Album review: Crimson Moon - Under the Serpentine Spell (2005)

 

Crimson Moon - Under the Serpentine Spell (2005)

USA

Total Holocaust Records

It wasn't until the first time I listened to Crimson Moon that I began to envision where the path I had been following for some time was leading me. It has remained one of the greatest influences on what I create. "Under the Serpentine Spell" is unlike any other black metal record. The ambience generated by the synths on this one is the element that really makes it stand out. While the production isn't particularly great, it's defnitely ideal for the compositions that make up this lengthy opus. The bass is prominent and has a tone that is suitable for the somewhat muddy sound of the tracks, just like the guitars. Even though the percussions are done with a programmed drum, every aspect of the recordings sounds incredibly good and there is hardly anything that could have been done better. If you listened to other releases of Crimson Moon, you know what to expect from Scorpios' vocals; aggressive, unorthodox and bestial rasps. He also does spoken word vocals in several parts of the record as well as some chants.

The first full-length "To Embrace the Vampyric Blood" is no less impressive and has a more consistent sound throughout its duration, but its successor has had a tremendous impact on underground black metal as well. The guitars are at times more or less buried by the other instruments, but it isn't an issue because the bass is supposed to be just as important in the songs and the riffs could be considered as part of the overall atmosphere. There is so much detail within the recordings that it's easy to remain captivated by it for hours at a time. Everything about it is chaotic yet refined and at times it gets quite eerie and oppressive. The guitars are different from what other bands in the genre have delivered, creating alongside the bass an elaborate and fierce sonic onslaught. Although not so loud, the percussions are powerful and precise, reinforcing the relatively dense soundscape that the other elements culminate into. The intro and outro are magnificent synth compositions that sound both sinister and phantasmagoric, and complement very well the substantial and evocative tracks of this ambitious output.

For me this is a truly marvelous album without any real flaw. Hipsters stay away from this. (Nahas)

Highlights:

The Blood that is Eternal

Amidst the Labyrinths of Depression

Under the Serpentine Spell

Bloodstained Dreams of the Dragon

EP review: Antt - Esoteric Misanthropy (2021)

 

Antt – Esoteric Misanthropy

India

Independent

Annt is a black metal duo hailing from the infernal depths of Assam, India, and “Esoteric Misanthropy” is their debut EP.

The title feels appropriate for this release, as this whole thing radiates pure darkness from start to finish, with a sound firmly fixed between the second and third wave. The music is relatively straight-forward and well-executed for its duration. The band employs melody in a clever way, without compromising any hostility. Musically, their sound is characterized by harsh, croaky vocals, apocalyptic riffs and fast, hard-hitting drums, as well as incorporating a good dose of melody into the mix. Vocalist Telal Xul’s harrowing groan brings to mind Hoath Torog from Sargeist/Behexen fame, while the guitars are pretty much par excellent and replete with sombre textures. The material is quite strong and further enhanced by a verily excellent production. 

Their sound is something of a mix between Sargeist, Thunderbolt and Babtism. That being said, I don’t ever recall hearing a black metal band of this magnitude and quality from India. The band display a level of professionalism and craftsmanship that most bands are unable to pull off so early in their career. All in all, “Esoteric Misanthropy” is a stellar EP through and through. Recommended. (HT)

Interview: Devouring Void (2021)

DEVOURING VOID is a promising up and coming Black Metal trio hailing from the blackest depths of Canada whose music is synonymous with misanthropy and darkness. The following interview was done with vocalist/guitarist A.R.  

Greetings A.R.! Tell us a little bit about the formation of Devouring Void and how its evil seed came into being.

AR: It began as a brain child of mine in mid 2015. I was in another band (which I won't name) and knew it wasn't going to last so I decided to start planning a new band out. I was writing riffs for this project as early as 2013-2014 before I had the name, "Devouring Void", which came to me in 2015. As much as I did write many riffs for this band years and years ago (which will be on upcoming releases), it was always kept on the backburner because I was too busy with other projects. Then in 2019, I teamed up with KB one day. KB had always been a good friend of mine for years, and listened to all the right stuff to be in a project like Devouring Void. One day we decided to do something productive when we hung out and perhaps jam riff ideas together. It ended up turning into us working on full songs within that first little meet up. In the summer of 2019, our soon to be drummer K.H. was doing a big move, ended up moving into the downstairs of the house I lived in at the time. This guy like KB, had all the right tastes and influences when it came to black metal, and knew his shit completely when writing his own drum parts. Having K.H compelete this black metal trio made this entity go from a project to a legitamate and productive band. We are three guys who get along perfectly, have all the right aligning tastes and influences and have prior experience in being in a band.

What are your main influences and how would you describe your sound?

AR: We are three dudes who play black metal in the vein of Darkthrone, Beastcraft, Katharsis, with a little bit of Australian black thrash sprinkled in. We also worship 80's speed and all the first wave bands. Our main priority as a band is the quality of riffs, hooks and overall songwriting. We love to playing at ripping fast tempos but every so often, switching shit up to a mid paced gallop, like the ones that can be heard on the "Blood Fire Death" album by Bathory.

Do you see playing this type of music as an outlet that prevents you from going on a killing spree?

AR: Yes that, or some sort of self destruction. It's what keeps us sane. All three of us are lifers in what we do in terms of playing music, having gotten into true metal at very young ages.

Tell us about your debut EP ‘’Septic Fluid Dripping From the Open Wounds of Gaia’’ and what inspired the title? Is it based on a concept? Also, how long were you working on the material?

AR: Many bands think of ways they can blasphemize a certain deity as a form of lyrical themes. We as Devouring Void decided not to touch religion at all, so for this title, I Just wanted to have something over the top, but attacking something very real. Gaia, whos is the greek goddess of the Earth felt natural to go after. This band is all about total negativity, and ending of all life. The earth is what gives us life on a collective basis. Consider the general themes of this band as self destruction, and then destruction of all, simultaneously. Desecration of the collective consciousness.

The first track on the EP opens with an audio sample from the Jonestown massacre. Why did you include this particular sample? Also, what’s your stance on the whole incident and cult leaders like Jim Jones?

AR: Because it's vile, horrific and 100% real. You very much are hearing approximately 900 people kill themselves, or being forced into suicide, also as a bonus... royalty free! What better way to open a misanthropic black metal EP, than to hear the sound of 900 dying? My stance on the situation? It's an event of human atrocity like any other. A man corrupted by his own paranoias and position of authority. If I'm not mistaken, Jones' paranoias of the US government was further amplified by his abuse of prescription medications.

What are some of your interests outside of playing music?

AR: Horror games, martial arts, weird history, animals, nature.

Are there any labels in particular that you would like to work with in the future?

AR: preferably a good mid-tier label. Definitely could not see this project working with any major label.

What are 10 albums in the realm of Black and Death Metal you can’t live without?

AR:

Darkthrone- under a funeral moon

Katharsis- 666

Possessed- 7 churches

Excoriate- On Pestilent Winds

Beastcraft- Baptized In Blood And Goatsemen

Bathory- The Return

Merciless- The Awakening

Bestial Warlust- Blood & Valor

Sarcofago- INRI

Autopsy- Severed Survival

How do you see your sound progress on future recordings? What can we expect?

AR: a way more evolved Devouring Void, but consistent with the original sound and concept of the band. Same old school vein riffs, just executed with more hooks, more interesting song structure, and more dynamics.

If your music was a weapon, what would it resemble?

AR: A giant portal in the sky that swallowing and crushing all life as a whole.

What are some of your favourite albums from 2019-2021?

AR: That Hexorcist demo that came out this year blew my head off. Also Diabolic Night's debut full length is fantastic. Amazing to hear those songs with real drums. Cannot wait for Hexorcist's debut album. 

Also Terrestrial Hospice's "Indian Summer Brought Mushroom Clouds" is masterfully executed second wave worship black metal. Oath of Cruelty's debut album most certainly deserves a mention as well, amazing guitar work and guitar tone.

Your thoughts on the current state of the underground?

AR: It's fantastic if you're looking in all the right places?

Lastly, what are your future plans for Devouring Void and when can we expect new material? Thanks for your time.

AR: We're in the process of tightening up the new songs for our upcoming full length. We are hoping to have something out by the end of this year or early 2022.

Thank you for this interview, have an excellent day!

Album review: Abhorrot – Abysmal Echoes (2019)

Abhorrot – Abysmal Echoes (2019)

Austria

Morbid Chapel Records

Formed in Vienna, the Austrian black/death duo released their debut full-length “Abysmal Echoes” back in 2019 via Morbid Chapel Records. 

The sound that pervades this debut is exceedingly cavernous and gives the impression that the music was recorded in some underground cave somewhere, although that was probably the idea. Musically, it’s probably somewhere between Irkallian Oracle and Embrace of Thorns, with extra emphasis on rusty-cage raw production. An indecipherable array of grim vocals are belched out atop a hypnotic discharge of distorted, heavy guitars, while pounding drums propel the chaos. Indeed, those with a penchant for murky, chaos-driven, low-fi black/death metal will certainly indulge in the miasmic darkness of Abhorrot. 

The only flaw is perhaps the production, since a better sounding recording would’ve given the music a bit more life and amounted to a more powerful sound overall. Nevertheless, it’s still good for what it is. “Abysmal Echoes” straddles the line between cavernous and bestial, but with a noxious atmosphere all its own. The album features 8 songs in total, clocking at 37 minutes. (HT)

EP review: Penny Coffin - Τεφρα (2021)

Penny Coffin - Τεφρα

Scotland

Self-released

The debut EP by Scottish trio, Penny Coffin, offers three tracks of unholy, knuckle-dragging Death Metal that leaves more than just a few dead hippies in its wake. The music is reasonably well-recorded, with a production job that allows everything to be heard and stand out. The band employs blood-curdling vocals with meaty, galloping riffs that is nothing short of devastating. The guitars sometimes venture into more technical territory, with riffs sharp enough to cut through bone. This whole release induces a menacing atmosphere augmented by an array of sludgy rhythms and heavy low-end. The drums are mixed well and consists of various tempos that compliment the music. I didn’t hear any solos in the mix, although, the songs does not seem to lack any depth without them and are well executed regardless. If you’re looking for something slightly different, yet still totally heavy as fuck, then check it out. “Τεφρα” is an auspicious first offering and a hint of what the future holds for the band. For fans of: Cruciamentum, Cerebral Rot, Diabolizer.  (HT) 

Album review: Homicide - Minotaur Unleashed (2020)

Homicide – Minotaur Unleashed (2020)

Bangladesh

Vrykoblast Productions

Homicide is a Death Metal band from Dhaka, Bangladesh, and “Minotaur Unleashed” is their debut full-length released by Vrykoblast Productions on pro CD format. 

The sound of Homicide is very much in the traditional vein, striking a balance between melody and more technical arrangements. It definitely borders on Tech-death, but not in an overwhelming way. All songs are memorable and can easily be distinguished, as well as the fact that the music is exceptionally well-played. One can hear trace elements from bands such as Suffocation, Krisiun, and Monstrosity, so that basically tells me that the band is strongly influenced by classic Death Metal, but with a slightly modern production. There are some really killer songs on this album like ‘Whipped, Chained, Burned’ and ‘Repatriate’ but overall it’s hard to pinpoint favourites since the entire album is super solid. 

It’s important to note that the band is from Bangladesh, which isn’t exactly a country that is particularly famous for its metal scene; however, make no mistake, there’s certainly more than a handful of worthy acts hailing from that part of the world and Homicide is definitely one of them. “Minotaur Unleashed” is all around a solid album and I can definitely recommend it to fans of good Death Metal. (HT)

Split review: Nameless Tomb / Sadomortuary - Nameless Mortuary (2020)

 

Nameless Tomb / Sadomortuary – Nameless Mortuary

Germany / Italy

Goatmarch Distro

The aptly titled “Nameless Mortuary” is a split release between Nameless Tomb (Ger) and Sadomortuary (Ita) released under Goatmarch Distro from Greece. Both of these bands embody the true essence of the underground and transmit a veritably evil atmosphere that many bands lack nowadays.

Inaugurating the madness is Nameless Tomb from Berlin, Germany, offering five tracks of vicious and vociferous Black/Death Metal that could potentially drive your neighbours insane. Their side of the split starts with an audio sample of Armin Meiwes, which is quite fitting considering the band is from Germany. The music is characterized by sinister and buzzy guitars, unintelligible growls, primitive, yet well-executed drums, and an unabashedly raw production. Their style conforms to the formula of old-school, raw and bestial Black/Death Metal that gives nods to bands like Corpse Molestation, Havohej and Abhorer. In other words, this is some killer fucking shit. 

The next attack comes from Sadomortuary from Mantua, Italy – and just like Nameless Tomb – they offer more or less the same palette of aural sickness, albeit even more primitive, with a sound sonically on par with bands like Beherit, Weregoat, and Sadomator. The music is – as mentioned above – utterly primitive, ugly and raucous. Their songs aren’t particularly short either and succeed in inducing a profoundly devilish atmosphere, pulling you into the darkest corridors of the bottomless pit with their brand of ritualistic Black/Death. 

All in all, both bands deliver. In fact, this is one of my favourite split releases of late. I definitely recommend it to those into the more bestial and crude sounding stuff. (HT)

Demo review: Sküllfükk SS - Uncut Speed (2021)

Sküllfükk SS – Uncut Speed (2021)

Estonia

Corrupted Flesh Records

The beer-cuzzling crew from Estonia called Sküllfükk SS unleash pure havoc on their latest demo (“Uncut Speed”) featuring 7 tracks of sleazy and offensive black/thrash/speed metal. 

The whole release is permeated with a raw and old-school production complimentary to their style. The music is catchy and infused with punk attitude. You can tell these guys had fun when they recorded the material. Their music will transport you back to the '80s, which is probably what the band intended, since their palette of influences include bands such as Venom, Mercyful Fate, Motorhead, etc. 

Those with an affinity for balls-to-the-wall metal punk, will no doubt enjoy this, as the music is full of killer riffs and incendiary vocal lines. Those looking for something more sophisticated, however, should stay away, as Sküllfükk SS is a band that embraces simplicity and old-school ethos with a healthy dose of punk injected in their veins. 

The overall output is quite impressive considering that “Uncut Speed” is only their second demo. There's something promising here, so hopefully we'll see another release at some point. If you’re a fan of bands like Bunker 66, Vomitor, Abigail, etc., then definitely check it out! (HT)

EP review: Devouring Void - Septic Fluid Dripping From the Open Wounds of Gaia (2020)

 

Devouring Void - Septic Fluid Dripping From the Open Wounds of Gaia (2020)

Canada

Independent

Canadians, Devouring Void, bring the evil with their debut EP titled, “Septic Fluid Dripping From the Open Wounds of Gaia, ” which offers five tracks of fierce Black Metal that’s a paean to all things cruel and malicious. 

Opener, "Infinite Abyss" inaugurates this disc with spoken samples from cult leader, Jim Jones, which sets the tone for the rest of the record. The music isn’t particularly raw, although the production isn’t overly clean either. Comparisons might be subjective, but they remind me a bit of Katechon from Norway. They also exude a verily cold and desolate atmosphere idiomatic to Canadian Black Metal a la Frozen Shadows and Godless North. 

The output in question is quite impressive considering that it’s the band’s first release and they seem to have a good grasp of the genre, as one is able to pinpoint several references while listening to this release. The music is thoroughly well-executed, with the band delivering a solid arsenal of riffs combined with hard-hitting drums and a vocalist that sounds like the personification of hatred. Black Metal fans rejoice. (HT)

Album review: Mefitis - Offscourings (2021)

 

Mefitis – Offscourings (2021)

USA

Hessian Firm

The second album from Mefitis sees the band expand on their characteristic “Dark Metal” sound and venture into even more experimental territory this time around, all the while maintaining a sense of artistic cohesion. These idiosyncratic elements can be characterized based on their penchant for classical melodies and intricate song structures, whilst also emphasizing melody as its main core. Consequently, the result is more or less a cauldron of various sub-genres merged into one, giving the music a rather experimental dynamic. The agonizing screams of the vocalist compliments the music very well and gives the whole thing a profoundly aggressive edge. The band shows great craftsmanship, particularly in how the riffs interplay with each other. This is music for those with an attention to detail, since the music reveals more and more about itself each time you listen to it. If you enjoyed their debut album, “Emberdawn,” then you will no doubt like their new record, as it offers a collection of well-crafted songs full of detailed textures and an atmosphere that draws you in. Call it dark metal, progressive, avant-garde, or whatever you like – it doesn’t matter – the only thing that matters is that you get this album as soon as possible. (HT)