Without any doubt, it is exasperating to discover the new stoner/doom metal bands tend to be a clone of Electric Wizard or try to imitate the ponderous Sabbathian riffs. Considering the black metal bands of this era, yet, it is still hard to stumble on the music that is not a reproduction of a mimeo. Riti Occultiis an exception, who inventively incorporates the elements of black Metal, stoner, traditional doom and psychedelic/space rock to their music and leads their hypnotic opuscule to a supreme level. Their last release Secta (Link: http://wp.me/p42NGB-dh)has already been reviewed in our webzine, and it is time to feature their self titled debut oeuvre.
From beginning to end, the tracks are swaddled under the well structured thick, fuzzy and atmospheric bass riffs that try to replace the absence of guitar in this record. In case anyone is not aware, then it needs to be divulged that the band does not use any guitarist. Thick, distorted reverberate of the bass may lead the listeners to a doomish mud-spattered route filled with the existence of evil entity. Iteration of the same rhythmic bass tones evokes a slightly monotonous feeling, but obviously it cannot be considered as a big withdrawal of the release. Unexpected interruption of the hallucinatory effects of the synth can mostly be considered as a welcoming, yet a few times it sounds in an ill-defined way. But one thing is certain that the usages of synthesizer creates a bizarre and at the same time a ritualistically haunting environment that holds the control to enchant the listeners. Drum works are delivered in a quite straightforward way, and the fusion of the simplistic drums and heavy bass tones triggers a raw sound. Overall production of the album can be regarded as raw despite the tranquilizing effects of the keyboards. Usage of ethnic instruments and flute can also be perceived in the track “Desert of Soul”.
Both vocals, Serena and Elisabetta are just sensational with their voice. The combination of Serena’s harsh spooky black metal vocal together with the aesthetic histrionic voice of Elisabetta, generates breathtaking aura. Serena’s demonic vocal conjures the most of the part of this memorable album, whereas it is a pity that Elisabetta’s extraterrestrial voice appears mostly on the background.
The band has not revealed the lyrics, but checking the titles of the track and the concept (which is about a man making a journey to the abyss and then re-emerging through initiating the principles of the left hand path) of the entire album, it can be assumed that some occult, dark and mythological aspects are included here wisely. The track “Alcyone” is an example, which is probably somehow related to the Hellenic myth.
Riti Occulti directs their musical path in a different and at the same time in an appealing way. Self titled full length, in a nutshell, deserves much admiration. Nordavind Records from Portugal has really done a brilliant job by re-issuing this misprized craft.
Stream and Order “Riti Occulti”
Originally Released by: Epidemie Records on May 07, 2012
Devathorn is a black metal trio from Athens, Greece. The band has been active in the scene for more than 12 years, with a full-length album and two split releases. The band is now all set to release their sophomore effort ‘Vritra’ on 27th February, 2015 through World Terror Committee.
Devathorn, on this record, have chosen to adopt more diverse form of black metal, reminiscent of recent Polish and Swedish scenes whereas their debut full-length ‘Diadema’ had more orthodox elements in it. Therefore, you can expect a well-produced sound with a variety of influences on the music, from a chaotic death metal-ish vibe to eastern melodies. The song structure sometimes becomes really complex, switching between different tempos and rhythms. The eastern influences are mostly heard on songs like ‘Cathedral of Set’ and ‘Sapphires of Vritra’ while the songs like ‘Veritas Universalis’ and ‘Promethean Descent’ are merely solid black metal numbers. The guitar riffs sound a bit more thrashing in this record (Reminds me of Thy Mighty Contract) because of the production, consequently Devathorn differs from their predecessors in the Modern Greek black metal scene. The spooky black metal-ish atmosphere is absent throughout the album as the guitars and the drums are given high fidelity on the mix. The vocal styles are varied from narrating ones to guttural screams. However, Vocals often take a back seat to the instrumental backing of ringing guitar melodies backed by heavy chords, and the songs are rich sonic soundscapes that demand intense listening if you’re to get the most from them.
Apart from the music, the album has strong lyrical aesthetics to express. The concepts on this record can be explained as a multi-dimensional channel among different aspects of ancient devas found in Eastern, Mesopotamian and Greek mythologies. The glory of the serpent king has been depicted through its various forms, without losing the distinction of respective mythologies. Therefore, the lyrics as a unit, symbolizes the spiritual individuality of serpent king ‘Vritra’. The lyrics are written in both Latin and English.
Devathorn has taken quite a long time composing this album to do something different and memorable. Hence I can assure ‘Vritra’ is not an ordinary black metal release but an opus magnum from the band. The intricacy and the dexterity of the music won’t let any boredom to pop in. The album has the appeal to offer for the fans of black metal, death metal and modern death/black metal. Highly recommended.
Recommendation: Promethean Descent, Sapphires of Vritra, Verba Inermis, Veritas Universalis
The German black metal outfit, Ascension is not a stranger to the listeners who prefer the enchanting, mystic and diabolical power of occult leaning black metal. Latest prodigious album, “The Dead of the World” has been received with open arms by the listeners. Considering the both sonority and concept, the album is just marvelous, and the band has been crafting such kind of marvelous music since the inception, when they released the demo,“With Burning Tongues” Ascension is currently touring with Bölzer, Dysangelium and Vassafor at “Under Four Wings of Death” tour. We have conducted the following interview with the band, focusing on the recent full length, tour, ideology, some occult and spiritual aspects, and many more.
Salutation! Ascension is coming up with some unholy offerings that include the new full length, The Dead of the World (after the Deathless Light EP) and Under Four Wings of Death tour. So, it can be expected that the band is hard at work on these ventures.
Ascension: Hails! The making of The Dead of the World was a truly soul draining experience for all of us. Right now we are preparing for the upcoming tour, to channel that what is Ascension into a club show. We never considered it to be enough to only play our songs; we want to create an intoxicating experience for us and the audience.
Is the new release also a conceptual album like the debut full length? Can you briefly inform us about the overall lyrical theme of the album? I assume that the lyrical theme has probably a close tie with the death or ending part of human life.
—The new album is by intent not conceptual. It deals with death, yes, but not only physical death. There are many different layers and meanings. The record is an invocation of the gods of death, of gods slain by men and gods that left the world to die. A song to those, who live in the dark corners, and who are literally dead to this world and a lullaby to the perished.
The opening track of the album is named “The Silence of Abel”. Is it related to the incident of the death of Abel? So, do you consider Abel as the first human being to taste the tranquility of death and Cain as the first assassin?
—I do not consider that because this would imply that I believe that the story of Cain and Abel is true in its literal sense. The Silence of Abel deals with this subject although it´s more focused on the murder than the murderer, as well as its universal, spiritual impact. It´s about where we come from and what we are. It is about our predisposition to commit sin and its necessity. The chalice is broken and we won´t achieve completion by putting the pieces back together.
Tell us about the artwork of the album that has been designed by David Glomba (Teitan Arts). How does it transmit the music?
—David´s art on this album is incredible. We provided him not too much guidance so it´s actually his interpretation of our music. His paintings definitely speak to us and we find the essence of our music within it. He added another dimension to that what is The Dead of the World in our eyes.
Ascension is using a new logo. Who is the artist of the logo? Is there any specific reason to change the logo? The sigil that has been inserted in the logo obviously has a definite meaning.
—The sigil is done by one of the few people that stand very close to Ascension. It´s not meant to replace our actual logo. Its purpose is to amplify the spiritual aspect of the band. We consider Ascension to be an entity that has huge impact on our personal lives. In return, every band member’s path influences Ascension. This sigil is something for us to carry in our hearts. Therefore it would be inappropriate to reveal its meaning.
You are an acolyte of Lucifer! Some consider Lucifer as Devil, some as Antichrist, some as the Bringer of Light, or just as other kind of symbol. The word Lucifer is coined differently in several sources. So what do you perceive by “Lucifer”?
—Rock Music is the music of the devil. So only by going down this path we carry him in our hearts. There are many shapes and faces people paint of Lucifer. And none of them are true, simply because the principle of the devil is not about the truth, or more precisely, about one truth, it´s about something far beyond that.
Do you regard your music as “Orthodox Black Metal”? How would you coin the term Orthodox Black Metal and how is it dissimilar to other offshoots of black metal?
—To be honest I do not like that term too much, the word “orthodox” implies to me something that is “streamlined” or “righteous”, and I hope that Ascension can embody pretty much the opposite of that. But I get it; the metal scene needs categories, definitions and sub-genres. If orthodox black metal is supposed to refer to bands, that are serious about carrying spiritual or religious impact in their music, then it fits Ascension´s intentions.
Do all of the members of Ascension coven believe and walk in the same path when it comes to spiritual ideology? Is it essential for all the members of a band to engage themselves body and soul in the same path of spirituality that is being conveyed through the music?
— It is not important that every band member walks the same spiritual path but it is important that everyone in the band walks some spiritual path. Like I mentioned above, it´s some sort of interaction. Every band member´s path influences what is Ascension and Ascension influences our path´s simultaneously.
Concerning the members of the band, all of them are anonymous.There was a time when Ascension did not use to participate in the live gigs and even if they did it was on occasional basis. But now the band has announced a tour and also do partake in other gigs including some prominent festivals. Do you think that partaking in a lot of live gigs may reveal the identity of the members? And if you think so, then do you consider it as negative or threatening?
—It is not for me to tell if that would be negative, yet it´s for sure not threatening. It would be not too hard to find out our identities these days. I believe the reason why it did not happen so far is, that people yearn for something obscure in this completely demystified world. You can easily stalk every artist online; you can know him within a few clicks better than you know your own neighbor. So I think anything mysterious is a precious good these days. One of the main reasons why we decided to bear no names in Ascension is that all band members are supposed to represent the entity that is Ascension. We wanna humbly step back behind the artwork and let it speak through us.
Regarding the Under Four Wings of Death tour featuring Ascension, Bölzer, Dysangelium and Vassafor – the lineup looks really lethal. So what has made you come to a decision to finally go for a tour? Is it because you really enjoy the music of these bands or because of having ideological similarity with these/any of these bands?
— We never excluded the possibility that we´d go on tour one day. We just waited for the moment one which it felt right. Just as we never excluded to play live from the beginning, but started with it not until “Consolamentum” was released. As we got the offer, the time was clearly right. I consider especially Bölzer´s music as extremely unique.
The Magus (Necromantia, Thou Art Lord, Principality of Hell) and Mors Dalos Ra (Necros Christos) were both guest vocals on this album. Is there any probability of featuring them in Under Four Wings of Death tour or in any of the upcoming gigs/tours?
—There are vague plans and clear wishes.
Garden of Stone, undoubtedly a marvelous number that is included in the Deathless Light EP. Can you enlighten us about the concept of this track? Does it have any relation with the concept of The Dead of the World?
— It´s for many reasons a very special track for me and it´s strongly connected to the rest of the album. It deals with doom and isolation, abandonment and rage. In more than one way, through the eyes of a spiritual patroness that dwells within us.
The monumental debut full length, “Consolamentum” conveys the five parts of the transformation of a human soul – learning to breath, learning to lie, learning to live, learning to kill, and learning to die. So, does every human being stride across the fourth part – the process of learning to kill? Will you please elaborate about these steps of transformation?
— Every human being bears the potential to kill. And the majority is using that potential sooner or later and in one way or the other. There is a reason why kids start at some point to kill insects or small animals. There is an ecstasy to it. As we grow older most of us express our joy to kill in subtle, socially more appropriate ways. It is all ritualistic in the recollection of primordial intoxication. The only thing that stops us from slitting each other’s throats is social guidelines, which force us to kill in more non-physical ways. If you read the lyrics of the track “Amok” you´ll precisely know what I´m talking about.
I don´t want to elaborate the concept too much. It would take away the readers’ possibility reflect within our lyrics and to let them speak. The concept is not about a particular thing, it is the actual thing.
We have come to the edge of our conversation. Thank you for answering the questions. Any ending message you would like to give to the audiences of Ascension?
— Thanks for your time. The Dead walk among us with hatred. Hail Luzifer!
N.B.: The actual interview questionnaire was sent to the band even before the release of the latest full length. Some of the mentioned dates and contents may be looked as inappropriate due to the time involved in publishing interviews. We apologize for the inconvenience.
Caveman Cult, a trio hailing from Miami, Florida, plays vicious form of black/death metal (or war metal) similar to Proclamation, Revenge and likes. The band had released their debut demo, titled ‘Rituals of Savagery’. The five track demo was released on November 17th, 2014 in digital format. Florida based record label Wohrt Records has released the demo on cassette tapes on February 6th, 2015.
A promo video was also released with the track ‘Sacred Burial Desecration’.
The entire demo can be streamed here:
Rituals of Savagery demo can also be ordered from Wohrt Records at:
Belgian black/death metal band Possession has revealed a new song from their upcoming mini album ‘1585 – 1646’. The new EP is scheduled to be released on 5th June, 2015. The band has also revealed the artwork and track list of the EP. Just like the previous releases, the recordings were done at ‘Blackout Multimedia’ in Brussels by Phorgath (Enthroned, Emptiness).
The EP contains the following four tracks:
The release will be available on CD (also includes the tracks from Anneliese EP) from Invictus Productions, regular and limited 12” vinyl from Iron Bonehead Productions.
The new song ‘Guilty’ is available for streaming on the following link:
Nordavind Records presents its first free digital download compilation, which is entitled “North Wind: Volume I”.
From the Norwegian black metal of Vinterbris to the atmospheric landscapes of Finland’s Atrum Tempestas, without forgetting Terror Empire‘s magnificent thrash assault, the esoteric blackened doom metal from Riti Occulti and the intensity delivered by post-black metallers Beautality, All of Nordavind’s releases to date are featured here for the listener to discover.
Stream and/or download the “North Wind” compilation from the record label’s Bandcamp page, below:
Sxuperion, the name might seem unrecognized to you. It’s a one man project hailing from Mammoth Lakes, California, consisting of Lord Sxuperion since 1998. So, how do the band sound? Speculate about a highly atmospheric death metal sound with a very strong black metal influence. Some names may appear in your mind such as Garden of Shadows, SepticFlesh, early era Nightfall or Ancient Wisdom. Well, Sxuperion sounds way more different and original than most of them. Although the band is pretty underrated, the debut album ‘Through Cosmic Corridors’ can be considered as one of the most solid and original albums released under the ‘atmospheric death/black metal’ tag.
If you have not heard of the band, then it becomes really tough to provide ideas about ‘Through Cosmic Corridors’. Fortunately, the music of Sxuperion is as complex and atmospheric as the brilliant artwork suggests. The overall sound is pretty raw, primitive and experimented upon a very dismal atmosphere. The music is fast paced, intense and also melodious especially during the breakdowns and ambient parts. There are use of sampling effects to enhance the music more and to provide the ‘interstellar’ approach of the composition. The guitars on this record are heavy and thick, the riffs are multilayered and shifting their patterns and tempos frequently. The guitars on the violent section can be compared with Pseudogod, Sickrites etc. whereas on the melodic section it resembles with Tvangeste, Profanum and likes. The songs ‘Advanced Matter Drive for Ecclesiastical Dust’ and ‘Teller Control Panel’ are the best examples for checking out the complexity of this album. The bass guitars on this album are pretty high on the mix and can be heard clearly alongside the guitars. My most favored section on this album is the drums. The drums are fierce and exceptionally well played by Lord Sxuperion. The atmospherics of the songs are provided with the comprehensive use of synthesizers and effects. However they are buried beneath the thick black/death sound excepting the breakdowns and the last two tracks which are purely ambient compositions. The vocals are mostly delivered with deep growls but during clean passages the lyrics are spoken out narratively. There are also use of some chanting and clean vocals particularly in ‘Virulent Arrival of Demonic Hyper-space Denomination’. The overall production of the album is really raw and muddy, nevertheless all the instruments and effects incorporated can be heard perfectly. Although the guitars and drums are privileged, the bass guitars pound all over the mix and help to procreate the dark atmosphere throughout.
From the very first minute, ‘Through Cosmic Corridors’ showcases the amazing songwriting skills of Lord Sxuperion. The sound never gets boring throughout the 40 minutes of its playing length. It’s a must listen for the fans of black/death metal and you won’t be disappointed at all. Highly Recommended.
Eternal Armageddon is an extreme metal act from Bangladesh. Formed in 2009, the band initially played melodic black metal and released an EP entitled Her Forlorn Monsoon on Salute Records, Sweden and MTD Production, Malaysia back in 2011. The band went on a hiatus in 2013 due to member issues but reformed again in 2014. This time Eternal Armageddon became a trio and also changed their style to a filthy, ravaging black/thrashing one. With the new lineup they recorded a demo, entitled Black Thrash Bastards on January 14, 2015. The demo so far has yielded many good reviews and appreciations from different parts of the world.
Eternal Armageddon’s playing style is based on old school thrash/black sounds compared to that is of Venom, Destruction, Sodom and such acts. The 5 track demo is self released and available in case, comes with a two paged booklet and logo sticker. The demo is available in 66 hand numbered copies. The demo includes 4 original numbers and a cover of the song Blasphemer by Sodom.
Enjoy Satanic Whispers from the demo
For more information check Eternal Armageddon’s Facebook page: