One of the first Black Metal formations from New Zealand was (is) Vassafor, a band that has a limited curriculum vitae during the nineties. At the very end of last century, they broke up, but in 2004 Phil Kusabs decided to resurrect his main project. The guy, FYI, is involved with quite some other bands and projects too, but this review deals with higher aforementioned Vassafor, so I’ll stick to this one.
Soul Extremist is the very first release by a young duo (I do not know whether the members are young – just like I am – but the project was formed in 2015, and that’s what I meant with ‘young’ – except, once again, compared to my juvenile virility…). They’re called Temple Of Nihil, hailing from the Kaluga Oblast, somewhere in between Moscow at the one hand, and Ukraine and Belarus at the other.
Vortex might not be that known, but this project by German artist Marcus Stiglegger did release three albums before this one. Being inspired especially by cinematic concepts, ritual heritages and spiritual subjects in general, Marcus permanently searched for conceptual sources to create his evocative Music. With Moloch, Vortex (excerpt from the bio) ‘crafted an apocalyptic soundtrack for urban decay’.
I knew French artist Furniker (real name: Franz Schultz, very French indeed) from some material I heard via Murmure Intemporel, an experimental label from France’s soil. Recently I also received a copy of a new recording by this project of Herr Schulz, this time released via Death Carnival Records, one of the labels by the talented and devoted artist A.Arthur.
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.
With the band’s name, the album’s title, and the cover picture, I was afraid I would throw over soon. Fake Cats Project performing Russian Canon (I’m not sure, but I think it’s named after a classic composition once written by Igor Stravinsky), while seeing a clay cat with green-marbled eyes on a wooden hammock… No, this probably won’t do.
Honestly, I admit that I truly, deeply adore Iceland and its culture / nature (I have not been there yet, physically, but a befriended couple recently did, and I am so f*cking frustrated that I was not there - Ivan). And besides the natural, and at the same time the cultural aspects, quite the same goes for, at least a part, of the Metal scene going on out there - on an island with less people than an average European capital. I will not come with a list of bands that I know, or adore, for it would be, yeah, quite stupid.
Open de hellepoort voor verse zieltjes…
(‘open the gate of hell for some fresh little souls’)
Earlier this year, Infernal Inquisition did celebrate its tenth anniversary. However, throughout a decade of existence, this Brazilian act did not record that much material at all. Earlier this year, there was an EP and a split (with those sweeties from Uraeus), but before they hadn’t but two ‘real’ releases and some contributions on samplers. Their sole full length was Sob O Obsesso Ocaso Lunar, and it was released in 2015.
Last year Entropia Invictus celebrated their tenth anniversary (though until that celebration day they were called Entropia, without the Invictus suffix), and as a present to the audience they came back with a third full length release (there are some EP’s as well), called Human Pantocrator (the first official release under the new moniker). It’s an eleven-tracker that was registered at the Tower Studio (for mastering duties), with cool artwork courtesy of Above Chaos.