Album review: Battlestorm - Summon Decimation (2022)

  Battlestorm - Summon Decimation

Singapore

Trauma Records

 

"Summon Decimation" is the second album from Singapore's Battlestorm and their first proper full-length since 2010's "Demonic Incursion." Although it took the band a while to record a new album, Hades has been busy with a number of other projects, such as Nocturnized, Lycanthropic, Devouror and more recently, Tartarean Vengeance.
 
From the get-go, the music violently erupts with nine tracks of incendiary death/thrash that never lets up. The songs on this album show serious compositional depth, as each track features a series of stabbing riffs, bellowing vocals and a barrage of offensive drums that incessantly pummel the listener with unrelenting fury. The hulky riffs give the songs an intense feel, while the drums are comparable to a machine gun, firing continuously for forty minutes straight.
 
Battlestorm draws some similarities to compatriots Infernal Execrator, but while the former is stylistically closer to black metal, Battlestorm leans more towards death/thrash. References to be made include ‘80s Sepultura, Angelcorpse and of course the mighty Impiety. Essentially, they play a militant mix of black, death and thrash that’s more lethal than mustard gas. They also incorporate melodies which emphasize the hellish feel of the music, including razor-sharp leads that add significant depth to the compositions. I believe the artwork by Jenglot Hitam perfectly captures the essence of the music and gives an excellent visual representation of what to expect from this album.
 
In addition to the explosion of speedy drums and scorching guitar riffs, the music sporadically switches to thrashy mid-tempo parts before the intensity kicks into full gear again. There are enough tempo variations in the songs to keep things interesting, as each transition feels natural and masterfully executed. In my opinion, the production is a little thin, although it does manage to give the guitars a sharp, biting sound. I think with a more powerful production and a better mix, the band could be destined for greatness. The whole release is brutal as hell, and I think the influence of fellow countrymen Abhorer and Impiety shows. I’m starting to think that maybe there’s an extremity contest in Singapore and that to play softer would be considered an act of treason among their peers. Ha!
 
Overall, “Summon Decimation” is a solid piece of work that slaps just as hard as anything the band has done in the past, and I simply can't recommend it enough if you’re a fan of the Southeast Asian scene with bands like Infernal Execrator, Impiety, Zygoatsis and the like. Stand-out tracks: “Exaltation of the Fallen”, “Qhagan”, “Subterranean Titan: The Cataclysmic Abhorer" (Jim)

Album review: Infernal Execrator - Obsolete Ordinance (2018)

Infernal Execrator - Obsolete Ordinance 

Singapore

Pulverised Records (CD/LP) / InCoffin Productions (Cassette)

 

Infernal Execrator is a band that lives up to its name, because their music is certainly infernal in the truest sense of the word. “Obsolete Ordinance” is their second album and the follow-up to 2014’s killer “Ad Infinitum Satanic Adherent.” It took the band four years to record a new album and they clearly did not disappoint, as the whole release is total war from start to finish. The band has kept the same style employed on the previous album, playing militant black metal with a dash of melody.
 
There is no other band that sounds like Infernal Execrator, as they have a style all their own, even though the influence of bands like Immortal, Marduk and Impiety can clearly be heard in their music. The riffing is wild, frenetic tremolo pickings, intensified by hard-hitting drumming that ranges from blazing blasts to muscular thrash beats, but mostly fast, as the drummer unleashes hell on the kit. Seriously, the drummer is fucking good and super capable. The eponymous opener “Infernal Execrator (True Blasphemous Conquest)" opens this record with furious intensity, while the follow-up track “Incinerate Halakhah Theorem” only adds insult to injury with a series of surgical riffs and machine-gun drumming. I swear the band has some of the coolest song titles. They really go out of their way to outdo every other band in terms of extremity, and I’m all for it, but I digress.
 
Many people would use adjectives like “brutal” and “extreme” when describing a band like Infernal Execrator, and while that's certainly true, there's definitely more to their arsenal than simply being heavy. The musicians in the band can play their instruments exceptionally well and it's obvious that the arrangements are well thought out, especially the way the riffs are played, which I have to say is one of the album’s high points. Every fiery riff and guitar part is spot on, backed by vicious shrieks reminiscent of Abbath from Immortal. The vocals are delivered with maximum ferocity on every track throughout the album. In addition, the guitar solos on this album will melt your face off with its power and brutal execution.
 
It’s amazing how the melody on this album offsets the brutality and yet the music never lets up in intensity. A good visual depiction of their sound is to imagine a grenade exploding in your face, followed by a scene of being mauled by a horde of demons as you enter hell. Infernal Execrator is a top-notch act from Singapore and this album solidifies their position as one of the best black metal bands from Southeast Asia. Stand-out tracks: “Incinerate Halakhah Theorem”, “Northern Superiority”, "Obsolete Ordinance" (Jim) 

Album review: Muert - Ye Canariae Abezan (2017)

 

Muert - Ye Canariae Abezan

Italy

Hammerheart Records

 

“Ye Canariae Abezan” is the third album by Canarian warmongers Muert and was released in 2017 by Hammerheart Records on both CD and 12" vinyl. For those who don’t know, the Canary Islands is an autonomous region of Spain (politically, not geographically) near the coast of northwest Africa, with the easternmost island (Lanzarote) being only 80 kilometres from Morocco and the closest part to Spain being 2000 kilometres. Apparently, the artwork of this album is a historical reference and depicts the battle of La Matanza de Acentejo, in which the indigenous people repelled the Spanish troops in 1494.
 
One of the pros of this album is that the music is anything but formulaic, as each song offers a different listening experience with various tempos and arrangements that keep the listener interested until the last note. In fact, I was constantly curious as to what the band would pull out of the bag next. That being said, try not to misconstrue what I said by thinking that this is some kind of weird “prog” album. On the contrary, this is bestial black/death conceived in the murky landscapes of its environment, adding their own unique flavour to the subgenre with indigenous elements and influences. The title, for example, translates to "The Canarian Darkness," with "Abezan" meaning "darkness" in the language of the Canarian natives.
 
The band mixes it up nicely, as can be heard in the track “Acentejo 1494”, which perfectly alternates between a face-stomping thrash riff to a morbid black metal riff with absolute finesse. The thrash influence in the compositions is undeniable and a testament to their old-school roots. On tracks like “Crueldad desde islas Canarias,” the band clearly shows their penchant for traditional metal, as the song begins with a lead that oozes epic heavy metal and lasts only a few seconds before being obliterated by the cryptic onslaught of death. There are plenty of headbanging moments on this album, even bordering on “fun” (depending on how you look at it), but make no mistake, this is dark and aggressive music of the highest calibre, made by maniacs for maniacs. I mean, you have songs like “Of Corpses, Evil & Drinks...” which is an obvious ode to metal and may even have been inspired by the great Sarcofago (“Sex, Drinks and Metal”). Apparently, the song is about a night at the graveyard that involves profanation, alcohol, and vice. It doesn’t get more black metal than that if you ask me.
 
The umbrella term “war metal” refers to bands that play filthy and bestial metal rooted in bands like Sepultura, Holocausto, Sarcofago, etc. That being said, I can definitely see it applying to the sound of Muert, especially in the way the vocals are performed and in the general antagonism behind the music. The vocalist definitely does one helluva job, as his deep yowls are full of hate, pain and violence, unleashing his cursed lines in every track. The guitar sound also has a slight Swedish undercurrent, reminiscent of early Carnage and Entombed, which once again shows how varied and nuanced the whole album is. On “Ye Canariae Abezan” the band have delivered the perfect blend of black, death and thrash, or “Guanche Black/Death” as they call their music. I highly recommend this masterpiece to fans of bands like Teitanblood, Ascended Dead, and Black Curse. Stand-out tracks: “Of Corpses, Evil & Drinks...”, “and 1.000 momias ”, “Leprocity” (Jim) 

Album review: Heresiarch - Edifice (2024)

Heresiarch - Edifice

 

New Zealand

 

Iron Bonehead Productions

 

The second album by New Zealand’s Heresiarch titled “Edifice” is a continuation of their relentless and uncompromising black/death metal that they’ve been belching out since their formation in 2008.
 
Seven years is a quite a lengthy gap between two albums, which begs the question: was it worth the wait? A resounding YES. The latest album is an all-out barrage of apocalyptic violence, featuring ten tracks of caustic black/death metal cut from the same cloth as compatriots Vesicant, Diocletian and Witchrist, but also featuring trace elements of bands like Conqueror and Angelcorpse.
 
From the music to the themes to the art, Heresiarch casts a dark shadow over the listener, offering no relief from its ferocious and unrestrained sonic assault that makes the earth tremble and the sky turn black. The emphatically aggressive vocals that lead the charge are utterly scornful, adding a crucial facet to their sound that is part of the reason the music is so relentless. A strong vocal presence is important if you want to pull off this style properly. The rapid execution of the instruments and pulverizing drums send the listener into a state of shell-shock as the music blasts over you in blitzkrieg fashion with uninterrupted hostility and maximum force.
 
“Forged Doctrine” inaugurates the madness and wastes no time laying down the law with a maelstrom of chaos and savage rhythms, while the following (and shorter) “Manifest Odium” has an Incantation-esque twang before “Noose Upon The Abyss” completely blusters you into submission with its resolute discharge of mayhem and blunt-force heaviness.
 
Not only is "Edifice" profoundly crushing but it also flawlessly performed, which is complemented by a production that I might add is perfect for this style; it has a natural sound but also enhances the performance as a whole and gives it an audible quality. As for the artwork, I’m not going to lie, I absolutely adore the cover. It has a sort of totalitarian, post-apocalyptic setting and fits the music well. Tempo-wise, the album ranges from pounding mid-tempo rhythms to faster sections, but also slows down at the appropriate moments, showing their penchant for doomier nuances.
 
"Edifice" is one of the most punishing albums of the year, so there’s no doubt in my mind that the seven years since their last album have been absolutely worth the wait as this is easily the best release they’ve put out until date. (Jim) 

Interview: Nuclearhammer

 

Toronto-based NUCLEARHAMMER have recently released a new demo called “Xaos Tenawas - Demo MMXXIII”, which contains two new invocations of destructive Black/Death that emanate the infernal black void. I had the opportunity to interview founding member Axaazaroth (drummer, vocalist) to get some updates from the band, including some insight regarding the upcoming opus. Having said that, grab a beer, take a seat and set your eyes on the screen for a moment as we unravel the prophecies of apocalypse.

 

 

1. Hails! How’s everything going in the Nuclearhammer camp lately?

 

Axaazaroth: Hailz!! Good, we just released the new demo on vinyl and got Impugnor back in the fold so things are going well as far as prepping for the new album and we even played a show recently for the first time in 6 years or whatever the hell it was, that also went over rather well for the most part. Shows are a very rare thing for us nowadays and will remain so in the future.

2. Recently you released a new demo called “Xaos Tenawas - Demo MMXXIII” – can you tell us something about the recording process/inspiration behind this release? Are the reviews meeting your expectations?

 

Axaazaroth: It's a rehearsal demo of new material we have been working on the last 7 years, two tracks that we recorded off the floor in our reh space/recording studio as instrumental versions, added vocals after, mixed and got mastered professionally. The recording process was a bit messy and frustrating from beginning to end but we finally got it done, in fact, the first track Majesty of Pestilential Imperium is missing the entire ending because I felt it sounded too sloppy and off time in one specific part and couldn't be re-recorded so I just decided to give the listeners a slightly shorter version which works better as a preview anyway. The album will have the full version of the song the way I originally wrote it from beginning to end.

3. Have there been any obstacles over the years that have contributed to the band’s recording hiatus, considering you haven’t put out a full-length since 2014? I know you guys recorded music with several other projects, though I’m almost certain Nuclearhammer is your main priority?

 

Axaazaroth: Yeah other band member’s schedules, work and family life really gets in the way, we had two members depart from the band recently around the time of the Xaos Tenawas recording for that reason alone but we gained Impugnor back as a member thankfully since he is not bombarded by typical normie life bullshit. We don't do this as full time careers, although sometimes I wish that was the case, minus all the touring since I am not a fan of constantly travelling and having to play shows. It also takes us years to write new music we are satisfied with and have to practice a long time to get tight and exactly how we want it. Being involved with other projects is never an issue and hasn't held us back, in fact it’s been very beneficial when Nuclearhammer was on a hiatus after the Serpentine album and all the shows we played. As far as not having anything new out since 2014, we would have had a 3-way split out a few years ago if things had worked out with one of the other bands involved but instead we had to sit on our material for 5 or 6 years, but I am aiming to get that recording released very soon and before the new album is out. The only positive thing that came out of that ordeal was it gave me time to figure out the best mix and get help with mastering.

 

4. “Serpentine Hermetic Lucifer” left a mark in the underground and people are still talking about it. How would you describe the differences between your latest release and your old material? Will there be a new album in the near future and what can we expect? Is the vision and your influences still the same?

 

Axaazaroth: I'm glad people like SHL as much as they do, we gained a lot of new fans with that album but the new material in my opinion will blow it out of the water. Some people might not like it though. I couldn't care less what people like or accept in metal these days since everything is so inverted and subverted it needs a massive reset. But if they like Xaos Tenawas, they will love the new album Xaos Void. The songs are MUCH longer and drawn out, it will be a total of 4 tracks clocking in at 50 minutes or so, very hypnotic and full of fury, chaos and immense atmosphere. I would say the vision is still the same but even more intense and vicious than before.

5. You’ve been with NWN since “Serpentine Hermetic Lucifer” – what makes working with them an ideal label for Nuclearhammer?

 

Axaazaroth: I wouldn't say working with any record label is "ideal", there are always internal issues and disagreements and things that are not ideal for the band or label but as long as NWN is interested in releasing our new material I can't complain since he gives us the best deal. He is also expanding his operations now into a vinyl pressing plant so I'd say it's probably the best label to be on.

 

6. What albums have you been spinning lately? Also what are some of your favourite releases/highlights of 2023?

 

Axaazaroth: Too many things to list honestly but as far as black death goes, lately LUCIFER'S HAMMER - Hymns to the Moon and The Burning Church demos since I got the vinyl reissues of those recently and been checking out their other material I slept on for many years it seems. COFFIN TEXTS - Gods of Creation, Death & Afterlife, INVERTED - There Can Only Be One, both albums from 1997 that went under my radar for many years. GRAVE - Into the Grave, EXTERMINATE - Pact, GRAVE UPHEAVAL - Demo LP, METHGOAT/SUBSERVIENT PERVERSITY - Hot Rails, War & Murder split, AUTOPSY - Acts of the Unspeakable, VLAD TEPES/BELKETRE split and everything from diSEMBOWELMENT as always!! Highlights of 2023 would be ARCHAIC MALIGN/FLAGGELIK KOMMANDO 666 - Poisoned Minds Towards the Oneiric Fields of Morbid Hallucinations split, GOTTHAMMER - Godslaying Sonic Barbarism, PROFANE ORDER - Tightened Noose of Sanctimony, CURSED PAST - The Return Into Night, PRISON HELL - Sex Penitentiary and the split with ABRAXAS BLACK, TSALAL - Encapsulating..., PROFANATICA - Crux Simplex, DEMONCY - Black Star Gnosis & Diabolica Blasphemiae, also TETRAGRAMMACIDE's new album just to name a few.

7. Musically, how would you describe Nuclearhammer's sound? I’ve seen your music get tagged as everything from Black Metal, Black/Death, to War Metal and NSBM.

 

Axaazaroth: I just describe it as hypnotic black death. Our primary focus is the overall atmosphere of whatever we are pushing and propagating, so our sound ends up being very atypical and can't fit into one specific category at all times.

 

8. Do you ever feel like you are competing with anyone in the genre, given the growing number of quality death/black metal bands?

 

Axaazaroth: No, once you start thinking competitively like that you fall into wanting to sound like whatever the latest "thing" happens to be. We've never been about fitting in to the latest trend or what sells the most currently before the next useless thing comes along for all the people with short attention spans.

9. How do you see the future of black metal? It seems like the genre has been infiltrated by all the wrong people as of late.

 

Axaazaroth: Has it ever!!! the future is very bleak on all fronts, black metal included until people wake the fuck up, stop being afraid of getting called certain words and take it all back from the parasitic rats, but instead of doing that, I'm sure they'll be lining up for their 50th booster shot while their wives and daughters are raped by hostile invaders hell bent on colonizing Western countries.

 

10. Thank you for your time man. Would you like to add anything else before we formally close this interview? Perhaps a message to your enemies?

 

Axaazaroth: Thanks for the interview, been a while since I've done one. Fuck all enemies and infiltrators, none of you will escape the VOID!!!

Demo review: Tartarean Vengeance - Genosida (2024)

Tartarean Vengeance - Genosida

Singapore

Self-released/Independent

Tartarean Vengeance from Singapore is the sole project of Hades (Battlestorm, Nocturnized, Devourer, etc.) and “Genosida” is the debut demo/EP of this project. Expect nothing less than a vile onslaught of bestial black/death metal informed by bands like Impiety, Black Witchery and Incantation. A haunting ambient piece opens this EP, followed by a rivetingly crushing assault of black/death metal infused with waves of skull-exploding distortion that is characteristic of the superlative heaviness of "Genosida". Since this is a demo recording, the sound is quite raw, albeit executed with a degree of proficiency. Despite being only 12 minutes long, this EP gets its point across confidently and provides a taste of what is to come. Furthermore, the cover of ‘Blasphemous Onslaught’ by Black Witchery is an excellent rendition and homage to one of the genre’s greats. Prepare yourself for war, as Tartarean Vengeance pummels you right into the heart of it.  

Album review: Evil Damn - Necronomicon (2021)

Evil Damn - Necronomicon

Peru

Hells Headbangers Records

 
Peruvian maniacs Evil Damn (comprised of members of Goat Semen and Disinter) released this beast of an album back in 2021, entitled “Necronomicon”. Musically, the band plays hellish and blasphemous black/death metal infused with thrash. From beginning to end, this album subjects you to a plethora of sweltering riffs and ripping guitar solos that are masterfully executed, paired with caustic screams and pounding, bestial drums, all back by an excellent production that provides clarity to the performance. Erick Neyra's vocals are top-notch. I loved his vocals in Goat Semen and I love his vocals here. The man sounds possessed, and those falsettos are insane. Every instrument is meticulously played and contributes to the performance. Hands down one of the best black/death albums from 2021. Recommended to fans of Sacrificio, Goat Semen and Sarcofago.

Album review: Blood Chalice - The Blasphemous Psalms of Cannibalism (2022)

 

Blood Chalice - The Blasphemous Psalms of Cannibalism

Finland

Werewolf Records  

 

“The Blasphemous Psalms of Cannibalism” is the second opus by Finnish maniacs Blood Chalice. It is essentially a continuation of their vicious black/death, although on this recording they seem to have honed their craft to a considerable degree, with the music sounding fiercer and sicker than before. The production is less polished this time around. There’s some good numbers on here, including a good deal of grind influence. In its essence, the album is utterly extreme, feral, and downright murderous. They also mix it up in terms of speed, ranging from blisteringly fast to robust mid-tempos, which adds a great deal of depth to their attack. In summary, “The Blasphemous Psalms of Cannibalism” is one of my favourite black/death albums from the last few years and radiates pure unhinged violence from beginning to end. Recommended to fans of bands like Black Witchery, Conqueror, and Anima Damnata. Stand-out tracks: “The Last Supper of Insects” “Celestial Destroyer” “Blood Worship”

Album review: Morkera - Aggravations (2023)

 

Morkera – Aggravations

Croatia

Unsigned/independent

Morkera is unequivocally the best band from Croatia I’ve heard (not that I know many bands from there), and their second album “Aggravations” is a truly outstanding work. The music sounds raw and unpolished, and while this is probably intentional, it gives the compositions a gritty and unique feel. The band has a knack for crafting remarkably punishing (and sometimes weird) riffs, with nuances of death and apocalypse emanating from their music. The riffs can be quite intricate at times and feature some excellent harmonies, while the vocals are categorically vicious and have a war metal feel to them. I definitely recommend them to fans of (early) Necrodeath, Rites of Thy Degringolade, Axis of Advance as well as Deathspell Omega for the eerie atmosphere. The fact that they don't have a label is one of the most puzzling mysteries of the 21st century, although they seem to be a DIY band. Stop whatever you’re doing and check this band out.

Album review: Vølus - Thrown to the Abyss (2022)

 

Vølus – Thrown to the Abyss

USA

Vargheist Records

Vølus’ second album “Thrown to the Abyss” is a respectable take on blackened death metal that fans of this style will enjoy. The atmosphere is so dreadfully dense, it's like some noxious aura covering you, as if some otherworldly force is feeding you subliminal messages through the music. Deep and vicious growls are belched atop a mountain of face-melting riffs, coupled with dynamic drumming and a production that can only be described as murky – and although the music often descends into chaos, the songs manage to maintain a sense of cohesion. The music eludes descriptors like ‘cavernous’ given the album’s fairly clear production, which is complementary to their style. There's some cool ideas here, especially those discordant riffs, which can sometimes rival the best of them in terms of intensity. Those into bands like Portal, Eskhaton and Morbid Angel should definitely give this band a listen. Stand-out tracks: “Traverse the Arkhanspire” “Black Flame Purification” “Temporal Pathways”

Interview: Cut

 

For those unfamiliar with CUT, they are essentially China’s gift to war metal, and with the release of their excellent debut album “Vanquish the Weak” in 2022, the band has certainly carved a name for themselves as a notorious force to be reckoned with in the underground. If bands like Archgoat, Nuclearhammer and Blasphemy fit into your crude musical palate, then certainly give this band a go.

Special thanks to Jianqi (JQ) for the submission. All questions were answered by founding members Ironthorn and Zon.  
 

JQ: It's a pleasure to have the opportunity to interview CUT, a relatively new but already prominent black death metal band in China, on the occasion of the River Metempsychosis Festival! Can you greet our readers first?
 

Ironthorn: Hello.
Zon: Hello.
 

JQ: Your album 'Vanquish the Weak' released in August last year, gained significant attention both domestically and internationally. Dyingflames considers this album to be one of the top three in the history of Chinese black death metal, while Axekutioner even regards it as the foremost official black death metal album in his mind. How were you all influenced by Satan, and how did you come to know each other and decide to start this band? What led you to decide to base your sinister creative work on Satan as its source?
 

Ironthorn: In 2018, Zon and I met at the Apocalypse Extreme Metal Music Festival in Taiyuan. I think that's when we started discussing the concept of evil art, and we even came up with the band's name at that time. However, due to some damn obstacles, we didn't start creating music until last year (2022). After composing the instrumental parts, Shika and I called back Zon. We all agreed that black metal must be rooted in Satanism. For both me and Zon, I believe it's in our nature.
 
Zon: Before joining the band, I told Ironthorn that I just wanted to express my thoughts through Satan's mouth instead of using my brain to think. In other words, we were ready to surrender our minds to him as well. Due to the alignment in themes and ideologies, we could all act on our instincts.
 

JQ: In Axekutioner's interview with you both mentioned being influenced by Blasphemy. Besides them, who else has had such a significant impact on you? Have your feelings towards this type of music changed before and after forming the band?
 

Ironthorn: CUT's songs haven't been too influenced by the Ross Bay war metal scene, although Blasphemy's first demo holds a special place in our hearts. However, many early Scandinavian black metal and death metal bands did leave a profound mark on us.
 
Zon: Blasphemy's first demo accompanied me through my tumultuous adolescence, but personally, I haven't delved too deeply into listening to this style of music. In reality, for me, the functionality of this music is far greater than its musicality, much like a church choir – we just praise a different god. Before and after the band, we were all blind believers in what this music was saying.

JQ: Why are you referred to as "Bestial Black Metal" in your introduction rather than something else? Does it hold any special significance?
 

Ironthorn: We play black death metal. I don't agree with equating black death metal to bestial metal or war metal. Black death metal is a broad category within black metal.
After the emergence of the Brazilian monsters, Blasphemy and Beherit created chaotic sounds almost simultaneously, Archgoat had a completely different temperament, Bestial Warlust stirred a frenzy in Australia. Demoncy from the United States expressed another obscure, arrogant, and evil musical texture. Fans categorize them as "black death metal," but their listening experiences are different. You can observe that after 2000, many bands created extremely profound black death music, such as Mefitic. For CUT, I can't determine which atmosphere influences us. But we always exist within the darkness, and I am forever a sincere listener of this dark atmosphere. All warriors are praising it in their own way, and it's an addictive thing.
 
Zon: Between Ironthorn and me, we don't discuss things imposed on us by others because it's a waste of time.

JQ: Can you reveal your upcoming plans for composition and release?
 

Ironthorn: CUT will be completing a demo and a second full-length album this year.

JQ: I noticed your album covers are quite unique. Who designed them, and what was the thought process behind choosing the artist and the cover artwork?
 

Ironthorn: We have strict requirements for artists and their imagination. Sickness666, the artist for the full-length album cover, is someone I highly respect. He is very patient and handles details well. The visual sense we wanted aligned perfectly with him. He and Chris Moyen are benchmark artists in this style. But I have never been able to appreciate those stereotypical sheep.

JQ: I believe many readers are curious about this: Do you experience different feelings during your creative process or performances compared to usual? For example, intense anger or a strong desire to attack.
 

Ironthorn: During the creative process, yes. But for me the state of being on stage is solemn. It's a solemn altar to showcase the band's complete essence.
 
Zon: Anger and aggressiveness are instinctual in animals; learning to coexist with such emotions is a human prerequisite.

JQ: I know that many black metal/metal fans sometimes engage in aggressive behaviour during band performances, including but not limited to attacking the band. Have you encountered such situations during your performances? What kind of fan behavior do you dislike the most?
 

Ironthorn: We've come across some special idiots, but Zon and I don't feel the need to understand individual perspectives.
 

JQ: I remember you were initially a duo; when did drummer Shika join the band? Is he currently involved in the creative process?
 

Ironthorn: Shika is an old friend of mine and has been a founding member. During the creative process, I express the desired drum patterns verbally, and our understanding allows us to smoothly complete compositions even when communicating online. I think his interest in intense drumming surpasses the content of black metal itself, but he is always my partner.
 

JQ: Besides black metal, what other types of music do you usually listen to?

Ironthorn: Zon enjoys listening to jazz and engages in some noise engineering. Shika likes hardcore and thrash metal; I've heard he's currently learning drum techniques in jazz. Besides extreme metal, I like listening to classical guitar solos and concertos. However, I can't stand jazz.
 
Zon: Primarily contemporary classical, avant-garde jazz (the kind with proper notation, like Anthony Braxton), experimental music, some serialism, and Japanese Gagaku. I don't reject any music that helps with compositional needs and requires mental engagement.

JQ: Have you encountered any difficulties during performances or rehearsals?
 
Ironthorn: We don't rehearse much. The uncertainty of the live guitarist is a significant challenge for us.
 

JQ: What expectations do you have for the Guangzhou and Shenzhen performances? If given the chance, where would you like to perform?
 
Ironthorn: Personally, I'm looking forward to having a drink with Bloodfire after these two gigs. Most importantly: coercing him to organize Hellward again. Saint Vitus Bar is on our radar; we're working on it.
 

JQ: Finally, one more word to our readers, Hail Satan!
Zon: "I am viewed primarily as the Satan of modern music." --Schoenberg

Demo review: Nuclearhammer - Xaos Tenawas - Demo MMXXIII (2023)

Nuclearhammer - Xaos Tenawas - Demo MMXXIII

Canada

Nuclear War Now! Productions

 
 
Ten years have passed since the release of Nuclearhammer’s last album, with the members more or less contributing to a variety of other projects (namely Necropolissebeht, Nirriti, Azothyst, etc.). Fast forward to 2023, and Nuclearhammer unleash a surprise attack with this twenty-six minute beast called “Xaos Tenawas - Demo MMXXIII”, which features two lengthy compositions of hateful, bestial death/black metal that is characteristic of their sound. The guitars form an extremely grim backdrop, backed by vengeful vocals and hard-hitting drums that viciously pound the listener into submission as the suffocating darkness grips you tighter and tighter. It is the band's ability to create an oppressive atmosphere full of nightmarish soundscapes that leaves a feeling of disorientation and dread within the listener. If you liked “Serpentine Hermetic Lucifer”, then you will undoubtedly love this demo as well, as it more or less follows the same sadistic formula. The overlords of Canadian black/death filth are back to give us a taste of the future. For fans of Antediluvian, Impetuous Ritual, and Teitanblood. 

EP review: Irillion – Mélamar (2023)

Irillion – Mélamar

 

Mexico

 

Nocta Producciones

 

"Mélamar" is the third EP from Mexico’s Irillion, featuring five tracks of harrowing black/death metal. A totally raw and blasphemous sound permeates this release, which reminds me of ancient cults like Treblinka, Beherit, and Belial. Apparently, “Irillion” means conjuring up pungent atmospheres of brimstone and venomous flames, which is exactly how I would describe the overall mood of this release. Pure mystical black/death that radiates darkness and emphasizes atmosphere with its use of gloomy riffs, varied tempos and robust drumming. The vocals are a highlight and extremely raw, reminiscent of Necrovore. This EP starts with a sombre guitar interlude, and just when you think you’re about to indulge in some immersive atmospheric black metal, your world is suddenly set ablaze with vivid images of blood, fire and death, as the music pummels you straight into the burning abyss. The guitars have a buzzlike quality characteristic of raw black metal, yet the death metal influence resonates strongly in their veins, especially when they unleash those sharp, stabbing riffs. Overall, this well-crafted EP brims with promise and demonstrates depth. A full-length release would be highly anticipated. Stand-out tracks: “Oukranos” “Velo De Lo Profundo”

Album review: Exaltation - Under Blind Reasoning (2022)

Exaltation - Under Blind Reasoning

New Zealand

Sentient Ruin

Exaltation's debut album, "Under Blind Reasoning," is certainly a vicious slab of feral death metal. The hostility of the music has a certain apocalyptic quality, reminiscent of bands like Krisiun, Rebaelliun and Morbid Angel, while it also has some war metal tendencies. It also helps that the production isn't overly polished, giving the music a kind of organic appeal and raw urgency that many new death metal bands lack. Exaltation's strength lies in their ability to compose well-written songs while displaying a high level of aggression that is immediately noticeable. Listening to it, I was reminded of albums like "Black Force Domain," simply due to how ridiculously ferocious and unhinged the music is. It's also refreshing to hear a band that opts for a go-for-the-throat approach instead of conforming to trendy "old-school" gimmicks. Fans of gritty and violent death metal are in for a treat!