Review: Lava Invocator – Signs of Apocalypse

Review by Sandre the Giant

I almost didn’t sneak this in at the end of the year, because we’re so close to 2024 and maybe it was to be a last hidden gem for me to keep to myself. But the new record from Ukraine’s Lava Invocator, ‘Signs of Apocalypse’, released back in April of 2023, is black metal born of homeland upheaval and I’m always interested in how these things can affect the musical output of bands.

‘Dark Winter Night’ opens with newsreader clips about the Russian invasion and mourning piano, before an atmosphere laden riff takes over and the intensity starts to build. If that doesn’t immediately show us the effects of the real world on this release, I don’t know what will. Lava Invocator’s work is darkly grandiose in scale; never restraining the ferocity of its black metal core but there are a number of moments where you can almost feel the scale looming behind it. ‘Welcome to Hell’ is a monstrous track, full on blasting and thick, murky production giving everything a real darkness to draw on, while the rabid ‘Psycho Terror Worldwide’ reminds me of Impaled Nazarene in places. But this same track also has spacious moments, where you could draw some comparisons to early Dimmu or Satyricon. This kind of variety leads much of ‘Signs of the Apocalypse’ to be not entirely as one dimensional as some black metal can be, instead creating a sinewy and volatile cocktail of grim savagery. The punishing end to ‘Lava Magma Earthquakes’ is my absolute highlight.

Lava Invocator draw more from the Marduk school of black metal than, say, their countrymen Drudkh in the intensity and ferociousness stakes, but they have a little of that atmospheric style lurking in the background. A battering, pounding black metal record with just hints of the extra space in between. Don’t let the blasting fool you, Lava Invocator have much more about them than meets the eye, and ‘Signs of Apocalypse’ gives that away handily. A great record.

https://www.facebook.com/lavainvocator.official

https://lavainvocator.bandcamp.com/album/signs-of-apocalypse-2

https://satanath.bandcamp.com/album/sat358-lava-invocator-signs-of-apocalypse-2023

Review: Jaue – Cantos del Sur Salvaje

Review by Sandre the Giant

A one man pagan black metal outfit from Colombia, with lyrics based in ancestral Latin American thought? That sounds like it should be in my wheelhouse; I have a soft spot for non Eurocentric ancient cultures, paganism and black metal so Jaue’s debut record, ‘Cantos del Sur Salvaje’ should be ticking all the boxes. It is out now through a joint release from Satanath Records and Exumed Records.

Opener ‘A vuelo de condor’ gives you a fairly immediate idea of just how Colombian pagan black metal is going to sound; a little Immortal, a little Winterfylleth, a little Ensiferum too. Croaking vocals accompany a rousing pagan hymn, while the atmospheric backdrop slowly begins to build up behind. The whole album has a wonderful dichotomy between genuinely affecting acoustic moments like ‘Tierra del Fuego’, and raw black metal fury, like the scorching ‘Guerrero Mapuche’. It allows a real breadth of expression, never scared of adding moments to get you invested. The mid paced melodic powerhouse of ‘Montaña Sagrada’ is a personal favourite of mine, while the almost Finnish folk metal, pagan anthem of ‘Donde Nacen los Dioses’ will lodge itself into your mind for ages and the eerie folk of ‘Escultor de Hombres’ is just beautiful.

Closing up with a rousing version of Viking-era Bathory’s ‘Mother Earth, Father Thunder’, a Wardruna-esque version of skaldic poet Egill Sakallagrimsson’s ‘My Mother Told Me’ and an English version of Tierra del Fuego’ (Land of Fire), Jaue are really going all out for that full black/folk metal experience. At just over an hour long, you could possibly argue that ‘Cantos del Sur Salvaje’ is a little long in places, but Jaue have really got a handle on how to make this style of music in a way that remains engaging throughout. It feels like it is constantly evolving, from a rawer black metal edge at the start through a majestic climb into more epic places by the end. A real hidden gem.

https://www.facebook.com/jaueonemanband

https://jaue.bandcamp.com/music

https://satanath.bandcamp.com/album/sat356-jaue-cantos-del-sur-salvaje-2023

Review: Sieta – Novgorod

Review by Sandre the Giant

It was pointed out to me recently, quite rightly, by a comrade at arms that I don’t have a lot of folk metal represented on the blog. Now, whether that is because generally the genre inspires me to bang my head and drink rather than write, I don’t know, but they made a good point so I’d like to rectify it with Russia’s Sieta, and their 2022 rerelease ‘Novgorod’, out through Satanath Records after an original 2021 release.

From the glorious cover art to the grim folkiness of the introduction, delicate melodies with my first taste of the zhaleika (a traditional Slavic wind instrument that returns throughout), the atmosphere of old Slavic Russia is complete. The title track kicks in with a fairly straightforward melodic black metal approach, a lot of pagan metal influences with ethnic instrumentation adding some nice touches. It has a fairly anthemic chorus, not as chest beating as other folk metal acts but with an understated fist in the air. ‘Knyaz’ is a more ferocious piece, galloping second wave riffs and snarling vocals add a touch of rage to the air, while the much more melodic ‘Our Spirit’ is very like early Wintersun. ‘Dream’ is the peak of the darker side of Sieta though; a bleak encapsulation of the best parts of their sound with melancholic balladry woven into galloping riffs and icy rasps.

As ‘Battle’ comes to the end of its sweeping, grandiose twelve minute runtime, melodic black pagan metal that feels like it is retelling a saga of a great war around a forest fire, we are led into ‘Absolution’, a haunting folk ballad that takes us to the end. Unlike their cheery Finnish brethen, I’ve always found Slavic folk metal bands to have a much more melancholic and harder edge. Maybe it is an identity thing, maybe the Slavic culture generally lends itself to a darker style, I don’t know but this kind of grim folk tradition has always appealed to me. Sieta’s take on it veers from anthemic to savage and this dichotomy works well, if sometimes feels a little disjointed. ‘Novgorod’ is here for people who like a little bite in their folk metal, a little grimness.

*edit: since finishing the review, I’ve been in contact with the band who have pointed out to me that the concept is about the ‘baptism of Novgorod’ and the change between harsh and epic songs is all part of that concept. Makes much more sense now! I also recommend checking out the translated lyrics too if you’re interested in more.

https://www.facebook.com/sietaband/

.https://sieta.bandcamp.com/album/novgorod

http://www.satanath.com/

https://satanath.bandcamp.com/

Review: Gvorn – Keeper of Grief

Review by Sandre the Giant

The debut full length from Russian death/doom newcomers Gvorn has been one that has slowly crept up on me this year. ‘Keeper of Grief’ came out back in April through Satanath Records but its five tracks of mystic depression and death have slowly entered my play cycle more frequently recently.

Opener ‘Sounds from the Crypt’ is a masterful showcase of simple atmosphere in a death/doom track. You don’t need to be drowning in fuzz or ghostly sound effects, all you need is an omnipresent, black metal-esque hum of darkness as melancholic melody skitters across a cascading wave of miserable doom riffs and powerful death growls. The oppressive weight of everything on display here is cloying, clinging to you like tar during the gloomy goliath of ‘Demons in Me Laugh’, a track that has a lot of black metalisms too, just sloooowed right now to a morbid crawl. Gvorn have really latched onto a bleak aesthetic perfectly, but always ensure you’ve still got plenty of riff to cave in skulls with.

‘Sea of Trees’ is a lot more sinister and death metal than previous, with a more brutal chug in places complimenting the groaning melody lines and the delicate piano is a wonderfully morose instrument when used this well. ‘Pass of the Dead’ is the culmination of this work however, where the sodden misery reaches an apex of loneliness amongst a mourning melody line, helpless growls and obsidian cliffs of guitar. It is given space to breathe when everything melts away to just ambience, a plucked melody and a crackling, spoken word moment before it comes looming back in. The closing title track is an instrumental, almost dark ambient piece that is just as oppressive as the much heavier stuff before it, offering a soft synth line to weave its way through the darkness.

I don’t want to say what I think it is that’s casuing it in case he comes after me, but the Russian metal scene constantly puts out records of massive, dark and depressive music with what seems like little effort. This is a glorious record, giving you every inch of its melancholic grasp to claw at, before the hope and the future start to slip away during a bleak Siberian freeze. If Gvorn are this majestic on their first attempt, who knows what heights they’ll reach? ‘Keeper of Grief’ is a beauty.

https://www.facebook.com/groups/229891818288809

https://gvorndoom.bandcamp.com/releases

http://www.satanath.com/

Review: Viogression – 3rd State of Decay

Review by Sandre the Giant

Milwaukee’s Viogression has been around for a long time, since the early 90s in fact, but their third record ‘3rd State of Decay’ has been a long time coming. Thirty years in fact, since their sophomore effort ‘Passage’. Their legit old school death metal sound is out now through Satanath Records, in collaboration with Moribund Records, Murdher Records and Dark Media United.

Bands run a mighty risk after so long away from the world; will their old school credentials work for them or against them, and does that depend on whether they’re desperate for old glories or just a pure love of the game? After the grandstanding opening 90 seconds of ‘Nectar of Veins’, the brutality that ensues gives us somewhat of the answer. There’s a hefty dose of Obituary, as well as some of latter Death/Atheist in the songwriting skills, with ‘Under the Riverbed’ feeling like a lost ‘Leprosy’ b-side and the sinewy blows of ” coming down with a hammer-like intensity. Viogression have not come for the flimsy nostalgia run, they have come to compete. ‘3rd State of Decay’ runs the stylistic gambit too, from the death/doom rumble of ‘From Dust’ to the almost grindcore intensity of ‘3 Skulls’, giving us a full sweep of brutality. The band are even unafraid of some seriously monstrous song lengths, with two tracks in the back half cracking the 7:30 mark. Of these, I feel like the elegiac ‘Sisters of Iris: Taurion’ hits hardest.

Speaking as a big Obituary fan, I love this fucking record. Not because it is a copycat of the Florida legends, but it has a similar vibe and it gives me the same feeling as I get when I listen to ‘Cause of Death’. ‘3rd Stage of Decay’ is a glorious example of when old school band comebacks work sublimely, and Viogression are a hidden gem none of us knew we were missing out on. You could possibly complain that it feels a little long in places, but you’d probably be wrong. This fucking owns.

https://www.facebook.com/Viogression

https://viogressionr.bandcamp.com/

http://www.satanath.com/

Review: Azaab – Summoning the Cataclysm

Review by Sandre the Giant

The debut full length from Pakistan’s Azaab is out today as I write this through Satanath Records and Maxima Music Pro, and ‘Summoning the Cataclysm’ is an apt solution to the terrible things stalking our world. These death metallers have been together since 2016, and display a love for both the old and new schools of death metal.

Opener ‘Pandemonium Twilight’ is a wonderfully delicate intro piece, building the anticipation and then the obvious heaviness for the explosion of ‘Carbon Plague’, and immediately you get a sense of the technical wizardry of Azaab. The musicianship of this record is excellent, drawing much from the likes of Morbid Angel or Cannibal Corpse. The guitar work occasionally disappears down Azagthothian labyrinths of riff creation, like in the rampant ‘Preachers of Hate’ or the groaning swell of ‘The Infernal Citadel’. I also like how the crisper, cleaner sound of songs like ‘When Worlds Collide’ imply this kind of surgical precision. Ironically Azaab cover Decapitated’s ‘The Empty Throne’ here, as there’s definitely a touch of ‘Organic Hallucinosis’ about some of their songwriting approach.

There’s something satisyingly straightforward about a chunky, modern death metal album that gives you loads of brutal riffing, powerful yet coherent roars but also adds a lot of extra layers for those willing to dig a little deeper. ‘Summoning the Cataclysm’ is a record that should put these guys on the map, as it is incredible adept considering it is a debut release and Azaab try to ensure that you can wreck your neck and don that thinking cap at both times. An excellent debut.

https://www.facebook.com/azaabmetal

https://azaab.bandcamp.com/album/summoning-the-cataclysm

http://www.satanath.com/

Review: Striborg – Ghostwoodlands

Review by Sandre the Giant

The prolific Tasmanian ambient black metal/now coldwave, dark ambient legend Striborg has had, at this point, more releases in their 20 plus year existence that most of us can count, and ‘Ghostwoodlands’ was originally released in 2007. Satanath Records and Rude Awakening Records are working together and putting out this gorgeous remastered reissue of it and it is out now.

‘Bete Noirs’ immediately sets an unsettling scene, with a dark ambient hum looming behind an uncomfortable, wavering melody that feels rather otherworldly. It is a great lead in for the depressive, fuzzy murk of ‘Wandering’; nineteen minutes of hypnotic, raw black metal which gradually begins to feel more and more helpless as it creeps its way through dark forests unknown. Almost everything you’d ever need to know about Striborg at this stage of their existence is here. The atonal, droning hum of ‘Light’ provides the briefest of interludes between choking, miasmic black metal of the rawest kind. The vocals are like if rust had a voice, a croaking dusty rasp that could be the creaking of an ancient tree or a death rattle. ‘Animos’ is almost impenetrable in its necrotic approach, while the striking title track has a couple of mournful clean moments that protrude through the veil of fog into the light of day.

‘Ghostwoodlands’ is an album style that you just don’t hear very often these days. The hauntingly lo-fi, raw and atmospheric black metal colliding with creepy ambient electronics and darkwave elements really creates something startling and unsettlingly unique. Striborg may not have been the first band to create these sounds but they were my first experience of it, and I still hold them to be the standardbearer. ‘Ghostwoodlands’ is a perfect encapsulation of exactly why.

https://www.facebook.com/striborg666/

https://striborg.bandcamp.com/

http://www.satanath.com/

Review: Sterbefall – Verlorene Zeit

Review by Geary of War

Russian black/doom outfit Sterbefall dropped a big slab of heavy this April with ‘Verlorene Zeit’ which is out through on Satanath Records.

With a name which translates to death it is easy to see early on that Sterbefall means business. With their heart on their sleeve the album kicks off with ‘Kvlt’, a bold statement of intent but it works. It has slow brooding moments blended with speedy sections. It’s a true merger of black, doom and aspects of death metal here. ‘Einsamkeit’ comes out swinging but the outstanding melodic sections here let the heavier and faster parts shine. ‘Stirib Nict’ is about gloom and roars at the start which builds into a bleak crescendo. It is excellent black doom. The hook at the end before the gentle outro is sublime. This leads us to ‘Negativ’. Big riffs and mournful strings that Grails would covet is a thing to behold. The snap of the snare demands your attention. This is a doom classic if ever there was one. ‘Abschiedsbrief’ weaves a sorrowful tale before rounding out with slamming riffs. The title track, ‘Verlorene Zeit’ has a truly grand opening; the rasping and roaring shatter the moment of beauty to remind you that there is something grim around the corner. It is that special. The best way to describe this track is as a journey, it has so many layers and twists that it’s a joy to revisit.

‘Verbogene Gras’ is a big track, very big. The riff halfway through? You will give it your best George Takei and say, “oh my”. Yes it is that good. Which is not to say the rest of the track is not worth your attention because it is, all 6 minutes and 39 seconds of it. Have a craving for huge thunderous riffs? Have no fear, with ‘Augenblick’ we have you covered. From the ‘bring the house down’ heavy to a soaring section that will have you reaching for an air guitar (the one that’s tuned down of course) the full scope of the band’s talent is on show again. This is instrumental brilliance. This is a gem of an album and worth your time, get it on and up loud.

https://www.facebook.com/sterbefallband

https://sterbefallband.bandcamp.com/

http://www.satanath.com/

Review: Solfernus – Hysteria in Coma

Review by Sandre the Giant

The reissue of Czech cult black metallers Solfernus’ debut full length ‘Hysteria in Coma’, first released in 2005, has been handled by a collaboration between some excellent labels (Godz Ov War in Poland, Satanath in Russia, Lava Productions in Czechia, Slovak Metal Army and Azermerdoth Records in Mexico) known as the True Metal Cartel. This release also includes the never-officially-released ‘Diabolic Phenomenon’ EP from 2003 as well, so it’s got even more to punish you with.

After the grandeur opener ‘Lucifer’s Orchestra’, you are immediately attacked with waspish riffing in the fiery ‘Advent Massacra’. This is about as pure black metal as you can muster these days, a truly old fashioned sound that has none of the experimental nature that plagues much of black metal nowadays. Solfernus are bringing it pure, second wave and dark as all hell’s corridors. There’s notes of Mayhem and early Dimmu Borgir in the vocals, while the constant blasting is immediately evocative of Marduk. ‘Bros of Inferno’ is a punishing assault, while the slower and vaster ‘Victoria Karisma’ keeps the fire burning while adding some pagan melody in there as well. ‘In Bondage of Blind Desire’ is a devastating exercise in powerhouse drumming and riffs, while the darkly anthemic ‘Furious Beat of the Black Hearts’ is a majestic highlight for me. The cover of Slayer’s ‘The Antichrist’ is a natural fit, and the main album closes with the raging ‘Darker than the Darkness’.

As for ‘Diabolic Phenomenon’, it is a fascinating insight into the formative years of Solfernus. As a debut offering it is raw at times, but generally of a high quality. We’ve got three tracks that were later rerecorded for ‘Hysteria…’ in Furious Beat of the Black Hearts’, Darker than the Darkness’ and Bros of Inferno’, so I’ll concentrate more on the other two. ‘Legacy of Death’ opens with a maelstorm of utter blackened barbarity while ‘Human Medium of Evil’ is a much more measured affair, bleak and bitter. They would’ve fitted in perfectly on ‘Hysteria in Coma’ as well, but they’ve now become these stunning curios.

As much as I appreciate how black metal today has managed to move beyond mere second wave worshipping, monochrome forest dwelling copycats, when I get a hold of something truly fiery and old school like this, there is not much in the world of metal like it. Solfernus have the sound nailed entirely, even from the get go if ‘Diabolic Phenomenon’ was a little raw in places. By ‘Hysteria in Coma’, they had it down and it is full of furious black metal classicisms as well as insidious heavy metal melody at times too. Excellent, and a worthy gem to be unearthed in these modern times.

https://www.facebook.com/profile.php?id=100043320620140

https://bandzone.cz/solfernus

Review: Graveyard of Souls – Infinity Equal Zero

Review by Geary of War

Spanish death and doom metal band Graveyard of Souls have released their latest album, ‘Infinity Equal Zero’, through Satanath Records around a month ago, and is their SEVENTH(!) full length since their formation in 2012.

Opener ‘Madre’ gives you an early taste of all that you can expect and what is brilliant about this record. Brutal pummeling of death metal, a mind raking growl but also a sprawling and expansive feel of exploration and wonder. The bleak title of ‘Your Children Will Be The Last’ is suitably matched by the music and vocals. I can easily visualise the scene in a post apocalyptic wasteland, the beauty of the silent landscape offset but the raw and endless challenges of life. The solo here must be singled out for some recognition, for it is excellent. ‘Mil planetas te dicen adios’ which is ‘A thousand planets say goodbye to you’ for those non Spanish readers, is the second longest track here and truly dives into the progressive side of doom. Continuing with the ability to write haunting music Graveyard of Souls have created something quite beautiful here. The spoken word part at the end adds another layer to this track.

Continuing the space theme ‘Distant Star’ does not mess about with a soaring bit of guitar playing to open. At this stage you know what you are in for, haunting and ranged music with equal parts brutality and growls. The longest track here ‘Eres Libre’ (You’re Free), takes a different approach to opening; it is tender, with a sense of awe then the doom hits to remind you reality and harshness are never too far away. You are free now, but for how long? You could close your eyes for this one and be taken on a wonderful journey, unless you are walking or driving, then please, keep your eyes open!!

‘Entre el todo y la nada’ (Between Everything and Nothing), grabs you by the shoulders and gives you a shake as the band yell, remember we do the heavy doom stuff too! A proper head banging exercise in heavy metal the band still squeeze in the soaring progressive touches which elevates this record throughout. Rounding us out with the appropriately titled ‘Time to Leave’ there is some hard to hear spoken word by a lady which sits on top of the quite stunning music being played here. It is a triumphant way to close the record. The expansive feel of the music matches the sense of infinity the album cover wishes to convey; the whole album does, hope, despair, the cycle that repeats.

My first thoughts when I listened to this album was that it was like a more aggressive Gojira, not the heaviness nor are the styles like for like, but that Graveyard of Souls are pushing the progressive edges of the genres they play. They are aggressive, the vocals are coming for you. It is both relaxing and unsettling. It is an excellent record and I encourage you to make the time for it.

https://www.facebook.com/GraveyardOfSouls

https://graveyardofsouls.bandcamp.com/

http://www.satanath.com/