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resurgam
Friday 28 February 2025 - 17:33:35
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Mortal Dismay — 2024 - Black Forrest — (Single)


In anticipation of their fourth full-length album, the Thrash Death Metal band MORTAL DISMAY has released the single Black Forrest (with two R’s), which will be featured on the upcoming album.
The single unexpectedly links to the second-wave Black Metal, inspired by dark entities that nested in the souls of the musicians. The epic, marching fury spread across the track comes from just this kind of origin.
The gloomy melodicism and whispering voice set the mood for a horror film – this is clear from the very beginning of the single. And the drummer eagerly ticks the seconds before the execution begins. The grim, mid-tempo, leaden Thrash Death Metal of the oldest school fills the space of the track. The soloing guitar part grandly signs the death sentence... And, you know, it seems to give a glimmer of hope... Most likely, in vain.
The vocalist, with her deep and energetic tone, adds a couple of vials of adrenaline to this exhibition of merciless slaughter.
It’s no coincidence that MORTAL DISMAY made a video for this track. Honestly, it seems like it was planned from the start. Everything has come together too well. In fact, it’s a great synergy between the audio and video content. Everything is done according to the old methods of forest shooting. Simple effects in the hands of a skilled video director provide a fitting result.
Ha! In the video, the vocalist wears corpse paint. I told you: "Black Metal Forever."
P.S. The track is based on Japanese legends about supernatural forces living in the forests. I saw one such horror movie from the Land of the Rising Sun – pure darkness, a unique atmosphere. The video matches it perfectly.

https://vk.com/mortaldismay

 
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resurgam
Saturday 01 March 2025 - 17:41:47

Апейрон — 2025 - Новый рассвет — (Single)

Our Rock and Metal have taken on countless forms and interpretations! The most diverse and amazing ones. This is the key to the fact that these genres are alive and will continue to live.

The Yaroslavl-based band Apeiron presents a classic example of how music is played by people, for people. Their single "New Dawn" is a perfect example of this.

The musicians play multi-genre music with a distinct pop flavor, and they do it with great enthusiasm – aiming to play for the widest audience possible. A clear confirmation of this is the vocalist, who delivers a rich pop vocal in her mid-range.

She manages to engage the listener right from the start without much effort – just a bit of intonation is enough. But when needed, the singer can shift higher, adding more powerful vocal pressure, and it seems this is not all she’s capable of. Throughout the track, the vocal part, with its peaks and moments of drive, is executed at a very high level.

I particularly noted the keyboards, which were played in a 70s-style tonality. The musician is definitely familiar with classic rock (Deep Purple, Eagles, and others). The solo performance of the instrument in an art-rock position (after the center of the track) left a strong impression.

A special mention should go to the rhythm section, which created a solid, even sturdy foundation for the others. The drummer, I know, has a solid amount of experience working in rock and metal bands. This isn’t about precise metronome playing, but about skillfully accentuating the important moments of the track and actively supporting the keyboardist in my favorite part of the song.

 

https://vk.com/apeyronband

 

 



resurgam
Monday 03 March 2025 - 19:45:39

 

Звук Света — 2025 - Пилат — (Single)

 

This track breaks through with sympho-rock, like a living sprout breaking through the asphalt surface of contemporary rock music. And somehow, it feels timeless. I was going to mention something like: "This composition would have been in demand 30 years ago." But no. True music is always relevant, regardless of external circumstances.

The composition "Pilate" is built around the vocals, and I even changed the presets on the equalizer... but still, I stand by my opinion. In this context, the track strongly resembles part of a much larger work, in this case, a rock opera. I won’t hint at its title. That title has already been used.

Well, and as the content of the track shows, this is quite justified. The vocalist of the band ZVUK SVETA has a stylish rock-and-pop voice, easily and effortlessly solving the tasks at hand. Both in a calm minor mood, in more intense passages, and even at one point, showing slightly harsher overtones. The intonation in this track is everything. No problems. The vocalist shows professional vocal training, which you wouldn’t be ashamed to take to a concert stage.

It’s also important to mention that the musical accompaniment (I won’t hide it – 50 orchestra members, the band, a piano) is very close to perfect. Emphasizing dramatic lines (3:50), gently and attentively accompanying the vocalist.

As expected, after the center of the track, the musicians were given space to show themselves. Overall, this is a wonderful, neoclassical fragment full of light force and hope, with a leading piano part and a solid string section (violins, cellos, others).

If you’d like, I’ll share my humble opinion. The composer needed to add a little more rock content: more power and grit in the guitar solos and perhaps even more intensity in the rhythm section. This would create more contrast and drama in some parts of the composition.

Назову имена:
Дмитрий Лобов — вокал
Артём Мочалов — бас
Александр Юдин — ударные
Павел Товпич — рояль
Оркестр — «OpensoundOrchestra»
Дирижер — Станислав Малышев

https://vk.com/svetazvuk

 

 



resurgam
Tuesday 04 March 2025 - 17:23:51
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Amor E Morte — Moonchild (2025)

Stylish Gothic Metal, often called Love Gothic Metal. And you know, this is far from the first product of the band AMOR E MORTE. As far as I know, they released a whole album last year to the delight of fans of the style, and there are quite a few of them.
And right away – the musicians are experts in the chosen style and hit the mark in this Gothic darts.
The rhythm section is sensual and stylistically justified. The guitars are well-played, creating the riff, maintaining the rhythm, and after the track’s climax, they deliver a beautiful solo—nothing pretentious, but bright and clear in both its message and mood. I even felt like the guitarist was holding back, not wanting to go for a more elaborate solo. But, you know, there are boundaries to the style...
And of course, I have to mention the vocalist, who is a small but still noteworthy phenomenon here. A charismatic voice with interesting overtones, without trying to be “operatic” or overly sophisticated. But listen to how much hidden feeling there is in it, literally from the very first notes. This singer knows how to convey emotions, confidently performing his part, placing accents in a sentimental and careful manner, and intonating dynamically in the peaks. And here’s the thing—he sings seemingly without pressure or expansiveness, but behind every line, it’s like there are lived experiences. A sort of Count of Monte Cristo with a backstory.
A clever move was the addition of the female whispering vocals, which add their ten drops of minor.
In general, this composition by AMOR E MORTE will not go unnoticed by music lovers interested in this type of music. It will also serve as a resting point for metalheads who have just listened to 3-4 Brutal Death Metal albums.
By the way, I think the single "Moonchild" is not just a single but a sign of the upcoming AMOR E MORTE album. Let’s wait and see.

 


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resurgam
Wednesday 05 March 2025 - 16:04:22
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МЕРТВО — 2025 - Матери ворон — (Single)

Well, this is one of those cases where you hear something, like it, and feel the need to write about it so others can listen and not miss it. Because tomorrow is a new day and a new single, for example.
An unknown project, no idea who’s behind it. There are suspicions, of course, but nothing more.
The single starts with the specific vibrating sounds of a jaw harp. Then it creates a complex mix of long, brutal riffs, like railway tracks, which only evolve into a soloing guitar towards the end.
These extended parts are agonizing at times (the drummer can confirm), but mostly meditative, if you can say that in relation to death metal’s pounding music.
But in reality, this can be identified as ritualistic, slow DeathCore. And it’s the female vocals that represent the “Core.”
Starting with extreme screams, the voice transitions to a cleaner avatar, with a screaming, wailing high range.
Whatever the vocalist is singing, it’s a true magical installation, performed in an ecstatic, paranormal key.
The thing is, the singer knows exactly what she’s doing and performs in the way needed for a ritual, not for a heavy genre song. That’s why you hear those rising inflections at the end of phrases, the bold intonations, slight shifts, and the specific vocal breathing of the performer.
There are multiple vocal layers that intertwine, creating the inner magic of the track. In that sense, the composition somehow links to Pagan Ritual Death Metal, and in its most extreme form.
It’s a very heavy track, both emotionally and physiologically.

https://vk.com/mertvoband

@mertvoband

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resurgam
Wednesday 05 March 2025 - 18:21:21
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Fast Food — 2025 - Eat 'Em All - (Album)

The second album already launches FAST FOOD into orbit. And that's not surprising, because the speed on this full-length album is quite enough to overcome Earth's gravity.
This is Crossover Thrash Metal from Astrakhan, and let's be honest, there aren't many bands here exploring the extreme genre in this style. It's characterized by relentless energy, truly beastly power, and continuous pressure. To be a vocalist in such a band, one needs special qualities—well, like any singer in an extreme genre. But listening to Fast Food - Eat 'Em All, you can't help but imagine yourself in that position and think: this is just… (insane) in a way.
Fast Food starts with a track that is 102% in line with the basic requirements of the genre—speed, riffing, and BLAST. And right away, the vocalist shows himself at his best. In fact, this is something you have to listen to and understand—vocally and instrumentally, they interact in a special way, due to the high speeds of everything involved. At times, it feels like the vocalist's part floats above the instrumental. Cool.
In the track "Die A Slave," the structure is more thrash-like—bridges and tempo changes. However, Crossover firmly holds everything here with its steel claws.
The musicians start cleverly in the composition "Coma", primarily to slow down the album’s pace a bit and give the brain a little time to recover. In this initial section, the vocalist sings quite interestingly, almost preaching, with effects like echoes. And then—let's go! Full throttle. Thrash madness at its finest.
In the track "Sick of It All", by the way, the vocalist switches to another avatar, a more desperate voice, although it seemed like it couldn’t go any further...
And although there’s an opinion that the guitarist here got bogged down in riffing, he actually manages to insert desperate solos in certain spots.
Some tracks are mid-tempo (“Obey”), and it feels a bit unusual, but you still sigh with relief ))). Especially since it's clear that the thrash roots (Metallica and the like) are not just a distant memory for the band FAST FOOD.
The tracks on the album, as expected for Crossover Thrash Metal, aren't long—2, 3, 4 minutes. Well, you get it, for such a brutal genre, this timing is not just a whim of the musicians, but a decree from higher powers.
There are definitely standout moments in this iron-fueled album. The longest composition is just under 5 minutes—"Another Crack in the Wall"—(I hope you understand who the musicians decided to poke fun at). But in this epic, Thrash and mid-tempo slightly dominate. The vocalist, however, doesn't care about this, although there's a slight local slowdown in his parts. Here, the track’s architecture is more developed—simply because there's space for it. There's an unusual solo at the start, and the insane drive, and the crossover magic of the vocals, and on top of the galloping rhythm section, they placed a soloing guitar with a slight Eastern melody. Astrakhan, that's how it is.
A true extreme album. Great cover. The artist deserves an award in the Health & Lifestyle category. But I wouldn’t be surprised if you find yourself wanting to listen to FAST FOOD again and again. And again...

https://vk.com/fastfoodthrash
 
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resurgam
Friday 07 March 2025 - 18:43:39
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Age of Rage – Generation Cataclysm (2025) - Solids Music

Well, I see that AGE OF RAGE and superstition are incompatible things – the band has recorded 13 new tracks and placed them in the album. But I must say that three of them are covers. So, everything's good. And we weren’t doubting that.
Modern Heavy Metal – that’s how the band defines themselves. And the musicians have plenty of reasons for that. But still, it’s Heavy Metal. Though, of course, it’s the Heavy of the New Era. Judging by AGE OF RAGE's concept, it’s powerful, complex in arrangements, and technically prepared for any turns. At any moment. This is where it’s worth mentioning that four guitarists played on this album. That says a lot about the ambitions of the commander (and vocalist, lyricist) Anton Gruzinsky.
What’s more, the album's tracks are quite indicative musically to showcase strategic diversity. If the first track is a very intricate Heavy Metal in terms of both instrumental and vocal elements, in the Russian (but not only) understanding – NWORHM (New Wave of Russian Heavy Metal), the second one is almost Speed Metal with symphonic touches and old-school keyboards. Here, you realize that simplicity won't be found here. Though AGE OF RAGE has never been about simplicity.
The title track “Generation Cataclysm” really blew me away. Although I thought I was ready, like a pioneer. The intro (after a small lead-in) leads into a wild Thrash Metal – even thrashier than some thrash. I’ll talk about the spectacular (yes!) vocals later. After that, it turns into Power Metal, skillfully composed by the musicians and engineered expertly. Did something not work out? It’s hard to say, because perhaps that was the plan.
The track “We Are (Мы)” is touched with folk tones and slightly deviates from the overall context of the album. BUT! You wanted variety? Yes!
AGE OF RAGE continues with Scandinavian Speed Power Metal in the composition “Now the Party Will End.” Many listeners will enjoy it thanks to its soulful, lyrical nature, as well as the pleasant effects of the interaction between the instrumental and vocal parts.
“Alive Just Now and Here” is mixed a little differently, so don’t rush, this Russian Speed Metal stands out with its boldness and impact.
Real fantasy Power Metal – “Fanatic Warmachine.” Here, damn it, even the album cover featuring death machines invading the past (as I see and hear it) is not needed. It’s amazing how the musicians manage to convey visual images with musical means. I’m wondering if there’s a place for neoclassicism? There is, and quite a prominent one.
Three covers – by Korn, Kamelot, and Five Finger Death Punch. AGE OF RAGE’s approach to covers is well-known – don’t try to do it better, do it with feeling. A cover like this will leave its mark. I never would’ve thought I’d name Korn’s track cover as the best among the three (IMHO). This is mainly due to the impressive, raw vocal performance. And FFDP covers by AGE OF RAGE are always great.
Now, just a couple of words about the vocalist Anton Gruzinsky, who did a truly solid job on this album. The emotionality of certain episodes of his vocal parts needs to be measured by a Geiger counter, like radiation. Right now, I can’t figure it out, is this the development of his vocal skills, or was he always like this from birth? I tend toward the first assumption.
Yes, we all grow and refine our abilities, as much as possible. It seems to be a harsh necessity for Generation Cataclysm. But natural talent is also a good thing. Anton not only sang the main parts in pure, harsh, and growled styles with a natural, impressive intensity, but also created a lot of vocal layers and harmonies. All of this was excellently handled by sound engineers who specifically worked on the vocals.
There are three bonuses as well. So to speak, “stolen from their own studio”)) I just really hoped that the track “Waiting Ragnarok” would be made in a Black Metal style. m/

https://ageofrage.bandcamp.com/album/ge ... clysm-2025
 
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resurgam
Sunday 09 March 2025 - 20:14:07

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KA’APER - Ta Sekhet Ma'at — (2025) (Single)

The musicians of the Cypriot formation KA'APER are not claiming to play Dark Metal for no reason. But only if you understand Dark Metal as the broadest synthesis of different metal substyles, where something unique is taken from each and an original material is formed with extreme vocals.

And in the case of the track "Ta Sekhet Ma'at" in question, they’ve created a creepy atmosphere with a solid mid-tempo and beautiful Gothic Metal foundation. The mystical intro is brilliantly done – mysterious and melodic, with keyboards that drip and fade away, accompanied by a gentle guitar part that’s almost unprocessed.

When the massive, pounding, triumphant rhythm section kicks in (if you play it in high quality, you’ll hear the march of infantry legions in the background), followed immediately by the extreme harsh and guttural vocals, layered quite elaborately for depth with choral support, the Dark Death Metal tag is entirely fitting here.

A bit later, a cool Gothic Metal bridge with clean gothic vocals emerges, briefly revealing the true essence of the events.

The musicians have focused on darkness and revived memories of the old periods of such giants as Paradise Lost and others, reinterpreting this legacy in a modern context.

The result is an intense and heavy emotional track, where the melancholic melody is skillfully intertwined with the pressure of the vocals and the sharp riffs that come crashing in.

It's also worth mentioning the high-quality sound that the musicians achieved in the Ka’aper studio, with mixing and mastering by Max Baryshnikov. The first single I heard, "The Darkest of Times," made me think the band had strong potential, and now, this track makes a clear and obvious statement for an impressive album in the near future.



https://vk.com/kaaper_official

https://kaaperofficial.com/

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resurgam
Thursday 13 March 2025 - 17:42:36
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INSTANT FURY — 2025 - Treasure (EP)
A solid application for entry into the ranks of NWORHM - New Wave of Russian Heavy Metal. In fact, this application was already submitted with the singles of the band, which hit the ears of music lovers like a steel avalanche. It's just surprising to think where and why. From St. Petersburg. That’s for sure. The soul demands it, this is likely. There are options.
The intro "Our time" has a melodic style reminiscent of a medieval bard song, and, as they say: nothing was foretold. Though, no, the vocalist demonstrates that he can hit high notes.
The song "Forever" immediately shows that INSTANT FURY is delivering great Speed Metal, and the singer goes all out with high notes—grand intonation and the spirit of 70s and 80s metal. The guitar grabs attention and delivers lessons in high-quality speed soloing. The rhythm section hammers with technical drive, and the listener is amazed: turns out, Heavy Metal is more alive than ever.
The band shows different rhythms in the track "Blood for Blood" – quite encyclopedic, in the sense that not only is it a killer track, but INSTANT FURY also shows how Speed Metal evolved into Thrash Metal. An intense, nervous, and artistic track. The vocalist is unstoppable.
Everything by the book – "Burn" is a cool ballad with tragic notes, a lyrical guitar, and an epic mood. Despite everything, Bathory’s Nordic Viking period comes to mind. Oh, and yes, it might be due to the sensitive and thoughtful guitar part. Regardless, this track is the epicenter of the mini-album. It’s also quite long in duration.
A nice song – "This is farewell," dynamic and swift, like an Asgardian ride (same as Odin’s Wild Hunt). Probably the most dramatic and exciting track on the mini-album, in no small part due to the pounding rhythm section, relentless guitar, and dizzying vocal performance.
The version of the album uploaded on VK contains three bonus tracks – the 2025 single "Falcon in the Sky" and two versions of the track "Forever" (one of which is instrumental). "Falcon in the Sky" is closer to the standard forms of old-school Power Metal, and it fits perfectly into the mini-album. Here, the musicians, especially the guitarist, let their feelings loose, gladly bridging the decades since the style’s formation.
The version of "Forever" with extreme vocals is monumental. A true game-changer. Definitely. Here, a different vocalist is singing (how many singers do you guys have?), and there are multiple voices. The fierce growl battles against the clean, cutting vocals in an unexpected clash. A strange feeling overtakes the listener. What? You could do it like this too? Can we say that the experiment was successful? Absolutely!
P.S. The INSTANT FURY band names their predecessors as Running Wild, Blind Guardian, RAGE, and Gamma Ray.

https://vk.com/instantfury
 
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resurgam
Friday 14 March 2025 - 20:51:13

 

October Tide - 2013 - Tunnel Of No Light - Pulverised Records

 

A band with a complicated fate, like all or many metal bands. In 1994, Swedish musicians played under the name Tearstained, then changed the name to OCTOBER TIDE, recording two highly acclaimed albums between 1994 and 1999. Oops, then they slowed down.

After a whole decade, they resumed activity in 2009. And here’s the thing—some musicians from OCTOBER TIDE and KATATONIA played in both bands, which, among other things, created some well-known work-related tension. And, I suppose, there’s no mystery—if one band is at a creative peak, the efforts go into the productive project. Another option could be contractual obligations.

So, the second phase of OCTOBER TIDE started with the recording and release of their third album, A Thin Shell, in 2010. The album was well received by metal fans. It was serious—tours from Finland in the north to Spain in the south, from Ireland in the west to Slovenia in the east.

In 2012, the vocalist and bassist left the band, and they were quickly replaced by A. Högbom (VOLTURYON, SPASMODIC) and M. Norrman (ex-KATATONIA). With these musicians, the band recorded and released the album Tunnel Of No Light. Once again, the intense touring work proved that OCTOBER TIDE is one of the leading European bands in the Death Doom Metal genre.

So, what did the band record on Tunnel Of No Light...
The first track starts with a deep, heavy sound with a strong Death Doom accent, featuring extreme vocals that lean heavily into harshness but are still quite understandable in terms of content, especially if you open the booklet. The rhythm section plods along at a mid-tempo pace, slowly building darkness. The guitars are actively involved in this frenzy, running through quite solo rhythmic parts.

Our Constellation is clearly a Death Doom Metal track, starting with a NON-Doom rhythm section, and the drummer continually avoids a strictly doom-like mood. It’s clear this was the composer’s intent, and the drummer is not to blame. And only toward the end of the track does the band shift into a prolonged, deathly tempo.

Emptiness Fulfilled follows the Death Doom canon, and it’s evident that the guitarist was focused on the melodic content of his parts. There’s room for a nice atmospheric passage with breezy, lyrical guitars.

In The Day I Dissolved, the band continues the theme of creating Doom Metal—slow, yet firm rhythm section. Once again, there are melodic and transparent gaps. The vocalist is 101% misanthropic and depressive. Overall, the interaction between the vocals and instrumental parts is top-notch. In some moments, it’s clear that the guitar supports the massive vocals, creating an energetic and dynamic foundation for them.

The phenomenon of the album—the guitars, in their powerful and skillful execution, strive towards the bastions of Progressive Metal but never cross any lines, staying within the thrilling realm of Death Doom Metal.


 

 


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