Ivan Tibos.

That’s one of the many things I like about Satanath Records: they are so diverse on several matters: a huge stylistic roster (from Grindcore over Death Metal to Black Metal and Thrash, as well as Ambient, Post-Rock etc.). But their open-mindedness goes further, in search of projects and bands from all over the world. This time we have to cope with a release from a band from Costa Rica, of all places! But do not expect white-sandy beaches, sweet cocktails and happy-tuned music – but you surely wouldn’t expect me to write about such thing…

Tarnkappe are a Dutch combo with (former) members of e.g. Krocht, Lugubre, Kjeld, Gheestenland and Salacious Gods, and admit: that does sound promising, does it not! They recently re-released the album Tussen Hun En De Zon, which means ‘in between them and the sun’, via Kult-label Hammerheart Records, but it was originally released in October 2013 via Sabbath’s Fire on tape.

When I listened to Ragnell’s debut, I was quite enthusiastic about the result. That mini-album, called Black Requiem, was, just like the one this chronicle will deal with, released via Satanath Records, and the review was updated on September 27^th 2014 – check it out!

Italian act Embryo returns with a new album, which was recorded, mixed and mastered once again by long-time producer Simone Mularoni (you might know him as well from his assistance to bands like Vision Divine, Ravenscry, The Modern Age Slavery, Anatomy Of I, Stigma a.m.m.). It took quite some time, because their last album, the highly acclaimed No God Slave, dates from 2010, but the fans will not be disappointed.

The ‘issues’ in between Ukraine and Russia do not always infect ‘our’ sonic scene. I am talking about the collaboration of musicians, joining to start up a new project (or continuing an existing one), or labels from both countries taking care of the release and / or distribution of stuff from one of both countries (or another).

Despite almost eight years of existence, Epitaph For Life isn’t but the first full album, and their second official release. Once again kindly offered to the audience by mighty Russian top-label Satanath Records, this time in co-operation with Black Plague Records (from California), it saw the light at the very end of 2014.

That’s why I (sometimes) like collaborations: ΑΓΟΣ, aka AGOS (yeah, I learned some Greek too in a not-so-recent past), are a partnership in between Virus Of Koch’s Van Gimot (performing about everything) and Aenaon / Black Winter’s Astrous (responsible for all lyrical and visual concepts). But such co-operations aren’t necessarily winning teams; but in this case, however, it is.

My first acquaintance with Xaos Oblivion was in 2008, when this Polish horde did release the album Antithesis Of Creation. Before there were some demonstrational recordings under the name Oblivion, yet since there were several Polish acts with that very same moniker, the name turned into Xaos Oblivion. Some more albums did follow under the Xaos Oblivion-moniker, each time praised and hailed, at least by those who understand quality.

Sigihl are a young Polish act, formed in 2012 in the city of Katowice. The quartet, with former and current members of e.g. StrommoussHeld and Thaw, had this album, Trauermärsche (And A Tango Upon The World’s Grave), recorded, mixed and mastered in their home town with Krzysztof Kurek (drummer Grekh’s former colleague in Thaw). And they climb out of the shadow, these prophets of the Bringer of Light, marching under the flag of his sigihl.

I was extremely confused when I listened to The Kudos Of Serial Killing the first time, and actually, right now, listening to this album for the third time, I am still brain-twisted. And when I read some info about this project on Aesthetic Death‘s home page, it didn’t quite help me to understand what was going on. But I think it’s charming to be submerged to the unexpected.