Find the coverage and some great photos of this year's Devilstone Open Air written by our Lithuanian contributor Inga here>> www
Consisting of members from Luciferion, Forest Of Impaled and Malevolent Creation this Swedish-Polish-American band is hardly lacking in experience and more than a sum of its part. Led by guitar wizard Wojtek Lisicki (Luciferion, ex-Lost Horizon) Against the Plagues is, musically, a continuation of the direction started on Luciferion's second semi-conceptual album "The Apostate". Like that record this debut of Against the Plagues combines technical death metal with grand sounding cosmic keyboards and synthesizers that could have been culled from the early Limbonic Art albums. The vocals range from rasps to grunts and dramatic spoken passages. The frantic leads/solos by Lisicki are probably the best in the genre. The majority of the record was cutted at Studio One in Racine, Wisconsin with Chris Djuricic (Fleshgrind, Jungle Rot, Novembers Doom) with partial sessions at Metal King Domain Sonic Lab in Gothenburg, Sweden. Mastered by Dan Swanö at Unisound Studios in Sweden. "Decoding the Mainframe" is actually a fully remastered, partially remixed re-issue of the band's 2007 independently released debut album "The Architecture Of Oppression" with newly recorded drums by Varyen. Although the title has been changed for this re-issue the superb artwork, design and lay-out remain intact and fit splendidly with this impressive musical package. This is definitely the record you need to hear this year.
http://www.vicrecords.com
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Wouter / 9
From the ever fertile soil of France comes this black metal act, which was originally formed under the name Empires de Glace. After a stereotypical synthesizer intro with samples of howling winds and thunderstorms and moody spoken monk vocals give way to a rather traditional Scandinavian interpretation of the genre. The music is mostly inspired by the likes of Dark Funeral and Marduk with sweeping sorrowful melodies reminiscent of Dissection, Sacramentum and Naglfar. The attack is mostly fastpaced with a lot of indirect melodies and epic arrangements. The vocals are mostly down the line of Sabathan-fronted Enthroned, but occasional monk vocals form a welcome contrast. The drumming is intense and unrelenting in its onslaught. While the album starts out as a typical example of the genre, it rapidly expands beyond that scope and becomes its own beast entirely. Aldaaron manage to combine Scandinavian brutality and melody with sweeping arrangements and a number of dramatic vocal styles. The result is a record that is traditional and individual enough for listeners who want something more than a record by the numbers. Aldaaron is another strong band from the French black metal scene and while more Scandinavian in approach they are definitely as potent as orthodox acts such as Antaeus, Merrimack or Glorior Belli. "Nous Reviedrons Immortels" is another example of France's well-deserved place on the international black metal map.
http://www.themetalunderground.com
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Wouter / 7
Vancouver, British Columbia symphonic black metallers Artep return two years after their "Black War" promo. The album starts off with all four tracks of their 2007 demo "Fires Of Mortal Deception". Following are two new tracks 'Crossing the Acheron' and 'Armageddon'. Finally, the two closing tracks are culled of their 2008 "Black War". It seems that the band around guitarist/backing vocalist Petra Sobotka had some promising arrangements and song ideas early on, examples of this can be heard in 'Eruption' and 'Desolate Land'. The two new tracks display superior arrangements compared to the EP of two years ago. The only qualm with this record is the band's tendency to process the vocals a bit too much, lead vocalist Vultyrous especially suffers in that respect. The album was recorded at the band's own Artep Audio and mastered by Andy LaRocque (King Diamond, ex-Death) at Sonic Train Studios in Varberg, Sweden. The keyboards were produced by Chris Clarke at Spire Audio. The production is pretty good, yet the drumsound, especially the snares, still needs some finetuning at this point. The artwork, design and lay-out by Ra Design are impressive and a huge step forward compared to "Black War". If these two new cuts are any indication Artep might surprise us still in the years to come. Fans of bombastic keyboard-heavy black metal such as Dimmu Borgir, Old Man's Child and (early) Hecate Enthroned might find this of interest.
http://www.bleakartrecords.com
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Wouter / 7
Beyond Hell is a trio from Missouri, Texas featuring the ever productive drummer Wayne "Elektrokutioner" Sarantopoulos (Decrepitaph, ex-Eternal Suffering, Foreboding, Tombstones) plus brothers duo Ryan P. (vocals) and Tony P. (guitars, bass). "The Sleeper Awakens" is an old school death metal endeavour in the vein of (early) Incantation ("Onward to Golgotha", "Mortal Throne Of Nazarene"), Death ("Scream Bloody Gore") and Pestilence ("Consuming Impulse"). Vocally, this is similar to (early) Sinister, particularly the "Hate" era. The album title seems inspired by the classic sci-fi novel "Dune" by Frank Herbert. The technical leads/solos form an excellent addition to this monolithic, horror-inspired effort. The 9 tracks of this record aren't all of the same quality, especially the middle section drags a bit. Highlights include 'The World Burns Forever' and 'Approaching Doom'. The last 4 tracks are taken from the "...And Evil Crept Through" EP. The black-white artwork is similar to Nominon's recently released "Monumentomb". Sarantopoulos is involved in an unreal amount of projects and bands, but Beyond Hell is amongst the better of his recent creative outlets. Given the musical direction, it's strange that Razorback Records isn't releasing this particular effort.
http://www.darkdescent.net/ , http://www.skeletonplaguerecords.com
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Wouter / 7
Pennsylvania/New Jersey death metallers Blasphemous adhere to the classic death/doom sound of the likes of Asphyx, Death, Incantation, Morbid Angel and (early) Obituary. Having released a demo and one full length prior - in 2005 and 2008, respectively – Blasphemous nevertheless manage to sound tight-knit and together. This is slow to midpaced death metal that concentrates on unearthly grooves, stomping brutality and dark atmospheres instead of sterile technical wizardry. Where most of their contemporaries go for the jugular with insane speed - or guttural slam sections Blasphemous create death metal of an older generation. Some will pass this off as Neanderthal death metal, while others will find a very interesting traditional sounding outfit here. "Bearer Of the Darkest Plagues" isn't yet on the same level of composition as some of the early pioneers of the genre, but Blasphemous is one of the better additions to the resurgent old school death metal movement. The production is especially reminiscent of the classic death metal records of the early 1990s, which only adds to the charm and authenticity. The handdrawn artwork is fantastic.
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Wouter / 7
Coming from Poland and swathed in mystique and obscurity Blasphemy Rites offer up a violent helping of old school death/black metal. Blasphemy Rites has a history of demos dating back to 1998, but this is their first official recording. With songtitles such as 'Beergoat of Sodomy', 'Drink The Poisoned Piss of Baphomet', 'Alcoholic Sabbath' and 'Damned Bastard of Hell' it's clear that this is meant as a fun project. Bereft of any modern influences and defects "Hideous Lord" will appeal to ancient death metal affiniciados as Blasphemy Lord is greatly inspired by (early) Morbid Angel, (Sylvain Houde fronted) Kataklysm and early Scandinavian black metal. The bass-heavy production emphasizes the band's bottom end groove and the guitar tone is meaty. The album concludes with three rather standard proto-black metal covers of iconic bands including Blasphemy ('Empty Chalice'), Sabbat ('Satan Bless You') and Celtic Frost ('Dethroned Emperor'). The medieval artwork isn't very spectacular and is somewhat akin to Supreme Pain's first demo.
http://www.paganrecords.com.pl
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Wouter / 7
Their 2008 debut "Apocalyptic Feasting" had all facets for a band with a great future ahead of itself. However complications during that album's touring cycle Brain Drill disintegrated due to interpersonal difficulties. Founding member Dylan Ruskin regrouped with returning vocalist Steve Rathjen and new members Ivan Munguia (bass) and Flesh Consumed drummer Ron Casey. Compared to the debut "Quantum Catastrophe" is equally as punishing and unrelentless in its assault. The tempo is so high and the songs so jampacked with headspinning dynamics and a multitude of little details that multiple listens are needed to fully comprehend what Brain Drill has put into this record. Ruskin still is the master of impossible riffs and jaw-dropping leads/solos. Munguia is a more than worthy replacement of Jeff Hughell (now in Reciprocal) while Ron Casey has settled in well in the void left by Marco Pitruzella. Recorded, mixed and mastered by Zach Ohren at Castle Ultimate Studios (Decrepit Birth, Immolation, Suffocation). The guitar tone is similar to the first album, while the bass guitar is far more audible here. Casey's drums are far more natural and organic sounding compared to Pitruzella's electronic drums of the debut. The horrific artwork was once again rendered by Pär Olofsson (Human Filleted, Immortal, Malevolent Creation, Psycroptic). If Brain Drill continue to evolve at this rate they soon will be usurping the long-reigning kings of the genre such as Cannibal Corpse, Incantation and Suffocation.
http://www.metalblade.com
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Wouter / 9
Metallic hardcore featuring former members of Cyanosis and Jungle Rot. Barked vocals akin to Hatebreed's Jamey Jasta. All tracks are compact and to-the-point, wasting no time with complex build-ups or elaborate structures, etc. These tracks barely reach the 3 minute mark and bruise the listener with its immediacy. The expected gangshouts are here as well, but fortunately function merely as support to the main vocals. There are only a few leads/solos on this record, but they are worth the wait. "Resurrecting the Hostility" is a hardcore album by the numbers, but nevertheless is an enjoyable and not too demanding listen. A heavier contrast on the fast-slow parts could only make this band more brutal. The grooves are crushing and the band's straightforward approach is one of their charms. Closing track 'Eternal' is a moody acoustic instrumental piece that greatly adds to the atmosphere. "Resurrecting the Hostility" was recorded and produced by Chris Wisco at Belle City Sound in Racine, Wisconsin. Mastered by James Murphy (Cancer, Death, Obituary, Testament) at SafeHouse Production in Florida. The artwork, design and lay-out are fairly typical for the genre. "Resurrecting the Hostility" is a savage display of raw energy that combines the streetwise machismo of '90s hardcore with the heavier aspects of '90s death metal.
http://www.myspace.com/causeforrevelation
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Wouter / 7
Formed in 2004 as Cryptic Death this band released a couple of demos and promos before changing name to Chaossworn in late 2009. This EP was originally released as a promotional demo early this year, but is now re-released for wider distribution with improved artwork and packaging through American label Abyss Records. The three tracks of this EP present somber melodic Swedish death metal in the vein of Mors Principium Est. Opening track 'Crowned & Winged' has Chaossworn more death metal faced approach with sorrowful melodies and excellent riffing. 'Bringer Of Storms' is initially a more black metal oriented track, but the doomier conclusion greatly adds to the strength of this track. 'Chalice Of Black Flames', the last track, is once again more death metal faced but the excellent morose melodies add some spice to the proceedings. Recorded in 2009 at Bothnia Studios. Mixed and engineered by Anton Johansson. Mastered by Dan Swanö at Unisound. The pristine artwork, design and lay-out make this a band to look out for. If they play their cards right, Chaossworn might just be picked up by a bigger label in a few years from now. Abyss Records has unearthed a gem with this band, hopefully they'll be able to unlock their full potential on a debut full length.
http://www.officialabyssrecords.com
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Wouter / 8
Germany's Debt Of Nature are on odd signing on an otherwise serviceable upcoming death metal label. "Crush, Kill and Burn", the band's debut for the label, is an uneasy and uneven mix of death -, thrash metal and minor influences of grind- and hardcore. The problem with mixing many genres is that focus gets lost in the shuffle and struggle to sound diverse. Debt Of Nature fall victim to the typical errors of bands juggling too many ideas at once. Neither being fully death – or thrash focused the tracks all bounce into different directions through scattered ideas and/or too soon abandoned segments. The grooves are incredible and there's no shortage of energy or brutality. The biggest problem is that most tracks sound underdeveloped or simply take too long to reach their climax. Adding insult to injury are four different vocalists who at the end of the day amount to all but two effectively different styles. It would be beneficial for the band to focus its future material on their male and female lead vocalist and arrange vocal lines around their individual strengths. Recorded in the band's own CKB Studios and mastered at Stage One Studio by metal luminary Andy Classen (Insanity Reigns Supreme, Krisiun, Legion Of the Damned) "Crush, Kill and Burn" sounds good enough for today's standards. The fairytale artwork by Roberto Parada and Christian Görke is good but not that exceptional in today's world of high end digital renderings and complex handdrawn artworks. There's certainly promise for the future, although they'll need to trim the fat off their material. It's admirable that Deity Down Records is venturing into different territories with this release, although it's advised to approach this one cautiously.
http://www.deitydownrecords.com
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Wouter / 6
Atmospheric funeral doom metal in the vein of Esoteric, (early) Pantheist and Skepticism with tasteful use of acoustics and cellos. The vocals are reminiscent of "Drift Of Empathy" era Callenish Circle. 'Time' starts the album off in a rather classic way, but 'Rain' quickly ups the ante with a rather brutal opening section before settling in a more comfortable snail pace. As with any good record of this kind the tracks take their time to reach their crescendo. With the diverse vocal styles, the combination of brutality with fragile melodies Decemberance are solid in their own right. "Inside" won't dethrone any of the established institutions of the funeral doom genre, but it certainly is a good calling card for this Greek outfit. Little of the band's Greek heritage actually shines through in this record and the addition of Hellenic instrumentation or melodies would only add to their individuality. Recorded, mixed and mastered at Dysmorphia Studios by Andreas Karayiannis (Sickening Horror) the production is everything you'd expect. The splendid cover art by Alexandros Vlahos is tasteful and fits wonderfully well with this soothing record.
http://iforanirecords.com
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Wouter / 7
In a long tradition of war-like death/black metal acts Melbourne, Victoria (Australia) blasphemers Denouncement Pyre carry on the tradition of pioneering combos Bestial Warlust and Deströyer 666. "World Cremation" is the band's debut after a number of demos, EPs and split albums. From the opening cut 'Black Womb Of Magdalene' it's instantly clear that Denouncement Pyre is far more controlled and not quite as over-the-top as Bestial Warlust nor as thrash-oriented as Deströyer 666. 'Purification' could have been culled from the earlier Immortal albums, particularly "Diabolical Fullmoon Mysticism". The choral outro to 'Coven Of Diabolical Prophecies' is spooky in the classic black metal direction. The tasteful but barbaric drumming of Denny Blake (Stargazer) adds immediacy and groove to this already blistering assault. With regular devilish leads/solos to lash out at the unsuspecting listener Denouncement Pyre leave their competitors in flaming ruin. The production is solid with a crunchy guitar tone, healthy bass lines and organic sounding drums. The artwork, design and lay-out are phenomenal and definitely a lot better than most underground releases of this nature. Denouncement Pyre aren't changing the rules of the genre, instead of delivering what is expected "World Cremation" does a lot more with what it's given in this rather restrictive genre.
http://www.hellsheadbangers.com
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Wouter / 7
With an unimaginative bandname and uninspired artwork there's little working in the favor of this female-fronted death metal band from Germany. The vocals of Antonie Mrusek are in the tradition of Angela Gossow (Arch Enemy) and in its more bellowing moments of Rachel Heyzer (ex-Sinister, ex-Occult). The music mostly midpaced semi-melodic European death metal with light Swedish stylings. 'Deathinfection' – which opens with a sample from "Hellraiser II : Hellbound" - is the most brutal cut of the record. However what DAMN misses is the feeling of darkness, evil and hatefulness that use to characterize the death metal genre, melodic or otherwise. Mrusek has the chops to pull off something fitting with a more malevolent direction. 'First Class Suicide' is a neat instrumental, but too little to redeem the album. "Forbidden Anger" was recorded at AB Studio with Jakob Batten Hansen (Illdisposed) and Peter "Ziggy" Siegfredsen (Illdisposed, Behemoth, Mercenary). The artwork is rather poor but the design and lay-out of the booklet are more than commendable, especially the calligraphy. Overall, "Forbidden Anger" won't make any waves in a scene already oversaturated as it is.
http://www.unexplodedrecords.com
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Wouter / 5
North Carolina journeyman bassist Joe Payne (Divine Heresy, ex-Lecherous Nocturne, ex-Lust Of Decay, Nile touring bass) returns after a five year hiatus with the follow-up to "Essence Of Brutality" on the label of Deaden/Lividity frontman Von Young. Drummer Jordan Varela is far more controlled and restrained here compared to his past records. Payne here presents choppy technical death metal with whirling riffing and his Jared Anderson-like commanding vocals. The leads/solos take a prominent place within these cuts and while these songs bounce around wildly they fail to leave a lasting impression. In fact despite myriad tempo changes and evolving dynamics it's hard to tell these songs apart in the long run. The instrumental acoustic piece 'The Cruel Hand Of Fate' is mesmerizing in its simplicity and emotion. "Masochist" is a solid record through and through, yet beyond the impressive technical skill to pull a thing like this off, there's little to remember once the brutality has worn off. The artwork is good, but isn't exactly eye-catching either. Fans of Necrophagist and Aeon might find this of interest.
http://www.epitomite.com
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Wouter / 6
This female-fronted power-progressive metal band from Westchester, New York certainly sound a lot different than most of their contemporaries. The guitar work, including riffs and leads/solos, are in the vein of King Diamond and Merciful Fate with galloping Iron Maiden riffs. The powerful vocals of Tina Rakotoarivony aren't of the typical fairy-operatic variation either. Instead his vocals remind of Veronica Freeman (Benedictum) and Francine Boucher (Echoes Of Eternity). Second track 'A Soul In Exile' is a powerful ballad with great acoustic guitars, a light string section and some fitting piano parts. The 8-minute 'Iago' and 'The Burning Martyr' prove Desdemon to be exceptionally skilled musicians. The epic 11 minute opus 'In the Absence Of Light' closes this EP on a high note. Going from this lenghty EP one wouldn't notice that Desdemon hail from North America, as "The Awakening" sounds European through and through. The artwork of Gaetano Di Falco is in classic power metal fashion. Desdemon is a lot more potent and technical than the majority of their peers in this genre. "The Awakening" is a great starting point for this band. With some additional finetuning they could find themselves signing to one of the major labels in a few years from now.
http://www.myspace.com/desdemon
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Wouter / 7
Deus Otiosus are a death metal from Copenhagen, Denmark that formed in 2005 and released two demos to date. This live promo contains two tracks as a prelude to their debut "Murderer", which is scheduled to be released on American Line Productions later this year. Compared to classic Danish death metal acts such as Illdisposed, Iniquity and Panzerchrist or more recent combos such as Dawn Of Demise or Die this act is still in its infancy and that shows. Deus Otiosus mixes elements of death and thrash metal in a violent and groovy fashion, yet don't excel at sounding inventive in any meaningful way. The leads/solos are the only thing making this band sound better than the avage demo act working the pub scene. "Too Maimed To Use" isn't anything particularly groundbreaking and Deus Otiosus sound literally like so many other young extreme metal bands anywhere in Europe. This soundboard recording doesn't do the band much justice either as it sound raw and somewhat muffled. The amateurish and ugly artwork, plus the shoddy design and lay-out don't speak in the favor of the band either. A live record for a band that has only been around for half a decade and is hardly established outside of its homecountry is questionable at best. Unless you're a die-hard Danish death metal fan, there's no reason to check this particular live EP out.
http://www.myspace.com/deusotiosus
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Wouter / 5
It took Diabolic four years to get their line-up stabilized and to secure a workable new recording contract. "Excisions Of Exorcisms", the first batch of truly new material since reforming in 2006 and the first output since 2001's "Vengeance Ascending". Minor death metal classics "Supreme Evil" and "Subterreaneal Magnitude" are the first thing that come to mind when hearing this new record. Most of the original Unholy Ghost members are back in the band, except for guitarist Jerry Mortellaro who was replaced by Jeff Parrish. Drummer Aantar Lee Coates is the star of this record alongside veteran guitarist Kelly McLauchlin (Equinox, Pessimist, Unholy Ghost) who delivers his most vicious riffs and fiery leads/solos since his days in Pessimist. The harsh vocals of Paul Ouellette are far more throatier compared to the early days, but his enunciation has only improved. As one of old ambassadors of the Florida scene, Diabolic formed in 1997, it's clear that "Excisions Of Exorcisms" is a brutal affair with all the known Florida aestethics: pumping rhythm sections, breakneck riffing and spine-crushing start-stop segments with the band's patented extended lead trade-offs. Recorded by Juan "Punchy" Gonzalez at Diet Of Worms Studio (Morbid Angel, Unholy Ghost) the record comes with a muddy guitar tone, thick bass lines and absolutely massive sounding drums. Especially the heavy kickdrums sound warm and don't end up sounding like a typewriter. The artwork by Joe Petagno (Angelcorpse, Krisiun, Motörhead, Vital Remains) is in his usual style. This is by all means the best thing this band have done since "Subterreaneal Magnitude" and their scorching 1998 debut "Supreme Evil".
http://www.deathgasm.com
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Wouter / 8
Among the younger generation of death metal acts in Denmark, Die is certainly the most promising. Sharing members with Dawn of Demise, Throne Of Flesh and long-standing Danish death institute Panzerchrist "Rise Of the Rotten" is an exercise in US sounding death metal brought with the typical Danish flair and finesse. While the material of this record isn't an instant classic comparable to the likes of Iniquity or (early) Panzerchrist the incessant brutality and tight execution is remarkably fresh sounding to certain modern bands. Die is far groovier and old school sounding than what is usually released through this label. "Rise Of the Rotten" won't go down in genre history as essential or mandatory but it is certainly a good indication that Denmark hasn't lost its chops. Die stomp, groove and bulldozer their way through his record but nevertheless keep things interesting and variated through out. Thick on groove and bottom end Die has a crunchy production that gives the tracks all the oomph they need for maximum impact. The superb mixing and mastering by Tue Madsen (Aborted, Dark Tranquility, Exmortem, Hatesphere, Vader) only adds to the intensity. The artwork, design and lay-out aren't very special but fulfill their purpose well enough.
http://www.uniqueleader.com
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Wouter / 7
Epic dark metal from Athens, Greece that formed in 2002 and prior released a demo in 2005. This full length contains all these demo tracks in newly re-recorded versions. 'Of Darkness', 'Dawn Of Battle' and 'Fall Of Purity', also included is a cover of 'Ancient Pride' by Greek black metal veterans Necromantia. 'A Day For the Hunter, A Day For the Prey' and 'Crossing the Rubicon' are new tracks exclusive to this release. Divine Element bring an atmospheric mix of cold Scandinavian death metal with elements of black metal and a subtle Hellenic touch. The closing section of 'Of Darkness' expands upon the band's Hellenic roots with a fragile acoustic section and Greek instrumentation and melodies. 'A Day For the Hunter…' builds upon the promise of the first track and expands on its ideas and concepts. The heroic clean vocals form a good contrast from the rasps and grunts. 'Dawn Of Battle' and 'Fall Of Purity' are the most straightforward and conventional sounding tracks of the album. A further integration of Hellenic instrumentation and melodies plus more interaction between the brutal and clean vocals will only make Divine Element more epic, engrossing and worldly. Despite being home recorded this record comes with a very respectable bass-heavy production job. It was mixed and mastered at Baseline Studio (Burial Hordes, Sickening Horror). This record comes in a noble digipack, which is limited to 500 copies worldwide. The handdrawn artwork by ADMC07 Graphics is highly detailed and an ideal start for even more expansive artwork and design on future releases. All things considered Divine Element show a lot of potential for future greatness. The two new tracks speak volumes of their potency to create some truly mesmerizing and epic sounding Hellenic dark metal.
http://www.myspace.com/divineelement
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Wouter / 7
The retro-thrash movement continues to strike across violently the world. Drünken Bastards is a retro-thrash/punk crossover combo from Hungary. Similar to Toxic Holocaust, Barbatos and Municipal Waste in the sense that they combine party atmosphere with a straightforward punk ethos. With subjects ranging from easy women, alcohol binges and crushing posers Drünken Bastards aren't reinventing the wheel, instead they are comfortable coursing the roads paved by the original bands in this genre. "Horns Of the Wasted" is another typical example of genre that has become self-referential and somewhat lost touch with its original state of intent. The album concludes with a rendition of Barbatos' 'Prophecy Of the Evening Star', it's truly sad that the cover track sounds more lively and better than any of the band's original material. The artwork, design and lay-out are however superb, reminding of the first few Municipal Waste records. While the jokey tongue-in-cheekness is charming, it is also very limiting. Drünken Bastards has established itself as yet another retro-thrash metal act riding the coattails of bigger and better bands, with little to say for itself. It checks all the different boxes a record like this is supposed to do, but beyond going through the established motions there's very little of interest here.
http://www.hellsheadbangers.com
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Wouter / 5
Belgian black metal act Enthroned have come a long way since their inception. From their norsecore early days with original frontman/bassist Sabathan, to the veritable black/thrash attack of "XES Haereticum" and the subsequent Nornagest-fronted version of the band, Enthroned never compromise. 2007's "Tetra Karcist" saw the band heading into the orthodox black metal direction, spearheaded by French outfits such as Antaeus. "Pentagrammaton" expands upon the direction of "Tetra Karcist" and adds a dose of light death metal influences to make the whole sound heavier. The three-way vocal interaction between Nornagest (lead vocals), Phorgath (bass) and Neraath (rhythm guitars) give the album an incredible diversity the band has never had before. Darkened Nocturn Slaughtercult vocalist Onielar provides guest shrieks on 'The Vitalized Shell'. The drumming by former Gorgoroth skinsman Garghuf is on par with any of the previous Enthroned drummers. Produced at the band's own Blackout Multimedia Studio in Brussels "Pentagrammaton" is the heaviest and most pristine sounding album they have released to date. The artwork, design and lay-out are superb and fit perfectly with the band's current direction and imagery. This certainly is a farcry from the necro-days of "The Prophecies Of Pagan Fire" – the evolution the band has gone through is unreal.
http://regainrecords.com
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Wouter / 8
Epic melancholic sounding black metal in the tradition of Dissection ("Storm Of the Light's Bane") and post-"Into the Nightside Eclipse" Emperor from Attica, Greece. The moody lead/solo in 'Murder the Dawn' adds a lot of character, this is immediately followed by a piano section with lush waves of keyboards. 'Noctural Delight' and 'The Burning Path' are two re-recorded cuts off their 2005 demo "In Darkness We Shall Reign". 'Assail the Creation', 'In Silence They March', 'Despair' and 'Jaws Of Dark Demise' were taken from their 2007 demo "APOGNOSIS". The only truly new cuts are the title track 'Miasma' and the Dark Fortress cover 'Iconoclasm Omega'. These new cuts show The Eternal Suffering showing a wider scope in their melancholic arrangements and arsenal of riffs. Unlike many other Hellenic acts The Eternal Suffering sound quite Scandinavian in their arrangements and use of melodies. "Miasma" was recorded at S.L Studios. Engineered, mixed and mastered by Steve Lado. The artwork, design & lay-out by Aish is nothing short of superb.
http://iforanirecords.com
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Wouter / 6
Modern metal band from Sofia, Bulgaria. Biggest comparisons are Finnish death/thrashers Dauntless and French metallers Gojira, although Eufobia are only in the embryonal stage compared to both these established outfits. The vocals lack power and the machinal playing style doesn't yet allow all their songs to fully breathe. All three members share vocal duties, but this doesn't deliver any remarkable fireworks. Despite this being the band's second record, this doesn't translate in the record sounding very convincing. Compared to other East-European bands Eufobia isn't nearly as neckbreakingly violent nor as technically impressive. "Insemination" was recorded at Stain Studio with producer duo Gospodin Gospodinov and Kliment Kalev and the production is dry or very lively. Artwork by Costin Chioreanu for Twilight13 Media (Demonical, Grave, Satanochio) is exceptional as ever. The album comes with two bonus videos for the tracks 'Pissing Squad' and 'Justine'. East-Europe has a rich history in extreme metal, Eufobia aren't quite there yet.
http://www.myspace.com/eufobiacarnage
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Wouter / 5
This long-running black metal band from Chicago, Illinois doesn't hide that they are heavily indebted to the Scandinavian forefathers of the genre. Like Dark Funeral, Marduk and Setherial before them Ezurate's approach is a no-holds-barred one with labyrinthine riffs, long winding song structures and some minor death metal aspects to make their assault heavier than the average black metal band. The preceding two records were nothing of note, but with "Eve Of Desecration" Ezurate have finally found their voice. The chaotic and wild solo'ing reminds of (early) Slayer. The sparse use of acoustics and synthesizers add greatly to the depressive and oppressive atmosphere of early European and American black metal. With 15 tracks and lasting just over an hour "Eve Of Desecration" is a tad too long to fully enjoy the hellish beating the band offers up. Cutting down a good 15 minutes would have made this release far more effective. They started as Amaymon in 1993 then changed name to Ezurate in 1994, making them one of the earlier acts on the American scene. Recorded at Studio One by Chris Djuricic (Disgorge, Fleshgrind, Jungle Rot, Novembers Doom), mixed and mastered Belle City Sound in Racine, Wisconsin "Eve Of Desecration" comes with a fitting production job. The artwork, design and lay-out are good, although the cover artwork isn't very special. Nevertheless, Ezurate are seasoned veterans of US black metal scene and with "Eve Of Desecration" they are now well underway establishing their dominion in Europe.
http://www.rottingcorpserecords.com
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Wouter / 7
Forest Silence is the side-project of former Sear Bliss keyboardist Winter. Forest Silence debuted in 2006 with "Philosophy Of Winter". This was originally released in 2002 under the name "The Eternal Winter" – but is now re-issued with improved artwork and two new cuts. Very much inspired by the second wave of Scandinavian black metal "Winter Ritual" combines grand sweeping melodies with epic arrangements and cold sounding keyboards and synthesizers. Compared to the band's earlier records this is a far slower, more doom-oriented affair with snailpaced drumming and crawling guitar riffs. The ambient aspect also comes more to the fore here while the guitars are pushed more to the back. Closing track 'Silence' makes this ambient prominence especially clear. The arwork of the original demo has been changed into something more fitting for their current direction. Hungary has proven to have a pedigree for certain types of atmospheric epic black metal with bands such as ambassadors Sear Bliss and upcoming acts such as Bornholm. Forest Silence is a fine addition to their ranks, hopefully we'll hear more of them in the future.
http://www.panikterrormusik.com
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Wouter / 8
