There is no religion higher than truth…
I can imagine that there were quite some happy human beings about two years ago, when it turned out that Mustan Kuun Lapset returned to the world of the living. With Kuolemanvitra, these Finns created quite a cool comeback, more professional than ever before, as if they’ve never been on a break. I invite you to check out the review for that EP, which was published on July 4th 2016. It was the first new material since 2007, when the band released its latest album, Viimeinen Laulu Kuolemasta (via Stay Heavy Records).
Goatpsalm is one of the most important projects by Horth, who is, or was, in acts like Sickrites, Pestilentia or Moriturus. And I adore what this band does, I really do. Erset La Tari, for example, must be one of my mostly preferred releases in the glorious Black Ritual Ambient Noise scene – check out the review for that album, if wanted, posted on February 18th 2015 (FYI: it was also released via the great and open-minded UK-based label Aesthetic Death).
When talking about the French Distant Voices label, I usually go into superlatives. That label deserves this for sure, and this for a couple of reasons. I like the crew behind, for they are really devoted to the scene, preferring craftsmanship and identity above profit. I like the few projects involved, for that’s the kind of Aural Art I do simply adore. But it’s this label as well that does release quite everything in a strictly limited yet totally handmade edition.
After a couple of years of totally silence, French trio Bind Torture Kill strike back, full force ahead, with their third miscreature, called Viscères. In 2014 and 2015 they gained some fame and popularity via their self-produced recordings Bind Torture Kill and Condamné (meaning ‘condemned’), both of them self-released. This second full length (their nameless debut was an EP) was recorded at the Warmaudio Studio in the band’s home city Lyon, and it clocks just over half an hour.
As you can read in my review for Necroheresy’s debut Divine Betrayal (published on June 16th 2015), I was very pleased by the intensity and craftsmanship of this Slovakian band. Those actual and former members of e.g. Karpathia, Silva Nigra, Evil Dead and Aeon Winds did convince me, so I was impatiently waiting for some new material. It took a while, but here they are, once again, with their first full length.
Vihan messU is the name of a very productive solo-project by a Finnish guy called Henri Raekallio. Last decade and this decade, Henri created a whole discography under different monikers, amongst which Vihan messU, which means something like ‘wrath from the masses’ or ‘fair hate’. Via the great Finnish label Patologian Laboratorio Productions, run by Aki Klemm, two Vihan messU recordings were presented to the thankful audience, being this one and an untitled one.
The Bearer of Death… Kalmankantaja is a productive outfit of a productive guy from Finland, Aki ‘Grim666’ Klemm. As musician, he’s involved with bands and projects like Hautakammio, Order Of The White Hand, Lathspell, Oath or Grimirg, amongst others, but he also runs the Patologian Laboratorio Productions label and the Patologian Laboratorio Studio.
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.