Extreme Underground Metal

Label: Unsigned/Independent
Origin: London/Bristol, England

Deliberate and architectural, English newcomers Thundering Hooves craft a massively dense and brutally heavy debut blueprint with Vestiges. Addictive riffs, guttural grunts, and creeping tempo materialize as a blackened temple of doom with brick after distorted brick of brooding evil.

Opening track, “The Doomway,” engineers the design for the entire record. Mellow notes waft through the halls of ancient ruins upon an ungodly wind until devastating power chords descend upon the barren landscape. Percussive notes bounce off of dilapidated cinder blocks, decaying the bygone black metal relics that time has cast aside. Suddenly, the winds change course and the tempo quickens: the Luciferian architects have arrived on the scene, set to restore diabolical greatness to a once majestic throne. Lead vocalist Michael B. heaves Satyricon-inspired grunts whilst fabricating mighty pillars of stony riffs. Hammering drums smash rusted bolts into resistant threads on “Goatswood,” as welded guitars spin twisted nuts into place, erecting the framework of the great fortress. Agonizing riffs echo through the spartan halls carrying the mystical soundtrack of Khemmis and the wicked resolve of Black Sabbath.

Standout track, “Rex Nemorensis (King of the Grove),” is named for the priest of the Roman Goddess Diana, who attained his position by slaying the prior incumbent, and held it by preemptively murdering any who attempted to unseat him. The track begins with a 1975 recording of renowned horror/mythical actor Sir Christopher Lee discussing Satanic ceremonies, and curtails his sermon with an infernal instrumental curtain-raiser. Thundering Hooves incorporate critical minor chords within their construct’s skeleton, and caulk the blackened masonry together with oozing riffs. The spoken discussion returns later in the track, overlaying despondent distortion much like an Inquisition track, before echoed growls reverberate into silence.

Rex Nemorensis (4:56 - 9:08)
Thundering Hooves - Vestiges (Full Album) - YouTube

The second half of Vestiges raises the more experimental rooms of the blackened castle. Fourth track “Mara” explores lofty chambers with ghostly notes before sculpting a soot-infested riff-dungeon with cursed chisels. This track showcases extreme cadence variations as well: some of the evil laborers work at breakneck speed, blast-beating new caverns with explosive charges, while others proceed slowly, as if preparing for a melancholic funeral dirge. “Pallid Gaze” opens with midtempo precision, progressing to choppier rhythm and split power chords, allowing thunderous bass to ripple beneath the surface – a bubbling mixture of molten metal reacting to the blacksmith’s fire. Unlike a lesser smith merely forging weapons into shape, Michael B. flexes and contorts strings of nickel-plated steel to create cataclysmically cosmic tones.

As the massive build nears completion, the architects gather around an epic bonfire smoldering in the great hall, ready to commence the final ritual of the ceremony: concluding track “Vestiges.” As the inferno rages on, nefariously voltaic riffs seal the development with the Sigil of the Baphomet. Unhinged chaos propagates through the build, culminating in a seismic solo registering off the scale, rupturing the very foundation of the wicked shrine to Satan. The mighty pillars crumble from the shockwave of Daniel B.’s tectonic percussion. The blackened ashes of the churlish blaze slowly levitate to the heavens and the forsaken temple collapses into the widening fissure, leaving only a trace of what once was.

Vestiges is an absolutely enthralling edifice of modern blackened heavy metal. Utilizing tools of death and doom metal, yet maintaining studied architectural loyalty to medieval gothic themes, Thundering Hooves delivers an unholy Satanic inner sanctum worthy of multiple pilgrimages.

FFO: Archgoat, Inquisition, Satyricon, Mgła

Label: Unsigned/Independent
Origin: Athens, Greece

Until We See the Light is a first-rate black metal debut that leaps across the marsh with unique, nefarious croaked vocals and glistening riffs exuding swampy distortion. Bounded by a shoreline of thoughtful soundscapes, including a passage from The Orthodox Choir of Russia, the record has a far-reaching appetite and the spring-loaded tongue of venom to satisfy it.

While most wretched sinners are dragged, kicking and screaming, into the tight confines of Hell, Animal Man Machine part the waters of the River Styx and march forth defiantly, salivating at the thought of a new domain. On Until We See the Light, the one-man Greco-Luciferian powerhouse launches flaming vocals coated in slimy riffs across murky waters in a commanding display of evil.

Raspy shrieks and lightning instrumentals have become deep-fried staples of modern black metal, staying true to the early 90’s Scandinavian platter. Various joints have modified the seasoning through the years, mixing symphonic spices with dark musical molasses to elicit a more downtrodden, tempered meal, yet monotone shrieks and growls largely still remained on the buffet table. Indeed, the first taste of Until We See the Light retains this classic mirepoix in opening track, “Transformation,” but only until the vocals are plated and served. Half growled, half croaked, these diabolical Inquisition-inspired grunts ensure that each dish is fresh and flavored, and easily carry the album above comparatively uninspired contemporaries offerings the genre.

The middle four tracks are undoubtedly the black stars of the record. The intergalactic title track embodies simplistic yet masterful guitarwork and eschews mundane blast-beats for terrestrial tom-toms and cosmic crash cymbals. Exuding unholy groans from Beelzebub, Animal Man Machine declares war in the cold, dark vacuum of space. Chilling howls circle the opening of fourth track, “Let the Wolves Lead the Way,” before the apex predator licks then kills rival bands with deadly distortion. Galloping percussion heightens fears while the lead snarler unleashes a terrifying net of lupine growls to close the track. Balancing raw aggression with touches of mysticism, “Forces of Evil” is preceded by nearly a minute of eerie synthesized notes reverberating against the untouched boundaries of the galaxy. As these synths fade into infinite obscurity, a brooding riff commands rapturous attention and returns the listener to the album’s merciless atmosphere. Orchestral elements ricochet against the guitar-forward musicianship, and vocals are used sparingly, to enhance the ominous, well-executed volley of riffs.

Soldiers of the Moon (17:47 - 21:45)
Animal Man Machine - Until We See the Light (Full Album) - YouTube

Standout track, “Soldiers of the Moon,” discharges an unyielding barrage, using derelict asteroids for target practice before focusing fire on unsuspecting planets. Ghastly growls chart a course for sizzling strings to ignite a chain reaction of death, strongly channeling the legendary debut of Darkthrone, Soulside Journey. This track floats the best vocal performance on the record, simultaneously delivering zero-gravity orations and otherworldly menace.

Animal Man Machine has drawn the perfect blueprint: riffs ratcheted out of control, a restrained yet focused pace, and more croaks than a bog in Louisiana. Until We See the Light is a timeless spacecraft ready for extraterrestrial domination.

FFO: Inquisition, Mayhem, Burzum, Archgoat

Label: Satanath Records
Origin: Donetsk, Ukraine

Teeming with acidic vocal fury and scathing melodic riffs, the essence of Kuhaghan Tyyn wafts through the labyrinthine halls of a derelict speakeasy to greet imbibers with scorn. Haissem, the wrought iron cauldron of Andrey Tollock, crafts a cryptic brew of evil incantations brimming with intoxicating ingredients, ranging from mellow cello outros and angelic vocals to masterful guitar pours.

Kuhaghan Tyyn forges contrast from its nascent moments: hollow guitar notes play solitaire on an empty wooden bar before crushing medieval lore and ungodly howls sit down at the table in a full-fledged saloon. Unyielding lead licks rifle through opening track “Black Tide Dominion” and check-raise Andrey’s vocals until the latter goes all in, decisively matching the guitar’s confidence and taking the bloated pot. Epic arena rock power chords palm mute a transition mid-song, trading black metal roulette for an ominous cello-ridden busted ballad. Only 11 minutes into the album, Haissem has already toured us around the ghost-town casino that is to be our confinement.

Standout track, “Aokigahara,” blasts ahead with tasting notes of Dark Funeral, yet quickly abandons the traditional black metal blackjack table. Experimental orchestral passages behind deviously shredded licks splash between Emperor and solo-Ihsahn, while pointed, entwining riffs balance vocal pitch with the precision of Death‘s more progressive, dexterous dealings. Confident, guitar-forward solos harken to melo-death made famous by the Göteburg scene while buzzed voodoo verses borrow from the many progenitors of American Heavy Metal (Burn the Priest‘s debut album or early Tool). Ungodly shrieks fold against a straight of heavenly orchestral strings, all while blast-beaten mayhem holds a full house in rapt attention.

Aokigahara (20:11 - 29:55)
Haissem - Kuhaghan Tyyn (2020) [Full Album] - YouTube

Returning to black metal roots, second track “Arcanum” crushes dreams with boozy power chords from the taps of hell. Meandering riffs soon follow, regulating the undulating growls just as the cooling copper coil of a still chills the Devil’s elixir. Throaty spoken-word tempers everclear palm-muted riffs, and infuses Ihsahn-inspired herbs and spices just as the batch is ready for bottling. Soon the inceptive pace returns to soak backing symphonic passages with besotted spite, and eerie synthetic notes sink the listener further into oblivion. The whiff of choral backing vocals foreshadows their enhanced presence on final track, “Кuhаҕан Тыын.” Female vocalist Alyona Malytsa climbs soaring ethereal scales in conjunction with harsh growls in the throes of melodic riffage. This magnum opus condenses an entire galaxy of hopped-up aggression and potent spirit into an epic black hole, with a prolonged silence that ages the panicked chanting, and with brass-knuckle closing chord bashing (ala Tool‘s Aenima). After the dust settles, a revitalized riff barrels ahead with a dazzling solo that enshrines Kuhaghan Tynn on the top shelf in the medieval cellar of blackened greatness.

Haissem, the one-man distiller of evil from Ukraine, has explored the entirety of heavy metal’s ancient compound, specifically catering to its caged, inebriated black metal beast. Blending dense, blast-beaten sections of blackened chaos with celestial solos and saturated riffs, Kuhaghan Tynn is a soot-infested cosmic cask waiting to be tapped.

FFO: Emperor, Dark Funeral, Dissection, Dimmu Borgir

BLACK METAL EXTRACT

Label: Unsigned/Independent
Origin: Dresden/Berlin, Germany

Wielding infernal command of the Earthly elements, Stiriah mercilessly scorches, drowns, and blinds the listener before tearing open their exhausted body to inject evil serum. Triple vocal styles exploring the full expanse of extreme metal deftly plait the 40+ minutes of Into the Depths together, and sly nods to various bands across the black metal spectrum keep the listener returning, battered and fried, for more.

The lead single, “The Water,” terrifies with a whispered “swept away by…” before a diabolically shrieked “flood!” signals a tsunami of chaos. Like the contaminated waters of death, riffs and percussion violently surge without respite behind a deluge of gutturals and growls. Blast-beating torrentially rains down on the scene, as the panicked listener double-kicks to shore for shelter. Near the end of the track, the floodwaters briefly subside, allowing ominous guitars to echo siren-like chords across the expansive sea. Throaty spoken word offers a variation in the piercing vocals, highlighting the skillful transition between styles that soaks through the entirety of Into the Depths.

The rain dissipates to allow glints of light to shine through second track, “The Sun.” The listener is greeted with warm guitars and minor chords overlaying the verses with burning precision. Seething growls overlap across the entire track, basking every blackened riff and charred blast in high-octane intensity. The overdriven vocal energy is accompanied by cosmic power chords, beaming interstellar rays through the molten, metallic core of the track.

Third track, “The Light Bearer,” initially hums along to a traditionally fast and austere black metal cadence. Supersonic blasting and otherworldly shrieking embody the mythical figure’s nascent impression, and a purposefully placed snare marches in rhythm alongside the lonesome ghoul. Suddenly the music stops cold, and a solitary riff ignites the Light Bearer’s torch in a single menacing gesture. With this newfound flame, the remainder of the track scalds the bewildered listener to a swelter, before quickly extinguishing in favor of fourth track, “The Darkness.” Atmospheric strings imprison taut percussion from all sides. Anguished cries brood malice interrupted only by a hissed growl of death. Instrumental mayhem unfolds before a higher-pitched cry prevails and lingers long into intermittent silence, while clean vocals in the background radiate elements of Ihsahn.

The Flesh (33:02 - 42:37)
https://www.youtube.com/watch?v=3ZD-8jyWBPQ

Final (and standout) track, “The Flesh,” mulls malicious plasma from every demonic specter in the paralyzed patient’s open chest cavity. Ferocious chords erupt as gore spews from a fatal, infected wound. Violent shrieks spit acid on the laceration, while relentlessly consistent background riffs frantically pump blood to the lesion. Unholy howls bubble over the unfortunate soul, as toxic serum boils in a growing number of gashes. Decomposing riffs impede the mortal mending, and insatiably evil double growls continue to tear away decaying flesh. A brief, exquisite acoustic passage with spoken word and distorted strings echoes early Emperor, and provide a seamless transition into the final realm. After nearly ten minutes of lethal black metal dosage, angelic voices ethereally grasp the soul, whisking it away from its tormented carcass, and leaving the body to rot in perpetuity.

Into the Depths is a masterful exploratory distillation of black metal extract. The multitude of vocal deliveries combined with instrumentation spreading like a venereal disease commands an unrelenting listen. Before ruthlessly dissecting their victim in a nearly ten minute finale, Stiriah has cruelly force-fed a chocolate-box assortment of plagues to the listener and has tyrannically harnessed all the natural elements of evil.

FFO: Emperor, Wolves in the Throne Room, Inferi, Watain

Label: Purity Through Fire
Origin: Rio de Janeiro, Brazil

From a palette of verdant tropical forests and honey sun-soaked beaches, a defiant black stroke of icy hatred defaces The Kryptik‘s canvas. Behold Fortress Inferno is an unrivaled tribute to mysticism and melody: while burnished orchestral elements color the backdrop of the record, raw pigments of aggression take center frame. This is a masterpiece of symphonic black metal that hangs higher than most other compositions in the Museum of Hell.

True to form, the opening moments of Behold Fortress Inferno present an environment ringing with sinister magnificence. Unholy bells toll symbolic warnings to the creatures of the night, while an unmanned church organ ushers the haphazard wanderer into the fortress of evil. Pummeling bass slathers across the soundscape and blistering drums and guitars overlay the backing symphony before the paint can dry. Threatening vocals from lead shrieker, Sinner, spill from the explosive atmosphere and seethe with anger. The lyrics, stratified with taut musicianship, drive a masterful eight-minute opening title track that confidently depicts the sound The Kryptik embodies.

Where the opener rolls along sans pace variation, other areas of the record call tempo audibles and run with them. “Paths From Eternity” storms forward with much of the same aggression and speed from earlier, but hits the reset button midway through. The devastating hurricane of percussion weakens to a category one, and gentle winds of melody waft a piercing silver solo through the eye of the storm. “Black Legions March” controls a similar contrast in cadence. A cacophony of war dominated by scraping steel dictates the opening moments, before grotesque grunts ravage full-tilt across the battlefield. Before given the chance to settle, a lone riff shreds bodies across the terrain, and a vengeful, blood-soaked growl reigns triumphantly.

The Plagues of the Abyss
https://thekryptik.bandcamp.com/album/behold-fortress-inferno

Standout track “The Plagues of the Abyss” epitomizes The Kryptik‘s proficiency and dedication to their art. The peal of a bell returns to open the track, adorned with howlin’ wolves prophesying impending doom. An ungodly growl kickstarts the track with wicked intention, and heavily distorted riffs mounted on grandiose synths gallop through eight minutes of black metal bliss. Near the end of the track, an angelic chorus tempers the madness before stringed fire ignites the final moments in diabolical glory, with Satan laughing and spreading his porcine wings.

Behold Fortress Inferno mixes shades of black metal’s progenitors on their palette without printing facsimiles. Hammering blast-beating and booming bass encouraged by symphonic chorals wink and nod to most of Emperor‘s work, as well as much of early Dimmu Borgir. Some elements of vocal style recall moods of Satyricon, melodic riffs laden with acrylic power chords contain trace elements of Watain, and there’s even an acoustic track with copious notes from The Somberlain. However, the final track of Behold Fortress Inferno reveals one of the true influences of The Kryptik, and indeed almost every black metal band in existence today: Mayhem. This blistering, astonishingly evil take on “Funeral Fog” is true to form yet distinguished by ornate orchestral influences that carry the listener through the somber, god-forsaken procession.

The Kryptik have painted a symphonic, angry mural of black metal grandeur. Behold Fortress Inferno is a captivating portrait of misanthropic madness and orchestral elegance, refashioning legends of old with an original, modern coat. These Brazilians may create in a tropical climate, but Behold Fortress Inferno portrays a ravenous taiga of death.

FFO: Emperor, Dimmu Borgir (early), Satyricon, Watain, Gorgoroth

Label: Paragon Records and GrimmDistribution via Satanath Records
Origin: Szigetvár, Hungary

Reverberating with frigid desperation and pinging with intricate musicianship, Aetherius Obscuritas bitterly remind us of winter’s tedious gloom with Mártír. The Hungarian veterans’ eighth full-length record, Mártír wields pinpoint percussion like shards of ice while chilling the unsuspecting listener to the bone with a blizzard of demonic growls. While stereotypes of cold and desolate landscapes are often reserved for Scandanavia, Aetherius Obscuritas bide their time on the glacial shores of Lake Balaton, Hungary.

Mártír toes the line in the drift between traditional raw black metal and experimental atmospheric blackened metal, doing both exceptionally. While opening moments of “Ilyen a vér (Blood Is Like This)” crack the glossy surface with cursed shrieks and breakneck instrumental velocities, the fractures recede briefly to creep ahead melodically. These jagged changes in pace are common throughout the record, and relapses into speed are often marked with sections sans strings, allowing Zson’s exquisite percussion style to shine as he bruises often under-valued areas of his kit. “Lidércpalota (Incubus Palace)” showcases this battering well. A multitude of switches in tempo capture the bewilderment of a lost wanderer as nightfall sets in, with every short-lived injection of percussive style embodying the foreboding noises emitting from the dark unknown.

Middle tracks “Marthyr” and “A vén végvivő (The Old End-Bearer)” are dominated by searing black metal melodies, yet keep the listener on frost-bitten toes. Ominous off-key stringed demons slowly surround their prey, paralyzing the listener with fear until the rapid attack resumes with merciless force. Lead vocalist Arkhorrl unchains corpse-like groans behind the veil of blistering riffs, demonstrating his ability to both enchant and eradicate in the same breath. Acoustic notes trickle in for the first time on fourth track “Az Igaz (What ‘True’ Is)” as an atmospheric respite. Reminiscing on Dissection‘s The Somberlain, these notes offer a sense of mysticism and spirituality before distortion emerges from the shadows to reproduce the initial tune. This track features a wide range of vocal stylings as well as a stand-alone section that hints at the direction of the remainder of the album: 90’s melodic black metal.

The Frozen Lake of Eternity
https://grimmdistribution.bandcamp.com/album/058gd-aetherius-obscuritas-m-rt-r-2020

Standout track, “The Frozen Lake of Eternity,” captures the essence of a frost-bitten black metal kingdom. Featuring guest growler Kaiaphas (ex-Ancient, Thokkian Vortex) and spewing addictive chunky riffs laden with lo-fi distortion, this track is the culmination of instrumental precision and wintry hatred. A break in the whiteout offers symphonic relief in the style of Emperor‘s “The Majesty of the Night Sky,” under the cover of a penetrating guitar solo, ringing with Valhalla’s calling. Not two tracks later, “Beyound the Walls” plays like Dissection‘s “Into Infinite Obscurity”: two minutes of acoustically-picked bliss before eighth offering “A harag lángja (The Flame of Wrath)” shreds through the serenity.

Final tracks, “Destiny: Unknown” and “Pulzár (Pulsar)” embody the mysticism that has been an integral part of the black metal culture since its impure conception. While largely a result of anti-religious and misanthropic emotions, black metal is also immeasurably dependent on the spiritualism of its followers and their connection with the natural (or supernatural) world. While the majority of Mártír conjures images of a wandering soul on a frozen lake deep in the forests of Hungary, these final two tracks introduce a metaphysical landscape. “Pulzár (Pulsar)” is two minutes of unsettled pulsations soothed by an eerie organ. The poor traveler falls through the ice of the frozen lake of eternity, only to encounter something even more malevolent beneath…

Mártír is a worthy incubus for Aetherius Obscuritas, both in style and delivery. The attention to percussive variation is impressive, Arkhorrl’s choked shrieks are ungodly, and the biting black metal riffs ricochet across the record like bullets of ice. These Hungarians have conjured an abominable rock-filled snowball that will knock you out cold.

FFO: Dissection, Thorns, Emperor, Watain, Ragnarok

Label: Independent
Origin: Sarpsborg, Norway to Calgary, Canada

Bitterly cynical and violently enraged, Warlord is a one-two-punch of barbaric anger on the corpse of modern society. Combining classic black metal speed and aggression with penetratingly icy guitar tones and frozen shrieks, jack-of-all-arms Gautaz has unleashed his most focused and battle-ready Panzerwar arsenal yet.

Thrashing into superb-sonic oblivion, the initial moments of the titular opening track could be mistaken for a Slayer recording session with early 90’s garage equipment, until the vocals rip the garage door off. Gautaz specializes in growling the anguished cries of a fatally-impaled, frostbitten warrior seeking revenge. Quietly, the cavalry assembles, readying razor-sharp guitar tones laden with an entire regiment’s worth of distortion in preparation for the signal to attack. The guitar’s despondent hymns resonate across the album’s battlefield, with rumbling palm-muted bass artillery spewing smoke into the hypoxic air.

Warlord reigns during moments of guitar-driven resolution. Both “The Hammer Will Be Raised” and “May Our Ships Set Forth” discharge densely-packed riffs of blackened majesty. Rejecting nebulous background chords played at breakneck speed, these tracks maintain entwined leads that salivate with insatiable blood-thirst. Deliberately including the same stringed barrage as before, the music duels with Gautaz’s enraged wails for the most powerfully wielded instrument of destruction. “Clandestine Blessings of Thy Infernal Lord” hacks a mangled passage through a thorn-ridden forest, proclaiming praise to the “infernal lord” at every crimson puncture.

Gautaz reminds the listener of his Norse roots with “Óðinnblót” (Odin Blood). This track opens with a resounding, gritty cheer for “Alföðr” (All-Father) and descends into spoken word from “Rúnatáls-þáttr-Óðins” (Odin’s Rune Song). This work showcases the many parallelisms of Odin and Christ throughout the Middle Ages while Christianity and Norse Paganism co-existed, eventually spurring the vehement anti-Abrahamism sentiment upon which Scandanavian Black Metal is built. Reverberating with ancestral power, Gautaz unchains some his most vicious and prolonged shrieks throughout this homage to the old Norse God.

Eternal Heathen Wrath (4:20 - 8:09)
https://www.youtube.com/watch?v=mZDUf9A_RNw

Standout track “Eternal Heathen Wrath” is the most experimental concoction to emerge from Warlord‘s musical lab. Sinister notes echo through a wordless chamber, before effervescent distortion permeates the room in preparation for a fiery ignition. A down-stroke of percussion jump-starts the ceremony, and the track rolls at a moderate pace while Gautaz vents noxious growls. Intermittent cutting of all music except the initial notes of despair highlight the vocals, which linger sulfurically in the manner of the Ulver remix of “Sworn.” This cauldron of the mighty spirits of the past bubbles with mystical purpose, vaporizing the blood of lesser beings.

While previous entries into Panzerwar‘s armory were defined by blistering blast-beats, murky minor chords lurking in the background, and classic black metal vocals, Warlord pays attention to pace variation, showcases the guitar’s frigid clarity and chilling distortion, and loosens the purse strings on Gautaz’s vocals to create a deeply satisfying, disturbingly raw brew of misanthropic hatred.

FFO: Sargeist, Behexen, Darkthrone (Unholy Trinity), Dark Funeral

Label: Satanath/InsArt Records via GrimmDistribution
Origin: Rijeka, Croatia

Black metal, contrary to the relatively uninformed opinions of some music critics, is complex, and marked by tremendous passion, unrivaled musicianship, and some of the most viscous, rich music to pump through the body of the global music industry. Black Cult go to great lengths to prove this. With their third effort Nekropola, this Croatian clan infuses a veritable blood bank into their cadaver, engorging its arteries with rage and ritualism, and rejecting the apathetic claims that black metal is a genre of monotony.

Opening track “Parasite” exhibits a dynamic range within its first seconds of life. Complex percussion timings juxtapose against a consistently ominous meandering riff and backing spoken voice, before devolving into blast-beaten pandemonium. Layered guitars scorch through the noise, before being extinguished to bust open oozing licks that bleed molten lava. Lead vocalist Morbid preaches blackened gospel in the style of Erik Danielsson of Watain, expertly igniting breaths of evil that dance around the instrumental inferno. The conflagration continues with second track “Cosmic Storm.” A tornado of guitars touches down with an icy, elongated growl ahead of chunky riffs that stagger down the ladder to hell with step-function precision. Next, air raid sirens of strings heighten Morbid’s brief dive into gutturals. Chaos ensues, driven largely by lead guitarist/drummer Insanus’s knack for thundering power chords and intertwined melodic touches, combined with impressively wielded sticks and kicks.

Black Cult refreshingly intermixes songs written entirely in Croatian throughout the album. Title track “Nekropola” (Necropolis) leads a vibrato-laden jaunt around the cemetery ending in a moderately-paced chorus of anguished shrieks and cries emerging from the depths of the graves. On “Likantropija” (Licanthropy), Morbid unleashes unrefined snarls betwixt threatening chants and haunting whispers to complete the unholy metamorphosis. Finally, “Nistavilo” (Nothingness) drops the hammer on the eardrums with hair-trigger drumming from Insanus, matched note for note on bass guitar by Lesarik.

Misanthropic Luciferian Psalm (15:25 - 22:00)
https://www.youtube.com/watch?v=flswXt8lQsg

Standout track “Misanthropic Luciferian Psalm” invokes the same ancient spirit as the infamous Temple of the Black Light itself. Maleficent and prophetic lyrics summon “creatures of night” and “creatures of might” to rise, while brooding melodies lure the listener into the abyss. Extended mid-paced instrumental passages paint an astonishingly apocalyptic soundscape: this is where Black Cult absolutely levitates. As an added bonus, Nekropola includes a cover of the 2003 Hibernum demo track, “Fear Is For Fools.” (Hibernum is the old project of current Black Cult guitarist/drummer Insanus and occasional live Black Cult member Azaghal, who focused on a brilliantly unpolished approach to black metal, just as old masters Darkthrone and Mayhem instructed. In fact, Cold and Worse, the 2003 demo from Hibernum, even included a cover of classic Darkthrone track, “Transylvanian Hunger.”) The modern version of “Fear Is For Fools” is very true to the original in its delicious rawness.

Skillfully multifarious and nefariously willfull, Nekropola is an satisfying coagulation of blood-pumped capillaries and oxygen-starved nerve. Black Cult thrives in layering classic blackened riffs with oddly-rhythmic percussion to create an elaborate body of corporeal glory. Weaving together esoteric themes of misanthropy and modern black metal fury, these Croatians have jolted a powerful black metal Frankenstein to life.

FFO: Watain, Darkthrone, Mayhem, Dark Funeral, Bathory

Label: Spread Evil Productions
Origin: Western Finland

Black metal’s most infamous double-crewed vessel, Hordanes Land, was launched from the southwestern coast of Norway in 1993. It encompassed a handful of songs previously cast on EPs from two relatively unknown groups: Enslaved and Emperor. Less than six months after this exploratory voyage, both bands unleashed debut full-length behemoths that would define decades of black metal to come, and became instant commanders of the genre around the world. Twenty-seven years later and 1000 kilometers to the northeast, Dawning ov the God sets sail, a split venture from Goats of Doom and Sarastus that churns up the same malice and misanthropy exhibited on Hordanes Land, updated for the next generation of Satanists.

Goats of Doom and Sarastus share many similarities upon first glance: both bands hail from Finland (and are less than two hours apart, Nivala to Oulu), have released several full-lengths, and even share vocalists in certain live arenas. The beauty of a split album, however, often lies in that transition zone between the first tracks (in this case, three from Goats of Doom) and the second half of the record (enter Sarastus). With bands of a seemingly similar disposition, like these, these few seconds can illuminate key differences between acts. Where Goats of Doom embodies a fast-tempo, blast-beat-ridden, minor-chord-driven aural assault from hell, Sarastus slows the pace down at times, markedly plays with percussion styles within single tracks, and maintains a higher quality of production value, particularly in the guitar tone.

The most striking discrepancy between bands is in the vocal style and mix: Scaregod, the lead blasphemer, from Goats of Doom unchains raw, asphyxiatingly brutal lyrics that command every track, whereas Sarastus’s preacher, Revenant, releases more refined, traditional black metal growls that backdrop beautifully intertwined guitars and drums. Fans may prefer one style to the other, but, regardless of preference, both are executed with stunning precision and timeless passion.

Goats of Doom blast through the harbor with album opener “Kuljen Pimeydessä,” Finnish for “I Walk in the Darkness.” Torrid minor chords and blistering blasts punctuate initial moments of confusion, before draconian shrieks methodically suck blood from the eardrums. The bloodletting is relentless: the listener is ripped from the clutches of a fiery womb. Finally, slowed guitar licks and dissonant percussion pave a blackened avenue for Scaregod to infuse oozing, low-pitched growls into the boiling tar before it hardens onto the Devil’s driveway. Vocal juxtaposition highlights the middle passages of “Vihan Liekki (The Flame of Wrath).” While still composed of the suffocating sulfuric vapor of Scaregod’s typical style, offsetting shrieks consist of harmonic low-pitched distortion that fiendishly fan the flames of the smoldering riffage.

Standing out among the three Goats of Doom tracks is third song “Kuolleiden Profeetta (The Prophet of the Dead).” With a thundering snare dominating the initial air space, lightning-fast tremelo minor chords scale the stairway to attack the pearly gates before stifling shrieks bash in heaven’s door. Ominous guitar licks set the stage for duel-growled declarations of death: one from Scaregod’s inhuman larynx and the other from the abysmal titular prophet himself. This track is Finnish Black Metal at its absolutely most bleak: brutal, depressive, and e-viscerally satisfying.

Stepping up to the helm for tracks four through six, Sarastus kicks their half off with a funky drum beat opener to “Where Restless Souls Wander.” The percussive pattern continues into seeping mid-tempo riffage exuding haunting overtones, before lead arsonist Revenant spews noxious fumes that linger across the audible graveyard like a thick fog clinging to cover. The drums remain taut and tempered in stark contrast to the wild bleating of the previous tracks from Goats of Doom. Further, Revenant’s vocals are layered into the mix equally with the other instruments, a departure from Scaregod’s shriek-forward approach.

“In the Shadow of the Lord” motors forward next, with searing licks and consistent blasting elevating desperate roars before fading to black. Sludgy, drum-less chords transition this standout track into a new passage, radiating references from Darkthrone and Satyricon‘s heavy black ‘n’ roll days. Frequent pace changes pound the remainder of the track, each executed with the staid expertise of a seasoned blacksmith sharpening a blade. Fast, blast-beat ridden sections discharge the same brutality as Goats of Doom, but with the refined taxidermy of a modern Dark Funeral record. Mid-tempo, riff-forward passages force head-banging submission less escapable than gravity itself. Final track, “Ghosts of Forlorn Woodlands,” takes this crushing power and stirs in evil elixir. Opening power chords flex diabolical strength while bewitching, unorthodox blast-beating hexes the captive listener. Minor licks and impassioned snarls wormhole this majestic track back to 1993, riding the timeless, blackened waves of Scandinavia.

Dawning ov the God
https://www.youtube.com/watch?v=gxYECRd7XCk

Emerging with the raw, aggressive fury of charred black metallers Goats of Doom and closing with Sarastus’s hypnotic ode to mystical nostalgia, Dawning ov the God has something for every budding misanthropist. This EP is an encouraging microcosm of a thriving environment: an unrefined hatred for humanity, instrumental weapons of Satanic destruction, and anti-cosmic melodies of blackened death. Black metal is alive, well, and inciting chaos in Finland.

FFO: Darkthrone, Beherit, Dark Funeral, Gorgoroth