Precaria – Precaria Ex Humanitas

Precaria - Logo (printing inverted)

Precaria– if you have heard of their name or not, but let me make some facts clear, these Mexicans are serious in dealing with their business. Black metal in these days has assumed many forms considering either ideological or musical approach, Precaria happens to be in the second group- playing the faster and violent kind of black metal while choosing to be more delicate in lyrical concepts; dealing with social and psychological issues, Nihilism and hatred. Their debut full length ‘Precaria Ex Humanitas’ which was recorded in between 2011 – 2013 AD and released in the last year, on Desavenencia.

Precaria Ex Humanitas - Front Cover

Precaria‘s music can be distinguished with its fast tempo accompanied by the massive wall of sound behind. Straightforward, merciless and relentless surge of violent black metal – the primary characteristics to be mentioned about this release. The album starts off instantly and blows the listener away with in-your-face riffing but the ending moments soften the mood with a long acoustic outro. The music is well in league with typical US black metal, although the album was recorded in Mexico. The riffs are thick and the rhythm sections are meticulously written. You will hardly hear any breaks within the songs. The frequent shift in tempos and scales attribute to the war anthems- the war against the pseudo sounding craps. The melodies are heard once in a while, although the acoustic breakdowns in songs like ‘Traficando Los Órganos de la Iglesia’ and ‘Evangeliza Con Veneno Nihilista’ provide hints on the capability of the band members. The drumming is reckless throughout the 50 minutes of playing length. The constant blasts supported by the buried bass guitar distortions helps providing that wall of sound aforementioned. There are not much of the things going in background, but the simple yet well written songs make up for the craving for something different. The singing parts are spit out with ravaging shrieks, the lyrics are spitefully sung and mixed up with growling voices and rasps. The vocal patterns are more in a narrating way but a bit lowered in the mix. The lyrics on this album are written on Spanish and worked out on social disgraces and hatred for mankind. The production quality on this album is affluent in terms of black metal. The sound is muddy enough to satisfy the black metal fans of Marduk or Kult of Azazel school. But if you are looking for thin sounding black metal with grim atmospheric background then you might be disappointed.

Precaria might have their origin in Mexico but their sound is deeply rooted in traditional USBM bands like Kult of Azazel, Abazagorath, Averse Sefira and likes. Now you have the idea on what to expect from this release. So if you are digging for fast paced black metal and black/death metal then go with this album. It might not please the fans from all schools of black metal, but obviously a venerable addition to your library. Highly recommended.

Highlights: Evangeliza Con Veneno Nihilista, Violencia Como Pan de Cada Día, Traficando Los Órganos de la Iglesia.

Score: 80/100

Listen and Order Precaria – Precaria Ex Humanitas


İanzél “The Hermit” (Guitars, Vocals, Bass, Composition, Arrangements)

Opposus Discordia (Drums)

Precaria on Facebook:

Release Date: April 3rd, 2014

Label: Desavenencia

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Nidrosian Black Metal: A Primer For The Uninitiated

I was first made aware of the word “Nidrosian” by contemporary Black Metal artisans, Mare (Spheres Like Death, Terratur Possessions, 2010). Their orthodox Scandinavian sound is not what caught my ear, rather their ritualistic soundscapes, which invoked the thoughts of medieval black masses. Mare’s entire aesthetic is enchanting to the proponent of the dark arts. Their live performances are an  otherworldly experience in itself, combing sonic assault with arcane visual enchantment. Truly an impious experience.

Continue reading Nidrosian Black Metal: A Primer For The Uninitiated

Eternal Armageddon – to release new Demo, “BLACK THRASH BASTARDS” on Jan 14

Bengal black metal force Eternal Armageddon started their voyage back in the 2009 and released their debut ep,. After a short hiatus, the fury has reincarnated with new demonic soldiers. The demo,“Black Thrash Bastards” is the upcoming release of the demonic trio and it will be unleashed in the grandest event of Metal Barbarism II (January 14, 2015).

The demo is filled with four vengeful black thrashing originals (including an intro) and a Sodom tribute (Blasphemer).

Artwork done by : Cat Lady


Release Date: January 14, 2015 (Self Release)


1. Darkness Shalt Reign (Intro)
2. Hate Reincarnated
3. Black Thrash Bastards
4. Satanic Whispers
5. Blasphemer (Sodom Cover)


Asmodeus – Vocal/Bass
Sarcophagous –
Blasphemouranter –

For Order, Trade and other Inquiries:


Trident – Shadows

trident_logo_2000pxSwedish black/death metaller, Trident inaugurated their mystic journey in 2010 when Reaper (Johan Norman, ex-Dissection, Soulreaper, Satanized, Sacramentum) foregathered with Necrophobic members, Tobias Sidegård and Alex Friberg. A major change was occurred in the lineup of the band after the release of the debut full length, “World Destruction”. Only the two guitarists Ulv and Reaper remain in the band and three new sinistrous monks united with them. Second studio release of the band which is an ep, entitled as “Shadows” will be released under the banner of “War Anthem Records” at the end of February, 2015.


Listeners of Dissection, Soulreaper and Trident are no stranger to the hypnotizing guitar adroitness of Reaper. Guitar prowess of both Reaper and Ulv takes the possession of a lot of notable moments of the record. The whole record is enshrouded with a lot of spellbinding rhythmic bridges, riffs and melodic solos. These soul ripping guitar works have created an aesthetic and at the same time a devilish atmosphere that can be regarded as a notable craft seemed to be offered in the glorious days of Swedish black/death metal era.

Vocal, Defiler has showcased a brilliant job. His voice has a close kinship with the Swedish early era black metal frontmen and it is different from the voice of the great Tobias Sidegård (which is more death metal oriented in my opinion). Drumming sounds slow when necessary and aggressive with blast beats when needed. There is no notable bass works overall, but bass work presents in the record is enough to support the overall composition.

“Aftermath” and “Shadows” are meticulously and accursedly harmonized, whereas the rest of the two tracks, “Dark Nordic Rage” and “Thy Kingdom” are the demonstration of fast and aggressive form of melodious black/death metal.  Title track is undoubtedly the best track of the ep and it can be positioned in as same level as the classic Swedish black/death metal tracks. “Thy Kingdom” is another track that needs to be highlighted, possibly the second best track of the ep.

Lyrics of the album reflect blasphemous, anti religious and darkness based theme and it can be assured that one will not always find such kind of poised, well structured lyrics in black/death metal music. Considering the subject of production, mixing and mastering, the ep deserves a thumbs up. Anders Backelin of Lord Belial united with Trident for the mixing and mastering duties and the duties have been executed properly. The artwork with the reaper figure surrounded by its acolytes is really fascinating, but the layout and the color selection do not properly match with the evil oriented music of Trident.


A major lineup change could not stop the malicious artistic journey of Trident. Unholy power of their musical Trishula is definitely going to amaze the listeners of Dissection, Sacramentum, Necrophobic, Unanimated and the like. I am yearning for the new release of the band; especially a full length in near future will be perfect.

Score: 82/100

——–Zoheb Mahmud——–

Album Teaser: 

Release Date:  February 27, 2015

Label: War Anthem Records

Current Line Up:

Reaper – guitar (ex-Dissection, ex-Soulreaper, ex-Decameron, ex-Sacramentum)
Ulv – guitar
Beast – bass
Goat – drums (Death Tyrant)
Defiler – vocals

Produced, mixed and mastered by TRIDENT and Anders Backelin (Lord Belial) at Armageddon Recordings




Azaghal has been blasting the metal world since the mid 90’s and these Finnish fellows are still very active. Their discography is wide and their musical approach has been improved with every new material. The highest musical point that this band touches is based on a classical Finnish manner of playing black metal that uses both aggressiveness and melody. Niflungr, the vocalist and bass player of Azaghal told us a few things about his band, their next release and gigs, about their ideologies and the surrounding vibe that Finland provides them.


Greetings to you! We are pleased to have your words here, on Venustas Diabolicus.

First of all, I’m sure that Azaghal had to do with this kind of – let’s say – undemanding question before, as every band does, but what is the deal with the name? I know you were just around and not a member of the band when the name was chosen, but how do you see it? Is it the image of Azaghal, the dwarf that fits this band and its music? Or is it just about those fairy qualities of Tolkien’s character and his abilities to create the finest steel blades and the best armour? How do you link these mythologies with black metal and the message of Azaghal?

Niflungr: Well, it was quite fashionable in the 1990’s to pick a fancy sounding band name from Tolkien mythology. I guess Burzum was one of the originators of this movement and naturally the others, including us, followed. I don’t see any Tolkien references in our lyrical concept anymore, but I guess it is a bit too late to change the name, now after 20 years, heh heh…


And what is about Niflungr? What made you go with this name?

Niflungr: This is taken either old Norse Poetic Edda, or Prose Edda. It is basically the same as more know Nibelung. I didn’t think too deeply while choosing the name, but at that time it sounded nice and exotic for a Finnish teenager.

Besides the split with Ars Veneificium that is announced to be released in February, what other plans do you have with Azaghal? What can you tell us about the next full-length?

Niflungr: The next full-length album called Madon Sanat will come out during the first weeks of 2015. It will be released through Hammer of Hate / Kvlt in CD format. For vinyl version release we already have another label, that will be announced a bit later.

Stream the title track of the album here:


What about gigs? Is there a place or event that you would definitely want to reach in the near future?

Niflungr: We usually do less than five gigs per year, so no huge tours are expected to happen in near future. Next in schedule we have gigs in Holland and Belgium, next February. Also we will go all the way to Montreal, Canada in April to attend Messe des Morts Festival. Naturally we would like to go as many places outside of Europe as possible. This year we went outside of Europe for the very first time, while we had a short tour in Brazil.

About three years ago you played in Moscow at Volh Black Metal Fest. For me, watching from outside, the Russian culture seems to be something particular comparing with those from every other corner of the globe. I sense an interesting paradox at this culture in many artistic fields. They seem to mix the magic and dreaminess with the coldness and straight forward attitude like others do not. What do you remember of that gig, the crowds and so on? How does it feel to play black metal there?

Niflungr: The gig itself was a disaster, to be honest. We traveled a day and a half one-way, by using various methods, just to end up playing twenty minutes before lights were put on and audience thrown out. The scheduled time for the event exceeded and we couldn’t even play half of our set. These things do happen sometimes. Playing itself and the audience didn’t feel too different from North European gigs.

In an interview for Metal Maniac you said that Satanism should be a way of life for all those who play black metal. But, have you ever thought that this can be also a kind of globalization in terms of expression, attitude and direction? Nowadays, black metal is almost everywhere, so at one point it becomes difficult to gather all these people that make this music under a single theme that is Satanism. I think that if black metal started as a satanic manifestation it is not necessary to continue like that. This music, as any other genre can speak of absolutely everything, including Satanism, darkness, occult stories and all the classic things. But I do not take these themes as mandatory anymore since everything around us is in constant change and otherwise, they do not come in a natural form for everyone. Tell me about your opinion, please.

Niflungr: I still think that people who express themselves, share their personal visions, moral code or fantasies under the title Black Metal, should be Satanists. It does not necessary mean that every song’s theme should be Satanism. There is a massive amount of bands in the scene who are expressing Satanic values, but when getting to know them on a personal level, they appear to be humanists and not standing behind their message. Even the people who have been in the scene for a decade or two, appear to be weak-minded sheep, trying only to boost a weak self-esteem. What differs Black Metal from other form of music and arts, is the fact that there is an ideology connected to it.


Is there a favorite part for you when it comes to any kind of satanic literature?

Niflungr: I read very little of this kind of literature. I strongly believe that people should find their own ways, within themselves. My personal world-view is based completely on observing the world around me and my own experiences in life. This has shaped me to who I am these days and what I do believe in. Life is quite simple; we are star dust and what we want or desire means nothing in the end.

What do you think about the new Mayhem, Esoteric Warfare? I am asking this just like a black metal fan who talks with another black metal fan about the musical scene, despite the fact that you are actually a musician, but, of course, this cannot alter somebody’s perception about music.

Niflungr: Personally I enjoy it. Maybe I think too much about the technical side of albums these days. This particular piece is very, very technical to play, but still atmospheric and devastating. Maybe I cannot listen music as a fan anymore, which is kind of sad.

Did you notice any difference concerning people’s reaction about your music since you started to write more lyrics in English?

Niflungr: No, I cannot say I did. I haven’t discussed about this matter with the listeners, really. Maybe for some people this has removed a bit of the shroud created by a weird language like Finnish. Not many foreign people can read or speak Finnish fluently, so a translation process has always been necessary, before understanding completely what is stated in the songs. Well, now we are back to Finnish as this whole English language-thing was just a test to see how it works out. Maybe we should stick with our native language after all.

How is the mood in Finland these days concerning cooperation between musicians and the relationship between musicians and audience?

Niflungr: In our home town, we are doing a lot of co-operation with fellow musicians. New exciting and potential bands have raised and has made this kind of interaction possible. This wasn’t always the case in the past. In Finland in general, I’m sad to announce that the amount of audience has decreased significantly here. Maybe there are too many Black Metal events around or maybe people rather stay home and see things on YouTube or something.

If we think at your native place, the history and the heritage of the country, what is the thing that you like most about this land, its people and their habits?

Niflungr: I like all the unforgiving nature, cold winters and endless forests and thousands of lakes. There are still places around that human filth has not polluted, luckily. Our tribes have populated these lands since the beginning of post-ice age, so we have a strong blood connection to these landscapes.


Finally, how can you translate the idea of corpse paint? How do you feel when you do it? Can you relate it to a transformation procedure that is definitely needed for your performance or something like that?

Niflungr: Corpse paint works as an extension to our musical expression. It gives a face to this particular side of ourselves that we are expressing. It also is a tradition, inherited from the early 90’s, when we were just starting to explore all of this. Unfortunately it has become a great trend, even among people who has no clue about the ideology of this genre. Even models pose in bikinis with corpse paint on in social media these days. It is disgusting.

That’s it for now. Thank you so much for sharing your thoughts with us. If there is anything else to add or any other ideas that you want to transmit to our readers, here is plenty of space for you. Cheers!

Niflungr: Thanks for the interesting interview. If you want to keep on track what is happening in the Azaghal camp, you can find our official page on Facebook. This is administrated by the members of the band themselves. Let the light of Lucifer guide you!

Conducted By: Gina S.


  • Narqath: Guitars, Bass, Vocals, Keyboards
  • JL Nokturnal: Guitars
  • Niflungr: Vocals, Bass
  • Lima (aka. Jonas Pykälä-Aho): Drums

Facebook of Azaghal: