It is doom and thrashy in the same time and eventually hits the black/death torment that partially describes the Canadians of Begrime Exemious. This is how their latest EP goes. Primeval Satellite was released this year’s late summer but it was recorded two years ago. And I must admit that the entire material reveals a feeling of something kept in a cave for a while. It has a kind of aggressiveness which seems that it might have been very well calculated, but I think it is all just natural because this is how old school death metal tends to sound like. Everything is slow and rough because there is no need to hurry while destroying something, you must enjoy it first.


Things have changed a bit since their first full length, Impending Funeral of Man in terms of intensity. Yet their composition is based on a few contradictory details, but I think that this is part of their sense. Otherwise, the rhythm’s balance and the guitar tones are way better than what we could here on Visions of the Scourge. That is why Begrime Exemious deals with a constant evolution. Now their rawness is high-pitched and the melodic character is concentrated in beautiful solos and I will mention here the first song from this EP, Entrails & Barbed Wire and the fifth one, Bloodworms. It seems that the most serious track is Silent Observer Older Than Earth concerning musicality, being nothing more than a gloomy doom piece transformed in an easy-going declaration of death and horror. The levels of Primeval Satellite are pretty divers and so, the next song, Wolf Hound Bitch revolves around a nice groove emphasized by simple blasts.

The vocals and many riffs remind me of the Necrophagia vibe, especially that one from Cannibal Holocaust. Anyways, there are many parts that can be familiar for anyone who is into extreme metal, but the blending makes the element of surprise. Comparing with the peers of the Canadian black-death realm, Begrime Exemious succeeds to be quite natural, having all this range of influences disclosed in an interesting manner, a fact which makes them so alive.

The song that marks the end of this material it is a cover for the Nuclear War of Nuclear Assault and I find this admirable. It is such a good song that you can never refuse to go and listen to it once again, being in the know that is the same old killer thing with a new sound.

In view of these facts, I’m looking forward for a new full length from Begrime Exemious because it seems that this time they got something which is less ambiguous and so it became powerful. Also, a more devastating sound would be a better feature for their musical attack.”

Score: 77/100

By: Gina S.

Stream the entire album on Bandcamp:

Released on: August 18, 2014

LabelDark Descent Records


D. Orthner – Lead/Rhythm Guitar, Backing Vocals
T. McClelland – Bass
L. Norland – Drums
F. Thibaudeau – Rhythm Guitar
B. Leland – Vocals

B. Symic – Additional Vocals




Freezing Blood – Altar of Goat

The band FREEZING BLOOD was founded in Poland on 2012. Alter of Goat that has been released from label Fallen Temple is a putrid example of how a raw black metal band should sound. The demo holds a chaotic, twisted sound that is enough to make one feels the aura of raw Black Metal. FREEZING BLOOD is an unrighteous congregation of the members of some other Polish extreme metal bands like Mordhell, Moloch Letalis, Martwa Aura, Distress etc.

Freezing Blood - Altar of Goat

The foundation of each track is supported by bestial riffs featuring motif that binds the listeners through chaotic repetition. With just a few notes, but all has more sense for primitive noise, the fully-and semi-destructive instruments are met and expanded with the inhuman vocal of Morbid Priest of Cadaverous Gospel. The accompanying guitar makes the tracks a bit typical, but definitely gives a substructure to make the sound strong. It emphasizes not in the foreground, and therefore has an enriching and obviously not annoying in the first place. Same goes for the drumming which predominantly occupies both slow-paced and fast-paced tempos.

The songs are filled with raucous, latent desperate growls excellent for such music. It rounds off the overall impression and ensures that Alter of Goat is consistently a solid matter.


FREEZING BLOOD offers vilest sound with their music, although makes no reinvention of the wheel, nevertheless is nice to listen to. Presumably, this band just needs a little more time to deliver a full length. This would be very desirable for the fanatics of black metal music.

Score: 65/100

Listen to Unrestrained Vision of the End from Altar of Goat


1. Altar of Goat
2. Baal
3. Decapitation of Archangels
4. Procession of Rotting Blood
5. Life for Abominable Darkness
6. Unrestrained Vision of the End

Freezing Blood are

Heaven Gates Destroyer and Ruler of Black Chaos (Bass)

Battery Commander of Hell and Filthy Goat Worshiper of Gomorrah (Drums)

Priest of Abyss and Total Extermination (Guitars)

Morbid Priest of Cadaverous Gospel (Vocals)

Contact Freezing Blood:

Fallen Temple on facebook

Interview: Jan Kruitwagen of Sammath

 After the mid 2000’s, a new era has been defined in the history of black metal. Some old names and newer one switched toward more modern ‘darker’ sound with occultism and esotericism based lyrics and ideologies. Netherlands, which may not be that much popular or known for procreating ‘good’ black metal bands, but some bands really stood out from growing Dutch black metal scenario. Sammath, formed in 1994 in Netherlands, is spreading spiteful hatred amongst the fans around the globe arrogantly through furious sound. The band has grown up to be considered fairly ‘big’ with their latest effort “Godless Arrogance”. We had a chance to talk with Jan Kruitwagen, the front-man and the sole member of Sammath since 1994, writing all the music itself. Throughout our conversation, Jan talked about the difficulties he faced with his band and also the ideologies he stands for. He also reveals the plan for making a tour next year and his future plans about Sammath.



Apocalyptic war hails Jan Kruitwagen!! Thanks for lending us some of your times brother. How things are going with you?

Jan Kruitwagen: Hails, Things are going well, busy as always, family, work, band… As always days are too short.

So, the band Sammath had released their 5th full length Godless Arrogance earlier this year. It was a stunner for me personally, how were the responses with the release from fans around the globe?

Jan Kruitwagen: Thanks, reactions and sales are insane. It takes some getting used to for us. We were with Folter Records for 16 years. A very dedicated black metal label, great bands and I always felt well at home on the Folter roster. Once we got a call from Hammerheart things went really fast. In all major record stores Sammath has CDs for sale, we got interviews in almost all the big magazines, and 150 or so great reviews. So from being a relative small underground band we got pushed into the big world within a month. That was insane. But to be honest I’m enjoying every fukking second of it. Haha. The sheer brutality of the CD leaves a lot of people gasping for air. And lots of people hate it as well, that’s always healthy. The band will always remain a small band, which is good, we create black metal, and refuse to be part of the crowd, I will never look or dress up like the bigger bands do, it’s just not my thing. They look like clowns, I hate clowns.

Sammath started out their journey back in 1994. I learnt you were deeply inspired by some early works by Gehenna, Satyricon and Teutonic thrash metal bands. So, what else have inspired you to start the band? The musical vibe of the aforementioned bands or your personal carve for creating something new?

Jan Kruitwagen: All the above really. I had been listening to metal since 85. I was 12 when Master of Puppets was released and since that time it was always metal. I ended up lending a guitar from my high school in Australia and spend a lot of time destroying that fender guitar at home, driving my parents and neighbors mad. What I always missed was darkness in music. When black metal appeared I was instantly hooked. I was always a happy kid, and still am. I can’t stand the depressed, society hates me, people who think that metal is some kind of hiding place to not be part of the rest of the world, stop being a bitch! Man up, everyone has to work to provide for family, kids. Life is good. If you don’t like it here then find a tree, take some rope and fuck off.

As a black metal band, what is the ideology of Sammath and what do you want to preach through its music?

Jan Kruitwagen: We don’t preach anything, except for arrogance! I can’t stand any form of religion. I believe black metal stands for total arrogance, fukk everyone, fuck their opinions and simply do what you want to do. I describe the world as it is, there is enough blood, hatred and stupidity to last a lifetime in the world today, and tomorrow. So it has always been, mankind is a crazy fucked up creature that destroys almost everything. I really feel free, I simply don’t care what others think, and never have, my father and grandfather were like that as well. Good folks, but don’t get in our way, and never tell us what you think we should do.

Sammath, as a band, have always been discrepant in their musical composition. The First two album were rawer black metal, whereas the third album Dodengang had taken more atmospheric regime. The 4th one Triumph in Hatred has some thrash influence/elements and the latest work Godless Arrogance is a furious black/war metal. Can you tell the reason for showing such diversity in the studio releases?

Jan Kruitwagen: Good question, I think it because deep down I’m simply a metalhead. I listen to Bolt Thrower as much as Blasphemy or DRI, or Dawn, Setherial and the three bands I listen to most would be Sadistik Exekution, Summoning and Revenge. All those bands are pretty diverse in style. I grew up with thrash and death metal, and raw rock and roll from the early eighties in Australia. I never think before I record that an album must sound like this or that. I simply write music and after some months I sense in which direction it is going, then I try to find lyrics fitting this. I listen to Kreator ‘Endless Pain’ and 5 minutes later Blasphemy, Portal or Mortal Sin, if it’s loud it’s good.

Sammath’s latest offering, Godless Arrogance had lyrics focusing deeply on war history, religion. Will Sammath’s future works will also have lyrics in similar patterns?

Jan Kruitwagen: I can’t tell really, who knows what I will do next. I have been thinking about writing lyrics based around a single historical figure, but that’s also been done before. Not that I really give a shit. Almost anything has been done before, my goal is not to be original, but to be nasty, and to create total hatred as music. This album just screamed hate and war from day one.


Can you tell our readers about Sammath’s line-up? And during recording, does the music composition remain a band effort? Or you compose all of the music as the bands front man?

Jan Kruitwagen: I create all the music and lyrics, up unto this album. For the first time Ruud (bass player) played a role in the lyrics and the arrangements. This worked out extremely well. If not for his input the result would have been too chaotic. Our drummer Koos is a total idiot who knows fuck all about metal and only listens to Deicide. The bass player Ruud has great knowledge of metal, he used to work at a metalstore, that’s where I met him in 2000. The music will always be written by me, period. Everyone knows that.


You live in Germany, and two of your other band mates in Netherlands! Have this issue ever caused any problems (communication/management/practicing) between you guys?

Jan Kruitwagen: It’s even worse than that….. The drummer now live in Belgium, I live in Germany and the bass player in The Netherlands, and now we have a new 2nd guitar player who lives in Berlin. So we can practice once every month as a band, then we practice for a two days session and the rest of the month everyone does their thing at home. I’m lucky enough to have my own studio, so I can practice whenever I want. It’s still crap though, we could have been hitting the stage years ago if we all lived closer together.

As far as I am concerned, Sammath have not performed live gigs that often. So is there any reason for you not performing live frequently? And how do you take live gigs personally?


Jan Kruitwagen: I never really liked performing live, until now. Now that I do the guitar and vocals I feel a lot better on stage, only the guitar was not for me. Our old singer lost the lyrics a lot and never really had the right feeling for black metal. Great guy but not for Sammath. Koos, Ruud and I simply work best, and b on lead is a great musician who needs not a lot of practice.

You perform all the vocals on studio records, but in live gigs, a guest vocal is on charge. What may be the reason for that?

Jan Kruitwagen: not anymore, now it’s me on vocals and rhythm guitar, and the crazy Mexican does all the solos. I’m not Chuck from Death, I’m not a gifted musician at all, so I’m glad all I have to do is play rhythm. No Sammath finally sounds exactly like cd on live. Very proud that I can finally pull it off. When we go on tour next year it will be a slaughter for all of us, we give 110% or nothing.

Personal topic, you recently started working with Hammerheart Records, which was closed back in 2006 and reopened few years back. HHR is quite a big label for black metal, as they released some of the classics by Primordial, Emperor, Dimmu Borgir, Aura Noir and such. So how do you find it working with such a label? Do the record labels at this level have any policies on selecting bands or just the music? I mean, in most cases big labels tend not to select bands from diverse/obscure region.

Jan Kruitwagen: Hammerheart never really stopped, but just didn’t release new stuff. I got a call by label boss Guido asking me if Sammath was interested in releasing on Hammerheart, well that took about 2 seconds to decide, haha. After three months, and after the Sammath release he asked me if I would like to work, doing promotion for Hammerheart, again, 2 seconds. I don’t have any knowledge of what goes on inside Guidos head what bands are concerned, he knows everything and everyone. Any bands that play in, fuck knows where he would have heard about. He signs bands that he likes, period. Obscure, underground (I mean, he signed Sammath…) it just needs to be good in his view, and he knows….

At this level bands do have to have something special, and be able to sell. It’s as simple as that. You can’t expect a label like Hammerheart to invest thousands in a band who only wants to remain underground. The label has a unique history and place in metal, and I’m fucking proud to be part of that.

Sammath will be releasing a new split with Spanish black metal band Muert. This is also going to be the first ever split in Samamth’s 20 years of existence. So what made you thinking of releasing a split now? Apart from this split, will there be any new materials from Sammath in next year?

Jan Kruitwagen: I met some guys from Muert at the Nuclear War Now! fest in Berlin some years ago and we have regular contact via Facebook. The split should be a filthy piece of art. They sound like a slow version of Blasphemy, great stuff. We will also be releasing a split with Dutch band Gheestenland. Also many tape rereleases of older albums. Other than that I think we shall have a new album done by the end of next year. New songs and ideas always pop up in my head.

Inform our readers about some young promising bands you have appreciated recently.

Jan Kruitwagen: These are not all new bands, but bands who deserve it to be better known. Sacrarium, Kjeld, Tarnkappe, Ibex Angel Order, Wederganger, I think the Dutch scene has lots of promising bands at this moment. I don’t have much contact with anyone in today’s scene,

We really like to thank you for the interview, brother. Any final words?

Jan Kruitwagen: Thanks to you as well! Support your local record dealer! Hate religion! Follow your own path. Remember, nobody gives a shit about your problems, thrive in arrogance!

Interview conducted by

Somber Oracle


Jan Kruitwagen [Guitars, Bass, Vocals, Lyrics (1994-present)]

Koos Bos [Drums (2001-present)]

Ruud Nillesen [Bass (2002-present)]

Sammath on Facebook:

Sammath official web:


Monstraat – Monstraat


Monstraat, a name that might not be known to many. Hailing from Köping, Sweden, The band plays the primitive form of black metal, mostly in vain of early Swedish black metal bands such as The Black, Arckanum. While firmly rooted to rawer black metal, the band musical directions also shows affinity towards some rhythmic counterparts with a bit progression- exactly what you can expect from a Swedish black metal act. Formed in 2000, the band has taken 13 years to release a self-titled full length released on Fallen Temple, prior to which, the band released two demos only.


Typical black metal riffing reminiscent of early Swedish black metal sound with some thrash influenced guitars (noticeable on first two tracks only) backed up by solid, powerful drumming- that sums up the album in fewer words, but that is not the whole scenario going up here on this opus. The running time is pretty short- 25 minutes covering all 10 tracks. Most of the songs are comprised within 2 – 3 minutes. Starting with a drum bit followed by a thrashy guitar tone- the madness starts with ‘Come fire, Come Home’. The song (and Black Star) can also remind of some earlier works of Bewitched. The same vibe is also heard on the second track ‘War without End’ which breaks out with chaotic black metal madness. The rest of the track lists are purely of typical Swedish sounds. Sharp, blazing guitars backed up by melodic guitar rhythm, minimalistic bass and endless blast beats. The music can be seemed bit interesting, partly on Black Star, Through Raging Spheres, The First Seed and A Poison Divine. The vocals are typical black metal screams, hateful and delivered passionately. The lyrics mainly deal about Satanism and devil worshiping, not much rich in contents, but they are good enough for the record. Production wise, the record has a sound that soothes black metal, the sound is not that much grim or frostbitten, but it does have a solid atmosphere on the background.

Now its turn for the demerits of the record. The album runs for only 25 minutes, and tracks such as Through Raging Spheres, Cleansing, Black Star play lesser than 2 minutes. To me, personally, the song composition are executed well enough, but the short running time indicating ‘the ideas are not generated accordingly’. Apart from that, the album is pretty neat overall, although you won’t hear something exceptional or new here.

To finish with, ‘Monstraat’ is a fairly good record, but it lacks originality. Fans of Swedish black metal, especially those who are fan of Arckanum, Bewitched, The Black etc. might find this full length interesting.

Score: 70/100

Recommendation: A Poison Divine, The First Seed, Through Raging Spheres.

Listen to Monstraat – The First seed

Label: Fallen Temple ( Contact: )

Fallen Temple on Facebook:


J.L. All instruments, Vocals
M.N. Bass
J.M. Guitars, Drums


1. Come Fire, Come Flame 02:25
2. War Without End 01:49
3. Bone-Bleaching Sun 03:29
4. The First Seed 03:27
5. Killer Within 01:47
6. Through Raging Spheres 01:34
7. I Am 02:25
8. Black Star 01:49
9. A Poison Divine 04:21
10. Cleansing 01:53

Monstraat on facebook:

 Reviewer: Somber Oracle


We are all aware of the fact that occultism means something beyond general conscience’s reach but even so, we hear this word more and more nowadays. That is why occultism is not a hidden phenomena anymore. Anyways, concerning the unseen world, we had a talk with Mors Dalos Ra of Necros Christos in order to understand better what is all about with his music and the strangeness we feel there. Mors Dalos Ra took exquisite care of his unseen world and so he talked about it by introducing here and there rabbinic terms or strong names related to the mystic doctrines of Kabbalah. Besides his views on infinity and other abstract concepts, we have also some words about Necros Christos plans, influences and meaning.


How’s it going? What’s the current focus of Necros Christos after releasing the Nine Graves EP?

Mors Dalos Ra: We currently do travel on many roads so to say. Of course, the promotion for Nine Graves demanded to give lots of interviews, but it all calms down a bit right now and we just focus on rehearsing as well as writing new songs. We shall play at least one last show this year in Dublin in November, alongside PRIMORDIAL`s record release event. Looking more than forward to this one tough!

What is the source of the occult approach in your music? We all know that the occult thing is something unspeakable or so it should be, but now we are talking about individual ways of getting inspiration. In what way does occultism interfere with your life?

Mors Dalos Ra: Since my earliest childhood, I felt strangely addicted and drawn to this unspeakable realm.

I answered this question in depth in a lot of interviews before, so for all interested readers out there, who already know about, just skip the following:

The very first thing I actually do remember is my baptism, on which I was one and a half year old. I still can see the scenery as being burned in my mind, people standing in the cold November rain outside that very old church, everything seemed to be really blurred and dark.

I remember the smell of the stones, the water and something utmost spiritual, some Thing, which was there.

I visited that church more than 36 years later and some signs, which I got aware of during that visitation, came close to a personal revelation. Note that this has nothing to do with Christianity in general, I try to describe what I felt. When being one and a half year old, you haven`t heard about God or Jesus, but your senses are already glowing in full effect, you simply feel.

The second coming occurred when I was approximately three years old, spending vacations with my parents on Crete, Greece. I had a seriously bad infection of my tonsils, but when it got discovered, fever and disease had already laid their foul hands upon me. I was brought to a hospital, but no bed was left, so they put me in a small stinking cell reeking of excrements and disease. And guess what, it was the room for the dead. During this night, I left my body for the first time, seeing this painful vessel of mine beneath.

Later on, my father, who was kind of a devoted hobby archaeologist, took me to places all around Greece, Turkey and so on. I guess that should explain my addiction to the oriental world as well as being consumed by all occult spirituality. Take all of that memories and experiences combined with my own style of writing (Death) Metal songs and you have the essence of what NECROS CHRISTOS is all about.

What is your own philosophy about death, blackness, or void? People often perceive these phenomena as an end. What does the end mean for you?

Mors Dalos Ra: It is no end and our souls have none. Since an adoil of tyme, we`re forced to re-incarnate again and again, until the primordial ocean of souls shall re-unite in Adam Kadmon.

But since we lost contact with the primary influx of Ain Soph eternal, hidden within Domedon Doxomedon realm, this final return  to the essence won`t never happen and our souls are cursed to be thrown into worlds and netherworlds forever.


Within the Nine Graves EP, it is more obvious than ever that one of your main inspirations has to do with the Oriental spirituality and musical expression, with the religious culture of the Eastern side, actually the realms of the living sun. Even though, we all could notice the fact that your interest in this part of the world was emphasized on the previous Necros Christos materials also. The most profound philosophies regarding humankind, micro and macrocosmos were developed there in the ancient past. Nowadays, many of these regions seem to be buried in social and territorial conflicts, overpopulation, both spiritual and material poverty and so on. What is your view about this extreme turning point?

Mors Dalos Ra: I try to follow the news every day and it makes me becoming sick, really.

What kind of disgusting things happen when delusion, disorder and fanaticism take over and possess the mind and heart of people, everybody can see at many different corners of the world right at the moment. No matter of what kind of religion, if anybody really proclaims to inherit the one and only belief, if he discriminates others due to their religion or he/she even kills due to that, he/she simply does NOT believe. They all do serve just “the other side” they actually want to avoid, but our world has become damn sick and it shall be cleansed very soon by the will and powers of the radiant light of Ain Soph absolute.

How do you feel before playing in front people? Do you take into account that there are lots of energies that you have to deal with and make a specific preparation? Or does everything come just naturally?

Mors Dalos Ra: I love what I do, so there`s no complain at all. I have no problem by performing in front of others and mostly, we`re blessed with such an excellent crowd, that it is a sheer pleasure to play. Indeed, if the audience is really into our sound, we`re able to absorb all the energies and transform them into our own performance. This might be the highest state of ecstasy one can think off, but we luckily had many rites where things like this happened.

When it comes to demonology, people tend to associate the evilness with it because of Christianity. But before Christianity became an official religion, mythological demons were seen as both good and evil. Also, most demons were actually messengers between individuals and entities. What is the role of Necros Christos in terms of your own visions?

Mors Dalos Ra: NECROS CHRISTOS is the messenger. When I was approximately seven years old, a demon named Dalos revealed his spirit unto me and when I was way older, the foul vessel of the nine dolours of Christ, also known as NECROS CHRISTOS, transmitted his prophecy.

When did you discover your interest in Kabbalah? How did you see this tradition in the beginning and how did your views evolve regarding this form of mysticism?

Mors Dalos Ra: I can`t remember properly when exactly my interest in Jewish mysticism rose to a high degree, but when I stumbled across the first fragments of texts years ago, I immediately felt a strong connection to that source, something, which I never felt before. I just read and studied the Sefer ha-Sohar this summer for the (maybe) third time, I read the Sefer ha-Bahir and of course, Gershom Scholem`s works are always present.


 How do you see the metal world of today and to whom do you dedicate your music?

Mors Dalos Ra: To everyone who is open minded and to all our brethren and sisters of the NC Temple. Further to such amazing artists as Manuel Tinnemans, Timo Ketola, the covens of SVR RECORDS and VÀN RECORDS, GRAVE MIASMA, VENENUM, GRIFTEGǺRD, TEITANBLOOD, ASCENSION, SOTM, PENTACLE, DROWNED, ESSENZ, NEGATIVE PLANE, THE RUINS OF BEVERAST, THE WOUNDED KINGS, YEAR OF THE GOAT, ARKTAU EOS, DEAD CONGREGATION, just to name a few.

It was eight years ago when you released a split with Teitanblood. What is the relation between you and the two guys of Teitanblood today and how do you see their esoteric approach on music comparing to yours?

Mors Dalos Ra: The esoteric approach might be too personal too speak about, but their approach to Death Metal is someway different. NsK belongs to my closest friends and I feel nothing but the highest respect for TTB. One of the, if not THE most extreme band in the world of (Death) Metal nowadays. Those guys are real magicians for sure.

How did you decide to work with Timo Ketola for the Nine Grave artwork cover? What do you like most when it comes to his art?

Mors Dalos Ra: Timo is an old friend of NC and has done many signs and wonders for our Temple.

And honestly, he`s one of the most serious occultists I can think of, his knowledge is of unbelievable dimensions.

There was this painting of Eugene Delacroix I came across, “Christ carried down to the tomb”, which I had in mind when speaking first about the cover concept with Master Ketola. The final painting he delivered just made me speechless, you nearly can smell the cold, foul air of that mass rock-cut tomb somewhere in the Middle East.


We also know that you are into traditional music from Indian and Persian cultures. Can you recommend us something like that by naming a few of your favorite artists?

Mors Dalos Ra: With utmost pleasure. Out of India, I would like to name first the greatest Sitarist of all time, namely Nikhil Banerjee. Other important names would be Ajoy Chakrabarty, Ali Akbar Khan, Sultan Khan, Kala Ramnath, Tejendra Narayan Majumdar, Prabha Atre, Purbayan Chatterjee and Irshad Khan. Going to Persia, blessed be the works of Hesameddin Seraj, Ramin Kakavand, Davood Azad and Salar Aghili.

 Who is your favorite modern or contemporary writer when it comes to religious studies?

Mors Dalos Ra: Gershom Scholem, no second thought needed! His writings and essays about Kabbala mysticism opened my eyes and I saw clear.

In the end, we would like to thank you very much for sharing us a part of your visions and feel free to write anything you want for those who appreciate and relate to your work.

Mors Dalos Ra: Thanks a lot for the interview, it was a pleasure to answer!

Whoever thinks in terms of country borders or skin colour has no place within the realm of NC.

Death Metal has no boundaries.



                                                                                                                                    Conducted By: Gina S.

Necros Christos:

  • Mors Dalos Ra: Guitars (electric and acoustic), Vocals, Keyboards
  • The Evil Reverend N.: Guitars
  • Iván Hernández: Drums
  • Peter Habura Bass

Facebook of Necros Christos:

Official Bandcamp:


Preludium – Redemption



Monstrous riffing and murderous drumming, these two criteria would first come to one’s mind to describe the music of Polish black/death metal scene in short words. Preludium, from Mielec, Poland is no different from their contemporaries in terms of delivering the combo of extreme riffing and intense drumming. Band’s latest offering Redemption is different from their earlier releases to some extent. Previous releases were constructed with war and blasphemy based lyrics. Surprisingly the band switches its lyrics to the spiritual teachings of Sri Sri Paramahansa Yogananda in this full length, which is obviously a new theme in the extreme metal music.


Who have listened to the band’s previous creations can feel that Preludium’s sound has strong kinship with the bands like Behemoth, Hate and the like. But the band has got ways and means to successfully put some new elements into the album that turns the whole atmosphere into a stronger position and that atmosphere definitely reflects the band’s intention to sound a bit different from their old materials.

Initial track of the meditative journey, Soul Torment trudges almost at the same pace with some riffs. Second track, Altars of Redemption transports an array of some atrocious drumming, solid bass and strong vocal deliveries. Third track, Incarnation is one of the best tracks of the album. One is supposed to get overwhelmed with the monstrous riffings of this track. Some of the guitar works of the track bear some resemblance to the Icelandic black metal bands, but Preludium’s work can be considered as faster comparing to the works of Icelanders. Circle of Life, Destiny of Morals and the final track, Sins of Mankind are some of the other tracks that can startle the ear-hole of the listeners. Beginning vocal part in Circle of Life reminds me of the crushing voice of Mors Dalos Ra of Necros Christos. All of these three tracks are enshrouded with mesmerizing guitar works and destructive drumming. A memorable rhythmic bridge appears in Sins of Mankind as if to add a unique vibe in this spiritual expedition.

Aesthetic artwork of the album perfectly gives a glimpse to the listener about the lyrical theme of the album. Atmosphere presents in the album also perfectly conveys a spiritual feeling that the band is trying to preach with their music.

Considering the downsides of the album, there are a few. Even though the band has tried to do something divergent from their typical Polish extreme metal sound, a lot of elements are present in the album that were previously done by the contemporaries. Initial track Soul Torment is less appealing in terms of its overall composition and cannot be considered as a descent tool to open the album. Lyrics obviously transmit strong messages, but the spiritual theme that is conveyed through the lyrics has complicated connection with the black metal lyrical theme and it may throw cold water on the listeners who prefer evil oriented lyrics on black metal music.

Redemption can be regarded as the best release of Preludium so far. Yet, I have not checked their demos and first full length, but it should be on the climax comparing to the other albums that have come across to my ear. Most remarkable works in this album are done by the guitarists; guitars are mightier than the swords. Another successful release from the label, Transcending Obscurity.  “Redemption” is surely a recommendation to the listener of blackened death metal.

Score: 78/100


By: Zoheb Mahmud


Stream the entire album on Bandcamp:

Released on: January 05, 2014

Label: Transcending Obscurity


Lukasz Dziamarski – Guitars, Voc
Jan Skowron – Guitars
Piotr Ungeheuer – Drums
Marcin “Mrzawa” Deszcz – Bass