Archive for Extreme Metal

TRIPTYKON and ONE TAIL ONE HEAD comfirmed for Inferno Festival 2012!

Posted in Festival, News with tags , , , on 10th December 2011 by Demolithia

From Celtic Frost ashes, TRIPTYKON and ONE TAIL ONE HEAD (OTOH) of the new Norwegian black metal scene will play this year’s black Easter celebration! They join the INFERNO 2012 line up with BORKANAGAR, ARCTURUS, TSJUDER, AGALLOCH , ANAAL NATHRAKH, SOLSTAFIR, ABSU, WITCHERY, CHURCH OF MISERY, EINHERJER and VESEN.THE INFERNO METAL FESTIVALhas become a true black Easter tradition for metal fans, bands and music industry from all over the world with nearly 50 concerts every year since the start back in 2001. The festival offers exclusive concerts in unique surroundings with some of the best extreme metal bands and experimental artists in the world, from the new and underground to the legendary giants. At INFERNO you meet up with fellow metalheads for four days of head banging, party, black-metal sightseeing and expos, horror films, art exhibitions and all the unholy treats your dark heart desires.THE INFERNO METAL FESTIVAL invites you all to the annual black Easter gathering of metal, gore and extreme in Oslo, Norway from April 4. -7.april 2012. – Four days and a hell of a lot of bands!


TRIPTYKON:

As Celtic Frost had once arisen from Hellhammer’s ashes, so arises Triptykon from Celtic Frost’s ashes.  Created to further evolve the darkness invoked by its immediate precursors, seminal black/-extreme metal pioneers Hellhammer and Celtic Frost, Triptykon evolved from a Celtic Frost side project initiated by Tom Gabriel Fischer (a.k.a. Tom Gabriel Warrior), the group’s singer, guitarist, and main songwriter. Fischer commented: “Triptykon will sound as close to Celtic Frost as is humanly possible.

The band released its debut album Eparistera Daimones in spring 2010. Both music and lyrics so far disclosed by Triptykon reveal a group immersed in themes such as history, occultism, human disintegration, religious fanaticism and nihilism. Extensive touring followed, and the bands live repertoire is evenly divided between Triptykon’s own music and classic Celtic Frost material. We can’t wait! http://triptykon.net/



ONE TAIL ONE HEAD (OTOH)

The most fertile breeding ground for Norwegian Black Metal has for some time now been situated in Nidaros, and One Tail, One Head is probably the most promising act out of this scene. Consisting of members from highly respected bands like Mare and Celestial Bloodshed One Tail, One Head have two acclaimed demos to their name, and have recently released two EPs on norwegian cult label Terratur Possessions.

One Tail, One Head treads it´s own path, though carrying the torch of esoteric tradition detecting elements from many different sources of sound, despite the simplicity of the music, believing in the power to create and manifest visions by their own premises.  All in the name of death itself and the journey towards the endless light.  One Tail, One Head has been spreading it´s violence and intensity across Europe and have gained notoriety through their intense live rituals combining atmosphere, pure energy and aggression. The future of norwegian black metal? No, this is the end. Tornekrans og svovel! http://onetailonehead.wordpress.com/

TICKETS:
Tickets are sold at Billettservice/www.billettservice.no Phone: + 47 815 33 133
Club night    35€, Day pass    70€, Festival pass     180€  www.infernofestival.net

Blackthorn Album Complete

Posted in News with tags , , , , on 20th October 2011 by Nico Solheim-Davidson, the North Sea Poet

Blackthorn

All-female symphonic extreme metal band BLACKTHORN proudly announces that their second album entitled “CODEX ARCHAOS” is ready!

Mixing and mastering for the album were done again by Igor Korolyov at KIV Records. Bloody conceptual artwork by W.Smerdulak.
Tracklisting for Codex Archaos is as follows:

1. ‘Divination In Blood’
2. ‘Vehemence Came As Anodyne’
3. ‘Nemesis Incarnation’
4. ‘Gorgon The Ascendant’
5. ‘Emptysis Kiss’
6. ‘Arria Marcella’
7. ‘Posthumous Passion Ephemera’
8. ‘Dismalediction and the Remedy’
9. ‘Серебряный Ключ’ (Silver Key)
10. ‘Hexshadow Turned To Flesh’
11. ‘Bestial Satan Of Grotesque Beauty’
12. ‘The Fading Ceremony’

The album will be released in Russia this winter via MSR Productions. The band are also looking for a label to release Codex Archaos through in the US and Europe.

Arcane Grail – Arya Marga [2009]

Posted in Review with tags , , , , , , on 12th August 2011 by Nico Solheim-Davidson, the North Sea Poet

Band: Arcane Grail
Album: Arya Marga
Release year: 2009
Genre: Symphonic Black Metal


Russia, once home to the most known communist dictatorship, is fast becoming the home of a an ever growing Extreme Metal scene featuring bands such as Blackthorn, Artania and Arcane Grail. 2009 saw the release of Arcane Grail’s most recent album “Arya Marga”.

The album begins with the self-titled track “Arcane Grail”. The intro is now what would be expected of a black metal band, as the intro is more clean and less aggressive than most tracks classified as track metal. The female vocals are unexpected though when their first part finishes the track transforms into a raging demon. The vocals that follow after sound almost like Nergal’s [Behemoth’s frontman] vocals. The use of double bass pedal adds a certain devilry to the track, whilst the keyboard sections are somewhat gothic in their style and the guitars scream aggression. The female vocals add a new sound to the song overall, though they sound too operatic in sections.

”Of Snake And Raven” begins with a calm, melodic piano medley and strong soprano styled vocals – A tad cliché in terms of the symphonic elements. The guitar sections are heavy and the male vocal parts are raw and aggressive, though the track seems to be more symphonic than metal. “Autumn Wed Us, Sinned And Lone” has a very dramatic and tense symphonic introduction, similar to those of old Nightwish. The guitar riffs are more akin to progressive and power metal as opposed to black metal. The female vocals make another appearance alongside the harsher, more raw male vocals. The keyboard medleys and riffs add a very Gothic-like element to the song, whilst the male vocals add a very death metal sound.

“Renaissant The Reverie” has a very thrash-black metal sound to begin with, mixed with the dramatic symphonic sounds. The vocals are like the demonic wailings of a banshee whilst the female vocals add a very Heavenly touch to the song. The drum riffs are precise to the beat, almost like a machine in their playing. The symphonic elements are very dominant as well with a heavy use of guitars as well. The sorrowful piano beginning of “Sorrow Of Forgotten Pride” follows after. The piano medley does much to create atmosphere. Clean male vocals and soft acoustic guitar riffs follow after, carrying on the solemn sound of the song. The female vocals work magically alongside the clean, male vocals. The track does turn heavy and there’s a use of flutes as well which adds a very mystifying effect to the music. The harsher vocals are featured towards the end, adding a very aggressive touch to the song.

“Imprisoned In The Greatest War” has a very interesting introduction, being composed of the sound of soldiers marching and a military drumroll. The track turns heavy after the sound of a bomb exploding. The riffs have a more black metal sound, combined with the grim screams. The symphonic sections seem to be drowned out by the guitars, drums and vocals – To as whether this is a good thing or a bad thing is something for the listener to decide. “Die Sonnenhymne”, put bluntly, is a buzzkill if the listener if expecting more Russian brutality as the track is composed only of soprano vocals singing in Russian.

“Iniquitous Yoke” brings the brutality and aggressiveness back in full blitzkrieg-like force beginning with a beastly guitar section and demonic vocals. The keyboard sections are astounding and the operatic vocals add a very dramatic touch to the song. The album finishes with “Svyatoy Graal’”. The intro is slower and cleaner than expected and there seems to be a slight more emphasis on the female vocals than the previous track. However the track does take a dangerously violent twist and become more bloodthirsty and rage-fuelled. The track does switch between calm and angry however and there is a wonderful section with a voiceover in what sounds to be Russian.

Though the album seems incorrectly labelled as “symphonic black metal”, Arya Marga has plenty of brutal riffs and brilliant symphonic sections to keep the listener entertained. Arya Marga is a sure sign that many great things will be coming from both Arcane Grail and the Russian Metal Scene.

4/5

Nico Davidson

Adamus Exul – Death, Paint A Vision [2010]

Posted in Review with tags , , , , , , , , , , , , , , on 24th July 2011 by Nico Solheim-Davidson, the North Sea Poet

Band: Adamus Exul
Album: Death Paint A Vision
Release year: 2010
Genre: Black Metal

Australia is a typical tourist destination due to it’s wonderful sights and hot weather – Too hot for frostbitten music like black metal one would think, however, this is not the case because in the shadows of Australia’s tourist destinations lies an ever brutal, ever frostbitten, ever extreme black metal scene and at the heart of that scene are Adamus Exul.

The first track of “Death, Paint A Vision” is called “Dreams Of Desolation”. Even at a low volume, the listener’s ears are savagely assaulted by a great mix of guitars and double bass pedals. The vocals are strong, raw and beasty – As is to be expected of any black metal band. Interestingly, there are some slightly melodic sections which keeps the track entertaining. The drums are precise, almost machine-like though still barbaric and face-smashingly heavy.

”Ruins Of Zion” mixes melody with sheer aggression in its introduction whilst the rest of the track seems to favour straight forward brutality over melody, though this is not a bad thing for fans of no-holds-barred black metal. The use of a speech over is certainly unexpected but fits in well with the theme of the song. The vocal section that follows sounds very much like Dimmu Borgir and a casual listener to black metal would certainly make the mistake of believing it to be Shagarth. Another interesting section of this track is the short section that sounds very much like a breakdown of some sort.

The title track, “Death, Paint A Vision” favours a melodic yet bone smashing approach at the beginning. The drums add to the savagery of the track, whilst the vocals help it sound more beastly. Whilst the title of the track is somewhat poetic and intelligent, the track itself is the complete opposite, bombarding the listener with bloodthirsty riffs and demonic-like vocals. “Death, Paint A Vision” is very much like an old-skool Gorgoroth track in sections due to the fast tempos and sheer aggressive brutality. “In Absentia” is the half way point of the album and the interlude. Shockingly, “In Absentia” is acoustic though the acoustic guitar is a welcome change for those tired of orchestrated interludes.

“Echoes Of Self Destruction” tears its way through the album next, beginning with a frightening and hellish introduction of pounding guitars and drums. The vocals are more aggressive and unholy-sounding as well, mixing well with the demonic essence of the track. Though “Echoes Of Self Destruction”, there are small sections of melodic guitar licks every now and then which do keep the track interesting. The use of acoustic guitar returns as well, adding a certain calmness to the hurricane-like force of black metal, though this calm doesn’t long before the hurricane returns. “Abhorrent Euchrist” changes the style of the album a bit, bring a more melodic use to the album, which is both weird and refreshing. Even the vocals have changed, sounding more raspy, to fit in with the melodic stylings of the track. Drums still sound good despite becoming somewhat lighter for this track and the guitars seem to have less distortion. Fortunately for those who prefer black metal screams over raspy vocals, the screams make a triumphant return towards the end of “Abohorrent Euchrist”.

The final piece of the album is the song “Ashes” which like the previous song, begins melodically. However, “Ashes” brings back the raw aggression and savagery found on the rest of the album. The sound on this track seems to be more raw and barbaric with everything sounding like they have more punch. Interestingly, the acoustic guitar, once again, returns but combined with some majorly angry growls, making for a strange yet brilliantly created sound. Unfortunately, the sound doesn’t last for long. A military styled drum roll also makes an appearance, working well alongside the raw guitar riffs.

Adamus Exul bring a new sound to black metal with “Death, Paint A Vision” whilst sticking to an old skool Norwegian black metal sound as well. Most of the tracks are reminiscent of the early black metal scene in Norway while containing a fresh feel. Adamus Exul are certainly a band to keep an ear out for because they could be dominating more than Australian metal scene soon enough.

4/5

Nico Davidson