Blood of the Wolf - The Declaration of War Eternal

http://www.secret-face.com/

#FOR FANS OF: Black/Death

A more death metal oriented approach this time around opposed to their last few releases. Definitely quality metal the whole way through! Vocals going good with the guitars. The axes are a good "crunch" tone to them hence the blackened death metal sound. Another likeable album for sure. Their songwriting is definitely still top notch. This album clocks in about 40 minutes. All the songs are likable. I especially like the harmonies it makes it more melodic sounding. Mike's vocals still low sounding which is prevalent on their previous releases as well! He's still maintaining the creative vents on the guitar.

The tempos vary some fast and furious and others a little more laid back. In any case, it was a quite diverse release. The energy is all there and the rhythms are impeccable. Mike is great at songwriting, Frank solid on the lead guitar and melodies. Overall, a great lineup not to mention compositions! These guys refuse to let up and just so you know, Christopher Grimes (Withering Soul) is on bass duties. This album could've been a little better produced which is why I took off some points. The music is what counts though and I thought this one a good one to crank up because it's so catchy!

The first few albums they were developing their own sound. As a Chicago band, they have a solid fan base. Other than BOTW, Cianide, Cardiac Arrest, Molder, Withering Soul are just some pretty admirable extreme acts. The scene is growing though and these guys are well versed! One of the most consistent old school Chicago acts are Cardiac Arrest. Koniglio started pretty early too with Rellik. Now, a defunct band these members have ventured into other bands BOTW being one of them.The overall aura to the band is a bit eerie hence their influences to the likes of Marduk and earlier Immortal.

I had to pre-order this because I was curious about the sound of this one. The sound is good, just like I said the production quality was a little sub-par. But the music is superb. These guys can go on for years! The energy is all there and the creativity as well! I like how they are more death metal focused on the songwriting approach, it turned out great! You can stream this, but show the band support by getting a physical copy of this one! It's well worth it. Even myself a veteran in music, I still think the sound quality is better with CD's as opposed to digital. Check this one out! (Death8699)

(Horror Pain Gore Death Productions - 2022)
Score: 74

https://hpgd.bandcamp.com/album/iv-the-declaration-of-war-eternal

Wizrd - Seasons

#PER CHI AMA: Psych Prog Rock

Ho visto molto movimento nei giorni scorsi riguardo all'uscita di questo album, tanta attività pubblicitaria nei social, e devo dire che in effetti questo lavoro merita davvero una grossa esposizione, anche perchè, esce per la Karisma Records, non una label qualsiasi infatti, visto lo standard qualitativo delle band di questa etichetta decisamente indiscutibile. Poi, a dirla tutta, il quartetto norvegese non si è certo limitato a fare il solito album di rock progressivo, ha mischiato infatti le carte di questo difficile genere, l'ha studiato per bene, e l'ha servito in una veste moderna, con una registrazione che rievoca il vintage style dei '70s ma che gode di suoni caldi e profondi e una freschezza di suoni tutta nuova, con un'ottima produzione che soddisferà anche gli audiofili più accaniti. Freschi di accademia, la giovane band di Oslo, si fa carico del verbo espresso soprattutto nelle gesta di maestri come gli Yes, ed in particolare le più evidenti somiglianze stilistiche si ritrovano con l'album 'Fragile', della band inglese. Gli Wizrd hanno capacità tecniche notevoli, lo si nota fin dalla traccia d'apertura "Lessons", ed il brano "Free Will" si fa ottimo portavoce della bravura compositiva ed esecutiva dei nostri. Sezione ritmica pulsante, sofisticata e complessa, che non si placa mai, che sfodera parti melodiche e ritmiche accattivanti e piene di fantasia creativa, morbida psichedelia e schegge impazzite di Canterbury sound, un'ottima esecuzione, orecchiabilità e virtuosismo dosati a dovere, per un brano che da solo vale tutto il disco. In realtà, il cd pende per la prima metà verso un prog rock molto tecnico, tirato e impetuoso per poi progressivamente rallentare nella seconda parte, virando verso una psichedelia più morbida, e senza mai dimenticare il tecnicismo, ci ritroviamo nelle terre più tenui e allucinate di un sound più fine anni sessanta, un power flower evoluto e intrecciato con variazioni più free rock e jazz rock ("Show Me What You Got"). Un'opera lunga, variegata, come la sua copertina, fantasiosa e colorata, un moniker magico per musicisti fantastici, cori e suoni di un tempo rivisitati benissimo, virtuosismi e un'energia sonica, anche nel cantato, che mi ricorda stranamente, certi lavori più stravaganti dei Motorpsycho. Un disco che vale proprio la pena ascoltare, avere, custodire. E se questo è l'album di debutto, bisogna proprio ammettere che per questa giovane band si mostrano solo grandi prospettive all'orizzonte. Ascoltare per credere. (Bob Stoner)

(Karisma Records - 2022)
Voto: 83

https://wizrd.bandcamp.com/album/seasons

The Wild Century - Organic

#PER CHI AMA: Psych Rock

Con questo album, uscito per la Tonzonen Records, la band olandese osa valicare il confine che delimita l'ispirazione presa in prestito da un genere e il rischio di imitazione delle sue opere sonore, perchè per ogni nota che scorre in questo nuovo lavoro dei The Wild Century, troviamo un legame pesante per composizione, stile e sonorità con qualche brano famoso degli ultimi 50 anni della storia del rock psichedelico. Metto subito in chiaro che il combo riprende le citate sonorità talmente bene, che non si può parlare di imitazione, tanto meno di plagio, semmai di forsennata ispirazione presa a prestito, ed è un ascolto divertentissimo quello di 'Organic', un ascolto che in un qualche modo ci permette di ristabilire contatti con un mondo che magari avevamo dimenticato o, nel peggiore delle ipotesi, mai approfondito. Quest'ottimo album quindi vi fornirà un compendio di rimandi musicali talmente esaustiva da farvi esclamare a gran voce che i The Wild Century, pur non essendo innovativi o puramente originali, rimangono un'ottima, moderna, retro rock band con i fiocchi, che ricordano tante altre realtà della scena che fu ma che alla fine risultano, nel loro circolo vizioso di suoni, interessanti e belli da sentire. Straordinaria la scelta dei suoni vintage di quest'opera, che sembra provenire direttamente dai '70s e che ricalca fin troppo i beniamini di quell'epoca. Si parte con la cavalcata psych di "Lowdown Dog", che solca le orme dei Velvet Underground con un effetto vocale alla Hawkind per approdare ad "Oh Yeah", dove il wah wah della chitarra iniziale evoca spudoratamente "Woodoo Child" del grande Hendrix, con un tiro garage che si sposta tra fuzzstones e certi ritmi cari a 'Second Coming' degli Stone Roses, con un organo in primo piano da brivido. "Carry On" rallenta la spinta, e tra gli accennati deserti sonici alla "The End" dei The Doors o una vaga similitudine ad un brano di un Bob Dylan d'annata, ci culla verso lidi vicini ai Mother Superior di "Save my Soul" (da 'The Mothership Movement' del 1998) ed una lunga coda finale carica di venature progressive e psichedeliche in sintonia con i primi Deep Purple. Il sitar e tanta psichedelia ipnotica, accompagnano poi l'evoluzione cosmica di "Beautiful Queen" che sembra cantata dallo spettro di Mick Farren. "Grey Blue Eyes" è una ballata super psych che richiama le origini della band forse mostravano molta più originalità e uno stile decisamente meno derivativo, ma con un taglio meno professionale sotto certi aspetti sonori, e più underground. Gli assoli di "Mother's Grace" a metà e in chiusura del brano, sono delle chicche, anche se la song, a tratti, non nasconde affinità con il mood di "Nights in White Satin" dei The Moody Blues. Per concludere, devo spezzare una lancia a favore di quest'album tanto derivativo quanto indovinato, ben curato e ricercato, per una band che si può tranquillamente accostare ai magici e mai dimenticati On Trial, quanto ai tanti gruppi menzionati sopra, aggiungendo anche i Baby Woodrose, 13th Floor Elevators, i Kula Shaker e tutti quelli che trovano posto nell'immaginario sonoro di questo particolare secolo selvaggio. L'ascolto ne vale proprio la pena, il viaggio culturale e cosmico sono assicurati. (Bob Stoner)

(Tonzonen Records/Soulfood Music - 2022)
Voto: 75

https://thewildcentury.bandcamp.com/album/organic-2

Carcass - Necroticism - Descanting the Insalubrious

BACK IN TIME:
http://www.secret-face.com/

#FOR FANS OF: Techno Death

Carcass puts forward possibly the best LP in their career here. With an all-star lineup featuring Michael Amott (Arch Enemy) and Bill Steer (ex-Napalm Death). The melodies are phenomenal and noteworthy. The production was better than their last LP before this one ('Symphonies of Sickness') and 'Reek of Putrefaction' of course. The guitars are probably the best part of this album! Between Amott and Steer trading off leads, Walker's unique vocals (with trade-offs) and Owen on drums, this here might be one of the best albums in the whole history of the band (as stated just prior to this).

The guitars sound like (to other guitarists) to be tuned to B which makes them heavy and thick. There are faster tempos on here but not too fast. Not like the grindcore days. But still, the tempos are all over the place. This makes the album more diverse. Nothing about this album do I dislike. It's totally "dead on balls accurate." It was another great performance by Ken Owen on drums which his fate gone awry. It's rumored that he still did pay homage to Carcass in the later years by attending celebrations on live performances but not actually performing in gigs ever since he had a brain hemorrhage which landed him in the hospital for 10 months and sadly he can't play any longer.

The riffs on here are totally unique and melodic, but I'd still say they're within the death metal category though it does sound a lot like melodic death metal because of the unique riffs that are in a way blues-based. I've always liked Walker's vocals I think he has a lot to offer in the band. He still pretty much sounds the same till this day. Maybe a little more aggressive in the earlier age but this was 30 years ago. So he might've lost a little bit of fire on vocals ('Surgical Steel') but still he's belting out unique throat despite the getting up there in age. He's probably been known to have one of the most unique and likeable vocals in death metal. That is my honest opinion.

It's definitely a close call between this one and 'Heartwork', though they letup on some of the heaviness on that album but it's more melodic based. Those two are my absolute favorites from the band. If you don't have then, then you should. Let's hope Carcass has more to offer now that they're older and only two of the original members remain (Jeff Walker and Bill Steer). In any event, these old ones are still precious to play and for me own. I don't think there's a Carcass album that I dislike, I even liked 'Swansong', which was quite different and less heavy then all of their albums. Of course missing Michael Amott as well. Check this one out! (Death8699)

(Earache Records - 1991)
Score: 90

https://carcass.bandcamp.com/album/necroticism-descanting-the-insalubrious-full-dynamic-range-edition

Houle - S/t

#PER CHI AMA: Epic Black, Windir

New sensation da Parigi? Il quintetto di oggi risponde al nome Houle e arriva sulla scena con questo EP omonimo di debutto che segna la prima pietra miliare per la discografia dei nostri. Quattro pezzi black che sembrano pescare a piene mani dal black scandinavo con un sound tagliente ma altrettanto melodico. Il suono dei gabbiani apre l'iniziale "Le Continent", una traccia che parte in sordina, con un paio di giri di sei corde quasi a voler prendere confidenza con noi. Poi un'esplosione di chitarre epiche e sferzanti e quella voce graffiante della vocalist Adèle Adsa (alias Adsagsona) dotata di un piglio scream davvero notevole. Le chitarre scivolano via crudeli ma tutta la mia attenzione rimane focalizzata sull'ottima performance della frontwoman parigina che nel corso del brano avrà modo di palesare anche il suo cantato pulito e in growl. Il sound non sembra, almeno apparentemente, granchè originale, a parte essere ben suonato e coinvolgermi quanto basta per non indurmi a skippare al pezzo successivo. Il finale però è travolgente, tra cambi di tempo e di tonalità vocali, cosi come pure ci sta alla grande quel fantastico assolo conclusivo, scuola Windir, che accresce la mia curiosità verso i cinque musicisti. L'attenzione è catturata ora del tutto. Mi soffermo sui suoni delle onde che introducono "Au Loin la Tempête", e sulla forza d'urto a cui ci sottopongono i nostri subito dopo, cosi come pure alla stravaganza di suoni e soprattutto voci che mi fanno prendere le distanze da quel concetto di originalità espresso pco più in alto sugli Houle. La band ha buonissime idee e riesce qui a convogliarle in una direzione musicale più vicina a certi suoni di depressive black, coniugati ad un'epica componente che sembra costituire il marchio di fabbrica del combo transalpino. Sono sempre più curioso e la lunga "La Dernière Traversée" (il concept del disco è marino, se non fosse stato abbastanza chiaro) non fa altro che confermare le mie attese grazie ad una lunga intro di basso (una specie di "My Friend of Misery" dei Metallica) al quale farà seguito una devastante tempesta sonora tra le cui note si metterà nuovamente in mostra la teatralità insita nella voce di Adsagsona, vero punto di forza dell'act francese, in un brano dai lineamenti melo-black dei migliori interpreti della scena. Il brano si muoverà ancora tra chiaroscuri eleganti, break strumentali e splendide fughe chitarristiche che innalzano ulteriormente il livello qualitativo espresso dagli Houle. In chiusura, la belligerante "Sous l'Astre Noir" con il suo tremolo picking ad accompagnare la voce dell'ottima vocalist, sancisce verosimilmente che una nuova bestia oscura è pronta a prendersi la scena. A questo punto, confido di sentirne delle belle in futur non troppo lontano. (Francesco Scarci)

(LADLO Productions - 2022)
Voto: 78

https://ladlo.bandcamp.com/album/houle

Darkened Nocturn Slaughtercult - A Pest Called Humanity

BACK IN TIME: recensione gentilmente concessa da Nihil Zine 

#PER CHI AMA: Black Metal, Setherial

Non avevo mai ascoltato vocals così aggressive da parte di una cantante donna! Credetemi, Yvonne Onielar dev'essere un bel tipo per tirar fuori una performance vocale così furibonda dal proprio cuore. Qui non c'è spazio per parti depressive, ma solo per un odio incondizionato nei confronti dell'umanità. Le canzoni mi ricordano quelle di Thy Infernal, a volte i Marduk, e ancora i Zyklon-B, ma con vocalizzi più estremi. "Saldor" contiene parti semi-acustiche con un certo mood melanconico, ma le altre, e specialmente "Centuries of Mine", sono impregnate di furia barbarica, la stessa che potrebbe esprimere un'orda di iconoclasti assettati di sangue, impegnati a devastare il tempio di Dio. La scena black metal ha bisogno di bands estreme e rabbiose come i Darkened Nocturn Slaughtercult.

(Self/Master of Kaos Productions - 1999/2022)
Voto: 68

https://www.facebook.com/D.N.Slaughtercultofficial/

Newspaperflyhunting - Time Regained

#PER CHI AMA: Space Prog Rock

Quinto album per i polacchi Newspaperflyhunting, band che abbiamo già incontrato in occasione della recensione di un paio di loro album in passato. Particolarmente bistrattati dal sottoscritto peraltro, ritrovo il quartetto originario di Białystok con questo nuovo 'Time Regained' e il loro classico concentrato di sonorità all'insegna di un prog/post/space rock. Cinque i brani questa volta a disposizione dei nostri che aprono con "No Hard Feelings"e un sound che oserei dire vellutato, complice una musicalità malinconica e raffinata, con tanto di voce femminile a duettare con il buon Michał Pawłowsk, un duo che in passato non avevo trattato troppo bene. Diciamo che la performance del frontman polacco continua ad essere deficitaria, e a salvare la baracca ci pensa invece la prestazione del collettivo, musicalmente ottimamente preparato ed educato nella propria proposta prog rock. La seconda "One Minute" inizia in modo più arrogante con delle chitarre più roboanti ma dopo poco, il sound muta grazie all'ingresso della voce maschile. Rimane quell'approccio tipico malinconico della band polacca, pur sostenuto da un rifferama ritmato e da un bell'assolo di chitarra nella seconda metà del brano. Rimane lacunosa la prova vocale, mi spiace sottolinearlo, ma io cercherei una soluzione alternativa per dare più lustro alla proposta del combo. Con "Everything's Fine" i nostri riprendono a sfiorare i loro strumenti con una certa delicatezza anche se verso il terzo minuto irrompe la voce del vocalist, qui più convincente, e contestualmente, anche la musica acquisisce in aggressività, pur non rinunciando ad un certo sperimentalismo affidato ai synth che spezzano la mole di riff costruita dai quattro musicisti. E lo fanno con grande efficacia. Finalmente. Si arriva ad "Hallways" e agli arpeggi di chitarra che accompagnano la voce di Gosia in un pezzo che potrebbe suonare più come una ninna nanna che altro, anche se la sua progressione sembra (solo apparentemente) alzare i giri del motore verso il finale. In realtà, la traccia si mantiene piuttosto statica e poco incisiva. A cambiare l'esito del disco arriva la conclusiva "Another Island" e i suoi 12 minuti di soffuse sonorità space prog rock che ridanno un pizzico di energia (ma solo dopo il quarto minuto) ad un lavoro che sembrava essersi spento già dopo i primi tre brani. Il pezzo conferma comunque l'approccio onirico della band in un lungo break strumentale che denota quanto di buono racchiudono i Newspaperflyhunting nelle loro note. (Francesco Scarci)

(Self - 2022)
Voto: 70

https://newspaperflyhunting.bandcamp.com/album/time-regained 

The Pit Tips

Francesco Scarci

Dreadnought - The Endless
Severoth - When the Night Falls
Katharos XIII - Chthonian Transmissions

---
Death8699

Crypta - Echoes of the Soul
Perdition Temple - Merciless Upheaval
Usurper - Cryptobeast

---
Alain González Artola

Watain - The Agony & Ecstasy Of Watain
Moonlight Sorcery - Piercing Through The Frozen Eternity
Corpsegrinder - Corpsegrinder

Incantvm - Strigae

#FOR FANS OF: Black/Doom

From Italy a quite special project comes under the leadership of the clarinetist Vittorio Sabelli, a former member of the band Dawn of A Dark Age, who has recruited some very talented musicians to help him in his new musical voyage. More than 10 musicians have taken part to record ‘Strigae’, the first effort of this interesting and undeniably original project.

The concept behind the music is also something worthy, as the album is based on witch hunt and summary trials that took place during the past centuries, and that which sadly led to the sentence of hundreds of innocent women. Musically speaking, it is quite hard to define Incantvm’s music, although the term theatrical might be a good definition for that, as the different arrangements and expressive nature of the music itself has a lot in common with a theatrical performance. 'Strigae' is, in any case, strongly tied to the extreme metal scene, as its obvious metal influences come from the black and doom metal genres, but also has a clear progressive nature if you pay attention on how the compositions are structured. The generous length of the three actual songs (as the first and last ones are the intro/outro of the album) gives the necessary room to introduce quite varied influences and changing structures. "Il Cerchio e il Fuoco" opens the album with its ever-changing structure and pace, where we can enjoy Tenebra’s super high-pitched shrieks, which for sure could remind us of the scream of an actual witch. The pace has its ups and downs with a great combination of raspy guitars and plenty of arrangements which enrich the music a lot. There is also a room for calm sections where the progressive and most non-metal influences reign, with the tasteful pianos, clarinets and several other classic instruments which mark an abrupt contrast with the heaviest sections of the song. As aforementioned, this album is like a baroque and theatrical act and the music is the perfect portrayal of this concept. The narrative voice of Nequam serves as the director of the most experimental sections as reinforces the feeling of experiencing an actual performance in its broadest sense. "Lamie" has a clear progressive evolution in its structure as it begins with a doomish pace, and it gains some intensity with the track progression, even though it always has a changeable pace and unexpected changes in the style and intensity, which are a tangible proof of the great work behind this album. The always relevant and tasteful arrangements done by the mastermind Vittorio, shows how he has tried to introduce several non-metal influences in an actual metal album, trying to forge and album free of stylistic restrictions. The narrative voices and introduction of several instruments may not appeal every metal fan but it makes 'Strigae' a compelling work that requires an open mind and several listens.

In conclusion, 'Strigae' is a remarkably interesting and enjoyable album. Its very personal mixture of black and doom metal influences, and the generous use of classic instruments make it a complex, demanding yet a very satisfactory album. From my point of view, this effort should please every music fan who demands both originally and quality. (Alain González Artola)

(I, Voidhanger Records - 2022)
Score: 80

https://i-voidhangerrecords.bandcamp.com/album/strigae

Perdition Temple - Merciless Upheaval

http://www.secret-face.com/

#FOR FANS OF: Brutal Death Metal

Who can hear this and not want to write a bit about it? It has balls-out intensity. Gene from Angelcorpse that led the way for that band. He smokes on here with a somewhat raw production sound but good death/black metal. I've found the whole album to be interesting in terms of the sound and Gene's vocals slay! This is sort of a modern Angelcorpse if there was one. I don't hear any mistakes or forced vocals. Everything seems to be in tandem with everything else. These guys have some balls-out intensity. And the lead guitar is wicked as is, no need to change that as well.

It's weird though that it's four original songs and four cover songs. They were all well played out. The vocals go well with the guitar. These guys seem to progress on each succeeding release. And the sound is wicked, I love this type of production. It has you keyed into every song. Fast and furious yet instances of mild playing, but not much. They are fierce with these songs and impeccable covers. I especially like "Blood On My Hands" from Morbid Angel's 'Covenant' album. It was immaculate! Sounded just like the original. Their own songs too sound really amazing. Sucks that this album is only 33+ minutes.

Like I said about the sound quality, it's great! The production is justifiable. They don't fall short of the game of immaculate musicianship. These guys have stayed around and Gene post Angelcorpse. From my understanding, these guys are in multiple bands. Gene is pretty cool as a person and seems to respect his fans the way his fans respect the band. He returns messages not that they're musicians with much idle time but he reached out which was surprising. This raises my respect for the band. And I do my best to make sure that these underground bands get the press that they so deserve.

I bought this album on CD from Hells Headbangers. But you can find it streaming. What an onslaught! These guys know what the hell their doing and it shows on the outcome of this LP. They really sound great but not overly polished. A release to chalk up another in the Perdition Temple discography. But they need a bigger fan-base. I'm sure death/black or just metal fans can appreciate this. The guitars and vocals are my favorite parts of the album. They just annihilated this time around, yet again! I really hope that they have a long life to this band. They have so much talent and resilience. Check them out! (Death8699)

(Hells Headbangers Records - 2022)
Score: 80

https://perditiontemple.bandcamp.com/album/merciless-upheaval

Salem - Collective Demise

BACK IN TIME: recensione gentilmente concessa da Nihil Zine

#PER CHI AMA: Death/Thrash

Da Israele, ecco a voi i Salem, band dedita ad un death metal con influenze thrash, giustificate, anche se non usuali nella loro regione, dal fatto che i nostri esistono fin dal lontano 1985 ed hanno saputo conquistarsi una meritata fama sia in studio, con una discografia molto prolifica, sia dal vivo, supportando molte bands famose quali Megadeth, Entombed e Disharmonic Orchestra. Un buon death-thrash metal dicevamo, ben arrangiato e suonato, sia nelle parti veloci, dove la batteria è sostenuta e ben evidente, sia nei mid-tempos dove le percussioni fanno da sfondo a delle trame di chitarra abbastanza belle, più per quanto riguarda le parti ritmiche che soliste. Anche la voce fa la sua bella figura: urlata e cattiva, anche se a volte sconfina un po’ nelle tonalità hardcore. Ci sono alcuni sprazzi di canzoni in cui si possono sentire anche cori femminili e percussioni arabe tipo darbuka: per fortuna sono minimi. Meritano supporto i Salem. In tanti anni, hanno portato avanti un buon discorso musicale in condizioni talvolta pesanti, riuscendo comunque sempre ad emergere.

(System Shock - 2002)
Voto: 70

https://www.facebook.com/salemofficialpage/

Crypta - Echoes of the Soul

http://www.secret-face.com/

#FOR FANS OF: Death Metal

This is Sonia Anubis's former band now, she's ventured onto Cobra Spell. And what a solid old school death metal sound to this International act featuring Brazilian/Dutch natives. All woman band, these members but out some furious and intense death metal. I've not liked the album initially because of the vocals, but it kind of grew on me. The leads are fantastic too! Not too many points I'd take off due to mediocrity, these women are anything but that! The rhythms are fast and furious. There isn't a song on here that doesn't disappoint. The melodies are good and it's definitely a worthwhile release.

It's actually taken about 5-6 spins to come up with an intelligible content here because there's so many intricate parts to this LP. As I say, I wasn't a fan of the vocals, but it did kind of grow on me. They are unique and I guess I'm so used to standard death metal that I forget that this is a female band so they're going to have their own sound. Sonia kicking ass on lead plus the band writes some creative riffs. I'd have to say that this debut is admirable. I'm hoping that the departure of Sonia will embrace some new talent now on the next LP. They're touring (I believe) and I think that they'll pick up more good ideas to the person who fills Sonia's slot.

Production quality was good, solid and tight. It did the musicians' justice and there really wasn't any parts to this LP that are boring. The energy is all there and the leads were tight as well. I don't think that any of the music was unoriginal. I think it was creatively captivating. And just to know that they're active is positive. The rhythms were solid and the overall songwriting was admirable. However, I don't think that this is higher than a "72" rating. Again, it took a while to get into but as I see they were reaching for their own sound in the death metal arena and did so in achieving that. Much kudos for that!

I purchased this a while ago even though they're on Spotify and Bandcamp. I always say support the band and buy the physical copy but that's up to you. If you want to hear some fresh talent in the arena, Crypta is where it's at! They have so much to offer and have enormous energy! I applaud them for giving their own sound as an International death metal band. Key into the music, not so much of the lyrics as most death metal bands don't sing about very meaningful topics. If you're able to overcome this dilemma, you will most likely be totally into this band. Check 'em out! (Death8699)

(Napalm Records - 2021)
Score: 72

https://www.cryptaofficial.com/

Mysteria Mystica Aeterna - The Temple of Eosphoros

#FOR FANS OF: Black Old School

Formed in 2020, the German Mysteria Mystica Aeterna (what a cool band name), is a duo formed by a couple of quite experienced musicians, Frather Noxathra, who takes the duties for the vocals, strings and keys and Frater Odium Aeternum, who plays the drums. Both have several interesting projects closely tied to the realms of black and death metal, where they demonstrate their unquestionable devotion to extreme metal and talent to explore the different niches of this musical expression. Considering this background, it is not a surprise that only a year after the project’s inception, they released a quite interesting debut entitled 'Into the Kingdom of Shadows'. Both musicians seem to be on a high and only a year later they have forged a new opus that have caught the attention of the always reliable label Iron Bonehead Productions.

'The Temple of Eosphoros' is the name of the beast, and it is an excellent incarnation of how black metal should sound, reaching a perfect equilibrium between rawness, fury and atmosphere. Even though, the album cannot be tagged as atmospheric black metal, the ambience is a very strong and an essential aspect of Mysteria Mystica Aeterna’s musical proposal. The generous use of the keys never overshadows the most metal side of the band’s sound, but it complements and enriches it. Production wise, the work done is excellent, the instruments and vocals can be heard perfectly well, and they are distinguishable, never creating a sound ball where the music can not be appreciated. The guitar sound is really sharp, but clear and this is something I appreciate in this short of bands. The album itself is quite short, which is maybe my only complaint, but on the other hand, this means that it comes to the point with no fillers and forgettable moments. After a short and intriguing dark intro, the album begins with the excellent "The Holy Heaven of Will", where all the core elements of Mysteria Mystica Aeterna appear, rasped vocals accompanied by sharp-edged guitars and sumptuous keys, that create a spellbinding atmosphere. The song gains intensity as it progresses, with some quite fast sections mixed with some mid-tempos, or even slow ones. These ups and downs in the pace are adequately used through the whole album, which makes the songs sound varied and interesting, as it always helps to catch the attention of the listeners. The slowest parts are a highlight because here the atmosphere is particularly hypnotizing. The song "Thou, Whose Mouth is a Flame" combines the same aforementioned elements in a very enjoyable and inspired way. Here again, the keys play a prominent role enhancing the atmospheric side of this composition, as they give a grandiloquent touch to the song. The tempo changes are abrupt and mark a great contrast between the different sections, but they are well-done, and I think, as previously mentioned, this helps to make the songs particularly captivating. The calm and beautiful piano interlude in the second half of the song is probably one of the top moments of the album, it is so effective and beautiful. The song that closes an album is always a key moment as it can leave you with a good or bittersweet taste in your mouth. I can assure you that the band has put some effort to close the album with style, as the long and excellent self-titled track agglutinates all the strong points and characteristics of this opus. The riffing here is top-notch, and it is again excellently combined with the tasteful keys. Once again, the tempo and intensity changes are perfectly executed. This composition has been crafted with dedication and time and the result is just wonderful.

In conclusion, the German duo Mysteria Mystica Aeterna’s sophomore album should be a milestone in their career and the confirmation that this band has a lot to offer. Perfectly balanced black metal with a strong atmosphere, that any fan of the genre should listen to. (Alain González Artola)

(Iron Bonehead Productions - 2022)
Score: 84

https://ironboneheadproductions.bandcamp.com/album/mysteria-mystica-aeterna-the-temple-of-eosphoros

Misanthropic Poetry - Inhaling The Wind Of The Burning Grim Dreams

BACK IN TIME: recensione gentilmente concessa da Nihil Zine

#PER CHI AMA: Black Old School

Alquanto scarna la proposta dei Misanthropic Poetry, band proveniente dalla Russia. Un black metal molto diretto e grezzo che magari sarebbe risultato anche interessante agli amanti più estremi del genere, se non fosse stato per la qualità del suono che è, a dir poco, pessima. La batteria sembra dotata solo di rullante che martella continuamente, le chitarre sono un lievissimo fruscio appena percettibile e su tutto, una voce pallosa che copre ogni cosa, appiattendo ulteriormente il risultato finale che è scarso sotto ogni punto di vista.

(Beverina Productions - 1999)
Voto: 45

https://www.metal-archives.com/bands/Misanthropic_Poetry/