Full Length Review: Thætas "The Irredeemable Age" (Profound Lore Records) by Dave Wolff

Band: Thætas

Location: Manhattan, New York

Country: USA

Genre: Death metal

Full length: The Irredeemable Age

Format: LP, CD, digital

Label: Profound Lore Records

Release date: June 26, 2026

Part slam, part experimental, part avant-garde, New York’s Thætas follow their 2020 debut “Shrines to Absurdity” with an even more innovative and unpredictable release, “The Irredeemable Age.” They abandon the lo-fi sound of their debut, exploring a direction that defies expectations for a death metal band, with more twists and turns than before.

This isn’t an album prone to repetition, mimicking other bands’ songwriting, rehashing the same ideas, or even sticking to a single method within a track. Instead, their songwriting involves numerous curves and arcs that evolve from what came moments earlier. You must pay close attention or risk missing pivotal changes, leaving you bewildered about where the songs are headed. If you follow Thætas through this album, you may find their explorations not only clever but memorable.

What most convincingly demonstrates the band’s effort to break with traditional death metal methods is that, despite the diverse songwriting and direction, a consistent tone unifies each track. This clarity makes it evident that these disparities are deliberate, purposeful choices. The band isn’t just making random or unnecessary changes; the sudden structural shifts and unorthodox guitar hooks aren’t distractions but rather order emerging from chaos. Everything contributes to a new way of writing and arranging death metal, drawing some slight comparisons to experimental edges explored by Akercocke, Anaal Nathrakh, and Behemoth when they turned toward black/death metal.

Where other bands might tread the waters carefully, Thætas dive headfirst into their deviations, going as deep as possible to see what lies beneath. Dropping the lo-fi production of their last album resulted in a cleaner, less raw sound, polished just enough to make the transitions more well-defined. The only hint of misdirection occurs after the start of “DHUKHA.” Its opening resembles typical death metal, but soon the song shifts into off-kilter territory with time changes, strange effects, and a dreamy guitar atmosphere. Bizarre off-beats and dissonant, scaled riffs then kick in. By the end, it's clear how far this is from a standard death metal track, and the strangeness only increases afterward.

Most notably, the band selectively alters song directions, introducing new elements such as atmospheric vocals with echo and reverb. These effects gradually appear in the guitars as well, enriching the overall texture with increasing nuances. Enough nuances to leave you excited about how much they may expand on what they've created here in the future. When an album leaves you with that feeling, it usually means they've done a more than competent job. I'm confident that upon its release, it will evoke those same feelings in many listeners. –Dave Wolff

Lineup:

Cory Peterson: Vocals, bass

Terrell Grannum: Guitar

Patrick Hawkins: Guitar

Nick Crifo: Drums

Track list:

1. DHUKHA

2. Summer Of Hate

3. The End Of History

4. For The Hope Devoid

5. The Irredeemable Age

6. Stretched Paradox

7. Daytime Lantern

8. Pillars Of Fault

9. Digital Locusts

Single/Video Review: Alex Hirsch "We’re All Alone Together" (Independent) by Dave Wolff

Artist: Alex Hirsch

Location: Chicago, Illinois

Country: USA

Genre: Prog rock, experimental

Single/video: We’re All Alone Together

Format: Digital

Label: Independent

Release date: June 28, 2024

Alex Hirsch is an independent, self-promoting guitarist and musician who creates and shares videos on his Youtube channel. Having composed and recorded original music since the 1980s and 90s, he was the vocalist, guitarist, and keyboardist for the San Francisco indie/progressive rock band Imprasia alongside Gully Weiss, Peter Rochelle, and John Krug. Their 1993 album “Seedless” remains available for streaming and purchase across various platforms.

Rooted in prog principles, the blend of prog, classic rock, jazz fusion, funk, reggae and some pop created a self-contained album and a catalyst for future opportunities to create fusion, demonstrating how different pieces to a puzzle can unite where they fit. Hirsch’s solo work is as unpredictable as his work with Imprasia, as he explores new methods and concepts like a painter approaching a canvas with colors artists don’t typically use.

Experience, professionalism, technical skill, and theory knowledge in his compositions are deepened through sentiment and receptivity, enhancing breadth and depth. His Youtube channel features innovative interpretations of Avril Lavigne, Steely Dan, Pink Floyd, and pop artists like Katy Perry. The work he put into composing “We’re All Alone Together” demonstrates the same synergy, balancing pop-based acoustic guitars, ambient keyboards, rap-likened beats and melodic vocals.

This two-minute track, borrowing footage from the Godfrey Reggio-directed non-narrative film “Koyaanisqatsi,” features a lyrical passage meant to capture a brief moment in time, as if reminding us of our fleeting sense of connection and our state of isolation from each other as humans. Setting it to “Koyaanisqatsi” is an interesting move as its stock footage visually represents everyday life in contemporary urban society.

The rapid movement of people through city streets mirrors the lyrics, emphasizing how little we truly know each other and highlights the world as a microcosm of our own lives. Perhaps the intention is to inspire us to recognize our differences as we pass one another by, learning to agree to disagree without taking it personally or stuffing people into boxes because of differing viewpoints. In that context, the line "maybe we're going somewhere and maybe not; doesn't really matter anyway" doesn't promise a better future or warn of impending cataclysm. It's only a reminder that people are people at the end of the day. –Dave Wolff

Full Length Review: The Mon "Live at Kadoc" (Supernatural Cat) by Dave Wolff

Project: The Mon

Country: Italy

Genre: Ambient, experimental

Full length: Live at Kadoc

Format: Digital

Label: Supernatural Cat

Release date: June 15, 2026

Urlo, vocalist, bassist, and keyboardist of the Italian stoner/doom/psychedelic band Ufomammut, has been developing his side project, The Mon, since the late 10s. During his first European tour promoting his recent albums "Songs of Embrace" and "Songs of Abandon," he appeared at Leuven, Belgium’s Chapel of Our Lady of Fever last April to record "Live at Kadoc." The chapel, formerly a monastery and pilgrimage site built between 1641 and 1705, was sold to the University of London in 1987 and houses a religious cultural archive. Urlo describes his appearance at one of the most aesthetically striking places he ever saw as deeply meaningful.

Recorded by Stefano Tocci of Italy’s The Grid Europe studios, "Live at Kadoc" marks a starting point for a project he couldn’t guess would lead to. He recalls that night as the moment The Mon began to take shape, a moment of clarity about how to transcend a recording studio, find its voice, and express that voice before an audience. He realized evolution for his project meant releasing his vision on an appropriate stage to embody it. The chapel as historical archive and performance space transformed The Mon into something pulsating with sentience, deepening the listening experience of "Live at Kadoc."

The chapel's acoustics and atmosphere transformed the songs into architectural soundscapes with the venue itself becoming an integral part of the show, visually reflecting the ambiance conveyed through the music. The promotional video for "Incantation" offers a glimpse of this audial-visual experience, neither purely performance nor performance art, but a moment in time and space where music, art, and location merge into an independent, distinct being. The energy generated through music and visuals in a semi-darkened performance space, with an audience standing in enraptured attention, assumes a kind of surreal quality all its own.

With an archaic looking guitar and an equally archaic looking amplifier generating a grimy, sludgy sound reeking of hypnotism, Urlo commands a mass application of all minds present, and the guests in attendance themselves seem to become part of the show. It’s almost as if he is the minister and the audience the assembly. All the while a montage of images, having an impression of being projected on to a movie screen, shift in unhurried succession, coalescing with the sounds from the guitar and amplifier as electronic, ambient and folkish sounds emerge seemingly from out of nowhere to build something hallowed and obscene, immersive and isolated, imposing and vulnerable.

This six minute video is only part of the performance, and from the full release you feel you feel you were born in the place created by Urlo and you’re going to live there through eternity. This is why he doesn’t seem to need high tech equipment to create his world, his universe, and his creation transcends perceived limitations as much as the equipment he had to work with in the studio. I’m eager to see where this surge of momentum takes The Mon next. –Dave Wolff

Lineup:

Urlo: All instruments

Track list:

1. Smiling Dog

2. Major Arcana

3. Incantation

4. The Hidden Ghost

5. Hourglass

6. The Manure Of Our Remains

7. Mayhem

8. A Pearlescent Pulse Of Light

9. Ritual Of Night Violence

10. Embers Of Calendula

11. Echoes Of The Drowned

Interview with Elenyx Naae by Daniel Ryan

Interview with Elenyx Naae by Daniel Ryan

What is your name & what do you do?

My name is Elenyx Naae, and I am a composer, musician and artist from Norway.

I work with music in various genres, but my main band is NÅE which is a project I founded many years ago, it is a dark art project with influences from horror, black/doometal.

The band has been less active the last years due to personal reasons, but are aiming to release new material this year.

How long have you been making music for?

I have been composing since 1992 or so, I went to music school as a kid learning the clarinet and guitar, also studied music theory.

I think I’ve always made some music, at least when I played the classic guitar as younger, even though it’s not published.

What is your favorite instrument to play on?

My favourite instrument would be my own voice. I like playing both piano and guitar, but find the greatest joy in using my vocals for both soundscapes, and singing. I am currently in music school for training my voice to be able to perform better.

What acts have you played with before if any?

The most known act is NÅE. I was a member of a Victorian era inspired doometal project called Combath, as well as a doometal project called Agone, the last one I have not released anything from, but thinking of release a track of previous work in time.

I worked as a movie composer for the American series «The Grimoire Chapters»

Besides that I have a project called Belou, which is a goth inspired dance/electronica project.

I must add that the only project I work on these days are NÅE.

If you had to lay out all the bands in order you played in as a timeline what would they be?

That would be NÅE, Combath, Agone, then Belou. I cannot set these projects in a timeline by year, as they are all entangled into each other and are still existing somewhat.

What is the coolest experience you have had as a musician?

For me that would be to see the response I got on the first NÅE album, as well as the joy of creating.

I feel especially to compose for NÅE can be quite challenging at times.

It’s very personal and I have to embrace much dark feelings, solitude and sometimes almost depression tl be able to channel what I want, so to finish a track is for me actually a victory.

What inspires you to keep doing what you do?

My soul and my heart, as I create in many ways, and sometimes I just HAVE to make music, it’s kinda an inner thing that won’t let me rest until I do.

If you had to name some influences what would they be?

I think that’s difficult, I cannot really name anyone.

I’ve always loved music, in general!

I grew up listening to anything from classical to metal, as well as electronica...

I think my strongest influence must be art, dark art... horror movies and nature, not really a specific band or person.

What is your favorite venue you been in or played in?

I’m not the most outgoing person, but I will have to say it must have been when I saw Sunn O)))) live, I think it was at John Dee. The venue is not so big so it was really atmospheric and intense.

How has the reception been for NAE so far?

It’s been really good, NÅE is not for everyone I must add, it’s an art project, and the reception has been great!

I also appreciate that my music has been used in art galleries around the world, that is really awesome.

To sum up this interview which website can we find your latest music and any shout outs to anyone for the readers of Asphyxium zine?

Thanx to everyone reading this interview, and for all the support I have been given over the years.

I think it’s awesome to see that the first album is still requested even though it’s been some years.

Hopefully I can slip into a dark place soon and create sinister soundscapes.

You can find NÅE on several channels, here are the official Facebook, where links to the new YouTube channel amongst others.

NÅE

Thank you cheers! - Daniel

Thank you - Elenyx Naae

-Daniel Ryan

Full Length Review: Forsmán "Brenndar Rústir & Fuðrandi Fjörur" (Vesperian, Metal Blade) by Dave Wolff

Band: Forsmán

Location: Kópavogur

Country: Iceland

Genre: Black metal

Full length: Brenndar Rústir & Fuðrandi Fjörur

Format: Digipak CD, LP

(see Bandcamp link for more information)

Label: Vesperian, Metal Blade

Release date: June 26, 2026

Forsmán’s debut full-length album, following their 2021 debut EP "Dönsum í logans ljóma," is deeply rooted in Icelandic black metal’s inspirational spirit of the last ten years. "Brenndar Rústir & Fuðrandi Fjörur" radiates uncommon synergy of complex songwriting and driven musicianship, driven by a resolute purpose that can freeze your spine and cast extreme disquietude into your psyche. The inexhaustible animation impart mingles rawness with sophistication, combustible dexterity with cold dissonance, maturity with atavism toward a primal state, yielding an uneasy harmony between flame and frost fittingly characterized by Paolo Girardi’s cover art.

Forsmán continues to draw from the occultic mystique inherent in Nordic black metal. It doesn’t take long after you start listening to realize the band approaches their vision, and their contributions to Norse black metal, with reverence and seriousness. From their EP to this album, their goal to be heard outside their home country is clear. Their ambition for worldwide recognition is evident, their strategy rooted in carving their distinct identity within the minds of listeners and affirming their dedication to Icelandic metal as it has been changing for the times and resurrecting ancient spirits since the 2010s and earlier.

From what I’ve been reading about Icelandic bands, a lot of them liken Norse mythology and Satanism with chaos, chaos magic and transcendence in one form or another. This is likely a means to channel their ceremonial explorations of dense, severe intricacy into the public consciousness across the globe. The lyrical content and the music it’s set to reeks of an ability to instill fundamental mortal terror into genre fans, and Forsmán take this to dynamic levels surpassing bands that make impressions on blast and tremolo picking alone. Besides existing in an enigmatic state and coming across downright scary, this album is also musically innovative.

Bands from Iceland I heard about; Misþyrming, Sinmara, Svartidauði and Auðn; I hear are shrouded in mystery, for all the impressions they’ve made on black metal. The mystery surrounding those bands also obscures the conceptual themes of "Brenndar Rústir & Fuðrandi Fjörur." This ambiguousness helps conceive a kinesthesia of precarious uncertainty, making you feel you’re on the precipice of a void as unfathomable and turbulent as the tracks here. If you go over, is it really by your own free will or is there no choice? As Nicholas St. John stated when writing “The Addiction”. “There’s a difference between jumping and being pushed.”

The note and chord arrangements blasting through the hefty production are executed with preparation, patience and professionalism carrying the band’s passion to overpoweringly radical extremes. There are moments when some sections of the tracks recall Mayhem and Voivod; recollections I often get from bands that maximize the quality of their musicianship. Still, Forsmán takes their material in directions not explored by Norwegian, Swedish or British bands. They unearth a contained universe arising from the natural environment and cultural history of their country, revealing just enough to let you know how much wickedness is brewing.

Since there is impenetrability between the listener and their lyrics and concept, Forsmán furnish their complex musicianship with a visual attitude. This approach conveys a sense of mass devastation and disorder, taken to feverish fury and havoc. Uninhibuted and hot-blooded, it implies great chaos but each instrument and the vocals, alternating between rough and manic, communicate a unity that does a fine job establishing a unity between violence, momentum and complexity. Applying this technique to the album, the band make it relatable to fans of extreme music anywhere, without diminishing the tumultuous malice they seek to impress upon you. –Dave Wolff

Lineup:

V.: Bass, vocals

H.: Guitar

O.: Guitar, vocals

M.: Drums

Track list:

1. Drottinn fyrirgefur allt

2. Svartir svanir

3. Andvana

4. Valdnidsla

5. Kynjamyndir

6. Lof mér líf þitt að taka

7. Hrae hins almattuga

8. Barmafylltar fjoldagrafir

Single/Video Review: Divine Silence "Godless" (Independent) by Dave Wolff

Band: Divine Silence

Location: New York

Country: USA

Genre: Gothic doom metal

Single/Video: Godless

Label: Independent

Release date: June 7, 2026

Long before they shed a certain amount of light into those dark corners, and showed natural lyrical growth in their latest single, “Godless,” the New York-based gothic doom metal band Divine Silence drank from much darker, more bottomless waters. During a time when death, black, and doom metal were expanding in scope but had not yet broken into the mainstream, bands had the freedom to gaze deeply into the abyss, waiting for what they might find looking back, or what they might find within themselves. In most cases, what they sought was already present; they embraced the darkness within harboring no fear of what lurked in those shadows.

In the 1990s, Divine Silence was a local band that periodically released demos, circulating them through zines and tape trading networks. They followed this with a few professional CDs before parting ways in 2010. Afterward, founding member Chris Molinari worked with local bands Evoken and Grey Skies Fallen. Those bands expanded into funeral doom, death metal, melodic death, and prog metal, writing bleak lyrics of despair, fear, and nihilism, paving the way for Lacuna Coil, Within Temptation, Sirenia and the like. Divine Silence kept it relatively simple, deepening the chasm they explored, intensifying nothingness with themes of mortality and cheerless desolation.

Age and constantly changing paradigms in metal have influenced these themes, particularly mortality, shifting them toward a moment in time and space near the end of one’s journey. The years between their last release and the premiers of their new video allowed for a huge expansion of their darkened sound. Not necessarily brighter, but grander, featuring a greater range of textures. Rich in atmosphere, sorrowful assonance and cinematic sentiment, “Godless” tells the story of a man (presumably of high authority by the animation, and yes I believe it’s computer generated) who, having rejected faith throughout his life, is confronted with what comes after life expires.

For me, the story raises questions about faith and the unknown. Does it refer to faith in God, religion, or faith in general? The arcane symbolism in the video represents a kind of turning point between disbelief and fear, conviction and skepticism, and an underlying doubt as to whether his rejection of faith was the right choice. What did he have faith in, and why was it rejected?

These questions resonate through the different sections of the track and their method of delivery, prompting reflection on your own life choices and what led you to them. “Godless” is intended to appear on the band’s upcoming album, which they are currently working on. Unless this album is part of a larger narrative, there may not be much more to find in terms of specific meaning. But if that’s the case, perhaps the point is for listeners to seek their own answers and define their own path from here. –Dave Wolff

Lineup:

Josh Chalmers: Drums, guitars, vocals

John Vivolo: Guitars, bass, keyboards, backing vocals

Interview with Efthimis Karadimas of NIGHTFALL by Daniel Ryan

Interview with Efthimis Karadimas of NIGHTFALL by Daniel Ryan

What’s your name and what do you do?

My name is Efthimis Karadimas and I am the founder and front man of the band Nightfall, from Athens, Greece.

What was the writing process like for you & your band mates on the latest album, Children of Eve?

The process is like that, I am working on the concept of the album and the songs, and then I record everything like a demo sort of thing, to present it to the band. Next stage is all together going through everything, working on details, solos and stuff like that.

Fans of Nightfall were really concerned about the accident you were in not too long ago. Tell me what is your horse’s name and describe to me what happened? Do you still ride horses today?

I have a wonderful mare named Carmen Lou. Yes, I do ride a lot and I’m happy I am doing so after that accident. It was a period where her back legs had some sort of inflammation and I decide to ride another horse, that I didn’t know; like humans these animals have their fears and concerns the rider ought to know and treat accordingly. Apparently, that one was so much scared of anything mechanical and when we crossed ways with the club's tractor and there was some touch there, he went nuts and jumped on the spot above it. I got bucked off violently and got landed on hard soil. I am so grateful I am alive and well.

I watched the video for Semana Tragica a few nights ago and was really impressed! Do you have the lyrics for it & what album is it on?

Amazing song, thank you for noticing it. It's about getting rejected by someone you love very much. A small tragedy. You can see the lyrics here: https://genius.com/Nightfall-semana-tragica-lyrics

As for the videos for Ishtar Celebrate your Beauty, As Your God is Failing Once Again, Traders of Anathema (Judas Iscariot) and With Outlandish Desire To Disobey, what did it feel like recording in both studios? Also how long was the videos process?

Videos are cool to watch but a pain in the ass to produce. Apparently it is not how you feel but how it looks. You just stay there and follow directions until the job is done. Not my favorite kind of thing I must admit.

Also what is it like traveling for you in all these different countries?

That's awesome. Frankly speaking, it is not the places we visit but the people we meet. This is the best part of the business coz you get to talk to very interesting people, exchanging ideas and everything. I love that. It also has helped me to become more open, friendlier and increase my communication skills.

What was it like being at Hellfest?

Absolutely awesome. I cannot describe the feeling on stage. The crowd was massive and everything and everyone behind have been ultra pro. This fest is number one for a reason.

If there is something in your personal life that you can recall is the main source of your depression what would it be? Also how is the Metal Against Depression going with YOU being the spokesperson for it?

I guess the problem's roots go as deep as the first years of my life in a family where, for some reason I don’t know it did not give me the love and security required. What matters now is to explain people, and particularly young ones how bad it is to keep it silent and not seeking professional help to overcome it. With MaD I am trying to convince people to open up, get in good terms with the situation they are experiencing and share a word or two in a reel where we then can upload and share with the world. Small things, yet difficult. Most people I know are scared to open up.

What do you find all your albums to consist of so they all fall in balance in order of your discography? Each one has its own purpose it seems. A riveting and special one throughout to me at least.

That's true. Back in the early days there were people who thought we were trying to find our style, hence the many changes. But the big picture to me was clear since day one; to create a discography that it well reflect our art as a journey of a man and his companions through phases. I love the fact we have reached that point now and people get enthusiastic about previous works of the band. The element of surprise is a very important factor in art.

If you have any last words for the readers of Asphyxium zine we would definitely appreciate it!

Thank you very much for your time and effort my friend. Spread the good word and stay true. My greetings to the beautiful NY!

Contact us at the.epic.nightfall@gmail.com

-Daniel Ryan

Nightfall official website

Metal Music Against Depression Instagram

Full Length Review: Kallohonka "Lazer Blood" (Memory Terminal Records) by Dave Wolff

Band: Kallohonka

Location: Dallas, Texas

Country: USA

Genre: Slug metal

Full Length: Lazer Blood

Format: CD, vinyl, digital

Label: Memory Terminal Records

Release date: March 13, 2026

The first question I thought of while researching Kallohonka is: do we really need another subgenre title in 2026? The industry already has so many labels, and categories keep multiplying; some of them change over time. For the most part the answer depends on how a band can grow into something different but relatable, (instinctively or by a deliberate process) and how their style can be accurately described. Granted there are many bands that broadened their boundaries and found ways to make their evolution work. Still, what’s most important is for a band’s openness to speak for itself.

Rather than being over descriptive, Kallohonka simply chose “slug metal” to describe themselves. It’s certainly different; something from left field, not what people would expect a band’s sound to be known as. So what should we expect from a term like “slug metal”? While metal plays a small but significant part in how the band present themselves on this debut album, Decibel magazine compared them to Butthole Surfers, presumably for the disjointed instability they were known for. But Kallohonka push that disjointed instability much further with gratuitous psychedelia and stoner rock influence.

To get a handle on how they wanted their debut "Lazer Blood" to sound, bassist James Magruder co-produced it with Matt Pence, a producer and drummer known for his work with Centro-matic, South San Gabriel, and Will Johnson. Before co-producing at Argyle, Texas's Echo Lab, Pence's experience was mostly in country and indie rock. I imagine it was a big leap to a band as unpredictably experimental as Kallohonka. A collaborative effort with someone who helped write the material was vital to bring out its foundation in punk, its biting edge, and its singular wall of sound, among other things.

Over musicianship that slices like a dulled razor, the band’s psychedelic qualities launch prevailing impressions of anxiety, unease and distress leading to lunacy. Vocalist Anna Carson is somewhere between the late great Wendy O. Williams and an escapee from a lunatic asylum, as she howls and shrieks through the songs until her throat is raw like a psycho chick whose would-be boyfriend didn’t feel the same way. Through the sections rooted in metal-edged punk and those giving psychedelic rock a manic edge, her vocals are up front whenever they appear, elevating the sounds behind them.

“Lazer Blood” is accompanied by a brief bio piece on the Bandcamp page of the band’s label. Going by that, the psychedelic sections overlapping their songwriting represent a series of experiments with hallucinogenic drugs administered by secret government and religious groups, possibly in preparation for a major celestial event for reasons unknown. The tight, tense quality of the guitars, bass and drums, along with the agonized, harmonized shrieks and screams, convey the detrimental effects these experiments had on their minds and the resulting regression to a primal animal state as their brains were irreparably damaged.

Alec Rabb’s percussion punches through the sharp, prominent bass, hard edged guitars a dank, soulless keyboard sound underscoring the psychedelic keys, together with horns creating an ambiance that’s somehow off center and chaotic but still consistent. “Psychic Surgery” does the most convincing job putting across the mental state of the subjects involved in the hallucinogenic experiments, if they’re meant to be part of the story described above. Shot at bizarre angles and presenting a state of hallucinogenic influence, the video for the song presents the perspective Kallohonka wants you to picture "Lazer Blood." –Dave Wolff

Lineup:

Amie Carson: Vocals

James Magruder: Bass, howls, auxiliary whatever

Jason Mullins: Guitars

Alec Rabb: Drums

Dennis Gonzalez: Horns

Sarah Ruth Alexander: Vocals

Jenni Raab: Screams

Track list:

1. Experimenting with the Dead

2. Robotically Birthed

3. DMT

4. Simulated Experience

5. Heaven's Gate

6. Psychic Surgery

7. Leeches

8. Onward to Death

Full Length Review: Nightfall "Children of Eve" (Season Of Mist) by Dave Wolff

Band: Nightfall

Location: Athens

Country: Greece

Genre: Melodic Black death metal, gothic metal

Full length: Children of Eve

Format: Digital, CD, LP

(see Bandcamp link for complete information)

Label: Season Of Mist

Release date: May 2, 2025

What makes "Children of Eve" stand out is not only Nightfall's crossing over varying hues of black metal, melodic death metal and gothic rock, but also its perspective on the possibility of organized religion turning arbitrary and dictatorial, from a despondent outlook. Efthimis Karadimas, the band's vocalist since their 1991 inception, was reportedly diagnosed with depression from what I’ve read. Channeling some of it into his performance he showcases a notable vocal range that remains engaging, complementing the musicianship without becoming monotonous or weighed down.

I’ve read Nightfall’s longevity is attributed to their unpredictability between albums. While I can't speak for everything they’ve come out with, on "Children of Eve" they employ several techniques to initially guide the listener in one direction before suddenly veering into another. The first example is "I Hate" which opens with a bleak, atmospheric intro featuring tense chants and spoken word expressing bitterness over some unspoken offense to humanity. This shifts into an atmospheric guitar riff, exploding into guttural vocals and melo-death metal that’s layered with choral female voices during the choruses.

The lyrics, written in a fragmented but poetic style, dramatically blur the lines between good and evil, emphasizing chaos over order and suggesting (revealing?) a space where any and all distinction between the two dissolves. This creates a connection between themes of devotion, whether to higher ideals or apocalyptic destruction, and the gothic overtones that permeate the fusion of black and melodic death metal. It’s also possible the lyrical style is meant to create overtones of inner turmoil.

As "Children of Eve" shifts in tone with each track, from relentless Viking metal to even more bizarre, chaotic fusions of black, death and goth, something begins to emerge from the ambiguities and gray areas established earlier on the album. This emerging presence feels less mystical and more bent on pure darkness, evil desires and rampant wrath. "Inside My Head" takes another unexpected, almost existential turn, exploring inner turmoil and a desire for peace overshadowed by memories of forgotten gods sacrificed in ages past. The conflict between private darkness and longing for freedom is set to dissonant tremolo picking and heavier crunch.

"Seeking Revenge" features cold, surreal tremolo-picked intensity, angelic female vocals, and a tighter fusion of black and death metal. It portrays rising anger and a desire for retribution, edging toward a massive religious conflict. This theme of religious conflict continues on a deeper level in "For the Expelled Ones," which seemingly opens a doorway for beings emerging from the shadows of banishment by oppressive forces, finally liberated to revolt against what left them there. The existential crisis revealed earlier reappears with themes of silence and a loss of hope, but from this bleakness comes a subtle suggestion of possible rebirth.

After this, the rest of “Children of Eve” explores various forms of spiritual conflict and moral decay: greed, deception, treachery, betrayal, the desire for power and control, and the rejection of faith. Paradoxically, it also examines redemption through resistance and renewal through the darkness inherent in rebellion against injustice, especially the sanitized, whitewashed versions of it. The final track, "Christian Svengali," with its closing line “save me from religious evil,” encapsulates this ongoing spiritual struggle, an enduring quest for salvation amid all the pessimism and despair, salvation from evil and corruption in all its forms. –Dave Wolff

Lineup:

Efthimis Karadimas: Vocals

Kostas Kyriakopoulos: Guitars

Vasiliki Biza: Bass

Fotis Benardo: Drums

Track list:

1. I Hate

2. The Cannibal

3. Lurking

4. Inside My Head

5. Seeking Revenge

6. For the Expelled Ones

7. The Traders of Anathema

8. With Outlandish Desire to Disobey

9. The Makhaira of the Deceiver

10. Christian Svengali

Full Length Review: Fucked Up "Year of the Monkey" (Tankcrimes) by Dave Wolff

Band: Fucked Up

Location: Toronto, Ontario

Country: Canada

Genre: Hardcore, post hardcore, prog, experimental

Full length: Year of the Monkey

Format: CD, digital, vinyl

(see Tankcrimes link for complete information)

Label: Tankcrimes

Release date: June 6, 2026

The aptly named band Fucked Up unveils “Year of the Monkey,” the second installment of their “Grass Can Move Stones” trilogy, initiated in 2025 with “Year of the Goat.” This trilogy is part of a much broader series called “Zodiac,” launched in 2021 with “Year of the Dog” and inspired by sixteenth century literature. The series, resulting from a long search for identity, explores the possibilities of lyrical and musical development arising from the punk and hardcore origins they’ve cultivated since their inception in 2001.

From the outset of their extensive recording career, Fucked Up was never what one might expect from a hardcore band. They’ve consistently embraced conceptual shifts rich in imagery and symbolism, building toward writing intricate soundtracks for their narratives. The creativity they explored far exceeded that of typical hardcore bands from Canada or any other country. During their first decade they garnered enough recognition to progress from 16-millimeter films about their ties to Canadian hardcore and radio appearances to roles in the 2007 TV movie “Burn,” which received a favorable response in the New York Times.

Their most prominent mainstream exposure was probably their appearances on MTV Live following their tour through several European countries, including Spain, England, and Germany. Does anyone remember Fear’s Halloween 1981 guest spot on Saturday Night Live? When television viewers got a firsthand sense of what hardcore bands and their fans were like? In some ways, Fucked Up’s introduction to Middle America was similar, only much more extreme as band and fans caused considerable damage to the studio. The first appearance, moshing was banned. The second, MTV was actually concerned about the band’s safety.

After an endless succession of demos, singles, twelve-inches, EPs, split releases, promotional videos, albums, and live recordings, the disciplined energy that fueled Fucked Up’s dedication to create remains part of the significant strides they’ve made in their development. But first, take a look at the literary work that was the stimulus for “Grass Can Move Stones.” “Journey to the West,” a classic novel attributed to poet, author, and politician Wu Cheng'en, abridged and translated into English by Arthur Waley for 1942’s “Monkey,” was written and published during the Ming Dynasty and is still regarded as one of the great Asian novels.

Based on historical accounts (including that of Xuanzang, a Chinese monk who traveled to India in search of Buddhist scriptures) and rooted in Chinese folk religion Buddhist folklore, Confucianism, and Taoism, its enduring popularity, religious and spiritual themes, social satire, and allegory have influenced modern-day anime and Chinese, Korean, and Japanese comics.

Given the novel’s cultural importance, it’s no surprise that "Year of the Monkey" assumes such monumental proportions. Building on the storyline from the previous album, it follows The Monkey and The Good Goat, dramatically voiced by Damian Abraham and Tuka Mohammed, as they explore uncharted territories. Reflecting the band’s extensive journey with adventurous mystery few authors can come close to today, their travels compare with such epic sagas as "The Lord of the Rings" and Robert E. Howard’s “Conan” novels as they confront concealed threats, magical beings, and mighty gods in their pursuit of self-awareness.

Experiencing the vast scope here, newcomers might never guess Fucked Up started as a hardcore band. Through improvisational interplay and character interaction, they create a narrative rich with cinematic motifs, writing enough inter-genre material to push one track beyond twenty minutes. Included are four of these pieces, enough to comprise a double album. Sustaining consistent raw energy throughout, they lean heavily toward prog rock and metal, incorporating operatic sections and a storytelling approach that completely immerses you so that you can sit through the entire recording without distraction or boredom.

Featuring John Brannon of Negative Approach, Carson McHone of The Outfit, Walter Schreifels of Gorilla Biscuits and Youth of Today, Dan Bejar of Destroyer, Keith Morris of Circle Jerks, Jacob Bannon of Converge, Annie-Claude Deschênes of Duchess Says, and various others taking on multiple roles, "Year of the Monkey" is as daring as what a hardcore band can achieve when they make monumental efforts to go beyond what they had in the beginning. The “Grass Can Move Stones” trilogy will conclude with “Year of the Rooster.” –Dave Wolff

Lineup:

Damian Abraham: Vocals

Mike Haliechuk: Lead guitar, keyboards, bass, backing vocals

Josh Zucker: Rhythm guitar, keyboards, backing vocals

Sandy Miranda: Bass, drums, backing vocals

Jonah Falco: Drums, guitar, keyboards, backing vocals

(see Bandcamp link for full recording lineup)

Track list:

1. Looking For Heaven and Not Finding It

2. Before Us Tigers Stood

3. Monkey Meets The Dragon

4. Empty Is the Hand

Interview with Sergio Jordan of Nagare by Daniel Ryan

Interview with Sergio Jordan of Nagare by Daniel Ryan

What’s your name and what do you do?

We are Nagare, an Experimental Doom Drone band from Madrid, Spain. Two guitarists that explore the path of dense and slow atmospheres, obsessed with tone, distortion and feedback. We also collaborate with other musicians from other disciplines. The name is a japanese word that means "flow". It's a concept that includes the flow of water and something that is never the same and flows towards a metamorphosis.

How long have you been making music for?

We are two seasoned veterans musicians with extensive experience in doom and stoner bands within the spanish underground scene. We met by chance and connected through our shared vision of experimental music.

What is your favorite instrument to play on?

We think that it's obvious. The guitar. We are essentially two guitarists. We have also played synths, and Juan Carlos has parallel projects of synths music (Vako and Wolf Petrus), but for this album (Nigredo), we have the collaboration of Girón on the synths.

What acts have you played with before if any?

As we said before, we are veterans on the spanish underground scene, so before Nagare was born we had played in many acts like festivals and smaller events in Spain and Europe for previous projects. But we are totally focus on Nagare now.

If you had to layout all the bands in order you played in as a timeline what would they be?

We have a large experience in Doom and Stoner bands and other experimental projects, but we are totally focus on Nagare, so we want to priorized it above all.

What is the coolest experience you have had as a musician?

We think that it's different for everyone, but we came from the world before internet, so one of the coolest experience is to know people for all over the world with the same vision or interest in music. Some of this people are still friends.

What inspires you to keep doing what you do?

It's something visceral for us. It's not rational, it's a physical need, a dependency. We are absolutly obsessed with research of tone limits and experimental music. Distortion, feedback, research... that's our inspiration and our need.

If you had to name some influences what would they be?

The obviuos influence is the drone music, but there are so many. From jazz to techno. Everything that has something to say is welcome. The main influence, of course, is drone and experimental music, but also black metal or dark ambient. It's hard to say only one.

What is your favorite venue you been to or played in?

As we said before, we have played at festivals and smaller events. Our only concern is tone and music, so we don't care where we are if that place offers what we need, a good acoustic and the hospitality to let your mind go.

To sum up this interview which website can we find your latest music and anything you like to share for the readers of Asphyxium zine?

You can hear our music in every streaming platform, like Spotify, Tidal, Apple Music or Google Music, etc. You can also visit our BandCamp (nagareband.bandcamp.com), YouTube channel (youtube.com/@NagareBand) or Instagram (instagram.com/nagareband) to stay in tune. We hope you enjoy our album Nigredo released digitally on 1st june 2026 (and we hope physically soon!).Thank you very much. See you in the path.

Thank you very much!

Cheers!

Sergio.

-Daniel Ryan

Full Length Review: Trobar de Morte "Carpe Noctem" (Independent) by Dave Wolff

Band: Trobar de Morte

Location: Barcelona

Country: Spain

Genre: Gothic medieval folk

Full length: Carpe Noctem

Format: Digital, CD

Label: Independent

Release date: October 31, 2023

Since their 2003 EP “Nocturnal Dance of the Dragonfly,” Trobar de Morte has ingrained Celtic, medieval, and neofolk melodies with ancient myths and legends. Infused with healthy doses of darkwave and classical, and an existential essence of their native Barcelona, they offer enduring atmospheres and dark cinematic sensibilities both ghostly and exquisite.

Founded in 1999 by Lady Morte, Trobar de Morte is reputed to be her most ambitious project alongside her work with Ordo Funebris, Opus Eclypse and Mater Tenebrarum and her session work with Northland, Atrexial and Celtibeerian. Making full use of the modern and traditional instruments they compose with, and their tales of witchery, dark mythology and ancient tradition, their live performances include interpretive dance, ritual, ceremony and psychodrama.

Their latest full length “Carpe Noctem” immerses listeners as much as their shows immerse audiences. On the album, chills in the air surround an unseen, unconsecrated presence that had lurked in the shadows for eons, evoking timeless moments where past and future merge and then fade into obscurity. Replacing distinctions between genres is a unifying warmth buried within the cold, a solace that inspires you to remain rather than ensnare you in chaos. It is an untouched pocket in time and space, an immortal, dreamlike place calling to the deepest recesses of your subconscious.

Once those recesses are opened, a long-dormant pagan soul awakens, and you begin to see a part of the world they create within yourself. Only it’s not all a world of light, love and New Age sageness. An album with a title translated as “seize the night” does precisely that by celebrating the kind of witchcraft practiced after sunset, according to centuries-old folklore. Flying to isolated mountaintops on brooms or shapeshifting animals, feasting with demons, and conspiring with the devil to bring profound misfortune to the unsuspecting.

People in the medieval age had quite a vivid imagination, and the songs on “Carpe Noctem” seem at least partly designed to strike a few nerves with the very fears and superstitions historically leveled against Wiccans, witches, and pagans. These legends are accompanied by an invocation to darkness in Latin, a goth-metal sonnet to the underworld in Catalan, and odes to the infamous Hungarian countess Elizabeth Bathory, New Orleans voodoo practitioner Marie Laveau, and the mythological Algonquin cannibalistic colossus known as the Wendigo. Furthermore there are tales of Celtic fertility festivals and the Salem witch trials of the seventeenth century.

Impassioned, suspenseful, picturesque and vivid, “Carpe Noctem” awakens a macrocosm of mystery and melancholy connecting centuries of lore and mysticism. –Dave Wolff

Lineup:

Lady Morte: Vocals, hurdy-gurdy, bouzouki, moraharpa, keyboards

Ealaeth: Guitar

Ondine: Violin

Luka: Drums, percussion

Track list:

1. Descensum

2. Incantation

3. Rubor Sanguinis

4. Bathory

5. Shapeshifter

6. Wendigo

7. The Gathering

8. Salem

9. Marie Laveau

10. Ghost

11. Imbolc

12. Black Oath

13. Through the Black Veil