 21h09m par ZombieB

    Premiere of State Of Terror official video made by Fiat Pompeius Films and
    digital release of Youth A.D. second album.

    Video will be set to public on the day of release.
  • Album & video release of Youth A.D.

    24 août 2011, 21h07m par ZombieB

    Premiere of State Of Terror official video made by Fiat Pompeius Films and
    digital release of Youth A.D. second album.

    Video will be set to public on the day of release.
  • Youth A.D. live @ club Mladost

    1 août 2011, 16h24m par ZombieB

    Youth A.D. is Serbian industrial project that comes from the town of Srbobran. This is the gig they did in Mladost club in town of Subotica. Enjoy!!
  • Youth A.D. live @ club Mladost

    1 août 2011, 16h25m par ZombieB

    youth a.d. is Serbian industrial project that comes from the town of Srbobran. This is the gig they did in Mladost club in town of Subotica. Enjoy!!
  • New net magazine on obscure music

    6 mai 2011, 10h09m par ZombieB


    21 avr. 2011, 11h01m par Coffinwood_Mill

    After much pestering, I've relented. Hope you folks are happy. Here is my Best In Neofolk / Martial Industrial / Etc. 2010 list. I've refrained from writing reviews for this material, as I just couldn’t be bothered this year. My apologies.

    Those who are actually interested, feel free to comment, criticize, and suggest any albums that you may have heard that I might have missed in neofolk, martial, neoclassical, dark ambient, or power electronic genres. Also, I encourage readers to post their Best of 2010 lists as well. There are so many things out there these days that I know I missed a great multitude of things.

    I'm open to any listening suggestions!

    Also, if you are interested in other genres of music aside from those covered in this journal, feel free to visit my other journal entries covering the Best of Heavy Metal (link) and Indie / Misc. (link) in 2010.

    Enjoy! :-]

    + Best In Neofolk / Martial Industrial / Neoclassical / Etc. +

    1.)Adam Hurst - "Elegy"

    Hurst’s seventh release marks a departure from the drone-grounded, solo modal improv of those performances and his recent CD outings. He overdubs spare piano accompaniment that allows a richer harmonic language, more through-composed moments, and, notwithstanding a couple of cuts (e.g. “Radiance”) laced with Middle Eastern rhythms and drone, a more European classical sound meets the old Windham Hill melodic acoustic style. As track titles such as “Elegy,” “Absence” and “Lament” suggest, the prevailing mood is melancholy, sometimes mournfully so, exploiting the instrument’s dark qualities. Others range from dramatic (“Summoning”) to plaintive (“Fragments”) to pensive (“View from Within”), all riding memorable, song-like melodies. The consistently somber mood across Hurst’s 15 concise tracks makes it easy to bask in the haunting atmosphere, ideally next to a fireplace on a stormy night at the coast.

    The cinematic feel of Hurst’s moody music is no accident. “My biggest goal through music is to create evocative, introspective sounds which can accompany dream states,” he says. “I want the listener to have visual experiences.” It’s music best listened to with your eyes closed and heart open.

    - Source: Brett Campbell (

    For fans of: :10:, Julia Kent, Nightpray, Corde Oblique, In a Mindset, Indignant Senility.

    2.)Árstíðir - Árstíðir (late ’09 pick)

    The music of Árstíðir is a rare mix that is at the same time simple and complex. Their songs are easy to fall in love with, yet it mixes influences from classical music, progressive rock, country and Icelandic folk music. The band consists of distinguished players known from various bands and various genres in the Reykjavíkian sound-scape.

    Aside from their trademark vocal harmonies, it is Árstíðir’s instrumentation that set them apart, effusing a warm tide of resonant acoustic and baritone guitars, virtuosic piano, and melismatic strings. The result is an unusually wide sound spectrum, further emphasized by the impressive vocal range of all six members. Árstíðir’s music is easy to fall in love with yet mixed with diverse influences such as progressive rock, indie, classical music, country and Icelandic folk music.

    - Source:

    For fans of: Laudanum Forest, Rökkurró, Neutral, Forseti, Harvest Rain, Nick Castro & The Poison Tree, Marissa Nadler.

    3.)Lisa Gerrard & Marcello De Francisci – “Departum"

    Academy Award nominee and Golden Globe winner singer/composer Lisa Gerrard (Dead Can Dance) and film composer Marcello De Francisci have joined forces to bring you their first collaborative album work titled Departum. The two hit it off and felt so good working together they decided to do another project on their own terms. The result is probably the best work Lisa has done since Dead Can Dance dissolved. Soundscapes, echoing chasms, haunting vocals, eastern tribal influences, it's all the stuff that made Dead Can Dance work with a bit of a different flavor. Quietly spiritual, yet not new agey, the record nonetheless feels like a healing. Lisa's voice is as amazing as ever. I think this record proves she does better when she's collaborating with someone.

    On Departum, these collections of pieces are filled with lyrical soundscapes, which have been orchestrated with vocal chants, cimbalom, guitars, percussion, modern instruments and orchestra. An effort that took two years in the making moreover a collective journey inspired by ancient world cultures (Mesopotamia, Europe & Asia).

    - Source:

    For fans of: Dead Can Dance, Brendan Perry, Irfan, Rajna, Love Is Colder Than Death, Azam Ali.
    Lisa Gerrard MySpace:
    Marcello De Francisci MySpace:

    4.)Donis - "Kas tave šaukia..."

    A solid follow up of Donis' Bite Lingo album, emphasizing Lithuanian historical war folklore to a new level, presenting ancient songs with impressive modern post-folk arrangements and various traditional instruments. Singer Rasa Serra with her tremendous voice is on the top here. The album is dedicated to 600 years anniversary of the Great Žalgiris (Grunwald 1410) battle.

    Track By Track Synopsis:

    01. Where War Wages
    Instrumental track.

    02. Who Calls You? (original title Žalio vario)
    Ancient ritual game of funeral (registered in 1984).
    During the ritual, people sing: Who calls you?
    “What do you want, sirs?”
    “We want a man!"
    ”Oh, who will open the gate?”
    “We will open the gate…”

    Passing the gate represents passing from this world into the beyond.

    03. Forth, Home...
    Carry me, my horse, forth, home...

    04. I Woke Up Early
    A song of farewell (registered in 1828). An old mother cries and wails over her young son leaving for the war. The young soldier cries saying that he has no siblings who could see him off.

    05. Dove’s Song
    Military and love song (registered in 1938). This particularly lyrical song has very well-expressed motifs of strong emotional ties in the family. Parents and siblings cry over the soldier who left, look for him everywhere but cannot find him. But the girl finds him in Vilnius town and he promises to marry her.

    06. Must Go to War (original title Oi, šėriau šėriau)
    Leaving for war song (registered in 1960). While feeding the horse, the boy receives a letter brought by a cuckoo inviting him to war. As he is leaving, he is sad about his girl, hopes to return from war and marry her.

    07. Young Brother of Three Sisters
    Brother’s farewell song (registered apprx. in 1963). The key motifs of preparing the boy for war are expressed concisely and quietly in the song: one sister dresses her brother, the other saddles up the horse, while the third lifts the gate and sees him off. The brother never returns as he is killed in the war. The horse brings the message about his demise.

    08. Black Raven
    Dying soldier’s song (registered in 1936). The song conveys the motif of death and wedding. The dying soldier asks the raven to fly to his home town and spread the news that he got married: his bride is the small bullet piercing his heart.

    09. Father Raises
    Soldier’s fate song (registered apprx. in 1949). The first part conveys the preparations for leaving for war and parting with the family, while the second one describes the soldier’s fate in the war, the cruelties of battles and the deaths of soldiers.

    10. Sighing Oaks (original title Ir atlėkė žąsų pulkas)
    A song about the soldier’s service in Prussian army (registered in 1919). The opening image relates to the mythical image: a covey of geese bring the message about the soldier’s death. The song stresses a difficult life of a soldier and the gloomy loneliness of the widowed bride.

    11. Oh, Brother Brother
    Leaving for war song (registered in 1962). A young boy asks his brother to saddle up the horse as he has to go to war. The refrain oh how nice and fine our army is grants some playfulness and optimism to the song.

    12. Run, My Dear Horse
    Instrumental track.

    - Source:
    Information about songs prepared by Irena Nakienė.
    Translation by Ugnė Vitkutė.

    For fans of: Vilkduja, Donatas Bielkauskas, Oro!Oro!, Roma Amor, Anapilis.

    5.)Allerseelen – “Rauhe Schale”

    After a series of luxurious vinyl reissues of the older and deleted discography, the new Allerseelen studio album is ready to be served. Gerhard proceeds in the direction taken withHallstatt, departing from the radiant and Mediterranean atmospheres widely explored on the acclaimed Venezia and Abenteurliches Herz some ten years ago, to move back onto dark and industrial-contaminated territories, never forgetting, however, the primal folk elements always present in the band's sound. Rauhe Schale contains brand-new songs, as well as some reworking of old classics, such as "Sturmlied", "Ob Auch Mein Herz So Funkelt" and "Kamerad" (here titled "Rauhnachtkamerad"), the latter particularly interesting thanks to the addition of female backing vocals.

    There's varitey in the sound all through the album, equally subdivided into ballad-like moments, with acoustic instruments and a traditional approach ("Die Klänge", "Jede Welle", the crepuscular "Die Sehnsucht Aber Bleibt", the agile "Niemandsland"), heavier and noisier experimental parts, with samples and industrial soundscapes ("Diese Nähe Ist Gefahr", the disquieting "Die Berge Werden Leer Sein", "Herbstlied"), electro-dancey epics (the reprise of "Sturmlied", "Dein Herz Schlägt Aufwärts"), and surprising e-guitar driven tunes ("Wo Ist Das Leben", "Rauhnachtsalz", "Ruhig Blut"). The swift and melancholic instrumental piano "Schlussbild" appropriately closes this interesting collection, that shows once again Gerhard's creativity and will to experiment the different possible variations of what he himself baptized "industrial folklore" a while ago.

    - Source: Simon V. (

    For fans of: Der Blutharsch, Blood Axis, Leger Des Heils, Sturmpercht, Werkraum.

    6.)Funerary Call - "Dark Waters Stirred"

    It is a rare and most priviledged occasion when one happens upon a ritual as foreboding as the recent release from Funerary Call, Dark Waters Stirred. Minimal yet textured, the six tracks that make up Dark Waters Stirred contain some of the most smothering atmosphere to be found in extreme music. Woe to all who dare gaze upon the Dark Waters . . . for what is seen depends largely on who is looking as well as what they most fear.

    “With Curse” opens the wound, the portal, the eye. Patient as a winter’s night, “With Curse” has a tonality that sounds like a distorted dream and a feel like a sluggish nightmare. The lights blink from far away as you are flown through the dark sky, landing at once in the middle of a black sea where an ancient ceremony awaits. The droning drums to “Words of Power” call you closer to the fire, burning your straining eyes. The shadows continue to grow long as the faces of those around you contort into horrendous laughter of decadent delight. This is what sensory deprivation would sound like if it made so much as a whisper.

    One of the most appealing things about Dark Waters Stirred is how personal it can become. The only words present (accompanied by one of the most haunting violins I have ever heard) are spoken, the verses taken from the Book of Revelation. This allows each listener to create his or her own proverbial Frankenstein’s Monster from the album’s anatomy of crude sound. No bullshit political lyrics, no profane chants to Satan — you are allowed to draw your own conclusions and therefore, are also forced to find your own way out of the ever-maddening maze.

    The production of this album is also top notch. Any fool can make noise and call it art, just as any artist can hear noise and call it foolish; however, it takes an artist with genuine talent, such as Funerary Call, to create something as moving and personally penetrating as Dark Waters Stirred.

    - Source:

    For fans of: Herbst9, Nordvargr, Blood Box, Sistrenatus, Archon Satani.

    7.)Rome - "Nos Chants Perdus"

    The 5th full length of Rome (the 2nd released on Trisol) sounds to me like their most intimate album thus far. The duo Jerome Reuter (Luxemburg) and Patrick Damiani (Germany) got some fame by their neo-folk and apocalyptic approach, but 5 years after their debut we can no longer speak about this kind of music. There are for sure some reminiscences running through the work, but Nos Chants Perdus comes closer to some real ‘chanson’. An instrument like the accordion reminds me of the street musicians of Paris and that has nothing to do with the neo-folk style. The lyrics remain the strongest element referring to the early years of the band. Paying some attention for the brilliant “La Rose Et La Hache” you’ll have to admit that Rome has considerably evolved. This is a brilliant and moody song dominated by the accordion play. Another essential cut is “Les Iles Noires”. It’s a masterpiece that will appeal for the fans of Nick Cave (on his most moody songs).

    A few other songs are more evasive for the musical content and I here especially think to “L’Assassin” and “Sous La Dague” while being more dramatic for their lyrical content. “Un Adieu A La Folie” is already a bit different, reminding to the gothic-wave style of Diary of Dreams. No doubt about it, next to the intimate character of this release it’s also the most diversified album to date. This is maybe because of the songs that have been brought together in 5 parts.

    Another particularity of this album can be found in some songs sung in English, but achieved with French lyrics. It reflects the cold poetry of Rome while still creating a duality with the music. It all sounds like a symbolic fight between a ‘warmer’ and ‘happier’ music and the ‘desperate’ lyrical style. Several guest musicians have contributed to this opus injecting some piano, violin, cello and other instruments. The acoustic instruments create a very authentic impression dominated by a deep emotional content. Nos Chants Perdu (“Our Lost Chants”) brings despair (lyrics) and happiness (music) together creating the most accomplished work of Rome to date!

    - Source:

    For fans of: Triarii, Of the Wand and the Moon, Rose Rovine e Amanti, TriORE.

    8.)Der Arbeiter - "Holzwege"

    Six years after its debut album Reflejos del Sol was released by Divine Comedy, Der Arbeiter is back with a new album inspired and dedicated to the Chilean writer Miguel Serrano. Holzwege contains ten songs that form a balance from neo-folk with Mediterranean influences (for instance: the melodies used for the acoustic guitar parts) to electronic arrangements. This musical blend, along with the melancholic atmosphere, creates a cinematic effect where industrial and ambient martial influences meet electronic folk and passionate acoustic instrumentals. Along with nine original songs, you'll find "Wo Die Wilden Kerle Wohnen ", originally written by Gerhard Hallstatt (of Allerseelen) for the 7" compilation of the same title ("Where The Brutes Dwell" is an ancient Germanic fairy tale and on that 7" and many different bands have recorded their musical version of it).

    The ten songs conceptually inspired by the work of Chilean writer Miguel Serrano, and his conception of Minne ("a love at once illicit and morally elevating, passionate and disciplined, humiliating and exalting, human and transcendent"). In musical terms, Holzwege is an alchemical mix of electro-folk with a slight Mediterranean taste, which gives it a unique and distinctive sound that moves away from the well known clichés of the neofolk-martial scene. An original and inspiring work, made in Chile, arising from the ruins.


    For fans of: Storm of Capricorn, Horologium, Oda Relicta, Le Lendemain, RUKKANOR, Medusa’s Spell.

    9.)March of Heroes - "Liberation"

    Mit Liberation gebärt uns Romain L. nach einiger Zeit der Stille nun den zweiten Teil der angekündigten Trilogie, welcher den Hörer abermals auf Schlachtfelder von erschreckender Intensität geleitet.

    Mit diesem Rundling geht der Musiker dabei den bereits auf dem Vorwerk eingeschlagenen Weg konsequent weiter, sprich martialische Kost, die da mit allerlei Samples verfeinert wird. Bereits der längere Opener vereint jene Elemente recht gekonnt, was zwar auch auf "Liberation (Part II)" zutrifft, wobei diese Darbietung allerdings eine recht lange und unauffällige Anlaufzeit birgt. Entschädigt wird man dafür mit einer atmosphärischen Tastenmelodie, die noch sehr lange nachhallt. Auffallend auf dem Album ist der mittlerweile recht hohe Anteil an Sprachsamples, der dieses stark prägt, was zwar nicht schlecht sein muss, in vorliegendem Fall aber aufgrund der mitunter langen Darbietungen das Gesamte etwas in die Länge gezogen wirken lässt. Und da wären wir beim Salz in der Suppe.

    Titel wie "Motherland Calls" klingen vielversprechend, vermögen mich aber aufgrund der nicht wirklich variablen Umsetzung kaum auf Dauer zu fesseln. Wenn der Musiker zudem etwas mehr Pepp und vor allem Bombast einbringen würde, wäre das sicherlich schon mal ein guter Ansatz. Somit hat es hier mitunter vielmehr den Anschein, dass das Augenmerk eher auf die Samples, als auf die Musik gelegt wurde. Wenn die Musik dann somit zum schmückenden Beiwerk degradiert wird, begeistert mich das nicht wirklich. Dies verleiht dem Ganzen mitunter einen gar ambienten Charakter, wobei March Of Heroes aber dennoch im Industrial verankert bleiben.

    Am Ende ist Liberation etwas schwächer als das Debüt ausgefallen, erscheint mir dies komplett betrachtet doch schon recht monoton. Die Nähe des Schlachtfelds nur mit Gefechtsgetümmel umzusetzen reicht mir in der heutigen Zeit einfach nicht mehr aus, da gibt es mittlerweile weit bessere Formationen. Man wird sehen, was die Zukunft bringt.


    For fans of: Arditi, Pantheon Legio Musica, Arditi, Across the Rubicon, Die Weisse Rose, Phragments. MySpace:

    10.)Kiss the Anus of a Black Cat – "Hewers Of Wood and Drawers Of Water"

    You can never judge a book by it's cover and a name like Kiss the Anus of a Black Cat proves it. It sounds like a band with humor and that might actually still be the case but there is nothing funny about their, or actually, his music. Kiss the Anus of a Black Cat is a one man project led by Belgian Stef Irritant, who uses guest musicians on most of his albums. He plays dark and sober folk similar, in style and quality, to Woven Hand. The folk is also mixed with rock, country and even some drone influences.

    Be it clean electrics or acoustics, all the songs are based around vocals and guitar. The songs on this album range from small songs with just guitar and vocals (Hewers of Wood and Drawers of Water), to songs that have some percussion added (Harrow) and songs that feature a full band (Taking the Auspices), but don't expect any uptempo folk/rock songs on this album. All the tempo's on this album are slow and sludgy, which is something that really fits the sober mood set by the voice of Stef.

    Lyrically this is very poetic album. Just look at the title, he could have just called it lumberjacks and waterboys. Those poetic lyrics go really well with the hint of moaning and complaint that is always present in the vocals. The style of the vocals isn't typically folk, so don't expect that country twang. Think Woven Hand, a British accent and I even hear a little Killing Joke every now and then.

    Even though most of the songs are based around vocals and guitars, the guitars the aren't very up front in the mix. The production is very based around the mood the songs set and all the instruments have their equal place in it. So when that organ comes in at the end of Harrow you can hear it really well. The vocals are very present in the mix though, but isn't a problem cause his voice sets the mood for a lot of songs. So if you like your folk a bit darker or you are a metalhead who just wants to hear something different, try this record.

    - Source:

    For fans of: Nature and Organisation, Sieben, In Gowan Ring, Sol Invictus, Hexvessel.

    11.)Phelios - "Astral Unity"

    This is the 3rd full length from the German ambient project Phelios and the very first release on the excellent Malignant Records. According to me this label, with its roster has become very representative for qualitative dark ambient music. Astral Unity is a banging piece of ambient music dominated by hard drones. It sounds quite bombastic and the echoing drones are like the foreplay of an apocalypse. We get 7 heavy pieces, which from start on bring the listener into devotion. The drones have been put beneath cold cellar atmospheres, which can become very visual like. “Deadspace” is a very representative track for the visual strength of this opus.

    The “Origin” track is even accentuating the imaginary nightmare vision. This track sounds like a real cataclysm. This is ambient terror! But the real surprise of this album comes at the end. We here are like walking on total new grounds, like discovering an unknown ambient dimension. Just imagine a cool, cold ambient cut being worked out with some kind of acid bleeps on top. This is quite undone, but I can assure you that it works pretty well! I can’t affirm that an entire album in this style would be good, but this way of ending the album took me by surprise! Phelios is one more band to discover on Malignant Records!

    - Source:

    For fans of: Verhören, Svartsinn, Kammarheit, New Risen Throne, Inade, False Mirror, Terra Sancta, Vestigial.

    12.)Les Fragments De La Nuit - "Demain C'Etait Hier"

    Ombeline Chardes (violin) and Michel Villar (piano) received a very good response after the release of Musique Du Crépuscule in 2008. This French duo gained experience in the writing of soundtrack music, and that’s an explicit element we can find back on Demain, C’Etait Hier (“Tomorrow, It Was Yesterday”).

    Dark cinematographic compositions clearly inspired by neo-classical music invite the listener to join the enigmatic world of this band. The first part is definitely dark and dramatic sounding. “Cyclogenese” therefore reminds me a bit of Sergei Prokofiev, which I think is a rather good reference. The dramatic character progressively evolves towards a more melancholic feeling appearing on “Cyrius B”. This song perfectly reflects their source of inspiration leading us towards the radiance of stars with the dark forces lurking in the night… which brings us again to their band name (The Fragments Of The Night).

    “Soupir” is a noticeable track reminding me of the music from the movies based on the work of Jane Austen (like “Senses And Sensibility”, “Pride and Prejudice”). The global atmosphere finally becomes mystical on “Les Canons Du Ciel”. The mystical touch was accentuated by the chants appearing on this song. I personally preferred the debut CD, but this French band remains an experience in their genre. It will appeal to the fans of the Prikosnovénie label (and Equilibrium Music as well).

    - Source:

    For fans of: Edo Notarloberti, Luigi Rubino, Ashram, Hexperos, Ataraxia.

    13.)Across the Rubicon - "Who Doesn’t Listen To The Song Will Hear The Storm"

    Ein interessantes Artwort lässt hier auf ein martialisches Feuerwerk ganz in der Tradition des Vorläufers hoffen, und dennoch bleibt man mit dieser Veröffentlichung leider etwas hinter den gesteckten Erwartungen zurück. Mit dem Debüt "Elegy" konnte man mit Across The Rubicon erstmals in der Welt des martialischen Industrial für Aufsehen sorgen. Deftiges Schlagwerk und der entsprechende Bombast waren prägende Elemente des Stils dieser Formation. Seitdem ist die Zeit jedoch nicht stehen geblieben, wie man eben auch an dem neuesten Auswurf "Who Doesn't Listen To The Song, Will Hear The Storm" bemerkt.

    Im Vergleich zu "Elegy" wirkt man spürbar gezähmter, der Bombast wurde etwas zurück geschraubt und auffallend auf diesem Album ist der Sprachgesang, der bei einigen Stücken zum Vorschein kommt. Eine Neuerung in der Stilistik von Across The Rubicon, die dem Ganzen aber auch gar nicht einmal schlecht steht. Ansonsten sind die Zutaten eigentlich die gleichen geblieben, sprich gelegentliche Sprachsamples und eine martialische Grundstimmung mit diversen Beigaben aus dem Bereich der Neoklassik sind es, die das Bild auf "Who Doesn't Listen To The Song, Will Hear The Storm" prägen.

    Bereits beim ersten Durchlauf schaffen es Stücke wie "Glory, Disillusionment And Despair" oder "Here Dead We Lie", sich aus der Masse etwas abzuheben, was mit an der jeweiligen Melodiegebung liegt. Natürlich ist der Gesamteindruck dabei abermals recht bedrohlich und eine musikalische Ähnlichkeit zu Puissance ist da auch durchaus gegeben und nicht von der Hand zu weisen. Trotzdem, am Ende zählt "Who Doesn't Listen To The Song, Will Hear The Storm" zu jener Kategorie von Werken, wo man immer jederzeit denkt, jetzt passiert etwas, nun kommt ein Kracher. Man sollte ja bekanntlich nie die Hoffnung aufgeben, hier wartet man jedoch vergeblich auf einen Höhepunkt. Ansonsten ist der Silberling inhaltlich ein ansprechender Auswurf geworden, der zwar solides Handwerk birgt, aber definitiv nichts Neues oder gar Weiterentwicklung vorweisen kann. Da bleibt nur noch zu hoffen, dass Across The Rubicon in Zukunft nicht den gleichen Fehler wie die einst so mächtigen Puissance machen und komplett an Biss verlieren.

    - Ursprung:

    For fans of: Alle Sagen Ja, Argentum, Sturmovik, In Slaughter Natives, Puissance, Kraft Front, Tethrippon, Sophia, Krępulec, L’Effet C’Est Moi.

    14.)Sinweldi - "Acta Fabula Est"

    Hilarious and amusing review:

    Frankreich – ein Land voller Extreme, woher Albert Sinweldi , der Europagegner, Nationalist, Vichy Getreue und Musiker stammt, welcher mit Acta Fabula Est eine außergewöhnliche Vereini- gung aus Martial Pop, Rock & (Cold) Wave beschert, die von der ersten bis zur letzten Sekunde “zündet“!

    Experten wie Albert Sinweldi finden sich natürlich auf Manufakturen wie SkullLine wieder, deren Anspruch nicht daran liegt den Political Correctnes Preis einzuheimsen, sondern adäquate Musik für eine stetig wachsende Fangemeinde aufzulegen, weshalb “Acta Fabula Est” in einer (“Groß”-) Auflage von 150 Exemplaren das Licht der Welt erblickt.

    Über den Inhalt von Acta Fabula möchte man am Liebsten die Augen verschließen, aber der stolze Franzose bewegt sich derart weit ab der Mitte & setzt dem unbedeutenden Schriftsteller & Journalist Robert Brasillach (1909 – 1945), der sich als Verräter am französischen Vaterland einen Namen machte & dafür (zu Recht!) Exekution fand, ein Denkmal, das es jedem halbwegs geschichtsbewußten Menschen die Zornesröte ins Gesicht treibt!

    Ja, und dann wäre da noch der Titel Acta Fabula Est, der wörtlich “Das Geschehene ist eine Fabel” bedeutet und wie folgt Auslegung findet: “Vorbei ist vorbei” – Herr Albert Sinweldi täte gut daran nicht Geschichtsverklärung (in Form von unangebrachter Heldenverehrung) zu betreiben, sondern die Realität zu blicken, wo unter dem Strich ausschließlich negative Punkte beim Rückblick auf das dunkelste Kapitel der Deutschen Geschichte bleiben.

    Gegenüber dem untragbaren Inhalt steht eine musikalische Glanzleistung, die Cold Wave der Marke Clair Obscur mit Rock Identitario a la 270bis verknüpft, woraus sich einige tanzbare Passagen ergeben, welche das Geschehen dominieren & durch den Einsatz von zum Teil (bestimmt) strittigen Tonsamples Akzentuierung findet. Gefallen mag, dass Albert Sinweldi einige Frauenstimmen (Agnese P. & Letzte Ausfahrt Leben) integrierte, die dem “Ganzen” einen besonderen Charme verleihen (und für totale Vereinnahmung sorgen).

    Innerhalb des musikalischen (hier liegt die Betonung) Gesamtkunstwerks existieren eigentlich nur Anspieltipps, woraus vor allem die Tracks ‘Der Mensch ist nur ein Tier (feat. Letzte Ausfahrt Leben)’, ‘Europe Jeunesse Revolution’ & ‘Honneur’ hervorstechen, wo Albert Sinweldi entweder die Gitarre auspackt oder Frauen (mit ihrem Gesang) ins Spiel kommen!

    Fazit: Musikalisch brillant, hingegen inhaltlich untragbar, dürfte die richtige Beschreibung von “Acta Fabula Est” von Albert Sinweldi sein, der in seinen Kreisen bestimmt auf großen Anklang stößt, aber ansonsten definitiv keine Rolle spielt!

    - Ursprung:

    For fans of: Front Sonore, Nebel, Letzte Ausfahrt, Barbarossa Umtrunk, Eternity, Craft, Ante Bellum, Militia Dei, The Days of the Trumpet Call.

    15.)Nebelkorona - "Tannenhochforst"

    Nebelkorona releases Tannenhochforst four years after their last album the rather lengly titled Reminiszenzen An Das Morgenrot / Relikte Des Abendrotes. The seven tracks on offer here add up to 41 minutes of deeply emotional neo folk that ranges from romantic music to dramatic lamentations. Tannenhochforst is a perfect, dark and wintry album for the fans of nostalgic neofolk music.

    The album opens with "Morgenstunden", a touching ballad that begins with a clean, painful melody and a warm, comforting singing. The music is bittersweet and filled with a notion of nostalgia that will grow as the album progresses. The third track, "Sonnenhall" manifests this sense of nostalgia with a sorrowful piano playing, darker vocals and dramatic atmosphere. "Dezemberabend", the fourth track, finds them returning to the mellow and touching music they had opened the album with. Next up is "Waldzauber", which is even more laid back, yet sinister sounding track. The album maintains this emotional turmoil throughout, which keeps the album very dramatic without tiring the listeners.

    Fans of romantic Neo folk will find this album a gem that should not be missed. Tannenhochforst should easily please those who look for a mellow music that hides a sting within it.

    - Source:

    For fans of: Vannvidd, A Cloud in Circle, Wojnar, Artesia, Nachtreich, Frozenthia Depresis, Birch Book, Nhor, Procer Veneficus.

    16.)Nihil Novi Sub Sole - "Jupiter Temple"

    This is a martial industrial act and a solo project of Marco Kehren singer and guitarist of the now disbanded Dutch depressive doomsters Deinonychus. With a name like Jupiter Temple and the Latin name of the band this is a history lesson that should take you back to Rome, a place where wars were frequent and bloody and the Emperors/dictators in the extreme. However, as I look into things and the varied samples suggest, this is not all about one fixed period of time but it’s “conceptually built around the terror and fear men had to suffer during many wars.”

    Chorals and sombre tones and Teutonic samples lead us into the depressing sound of sorrowful “Nihil Novi Sub Sole,” the drum beat rattles in a military two-step and this slow march if anything resembles a walk to the gallows. Having been in Bethlehem, Marco is well versed in injecting suicidal pathos into his music and this is no exception, there is little in the way of jubilation here, only loss. “To Enslave And Destroy’” is quick to emphasize this with crying greeting the harsh tones of the music, which is restrained to a slow delivery and sounds like the musical equivalent one may expect from incarceration in a Nazi death camp. At times this is quite like a soundtrack, although I can hardly imagine it being for a particularly pleasant movie as track titles like “Walking Over Mother Disease” illustrate. Horns play a part here and with their mourning tone herald the destruction of nations and the crumbling of empires. The drumming may also have picked up a pace but this is still very bleak stuff indeed.

    It’s only on this listen without any distraction that I realized just how depressing this is, the atmosphere it dramatically purports is really evocative. This is not music to suggest to someone who is looking for a quick pick me up as it effortlessly flows around the spirits of the dead, the hopelessness of war and the misery of the multitudes affected by it. If you’re looking for something poignant and unsettling this certainly hits the mark. Once this finishes it kind of demands a two minute silence to reflect on what you have just listened to and if you have one handy, laying a wreath in honor of the war dead in front of the stereo is not exactly a preposterous idea.

    - Source:

    For fans of: Signa Inferre, Liyr, Ierophania, Sturmast, Kulturkrieg, Ryr, Die Macht, Bunkergeist, Fasci Di Combattimento.

    17.)Atomtrakt - "Sperrstelle Nordost"

    Two years after the highly acclaimed Nuklearchetyp album the mighty Atomtrakt are finally back with a new release which is entitled Sperrstelle Nordost. Without exaggerating, this new opus will set new standards in the Apocalyptic / Martial Industrial scene: Words like “bombastic”, “martial”, “heroic” or “militant” definitely need to be re-defined. The atmosphere of Sperrstelle Nordost is threatening and cold. It leads the listener back to times of war (WW II and Cold War) and truly hits like an atomic bomb. Cold, heroic and atmospheric synthesizer layers are mixed with bombastic drums and military war-like rhythm patterns. The vocals on the new record vary from dark and clean to distorted and threatening. Sperrstelle Nordost is a conceptual album dealing with the situation of Switzerland in the 2nd world war / cold war. “Sperrstelle Nordost” is an area in Switzerland which was of national importance for the entire country during times of war.

    The overall sound of the album is powerful and quite bombastic – it spreads a superior and mighty atmosphere rarely heard before. The lyrics deal with fears, death, decay and ambiguity. When listening to this sophisticated album, you can find yourself at the border fighting for your country. The album itself never gets boring. This is due to the variety of songs and themes. The sporadic use of acoustic guitars sounds very interesting and even brings the songs to another level. The last track of the album (“Trauermarsch”) has a pretty psychedelic touch and sounds like soldiers walking through deserted and snow-covered battlefields.

    - Source:

    For fans of: Westwind, Larrnakh, Arbeit, Cold Fusion, Ghosts of Breslau, Karjalan Sissit, Atrium Carceri, All Hail The Transcending Ghost, Ich Hatt’ Einen Kameraden.

    18.)Dead Man’s Hill - "Spirits"

    Bart Piette continues to appears to be the Belgian reincarnation of In Slaughter Natives. I’m always a bit skeptical when projects start to be prolific, which often leads them into poorly inspired releases. Dead Man’s Hill seems to be an exception to the rule and the latest album even confirms a growing maturity in writing. I especially noticed some evolution in sound on Spirits.

    The main source of influence appears to be In Slaughter Natives, and a handful of other similar bands. There are several similarities in the symphonic sound, arrangements and use of chants. The chants are like a sacred choir, which often sounds like an extra instrument rather than real vocals. All elements together give birth to a quite bombastic and sometimes cinematographic style. On tracks like “And The Spirits Of Nature”, “Traveling With The Spirits” and “The Curse II” Bart Piette demonstrates all his exceptional writing skills.

    The compositions are elaborated and achieve numerous crescendos until gaining an apocalyptic climax. Electronics, guitar parts, chants and some vocals by Bart Piette melt together in a very efficient dark ambient and doom-industrial opus. The addition of real vocals has become a kind of trademark for this project and even if I wasn’t always that convinced I know have to admit it all sounds in harmony with the overall production.

    - Source:

    For fans of: Toroidh, Bleiburg, Kazeria, The Protagonist, Wappenbund, Stahlwerk 9, H.E.R.R., Pimentola, Deutsch Nepal.

    19.)Dementia Ad Vitam - "De Gaïa, Le Poison ..."

    Dementia Ad Vitam, "madness for life" or "eternal lunacy" in Latin, is a French unheralded dark neoclassical band that plays a deeply spiritual and overall beautiful music; easily the closest thing to the mighty Elend's creation this reviewer remembers hearing. Not as unsettling and nerve-wracking as Elend's early recordings, but nonetheless esoteric, ethereal and brooding. Dementia Ad Vitam's music is much more personal, subdued and intimate: it leans heavily on piano interludes, violins and acoustic guitars; the vocalist's shrieks are kept to a minimum, but when he wakes up from his dormant half-whispered vocal treatment, his voice transforms into something not quite human, a creature from the pits of hell itself. But these moments are rare on this recording.

    Most of the time the drama is minimal, insidiously tranquil and malevolently quiet. The musical plot juggles between chamber music, quasi-classical minimalism and martial grandeur, pushed forward by militaristic rhythms: it lulls you, it disturbs you, it fascinates you; it does all these simultaneously. Anyone into quality neoclassical, martial-industrial or neofolk music, tinged with a bit of metal and a touch of electronica, would be a fool not to pick this modern masterpiece up. Remember, "De Gaia, le Poison..."! Indeed, a poison you'd want to inject into your rotten blood vessels again and yet again...

    - Source:

    For fans of: Heaven Falls Hard, YWOLF, Autumn Tales, Devs in Vtervs, Momentum Mortis.

    20.)Haus Arafna - "You"

    It has been a few years since the last Haus Arafna album was released. "Butterfly" was released in 2003. This album showed a shift from more old school power electronics to more evident classic minimal electronics. Now seven years later "You" is released. At first listening the album felt to me like shifted more towards a contemporary November Növelet sound. But I was mistaken... very much...

    While November Növelet has gone synth pop in a very cold and dark way, Haus Arafna goes (again) for full terror impact on all your senses. Opening tracks 'Pain To Love' and 'You Don't Believe Me' maybe sound a bit like the side project November Növelet but then 'You' and 'Judas Kiss' are making sure you know what you are listening to.

    These tracks and also a piece like 'Colony Colapse' are absolute there to attack your nerve system. Throbbing, ultra dark, aggressive electronic pulses are aimed at your brain and body with success. Haus Arafna is one of the few music projects around that really knows how to combine interesting sound sculptures with music that really touches you... or maybe hurts you... anyway if this music does not do anything with you... well... you must be dead already...

    Some other tracks are disturbing due to their moody, desolate and misanthrophic feeling that surrounds you while listening. For example 'Today You Died' and 'Lucifer' are truly haunting pieces of electronic music. A masterpiece of sonic terror!!

    - Source:

    For fans of: November Növelet, Karl Runau, Brighter Death Now, Genocide Organ, Maska Genetik, Rasthof Dachau, Herz Jühning.

    And now...

    Ante Bellum - Siglo XIX
    Apoptose - Bannwald
    Arditi & Signa Inferre - Statues Of Gods / Invictis Victi
    Area Bombardment - In Hoc Signo Vinces
    Argine - Umori d'autunno (Il filo spinato e le bolle di sapone)
    Art of Empathy - Posthuman Decadence
    Asbaar - Corona Veli Aurei
    Awen - The Bells Before Dawn
    Bad Sector - Quaternion
    Barbarossa Umtrunk - Agharti
    Barbarossa Umtrunk - Wehrwolf Dharma
    Birch Book - Tomorrow's Sun Will Rise The Same
    Blood Axis - Born Again
    Brendan Perry - Ark
    Caerule Sanguis - Facing Infinity Without Flinching
    Cult of Youth - Filthy Plumage In An Open Sea!
    Current 93 - Baalstorm, Sing Omega
    Dathura Suavolens - Averni
    Death in June - Peaceful Snow
    Dernière Volonté - Immortel
    Dopedrone - Apokalupsis Eschaton
    Drakh - Bethlehem
    Duo Noir - Sintra
    Einstürzende Neubauten - Strategies Against Architecture IV - 2002-2010
    Eldar - Amesha Spentas
    False Mirror - Derelict World
    Fasci Di Combatimento & Dunkel Aesthetics - Der Krieg und Die Kameradschaft (2010)
    Flores Funebres - A moment before nothingness
    Forgotten Backyard - Cerulean Wasteland
    Forgotten Backyard - La Nuit Eternelle
    Fräkmündt - Urbarglieder
    Goatvargr - Black Snow Epoch
    Golgatha - Lovesongs From The Waste Land
    Gnomonclast - Tempus Null
    K100 - The Vault Of Apparitions
    Kammerflimmer Kollektief - Wildling
    Kiss the Anus of a Black Cat - Hewers Of Wood And Drawers Of Water
    Kraft Front - Hammer Metaphysics of War
    Larrnakh - Now Will You Believe?
    Le Silence des Ruines - Le Silence des Ruines
    Le Testament De La Lumière - Echoes Out of Time
    Leger Des Heils - Ueber Liebe Leben Und Tod
    Liyr - Fragments of Dust
    Luftwaffe - Ere I Perish
    Lycia - Fifth Sun
    Max Richter - Infra
    Moon Far Away - Minnesang
    Nest (UK) - Retold
    Non Dolet - Inner
    Nordvargr - Resignation 2
    Obereit - Сказки на Ночь
    Oda Relicta - Holy Alliance
    Of the Wand & the Moon - It's Like Dying On Christmas Day (2010) EP
    Ólafur Arnalds - ...And They Have Escaped The Weight Of Darkness
    OPERA MULTI STEEL - La Legende Dorée
    Orchestra Noir - What If...
    Ordo Rosarius Equilibrio - Songs 4 Hate And Devotion
    Ordo Rosarius Equilibrio - Do Angels Never Cry And Heaven Never Fall EP
    Pale Roses - Fear Of Dawn
    Peter Andersson - Sculpturing Time Fragments
    Phaenon - His Master's Voice
    Phragments & Korinth - Mysteries Of The Greylands
    Post Scriptvm - Grey Eminence
    Profane Grace - Nocturnal Omniscience
    Scarlet Youth - Goodbye Doesn't Mean I'm Gone
    Schattenspiel - Schattenkrieger
    Schattenspiel & Barbarossa Umtrunk - La Couronne De Glace
    Sect - Babylon Rising
    Simulacra - There Is A Fountain Filled With Blood
    Skalpell - Nothing Important to Tell So Far
    Sonne Hagal - Läuthner 2a
    Spreu & Weizen (Official) - Gott erhalt's!
    Stein - Haldor (2010)
    Stormfågel - Eldvakt
    Striider - Ostfront (2010) EP
    Striider - Krieg II (2010)
    Striider & Strydwolf - Si Vis Pacem, Para Bellum (2010)
    Sub Luna - Awake!
    Svalbard - Heimkunft
    The Third Eye Foundation - The Dark
    Tholen - Neuropol
    Troika - A White Rose For Eternity
    Truart - Ich Glaube Das Nicht!
    Voder - Fields
    Von Thronstahl - Conscriptum
    Westwind - Eliminate! Exterminate! Eradicate!
    Woodland Choir - Serenity Rise

    Fin ~*

  • Follow the Industrial God

    17 avr. 2011, 20h26m par ZombieB

    Follow the Industrial God