Unholy Prophecies, 19.12.16 Putrified from Stockholm was started in 2010 by A. Death from the black metal band
Infuneral. After a couple of demos and an EP, the one-man band changed status into band when three other members joined
in 2013. Crypt, who's also been a part of Infuneral, handles drums, while guitarist Grave
is still a part of that band, in addition to having played in Dødsfall as well as live for Ondskapt. He also guested
on Putrified's first demo. P. Apocalypse, the chick on bass, is an unknown quantity. This
EP is a documents that marks the first Putrified release as a proper ensemble.
The six tracks on the EP are completed in just under a quarter of an hour, but only four of the tracks are proper songs.
Side A consists entirely of self-produced material. The two fiery barbaric and deadly attacks occupies just over half the EP's
playing time. Between the aggressive riffs and the hasty rhythm of Sarcophagus (Under the Lid) there's also
room for muted parts with droning organs and dim foreboding moods. The Scythe Descends shows more evident
inspirations from thrash/speed, and again embellish their expression with flowing organs in a stylish fashion. It sounds both
distinctive and neat, and the songs themselves are good.
Side B opens with an intro/interlude in the form of the subdued instrumental Maleficium I, before a short and
brutal cover of The Misfits' fairly monotone Devils Whorehouse reveals itself. The fairly ethereal
interlude Maleficium II fills the night with partly ambient guitar sounds and pipe organ for a moment before
a rawer version of the Celtic Frost song Morbid Tales occupy the bulk of side B with its barely four
minutes. This also provides the most interesting contribution to the backside of the 7-inch.
The first side of The Flesh. The Scythe. The Tomb gives a very good impression,
and leaves me wanting more, while side B don't leave the strongest impression. The grading is thus somewhat kind.
The Metal Archives link in the header is only a partial match. German Morast released a demo titled
Demo a year ago. This, according to Metal Archives, was re-released in January and November via Totenmusik.
The version I've got my claws on have the same songs, albeit in a different order. It's of course the same release, now
on 12" vinyl, although it's now being marketed as EP.
The band plays tough and resentful death/doom, packaged with filthy short-tempered rage.
The quartet was formed last year and recently released the split In Memorian of Quorthon along with Ultha,
another band from the state of North Rhine-Westphalia, bordering the Netherlands. The latter recently released their second
album, Converging Sins, which we'll hopefully come back to.
Back to Morast. The music is as slow and malicious as ghastly and bloodthirsty lifeless entities from
eerie films. The four songs lasts for 26 minutes, and surround the listener with ominous, deadly, black and hostile
funeral-like doom. I've heard the EP a good number of times, for the men's macabre and claustrophobic moods are (almost)
suitable to make the listener afraid of the dark. The songs are absolutely not bad, but at the same time it must be said
that the material is far from innovative, and thus not particularly exciting.
The guys ought to offer a bit more twists if they aim to impress more in the future, but
Morast Demo is a very audible release with delightful droning and punchy sound that in no way
reveals that the release is basically a demo. I'm being a little bit strict here, but check for yourself via
the pay-what-you-want link above. If black/death/doom is your thing, you'll hardly be disappointed.
Magister Dixit, 30.09.16
When it comes to Impure Ziggurat (unlike Démonos below), I have no doubt that
Serenades of Astral Malevolence starts with an excerpt from Carl Orff's occult-sounding cantata
We're going back to France, and again we encounter a new band. Impure Ziggurat started in 2012 and
released their first demo last year. Raping the Quantum Womb of the Macrocosm,
as it was called, started with an excerpt from the somewhat more contemporary composer Georges Delerue. (The
man behind the soundtracks to Platoon and a shitload of other works.)
Impure Ziggurat will never be as recognized as such composers. Good for us. We need obscure artists who
deliver disdained extremity to the minority masses.
The quartet, with Black Crown's bassist of the team, plays extreme metal with a focus on the dim and obscure.
These are dark and hostile moods of black metal, combined with death metal's murder lust. It fits better into secluded
side streets and sparsely lit basements than as proud warriors with their scythe raised in lynch mood. Thus, they'd
rather fit the new anonymous and mysterious Mgła-look than corpse paint and intensely staring gaze.
When the tribute to classicism is done, only just over ten minutes remain, but those minutes are furiously
intense and providing a profoundly heartfelt sense of authentic credibility. Listen thoroughly to
Serenades of Astral Malevolence for yourselves, and I believe you'll come
to agree. It's a promising start, and I look forward to the continuation.
Iron Bonehead, 09.12.16 Démonos is an Indian one-man band, where Démonos Obscurís feel inclined to vent his
disgust for man-made and enforced doctrines. These damned accepted dogmas that lacks any kind of rational natural
objectivity, yet are allowed to dictate laws, regulations, culture and customs. From Sacred to Profane was first released with two songs as demo and preview for the EP in early September.
A week later, it was released with a total of four songs digitally and on cassette via Dunkelheit Produktion.
Thereafter, the EP was released on CD via Tour De Garde and Iron Bonehead.
The music is introduced via classical tones that sounds like a cross-breed between the intro of Sergej Prokofiev's
Suite from Romeo and Juliet and O Fortuna from Carl Orff's Carmina Burana. (Both known
Mother North video.
The intro only lasts for a few tens of seconds before metal breaks the barrier with dark, spiteful guitars and gloomy cries,
and we don't need to wait long before blasting drums register for participation either. The expression is a clue unfinished,
but the black metal we're presented with bodes well. The performance bears witness to a penchant for true black
metal, without it sounding feigned necro. The sound quality do show signs of being home-made, but not in pretentious manners.
The bass has also been given a prominent place in an otherwise rather full-bodied sound.
Other, more ethereal sides, eventually make themselves known when the music is coloured by becomingly spiritual influences,
and we becomes witnesses to ritual sequences.
From Sacred to Profane is a solid demo/EP which has its charming teething problems, yet is highly listenable
and which simultaneously vouches for an exciting new acquaintance.
Iron Bonehead, 09.12.16
French Venefixion dropped a solid demo titled Defixio 14 months ago.
The band has seen a family growth since then, as they've recruited two new guitarists. After all, they only had two
guitarists already. This probably means that K. Desecrator has been concentrating on drums and bass
this time. The Frenchmen have also hired a live-bassist since we last heard from them.
I mentioned woolly sound in the review of the demo. They now compensate by serving a horrifying frenetic cacophony of
aggressive and sharp riffs that claw at the listener's throat. This is death metal with diabolical moods and sadistic intentions.
The EP is shorter than the demo, with intro and three songs distributed across only slightly more than 12 minutes. Regular
readers will know that my enthusiasm for 10-15 minutes long releases as a rule of thumb is somewhat limited.
Venefixion still delivers so insanely extreme metal that it's hard not to get carried away. After the intro,
where ominous tones of a pipe organ sets the mood for the black mass, the guys floor it in an infernal burst of breathless
beats and swirling barbed wires in a tornado of razor blades.
There's really some kick-ass riffs with killer drive the French have fostered. The pace keeps a high cruising speed, and
decreases only in occasional moderate sequences before Armorican Deathrites draws its last breath. The
last song opens quietly and spooky before throwing itself out into a furore of wild febrile waters in a speed-metallic manner.
Towards the end, it's nevertheless dark, atmospheric swells that leaves the listener with a disturbing last impression.
Vinyl purists gets their 12-inches, while CD-enthusiasts may acquire the EP with the demo as bonus.
Transcending Obscurity Records, 15.12.16 Sepulchral Curse is a relatively fresh band from Finland. The quintet plays dark and fiery death metal with
black metal influences.
The band was founded in 2013 and released their first EP, A Birth in Death, the following year. At the Onset of Extinction must be regarded as a big step up and forward.
When the delivery note dare claim that At the Onset of Extinction is unique in sound and expression, I
instinctively feel like protesting. Just like a xenophobic hedgehogs that to senses danger, all my studs shoot out. I have
no reason to be irascible and impetuous, though.
Surely, Sepulchral Curse ain't entirely unique, but their death metal, with an unsettling sense
of sulphur and hell-fire, still taste like rare steak, dripping with blood. Two guitars makes sure there's enough grim riffs
to go around in a constant buzzing manner, while the vocal's grumbling guttural roar curses everything in its path.
Kari Kankaanpää (Solothus) ensures the demonic vocals. Some cold-blooded shrieks also occurs, but to a much
lesser amount. Drummer Tommi Ilmanen provide that part.
After three relatively quick, but also exceptionally slower songs of 4-5 minutes each,
At the Onset of Extinction closes with an
almost 10 minute long song where the pace in strictly restrained. If you don't revel diabolically in the music by than,
you can't have much of a taste for blistering Finnish death metal with high impact force and juicy, thunderous sound.
Unique? Hardly. But damn killer nonetheless!
Iron Bonehead, 14.10.16
We continue our EP-extravaganza under Impressions, while full-length albums to the greatest extent possible
will sort under Reviews, where they belong.
My knowledge of Russian Atanor is but absent. I have only four songs totalling 27 minutes to relate to.
That's nevertheless enough to create a relationship built on trust. I'm actually quite confident in these Russians. Something
they merit by showing such good tendencies on their first EP.
The music consists of quite hectic and intense black metal. Still, this ain't the traditionally threatening sort that goes
for the throat. The music has an atmospheric nerve, but it doesn't soar and glide harmoniously. It's rather dissonant,
without becoming all-out atonal. We also find hints of grandeur, but the music is more weather–beaten, standing tall than
heroic and majestic. The band's black metal is as a steady rumbling clamour with sparse melodic variation, a bit too
streamlined to be compared with Hellenic or kaleidoscopic black metal. The effect is somewhat hypnotic, and the band sounds
tight and professional as skilled participants.
I'm not going to claim that Atanor outperforms others within similar musical frames. The compatriots in
Grey Heaven Fall
are safe on their throne. Yet, Atanor has a glow and passion that will come in handy. Compared
with such prevailing reigning imperious ensembles, these fresh Russians fall a little bit short, but as a first release,
this is dynamite. We will most likely hear from the Russians again, and by then I think it'll be with a sharpened competitive
instinct. Until than, I choose to be a bit strict on the ranking, for the self-titled EP
Atanor is just the beginning.
Pulverised Records, 14.10.16
In the proximity of Gävle in Sweden, In Aeternum, a band with more than 20 years of experience dwell.
25 years have past if we count the years under the moniker Behemoth. More than ten years have passed since
the guys released their fourth and previous full-length.
I can't remember having come across these guys before, but at least I'm pleased that I've finally taken the time to
listen thoroughly to The Blasphemy Returns.
Wolfpack and Stench Of Victory are new songs, while Majesty Of Fire,
re-recorded for the occasion, derive from their debut album. The EP ends with I Am Elite, a cover of
War, and clock in at barely 18 minutes.
The band's only original member, guitarist and vocalist David "Impious" Larsson was a part of War
for a while. Apart from him, In Aeternum have seen its share of member replacements. Today the
band consist of bassist Claes "Clabbe" Ramberg (ex-Godhate), lead guitarist Joel
Lindholm (ex-Degial, ex-Shining) and drummer Perra Karlsson who play live
for Benediction and hammered on the last Deströyer 666 album, Wildfire.
In Aeternum is again a band that mixes death and jet black satanic darkness. The men still have a
stronger ethos of the flames of hell than Versifist below. The riffs are unholy, in a good old Morbid Angel
spirit, and the obnoxious stench of fuming sulphur pricks in the nose. The guys have namely also heard their share
of Scandinavian black metal.
The mixture is superb, and the guys makes it swing like the devil. It's fairly killer, and that's strictly all you need to know.
Vault of Dried Bones&Iron Bonehead, 21.10.16
From Canada comes the black/death-trio Versifist. This is the guys' second EP. The first one was
released in very limited edition on tape about two and a half years ago.
The men mixes riffs and moods of black and lethal sources, presenting the goods with jagged hissing vocals behind
rhythmic hail, swarming guitars and cascades of rich bass.
When Bring Back the Dark kicks the EP off, their black/death sounds fairly average, without significant
uniqueness to their work. The song instinctively feels good, but far from exceptional. When wave after wave of occult
mid-tempo hypnosis crash against the temporal lobe, the track will however gradually come more and more into its own.
Now, track two ...In Tongues, can't exactly be said to be direct “distinctive or exceptional” either,
but it is good. Very good. Unlike its predecessor, it also consistently good from start to finish.
Both these songs barely surpass six minutes. This brief release ain't at all mandatory in my ears, but the music is good,
and with Cipher, Versifist create a good first impression that'll hopefully remain
when the band reportedly soon hits land with their debut tsunami.
Sepulchral Voice&Dark Descent, 31.10.16
It's been damn busy lately, and almost a week has passed since the last Impression. Some longer Reviews
have admittedly been published in the meantime, but I'm not much satisfied with the status quo. This is no way
to treat neither patient readers or labels, promoters and bands seeking attention.
I'll attempt making up for it slightly by quickly presenting a few shorter releases that I've already spent some time.
First we go to Irish Vircolac.
These guys impressed me somewhat with their 2014 demo Codex Perfida, which nevertheless also showed
a somewhat unfinished band with partially staccato music. The potential was still very much present. In March this year,
the men released another demo. Feraliminal went under my radar, though.
The Cursed Travails of the Demeter is again a smaller release, but not a demo. The EP has four tracks
and lasts almost 26 minutes. With stronger variation, the progressing is traceable, but the EP don't manage to seize me
as strongly as I was hoping for. The men offers death metal from the tomb, and they create fairly gloomy moods, while
rhythms and riff changes fairly often along the way. The song-writing is still lacking some overall finesse, however.
Moribund Records, 25.11.16
Considering the cover art, which hint more at underground black metal, I am a bit surprised when the California-based
band kick off with a cover of Mercyful Fate's Nightmare. The band has been going for more than ten years, and
Metal Archives list a solid amount of former members, while Cernunnos is the only one being credited
on all releases.
The last album was released in 2013, and a new album titled Adumbratus is scheduled for next year.
The audio portion of this EP consists of three tracks totalling 14 minutes. After the fairly rocking cover-track with
mildly psychedelic undertones and a black edge, the interlude Centrum Naturae Funeralis entertains us
with fleeting ethereal guitars for a minute before Copulation of the Waning Phase ends with a light
avant-garde form of rather dissonant black metal.
But wait, there's more. Three videos are included as a bonus. Circle of Sodomy hail from the split Darkest
Origins (2012), Intent Cantcile is taken from the album Denuntiatus Cinis (2010) and
1:0 comes from the 2013 album Thirty-Eighth Sermon of the Unborn. These songs are closer
to conventional black metal and features diabolical and somewhat ceremonial and occult moods. The music ain't bad,
but more reminiscent of typical underground one-man bands than anything else. It sounds home-made, but the songs have
more variety and psychedelia than much else in the same alley.
Tria Prima Diabolica is an alright EP, and can be recommended to anyone who just can't dig
deep enough into the underground. Those who favour indisputable quality in all aspects, might wanna bypass this one.
That said. The song Copulation of the Waning Phase has such an abstract charm that if Hæresiarchs
Of Dis continues down this path, the future may be exciting. As such, this is promising, and I might just have
to check out Adumbratus.
Indie Recordings, 25.11.16
I try to avoid re-releases, unless I have a special interest in them, but Einherjer's debut album
Dragons Of The North ain't simply relaunched. The album is completely rerecorded in association
with the Viking-metal classic's 20th anniversary. Dragons Of The North was thus released in 1996, three years after the coastal Norwegian band was
forged in Valhalla's smithy.
After this, five albums have been carved out, the last of which was released in 2014 under the title Av Oss,
For Oss, or By Us, For Us, awarded five points by yours truly.
I hereby present Dragons Of The North XX primarily as a presentation, and not so much as a review. I
haven't heard the original as much as I ought to, and I dare therefore not say very much about structural changes.
For those not familiar with the album, it's seething with of an atmosphere of Vikings way of life and customs. For
Einherjer, preservation of culture is an important aspect. That doesn't mean they don't acknowledge
other genuine cultural expressions. On the contrary, they have a great respect for global diversity and local
distinctiveness. Their vision is to preserve a genuinely Nordic and Norse spirit worthy of conservation, something that
has decayed immensely after the arrival of Christianity.
They leave, however, the task of taking care of other ethnic heritages to the respective ethnos.
Dragons... XX seems fairly true to the original, but the sound is of another world. It is much richer
in 2016. As expected, the volume knot is turned up a bit, but not too much. The dynamic range has decreased
from about DR9 to the upper area of DR7. Not fortunate, but manageable. I complained about compression and clipping in
my review of Av Oss, For Oss. It has now been measured to DR5. Weighed and found wanting, as they say. XX is sonically enhanced in every seam and joint, and the original appear as rather tame and pale in comparison.
Ulvar and Grimar, probably better known as Gerhard Storesund and
Frode Glesnes, are the two original members still constituting the core, while Aksel Herløe
have also played an important role since the late 90s. Ole Sønstabø get his baptism of fire
on guitar here, without replacing anyone.
Two guitarists can otherwise copy each other, but two vocalists will never sound identical. Frode's
vocals is a notch more than rasping than Nidhogg who sang with marginally more guttural black vocals
on the debut. The difference is still not very pronounced.
The Nordic Vikings are still standing steadfast in the prow of the dragon ship, ending the voyage with a new outro that
gives mental images of a Viking ship gliding through thick fog, hiding men ready for combat. However, one should
strictly speaking distinguish between myth and reality, the Vikings were primarily merchants in trade and partly conquerors,
not first and foremost bloodthirsty barbarians. It's still allowed to romanticize a little about politically incorrect
Cyclone Empire, 02.12.16
From Stockholm, we travel north along the Gulf of Bothnia until we arrive at Skellefteå, located in the southern area
of Sweden's northernmost region. There's a vibrant musical wildlife there. Despite being a small town, it has fostered
at least a few dozen metal bands. Death-mongering Feral however was originally founded in Norsjö.
Enough geography for today. We have previously gone through the band's history when the band released their second full
length album Where Dead Dreams Dwell last year, so we might as well cut to the chase.
Feral aim to keep the iron hot with four new songs and two bonus tracks. 24 minutes overall. With one minute
per day, From The Mortuary would thus make for an excellent advent calendar. Excellent? Oh well, maybe not.
You know what you get when this kicks off, and that's a drawback with the EP. The saw blade of the Swedish lumber mill
overheats when the quartet connects their infamous Boss HM-2 pedal to it, and the music's heard-it-before appearance
creates a stereotypical character which becomes more than predictable. The music is good, but lacks the extra mile to
stand out, and the four new songs lacks depthening hooks. After many spins, From The Mortuary still
feels quite anonymous.
The last two songs don't do anything to change this. The song Necrofilthiac is re-arranged and re-recorded,
but hell if I know where it originates from. It was reportedly released in 2011, but I'm unable to trace the original.
When the Swedes conclud with a cover of Pentagram's Relentless, they make their own twist on it. Which is a good thing,
but it also results in the song feeling just as routinely as everything else.
From The Mortuary sounds ass-kicking as plutonium, but the songs are all too featureless and unengaging for
me to recommend it. If you can't get enough of conventional Swedish old-school death metal, check this out for yourself.
Swedish Svartur Dödur (meaning Black Death, written in an Icelandic fashion) holds nothing sacred.
Nothing. Not even their literary national shrine, Astrid Lindgren. With Nu ska blodet flyta (which
translates to Now, blood will flood) the Stockholm band presents an epic concept from the city's dark side.
Summoning can just give up when Svartur Dödur put Mörk Gryning's debut in the shade.
Here, one risk becoming trapped in a fictional nightmare world à la Lindgren come true.
I was middlingly pleased with the EP Aperite Portas Infernorum from the not particularly serious
band a couple of years ago. That humour has no place in black metal is not something these crazies take seriously. From
a nightmare scenario in Stockholm's dead of night, the journey continues into fantasy landscapes recorded in Lindgren's
memoirs. Fans of The Brothers Lionheart and Ronia the Robber's Daughter gets their childhood
memories distorted beyond recognition when these universes of fiction are served in new bestial design in the form of grotesque
The music of the madmen's second album mixes melodic extreme metal in better manners than was the case on the previous
EP. The songs are better structured and melodies are more memorable. The sound may not be better, but it still feels
a little rawer, and this album consists of real songs, as opposed to the EP that only had three decent songs,
and a very alternative angle to most of them. The instrumentation has always been well implemented. Here they show this
a tiny bit better in the guitar aspect, and the album is more metal than both EP and debut. I have checked out the
latter in retrospect, and even that one must be said to be a fairly weird, different and playful entity.
That the jesters new work outshine Tusen år har gått..., was still just a joke. That one's a classic. But it should be said
that Nu ska blodet flyta has strong melodies and meticulous tunes that grows to an enjoyable affair. The base
is black metal with ominous moods, but folk and death metal are incorporated too. The men have also drawn inspiration
from the 80s, typically in the form of melodic structure and fiery guitar works.
The fiddle in Vi ses i Nangijala (Döden är bara början - Part III) (See you in Nangijala -
Death is just the beginning...) is not really a violin, but rather a “nyckelharpa” or keyed fiddle, the tonality
and timbre may however be difficult to differentiate, and it's somewhat reminiscent of the corresponding start of
Voyager from Thyrfing's classical Vansinnesvisor. It's brief but absolutely gorgeous. More
of that, please.
The band consists not only of pranksters, but also of crazed halfwitted clowns. The line-up has stayed relatively
stable, although one of the band's two guitarists have been replaced since last time. Two members also play in
I wasn't initially expecting to end up on an approval without nitpicking or debris to point out, for black metal and
humour are almost as contradictory as unblack metal. Absurd nonsense usually work best in tiny doses, but with good
music and respectable growth potential, Svartur Dödur succeed at presenting a whole album with no real
flaws. I still put a symbolic minus on the approval, because the parodic snake-tongue-vocal often leaves little doubt
that this is not meant terribly serious, something that may easily affect a listeners experience. The guttural growling
in clear Swedish pronunciation, is more believable. When it declares that death is just the beginning, I suddenly
become a little bit nervous that there'll be no way around a return to the surreal nightmares of Nangijala.
As with the previous two releases, Nu ska blodet flyta is a name-your-price on Bandcamp, and
if you wish to delve into the lyrics, they're available on Metal Archives. Not that it will help you the slightest,
unless you speak Swedish.
Not for puritans, but those who think that variety is the spice of life and don't mind their music tongue in cheek,
should check out the Swedes.
Naturmacht Productions, 26.11.16
Strictly speaking, FromHell comes from Indonesia, but their inspiration might come from hell.
If so, the duo's vision of purgatory ain't so horribly deterrent. Naturmacht points out that the guys think outside the box, and that's damned right. The foundation might be
in the constellation of black metal, but as you known, the overall expression can't be tagged black metal when other
influences occupy too big parts of the overall execution. The genre hybrid thus remain undesignated, which nevertheless
don't make it less exciting. On the contrary, perhaps.
The band's first album, 巫峽王朝 Dynasty, gazed at the past, and from cover and title, I'm guessing
on inspiration from the Ming Dynasty, although samurai are Japanese and Ming vases Chinese. (If the
cover doesn't depict a samurai, please have me excused. It's beyond my expertise.) March On Gravitation, however, sees the band look into the crystal ball, aiming for the future.
The first promo track lasts for almost 23 minutes, but is numbered 1 & 2 and titled A Million Castor | Stellar
Space. The CD version might just see them split after about 13 minutes. (Optionally around other calm sequences,
as around 3 or 7 minutes.) Before this, there are some parts reminiscent of traditional metal in the style of proto-power,
i.e. clean singing in early Helloween style. The guitar work also integrates elements from the 80s, but also
reminds a bit of Keep of Kalessin. Especially at the beginning of the Stellar Space section,
where I envision it kicking off.
The other songs ain't of the short type either. The four following tracks last for approximately 8-9 minutes before
Conqueror of The Massive Star and Celestial Night again constitutes a merged
mini-mammoth of scarce 15 minutes.
The music continues to scoop strange matter along with black coal into the locomotive's combustion chamber. Rather
blissful clean vocal in old Ulver and Seigmen style, and soaring 70s organs are among the ingredients
that appear on the journey. At its best, including the combined opening track and the more progressive sequences in the
final double track, this is both fresh and enjoyable. Hell, even downright good. Also Summoning Stars
works fine with warped, sly black vocals and epic Viking vocals with melodies I could have sworn that I'd heard before.
Everything don't work equally well, though. The transition from said vocals to the one in The Abandoned Stargate
is far from optimal, as it suddenly sounds directly out of key. This singer doesn't have the necessary registry
to master falsetto particularly well, and the rang don't even extends far from modal voice. Rotary of Life
have sections of unnecessarily jolly and merry accent bordering on Christmassy and nauseating. The song nevertheless also
got longer sequences with guitar and rhythm that is reminiscent of Einherjer, besides the rounded guitar sound.
Descriptions like progressive pagan black metal appear here and there. The band seems to have a severe case of good old
split personality. The music is an original and rather schizophrenic amalgamation, wobbling a bit in quality. I will
however award the defendant the benefit of the doubt, as they stand out to such a degree.
I conclude with a few facts you weren't aware of.
• Indonesia has more active metal band than Norway. By a wide margin.
• One of the two guys that make up FromHell have played in, and the others is still active in
If you already knew this, sue me!