Ithaqua "Initiation To Obscure Mysteries" (Iron Bonehead Productions 2015)

Killer old school Greek Black Metal in the vein of Varathrom Rotting CHrist, Thou Art Lord, Necromantia. Hellenic black metal revivalists Ithaqua have made an offering to the Great Old Ones of the Cthulhu Mythos with their Initiation to Obscure Mysteries demo. Judging from this debut effort they may yet wake them from their eternal slumber. This demo release date February 25th, 2015. 

Tracklist

1 Winds Of Ithaqua (Intro) 2:49

2 Sorcerers Of Profane Enchantments 7:36

3 Summoning The Incarnations Of The Worm 5:20

4 Abyssic Journey To The Elder Demons 8:28

5 Beyond The Cursed Lines     7:36 

Founding members N.C.M and Echetleos have been immersed in the Greek black metal scene for some time so it's natural for them to produce that type of black metal Greece is fabled for. Regenerating those sounds that they were raised on, this demo doesn't stray from seminal albums in the Greek scene such as Thy Mighty Contract, Non Serviam, His Majesty of the Swamp. We are treated to a granite hard wall of palm muted riffs bolstered by double bass kicks and a chunky pulsing bass. Short lead guitar work, especially on the second track Sorcerors of Profane Enchantment, harks back to tracks like Exiled Archangels. Vocal exchanges between deeper and raspier growls, with their Greek accents showing through add to variation in that department. Ethereal synths appear regularly and thankfully they're not overused. A welcome flute sound in Abyssic Journey to the Elder Demons recalls Tatir's old demos. The weighty guitar tone is upfront in the mix, though all instruments are audible to some degree. 

At three points in this demo a single raging tremolo riff introduces those militaristic galloping/ stomping sections common to 90's Hellenic black metal. Most black metal bands use this trick but it certainly never feels old here as they really make the listener anticipate what's coming next, such is the urgency and malevolent rawness of those riffs.

We of course have the non metal content such as the eerie intro and the melancholic spoken word final track book ending Initiation to Obscure Mysteries. There's always a temptation as die hard metalheads to skip these ones, after we've given them an initial listen, for our fix of metal. It's worth remembering though these works are integral to the Hellenic scene and the occult/ mythological themes in which they occupy. 

These guys are content to play like it's still the 90s and I don't see a problem with that as it's a style that's not yet been overdone nor was it overdone at least twenty years ago when the scene was largely overlooked in favour of their black metal brethren from the frostbitten north. The album opens with a dark ambient intro before the guitars and drums go to work in 'Sorcerers of Profane Enchantment'.  This is a great song, varying from slow, evil sounding black metal to intense and furious passages with blast beats, driving on fierce riffs.  Yet, it's mostly the keyboards that make this album so interesting.  These are not the overproduced orchestral arrangements of today, these are vintage minimal soundscapes, enhancing the mysterious and occult feel of the music.

The album continues is that epic tradition and slowly grows on the listener, at least on me.  At first it does indeed sound outdated but after a short while I really wish this demo was released twenty five years ago when I was discovering this style of music.  'Abyssic Journey to the Elder Demons' is arguably the absolute highlight of this album, proving not only their loyalty to the traditional Greek style but also proving that this duo knows a thing or two about songwriting.

The link album Ithaqua, HAIL GREEK BLACK METAL. 

Defecation "Purity Dilution" (Nuclear Blast 1989)

"Purity Dilution" is the first album released by Defecation, and the only release of the two to have Mick Harris on it. It was released in 1989 on Nuclear Blast Records, and was issued in four different versions.   

Track listing

"Intro-Megaton" – 1:55

"Vestige Of Earthly Remains" – 3:00

"Life On Planet Earth Is Fucken Cancerous" – 1:26

"Contagion" – 2:08

"Predominance" – 1:40

"Recovery" – 2:23

"Side Effects" – 2:15

"Mutual Trust" – 2:21

"Focus" – 2:18

"Popular Belief" – 2:03

"Scrutiny" – 2:52

"Underestimation" – 2:21

"Granted Wish" – 3:36 - Bonus track; only on the 1992 release and the 2000 digpak release. 

Line up: 

Mitch Harris - Guitar, Bass, Vocals

Mick Harris - Drums, Vocals

Mitch and Mick Harris definitely have a pretty good record when it comes to grindcore. Both of them coming from Napalm Death, it doesn’t surprise me that this album is really good grindcore. Why I think this album is different from Napalm is because they mix more death metal influences into the music. Where Napalm is pretty much straight grind in their first two albums, this album incorporates some death metal. 

The songs themselves have a lot of the standard stuff you would expect from a grindcore band. Lots of blast beats, lots of punk influenced riffs, and guttural-ish vocals. Now I think this album does incorporate some death metal, but not enough to call it straight death metal. It is mostly still grindcore, but some of the riffs are very heavy and are reminiscent of bands like Gorguts or Cannibal Corpse (“Recovery”). The vocals are a pretty far step from grind bands such as Carcass and Napalm Death but are more like deeper Repulsion vocals. Now I’m not sure who does the lead vocals but whoever does is a great grind singer.

Production on this album is pretty good. The guitars are clear and heavy. The drums are loud and powerful. Mick Harris definitely has his own style of drumming and it shows heavily on this album, it’s completely grind and works perfectly for this album. Mitch Harris also seems to have his own way of writing riffs and they are all pretty awesome. The bass is my only problem with the production. It’s almost non-existent. You can hear it every now and then if you listen real closely. 

Overall a very good grindcore album. If you like Napalm Death’s early work you should like this. 

Best tracks – “Recovery”, “Popular Belief”, and “Life on Planet Earth is Fucken Cancerous”

Opeth "My Arms Your Hearse" review (Candlelight Records 1998)

Opeth are an oddity in the metal scene. Shifting between what some people call "pretension" in their acoustics, to a rather sophisticated brutality.

In this sense, My Arms, Your Hearse is the pinnacle of Opeth's career as we know it. The previous albums (Orchid and Morningrise) had an apparent influence from the black and melodic death metal genres, but this album took on the styles of late 60's and early 70's progressive rock influence that they would be later known for.

Most of the metal riffs on this album consist of intense double bass and distorted chord progression strumming. Many of the songs have clean/acoustic interludes in spurts throughout the song, and some songs on this album are acoustic instrumentals. 

The production on this album is rather atmospheric; but not in the common method you'd think. When someone says atmospheric, black metal is the first thing to come to mind, but not so for this album. The album has a moody atmosphere, like the sounds you'd hear if you were walking down a leaf strewn path on a cold, misty morning. The line up is: 

Mikael Åkerfeldt Guitars, Vocals, Bass, Piano

Peter Lindgren Guitars

Martin Lopez Drums, Percussion

Fredrik Nordström Hammond organ (track 9)

Yes, that aside, it is a fantastic album. Combining the aspects of the first two albums and what the band were to become, it creates a sound only rivalled by one other Opeth release (Morningrise). The band were in top form as well, performing several shedding/metal solos, and many soft bluesy solos. 

Now, the most important aspect of this album seems to be the first inclusion of Martin Lopez. Coming from melodic death metallers Amon Amarth, Lopez was accustomed to the drilling double bass patterns common in their music. Another inclusion is the bass intracicies of Martin Mendez...

Track list: 

1.     Prologue 00:59   

2. April Ethereal 08:41   

3. When 09:15   

4. Madrigal 01:25   

5. The Amen Corner 08:44   

6. Demon of the Fall 06:13  

7. Credence 05:27   

8. Karma 07:52   

9. Epilogue

Mikael played bass on this album, so that doesn't even matter, does it? Well, on the next album, Still Life, it will but for here it doesn't. Speaking of Mikael, his harsh vocals are in top form. After the gravelly power on Morningrise it was only expected for their to be an air of evil power to his next performance. Acoustic guitars fluctuate on and off and some of the tracks have an overflow of this kind of guitar work, but most of the time it's distorted guitar work. The music contains melodies that stick in your mind gathering such an immense orchestra of metal. If you're a melodic death freak like I am, you'll love this one. Such great compositions that are totally original and can never be overplayed. Tempos are slow for the most part, especially during songs that are filled with acoustic guitars. They mix the tempos quite rapidly. Extreme progressive metal fits the genre quite beautifully.

That's what we got. He shifts between heavily layered growls (layered to form power, not screech/rawr combos, so famous by Deicide) and raspy, yet powerful, screams very frequently (and smoothly) on this album. His clean vocals are another feat on this album, having even more layering than the first two albums and the inclusion of heavy harmonies. Such a suitable vocalist. 

Now, the music. Most of the songs have a grungy, dark tone with only enough distortion to give a tiny bit of heavy chug. The lead tone is remarkably different, very much in the "soaring" power metal vein, chorus-ized and reverberized to hell. The bass guitar is prominent and thick, with a tone I rather like. The acoustics, more prominent here than the previous, shine with an obvious nylon sound and with a hint of reverb to add realism. 

The drums, as I said before are really powerful and probably Lopez's most "metal" drumming moment in the history of the band, including loads of double bass and excellent advanced beat after excellent advanced beat. 

Cenotaph "Epic Rites" Oz records (1996)

This is the perfect metal album, in my opinion. Intricate without being overcomplicated, melodic without compromising aggression or heaviness; Epic Rites is a masterpiece marred only by a thin production. Each song is an epic expression of ancient sorrow and fury.

This band has shifted stylistically from each album. The earliest stuff was brutal and primitive, plodding doom death, and later stuff showcases Cenotaph evolving into something a lot more technical, but just as emotional as they were on the early material. One was from an Argentinean death metal band called Devastación and the other two were about Mexican bands: Toxodeth (pure Death/Thrash) and Cenotaph (Melodic Death Metal). Both Cenotaph and Toxodeth were pretty good and so I discovered that Mexico has its cool share of Metal too.

Now, imagine a Melodic Death Metal band that is less annoying than old In Flames, more inspired than At The Gates, and overall a lot tighter than Dark Tranquility. Impossible you say? Listen to fucking Cenotaph. And also, despite being a melodic death metal band it has got no keyboards.

Track list 

"Intro" 00:41

"Crying Frost" 06:02

"Lorn Ends" 04:55

"Navegate" 05:12

"Towards the Umbra" 05:51

"As the Darkness Borns" 05:13

"Angered Tongues" 05:23

"Epic Rites" 04:07

"Dethroned Empire" 06:12

"Thorns of Fog" (pista extra) 05: 14 

It starts with an atmospheric intro that leads to “Crying Frost” which also starts with a cool slow intro and then at 0:45 it picks up and kicks your ass with that super tight drum work, heavy-as-fuck riff and excellent vocal performance. Another intro prepares us for “Lorn Ends” is another fast song that just fucking owns with its cool leads and precise drumming. “Navigate” is where the album starts to get a bit repetitive, it’s not bad but it just sounds like recycled. There is also a mellow and acoustic break that serves as atmosphere-setter before the song becomes heavier again. 

“Towards The Umbra” fucking rules…it starts with a cool drum intro and then comes in a demented shriek “EEEEEUUURRRGGGGHHH”. The Mexican version of John Tardy appears on the scenery. This song has a lot of heavy but yet melodic riffs and really pounding drum work. “As The Darkness Borns” has a mistake on its title “Borns”??? Well. However it’s an average extreme mid paced song with a melodic and galloping riff backed up by that ferocious drumming. The seventh song “Angered Tongues” is pretty average but that doesn’t mean it’s bad. “Epic Rites” is a kind of boring acoustic song for which I don’t care very much. Next is “Dethroned Empire” that starts with a Maiden-esque riff but when the raspy vocals kick in you know it’s melodic death metal that will satisfy any fans from older Night In Gales or Gardenian. The album I have purchased has got a bonus track called “Thorns Of Fog” which is another recycled tune that sounds a lot like the other stuff on this CD. 

One of the most important Mexican death metal bands in the last 20 years. 

Line up CENOTAPH 

Oscar Clorio Drums

Julio Viterbo Guitars

Edgardo González Vocals

Under Moonlight Sadness "Geneticisis" X-Rated Records (2001)

Under Moonlight Sadness was a mexican band form Mexico City this is a second full-lenght in our discography release date in 2001 by X-Rated records, the line up for this album is:

Iván Vilchis Drums

Jesús Morales Guitars

Carlos Bastida Guitars

Marcos Barba Keyboards

Ivan Bloodhunter Vocals

Carlos Escalante Bass

The track list are: 

1 Architects Of Quanta 07:26

2 Unnatural 05:08

3 One With The Infinite 07:14

4 Bloodhunter 06:35

5 Infinite 04:09

6 Echoes 00:33 (instrumental) 

7 Ethereal Pains 06:27

8 Lord Of Exile Lands 07:50

9 Winter Mourning 06:15

10 Agony Remembrances 05:23

11 A Dream, A Tear... 03:07

The "Geneticsis" album are top of Progresive and melodic death metal, guitars are clean because have a brillant riffs and delays sounds arround the disc. The voice are grows and melodic and same time in a few songs, but alternate too in a rest songs. Passage acoustic and insrtumental are amazing to beggining to end. This album is a Top Best metal album in México, the lyrics are inspired in cosmovision in ancient cultures from México like aztecs and mayan. 

"Architects Of Quanta" are spectacular beggining, "Unnatural" is a beautiful melodic song and simple riffs are involving arround your mind, "Echoes" is an instrumental in the middle album, "Bloodhunter" and "Ethereal Pain" mixed melodic death metal, progressive metal and doom metal parts. The "Goteborg sound" are present in the next songs: "Infinite", "Lord of Exile Lands" & "Winter Mourning". This album is legend lost in the times. 

Tracks 6 to 11 are re-recorded versions of the "Echoes of Ancient Music" demo. 

The initial CD press actually featured the Rossomahaar album "Imperium Tenebrarum", and the first press of Rossomahaar's album featured Geneticsis. A later version had this issue corrected. 

Sepultura "Bestial Devastation" EP. Cogumelo Records (1985)

Bestial Devastation is an EP by Brazilian heavy metal band Sepultura, released in 1985 through Cogumelo Records. It is their first official release, and originally appeared alongside Overdose's Século XX as a split album. The EP's songs were later released as bonus tracks on the CD version of Morbid Visions.

Because of Sepultura's collective lack of money, most of the instruments used on Bestial Devastation were borrowed from friends and acquaintances.

The vocals on the introductory track "The Curse" were performed by a friend of the band; according to Igor Cavalera:

“One thing I remember is that we had one of our friends come and do the voice for the intro ('The Curse') because he would do that voice without effects - he was kind of burping in a way. It was funny, so we had him come down and do it in the studio. I don't even remember his name!”

The band apparently fought with the producer during the recording. In an interview, Igor Cavalera said, "He wanted to clean everything up in the mix and we finally had to play him some records by Venom to show him that bands sounded this way".

Released December 1, 1985
Recorded August 1985 at J.G. Estudios, Belo Horizonte, Brazil
Genre Thrash metal, death metal
Length 15:37
Label Cogumelo, Roadrunner
Producer Sepultura

Bestial Devastation was released in December 1985, alongside Overdose's Século XX EP Over the next few months it sold 8,000 copies.[8] Sepultura's surprising success was partly attributed to the first Rock in Rio, which took place in Rio de Janeiro in January 1985. This music festival's line-up included Whitesnake, AC/DC, Iron Maiden, Queen, Ozzy Osbourne and the Scorpions, and was responsible for Brazil's hard rock/heavy metal boom.

The EP was later reissued by Roadrunner Records on one CD with Morbid Visions in 1997. The reissue included a demo version of the song "Necromancer" that was the first studio recording of the band, and a live version of "Antichrist" from the Chaos A.D. tour, re-written as "Anticop".

Track listing

Bestial Devastation

All tracks written by Max "Possessed", Jairo "Tormentor", and Paulo "Destructor" except where noted.

No. Title Lyrics
Sice A
1. "The Curse"
2. "Bestial Devastation"
3. "Antichrist" (Wagner "Antichrist"& Max "Possessed")

Side B
4. "Necromancer"
5. "Warriors of Death"
6.     "Troops Of Doom"

Beginning to listen to “Bestial Devastation”, you will notice immediately the weird intro, titled “The Curse”:

“The curse is launched, beware.

The Lord of Death declared the war,

Satanas is invoked to destroy

and to command the BESTIAL DEVASTATION!”

These verses are spoken with a pretty laughable guttural tone. Many people find it just ridiculous, but I think it’s awesome as fuck: the fact is that they did it without any effect applied to the vocals! It’s incredible, if you think about it: a bunch of crazy Brazilian metalhead teens who just want to have fun playing extreme music in the vein of Venom and Hellhammer, in order to make the ordinary “satanic tongue-in-cheek” effect, come up with a monstrous intro using GUTTURAL GROWLS before everyone else... they were totally ahead of their time, and they didn’t even know it!.  

See you next review

"Blashyrk"

Angel Of Light / Satanaquia "Gloria Patri" Mega Therion Records (1999)

Se engaña quien piensa que para descubrir bandas de Black Metal con un potencial elevado, su demanda debe ser dirigida a los graneros europeos. Muchas veces, las gratas sorpresas están en nuestro propio continente o su país y no es necesario tener que explorar el underground de países situados en otros continentes. Aquí está un excelente registro para aquellos que, como yo, aprecian el Black Metal de Brasil tocado de forma más madura y trabajada.

Se trata de un Split-CD lanzado en el año 1999 con dos excelentes bandas del underground brasileño oriundas del municipio de Piracicaba, ubicado en el interior del estado de São Paulo.

Los dos grupos que componen el registro ejecutan un Black Metal con características melódicas, las cuales son fácilmente identificadas por las incursiones de teclados que dan un aire medio fúnebre las composiciones, trayendo al oyente bandas calcadas en una sonoridad que nos remite a la buena y vieja forma escuela helénica de hacer Black Metal. 

Realmente siempre recomendaría dos bandas con el mismo vocalista porque me gusta saber que tipo de personalidad vocal le otorga a cada una, por razones obvias, creo. No importa cuán diferentes puedan sonar (aquí cada banda posee su personalidad), la fuerza impulsora de un vocalista generalmente puede hacer que todo suene igual pero éste no es el caso. Count LaVey es asombroso.

Angel of Light toca el típico black metal estilo norse típico con sus voces agudas, teclados en abundancia, y así sucesivamente. En realidad, me recuerda bastante a "A Hail to the Faceless Angels" de Setherial o incluso al LP "Sventevith" de Behemoth, debido a la delgada producción y al estilo similar de riffing, pero muy interesante con ese toque sudamericano que le imprimen las bandas de Brasil, por supuesto. Por lo tanto, es exactamente brillante, no está mal, pero al mismo tiempo no pasará mucho tiempo para que esto se convirtiera en un clásico para mí. 

Satanaquia también son pesados ​​en los teclados (con la misma progresión en cada canción: teclados inspirados en los principios de los años '90s) y usan también al Sr. Count LaVey en la voz, aunque por alguna razón siente la necesidad de usar un "terrorífica" imitación de la risa de una bruja cada pocos segundos. ¿Muy asombroso y novedoso?!? Si, quisiera escuchar a una malvada bruja de los bosques y selvas dirigiendo una banda de black metal, excelente concepto!. Piensa en el viejo Necromantia pero con teclados mucho más prominentes, un ligero toque nórdico y, por supuesto, mucho mayor oscuridad (más una bruja malvada en la voz). 

Tanto Satanaquia como Angel Of Light garantizan, a lo largo de poco más de 37 minutos, una experiencia bastante diversificada pues ambas consiguen mezclar, con bastante equilibrio, elementos rápidos y otros más atmosféricos y sombríos. Este es un registro altamente recomendado para fans de bandas como Rotting Christ y Varathron.

Formaciones:

Satanaquia:
Aaron: Batería
Count La Vey: Vocales
Rhantcher: Bajo

Angel Of Light:
Dresengard: Teclados y Bajo
Sabbathani: Guitarras
Agnus Luciferi: Batería y Vocales

Pistas:

01. Angel Of Light - Lord of the Majestic Wisdom
02. Angel of Light - Triumphal Shadows Majesty
03. Angel of Light - The Beautiful Morning Star
04. Satanaquia - My Dreams To Kingdom Come (Kathariis)
05. Satanaquia - Angel of Light
06. Satanaquia - Sigilum Diaboli
07. Satanaquia - Das Buch Belial
08. Satanaquia - Sepetentrione Pandetur Omne Malum

Gehenna "First Spell" Head Not Found (1994)

1994 was a great year for black metal. De Mysteriis Dom Sathanas, Hvis Lysett Tar Oss, Pure Holocaust and Svartalvheim are only a few of the genre's classics released that year, and for somewhat reason, First Spell is excluded from the list. Why?

This album release date in June 1994, has atmosphere, and a hell of it. The excessive keyboards that accompany the album are actually in place (at most of the album) and add to its creeping and chilling nature. The melancholic ice-cold riffs and powerful bass lines are performed with a high level of skill, and the vocals feature not only screaming, but hissing, whispering and even growling at times. From the very beginning of this album, the church organ wails to warn you of the upcoming terror- dark, melancholic, melodic, but still in-your-face-kvlt madness resembling a fusion between The Damned and Immortal. 

Track list is:

1.     The Shivering Voice of the Ghost 

2. Unearthly Loose Palace

3. Angelwings and Ravenclaws

4. The Conquering of Hirsir

5. Morningstar

The songs themselves are diverse. Some featuring an epic and upbeat feeling at times, with suddenly contrasting into a morbid and sombre atmosphere- imagine a Type O Negative album covered by Emperor. The enhanced bass and keyboards, with melancholic acoustic parts, which are a fairly uncommon thing among black metal albums of this time, are shown here in their full pride and glory- but are a little over emphasized and make the guitar sound buried deeply under the wall of sound this album makes. The lyrics are something between In the Nightside Eclipse and Burzum. Sometimes juvenile and pseudo-philosophical, and sometimes sophisticated and deep. This doesn't interrupt the album's atmosphere and feeling- and is only a minor part of it.

So that's it. You've already reached the end of your forest journey, with no blast beats and overlong intros, but with a great foggy atmosphere and corpse paint on your face. Recommended.

Line up is: 

Dolgar Vocals, Guitars, Songwriting (track 1), Lyrics (track 1)

Sanrabb Guitars, Vocals, Songwriting, Lyrics

Svartalv Bass, Vocals (backing)

Dirge Rep Drums

Sarcana Keyboards, Songwriting (track 1)

1994 and Gehenna cast their "First Spell" leaving breathless the underground scene with their unique majestic black metal evoking a beautiful darkness ans sorrow. Great Ep for norwegian band.