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. 

Album review: Wrok - De Dood Roept (2022)

Wrok - De Dood Roept

Netherlands

Heidens Hart Records

Dutch purveyors of filth Wrok are back with another full-length of decadent black metal that will push you over the edge once more. “De Dood Roept” (Dutch for “Death calls”) offers 45 minutes of raw, to the core, nightmarish black metal that takes cues from ancient hordes like Bestial Summoning, Samael and Barathrum and transforms those influences into their own brand of twisted, cult black metal. The nine tracks are characterized by primitive tempos and buzzlike riffs so disgusting that it will make your local priest possessed and barf black. Azaghus’ sinister howls complement the evil riffs and ritualistic drumming, creating an atmosphere that effectively conveys a mood of hopelessness. The drums have a nice and crisp sound that gives the music a rehearsal-like quality. Furthermore, the bass contributes to the unholy sound, and blends in seamlessly with everything else. This bears similarities to early Barathrum, where the bass is very noticeable and gives the music a menacing edge. Wrok probably won't appeal to those who favour more accessible metal, but if you like pure black metal that perfectly encapsulates the genre, check it out.

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: Thunraz - Revelation (2023)

Thunraz - Revelation

Estonia

Independent

Thunraz is the musical entity by sole mastermind Madis Jalakas, and “Revelation” is the second full-length (and fourth release if you include the two EPs) released under this wholesome project. I find it interesting that this is labelled as “Industrial death metal” since to my ears, it follows a distinctly traditional approach, although by no means cookie-cutter in any shape or form; in fact, Madis Jalakas seems to show a penchant for some extremely juicy hooks and ideas, something I don't typically hear in death metal, giving off the impression of outsider influences. I suppose the hint of industrial comes from the riffs, since the guitars have a knack to be overwhelmingly chaotic and dissonant at times. The compositions are drenched in nihilism and show a great deal of depth. A range of excellent vocals - from hoarse howls to savage growls - complements the music along with an organic production, a feature I always appreciate in metal. I’m actually dumbfounded as to why this project isn’t signed to a credible label, as it rightly should be. Overall, “Revelation” is a wholly enjoyable album with a myriad of interesting ideas. Highly recommended.

Album review: Misanthropy Apotheosis - Crush the Mask of Virtue (2023)

Misanthropy Apotheosis - Crush the Mask of Virtue 

Greece

Repulsive Echo Records 

Greek miscreants Misanthropy Apotheosis return with their second album “Crush the Mask of Virtue” and deliver a vicious display of brutish death metal informed by bands like Krisiun, Morbid Angel and Bolt Thrower. Each track is characterized by bestial vocals, hammering drums and sick tremolo riffs steeped in darkness. Guitar solos have a neo-classical feel and are executed with sheer precision, just like everything else. The band shows great skill at playing their instruments and the excellent musicianship is noticeable in every track. The compositions definitely have a blackened touch, although this is pure death metal to the marrow rooted in old-school traditions. Their sound also draws parallels to other Greek death metal bands like Dead Congregation and Resurgency, without actually sounding like any of these bands. The comparisons are based more on the darkness and emblematic Greek elements present in their music, just like how you can easily recognize a Swedish or Polish metal band. All in all, “Crush the Mask of Virtue” contains enough depth to warrant repeated spins and should not be overlooked if you’re looking for some hard-hitting, bestial and well-executed Metal of Death.

Album review: Church of Disgust - Weakest Is the Flesh (2022)

Church of Disgust - Weakest Is the Flesh

USA

Hells Headbangers Records

 

It’s become increasingly difficult to keep track with Church of Disgust considering the rate at which they bash out quality death metal albums, though it must be emphasized that this is not a band to take lightly. The new album, “Weakest is the Flesh,” hits on all cylinders, offering a malicious assault of chunky old-school filth, with bestial vocals atop tightly-arranged riffs that slaps you harder than a pair of gorilla hands. This is possibly their heaviest work yet, and it absolutely slays. Performance-wise, every instrument is exceptionally well-played and adds to the album’s disgusting odour, including being backed by a production that is (dare I say) perfect for death metal. Indeed, Church of Disgust have once again released a monstrosity of an album that will be a delight for those into grave-desecration, necrophilia, and murder. Stand-out tracks: “That Which Dwells in Gloom” “Humiliated Remains” “Weakest is the Flesh”

Album Review: Mvltifission - Decomposition in the Painful Metamorphosis (2021)

Mvltifission - Decomposition in the Painful Metamorphosis

 

China

 

Rotted Life Records / Pulverized Records / Huangquan Records / Filth Junkies Records

 
When it comes to metal from China, my knowledge of their scene is admittedly not the best, but I would like to add here that Mvltifission released an incredible album back in 2021 that was undoubtedly one of that year’s best. The album harks back to the glory days of death metal, when bands still sounded original and had that obscure, evil sound. Comparisons to Demilich are inevitable, although the band seem to display enough individual chops in their arsenal to set them apart. A focal point of this album is undoubtedly their penchant for writing killer riffs and not sounding like a poor rehash of their influences, producing death metal that is both distinct and well-crafted. The vocals are putrid gutturals straight from the bowels of hell, complimented by bouncy bass riffs, excellent drumming, and dissonant riffs, all with a production that brings to mind Dawn of Possession era Immolation. All in all, if you enjoy bands like Demilich, Immolation and Demigod, then there’s no doubt in my mind that this gloomy slab of underground death is right up your alley.

Interview: Aeon Void

AEON VOID from Turkey play deadly, possessed death/black metal that evokes a sinister atmosphere reminiscent of the ominous black metal sound associated with labels like Norma Evangelium Diaboli. The music on their debut EP “Fragments of Illusion” is incredibly well-honed, and one of the best releases of 2023. I had the opportunity to speak with the main maniac behind this terror incursion. Read on as we unveil some dark insights.

Hails. Can you tell us how Aeon Void was conceived and what bands inspired your unholy craft?
 
Infernal Hails!
 
We started our activities in Istanbul with Horrida Vultum. The compositions of the songs actually took shape spontaneously after we decided to get together to practice regularly with the instruments. In fact, we created it by restoring the ideas which emerged during the jam sessions. Rather than the idea of "let's do it like the way this or that band does", we wanted to reflect our own RABID approach and aesthetic ideas in a chaotic context. We thought about this together and these 5 songs emerged. I can mention a few of the main bands whose philosophy we have absorbed as sources of inspiration: Katharsis, Deathspell Omega, Thunderbolt, VI, Teitanblood, Azarath, Dead Congregation, Mayhem, Marduk...
 
Are there certain environmental factors that contribute to the darkness of your sound?
 
Everything, especially the human being and its population, becomes more intolerable with every passing day, so life continually fills us up with more hatred.
 
I really enjoyed your debut EP, “Fragments of Illusion.” How long were you working on the songs and are you satisfied with the outcome? I think you nailed the production and that it compliments your sound very well, so congratulations.
 
The writing and recording phase of the guitars was completed from 2018 to 2019. Drums have been recorded in 2020. We took the process slowly so that some things could become stable and mature. At the same time, we tried many new things during the recording sessions. Reamping of the guitars; also bass & vocals recordings were done in 2022. Let me summarize the messy process as follows:
 
We were looking for members to play the other instruments, and we had some auditions related to this. After not being able to pick the right person to get the result we wanted, I took over the vocal and bass parts, and this required a preparation phase on its own. I don't see it as something negative because it was an opportunity to improve myself in every aspect. We are also happy with the result because our goal was to release this EP the way we wanted it to sound. Now we are striving for better. Thank you.
 
The artwork of your debut EP is so sick! I love it. Who is the evil genius responsible for this profane image and what exactly does it depict?

It's done by the Russian artist Alex Shadrin. The cover design of the EP directly reflects the chemistry of the EP: DEATH.

Starting from this point; we wanted it to be drawn in accordance with the image in our minds. A dead baby on the cover indicates what should have happened at the beginning of all humanity, but unfortunately it was not like that and it came to this situation. The dead baby figure actually expresses the feelings we desire, such as the extinction of humanity and the end of everything without any differentiation. So the baby in the middle reflects the only "remedy" of the sinful humanity.

Have you had any other musical experience prior to Aeon Void or is this your first band?
 
Yes we had. For me it was nothing more than rehearsing processes. But Horrida Vultum had played in Godslaying Hellblast and is now playing in Nex Carnis, also he has another project which is about see the light of the day soon and I am dying to listen to it.
 
What are some of your current favorite bands? Are there any releases from this year that have grabbed you?
 
I want to mention my favourites from this year:
1-The Devouring Void & Atrate split
2-Somniate- We Have Proved Death
3-Spirit Possession- Of the Sign...
4-RUIM- Black Royal Spiritism -I- O Sino de Igraja
5-Necrovation- Storm the Void
6-Ascended Dead- Even Fall Apocalypse
7-Blut Aus Nord- Disharmonium- Nahab
8-Horda- Form
9-Marduk- Memento Mori
10-Tetragrammacide- Typo Tantric Aphorisms from the Aracheophidian Quran
11-CH'AHOM - Ts'ono'ot
12-Acausal Intrusion- Panpsychism
13-Voidescent- Dust and Embers
 
I understand Aeon Void is currently a duo. Do you plan to recruit more members in the future or do you prefer the line-up as it is? How many instruments are you playing?
 
Actually we have new members currently, and we've already started working together. As you will appreciate, it is very difficult for two people to hit the stage. I played the guitar and the bass and on top of that I recorded the vocals for this EP. I prefer to shift my focus more on the guitars and the vocals.
 
Thank you for your time! I hope to hear more sick tunes from your band in the future, especially a full-length. Any last words before we close this interview?
 
You're welcome! I am always working on for the better.