Chaos Moon’s final plan to provide the soundtrack to a failing world with “Eschaton Mémoire.”

Chaos Moon is a band that for those that are perverse and who follow and dwell in the void below SHOULD know by now. If not at the very least have at least some knowledge about. And that’s based on primarily on the key players in the band who have their filth spread and soiled various spots in said underground void. Two of which being Guitarist Alex Poole (Esoterica/Skaphe/Krieg/Lithome/Martrod) and vocalist Eric Baker (Conqubine/Mantheren). We’ll get more onto these two primary musicians in the band later. But for now let’s focus on WHY Chaos Moon is and should be very important for all maniacs of all shades of the absence of light.

First the title of the album “Eschaton Memoire,” can be dissected into many different meanings. Here’s my two cents and personal interpretation: The perspective that this album gives is all summed up with the concept of “the end’. The final omega. The conclusion. Does this mean the band itself will witness it’s own demise? Not at all. If anything it’s the acceptance and embracing of the nothingness and the lack of it substance and form it contains. Only in that spot does the band and possibly listeners will find some sort of closure or peace and accept it’s own mortality. We all have to take that final step into it. Chaos Moon holds it’s chilling, boney hand out to take and guide us. Like Buck Dharma of the legendary band Blue Oyster Cult sang once; Don’t fear the reaper!

Now onto the music itself which is a miasma of plague-inducing riffs, passages of melancholic atmosphere, and deafening-inducing drums that help paint that portrait of the futility of existence. Let it be know for the fucking record that guitarist Alex Poole is by far one if not the most accelerated/advanced guitarists in Black Metal. Not just the North American scene by any means. He’s up there next to other virtuosos of black metal velocity and trailblazers such as Jef Whitehead (Leviathan/Lurker Of Chalice/Twilight), Snorre W. Ruch (Mayhem/Thorns) and Tom G. Warrior (Celtic Frost/Triptykon). In fact I would definitely put him in this current generation of musicians who are tampering and blurring/burning the current lines of black metal guitar playing. Not to hog the spotlight by himself, we also have vocalist Eric Baker who is able to appear on this particular album. I have heard Mr. Baker’s vocals in his other projects, but I think the combination of his vocals and Alex Poole’s riffs gives the music an new dimension of infinite possibilities. That and the music itself gives Mr. Baker more room to stretch his larynx to it’s maximum output more-so than Conqubine. Which don’t take that as a slur or insult because I legit enjoy Conqubine. But with Chaos Moon, Eric Baker is pushing himself and the result show of his abilities and possibilities to be more recognized and justifiably so.

Speaking of the devil himself, Jef Whitehead lends his amazing artistic abilities to paint another horrifying vision of  everything that man fears. Let’s take a look shall we?

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Dali-esque nightmare provided by none other than Wrest a.k.a Jef Whitehead.

Clocking in at 40 minutes and 33 seconds, “Eschaton Memoire” is an LP that drags the listener through a chasm of riffs, synths, drums, screams, and everything that makes Black Metal worth listening to in the first place. It’s quality music that makes you face the failings and fuck-ups of this modern world and the sickness of it all. The complete miserable on-going process of suffering all processed through the hallucinogenic prism are felt in both the two-part songs (“The Pillar, The Key” and the title track) which respectfully adorn the beginning and ending of the album. The second song and middle part of the album (“Of Wrath And Forbidden Wisdom“) represents this beautifully depressing calm that brings a sense of joy and adoration to the entropy-like process. The breaking-down. The rot and decay that gradually deteriorates everything to a stench-inducing muck and slime.

On a personal note, not too many black metal releases have caught my attention this year outside of a few including old guard-defending FIN with their “Arrows of A Dying Age” LP and Drowning The Light‘s “Varcolaci Rising.” Chaos Moon ranks comfortably in between those mentioned as a highlight in 2017 as far as jamz to fuck with and an album that should get more recognition that it has already just based on it being a example of how to do modern-day Black Metal correctly.

Eschaton Memoire” is now available on vinyl via Fallen Empire Records . You can pick-up a physical copy of it here at Chaos Moon’s official Bandcamp page. You can listen to it digitally via Apple/Spotify/Youtube. Also, follow Chaos Moon via Facebook and give them hails as well as voicing how much you hate Bobby Walker. Because fuck Bobby!

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Flying High with Spirit Adrift’s sophomore album.

2017 has been a rather doomy year for the majority of people in the U.S. of A. At the moment, a majority of the masses don’t have high hopes for the future while some are delusional that the clocks are going to somehow magically turn back to their boring fucking childhoods. But at least with these miserable turbulent times, 2017 has given us good jamz to fuck with. New albums by LossParadise Lost, Spectral Voice, Bell Witch a new Evoken on the way, and currently the debut album by Arizona’s Spirit Adrift. Spirit Adirft is a solo-project which features none other than our boiz in current Death Metal riffers Gatecreeper.  A solo project by GC guitarist Nate Garrett who has released by far one of the more refreshing and shockingly up-lifting Doom Metal album in not just this year, but in recent memory.

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That’s some pretty sweet friggin’ artwork. 

Curse Of Conception” is a Doom Metal album that tells you to drop your worries, guilt, and sorrow, and forces you to bang the head that does not bang. That and to worship the power of not just the riff, but to loose yourself in the melodies as well. A solo project started by GC guitarist Nate Garrett, the gentleman has released by far one of the more refreshing and shockingly up-lifting Doom Metal album in not just this year, but in recent memory. His debut album “Chained To Oblivion” would be considered a one man band deal. Now on “Curse Of Conception“, he is joined by his fellow band mate’s vocalist – and CEO of Red Bull Energy Drink – Chase Mason. Chase backs Nate up with providing bass which gives Nate a bit of backing muscle. I would hate to leave out other guitarist Jeff Owens and drummer Marcus Bryant. Those gentleman do an excellent job as well.

The one thing I as a newly converted fan to Spirit Adrift am fond of is that Nate chose to NOT go down the Stoner Doom path. In 2017, in my humble opinion, it’s overdone to death. So many bands trying to sound like Sleep and never even come close to the originality that made Sleep special in the first place. Either that or the music is watered-down to the point where their’s no sense of genuine feel to it. What Nate does with SA is go the more traditional Doom Metal route and even at times creating a traditional/epic Doom Metal style. Think of bands such as Candlemass and Solitude Aeturnus with hints of Black Sabbath and Saint Vitus. But don’t call Spirit Adrift ‘old-school’….if anything it’s closer to the modern-day likes of Pallbearer which is NEVER a bad thing. Riff-wise, I can even pick-up hints of Crowbar and some of the most beautiful and epic guitar melodies this side of Greg McKintosh of Paradise Lost. I wouldn’t even call SA sludgy at all. It’s just really epic-sounding no-bullshit Doom Metal, but the ace up it’s sleeve is that it feels….positive? Yeah. This is not as down-right depressing as some previously mentioned bands. Quite opposite. But there is that sense of struggle that keeps the feet of the music planted firmly on the dirty streets.

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Spirit Adrift: Doomy boiz

It’s really hard to pick a certain song on “Curse Of Conception.” “Earthbound” starts off with a more up-beat version of Warning(UK) and it’s here where the first-time listener will be automatically be fucking hooked. Nate Garret’s and Jeff Owens just pound out riff after fucking riff of Doomy goodies. The title track opens up with a riff/melody that for a minute reminded me of Kirk Hammet’s solo to “Fade To Black” but then actually DOES fade to fucking black with the tortoise-like tempo. A hearty Tom G. Warrior “OUGH!” is heaved forward and then goes into a nice NOLA-like swinging Crowbar riff which always get the spirits up. “Graveside Invocation” is a total ripper that commands you to raise some sick fucking horns. “Onward, Inward” is were we see more NOLA sludge oozing through as the album’s farewell with a thrashy mid-part that makes you wanna push-mosh into oblivion.

If this album doesn’t get anymore coverage than it has or at least ends up on Decibel’s Top Albums of 2017, then I’m going to loose faith in not just fans of Doom Metal but the genre as well. If anything not only have previous bands I have mentioned that have also released new albums this year, but Spirit Adrift can prove that one can put the over-priced bong down and be sober enough to make Doom Metal worth keeping around without a bunch of hippies trying to out-smoke Sleep’s “Dopesmoker.”

Curse Of Conception” is available now on 20 Buck Spin. You can listen to it via Spotify/Itunes as well as support the band by visiting their official Facebook page and buy stuff from them at their official Bandcamp page. Support them brothers, they are worth your hard-earned cash.

Enter The Tombs of Oregon’s Haunt

Do you feel that? The cold chill in the air. Do you see your breath in front of your face? Do you smell the formaldehyde preserving your blue-ing shell of a human body. Do you taste the moist dirt in your mouth? Do you hear the cries of your loved ones saying their final goodbyes? If you do, then prepare yourself for the worst part of all…..the grave-robbing fiend know as Salem, Oregon’s Haunt.

Spooky visual aside, you would think to yourself “Oh this is just more death metal” based on the book cover. Nope. This is hands-down the most rotting black metal I have heard in fucking forever. Take the best parts of old-school Mayhem, demo-era Gorogoroth, and throw in a shitload of Bathory riffs to measure and you have something that while on paper seems like total textbook black metal. But actually listening to Haunt is a completely different experience all together. For one can we talk about that sound production? It’s the very definition of black metal. It just sounds like it was recorded in some dank mausoleum in the middle of a graveyard in the middle of a chilly Autumn night. The riffs combined with the sound production give it a complete and total reminder of “The Return…” by Bathory and other old-school ‘necro’ Black Metal albums.

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Vocally-speaking, the gentleman sounds like Dead of Mayhem reincarnated. At times I had to double check to make sure I wasn’t listening to Mayhem. Listen to the gentleman in Haunt and then listen to Dead’s screaming in the legendary “Live In Leipzig” album, and the comparison is pretty fucking spooky. On top of one of the best killer combination of vocals, riffs, and sound production, you also get some creepy and eerie instrumental/sound clips of z-grade grainy horror films from the 70’s/80’s which gives the Haunt’s version of black metal a very rotting and spectral feel to it, which is definitely outside of the usual subject matter that black metal deals with. I would usually complain that a band like Haunt is doing nothing different than what has come before….but for 2017 this is pretty radical stuff. Where as most people have tried in vain to re-capture the sound and spirit of the late 80’s/early 90’s Black Metal sound, Haunt perfectly captures it. Captures it to the point of it seeming like a time-capsule suddenly dug up out of the earth and freshly exhumed for examination.

I can’t say enough about this band. Truly something special. Check out Haunt on Bandcamp and support them.

Burial At Sea buries Groove Metal right where it should be to properly resurrect it.

Let’s get one thing nice and sparkling clear: As an opening statement, I fucking HATE Groove Metal. It has always been the bane of my existence as an extreme music fan and overall music fan. It’s the one thing that I feel insults my intelligence as a listener. Groove Metal for the most part off started promising and exciting with it’s birth given to us by Exhorder, and even Prong to certain degrees. But the second Pantera recorded their 1996 opus “The Great Southern Trendkill,” the Texas titans threw that entire genre in the fire. As a nice way to nicely give it’s would-be-pretenders-to-the-throne and wannabe-usurpers the middle finger. And to also give every pint-sized wannabe-tough guy who has shaved his head(or given himself an undershave), thrown their tantrum on stage, and failed to achieve the standards set by the masters of Groove. That’s like the first of my many complaints with a genre of music that has failed to progress in the least bit in the past 15 years. I would go into more reasons, but I’ll spare you the complaints and grievances for a personal one on one if you ever want to hit me up on social media.

But with the damn-near death of one thing, it also begins to lead to it’s possible re-birth: “The Art of Retribution” by Central Florida’s Burial At Sea is not only Groove Metal’s underdog, but might just be an overall Metal band that could very well put Florida Metal back on the map as far as crossover mainstream appeal WHILE showing that it has more to offer than a pair of baggy olive drab shorts and some re-hashed riff from 1992. For one, the riffs here are abundantly clear that no this isn’t your grand-pappy’s “Walk.” Take the groove of the masters of old and then plop them down somewhere between 2003-2006 where it has Metalcore/New Wave of American Heavy Metal influences. Instead of focusing solely on chugs, there’s also the melodies that are directly from Swedish side of the pond. Think of In Flames when they were actually a band worth a fuck. There’s plenty of dominating breakdowns and double-bass to lure in the unsuspecting listener. Basically this picks up right where Groove Metal started to suck major balls and is determine to correct it’s past sins. I mean, it’s a hell of a starting point in 2017 considering that particular time period is one that a lot of people don’t look back on with fond memories, but you know what? If Nu-Metal/Rap Metal of all fucking genres can survive in some unexplained way, then why not Groove Metal/Metalcore? I say let the dog have it’s day.

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Vocal-wise, yeah you’re going to get the aggro yells. You’re going to get the flying spit in the face from the mic-holder. You’re going to get lyrical frustration of someone who has enough conviction to sound like he fucking hates his life and surrounding environment(s). You’re going to get a taste of what came before. Somewhere by the 2nd or 3 track I thought to myself “Damn dude, you really had me going!” But the vocalist has more than just being a whiny honky motherfucker crying about god knows what. You get the good cop/bad cop vocals, but his good cop is more of a take on Fear Factory‘s very own Burton C. Bell. Speaking of the Decibel Magazine’s HoF inductees….there’s parts where you get a certain Industrial ‘clang’ and ‘ping’ to the drums which is also a bit of fresh air. Sound production it’s very crisp-clear so you don’t have to worry about it being too dirty for your virgin ears. I’m looking at you Lamb Of God/Killswitch Engage fans.

But instead of where Groove Metal succumbed to an embarrassing fake-patriotic mainstream failure with Five Finger Death Punch, Burial At Sea goes back to the drawing board of the mid-2000’s and says “Fuck that!” and completely drafts-up a new pitch to the genre as a way to save it from it’s own comical leanings. Oh I’m sure Burial At Sea are not the ONLY band trying to do so with their bold statement of a debut album. But damn it, if they aren’t the loudest then I would be a fool of a human being to believe otherwise.

Burial At Sea’s “The Art Of Retribution” is now available on Itunes, and Spotify. Check them out on Facebook as well.

Artist Spotlight: Neill Jameson of Krieg

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Neill Jameson: He makes beautiful family-friendly music. I can assure you.

This is something really special that I am glad I got the opportunity to do: Decibel Magazine ranter, Krieg frontman, and all-around black metal father figure Neill Jameson is having a rather busy summer. On top of just releasing a new side-project Poison Blood thru Relapse Records, he just recently announced that he was re-releasing music from Krieg as well as new music from other bands under his new label, aptly called Black House Industries. So in light of all those releases, I decided to do an artist spotlight reviewing the releases he’s been hacking away at. Starting this spotlight will be the first release under his record label. For the uneducated, this isn’t the first time Neill has released music under his own record label. He originally ran Blood Fire Death Records starting in 1998 and unleashed a slew of releases by artists such as Xasthur, Loss, Demoncy, Pest, Archgoat, Lugubrum, and a few others. Fast-forward to 2017; in typical Neill fashion, he announced the first release of Black House Industries in a rather bluntly and sarcastic-like fashion that he is known to . Already he has one release that is going to get the ol’ razzle dazzle treatment on his label. Me being a long time fan of Mr. Jameson was granted the honor of reviewing these various releases. Admittedly, I started boofin’ pretty hard whenever I got the promo(s) in my Gmail account. But enough of my fanboy nerding-out and let’s see what jamz he has prepared to be shat in everyone’s ear canals during this extremely humid and stormy summer shall we?

Future TerrorWe’re All Fucked (2017) Black House Industries

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First up we have the very first release on his new label which is Future Terror, a Hardcore Punk band based out of Richmond, Virgina. Without listening to the actual music and judging by the artwork, I already knew what I was in for: Hardcore Punk in the vein of Discharge/Tragedy/Extreme Noise Terror/Doom(UK). I’ve been on a bit of a Hardcore drought since last year’s excellent “Never” LP by Withdrawal. That album and the new Integrity LP are the only albums that have registered on my radar in the past year or so when it comes to that specific genre. But within the first 10 seconds of the wonderfully and sardonically-tiled “Conned By God,” I am lost within the noise. Not in a bad way by any means. Whenever I loose myself in music, it’s always a good thing. It’s there that I personally feel at peace with the current tense climate of a dysfunctional society. Understanding that the UK-influenced US band might not exactly be doing anything as outside of the box as Withdrawal pulling in post-punk/goth rock influences, or even Integrity dabbling in black metal influences. But then again I’m not some stickler for needing something original each and every time I listen to a new band. Hell, I am just happy there are still bands like Future Terror carrying on the traditions and ethos of the UK noise-making bunch and act like they have a sense of urgency. An urgency that screams either play riffs or die and get the fuck out of the way.  Especially when you take into account with a song title such as ‘You Think You Are So Special.” A total un-PC iron fist-in-the-face of modern-day society. Bottom line: This is the shit I like and would highly recommend these jamz to anyone who is needing a good shot of adrenaline-speed Hardcore Punk. Definitely made for those who are still pissed at the last Amebix album for not being crusty enough or not sounding like it’s 1985. “We’re All Fucked” will be released this Friday, September the 8th and is limited to 100 copies on clear yellow cassette w/1.5″ pin.

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KriegSono Lo Scherno (2017) Inferna Profundis Records

Originally recorded in 1998, but never released until 2005, “Sono Lo Scherno” was meant to be the follow-up to the first Krieg album “Rise Of The Imperial Hordes” but for whatever reason, frontman Neill Jameson decided to keep it in the vaults until sometime later. To be completely honest with this one, I had a copy of this I got waaaaaay back in 2008 or 2009 that I purchased but I never got around to fully listen to. I’ve been very familiar with Krieg since first hearing the US Black/Thrash band Blood Storm name drop them in Slayer ‘Zine issue #15 in the early 00’s. Outside of that trivia bit about myself, I couldn’t give you a legit reason or excuse why I never listened to this album. As I am writing this, I’m experiencing it for the first time, and I’m legit a bit blown away by how it sounds absolutely nothing like what Krieg is known for, especially from the time period it was originally written. It’s weird because listening to this now in 2017, it sounds completely alien yet familiar. There are parts that sound like old-school Krieg as far as the raw production goes. There are a number of samples and ambient passages that provides moments of unique atmosphere among the 90’s Profanatica/Judas Iscariot/Beherit/Bestial Summoning riffs.  The song “Ruin Under The Burning Skies” is not what one might be thinking of in connection of what is found on the legendary “The Black House” LP. It’s the polar opposite. Even some of the song titles such as “Maelstrom,” “Plague Waltz,” and “Hypnotic Decay” sound as if they would be found on an 80’s Thrash album. That’s not an insult or slur, it’s just something I wouldn’t expect from the creative demented mind of Neill Jameson. The entire album for the most part is a giant curve-ball. It’s also noted that this indeed was part of the early years of Krieg and to see how far Neill has come as far is nothing short of the making of one of the father figures in the USBM scene and genre overall. After having enough time to listen to this and take everything in, there is something strangely luring about this album. The more I think about it, the more I am becoming more and more favorable to this offering from Krieg. There’s also a killer fucking Nunslaughter cover included. Overall, it’s something unexpected. It’s different, yet it retains a lot of familiar traits that Krieg is known for. I would definitely recommend this for die-hard Krieg fans and not someone who just picked up a copy of “The Black House” or “The Isolationist.” If you’re like me being someone is more familiar with past Krieg albums and experiencing this for the first time, go into it with an open mind.  “Sono Lo Scherno” will be released on September 25 on Inferna Profundus Records. Pre-orders are up on the label’s official store and can be found here. 

Poison Bloodself-titled (2017) Relapse Records

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I had been meaning to review this album earlier before it was released. Long story short: I was busy with my first Noisey piece and learning the ins-and-outs of becoming a legit freelance writer took up some of my time from making an honest attempt to review this. Seeing how the news from Neill came about, I decided to go ahead and add it on to this as an artist spotlight moment and rectify that issue. Also seeing how much output Mr. Jameson does, it’s falls into the add-on department of this particle review article. Poison Blood‘s self-titled album is probably the rawest thing Neill has done in a good while. It’s a collaboration with Jenks Miller of Horseback that deals with the obsession that Neill Jameson has with the desert landscapes and all the mysteries that lie within the shadows of the wastelands. If anything should be noted is how much ground these two beautiful bastards are covering in such a short time frame as far as a release goes. It clocks in under 19 minutes, but what they accomplish is a perfect balance of both the ugly, depraved, and beautiful. The album starts out right out of the gates of nanna with the song “The Scourge And Gestalt” which is almost like The Velvet Underground covering Beherit in total Rudimentary Peni -fashion; psychedelic, dirty, seductive and black-as-fuck. The Beherit influence is so apparent and so well-done that quite honestly Poison Blood is really the album that Beherit should have done in between “Drawing Down The Moon” and “Engram.” While I don’t dislike the Beherit electronic/ambient albums, if this were an alternate universe that existed, Beherit would have fared better in that that era of their music had they gone the route and played more in the vein of what Poison Blood does. Past the Beherit-isms, what really sticks out the most is the psychedelic textures of the album. The Moog synths of Jenks Miller adds the entire “desert vibe” that Neill Jameson said he was going for with this album and his fascination with it. At one point (“The Flower Of Serpents”) it makes rember all the great ambient synth pieces by Burzum, Neptune Towers, and Era 1 of Mortiis. That’s not to say it’s a rip-off of 90’s Norway, but ambiance-wise for myself it makes me wanna break out all those Casio keyboard songs that were at one point a legit thing within Black Metal. It’s well-rounded and tastefully done on how they really mix it extremely well with the dirty blackened guitar style. If anything it leaves you wanting more. Having just listened to Krieg‘s “Sono Lo Scherno” LP pior before deciding to add this review into the article piece, this side-project seems like a future cousin of it, only slightly less deranged but fucked-up nonetheless. It’s just another testament to how Neill Jameson is able to spread his wings over different types of side-projects and bands and cover so much ground, including past side-projects such as Twilight(RIP), Le Chant Funebre, N.I.L., and a host of others both active and defunct. It’s also a testament that for all intents and purposes, Neill’s words and blackened heart has always been strict dedication in producing some of the more interesting moments in the US black metal geographical location amidst the muck that gets slung around on other Metal news websites.  You can order Poison Blood‘s self-titled LP from Relapse and they also have some killer band merch as well. 

There is also the announcement of the re-issue of the 2013 out-of-print demo from New Jersey’s Hardcore sons of darkness The Banner as an upcoming release for Black House Industries. Anything else Neill decides to release either through Black House Industries or elsewhere will definitely be supported and spread here at Esoterica Codex. If you would like to give Neill hails, do so by checking out and clicking ‘like’ on the official Black House Industries Facebook Page. And if all else fucking fails and none of this interests you, go buy some shit from Neill Jameson on Discogs.com so that he can purchase cat food and kitty litter for his cats. Friendly reminder tho: Just don’t invite them to like your band.

From the Plutonian planet of the Yuggoth comes Tchornobog’s self-titled album.

Can we get one thing out of the way first? The album artwork.

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That. Fucking. Eye.

It just downright creeps the ever-living blue fuck out of me. Now that we have that out of the way, let’s get right into the music of this bad-boy. A one man band created by Ukranian Markov Soroka, Tchornobog isn’t exactly a band that is going to be re-inventing the rules of Black Metal. But what he does with this debut album is a hellish combination of Deathspell Omega and Napalm Death. That’s about as close as I can come to describing this outer worldly monstrosity.

The self-titled album only delivers 4 tracks. The first is fucking 20 minutes long. I have heard some people say “Spare me the long intro”, but for me I’m a patient kinda dude when it comes to music like this. Especially if I’m listening to this at 12:30 AM in the middle of the night whenever my fiancee is asleep and all the animals are curled up. It gives me the chance to fully take something like this in. Even the song titles alone; “I: The Vomiting Tchornobog (Slithering Gods of Cognitive Dissonance)” and “IIII: Here, At The Disposition of Time (Inverting A Solar Giant)” take a good amount of concentration to let your imagination get its gears turning properly. At least for me that seems to be the case.

The music contained in the album itself has many peaks and valleys much like what is shown visually on the album artwork. For such a huge album it’s a lot to take in. Tchornobog has the ability to appeal progressive/outside-of-the-box thinking metal nerds. I don’t say that as an insult seeing how I’m a sucker for albums such as “Operation: Mindcrime,” “Nothingface,” “Human,” etc, but this one is a bit more challenging. Tchornobog‘s self-titled album is a constant-changing riff terrain that demands your full attention. Mind you this is one of those albums that does automatically hits you right off the bat, but it’s still an album that I know will take many repeated listens just to get the mapped-out feel of the almost alien-like landscape. It’s a fucking maze of riffs ( and torment too!). One second you get the blastbeats, the next you get a really doomy breakdown, etc. But the way Mr. Tchornobog goes about arranging all of the riffs and compositions is actually a good contrast to say Germany’s own The Ruins Of Beverast. Where TROB are more doomier, Tchornobog adds in the extra little bit of Death Metal elements here and there. Not a lot, but enough to make the music more beefier and dissonant in some parts.

For all intents and purposes, this is mood music. I don’t see this album inspiring an ever-growing legion of fans who are going to be praising Mr. Soroka to ad nauseum any time soon. More like this is an album for the individual to sit back, and unlock doors in the mind that leads them to wherever. As space-y and nerdy as that sounds, that’s all I can really used to describe it. All and all, it’s a creepy fucking album, complete with crawling eyes and maze-like riffs.

Tchornobog‘s self-titled album is now available on Fallen Empire Records for digital release. I-Voivdhanger Records will be doing a limited edition CD pressing. Other than that, you can follow the one man band at his official Facebook page or his official Bandcamp page.

The Mortal Awakening Of Father Befouled on “Desolate Gods.”

A lot of people in 2017 scream “Too much Incantation-worship!“, and to that I say “Phooey!“. Truth be told, I don’t know what they are listening to, nor do I care. Like any self-respecting Death Metal fan, I can’t get enough of not just Incantation but their influence. Ever since I first heard “Mortal Throne of Nazarene” and “The Forsaken Morning Of Angelic Anguish” as a teen in the 90’s, I’ve wanted more. The feeling and desire of something like Incantation to completely blow me away and shatter my concept of Death Metal is always there. That’s not to say other Death Metal bands haven’t blown me away since, that would a lie. But I’m always yearning for that nice sweet spot that Incantation’s influence can always bring and brighten up my day if ever I am having a bad one.

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Enter Father Befouled‘s “Desolate Gods” on Dark Descent Records. Right off the bat, can we discuss the artwork? I love the whole ‘ancient cave drawing out of a horror movie’ feel to it- like some primitive form of mankind worshiping creepy crawling things of the unknown world they live in. Artwork aside, the album itself just might be Father Befouled‘s best, as they mature while staying true and honest to their Incantation-inspired Death Metal roots. I have just described them with both “worship” and “influence”, but it’s apparent that on “Desolate Gods” Father Befouled have gone from “worship” TO “influence”, coming into their own while becoming more comfortable in their skin. That’s not saying anything negative about the band. Detractors be damned, because “Desolate Gods” is, for the lack of better terms, fucking sweet!

My personal favorite track on “Desolate Ones” is “Ungodly Rest.” The doomy-as-fuck deathly stomper is a form of sound that I personally love. It’s also a change of pace from the rest of the album and really shows the band’s writing chops -not relying on the same ol’/same ol’ that I’ve heard from a shitload of other more uninspired bands. Yes, I am going to throw the Lovecraft reference in here as well, but the slow, plodding, funeral dirge of the song just fits the concept of dark ancient entities and possible readings from books bound in human flesh and inked in blood. “Mortal Awakening” has a subtle tinge of blackened riffs before the headbanging breakdown kicks in.  Other songs such as “Exalted Offal” and “Desolate Gods” have twists and turns as well, but at the end of the day it remains true to the Incantation style of Death Metal which is never a bad thing.

I’ll say one last thing concerning the new Father Befouled (and I know I am not the only one who more or less felt this way) . In comparison to their last album, “Desolate Gods” is far superior. Superior artwork, superior productions, superior song-writing, and hands down the best the band has created. This is Death Metal for worshiping old ones while working around the house trying to beat the summer heat. Enjoy!

Father Befouled‘s “Desolate Gods” is out now on Dark Descent Records. You can follow the band on their official FB page and order their album at Dark Descent Record’s official Bandcamp page.