Sunday, July 31, 2022

EP Review: Grendel's Sÿster "Myrtle Wreath/Myrtenkranz" (Independent, Cruz Del Sur) by Dave Wolff

Band: Grendel's Sÿster
Location: Stuttgart
Country: Germany
Genre: Metal, folk metal
Format: Digital, CD, vinyl
Label: Independent, Cruz Del Sur
Release date (Independent): October 1, 2019
Re-release date (Cruz Del Sur): September 25, 2020
When I reviewed Bergfried a week ago, the term “medieval metal” was new. I mentioned that band took chances with their music and writing material that can’t easily be compared to other subgenres, especially those subgenres that require too many descriptive words. Grendel's Sÿster takes this even farther, being what Iron Maiden or Helloween would be if they blew back as a folk-Celtic metal band. Renaissance music, pre-classical music and romantic vibes have a much greater presence on “Myrtle Wreath/Myrtenkranz”.
The band is named after a major antagonist in “Beowulf”, an epic Old English poem composed sometime between 975 and 1025 A.D. Written in a similar style to Germanic legend, it takes place in sixth century pagan Scandinavia. The character Grendel is depicted as a creature of darkness, a destroyer and devourer of humankind, feared by everyone in the land of Heorot. Often the subject of debate and constant re-interpretation, his legend as Beowulf’s adversary has endured all this time. Suggesting Grendel had a sister who was never known to exist is fitting for the relentless and savage caliber the band displays on their EP.
Grendel's Sÿster began in a secluded area in France’s Vosges Mountains region, away from clubs, recording studios, record labels, zines and other musicians. The self-imposed isolation surrounding these beginnings is evident in the personal nature of their work as they’re inspired by bands like Manowar and Lordian Guard, folk musicians like Svanevit and Kebnekajse and baroque guitarist Rolf Lislevand. You can almost see the vast mountain range in their songwriting, which is otherworldly and timeless, but feels like metal. This band is on their way to reformulating the concepts of folk metal and pagan metal, not to mention female fronted metal.
“Myrtle Wreath/Myrtenkranz” is not only viscerally energizing, but its capacity for telling epic tales is equally effective thanks to vocalist Caro whose intonation and diction adds a great deal of depth to a narrative borrowing from several cultural and historical sources. It’s hard to believe this is her first gig since she sounds quite seasoned as a vocalist and her application to singing metal is developing in an authentic and resourceful way. She has a bold and aggressive style that doesn’t lose its melodic qualities even when she’s at her harshest. Caro also crosses language barriers by singing each track composed for the EP in English and German.
Classic rock and doom metal fans may want to give Grendel's Sÿster a chance. We have many transitions from one mood to another and firm bonding of metal, folk and proto-metal like Black Sabbath, Uriah Heep, Deep Purple and Rainbow. The EP’s climate varies by the legends pointed to in each song, but everything is as reinvigorated as when Quorthon and Bathory recorded “Nordland” and “Nordland II” and when Mithotyn, Skyforger and Ihsahn began exercising their vision to grow beyond the black metal of the early 90s. The ingenuity Grendel's Sÿster put into it creates a freshness that won’t disappoint you. –Dave Wolff

Caro: Vocals
Tobi: Guitar, bass
Till: Drums

Track list:
1. Agnicayana (Intro)
2. Vishnu's Third Stride
3. Little Wildling Bird
4. Entoptic Petroglyphs
5. Winnowing the Chaff
6. Count and Nun
7. Indra's Jewelled Net
8. Cairns
9. Agnicayana (Intro)
10. Vishnus Dritter Schritt
11. Wildvögelein
12. Entoptische Petroglyphen
13. Worfelschwung
14. Graf und Nonne
15. Indras Juwelennetz
16. Steinmännlein

Tuesday, July 26, 2022

Video Review: Roses Unread "Fireflies" (Independent) by Dave Wolff

Location: Jackson, Tennessee
Country: USA
Genre: Nu metal, alternative
Video: Fireflies
Format: Streaming
Label: Independent
Release date: July 15, 2022
In 2007, Roses Unread was conceptualized as a band that writes compositions with a big wall of sound and melodies designed to endure. While their official site includes only a brief biography, you can probably get more information about them on their Youtube channel, which has nine of their thirteen promotional videos (the other four are hidden), EPs and video logs.
A certain surreal quality, uncommon for pop-rock-metal bands, unites the band's videos, which are directed and produced by different talents. Each of their videos tells a story based on the lyrics, from what I gather from watching them. Additionally, their videos depict consistent themes of isolation, alienation, and confusion fully intended to be relatable to the viewer. “Rapture”, “After All”, “Vultures”, Better Off” and “Leave A Light On” are good examples of what they try to convey through music and imagery.
The content of some of these videos might be considered too painful or at least uncomfortable by some viewers. Thus, the band has an intense heaviness to them, similar to underground bands with more extreme music. After watching their other videos and watching "Fireflies," I was familiar with the way they use celluloid and the written word to tell stories. Since each video had its own theme filmed specifically to fit each song, I can say that "Fireflies" stood out from the rest with a visual concept all its own.
As well as using contrasts of light and darkness, "Fireflies" uses lighting and candles to enhance the lyrics in a unique fashion. It illustrates how darkness requires light as much as light requires darkness to exist. Combined with art direction that allows multiple images within the same shot, the video appears mystical, illusionary, and chimerical. Akin to how the song is their smoothest and most melodic, this is the band's most inventively produced video. Moreover, the way it is made really urges you to think about what is happening musically and visually, how it connects with you and how it speaks to you. –Dave Wolff

Allison Purifoy: Vocals
John Purifoy: Guitar
Jed Hood: Bass
Rocky Griggs: Drums

Saturday, July 23, 2022

Full Length Review: Matt Hart "Below The Terra Pt. 1" (Independent) by Corban Skipwith

Location: London, England
Country: UK
Genre: Electronic, techno, industrial, ebm
Full Length: Below The Terra Pt. 1
Format: Digital, CD
Label: Independent
Release date: March 15, 2022
All caps in this motherfucker, nice touch.
Today, we have a very interesting edition of reviews as we talk about 3808 album released during the Icy Wasterlands believe it or not! And it sounds just as futuristic/apocalyptic as you would think.
With 9 tracks to work with he makes it very clear, how the future sounds and looks and let’s just say it’s no heavenly paradise (Isn’t it a bit worrying how every time someone releases a ‘futuristic’ album it’s always that the worlds turned to shit? It’s never a happy world?).
Anyway, there’s a lot to like about this album. One of them is the sound, it kind of reminds me of a fusion of early 2000’s ‘Rave/EDM’ mixed with ‘Industrial Metal’ and if those two had a freaky BDSM session love child then this would be the final product, it’s awesome.
I love the combination of those screaming vocals mixed it with those ‘Electronic’ vibes provided, it’s almost like you're listening to Boss level music in an epic RPG game, it’s the kind of music that spikes your adrenaline and makes you feel a certain way. To be honest when I first heard this record all I could think about was the music that played in ‘Tekken 5’ during the main story with ‘Jin Kazama’ where you have to walk around everywhere and they had similar music playing which was sick.
All in all, what a kickass project. It’s fun, energetic with elements of Metal infused. How can you go wrong? Corban Skipwith

Track list:
1. We Survive
2. Decimate
3. To The Core
4. I Am Overlord
5. Terrorfying V2
6. Walk In Shadows
7. Cathartic
8. Absolute Zero
9. Last Rave

Friday, July 22, 2022

EP Review: Bergfried "Romantik I" (Independent) by Dave Wolff

Band: Bergfried
Country: Austria
Genre: Folk metal
EP: Romantik I
Format: Digital
Label: Independent
Release date: April 17, 2022
At first, I didn't completely understand how Bergfried is expanding the boundaries of extreme metal, but I learned more after reading their bio at Metal Message PR. The band makes a notable effort to establish a new subgenre that cannot be compared easily to other subgenres that require too many labels to describe. Defining their debut EP as "romantic medieval metal" is sufficiently concise and sums up their direction without overwording. Coming from well-defined roots, “Romantik I” takes many chances.
The album's songwriting harkens to the Romanticism and Classicism eras, rejecting modern convention by not including band photos. This distinctive tapestry is enriched by lyrics recalling imagery of Romantic poets, a result of a partnership with multi-instrumentalist Erech Leleth and gifted vocalist Anna de Savoy. As this is their first ever collaboration there’s much room for improvement here, especially in the lo fi production which would have more impact given time to develop. Even so, “Romantik I” is a promising beginning.
Integrating black metal, folk metal, pagan metal and classic power metal, the EP tells an epic tale with different moods included when necessary to reflect the lyrics. Striking amounts of Celtic folk music played with synthesizers add more dimension to the guitars, and de Savoy sounds inspired by vocalists like Cristina Scabbia (Lacuna Coil), Simone Simons (Epica) and Amy Lee (Evanescence). As her emoting and inflections show, she doesn’t make any conscious efforts to directly emulate those talents but with time she can easily compare with them.
It’s common for metal bands to present a window into the past via songs or concept albums. Bergfried forego this in favor of creating a setting in time for the listener to partake in. Without giving too much of it away, there are moments when it’s bright, romantic, hopeful, tragic and mournful. The most profound moment is the last of the four songs; listen closely and read the lyrics and you’ll understand why. Bergfried’s musicianship and storytelling is often compared to bands like Lordian Guard, and Grendel’s Sÿster, who personify their conceptual tales through their music as well as their lyrics, and “Romantik I” is an experience to be sure. –Dave Wolff

Anna de Savoy: Vocals
Erech III. von Lothringen: All instruments

Track list:
1. Hungry Hearts
2. The Battle
3. War-Torn Lovers
4. Oh Lord

Monday, July 18, 2022

Full Length Review: Sewage "Pandemonium" (Rotten Bastards Records) by Dave Wolff

Band: Sewage
Location, New York City, New York
Country: USA
Genre: Punk
Full Length: Pandemonium
Format: Digital
Label: Rotten Bastards Records
Release date: October 10, 2021
Something I've noticed about punk is how much more politically aware it is becoming since the Bush and Trump administrations. I mean, it has always been politically aware, but it is even more so now, especially with social media providing more platforms for bands and singers to state their views about everything in the news these days. For one example, check out Jello Biafra's Youtube podcast “What Would Jello Do?” at the official Alternative Tentacles records Youtube. If by chance you're looking for another example, listen to the latest from NYC's own Sewage, showing the band heading in more of a socially conscious direction.
By now, it's practically unnecessary to point out how gentrification has taken place in New York over the years, especially since clubs and record stores are still being forced to call it a day. On top of that, cancel culture media spin was recently launched against a free concert The Shadow (an independent newspaper based in the city) organized in Tompkins Square Park on April 24 of last year. By the way, the allegations made about it turned out to be false, and shows in the park are still happening.
True, the world is changing. Aesthetics that were considered strange yesterday is now considered acceptable (mall punk and mall goth notwithstanding) and much of what Generation X started has become part of pop culture. This partly owes to television shows like “Stranger Things”, documentaries like “The Allins” and movies like “Fighting With my Family”. In the modern information age this presents possibilities of public shaming, but this still doesn’t seem to be slowing punk as a whole.
After years of experience as the frontman of Sewage, Spike Polite appears to be moving beyond writing about personal experiences as a punk in New York. “Pandemonium” also seems to be a fitting title for the state of the city, the country and the whole fucking world. When previously, he wrote about drinking beer and subway surfing with friends, now he’s writing about police brutality, racial profiling, rent increases, condemned buildings, politicians, the correctional system, and the pandemic. Touring outside the US and streaming their songs on Bandcamp and Youtube is presenting greater opportunities for the band to be heard.
Musically Sewage embodies the same formula they have since the 1990s. A little Sex Pistols, a little Ramones, and a little English Oi! with a gritty street vibe. The energy Sewage generates has always inspired people within earshot to get up and slam the guy next to you. On “Pandemonium” that energy seems geared toward specific issues such as those mentioned just above. Rather than fulfilling stereotypes about punks “Pandemonium” urges you to read, educate yourself and think. Maybe even to get involved in the way things are going now. Not just to keep playing shows but so people understand how punks have seen the world since the beginning. -Dave Wolff

Spike Polite: Vocals, guitar
Michelle Shocked: Bass, backing vocalss
Antonio Romano: Drums, gang vocals

Track list:
1. Police Brutality
2. Rent Strike
3. Anti Christ
4. D.O.C. Live
5. Outta Da Way!
6. Pandemonium

Sunday, July 17, 2022

Interview with Narthex by Dave Wolff

Interview with Narthex by Dave Wolff

"The VVitch King", your most recent EP released last May, is based on J.R.R. Tolkien's epic novel "Lord of the Rings". Was this your first release that was inspired by classic literature, or were your previous releases similarly inspired? Whose idea was it to incorporate Tolkien into the EP?
TJ Warrick “Magus” (vocals): Yes, it is our first release inspired by classic fiction, but fantasy has and will continue to be a huge well of inspiration. Our guitar player The Black Wizzard was the first to Tolkien, and our vocalist Magus writes all of our lyrics. The video games Dark Souls and Elder Scrolls are a big influence on our music as well; we love dark fantasy.
Nathaniel Mabis “Dazarn Mog” (bass): Our guitar player brought up the whole Tolkien thing, but I've always known about the whole “Lord of the Rings” world and like the films. Also a big fan of Dark Souls and Elder Scrolls. Dark fantasy is always interesting to me.
Ethan Sparks “The Black Wizzard” (guitars): I’m not sure where the idea came from. I know a lot of Burzum songs are about “Lord of the Rings”, so I guess we just kinda used the same idea. But to make it a little different we decided to use the old English spelling of W, which is two Vs.
Jaren McNett “Mutilator” (drums): This was my first time writing anything that was inspired by classic literature. The idea to incorporate Tolkien came from Ethan and TJ.

In what other ways have Narthex's lyrics been influenced by dark fantasy? Do you have examples of previous releases that demonstrate this?
TW: Dark fantasy author have such a talent for creating a since of foreboding dread, that I have always been envious off. The way they can take your emotions and plunge them into the abyss sticks with me. I may not have used their novels as direct lyric inspiration, I do try to create that same atmosphere in my lyrics. Admittedly the books are still on the need to read pile (I know. Haha). I loved the movies growing up, and the rise and fall of the VVitch King and his Nazgul buddies was my favorite part. Plus he’s sick as hell! Haha
NM: Oh man! The Black Wizaard and I share a love for the Elder Scrolls games. He enjoys the Dark Souls games, I do not. (Haha) but the lore is undyingly cool. As far as drawing inspiration from other sources, absolutely. The darkness and mystic of the occult, to the vast depth of the space. Mythologies and the everyday dread of the mundane. With the added bonus of my own struggles with depression.
ES: We have one previous release that are influenced by dark fantasy. On our first EP “Valley Of Defilement” is a name of a giant swamp in a video game, Demon’s Souls, and it’s basically just about the lore of the area. Not sure how it influenced us, but lyrics about that kinda stuff sound better than love songs with our music.

Throughout the “Rings” saga, Sauron was one of the primary villains. While writing the storyline of "The VVitch King", what about him intrigued you?
JM: I don't usually write the lyrics to any Narthex songs. The first EP was recorded by The Black Wizaard and Magus before I had joined Narthex. I myself was not intrigued by Sauron because I have not seen “Lord of the Rings” before.
ES: I’ve never seen “Lord of the Rings”, but I know about Nazguls and they’re pretty cool and the VVitch King is the leader of them I think?

How were the Dark Souls and Elder Scrolls video games inspiring to your songwriting? Do you draw inspiration from other sources?
JM: I haven’t played Dark Souls, but I have played Elder Scrolls in the past. What inspired me the most is probably the time period of The Elder Scrolls. I haven't drawn any inspiration from the game to incorporate into any songs yet though.
ES: Those games inspire us because of the lore from both games. Hundreds of songs could be written from the lore of just a few characters or settings in either of those game series. “Cells of Hollow Hand” is about the Daedric prince Molag Baal from the Elder Scrolls. The isolation, loneliness and helplessness of the soul's series is also perfect material for writing this type of music. One other type of influence we have is typical for black metal, it’s Norse mythology. “Wrath of Giants” is a song about Ragnarok. But who knows where else we’ll take inspiration from in our next releases? I’ve mentioned using the Cthulhu Mythos a time or two in the future. One thing's for sure though, Elder Scrolls, Dark Souls, and Norse mythology is definitely sticking around.
NM: Our song “Cells of Hollow Hand” is all about Molag Bal from Elder Scrolls, and the name is a reference to Dark Souls. We love the mystical aspect with an overall feeling of dread. Also, “Wrath of Giants” from the first EP. As for the VVitch King, I honestly can't remember all the fine details haha. Spacey, isolated existentialism is also a big theme, even if just in tones and atmosphere.

Norse mythology has been the subject matter of heavy metal and black metal since the eighties. Why do you think bands have taken inspiration from it for this long (also the mythology of other world cultures)? What other aspects of Norse culture do you draw from?
ES: I think Norse mythology in black metal comes from Varg Vikernes and Burzum being from Norway and using it in his songs, rather than making it about Satan and hell and all that. And then everyone else started following suit. What other aspects do we draw from? I’m not so sure yet, we’ll have to see what happens in the future.
TJW: The stories of the Norse mythology are so tragic and fascinating. Heroes and Gods all fighting to stop the inevitable. How could you not be inspired by such acts of bravery and valor? I’m personally Norse pagan, and I draw all sorts of inspiration from the stories and the culture of the time. Their poetry is by far the influential to me. The use of kennings and alterations, as well as metaphors litter my own writings both in my lyrics and my poetry.

How versed is the band in the Cthulhu Mythos and any of H.P. Lovecraft’s other writings? Which of his publications are you planning to base songs on?
ES: I’ve never read any of H.P. Lovecraft’s books, I don’t think any of us have. And we aren’t sure if we’re gonna use his work for a song or not. It’s just an idea for now. TJW: That was a question for The Black Wizaard. I think he was the one who brought up Cthulhu. Within the songs on "The VVitch King", the guitars and bass have an intriguing method of interacting together. Describe your songwriting process and how you arrange everything before recording?
NM: A lot of times the riffs just come about when we're in the middle of practice. We decided early on that we didn't really want a rhythm guitar in order to give the lead and bass more room to breathe, so the bass kind of functions as both the rhythm and foundation. Plus, I like doing a lot of fills and just having a giant tone.
ES: Usually one of us will write a baseline or a riff and then we’ll jam on it while Magus listens and writes lyrics. From there we’ll keep doing that until we have it how we want it and play it every time we get together until it’s for sure ready to be recorded or played live. We have a lot of songs that haven’t been recorded yet.
TJW: Well as far as the song writing goes, we all are bass players and love how the bass drives a song, especially in the doom metal scene. You don’t see a lot of black metal with thick driving bass lines so that is a goal of ours to be a ripping black metal band, with a bass line you can hear and remember. I weave my vocals around what they are doing, never taking away from the songwriting or overpowering them.

Are the lyrics arranged in such a way as to flow as smoothly with the interaction between bass and guitars? Is drumming a key component to this formula?
NM: I really don't know how TJ goes about composing the lyrics, I've tried writing lyrics before and I never came close to the level he's on, I think he's great. With bass and guitar though I love doing bass lines that dance around the guitar, like the second half of “Fall of The VVitch King”.
I believe that every component of this band is equally important, we really couldn't make it work without any one of the pieces. Our drummer Jaren is it natural at playing basically any instrument in is usually very fast to play exactly what the song needs in that particular moment. Kind of shows how good he is with the fact that he's written half of our guitar riffs too.
JM: I would say that the drums has a key component to the way the lyrics are delivered.
TJW: Absolutely my lyrics and vocal deliveries are. The drums are 100 percent a key component, Mutilator has to be in the pocket with the bass.

How many songs are still to be recorded? Do you have a private studio where you plan to work on them?
NM: We have about six songs or so we haven't taken to the studio yet, but half of them will be on our upcoming live album. We also have a dungeon synth album that is like 80% complete that's sitting on the back burner right now. We've kind of always had too much music. We have a padded jam space that works well as a studio, but our EP was recorded at a professional studio, Nightmare House in Bowling Green, Kentucky. Shout out to Jared McKinney.
ES: We have quite a bit of songs not recorded. We don’t have a private studio, but we have a basement and amateur equipment. Might use it next time, might go back to an actual studio. Who knows?
TJW: I think we have about seven that still need to be recorded. Yes we will probably go with our guy Jared at Nightmare House Productions.

How did you come to know about Nightmare House studios and how did you meet Jared McKinney to record your EP? What was his working relationship with the band like while you were there?
NM: Well TJ and Ethan have known him since they recorded the first self-titled Narthex EP. He's a very positive and energetic guy, also his studio nightmare House is very well equipped and very comfortable, the ideal recording space really.
TJW: I think The Black Wizaard meet him over Craigslist or Facebook. I’m not sure. The first session was already book done by the time I meet him. It was amazing! It was the second time we worked with him. He also did the Narthex EP.
JM: The Black Wizaard and Magus told me about Nightmare House Studios. They went to Jared to record the first Narthex EP. He was very professional and passionate about his services.
ES: I went to Nightmare House to record the first Narthex EP with Magus. Back then it was just the two of us. And I found out about the studio and Jared from some guy on Instagram, he was in a band, and I asked him where around here I could record at. The relationship with us and him was pretty good, I guess. He’s a cool guy, but we were only there and recorded all of “VVitch King” in about seven hours.

Is the band making a conscious effort to create a new subgenre between black metal and doom metal, or are you just writing and arranging songs as you feel?
NM: Well, we don't think we really re invented the wheel with the whole "blackened doom" thing, but we do love doing our own take on it. I think that came from our mutual love of slow riffs and more bass, haha.
JM: My main goal is to create a new sub-genre within the metal genre. I believe the rest of the band has the same goal.
ES: I wouldn’t say we’re making a conscious effort to do anything. If we write a song that’s more black metal or more doom metal or a little bit of both, we’ll use it. Or maybe something totally different. As long as it’s good.
TJW: I don’t think we are intentionally trying to make a subgenre; we just write what feels right. Ya know.

Many people think underground metal has become overcrowded in recent years due to the proliferation of subgenres. Do you agree or disagree with this statement?
NM: I don't know if overcrowded is a good word for it because you actually have to get people to show up to have a crowd haha but there's definitely a lot of trend following in metal right now, but I suppose all music is like that. We always just wanted to sound original and play fun riffs, in these days there's a lot of bands who obviously are just copying somebody else.
JM: I agree way more than I disagree with that statement. There are way too many sub genres in metal. But my belief is if someone hears something they've never heard before, it will intrigue them more, rather than something that doesn't sound new and original.
ES: I think the metal scene is overcrowded with shitty bands doing the same cookie cutter things over and over nowadays. It used to be hair metal, then it was like that awful 2000s post grunge stuff, now it’s like all eight-string djent “look how many notes I can play a second” bands and it just ain’t good. Hopefully that somewhat answers that, haha.
TJW: Yeah, I can agree with that, but I also know a ton of metalheads who love having the subgenres.

Any newer underground metal bands you know of taking any metal subgenre in a different direction? Can you give us some examples?
NM: I listen to a lot more doom metal. There's this Italian thing called 1782, I think it's like two people. They're really good and I really dig their first album, they're one of those Sabbathy kind of doom metal bands that takes the sound and does something cool with it instead of just watering it down.
TJW: I think my friends in Autumn Lies Buried are doing a great job of doing rap and deathcore (I can begin to guess what subgenre that is).
JM: I can’t think of any other newer underground bands that have the same ideas as we do.
ES: In the underground I don’t know any bands personally that are doing anything new. But there’s one I like that’s worth checking out if you wanna hear something a bit different. Curta’n Wall; a one-man project that’s a nice mix of medieval black metal, punk and dungeon synth.

Tell us about the live album and the dungeon synth album you're planning to release. What ideas do you have for the lyrics and storyline of the latter song?
NM: The live album was recorded very recently in Morgantown, Kentucky and it went really well honestly, we are very proud of it. Turned out better than all of the other recordings we've done ourselves. Me and Ethan are both big fans of live albums and I'm the kind of person that would love to hear live album from every year of a band that I'm really into, see how their live sound progressed over time. Plus, when you find a band that's just as good live as on the recording it's like finding gold if you're a collector. Plus, there are extra effects and feedback in our live show that weren't present on the EP, on top of other unrecorded songs.
As for the dungeon synth album, it's tough to say what the centerpiece song will be about since there are no lyrics yet, that's up to TJ in the long run. The title is “Procession of the Druids”. There's a spoken word part on one of the other songs that's a quote from a book I wrote, but for the most part the album is instrumental. Lots of layering.
TJW: We recorded our last show in Morgantown Kentucky, at the One27 Main. An awesome little venue. It was our second time there. The live album will have several of those unrecorded songs one it. The dungeon synth album is going to be pretty dark. I’m going to be telling a story of exiled druids who are being hunted down and killed.
JM: I really do not write any of the lyrics, usually Magus takes care of all of those; however, I do use my own style when creating the drumbeats - which I personally think of for each song with suggestions taken into consideration from Dazaran, The Black Wizaard and Magus. As every drummer - I just play the drums!! Haha.
ES: For the live album we just recorded a show we had where we got to play the longest so we could record all the songs we have that aren’t recorded yet on an album. The dungeon synth album we’re working on isn’t like your typical dungeon synth stuff, it was Dazaran’s idea to make it a bit different, so it sticks out I guess. But the working title we have for it now is “Procession of the Druids” and it’s about Druids walking through the woods, ya know. Your typical black metal themes.

Would Nathaniel be able to tell the readers about the book he wrote and why he chose his quote for "Procession of the Druids"?
NM: Well, the song is called Dreams of Old, and the name came before I chose to use the section from my book. After recording the instruments, I didn't really know what the song should be about, just the title, but I remembered a part of my book with a recurring dream and went with that.

After listening to the tracks on the live album, how well does it represent your performances in general?
ES: I think the live album represents our performances pretty well. Maybe not the best for the crowd, we played at a hip hop show and so we were a little different and we didn’t go all out, I guess.
NM: I think it sounds great, personally. There's a lot of effects and use of feedback that's not on the EP, plus several other new songs. We love live albums too, and you don't see them a lot these days. Honestly, I think it sounds better than our EP.

What is the expected release date for those albums? Will you release them independently or seek distribution from labels?
ES: The release date for the live album is sometime this fall, and the dungeon synth album will be this winter. Maybe. I’m not sure about distribution. We do everything independently now but that could always change.
NM: Should be coming out this fall, around November. As for a label, it's not a necessity but wouldn't be a bad thing either. We'll have to see.

-Dave Wolff

Friday, July 15, 2022

Full Length Review: Speedfreak "Fast Lane Livin’" (Independent) by Corban Skipwith

Band: Speedfreak
Location: Chicago, Illinois
Country: USA
Genre: Rock, metal
Full Length: Fast Lane Livin’
Format: Digital, CD, cassette
Label: Independent
Release date: April 15, 2022
It’s album review time and today we have quite the ‘groovy’ record to talk about so let’s get into it!
With this new track list of 8 new songs, it’s clear to me the inspiration and purpose behind this record was to create the perfect ‘Country Rock/Rock and Roll’ experience for the listener using blooming production and adrenaline-fueled riffs and lyrics.
This is the type of album you’d play in a fast car going along the Highway or jumping into your motorbike on a clear day and spending hours just following the road listening to an album as jacked up as this one.
If I had to compare this sound based on lyricism and adrenaline I’d have to look at a band like ‘Black Label Society’ who are often labeled ‘Biker Metal’ and it’s for the same reasons I’d put this record in that category, or a band like ‘Rev Theory’ who have that high energy, badass ‘Hard Rock’ feel to them that utilize the personalities and conviction of the artists involved to create not only a good album but an exciting one.
If you’re in the mood for an adrenaline shot or just like your music ‘high energy’ then this is the perfect album for you! Corban Skipwith

Track list:
1. Fast Lane Livin'
2. Doomsday Devices
3. White Knuckle Fever
4. Baptized in Gasoline
5. Full Throttle
6. Stroke
7. Up the Ante
8. Iron Bar Hotel

Tuesday, July 12, 2022

Full Length Review: Lord Of Horns "The Forest at Dusk" (MossCorpse Records) by Dave Wolff

Band: Lord Of Horns
Location: Lodi, New Jersey
Country: USA
Genre: Black metal
Full Length: The Forest at Dusk
Format: Digital album
Label: MossCorpse Records
Release date: July 11, 2022
Lord Of Horns' May 2022 demo "Few Ever Survive the Night..." was reviewed last month by Corban Skipwith, who emphasized the intensity, carnage, and wrath they brought to the three tracks. Those tracks were intended for their debut full-length, "The Forest at Dusk", released today. The ferocity displayed on three tracks is one thing, but an entire album of it is a whole new level. You're going to bleed from your ears and pop out your eyes if you're unprepared for the sheer power Lord Of Horns summons.
With the resources at their disposal, the band embodies dark sorcery of long bygone times as convincingly as the BM bands of our youth. Lord Of Horns reach back so far in history that you aren't sure whether it refers to Satan or the pre-Christian horned god. It is this awareness of transcending good and evil that makes "The Forest at Dusk" so frightfully barbarous. It's surprising how well it fits the origins of second wave black metal.
Heavy distortion and atmosphere work well to convey the eighties-nineties vibe the band is trying to evoke. In fact, the drums are also given this quality, which increases the immensity of this recording. In addition to that and the songwriting, I also hear echoes of bands like Absu, Ophthalamia, Ved Buens Ende and Dødheimsgard, as well as old Darkthrone, Emperor, Behemoth and Beherit. This is old school, noisy, abrasive, ethereal, and reeks of new ideas.
The sun is setting over the western horizon as I write; dusk is beginning to fall; this setting seems to enhance the effect. Just hearing it would be enough to make you imagine how dark the forest is where Lord Of Horns invites you in. You are treated to a brief keyboard/acoustic guitar/spoken word passage before the most raw and primitive black metal explodes all around you, tumbling you headlong into the band's universe of darkness.
The lyrics of the intro “The Forest at Dusk” capture this atmosphere unerringly. The connection between the song and the inner visions the instruments evoke is made straightforwardly enough as you become drawn into this world and the surprises awaiting you, especially in the last verse: “Frantically trying to recall/The paths you have taken this far/Fearing the encroaching night/With its horrors and its plights/Further into the forest/At Dusk.” There is disquiet and morbid allurement about what you’re to encounter next.
While traveling deeper into the forest, you encounter ancient, demon-infested castles, tortured wandering souls, archaic books of magic, graveyards, witches, werewolves, and other night creatures, all told through lyrics like classic literature. According to the band, discovering them leads the traveler to discover the wickedness that lurks dormant within him. It could be then that a new journey commences, presumably for the purpose of enlightening the next traveler who might wander into these woods. Will this tale be told on the next album, or will it be something completely different? Stay a while and see what happens. –Dave Wolff

Track list:
1. The Forest at Dusk
2. Nightmare Castle
3. The Screaming Woods
4. Purveyour of the Black Book
5. Graveless Wraiths
6. Witch of the Wood
7. Ritual Hunt
8. Through the Woods
9. Screams of the Oskorei
10. The Sacrifice
11. Nocturnal Crusade

Saturday, July 9, 2022

Full Length Review: Corpus Christii "The Bitter End Of Old" (Immortal Frost Productions) by Corban Skipwith

Band: Corpus Christii
Location: Lisbon
Country: Portugal
Genre: Black metal
Format: Digital album, jewel case CD, standard black vinyl, opaque mustard vinyl, opaque mustard / red swirl with black splatter vinyl
Label: Immortal Frost Productions
Release date: May 13, 2022
Once again we are back with another ‘Black Metal’ project with 9 new devilish tracks sure to bring the fire and brimstone to any listeners brave enough to listen.
Now, upon first glance this record gives off a ‘ASMR/Ambient’ type feel to it with that gorgeously produced introduction but the ‘fantasy’ so to speak ends pretty quickly one the next track ‘The Predominance’ kicks in and you get those trademark fast instrumentation with the rapid fire drums, hypnotic guitars and blistering death growls!
The sonic aesthic is as you’d expect from a ‘Black Metal’ album with that raw, lo fi feel to them with that naturally dark and brooding energy behind it, but what makes this record unique is the band’s tendency to add in the occasional unsettling and creepy pace slowing moments which they proceed to add some truly demonic vocals and ad lib material which reminds me of early ‘Carpathian Forest’ how they would add random noises and sounds to further establish the disturbing nature of the record.
All in all, a fantastic ‘Black Metal’ album for those who appreciate that subgenre, it’s heavy, fast, in your face and unapologetic in its presentation!Corban Skipwith

Nocturnus Horrendus: Vocals, all instruments
J. Goat: Guitars, bass

Track list:
1. Amargura
2. The Predominance
3. Unearthly Forgotten Memory
4. Fragmented Chaos Disharmony
5. From Here To Nothing
6. Behind the Shadow
7. To the End, to the Void
8. For I am All
9. Heinous

Single/Video Review: Sam Astaroth "Demoncore" (Independent) by Dave Wolff

Artist: Sam Astaroth
Location: Toronto, Ontario
Country: Canada
Genre: Rap metal
Single/Video: Demoncore
Format: Streaming
Label: Independent
Release date: June 29, 2022
Despite being a relatively new talent, Sam Astaroth is known for being one of the vocalists of the Canadian progressive/folk metal band Iomair, and also for being the frontman of the (now defunct) Canadian melodic black/death metal band Astaroth Incarnate. His latest project “Demoncore” is an eclectic single/video, fusing various subgenres of metal with goth, industrial, deathcore, and hip hop. Though rap/metal crossover has been since the mid-eighties, Astaroth takes it far beyond what others have done with it.
By not paying attention to the diversity that’s still to be found in underground/extreme metal, people miss the point artists make when they combine resources from genres they discover themselves. In the end, it doesn't matter whether a genre is mainstream or not, or how “popular” it is. Listeners will realize a musician's growth is genuine and unfeigned if the musician is personally inspired by what he’s listening to. The versatility will speak for itself. In the case of “Demoncore”, there’s a great deal of inspiration to speak of.
A vocal cover of Cattle Decapitation's “Bring Back the Plague” released by Astaroth in 2020 (his first) left me floored and in awe when I heard it. As a phenomenally gifted death metal vocalist, he already can channel copious amounts of breath from his diaphragm, and his range is comparable to Glen Benton, David Vincent, Dani Filth and of course Travis Ryan. It's almost unimaginable how guttural, brutal and passionate his vocal delivery is in that cover, but you should hear it for yourself to see how much practice went into it.
Vocal covers of DMX and Ghostemane were to follow before Astaroth began recording originals. Through this exploration of rap and metal, Astaroth drew further inspiration from Nine Inch Nails, Slipknot, Korn, Mayhem and $uicideboy$, incorporating dark synth and aggrotech. His experimentation in “Portal” and “Dualism” culminated in the fusion of those styles in “Demoncore”. Despite not being exclusively metal by any stretch, it is nonetheless heavy and intense. At the same time it doesn’t diminish extreme metal’s role in the formula, but treats it as being equally important to the other elements added.
I’ve never heard the terms “trap metal” or “scream rap”; however they seem to fit what Astaroth seeks to accomplish through his work well enough. Perhaps those terms can be defined by deathcore vocals with hip hop enunciation, followed by a shift to vocals similar to Cradle of Filth and Hecate Enthroned, all underscored by atmosphere and thick guitar/synth production. Astaroth has obviously conjured something that can stand out from imitators if he puts as much effort into developing it.
While broadening its horizons, “Demoncore” is about encouraging people to define themselves by who they are, not by looks, ethnicity, lifestyle, aesthetics, beliefs or body type. Especially if you’re misunderstood or judged by anyone who thinks they know the path you should be taking. As with his music, Astaroth’s lyric writing combines rap, deathcore, and death metal equally well, transcending genre boundaries with an easily understood message. I only have one complaint for this song; it should have been longer than two minutes so it could make more of a lasting impression for newer listeners. –Dave Wolff

Sunday, July 3, 2022

Interview With Damnation Gallery By Dave Wolff

Interview With Damnation Gallery By Dave Wolff

How did the idea of mixing extreme metal with doom/occult metal with horror themes come about? What role do visuals play in the band's music?
Low (Bass): In reality it is something that came to us quite naturally right away. Each one of us has very different backgrounds and plays and by actively participating it is normal that a mix of multiple genres comes out in which each of us can recognize ourselves and have a say about it. In all this the visual aspect is very important for us as it gives an immediate and impactful representation of what our songs are about, bringing the listener into our world.

Have any of the members of Damnation Gallery played in other bands before starting this one? How did you three meet and decide you were on the same page musically and lyrically?
Low: All of us have had previous experiences with multiple bands locally and beyond but this is by far the most important band we have played in.

When you were writing your first songs, how much preparation went into your live performances? Do you draw inspiration from horror movies or do you draw everything from your imagination?
Low: For a band like Damnation Gallery the live aspect is fundamental so right from the start the main focus was to get on stage and bring our show to the listener. To do this, we took inspiration from any input we could get, reworking it in our own way and trying to transpose it live both musically and visually according to our vision. When you first started playing out, how did your audiences respond to your stage presence? How quickly did you build a fan base and where did you perform the most?
Lord Edgard (Guitars): I remember with pleasure our very first concert: November 4, 2016. I confess that in that context I had some anxiety, but the response from the audience was exciting. In the months to come they continued to play in northern Italy, with an ever-increasing number of audiences and a following that grew surprisingly quickly.

Did you decide to release your debut EP “Transcendence Hymn” independently rather than through a label? Which of your songs were chosen for inclusion on the EP and what were they written about?
Lord Edgard: It was decided to collaborate with Masked Dead Records at the time, because we humbly thought it would take the support of a label to push the product. Initially, an additional piece was to be included with respect to the lineup we know, but it was still too germinal to proceed in this sense. All the songs focused on paranoia, nightmares and obsessions of the individual members and were the result of the raw instinct of a newly born band that was looking for its dimension.

Why did you decide to expand your lineup with new members before recording your debut full length “Black Stains”? How has the new lineup been working out so far?
Lord Edgard: The need emerged to have an extra guitarist, also because in this way our bassist Low could have dedicated himself more freely to the bass parts, being able to count the presence of an extra guitar that would have had the dual role of rhythm and soloist, weaving more complex textures and increasing the impact on stage. As for the drummer, relations broke down and a separation had to be carried out, thus leading to the entry of Coroner into the group. After a natural period of initial settlement, the relationship that has been established between us is absolutely optimal and the boys work hard every day to bring home an optimal result.

How did the band hook up with Leynir Booking and Productions to release “Black Stains”? How has the label treated the band as far as promoting it?
Lord Edgard: The meeting happened by pure chance as we were looking around for a gig for the record. So it was that we signed an agreement and proceeded with a contract. The promotion was effective and effective, with the overall satisfaction of all parties involved.

What songs are included on “Black Stains” and how is the album an improvement over your EP sound and production wise?
Lord Edgard: It was decided to take the songs of Transcendence Hymn in an obviously improved key and then include the rest of the playlist as you know it. Although the first ep was purposely produced in a more coarse way with the help of Regen Graves of Abysmal Grief, with Black Stains I began to take over the production of our albums. We relied on a studio to record bass, drums and vocals, while the guitars were recorded completely independently and I took care of the mixing and mastering. In terms of intelligibility and listenability, the step was certainly forward, but personally I think that if I went back I would do some things in a totally different way regarding the mixing and mastering. From those small inaccuracies I learned strategies that I use today in the jobs we do together.

How did you hear about the Necrodeath tribute album "The Cult of Necrodeath" which was released by Black Tears of Death Records and the Death SS tribute album "Terror Tales" released by Black Widow Records, and what made you decide to get involved with them?
Scarlet (Vocals): We have always been fans of both Necrodeath and Death SS, as well as having the great pleasure of having met them in person, having played at their opening and still having excellent relationships with them. For Black Widow and Black Tears it was natural to propose to participate in their respective tribute albums and for us it was natural to accept with great pleasure.

While promoting “Black Stains” in Italy you opened for many bands including Death SS, Pestilence, Necrodeath, Deathless Legacy, Mario "The Black" Di Donato, Nibiru, Bleeding Gods, Vanexa and Labyrinth. How much did this extensive touring help your fan base? Did you get along well with the bands you played with?
Scarlet: We were lucky enough to play with some of the bands and artists who have literally made the history of rock and especially of Italian metal; not only have we learned a lot and treasured every experience and story or advice, but we have also met exquisite, professional and easy-going people. We are still on excellent terms with some of them. Certainly each of these experiences has enriched and matured us artistically.

In 2020 you composed your second full length “Broken Time”, also released by Black Tears and featuring the single “The Unnamed”. Why was this song chosen as the single?
Scarlet: The Unnamed was chosen as a single mainly due to Steve Sylvester's participation and collaboration on vocals. However, it was among our top picks, both in terms of style and themes.

In 2021 Damnation Gallery released a promotional video for “The Unnamed”. What is this song about and how did you invent imagery to represent the lyrics in the clip? How much input did the band have in making the video?
Scarlet: The Unnamed deals with the theme of Damnatio Memoriae, a horrible punishment in use in Roman and medieval times which consisted not only in the death sentence of those who suffered it, but also in the cancellation of their entire existence. In an esoteric key, Damnatio Memoriae was seen as a new beginning, as the liberation from the material world and a rebirth in the spiritual one, with new awareness and powers with which the wrong suffered could be avenged. In our video we wanted to represent both aspects, both the historical and the esoteric, through the via crucis of a witch condemned to death and her revenge once killed and freed. We personally wrote the storyboard and took care of every aspect, scene, location and detail. I must say, we are very satisfied with the result, made possible also and above all by our director who really knew how to follow and make the most of what we had in mind.

What is Damnation Gallery planning for the future? Does this include further expanding your songwriting and improving your stage set? What are some of the ideas you’ve recently thought up?
Scarlet: We are currently recording our new album which will be released in November. There will be new scenes and new ideas that will accompany our live pieces that will represent their meaning, as well as certainly a renewed and carefully thought out scenography. For the future, I can say that we can't wait to get back on stage!

-Dave Wolff

Saturday, July 2, 2022

EP Review: Frostmoon Eclipse "Rustworn" (Immortal Frost Productions) by Corban Skipwith

Band: Frostmoon Eclipse
Location: La Spezia
Country: Italy
Genre: Black metal
EP: Rustworn
Format: Digital, jewel case CD
Release date: March 18, 2022
I have to say I feel like I’m hitting a new milestone here, if I’m not mistaken (and I could be) this is my first (pretty much) live album/EP I’ll be reviewing so three cheers to that!! Anyway, what we have here is a newly released EP featuring two studio tracks and 3 live tracks, the songs are as follows:
-Relentless, Circling
-Hell Thousandfold (Live)
-Devoured (Live)
-Torn Apart By The Withering Voices Of Deceit (Live)
So apparently this band hails from Italy and what they bring to the ‘Black Metal’ scene is really interesting and engaging because on the surface it looks like they are just dabbling with the trademark style of the classic Norwegian style ‘Black Metal’ but once you dive in properly you discover why their legacy is as solid as it is and why this EP is so fucking solid.
Firstly, although it is true they do take some influence from the forefathers of the sub-genre they also bring many styles and influences to the table such as.
-Groove Metal
-Thrash Metal
The beauty here is that they use these various elements in generous doses and spread them out in a way where nothing is overlapping each other and trust me when I say a metal bands biggest sin would be create an album with all these glorious inspirations only for them all to collapse on top of each other resulting in a messy, unorganized mess of a project, but thankfully these guys show their genius and technical prowess to make a solid record where everything runs smooth as a river, love it.
Now, the LIVE songs are a different untamed beast entirely! The energy and passion they bring to the stage is the definition of BRUTAL I love it! You can hear when an artist or band is a master of their craft, when they’re really in tune with what they have created, and this is a shining example of masters at work.
Every note played, every guitar string, every drum pattern I mean my goodness is this perfection on display or not? These guys are here to say, ‘we are the modern-day forefathers of this shit and we ain’t going anywhere anytime soon’ and I love everything about it!
Also, lastly what a crowd man, so respectful waiting till the end of a song to cheer so cool, random point I know but it must be annoying surely when you’re trying to play your music and they won’t wait till the end, crazy.
Anyway, this is a MUST release to check out so don’t wait any longer and do it today!! Corban Skipwith

Lorenzo Sassi: Vocals
Claudio Alcara: Guitars
Davide Gorrini: Bass
Gionata Potenti: Drums

Track list:
1. Rustworn
2. Relentless, Circling
3. Hell Thousandfold (Live)
4. Devoured (Live)
5. Torn Apart By The Withering Voices Of Deceit (Live)

Friday, July 1, 2022

Full Length Review: Chesty Malone and the Slice ‘Em Ups "Please Chesty, Don't Hurt 'Em!" (Cleopatra Records) by Dave Wolff

Location: Brooklyn, New York
Country: USA
Genre: Punk, metal, hardcore
Format: Digital, CD, vinyl
Label: Cleopatra Records
Release date: June 24, 2022
Punk still lives, even in 2022. We have another new release from this New York shock/horror punk band, and if you read past reviews you know you'll be getting something callow, unbending, and inelegant in a good way. When we last heard from Chesty Malone and the Slice 'Em Ups, they had released their EP "Turn to Crime" and generated a buzz in independent zine publications. They're still on the rise as Cleopatra Records is releasing their latest full-length.
Since 2010, Chesty Malone and the Slice 'Em Ups have built their careers from the ground up, releasing most of their material independently and playing local bars and clubs. No Echo published another feature on them and predicted that the deal they signed with Cleopatra will greatly increase their fan base by exposing them to a wider audience. It seems they will succeed on their own terms after staying true to their principles for ten plus years.
Two and a half years in the making, “Please Chesty, Don't Hurt 'Em!” was recorded at their drummer’s studio. From the long writing and recording process to its mixing in Brooklyn’s Seizures Palace by Jason LaFarge, it contains vitality and experience than can both be attributed to the pandemic and its effect on the music industry. Every tumultuous moment of this recording vibrates with the band’s eagerness to release it for longtime fans.
From the first time I heard the band around 2015, I saw their potential to carry the torch for New York punk, while holding onto those aspects that kept it demiurgic and abhorrent musically, lyrically, and visually. With this new album, the band takes everything they displayed from the outset, honing and sharpening it with a vengeance. Additionally, their new lineup appears to have a wider range of influences, including classic metal, surf punk, and psychobilly.
I was initially surprised at how “Please Chesty, Don't Hurt 'Em!” is more metal-influenced and unsanitary than I remembered them. Jaqueline Blownaparte's vocals bring it closer to unruly and vulgarity-ridden. When it comes to convention, she throws it to the wind as a female punk singer. Taking after Cherie Currie, Wendy O. Williams, and Poly Styrene, she croons, growls, screams, and you can actually hear her sneer. Be forewarned if you thought Lady Gaga was dangerous.
The first singles chose to preview “Please Chesty, Don't Hurt 'Em!” are “Ticket Wallet Drugs & Chicken” and “The Fine Art of Choking”. The latter is said to have been composed as what No Echo referred to as “disco-metal”. To me it has more in common with classic Motown and R&B mixed with crust punk, but either way it sounds good. The former reminds me of the Misfits around the time they released “Earth A.D.” The promotional video is professionally shot by Rusty Glessner and has comedic elements fitting the song in their own way.
Other songs worth checking out are “The Worthy and the Worthless”, “No One’s Dyin’”, “Antibiotic Death”, “Citizens of the Grotesque”, “Energy Vampire” and “Torture Rock”. See the links below for all the zine’s coverage of Chesty Malone and the Slice 'Em Ups and contact them for ordering information. –Dave Wolff

Jaqueline Blownaparte: Vocals
Anthony Allen Van Hoek: Guitars
Diablo Rodriguez: Bass
Xavier Hons: Drums

Track list:
1. The Worthy and the Worthless
2. No One’s Dyin’
3. The Fine Art of Choking
4. Axing Doesn’t Hurt
5. Antibiotic Death
6. Ticket Wallet Drugs & Chicken
7. Citizens of the Grotesque
8. Torture Rock
9. Satan Never Sleeps
10. 13 Punks
11. Energy Vampire
12. Flesh Peeling Angel
13 Planet Impossible

Full Length Review: Funeral Oppression "The Eternal Revival" (Satanath Records) by Corban Skipwith

Location: Ozersk
Country: Russia
Genre: Depressive black metal, post black metal
Full Length: The Eternal Revival
Format: Digital
Label: Satanath Records
Release date: June 13, 2022
I’ll tell you one thing, looks (or should I say ‘sounds’ can be deceiving) because on the surface this looks like your everyday ‘Black Metal’ project but once you dive deep into it you understand it’s a lot more than that. Allow me to explain.
Across this 6 track effort released this year you have so many different styles and influences coming through to almost ‘lighten’ the commonly brooded sub-genre that is ‘Black Metal’ and helps reveal a more technical, creative and experimental aspect that you don’t normally see when talking about ‘Black Metal’.
For example there are elements of ‘Post Rock, Atmospheric, Ambient, Acoustic, Folk’ I honestly can say I’ve never heard these styles incorporated in the way that these guys are doing it, straight from the second track in you can hear that more ‘lively’ tone and production they were going for, you can hear it in the instrumentation and production value. Not to say this thing doesn’t have its heavy moments ‘because it definitely does’ but it also shares a more ‘melodic’ underlining tone which I find quite hypnotic in a way.
I think this project will definitely turn some ears, eyes and heads upon first glance. Maybe the ‘traditionalist’ or ‘purists’ won’t be able to stand this project and deem it ‘too experimental’ but I for one welcome the ongoing boundary pushing these guys are doing and hope to hear more from them in the coming years! Corban Skipwith

Void: Vocals
Ravenblack: All instruments

Track list:
1. Intro
2. Just to Live
3. A Crimson Shade
4. Temple of Regrets
5. The Eternal Revival
6. For All Those Gone