I wasn’t sure how to start this review. I think it is not necessary to focus on the history about this duo; in case of interest (and why shouldn’t you, except for when you are trusted with this act’s, eh, unique sound-sculptures), I’d kindly want to ask you to read one of the former reviews I did about this project (links: see below), or to visit their Facebook / Bandcamp, or whatever, pages.
The King and the Emperor are back (and I admit that there is a third crusade in the meantime, and that this project is working on their fourth album too – but let’s now focus on their second one). Robert Koning (all instruments and clean vocals) and Yorick Keijzer (lead vocals) released the follow-up for their debut called I (or just Walg, if you want to), which is smartly called II (and indeed, the third part, released in early 2023, is titled III; ah, I adore certainty and perspicuity).
This time, I won’t spend my time in introducing this UK-based act; several of Sir (bleak)’s releases have been reviewed for this webzine before, so in case of interest, I would kindly ask you, dear reader, to check them out. When it comes to this specific project spawn from Peter B.’s disturbed mind, and for your convenience (or the lazy ones amongst us), I did add some links beneath…
[another review for an ‘older’ release, but then again: what’s the problem???]
I used to follow the Russian formation Sterbefall during their earlier years. Weg Nach Nichtigkeit, Plattensee and even Die Lawine (an acoustic reinterpretation of the past) could surely caress my eardrums. Yet as from 2016, things turned into an ear-deafening silence.
The spiritual night-entity Kasriel continues his quest into / through the magical world of the mystic castle (and the spheres beyond). He gets summoned by the Melosina-spirits to escape the walls of the cold, dark stronghold he’s been held for so long, too long. Searching for answers, his adventure will be harsh and daring, yet Kasriel will be guided by the Snawfuss; hidden inner powers will be convoked; a guidance of alchemical strength will accompany the protagonist though a next chapter of both despair and hope…
Probably the most active Metal artist from Swiss (or at least one of the …) is Sergio Da Silva, especially known under his moniker Bornyhake. Enoid, Oculus, Borgne, Pure, My Death Belongs To You, Porifice; it’s just a small selection of acts he’s involved with, mostly as sole member. Besides, he’s active as guest / session / live musician for tens, probably hundreds, of other acts, and he runs some labels and distribution channels too.
A short one, for it deals with a re-release; yet one that surely deserves some additional support…
For some unexplainable reason, I just noticed that I did not finish and publish my review for The Baring Teeth, Dev-I-Ant’s debut for Raubbau. I will soon make it up with a review for A Place Of Warmth And Tears. Yet until then, first this: my thoughts on 2020’s Progression Of The Wolf.
Hailing from the Antwerp regions (Flanders, Belgium), Axident are a very young outfit, conceived with one goal: to thrash the masses! This band was formed in 2022, I mean, four guys came together to jam and to annoy their neighbours with some loud, sonic assaults. Eventually they had some tracks written, and a couple of live gigs strengthened their future; Slayer, Metallica, Sodom, who? Forget about them, for Axident will overwhelm the scene mercilessly.
This review deals with another collaboration by two of my mostly appreciated labels, Cyclic Law and Sentient Ruin Laboratories. And… This review also deals with a collaboration of two mostly appreciated North-American projects, Sutekh Hexen and Funerary Call, respectively coming from The U.S. (California) and Canada. I won’t go into these labels’ or acts’ biography this time, yet I’d like to go into this album’s content immediately.
If you would ask me to sum up some bands or projects from Bangladesh, I have to admit that I’ll have to stop at / after two hands full. I reviewed material for acts like, for example, Chronicles, Barzak or Morbidity in the past, and I do also have stuff from bands like Azooma, Xarkrinur, Necrolepsy or Orobos, but I’m afraid this ‘list’ indeed is enormously limited. But I cannot but mention Kaal Akuma for sure too.
