Tag Archives: Black Metal

Ascension – The Dead Of The World


Ascension, perhaps need no introduction to the fans of occult black metal. As a band, these Germans have created a mist of aura about themselves- primarily with their stunning music accompanied by excellent lyrics and a magical hymn procreated on western esoteric metaphysics. The band willingly chose to disguise their identity as a mean to their firm withstanding to the mainstream trends and also to differentiate their level of maturity over the tons of band labeling themselves as black metal. Their seven years journey through the clandestine passages of superior wisdom has seen its destination in two full lengths so far – Consolamentum and The Dead of the World which is scheduled to be released on 24th of December, 2014. All of their releases so far has been distributed by the German label, World Terror Committee.


Ascension have always put priority on composing music to reflect their ideas and messages perfectly, with dark and menacing guitar riffs, driven on melody and heavier bass guitars. To take the listeners into the deepest trench of hell, this time the band chose to slower their tempo- almost to a doom-ish scale as the first track The Silence of Abel breaks in. This is the primary deviation the band has developed since the release of Consolamentum. The guitars are slow, heavy and punishing as the running time forwards. The hint of progression in the sound becomes audible with clearer production (not cheesy at all if compared to Watain’s The Wild Hunt). The effective use of sharp guitar melodies and so-often shredding solos in contrast with dark, spine chilling ambiences. If you are looking for traditional thin sounding atmosphere, then Ascension is to be ruled out of your school. The distinctive and increased bass mixing amplifies the dimension of heaviness so to speak. If it seems overhyped then Mortui Mundi could be a perfect example. The drums, are not typical at all. No shitloads of blasts or generic double basses, but the drums are composed here with care to suit the steady, punishing background. The tortured, suffered screams are sure to lose your soul in the vast, lethal darkness of eternal sleep… yes that’s what the band vents about on this record. The elegy of souls and the eternal demise of the world- which has been sheltered and invoked throughout the dirges from this chapter.

The sound of Ascension on this record is remarkable, the direction the band chosen is a matter of debate (confronted mostly by the steadfast orthodox fans), but the modern black metal fans should consider this album as a masterpiece and recommend as a must-listen. If you are a fan of black metal digging both the 2nd wave and modern school, you should give it a listen: the dark, chaotic sound won’t disappoint you at all. My personal opinion says, The Dead of the World could be considered as one of the best releases of 2014, coming out on a Christmas Eve, to mark the insignificance of a so called holy day and worship the eternal demise glorified by the great obscurity!

Score: 87/100


The Dark Tomb Shines: The apex of this full length in my opinion. This track could actually manifest the sound of this album as well as the modern black metal. Cold and eerie guitar rhythms, audible and independent bass guitars backed up by delicate drumming define the absolute black metal atmosphere. The subtle progression of soundly finely exemplified by the latter half of the song which ends up with the beauty of guitars.

Mortui Mundi: The title track as the Latin translation refers to it. This 10 minute opus starts off with malicious and evil riffs, continues with powerful vocals. This track has vocal contributions from infamous Mors Dalos Ra of Necros Christos. The song ends up with a long dual guitar solo with triggered atmosphere, a perfect ending to such a record.

The Silence of Abel: The album sets on with this track, the most doom-ish track on this record.

Unlocking Tiamat: Another slow yet heavy track on this record. Ritualistic sound and the psalming vocals from The Magus (Necromantia) ceases all the integrity there could be.

Listen to The Dark Tomb Shines from The Dead of the World


The band chose to remain unknown.

Facebook: http://www.facebook.com/Ascension.Germany

Release Date: 24-12-2014

Order The Dead of the World from

World Terror Committee:
http://store.w-t-c.web-republic.de/product_info.php?products_id=5265 (Digipack)

http://store.w-t-c.web-republic.de/product_info.php?products_id=5264 (CD)

Season of Mist (North America):


Reviewed by

Vile Insignia – Vile Insignia


Vile Insignia, may not be the ‘vilest’ among the big names, but the band has surely some afflicted and commanding sound under their belt. Their debut and only affiliation, so far is the EP sharing the same title as the bands. Originating from Alberta, Canada, one of the provinces giving birth to bands such as Revenge, Antediluvian, Axis of Advance and such, Vile Insignia chose to walk a different path, a bit progressive approach to raw and filthy black/death metal. That’s how I’d describe the sound of the band and Yes, the sound is obviously unique than most other bands you have heard from that specific style.

1236078_693970887297098_522227774_nThe EP starts off straight with a killer death metal guitar riff before breaking into a malicious and evil tone that continues till it experiences a change in scales at around 2:08 seconds. An absolute start to a solid death/black record. As instated before, the tone has a progressive notch to it, you can frequently experience the dynamic shifts in guitar patterns. Wait, the guitar is not as much progressive you may think, (obviously not alike Enslaved or Opeth), the progression is just a breeze around. The guitarist Don Atkinson has some damn serious skills with his guitars, and his almost flawless efforts can be heard here and there throughout this 35 minutes piece. Some excellent riffs can be heard on tracks such as Creations of Disharmony (around 0:38, 4:02), Smoldering Remains on the Sky (around 2:57, 4:06). The intro riff on Morbid Tales of Bloodshed can easily remind one of the early era Swedish black metal bands, whereas the track Beneath the Frozen Soil has some OSDM influences (around 5:01). The tremendous efforts by the guitarists, however been understated by drums. The guitar patterns are solid and varied throughout the course, but the drums are not as good as guitars. The drums consist of mostly double kick playing with occasional blasts and slight variations. The drum lines keep the music at good pace all the time, but it’s just not up to the mark if I stay honest. The bass guitars, however stay under guitar all the times, and so to say, the bass is as good as guitars although you can hear them occasionally. The vocals are good, delivered with mostly screeches and partly the snarling voices. The production quality is satisfactory (for black/death metal of course!) but you can hear some mastering issues, which could be done right, however, for a debut EP, it’s not even a big deal.

So to say, Vile Insignia has a pretty solid start out to their journey. The self-titled EP has shown some enhanced musical understanding by the band with its four track overture. It’s recommended to the fans of black and death metal as well as to the people having affinity for some extreme progressive metal! If you have the EP available to you, GO FOR IT.

Recommended: Smoldering Remains of the Sky, Morbid Tales of Bloodshed.

Score: 78/100

By: Somber Oracle

Stream the EP from bandcamp:

Release Date: January 25th, 2013

Label: Self Released


Don Atkinson (Guitars)

Jesse Nyboe (Guitars)

Cody Emms (Vocals)

Devan (Bass)

Aaron Panich (Drums)

Facebook: https://www.facebook.com/VileInsignia

Riti Occulti – Secta

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,occult rock 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.

Score: 83/100

By: Zoheb Mahmud



1. Nigredo 02:01
2. Plumbum 08:34
3. Stannum 05:04
4. Ferrum 05:16
5. Aes 06:25
6. Argentum 05:48
7. Argentum Vivum 06:26
8. Aurum 05:16
9. Albedo 06:27

Released on: November 19, 2013

LabelEpidemie Records (http://www.epidemie.cz/en/)


Ivano Mandola Drums
Niccolò Tricarico Bass, Bouzouki
Sara Del Regno Synthesizers
Serena Mastracco Vocals (screams)
Elisabetta Marchetti Vocals (clean)


Pierluigi Ferro Saxophone

Homepage: http://ritiocculti.altervista.org/

Facebook: https://www.facebook.com/RitiOcculti

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: freezingbloodkult@gmail.com

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:



Chiral: Abisso: 50%

CHIRAL logo 425w

There is a wide landscape dominated by single people who create music by their own and it definitely belongs to black metal. For instance, Chiral is a project of this kind, coming from Italy. The music is described as progressive black metal and actually, it can be regarded like that, considering the various influences included there. The latest release of Chiral is the Abisso EP, basically the second material after a first demo released this year as well.

The EP starts with a windy intro, thunders and rain sounds and continues with „epic” keyboards. Then you can hear that so-called melancholic and atmospheric part and then that so-called nostalgic black metal riff and then some nasty doom death vocals and I honestly had enough of this during my lifetime. But let’s have faith for the second song, Atto I: Oblio and its nice raw black metal approach. Unfortunately the sound is awful especially because of those programmed drums. Otherwise, the guitar tone is quite bad even though the riff from the beginning is classic and good. The song comes with some acoustic breaks and this way of combining opposite dimensions gives power to the music, but I cannot say good things about the final part of the song that brings a non-musical chaos. At least the vocals became tolerably harsh. The piano from the following track is okay, but still I cannot find the purpose of the solo guitar that comes next. Anyways, things would have been great if only the drums have not started. But they did it again and after I forced myself to ignore their sound I could discover the best song of this material. It was the first time when I could notice the influences mentioned in the project’s description, like something from Dissection or Sacramentum, especially in the second half of the track. The final part of the record is a short and nice piano outro that uses again the windy sound in order to complete the circle in a classical manner.

CHIRAL - Abisso cover art 425w

Improvements are for sure needed when it comes to Chiral’s music, both in songwriting and musical production. People these days are making haste to release a record and that’s why they forget how to reach the essence of music and so they focus on creating a copy-cat material or music in general that brings a wide range of transiently influences. The musical market is very crowded, to put it like that, even if it’s all about metal music. I hope one day some musicians will be aware of that in order to make any kind of difference.

Release date: June 21st, 2014

Label: self released


1. Atto I: Disceso Nel Buio 04:04
2. Atto I: Oblio 05:20
3. Atto II: Abisso 11:42
4. Atto II: In Assenza 01:11


Chiral Voice, All Instruments, Programming
Ludovico Cuoghi Guest on Atto II: Abisso, guitar solo


Homepage: http://chiralitaly.wix.com/chiral

Facebok: https://www.facebook.com/ChiralItaly

Bandcamp: https://chiral27.bandcamp.com/


By: Gina Sandulescu

Ofermod announces the release of a new EP

Ofermod is one of the bands responsible for shaping the modern black metal sound and an outstanding act from infamous Swedish black metal scene. Best known among the black metal fans for their more esoteric approach on lyrics, Ofermod spreads the significance of Luciferian darkness through their music which can be designated as “occult black metal”. Throughout the course of their journey since 1996, the band has released 2 full lengths, one demo and one EP. The band has returned again for a new EP entitled Serpents Dance. The EP, which is to be released through The Ajna Offensive this autumn. Serpents Dance contains three tracks – Chaos Reverberation, A Million Serpent’s Dance and the original version of track Tiamtu which was recorded back in 2005 but was never released. The EP will be out in 7” and MCD format. The release date is yet to be confirmed. 10170759_497307880381001_4923202444619021903_n

Track List:

1. Chaos Reverbnation

2. A Million Serpent’s Damce

3. Tiamtu (Bonus track on MCD)


Ofermod are:
Mika Hakola (Guitars, Vocals)
Johannes Kvarnbrink (Guitars, Vocals)
Robin Fjäll (Bass)
Simon Samuelsson (Drums)

Here’s a teaser of the song Chaos Reverberation from the EP Serpent’s Dance:

Ofermod on Facebook: http://www.facebook.com/OfermodOfficial

The Ajna Offensive on Facebook: https://www.facebook.com/theajnaoffensive

Nafarmaan- Quayamat Lullaby- 80%


Nafarmaan, the mighty Black/Death quartet from Bangladesh has came up with their debut EP ‘Quayamat Lullaby’ recently. Along with the title track the EP contains four songs to slay all the false of the religions. Nohttzver (Ex- Weapon), who leads the Nafarmaan horde with his intense blast have written all the blasphemies along with Agnee Azaab that got alive by the blood vomiting invocation of Imam Iblis (Ex- Bloodlust). Having formed in 2008, after some lineup changes, the Nafarmaan horde is currently continuing their journey with Nohttzver, Imam Iblis, Marhoum, Agnee Azaab.

The title track ‘Quayamat Lullaby’ is a superb composition with a very authentic sound. From the very beginning of the first offering till the last, Nafarmaan has successfully created their signature sound. The second offering, titled ‘Bloodsoaked Revelation’ contains a very soothing and melodic guitar solo that has definitely taken the song to another level. The song finishes up with a chanting back voice which made it even more dark and yeah, bloodsoaked!

1534308_224225384439678_1833214665_n‘Leashed Silence’, another killer song with an even darker guitar output. The song starts up with a dark and atmospheric plucking which came up repeatedly throughout the song for several times. This one also contains a mentionable guitar solo. But unlike ‘Bloodsoaked Revelation’ this time the solo was faster. The final offering from the EP was ‘Godless Messiah’, probably the fastest and to me, the most ear-bleeding one. Nohttzver comes up to the fullest of him with some terrific blast and intensely creative moves. This almost 8 minutes long track contains several guitar solos. At the end of the song, the final laugh by Imam Iblis spread the sheer madness among the listeners. The final dark plucking along with the sound of withering wind gave a perfect ending to the song.

The mixing and the mastering of ‘Quayamat Lullaby’ couldn’t satisfy me completely. The volume level of the drums output was lower than the usual that made me repeat some parts of the songs for several times to understand and feel the works to the fullest. The guitar outputs could have been clearer. The bass output was louder than usual unlike other bands of the same genre. But it’s all okay because that adds a different essence to the Nafarmaan offerings. Throughout the EP, the lead vocal Imam Iblis was flawless and intensely energetic.

‘Quayamat Lullaby’ is also scheduled to be distributed by Salute Records in CD format and in tape format via Graceless Recordings. Nafarmaan is currently working on materials for the Full-length and is hoping to hit the studios again mid this year.


I believe, by the end of 2014, ‘Quayamat Lullaby’ will be treated as one of the best extreme metal releases of the year. No matter what, this masterpiece is worth checking anytime. I strictly recommend this release for each and every metal lover and welcome you all to enter into the era of Nafarmaani.

Official Facebook of Nafarmaan:


EP Details:


EP Teaser:


Review by: Asmodeus