God Dethroned "Bloody Blasphemy" Metal Blade Rec 1999

Death Metal and Black Metal are two different universes, sometimes opposite worlds, other brothers.

Sometimes, some only, advantageous formations, guys with eye and ear, riffeo mercenaries who know how to bet on safety, know how to merge both planets, know how to combine the icy cut of Black with the thunderous hammering of Death. A cavernous and icy roar, destined to extinguish all remnants of life, of light. An army made up of two extreme universes. A two-headed titan. That is God Dethroned.

And that was in 1999. Some warriors armed with the best material from Morbid Angel or Enslaved, Dissection or Immortal. Anything goes in the realm of Henri Sattler in order to make his premise more devastating. Gunshots. Don't be afraid to use. Here he comes to kill ... and to die. Time to wax a classic (in the shade).

"Bloody Blasphemy", for many the best work of God Dethroned, with that bluish and sacrilegious cover, album that was born after "The Christhunt" (1992) and "The Grand Grimoire" (1997), already announces "storm". It is known, when you have been for a time, by a logo or a cover, what awaits you inside an extreme job. With God Dethroned, shameless, you know that you are going to face a rabid, decibelic job, with the right mercy. But you have no idea, not the slightest, of what you are going to live, colleague. Hell on earth. A full bloody "blasphemy".

Some grumpy guitars, sinew-cutters, jump over the intro of yore, and get into full swing, ready to do damage. We have not noticed and we already have a great song, "Serpent King", hovering over our heads, like a vulture ready for its prey, waiting for the moment, sharpening its nails, licking. Tap Death on unforgiving batteries and backing vocals, Enslaved Roller, to soften the burn. Elegance and brutality. Speed ​​and charisma. Melody and eyes that fall apart. Black, Death and the power of an indisputable spirit. Total mystique. Dissection opened many doors. And God Dethroned, no fools, set foot before it closed. Like many, go. Of course, the Dutch, those of Sattler, leave. Majestic.

"Nocturnal" (attentive to guitar, both Thrash and epic), "The Execution Protocol" (Marduk + Destroyer 666), "Boiling Blood" (a fantastic cross between the toughest and most extreme Mayhem and the Morbid Angels of "Altars of Madness ", then bathing the temita in auras" Dominationeras ", also of those of David Vincent)," A View of Ages "(brown cane, everything with pinion) and" Soul Capture 1562 "(one of the most complete songs on the album, keeping a tremendous pulse between beauty and the electric claw (one of the best songs in the combo), compositions that do not hide an unconditional love for Heavy Metal in almost all its aspects (Heavy, Thrash, Death, slow parts and with pose "doomie ", and Black), hook hopelessly. The combination, successful, mysterious and powerful of the Dutch battle, with both the neck-ripping and the investigating soul, in knowing how to travel, makes you succumb. Extreme firewood, in a Morbid Angel wave, combined with the riffing of the great blackers gods and with the energetic dance of the force of the Thrash in some guitars cooked in the very same underworld. Or close. Very close.

"Under the Golden Wings of Death", with an eclectic beginning, as lazy, but that does not stop, that advances, like the brown beast that is, towards us, follows the trend of the cool combination. Strings that creak, that creak, that creak everything, a voice indebted to Immortal, but that can also make your hair stand on end because of the brutality or deather, all when necessary, when the song calls for it as necessary. Versatility. And we are talking about a third job. Eye to the data. Giant step.

"Firebreath" (a kind of "Black Magic", that of Kerry King, "Goddethronizada", with the plus of magic and heavylón feeling, trademark of the house) gives ball to the final, and no less important, " Bloody Blasphemy ", theme-title and, of course, the one in charge of leaving everything impeccable ... or shitting it in the attempt and closing a brilliant album with a loose last track. But, tranquis, that is not the case. God Dethroned went for it all with the work of 99 and they did not neglect a groove, a corner, or an edge, of their musical project. Everything red hot, like everything we have experienced. Our warriors do not give up and bet on maximum speed, on the Dantesque riff, on pure blacker power. Iconic ferocity. And with a personal stamp. And that, dammit, is a lot.

Band that, fed by many great names, for sucking on a lot of classic records, has seen how, still reviled in the eyes of many and ignored by legions, knows how to give birth to true wonders. A gem of a band. A disc pass. Essential

Warlust "The Final War" EP Happy holocrist (1999)

"The Final War" release in mini-CD at March 1999 by Happy Holochrist by the War Metal band WARLUST, origin from Apeldoorn, Gelderland, this EP was the first professional record for the group.

This is a underrated Black Metal band, the first Ep in discography offical in the vein Black Metal like Blasphemy and Archgoat. Aggressive riffs, violent blast beat, the lyrics is totally bassed in war arround the world, no hope for humanity. no peace no mercy.

The track list is:
1. Haat 06:30
2. Diabolical Hordes 03:49
3. Zyklon 05:59
4. Murder of God 06:04
5. The Final War 03:40

Line-up:
Nocturnasz (drums)
66Sick (guitars)
Furor (guitars, bass)
Lord Charagnanna (vocals)

Urfaust "Empty Space Meditation" Ván Records (2016)

URFAUST are:

VRDRBR Drums

IX Guitars, Vocals

The band announced on social media that there would be no ‘new age ambient tunes’ on their new full-length record Empty Space Meditations, presumably in response to fans who prefer their metal tracks to the atmospheric drones that accompany them on most albums. Despite loving drone, I used to be part of that camp too, but revisiting some of the older records, I’ve come to acknowledge them as masters of the subtle art of dark foreboding drones, as well as for their spectacular and original stately riff and operatic incantation style of black metal. Despite their disclaimer, however, the opening track, is an atmospheric soundscape after all, starting the album off with a groaning, droning piece of textured sound. Spacious and dark but with glimmers of light amongst the shadows, it’s really well balanced, the sleeping cave beast growls gradually giving way to an empty-cathedral-at-dusk feel. Tinkling chimes are tuned just exactly on the edge between melodic and sound-effect creepy, and the long, shifting keyed notes add sombre stained-glass colour to the nebulous clouds of dark noise.

The Track List are: 

1. Meditatum I  

2. Meditatum II  

3. Meditatum III  

4. Meditatum IV  

5. Meditatum V  

6. Meditatum VI

Those who prefer their Urfaust on the raging weirdness side, however, shouldn’t worry… the intro track soon builds with a distorted foreboding into the next track, and from here we already know it will be monstrous. ‘Meditatum II’ now detonates as if it’s the band’s version of the big bang, where all aspects and facets of the Urfaust universe explode all at once out of a single point of infinite density: the hymnal organ sounds, the guttural shrieking, the juddering riffing and the percussion that’s both agile and boneheadedly thumping.

‘Meditatum III’ and ‘IV’ (yes, that’s all we get for track titles) are slow enough that it’s almost a doomy kind of heaviness, where the gravity of the music’s flow has time to solidify around the beats. Later on, the keyboard/organ trumpets along as if trying to step out of the sticky tar of that guitar-drum basis. And of course, the vocals are pure operatic evil genius, halfway between Doctor Faustus and Mephistopheles: part human railing at the limitations of mortality and wishing to glimpse beyond, but also part demon, wild-eyed and gleefully revelling in occult knowledge that necessarily pushes you past the balance of sanity. In ‘Meditatum IV’ the screeches and howls are even more demented, giving way finally to a last period of entranced-zombie low mumbles.

The final track adds a metallic sitarlike sound, and this plays a great role in amassing the atmospheric tension during the quieter bits where the tense drumming keeps the air thick with octarine sparks. The strumming guitars and sitars kindles a flickering ritual strangeness, which actually manages to sustain a greater and more focused weirdness through never quite exploding into noisy thrashing. Instead, the track wanders unsteadily along the borderline between controlled magic and the chaos of insanity. Urfaust at their best, this is the sound of a drunken devil trying to keep its balance while staggering along a steep and wintry rooftop.

It’s as you’d hope from a new Urfaust record, more of their bizarrely powerful riffing, perhaps even more dramatic than some of their previous classic work, and with a few touches of something new. The Indian instrument timbres on the final track, the powerful dragging slowness on the middle two tracks, and some odd resonating drone sounds that appear here and there: new elements added to flavour the existing trusted alchemical formula of Urfaust’s peculiarly intoxicating brew.

Some few tracks: 

"1 Kapitel"

"4 Kapitel"

"6 Kapitel"

Hail URFAUST

In the darkness we trust.