Blood Sacrifice – The Horned Goddess [Canada, Black] (2018)


Self Released | 05-14-18

At the moment, this Blood Sacrifice hasn’t been added to the Metal Archives which makes finding information sort of difficult. I am sure they will be added later but for now the sound of bestial torment which comes in the shape of a tornado is still but a mystery. According to the tape label which has produced the 133 copies of their debut, this project features members of Spectral Wound, Profane Order, Hashed Out, Taggarik, and Mad Parish. I know some of those words.

For as much mystery surrounding the actual release, The Horned Goddess is not complicated to comprehend. When one reduces the desires and wishes of heavy metal to a black ore, it would probably sound like The Horned Goddess. Violent, fast, and with a penchant for evil things, Blood Sacrifice is the sound of black metal which has just run out into the street, naked, and swinging weapons. Perhaps my vision for this album is influenced by the bizarre cover but in any case, this album is surely making itself unforgettable.

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Enscelados – The Devouring God [International, Black / Ambient] (2018)


Self Released | 4-30-18

Souls are drowned in the ever-rotating continuum / Alas, for they knew not of the end… / Tears are shed for whom the devouring god awaits / Ululating for eons, those who went… / Rites will be held for him once again / Never will they know, for all will remain unraveled…

I do not know why I enjoy the lyrics for The Devouring God so much. Perhaps they are written in such away as to convey dread and wonder all with a sense of timeless drama. Perhaps it is because it sounds like the beginning of a chapter from Malazan Book of the Fallen. Perhaps it is because it feels perfect for 23 minutes of swirling chaos. Whatever the case, Enscelados, named after the Enceladus the 6th largest moon, flies in the same trajectory as Darkspace and tries to depict the vastness of space and the possibilities of horrors lying beyond.

I enjoy albums, EPs, and Demos consisting of one song as I feel the release is centered around a theme. Enscelados’ theme is obvious as it portrays a Lovecraftian notion of a sleeping god whose power is divine and terrible. IT is these types of themes that make a blend of atmospheric black and hypnotic ambient work specially when combined with blown out production with feel ritualistic in its design.

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Aseroe – Aseroe [Unknown, Black] (2018)


Self Released | 4-24-18

Well, here it is. Perhaps the weirdest thing I have heard all month. This band also comes with the distinction of be indistinct since their origin is up in the air with only the information that their band consists of Hungarian and Greek members. Whether or not they reside in Europe or the Us or in the depths of Perdition is still up for debate as Aseroe comes on the wings of disgust and demise.

Aseroe adds to its mystic by presenting two lengthy tracks that exude a certain madness which hides under floorboards. Similar to bands like Cultes Des Ghoules, Aseroe works because it leaves all sense of moral reservation at home, which I assume is a hovel, and goes running in the streets nude and covered in scratches. These two songs revel in darkness and have no qualms about being weird without going over the top in terms of theatrics. It is gross, unrefined, and utterly successful.

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Fortress Of The Olden Days – Night Of Sacrifice [Germany, Raw / Atmospheric Black] (2018)


Self Released | 4-15-18

I do not think I am completely on board with the artist name for this German project or even the song titles which make up a large part of the aesthetic. From something that looks like it could be dungeon synth to an aesthetic which looks moody in its disposition. Night of Sacrifice, the debut from Fortress of the Olden Days seems like a release which has a lot of problems. Perhaps the thing which makes it okay is the uncompromising howl of misery.

Night of Sacrifice spreads itself over three lengthy tracks with two interludes acting as segment. Similar to the texture of things like Paysage D’hiver, Fortress of the Olden Days takes the mystic qualities of atmospheric black and rubs soil into open wounds giving it a distinct primal quality which feels like the onset of hypothermia. The production and direction of this demo (?) excels due to the creators command over both the music and oddly enough the aesthetic.

Fortress Of The Olden Days is one of the multiple projects piloted by the creator known as Stulpert. While no projects such as Zalmoxis, Ås, or Fortress Of The Olden Days have reach critical attention, the work and aesthetic , as a collective, seems to be working towards something grand. If anything you can rest assured known there is vile dissonance being made in Germany and it is as terrifying as you think.

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Gestank – Rathymns [Sweden, Black] (2018)


Cirsium Kollektivet | 3-28-18

“”Gestank returns with even darker atmosphere and a thinner production than on the previous recordings.
Enjoy or don’t !” — I have been laughing about this for the past few weeks as it is clear this is not meant for enjoyment. I mean, I enjoy it but it is nice to know no one cares. Also from the Metal Archives, “Gestank” is the German word for stench. Fantastic.

The description of this EP is correct as the band’s previous demo “Hail Intoxication” was more involved in the production. Rathymns is closer to the band’s almost meta demo “Anti​-​Aesthetic Warfare,” though this current release is much more focused in a productive direction. There is so much to do when you point your gaze towards hate and destruction and explore the endless misery of human existence. We are going to go with the genre of black to start but really Gestank can be thought of a lumbering wretch of music which oscillates between lurching misery and rabid violence.

Gestank comes to us on the leathery wings of Cirsium Kollektivet, a Swedish tape label who already brought us things like Kwestia Kwasu and Vomit Kult. Gestank fits into the this weird collective which seems to be centered on unearthing some of the weirdest ways to cry out in anguish. I am sure that I will enjoy this and it is good to know no one cares if I do or don’t.

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Olm – Ruin of Scepter – Chasm [US, Black] (2018)


Self Released | 3-19-18

I am always on the lookout for cool black metal despite falling had over heels for recent rotting death. Finding Olm was special as it allowed me to embrace the hatred and anger associated with black metal without any pretense. Finding Olm was fantastic as it seems to be the prototypical subject matter for black metal just done in a way which feels fresh and genuine.

Ruin of Scepter – Chasm is a demo comprising of two songs that are surprisingly named “Ruin of Scepter” and “Chasm.” This sort of unceremonious naming sequence fits the band’s quest for earnest and simple delivery as the music is black metal presented without any bells, whistles, or plates. The dips and dives of “Ruin of Scepter” has enough riffs and atmosphere to make it harsh but with hooks as well as entertaining while still grating against skin.

“Chasm” is a good example of the direction and potential by this band. What seems like a routine black metal demo soon turns into turbines of ferocity but a drumming section that sounds hazardous. The lengthy tracks make this demo into a destination for anyone wanting to bath in self hatred and damnation. It takes a special band to make a raw demo about darkness feel like something new and by the raw feeling after listening to this demo is any indication, Olm did a fantastic job.

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Mortuus Umbra – Omnipraesent [Israel, Black] (2018)


Self Released | 1-11-18

Mortuus Umbra is from Israel which is not that much of a unique factor though the western Asia is on the lower end of metal exports. Looking at statistics for the county, there are around 250 metal bands in Israel which contains a bevy of genres and even more diversity in quality. Judging by this recent EP as well as their 2015, Mortuus Umbra maybe notable not just for the country of origin but stellar black metal which feels like dark hypnosis.

Omnipraesent is Mortuus Umbra’s second EP which builds upon their fantastic debut in 2015. The lyrical themes registered on Metal Archives has Luciferianism and sorcery as their subject matter which gives a dark undertone to an already present unholy aura. One of the more enjoyable aspects of Omnipraesent was the groove of the music which was similar to a less costumed Melechesh as well as a less erratic Deathspell Omega. Songs like the preview “Void II – Burning Fire of Ecstasy” see a cohesion in sound as well as vision as this unsigned band has the potential to ensnare the hearts and spirits of unsuspecting listeners.

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Kwestia Kwasu – Kwas Topi Czas [Poland, Black / Experimental] (2018)


Cirsium Kollektivet | 2-8-17

I feel the best way to start this review is to reiterate the description from the label and their confusion and excitement is all I need “Here we are…, I don’t even know how to describe the music of these sociophobic polish junkies. Imagine a underproduced blend of blackened ’70’s Punk and dirty Ska with occasional sprinkling of noise or at least something which’s only purpose is to confuse your dull mind… ” If that short description didn’t capture your imagination, then you and I are on different life paths.

Kwestia Kwasu, for all their bizarre antics, is a competent and cohesive band. Their collective vision pushes the music into the realm where experimental music should always aim. Being weird for the sake of being weird does not guarantee success. Challenging oneself to make music which lies on the outside of orthodoxy which triggers confused emotions and even more troubled mental images and being successful is worthy of merit. Kwas Topi Czas excels as an exercise in depravity with its sonic landscape a blistering wasteland of shooting alleys, punk basements, and haunted polka bars.

I was struggling to actually fnd the “experimetnal” tag since I never really use it to describe heavy metal. Though the tag of “avant” is sometimes use, Kwestia Kwasu seems uncomfortable even with that description. There seems to be little quest for art in the realm of Kwas Topi Czas and more of a primal embrace of weirdness. Experimental seems more feral in its description at least that is what I hope to use to describe music that is near indescribable.

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Висельник – Despair [Russia, Raw Black / Ambient] (2017)


Self Released | 1-26-18

I think changing the tag of DSBM to Black / Ambient is better for longevity purposes. Depressive Suicidal Black Metal sometimes drops the Suicidal portion of the name and even though some bands do bask in the macabre of self harm, they do so often without the tag of DSBM. At this point DSBM has become a genre that was a thing but is no longer needed. This isn’t to say that depressive black metal or even the sounds that were heralds to the genre aren’t being used. Take Висельник who has all of the hallmarks of the genre from the tin razor guitar sound, to the anguished wail, to the catalog of demos that have gone unnoticed.

Despair is the 26th proper demo for an act that has only been around for 10 years. In the larger picture, Despair does not charge into any new landscapes fro the artist rather continues a small incremental march towards well rounded black ambient. the fact that most all of these 16 demos have gone unnoticed frames the work of Висельник as a personal endeavor with some grief stricken results. Beyond the wall of torn sound that inhabits most of the music, there are some wonderful melodies which flies around music that is a near textbook example of depressive black metal.

I am usually not a seeker for this type of music and in fact find a lot of the tropes used in this genre ruin the aesthetic and mood. Висельник manages to make depressive music without succumbing to cartoons or edge laded tropes. the final few songs are covers by other obscure depressive black metal acts which again allows the user to go further into the dark cellars of emotion. Despite this demo probably being apart of a larger book from an artist who will likely bask in shadows, Despair is a fine pick for the gloomiest of days.

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Wojtek – Slaved In Eternal Obeisance To Gravelords Of Old [US, Black / Punk] (2018)


Self Released | 1-29-18

there are a lot of things I enjoy about Wojtek. I love the fact they lay music in a way that is feverish and maniacal. I love the fact their aesthetic clings to a crossover between occult black and anarchopunk. I love the fact all of the song titles and album cover could be slight parody if not backed up by blistering chaos. I love the fact their band is named after a WWII bear adopted by the Polish military. With everything to love, listening to Slaved In Eternal Obeisance To Gravelords Of Old is similar to reaching for a hug but only getting arms full of razorwire in return.

similar to the tag of black/doom, black/punk is varied in its final mixture and can be different for each practitioner. While some blackened punk retains the musical structure of punk with shrieking vocals and others black metal with predilections for chaos, Wojtek is right in the middle with a record that could honestly be a black sheep in each of its parent genres. With nothing to call home, Slaved In Eternal Obeisance To Gravelords Of Old turns into a molotov cocktail of alchemist fire and hammers in the aesthetic of a city devoured in the flames of sorcery.

I do not know if I would like this better with a more orthodox album cover. I have been staring at the cheap Xerox quality drawing wondering if it would be better just with a black and white sigil of some sorts. After deep meditations, I feel the cover for Slaved In Eternal Obeisance To Gravelords Of Old is fitting as it showcases all of the wants and needs of this record and really acts an overture for the album. Prepare for nothing you are preprepared for.

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