Out now on Russian label Haarbn Productions, today we have Narjahanam and their sophomore release “Wa Ma Khufiya Kana A’atham”. This two man beast of a band hails from Baharain and crafts some seriously atmospheric Middle-Eastern themed Black/Death Metal, rivaling acts like Melechesh and AlNamrood. We are quite impressed with the quality behind this this release and how it engages the listener with its lush atmospheric undertones.
Building a very dramatic momentum with the opener album titled track, they set a very mysterious shroud around this whole release thanks to their atmospheric arrangements. Quickly establishing their band’s power, Mardus and Busca, craft very melodic tracks like “Kahf Al Khulood” and “Qudoom Al Sultan” keeping the listener engaged while still processing their unique sound.
Today we have one man band Sick’s Agony from Italy, and ‘their’ debut full-length release “Towards My Places”. Playing a very mournful flavor of Death/Doom Metal, this outfit delivers nearly one hour of highly melancholic music that draws similarities to bands like Forest of Shadows and Inborn Suffering.
Opening with the slowly demoralizing “Obsessive Paranoia”, we are treated to very traditional slowly paced Doom riffs with sparse growls, just like the doctor ordered. Not moving away much from the initial tempo of this album, the 15-minute piece “The End of Dreams” continues down a path of despair with excellent guitar arrangements and the addition of clean vocals into the mix. This first ‘half’ of the release shows in two songs that Sick’s Agony pays tribute to old-school Death/Doom bands while managing to add their own brand into the mix.
After reviewing tons of Black and Death Metal, we are eager to get some different styles of music in our system. Today our wish was granted with France’s Industrial/Electro Metal outfit Calling of Lorme and their extremely catchy release “Pygmalion”. Filled with catchy tunes gracefully adorned by electronic elements and rhythmical distorted guitars, this release will keep listeners engaged for over 45 minutes.
Very important to these types of releases is that the opener catches your attention since the first minute, and with “Layman” the band delivers a hypnotic set of beats that pull you into their world. The heavy emphasis on the atmospheric elements makes tracks like “Lore” and “Pygmalion” quite engaging and transport the listener to post-apocalyptic worlds that the band constructs with their colorful lyrics.
Hailing from France, today we have Deficiency, a very promising young band that plays a mean modern sounding Thrash Metal. Presenting us with ten superb tracks, this band showcases that not everybody is just trying to copy what old-school Thrash Metal bands have did in the past. Giving us a certain flair of bands like Mercenary, EverEve (sans the experimental craziness), etc., this is a very entertaining album that will not get dull at any point.
Blasting away instantly with the album title opening track, the band showcases vicious riffing and versatile vocals. Not settling for your typical Thrash style, the band throws some growls into the mix. As “Unleashed” and “A Prospect of Traveling Beyond” unfolds, the band clearly showcases their unique signature into the music with emphasis on epic vocal sections and incisive riffs. For those of us that enjoy dark and melodic songs, “Those Who Behold” is one hell of a track with lush drumming and the perfect tempo to make it quite memorable.
Delivering 46 minutes of ravishing Black Metal, Ukarine’s Kasophia will blow you away with their brutal debut “The Origins of Extinction”. Filled with oppressive riffs and brutal drums, this release delivers hate-filled onslaught of crushing Black Metal that no fan of the genre will want to miss.
Wasting no time in making their presence heard, “March of the Antichrist’s Soldiers” delivers intense tremolo picking and ghoulish vocals. Being a mixture of Pest and Abbath, the vocals in this release is quite authentic and perfectly fitting for the fury behind the music. The band also specializes in creating decadent atmospheric songs like the chilling “Cotard Delusion” and “Rituale Romanum”, filled with incisive guitars and hypnotic tempos.
Playful Thrash/Crossover Canadian mongers deliver their debut EP release titled “U.F.NO!”. Featuring five tracks full of attitude and catchy riffing, Chemical Way is ready to compete with bands like Municipal Waste and Suicidal Tendencies for the Thrash/Crossover crown.
Taking us back in time to the early 90’s with its riffing, “E.H.P.S.C.A” blows things wide open with a furious pace and intense drumming. In terms of production, we can only wish that albums back in the day sounded as good as this one, since we can fully appreciate every little cymbal and the imperfections in some of the vocals. Keeping the retro vibe alive, “You’re Erased!” delivers a playful movie intro and a very chaotic song structure.
Arriving from Italy, today we have a very odd and beautifully disturbing release titled “The Dross Play Vol.1” by Culls. In this five-song release, we get a very interesting mixture of ambient and noise with a few hints of drone elements. While most releases of this genre drag songs along for 10-20 minutes, Culls delivers short and concise assaults that will elevate your conscious levels to new heights.
Opening with the incisive “Scott 1912”, the dissonant noise elements perfectly blend with the trippy atmospherics and the spoken word samples to create a very tense and chaotic feeling. With a very apt title, “Spiral Staircase” delivers a very hypnotic droning dirge that feels like walking on an endless staircase. Quite interesting indeed how Culls, manipulates their elements to create very unique and engaging soundscapes.
As one of the most unique and random releases every to arrive at Infernal Masquerade, today we have Zā Lä Thü and their 2013 demo “77+ (7+7)/7 +77=156”. In this 3-song release, this two person outfit delivers a very chaotic and unique release that combines Industrial elements with a few Gothic Metal touches.
Opening with some intoxicating Industrial/Electronic elements, “Hail Hail Babalon” has a unique modern ritualistic feeling. The synths and percussions have a certain Middle Eastern flair and are greatly complemented by hypnotic female vocals. As the song progresses, heavy riffing makes its way into the mix. This perfectly blends into the second track “Flame of Torture”, which has a heavier/Industrial vibe to it. The riffing is catchy and never diverges from an engaging loop, allowing the vocals to nicely shine.
Arriving from Italy, today we have Manach Seherath and their excellent self-titled demo. Featuring three tracks of brilliantly composed Symphonic/Melodic Heavy Metal this release will surely blow you away by the excellent composition skills behind the songs. While the production is not up to par with the quality of the music, the band does a great job in delivering 16 minutes of epic music that will grab your attention in an instant.
Opening with “Arti Manthano”, the band showcases their melodic/symphonic chops instantly with a very well-crafted first impression. The only (and biggest) issue with this demo is the very poor production behind it, the drums sound completely wobbly and greatly take away from the desired effect of the band’s music. The keyboard structures are pretty solid but need some work in terms of the production (and maybe using better equipment), but they are still a vital component of the sound of the band.
Arriving from France, today we have Sludge/Stoner Metal band Colossus of Destiny and their debut full-length “In Lesser Brightness”. Featuring a barrage of crushing riffs divided into 6 neck snapping tracks, France is greatly stepping up their game in terms of bands and this is one of the better ones.
Opening the album we have the expansive “Dismay in Empty Eyer”, clocking in at 7 minutes this song features a wide variety of movement and greatly shows the band’s composition skills. Layering their Sludge/Stoner elements with some Neurosis-like Post-Metal antics, the band nicely keeps things fresh and interesting on tracks like “Unleashed” and “Get Lost”. While considerably shorter than the first song, they greatly develop the band’s sound.