Hailing from Belarus, Gnieu (which means ‘anger’ in their mother tongue) were formed about a decade ago. Throughout ten years of existence, the project (mainly a duo, consisting of Igar and Vietraslau) recorded two hands full of releases, amongst which some splits (with e.g. the sweeties of Lascowiec or Canadian two-man army Warforest), some EP’s and demos, and three full length albums: Kola Spradviecznaje (2008), U Vihurah Uśviedamleńnja Byćcja (2009) and Dein (2012).
Hass Weg Productions
Lyon is a very old French city (founded by the Romans more than two millennia ago), at the feet of the Alpes, and not that far away from the Swiss border. The city has a beautiful ancient centre, several acceptable wine houses (it’s there where Rhône and Saone ‘melt’ together), and it houses the head office of Interpol. Lyon also is home to LeibStandarte (not the Greek one), a young formation that recorded and independently released a very limited three-track demo in 2017. FYI: the tracks from that demonstrational recording return on their debut.
First this: Aux Portes De La Mort (‘at the gates of death’) was released on February 12th 2010, but the scroll-down menu does not go back that far. But once again: 2010!
You know (or you do not – what do I care anyway) that I have never disliked writing a review for older stuff. I do it with pleasure 1) to be grateful and to pay tribute to the band or label that send me that older stuff, and 2) when I think that this material is worth deserving some (of mine) additional support and promotion whatsoever. Quite the same goes for this review. It deals with the hateful French horde DUX and their peaceful recording Vintras.
I did never hide my dedication for Nordic styled Black Metal.
I did never hide my appreciation for R., the very sympathetic guy behind Hass Weg Productions.
I did never hide my preference for that French label I just mentioned.
Why these three phrases? Well, for Hass Weg Productions release about nothing else but true Second Wave-oriented Black Glory Supremacy! And this time, well, what do you think…
The Polish horde Aryman was formed at the very beginning of this century, but initially it was a band without name, without an aim (besides playing Black Metal!), without any official and professional recording or release. I guess it was in 2006 when main members Nefarius and Non Serviam decided to baptise their sonic brainchild as Aryman.
I knew a Texas-based Thrash band called Pendulum (it was a long time ago), and it was the moniker as well in the earliest years for Carpathian Full Moon, but this review deals with a French act, nowadays coming from the city of Nantes, in the West of France, at the border of the Loire river (a region known for some highly agreeable Muscadet wines, but that’s irrelevant right here).
Quite an active act from Ukraine is Nocturnal Amentia, formed at the beginning of this century in the Lugansk area. The band released four full albums in mean time (the last one being released a couple of months ago via Cold Breath Of Silence), and they contributed on two splits; one with UK’s Black Grave, and another one with fellow countrymen of Underdark (sharing a member, by the way [*]).
Aquila is a solo-outfit by Atheosoph, whom you might know from his collaboration in (sadly defunct) Rein (review for their sole album La Cocaïne Des Seigneurs: see update of March 5th 2016). Under the Aquila-moniker, Atheosoph recorded a first demo-tape, Les Larmes De L’Aigle (‘tears of the eagle’), which was released in a limited edition in September 2014 via Werewolf Promotion.
Formed a decade ago, South-France’s Pestiferum did offer the audience a limited yet highly acceptable number of releases; amongst those two splits (one with mighty Fhoi Myore) and a first album in 2009, being Solstice d’Hiver. Then, un moment donné, Pestiferum signed to (also mighty) Hass Weg Productions in order to release the sophomore full length studio album, Déchus Du Fléau, coming in an edition of 1,000 copies, including a sixteen-page booklet.