Bastardizer from Sydney, Australia can be considered as a perfect portrait of the first wave Veterans like Venom, Bathory, Bulldozer and the likes. Aussie black/thrash scene is passably sturdy and Bastardizer has joined in this demonic league with their devastating demo “Demo(N)s Unleashed”. The follow up release,“Enforcers of Evil” which was the debut full length of the quadrilateral, was a neck wrecking experience for the admirers of the music.
Now, the band has allied with the Brazilian wicked act “Whipstriker” for a split, entitled as “Strike of the Bastard”. Each of the band has contributed 03 tracks in the split and below you can stream the evil invoking blackened thrash tracks, presented from the side of Bastardizer:
Available Soon On:
10″ Vinyl – Dying Victims Productions CD – Hells Vomit Productions Cassette – Hellforced Records
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
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.
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:
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).
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)
Swedish 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.
Irreligious black/death terror of Singahell, Infernal Execrator‘s six years anniversary compilation, “Mastema Hedonistic Territorial 666” has been re-issued by Death to Peace Productions from Canada. Only 100 copies of Pro Tapes (Product Code: DTPP001) have been re-issued and the first 33 copies come with a button.
The Compilation was originally released from Evil Dead Production of Malaysia as CD format in the anniversary of 6 Execrating Years Of Irreligiousatanic Elite, Infernal Execrator.
1 Thy Demonization Conquers-2
2 Unholy Flame Of Odium
3 Pure Genocidal Apocalypse
4 Massacre Of the Evangelist
5 Antichrist Execration
6 Mastema Hedonistic Terroritual 666
7 Sodomythical Frostgoat
8 Final Blasphemy (ultimate Irreverent)
9 Armageddon Bestial Battle Live Desecration
10 True Anti-Religious Elite
11 Armageddon Bestial Battle
12 Diabolos Execratus Exescari
13 Conglomeration Goatcult Profanextermination
“2 new tracks taken from their 7″, live ritual track in Godbeheading ritual 2009 and raw rehearsals tracks!”
Listen to Infernal Execrator- True Anti Religious Elites:
For info and order,contact the label by email: firstname.lastname@example.org
Earlier this year, we featured two contents (Interview with the band members and Review of the debut full length, Chapel of Rot) of Gulfport, Mississippi based black/death metal band Vomitwolves. The band consists of Jill M, who handles the vocal duty and Jared M, who plays all the instruments. The couple of wolf terror rejoiced me with their first two releases and being a loyal fan of the band, it was obvious to check their new release, “Ceremonial Offerings”, which is a 03 track ep.
Opening track, “The Insatiable Earthen Womb” begins with sinistrous riff and shortly afterwards it gets more lethal with the support of the intense drum hammering and the malicious voice of Jill. Following two tracks, “Unearthly Dimensions” and “Ceremonial Offerings” showcase more wrathful atmosphere. Final and the title track can be regarded as the personal favorite from the ep because of its destructive structure.
Jill’s howling filled with malice is enough to conjure up the spirit of arch demon. Inhuman vocal skill of her is surely one of the most preprocessing elements of the ep. In the previous releases, presence of some bizarre high pitched screeches of Jill was audible, but those screeches are missed here. But without a single doubt, her voice forces the tracks of these ep to sound more belligerent.
In terms of songwriting, definitely the ep surpasses the previous materials of the band. Combination of fast aggressive drumming and deadly packages of riffing makes me feel that Jared was at boiling point while writing the tracks of the ep. My intuition can be wrong, but the way he structured these songs deserves to be eulogized. Guitar tone also perfectly matches with the raw atmosphere of the music.
Just like the previous releases, no guitar solo is present here and the bass work is also not perceptible. Well, these things cannot be considered as a drawback. But in some cases, the arrangements of the drumming are just not parallel with the overall music. In the opening track, Jill’s voice was slightly covered under the high tempos of guitar and drum. Well, these are just my opinion.
I prefer this ep over the previous releases of the band. While playing their barbaric primitive styled black/death metal music, they have successfully maintained the raw atmosphere. The members intend to keep it as a studio project, but certainly it will be an intense headbanging experience for the audiences if the band will ever hit the stage by recruiting live members.
Anal Vomit, undoubtedly a legendary name in the extreme metal scene of of Peru. The black/death/thrash quartet initiated their gruesome voyage back in the 1992 and already have 3 full lengths in their discography. Fourth full length will be released by Icarus Music (Argentina).
Confront the first impact of their new black/death fever, “Brebaje de Muerte” (Brew of Death in English) from the upcoming full length, “PESTE NEGRA, MUERTE NEGRA” (Black Death, Black Plague in English).
Read the interview with their frontman, Possessor, talking about the new album and the other concerns related to Anal Vomit:
I got hypnotized for a while when I first discovered the monumental music of Riti Occulti. Their self titled debut album subjugated me to hail their miraculous music skills. Their second offering, “Secta”, a concept album that elucidates the Alchemical evolution from Plumbum to Argentum (Silver) and Aurum (Gold). Comparing “Secta” with the debut album, it can easily be avowed that the band has evolved much both in terms of sonority and concept.
Before moving to the actual review, this is to be informed that the band plays a meld of black and stoner/doom metal and they play it without having any guitarist. So, the last part of the previous statement may perplex others or it may influence other to carry the question – “how does the band sound without guitar?”. Well, it can surely be assured with one voice that with the exception of guitar usage, their sound is not inferior to that of any other peers.
“Nigredo” (blackness), the initial and the putrefaction step of the alchemical voyage has been named as the opening of the album. The track is a borrowing from “Tecum Principium“. Second track, “Plumbum” offers a slow paced experience and the usage of saxophone definitely provides a well platform to make it an interesting one. Elisabetta’s haunting voice flourishes the track properly. Thick bass line in the beginning part of “Stannum” actually reminds me of the extreme vibes of the bands like Mystifier, Mortuary Drape etc. The overall bass deliveries in the track together with the accurate drumming, hallucinatory effects of the synthesizers and the combination of the voice of Serena and Elisabetta bound me to consider it as one of the best tracks of the album. Seductive effects of the synthesizer and the enchanting bass rhythms present in “Ferrum” took me to the early acid,occultrock and Black Sabbath era. The music has truly turned as strong as the Iron (Ferrum) in this track. The mystic trip keeps running with “Aes”, “Argentum”, “Argentum Vivum”. Sudden necrotic screams of Serena may shiver the audiences in the “Argentum” track and obviously this is another favorite from the album. Second part of “Argentum Vivum” purveys an eerie, dark, ritualistic atmosphere that is really fascinating. In “Aurum”, the band successfully passes the steps of both Citrinitas and Rubedo. The goal of turning silver to gold has been achieved through it and ingeniously they have placed the mystique concept in their music. It is a bit confusing that why has the band named the last track as “Albedo” as it has been regarded as the second phases (phase of whiteness) and the band has already achieved their ultimate goal in the track “Aurum” where the silver has already been turned into gold.
It is always enjoyable to listen to the extreme metal bands who are not a leaf out of other’s book. Riti Occulti is truly one of them that develop their own sound. The lyrics are properly written according to the concept. Liquid bass work of Niccolò that engulfs the whole album never makes me feel the absence of the guitar. Soul-stirring voice of Elisabetta can be regarded as the voice of a white witch and the nefarious screams/screeches of Serena are enough to reincarnate the evil. Synthesizer? of course it perfectly balances the atmosphere of the album with the help of superficial (yet perfect) drumming. But what would happen if they had any guitarist? Who knows? Maybe more alluring or maybe not, but surely the album is highly recommend to the likers of black metal, stoner, doom and the early acid, occult rock.