28 lis 2016

Donn 'Horns Curve Into Broken Circles'

Peregrination Records

1. Naamah        
2. Malkuth Transforms into Lilith
3. Rotten Blood and Dead Semen as the Foundation of Creation        
4. Revolt Against Solar Singularity        
5. Kinetike        
6. With Black I Absorb, Violet Contemplate, Red I Summon the Strength to Act        
7. Horns Curve into Broken Circles        
8. Savar Speaks        
9. Manipulator of Men

Donn The Philosophy or just Donn is an Underground BM  band from United Kingdom which first full album touched the black light through Peregrination Records. The members of this band are also taking a part in bands like Teutoburg Forest, Blooddawn or Torch Of Darkness.Although the material is older than a year, the music which Donn performs gives a strong dose of "black energy". We have there a concept album declared to the individuality, Glorification of Evil filled by an occult philosophy as well.
Their words: "Evil is separation. The separtion from unity and the reliance of another's defined duality leading towards self deification where one may attain the ultimate power. The power of choice"
Now about the sound. We can hear there a fast Black Metal strike however it is a bit far from technically overclocked Marduk style or flagellating Setherial. But we can feel in Donn's music hell, the Devil and uncommonly furious atmosphere. It's centered and balanced with semi-slow moments. But the most important thing is that we can feel and touch the omnipresent "dirt". It's not only about guitar sounds, but the whole album is fullfilled with putridity and basement moisture. Regarding to a less "bad" details I can hear there a bit repressed bass work and vocals which are fighthing in some moments for "second life" with wall of intensive Black Metal sound. The graphic artwork is minimalistic but it has it's own form and meaning in an occult way. However it is without some "trendy" pentagrams and reversed crossed in the nun's vulva...Why?...Because It is True Black Metal cult for the chosen ones...

http://www.peregrinationrecords.com/ - old not working link

Written by A.

27 lis 2016

A.M.S.G. 'Hostis Universi Generis'

Profound Lore Productions

1. The Exodus of All Life
2. Baptized in the Blood of Galaxies
3. Broken Chains of Cursed Flesh
4. Divine Madness Transcends
5. The Perpetual Dance of Existence and Demise
6. Astral Projections of Lucifer

Second album by Canadian horde A.M.S.G. is standing above 'solid album' description. 'The Enemy of All Kind', the translation from Latin can guide us easily how this work is going to be chanelled via the malign sounds. The previous releases by A.M.S.G. were very mature and advanced as it comes to building atmosphere and track structures. In this full madness, the authenticity doesn't even has to be discovered while it is all the time there. The presence of the real thick Darkness bounded with obvious Devil worshiping, such aura can't be made out and just executed. Only real devotion and authentic approach towards the subject they are channelling cound create such outstanding effect. And we can experience it, on 'Hostis Universi Generis'.
Let me begin with the 100% conviction: second full-lenght album by A.M.S.G. is a cohensive work. Again, amongst the traditional Black Metal patterns we can hear some experimentations are taking place. Especially as it comes to song structures. Canadians are not affraid to use wind instruments, acoustic guitars or spoken / whisppered declamations. This time all the transitions and tempo changes inside the tracks are just simply breathtaking. The atmosphere is raising and spreading all over the place, it is like wandering on an abandoned spot -> the excitement is mixed with fright. All these elements like piano playing, trumpets with saxophone sounds filling the parts of the tracs almost with the cacophony, the pulsations... it is creating a real dismay. Guitars are arranged often in layers, and while the background one is playing the main riff, the second guitar emerges with a nostalgic solos, totally wild leading riffs or possessed distorted ideas. As I was listening to this record many times, almost each time I discovered something new. Some elements seems to be hidden from you, only when you enter into this aura and let the maelstrom take you, than you are feeling like getting new symptoms, new elements are starting to fullfill your conciousness. And I think this is the biggest superiority of this album over others, even great too. Somehow it is hard to treat this record in music categories as a final outcome.
To end it up, I will just add one thing. 'Hostis Universi Generis' has experimental edge, I mentioned above about it. But, what is amazing in it is the fact, this is Black Metal album without any doubt, to the core. And through using of all this variety of track structures, praising the Devil has been reached and noone is able to deny it.


24 lis 2016

Narvik 'Ascension to Apotheosis'

Folter Records

1. Invokation II
2. Wounds of Aspiration
3. Geist zu Scherben
4. Psychotic Redeemer
5. Fecundity of Death
6. Berstende Säulen
7. The Shore
8. BarrenSemen

Hailing from Germany, Navrik strikes back with their second album. As much I was just familiar with their EP 'Snake of Paradise' released on tape, I have to admit - I'll search for the other releases to make up the lost music. 'Ascension to Apotheosis' was released by Folter Records which has a lot of respected hordes in their catalogue like The Stone, Deathrow, Corpus Christii, Isvind or Kult to mention just few. But they released such disgraceful failures like Northern Plague. Not defending the label nor this worthless idiotic band, I guess it is like everywhere on the flooded scene. You have to search for it, dig it out and enjoy the result of your mission. Too bad there are labels supporting such shit like kinds from NP band. Anyway, let us focus on what has to Navrik to offer while it is quite interesting record.
As I mentioned before this is the second album by Germans. I have no point to refer to their debut album as I missed it out within the sea of new releases coming out each day in the last years. First of all 'Ascension to Apotheosis' is a very mature work. Of course it is not discovering anything new, but even using the patterns once used requires some skills. Especially if you are mixing some traditional parts with the ones that are close to even experimental. The mirage of the two brings close the atmosphere of real devotion with oppressive, claustrophobic feeling. And I find myself well in such offering. The guitar work is varied, advanced as for the Black Metal genre but it also creates this spark of thrillness, something you feel like addicted to maniacally pressing 'play' once again, when the album is over. It is suffy, even worse - it is like the sonic dim is appearing from the speakers with every next sound. The drums with the bass lines are damn good dynamic in faster parts. When it comes to some slower 'psychodelic' parts, they create a nice background for distorted guitars. Most of all I was glad to hear that the vocals weren't kept in a standard Black Metal manner. Of course, I am against in too much experimentations in extreme genres. But the style of Navrik just needed it. If I was forced to describe their music style with refering on other bands names -> hypnotic Orthodox Black Metal in vein of hordes like Ascension, Order Of Orias, Merrimack, Fides Inversa or Dysangelium with the mixture of Deathspell Omega. Possessive and anxious stuff.
I think, Navrik's second album would grasp the souls of all those who are not only into the Black Metal. Such music is dedicated to those who seek deeper message in sounds. And for those who seek misanthropy and desolation in life & Black Metal, this should be enough. 

22 lis 2016

Ill Omen 'Æ.Thy.Rift'

Nuclear War Now! Productions

1. Æ.Thy.Rift
2. Æ.Thy.Rift
3. Æ.Thy.Rift
4. Æ.Thy.Rift

Since the compilation release entiteled 'Compendium Melificarum' I bacame enchanted with the music by Ill Omen. Not saying I have got all the releases in my collection, at least all the albums, split with Pestilentia and mentioned compilation. All has started in 2006 when IV have brought to life (or death?) his project Ill Omen. He has also participated in such hordes like Pestilential Shadows, Baratheon, Austere and his own projects like Perdition Oracle and Funeral Mourning. Nowadays he is active also with Nazxul and Temple Nightshade. 
'Æ.Thy.Rift' is the third album of this Australian project. Released under the banner of Nuclear War Now! Productions is enough of recommendation. Four long tracks together lasting almost 40 minutes, as easy to predict it creates an atmosphere of occult thick darkness. IV hasn't been affraid of using the keyboards since the begining of Ill Omen. This instrument in particular has the biggest influence of how this album sounds as a final result. This plus the sound of the recording session. Each instrument is recorded in a very 'live' manner but also suppressed with the sonic turbidity. The sound is seriously frightening, very obscure. All of you probably know how even the most wonderful & quiet place on earth changes when it is covered with dense fog. I can easily say the same happened here, because each sound, each part of the record dim and indistinct. But all the amorphous elements makes 'Æ.Thy.Rift' an album which is close to ritual. IV is also sueing all variations with his vocals, from Black Metal ones, to agonizing howls and whisppers. Mostly the pace on the tracks is slow, but there are also fast ones -> which I must say sounds also very ritualistic due to distant sounding instruments... The mysterious and spiritual ceremony... You can feel how devoted this is, how much deep it is with the invoking the Ancient Serpent . 
I know, that 'Æ.Thy.Rift' is not for everyone how is even in Black Metal genre. It is way too specyfic style IV has created and developed during the years. Also, such mixture of ritualistic sounding Black Metal with slow almost like Funeral Doom parts, will be too much for many. But do I care? Ill Omen created again an unique music of high spiritual standards. Recommended!

19 lis 2016

Drudkh 'A Furrow Cut Short'

Season Of Mist Underground Activists

1. Cursed Sons I
2. Cursed Sons II
3. To the Epoch of Unbowed Poets
4. Embers
5. Dishonour I
6. Dishonour II
7. Till Foreign Ground Shall Cover Eyes

The tenth album by Ukrainian eulogists of the Nature was released last year. In between two Eps and three splits - ten albums in 14 years of existence! Since 2006 the two founding members have been joined by Vlad and Krechet on bass, drums and keyboards. The collaboration is quite obvious since they know each other from common bands like Precambrian, Rattenfänger. Roman Saenko and Thurios, both of the founders have been active in acts like Hate Forest, Blood Of Kingu, Old Silver Key or Astrofaes. The list is huge and all of them are dedicated to the music.
Drudkh through all these years have become a mark of well-composed and preformed Black Metal. Their praising the Nature and Ukrainian folklore is inseparable element with their music. These subjects inspire them to the creation of what we hear each time when a record is finally out. Same story is with 'A Furrow Cut Short', where mainly from the begining we're receiving what we're used to with this horde. Mid to fast pace is mixing through the whole album. The drumming is the key to the success here, while even in the most nostalgic parts, it has some kind of folkish parts. Weirdly not always it can be heard but you've got this 100% feeling of what it is. Guitars are like with the previous works the essence of Drudkh. Like a most misanthropic journey, they create the rapturous visions about the most misghty places in the mountains and woods. The visions enriched with the poems by Ukrainian poets from the years 1935 to 1977. The guitars split often to two parts with leading one playing nostalgic melodies. The effort is great in the outcome, while with the support of the keyboards in the background it stretches the atmosphere to kind of spiritual one. Last but not least are the vocals, which carry the burden of anger. If you match all these elements together you'll come with rewarding result. The journey is not only meant to be pleasureable to your hearing senses, but also to reach to your souls for the older values.
The listenings of 'A Furrow Cut Short' went quickly by. The album has its depth, also it will become more clear when you'll do your lessons and translate the poems / lyrics. So do not waste the time, buy it and listen to it (if you already had it, listen to it again!).


18 lis 2016

Kill 'Great Death'

Amor Fati Productions

1. Doom Oath
2. Totentanz
3. Wreath of Triumph
4. Conflagration
5. Fires of Famine
6. Great Death
7. Desolate Kingdom
8. Wormwood Descends

Swedes have returned with their fifth opus entiteled 'Great Death'. There were no better title to choose for it, as it reflects the whole conspect and music in these two words. Mighty, powerful two words. And this is how the albums sounds, how it is composed and executed. There are no weaker points in it, just ongoing deadly endeavouring to reach Death. After a long waiting for four years, finally I can enter to the realm of their hatred & death driven realm of destructive obsession.
After being in the underground Black Metal scene for 18 years now, Kill has now a solid and respectful position amongst maniacs of such sounds worldwide. Yet, hidden in the underground the beast is slowly raising its head to reach for more victims. They will become the worshippers.
'Great Death', from the first riffs on 'Doom Oath' to the last ones on 'Wormwood Descends', is feeding us with mercilessly pounding pace. These mad, lunatic structures are so violent it is hard to describe the stage I'm now in. Encroaching to my thoughts, consciousness, these sonic landscape is creating just violent & repulsive pictures. In many recent Black Metal albums we can witness occult or mythological wisdom themes. Kill is leaving us without any of these. This work is just an art of pure Death and Fire. As I mentioned above, the tempos are fast and often are bombing us with the barbaric way reminding some patterns of War Black Metal genre. These elements were heard since the first album 'Horned Holocaust' and are nothing new in their discography. It is amazing to see they do not change or quit the style they created in the vision of Kill since the early days. I can easily say, this is the best sounding album by Kill so far. Somehow they kept this 'nekro' sound but each of the instruments is selective. All together they do not melt into a shitty mess. Guitar work by J. Voltage is all up in front, and mostly the riffage is a violent tremolo picking or nekro open strings slower parts. Also when it comes to slow / mid tempos, Kill is sounding so fukking cruel! Still, there is a lot of doze of melodics, but it is hidden in the raging riffs. Through the whole album you can hear the bass guitar lines clearly. Drums by Getaz are recorded properly. I was more than happy to hear that in the blasting parts, the snare drum wasn't becoming inaudible. Intense and not for the weak. The drums lines are just the ending confirmation, 'Great Death' is not for the new kids or seasonal listeners to Black Metal genre. Better wank to your Watain / Behemoth shit. I must add , the recording session must been / it is a bloody well work, weigh such aggressive music without loosing its natural primodiality and keeping the obuscure harshness is a fukking gem. Vocals by Carl Warslaughter are savage, disasterously cruel and in my opinion these ones are the final nails to the coffin. I am left fascinated in the glare of Death's light.


14 lis 2016

Drowning the Light 'From the Abyss'

Dark Adversary Productions

1. From Old Mountains to Lost Seas
2. Drink the Blood of the Sun (Varcolaci Awakens)
3. Below the Horizon He Stalks
4. From the Abyss
5. Secrets of the Darkest Spells
6. Cursed Voyage
7. Apparitions in the Distant Woodlands
8. Rise! Under Satans Mighty Horns
9. The Return of Medieval Sorrow
10. Despoiler of the World We Know
11. Sic Itur ad Astra    
12. The Inverted Ascension
13. Sinking into the Void

I guess noone who is really into Black Metal underground needs an introduction about this band. Drowning The Light, with its rich history of countless demos, splits and Eps, had released their last album last year. So far, if I good counted it is thirteen full-lenght release. On the top of this Azgorh is also active with its second horde Eternum and recently has joined Black Funeral. Beside this there were or still are acts Wolfblood, Reich Of The Black Sun or Ambient / Medieval Dungeon projects like Forgotten Kingdoms, Ghosts Of Oceania. You can clearly see that this person is devoted to the dark art with his whole life.
'From the Abyss' is kind of a new face within DTL releases / music. It is more epic, more powerful but still within the misanthropic spirit we know so well from the past. Even the change is easy to spot, the more easy is to hear Azgorh kept his compositions within the traditions of the previous works. It is like to mix together the Drowning The Light style with its primoridal, vampyric aura and add the epic work for example from Forgotten Kingdoms dark Dungeon music. To those who still didn't hear this album, do not freak out. DTL do not change into a band which music is driven by keyboards. Keyboards do play an important role, they support the guitars riffs and make the whole picture more dismal. As we speak about guitar work, there are some slight changes too. Take for example 'Cursed Voyage' - can't really remeber to hear such epic but still gloomy riffs. And due to such exertions DTL music grows to something really unique. Lets move on forward. The sound has also changed. Not saying for the better or worse, it is just different. I think it can compared to something recorded in a cave or an obscure forgotten place, just with a better dynamics. I must say such sound opens a bigger variety of capabilities in front of Azgorh, therefore maybe this is the outcome of what we can hear on 'From The Abyss'. Also gone are the elements, visions in vein of DSBM of which DTL was known in their early stage. Some of slower parts may sound a bit familiar to these, but these are just accretions. The vocals by Azgorh remained the same, scratchy screams intertwined with some spoken parts or more haughty half-clean voices. Through the whole playing time of this record we witness different pace. There are slower, mentioned above tracks but also fast blasting tracks like 'Sic Itur ad Astra' where furious drums and razor-sharp guitars are flowing on the surface created by keyboards... to end up with acoustic guitars and slower march drums. This, amongst many others, is a hail to the old days of Black Metal. It is what DTL has been doing through all these years, when we have been struck down each time with the primitivism, oppressive darkness, and all the emotions which have been slaughtering the 'normality' of everyday life. And it is lasting for more than an hour... The misanthropic longing for the coldness of the night. The source of evil inspirations.
I must admit, 'From the Abyss' is the most mature record released by DTL through their time of existence. It is consistent even in its variety. The atmosphere is simply astonishing, mighty and frightening at the same time. The vortex of void has been opened...


12 lis 2016

Blood Incantation 'Starspawn'

Dark Descent Records

1. Vitrification of Blood (Part 1)
2. Chaoplasm
3. Hidden Species (Vitrification of Blood Part 2)
4. Meticulous Soul Devourment
5. Starspawn

After couple of releases (3 demos, ep and a split with Spectral Voice) Blood Incantation released its first full-lenght assault. Since the first sounds of the opening track there is no doubt, that it will be more than just obscure work. And what is needed to ba said here is, to built / create such music with a vide spectrum they did you need a strong foundation of inspirations. Plus, the skills. Of course, it is not only how you can use your instruments but also how you execute the ideas and transform them into this horryfic soundtrack. Believe me, Blood Incantation did it.
The opening track is more than just alluring. After just few moments I got the feeling I am confronting an album of unexpected, yet kept in the undivine traditions of Death Metal. It lasts more than 13 minutes, maybe not a breaking record, but it is simply fascinating to hear how such colossus is emerging with its vile nature through speakers. And also I would like to risk the word pedantic as it comes to their compositions, which has nothing to do with any detriment. The level of details in their music is indescriable and eery atmosphere is unearthly hanging upon the whole outcome of music. From one point we have plenty of riffage from the 'Leprosy' or 'Spiritual Healing' era. Secondly there are moments like 'Covenant' advanced solos by Azagthoth... Everything is covered by a thick mist and the dim is overtaking the atmosphere. So, imagine such effect - a merger of Death & Morbid Angel plus the graveyard sombreness. The cited examples to define their style are just mentioned to show the fundamental vastness of their work. There are plenty of pace changing during the record play. And as I mentioned in the begining, you can't foretold what will happen next. Would it be next dark fanatically obscure part? Or maybe we will have a passage of slower part with less distortion on guitars with a nice gently solo? Or maybe more a Doom/Death Metal part? Everything is here and due to their splendid vision, it's matching bloody fucking good.
Well my Friends, Dark Descent Records did it again. Another soul mesmerizing record which must be a part of your collection. It is sordid, mean and gives you more faith into what the real underground is today. Separate well all the shit, listen and support only the worthy ones!


1 lis 2016

Korgonthurus 'Vuohen siunaus'

Woodcut Records

1. Kaaos
2. Puhdistuksen tulet
3. I.K.P.N
4. Vuohen siunaus
5. Inho
6. Ihmisyyden raunioilla
7. L.U.X.

Finally, after years of waiting from 2009 when their debut album was released, I find pleasure in listening to the second album commited by Fins. 7 long years have passed or three if you count from their last split 'North Karelian Black Winds'. But yes, the effect of their effort is heard in 'Vuohen siunaus' which can be translated as 'Goat's Blessing'. Fukk, it was worth to wait...
Korgonthurus did what it was expected from them. Well, it is not the way they must have felt the preassure and composed such album. I don't think it is even in a small percent such case. Of course, in certain circles they are respected and well known horde. What I mean is, they recorded this album in a right time, did their work amazingly well without looking around what is modern or on top. Corvus and Kryth since the begining were highly rooted in raw Finnish Black Metal, their origin scene and they kept to stay this way. The 'Vuohen siunaus' is a guideline of what this genre is. The guitar work is filled with melodies with tremolo picking, some open-strings and the combination of these two makes it simply a fukking chaotic feeling in a right way. It is just like deep exploration of the style where some emotions like anguish or sadness are smuggled into this savage, raging beasty destructive chaos. With blasting flow they do keep the pace changes to mid ones and even slow ones with the aura changing as well. The core of devotion and obsure obsession is kept but in the more 'gently' fragments some sort of desperation or agony is presented within the vocals. Well, not only in vocals but I would say in the whole line of the music itself. Scratchy screems by Corvus just underline the atmosphere. For example in the 'Ihmisyyden raunioilla' you can satch up easily some sort of the post-rock guitars and patterns but belive me, it is far away from being optimistic even for a while. And this is in my opinion the biggest advantage of this album - it is just drowning in negativity. While, of course this is Black Metal and what do you expect? - some may ask. Fair enough, but there are plenty of albums / bands who play that genre and while listening to their work you do even get an 0,05% of what you can experience here. The only thing I can point out as something I had to get to used to is the production of the sound of the album. In first I wasn't too sure if it is not too clean. Still, I can't decide myself if it is ok, or maybe it went in the 'bigger' direction towards more fans? Anyway, the album is playing for some time now and I do enjoy it (if it is the right word to use).
Korgonthurus didn't disappoint at all. They deserve attention due to the music they have created now and in the past, so support them. Black Metal which is obscure to the bone. Try the album in the darkness of the night, you'll get the full picture.