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resurgam
Saturday 03 May 2025 - 20:20:32
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La Nuit — 2024 — MMCCCVII - (EP) - Soundage Productions
In 2024, it somehow slipped by, so we're catching up in 2025. In 2025, the album was released on Soundage Productions.
Depressive Atmospheric Black Metal, Post-Black Metal, Avant-garde, Experimental—these are the tags the Irkutsk-based band LA NUIT uses to describe themselves. Since 2021, they have been launching singles into orbit (6 singles in total). In 2023, they released a full-length album, followed by a three-track EP in 2024, with each track running over 8 minutes. A solid EP.
LA NUIT opens atmospherically and almost magically, with trembling, shadowed guitar passages shimmering alongside the keyboards. Then comes the wall of depressive Black Metal sound, isolating the listener from reality, rearranging priorities, and introducing entirely new points of focus.
The signature vocals fit perfectly—rough, rasping, sandpaper-like, cutting through superficialities and the judgments imposed by civilization.
In the middle, there’s a small, calm bridge with dripping keyboard notes, seemingly meant to allow the listener to collect themselves and look around. But not for long—an auditory drama unfolds, complete with the crashing of furniture and more.
As the guitar and vocal catharsis continues, you realize there are multiple vocal lines, tightly interwoven into a single conglomerate that maintains the narrative of despair and bleak melancholy.
In the track "Automne éternel" ("Eternal Autumn"), alongside the signature theme of depression, an unexpected epic note appears. The track’s tempo slows and freezes, while infernal keyboards tap out the rhythm of an Eternal Autumn Rain. Whether you like it or not, the boiling motifs of Doom Metal emerge in this Autumn, likely contributing to the unique melodic and epic character of the composition.
But LA NUIT doesn’t stop there. In the final third of the track, the tempo suddenly accelerates into a gallop—charging toward the horizons of the subconscious. The composition’s structure becomes even more complex, with five to six vocal layers alone, not to mention the cascading instrumentals.
"Le papillon II" begins with a xylophone, leaving the listener momentarily unsure of what to expect. It’s clear soon enough: things are going to get intricate, epic, and extraordinary. Add to this a clean female vocal (layered with backing and shadowed vocals). It’s doubtful the musicians stop there. The melodrama (accompanied by the crackling of a vinyl track) gradually transitions into Black Metal Cabaret (or Tavern, if you prefer), complete with specific (clean and harsh) vocals.
Once again, you can’t help but marvel at the unfolding cinematic soundscape.
A memorable, powerful work. One wonders if the band has anything planned for this year.
The musicians promptly reply:
“This year, probably not. We’re not making any big plans for now. The second album is progressing slowly, but we’re eager to surprise and experiment further, so we’re not in a rush.”
This release is made for quality equipment or headphones, with excellent sound production.
High marks all around.
https://vk.com/lanuitband
 
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resurgam
Monday 05 May 2025 - 19:18:12
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Masssuffer - 2025 - Колосс Пустоты - Irond Records
A Death Metal band from St.Petersburg recently released their debut full-length album. Since 2021, they had been exploring dark realms through singles, which came out in 2022. After that, the musicians focused entirely on preparing the album. The massive "Colossus of Void" is now available for listening.
The intro is intriguing and ominous, as if demons are clawing their way to the surface from the underworld. Avoiding overused clichés, the band carves its own path, cutting through layers of sound with a mid-tempo and faster rhythm section, along with pulverizing guitar riffs. Surprisingly, these riffs sometimes feel faster than the main flow of the composition. The drilling guitars are indeed powerful; they (de)form the rocky structure of the track, but every now and then, the guitars shift to nervously high-frequency radar-like themes — a clear nod to keeping track of where you're heading.
Vocally, the band stands on two pillars: a higher-pitched, desperate harsh vocal and a deep voice closer to growling. These two vocals work in tandem, creating a dialogue that sharpens the listener's focus, acting as the spearheads of their sonic drills.
It turns out that MASSSUFFER, despite their already fast pace, can crank it up even further (“Cursed”). However, at this breakneck speed, the musicians boldly vary the tempos, incorporating a bit of Thrash Death flair and slowing down to infernal tempos. In this track, the lead guitar plays a trump card, seemingly given carte blanche to showcase not only technical skill but also the epic nature of Doom Death passages.
In a past life, MASSSUFFER was deeply rooted in Thrash Metal — an undeniable fact. Does this hinder their current incarnation as a Death Metal formation? Absolutely not. On the contrary, it seems the band has drawn not just lessons but also numerous techniques from their thrash roots, which now enable them to craft devilishly captivating material.
Above all, this happens because the band is focused on creating their brand of extreme metal, following their own recipe and using their unique spices. Initially, I put a mental checkmark next to the track “Cursed,” considering it as a recommendation for new listeners. But as the album progressed, I realized the band consistently offers unexpected twists in the Death Metal narrative — much like a well-crafted thriller.
That said, “Breath of Darkness” is equally scorching. As the longest track on the album, it presents an unconventional structure, with its own intro, brooding guitars... and then a sudden charge! The ferocious movement of the string sections is supported by the aforementioned destructive vocal duet. There’s a pause, followed by another hurricane-like, springy advance of a complex string conglomerate. Once again, the snarling solo guitar parts are unleashed. Truth be told, the Colossus truly emerges here.
I suspect some listeners might approach this album with reservations due to its tendency to break a few stereotypes and resist fitting neatly into any predefined mold.
And that’s precisely the appeal of this album.
https://vk.com/masssuffer
 
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resurgam
Wednesday 07 May 2025 - 21:59:25
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Ka'aper - 2025 - While Flows the Nile - (Full-length)
The team from Cyprus delivers sophisticated Dark Metal. KA'APER has already made an impression with several singles and has now matured to release a full-length album. It's worth noting that Dark Metal is a composite genre, often incorporating nearly all styles of extreme music—skillfully used to craft the desired atmosphere on the album.
KA'APER draws inspiration from Egyptian mythology, a boundless source of creative imagination, both lyrically and musically. The album begins with a mystical, brief keyboard intro before the musicians dive into a mid-tempo, solid narrative built on dark riffs and a multi-layered musical backdrop. The vocals lean towards growling, with slight variations to emphasize key themes.
The second track, The Darkest of Times, continues the musical narrative established in the opening piece but showcases noticeable development in its musical ideas—a wise choice, as repetition within an album rarely benefits anyone. Vocals swirling and creating a kaleidoscope of vocal techniques. The lead guitar also steps into the spotlight, demonstrating instrumental mastery.
The turning point comes with the composition The Hidden One. This was expected, given the band's focus on Dark Metal rather than even a well-structured Melodic Death Metal (MDM). This track is the album's longest and represents a compositional breakthrough. Organic, clean gothic vocals make an appearance, and the song's structure becomes significantly more complex with soft acoustic bridges, free-flowing instrumentation, and, most importantly, an outstanding mystical atmosphere. After all, these are the SECRETS of Egypt! Dark Metal at its finest.
Themes like these deserve continuation, and KA'APER delivers. The foggy vocals and layered guitar work in The Sun, and the mystical-ritualistic Eyes of Ka'aper, meticulously crafted in audio design, stand out.
Throughout the album, the silver "nails" of the keyboard melodies seem to pin the musical canvas to its frame. This effect is particularly evident in Never Come Home, a track that struck me as dramatic not only because of its title but also because of its emotionally weighty musical delivery, accentuated by powerful, clean vocals slightly recessed into the composition. As with the rest of the album, multiple vocal styles are interwoven here. The band also reveals their fascination (perhaps even reverence) for 70s Hard Rock. Interestingly, the "Eastern" musical line in this track aligns well with classic rock traditions.
And what about Looking for a Human, where the vocalist sings a lyrical passage amidst a volcanic eruption of guitar parts and harsh vocals?
As the album progresses, the band continues their battle for the listener's attention, and I believe they succeed.
KA'APER has gained strong momentum with their singles, securing their place like a mountaineer with hooks and crampons, driven by the same ambition—to reach the summit. The debut album demonstrates that the band's roadmap not only has well-defined contours but also boasts substantial musical depth.
High scores all around.

https://kaaperofficial.com
 
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resurgam
Sunday 11 May 2025 - 15:43:34

Звук Света — 2025 - Звук Света - (Full-length)

When the band Sound of Light released their single "Pilate" earlier this year, it was clear that the group had serious intentions of staking their claim in symphonic AOR (adult-oriented rock). The only question was, what's next? Many brilliant aspirations and ideas often succumb to the mundane. But not this time. Today, we're listening to an entire album by Sound of Light, and—no use in beating around the bush—I’ll reveal upfront what the band has shared. Let this not come as a shock to you.

"The album Sound of Light was recorded with a symphony orchestra. Seven tracks, about 40 minutes of music, recorded at three studios across two capitals. It’s the labor of nearly a hundred people: musicians, sound engineers, arrangers, technicians, administrators..."
I believe this is a unique phenomenon on the scene.

Indeed, the sound is impeccable—a crisp auditory image crafted by true professionals. Here, one must first applaud the arranger, but of course, the credit begins with the composer and musicians who brought this artistic project to life.

From the start of the album, the performers deliver exquisite soft rock with jazz and neoclassical influences. The composer leans towards a melodramatic flow, imbuing each track with intricate melodic craftsmanship. And it must be said that the distinct style showcased in "Pilate" has been refined here.

The luminous lyrical song "Like an Angel", enriched by vibrant piano and tender vocals (which deserve their own separate mention), and a free-flowing orchestral arrangement, opens the album. This is an intriguing “opener,” as if the creators aimed to captivate us from the very beginning with the expansiveness and emotional depth of their vision.

In "In the Darkness", the composer introduces an excellent 70s-style organ—pity there wasn’t more of it—plus a hint of synthetic effects. The track carries tension and emotion, created by orchestral themes as well as, naturally, the vocal parts. The track's compositional development and symphonic arrangement are of the highest caliber.

"Amadeus" is a tribute to the great genius of Salzburg. I sat and absorbed this track (seven minutes). It might have benefited from a bit more rock-oriented arrangements to modernize it—a curious suggestion for a song crafted in the 21st century, isn’t it?

The magnificent track "Pilate" stands as the album’s pinnacle; it’s no surprise it was released earlier as a single. Not a word more—it’s been reviewed.

By the midpoint of the album (in my humble opinion), it’s evident that the composer of Sound of Light could have leaned a bit more into rock elements—even in the arrangements.

The lyrical-dramatic tracks "Salvation" and "I Will Become the Sky" (with its intriguing features and an inspired piano solo at the song’s center) continue this steady, full-bodied journey of the full-length album.

The album concludes with "Between You and Me", an overt neoclassical piece where the vocalist once again reveals his capabilities.

And this deserves a few lines. Yes, apart from the band’s undeniable compositional talents, Sound of Light possesses something that imbues each track with inspiration.

Dmitry Lobov (composer, vocalist, songwriter) has a stage-rock vocal style and a clear understanding of his abilities. As I’ve noted before, his talent easily holds up on concert stages for live performances (no lip-syncing here). His artistry effortlessly navigates the lyrical and melodramatic conflicts of the album. In some places (though, sadly, not many), he employs a more robust vocal style, but he refrains from fully exploring these themes. I would have loved to hear more of this. However, as they say, that was the brief for this record.

Played on quality equipment at proper volume, this is pure musical brilliance. Truly.
Sound of Light, in addition to releasing this album on digital platforms, plans to release it on vinyl. Not surprising in the least.

 

https://vk.com/svetazvuk

 

 



resurgam
Tuesday 13 May 2025 - 20:12:39
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Akromusto - 2025 - Dead Heads - (Album)

#Black, #Black_Death_Metal, #Post_Black. My addition to the tags: #Avantgarde_Black_Metal.
Ladies and gentlemen, attention! This is genuine Black Metal, authentic Death Black Metal in its true form—free from any "Sympho" or "Melodic" prefixes, without crutches or velvet cloaks thrown over it. And this comes from the understanding of the author and performer, someone who has been immersed in their project for years and previously played in the band Moderix.
Pure frenzy and a black doom that hovers over the listener like a dark cloud—not one that brings rain or hail the size of eggs, but mostly nails mixed with drywall anchors.
A chaotic, crushing structure that deserves to be played in supermarkets just before closing time to encourage latecomers to flee in a panic. Even more surprising (to you and me) is a small keyboard segment that suddenly appears at the end of the second track.
Vocals? Genuine, old-school screaming that sounds like it was perfected during the Oskorei festivities—ancient rituals held in the mountainous regions of Central Europe in the late 19th century. This ancient cult, according to scholar and musician Kadmon, is the cultural and historical precursor to Black Metal.
The tempo eases slightly in the track "In December," where a wall of murky, black sound moves towards the listener—not something you can dodge, as that's impossible. Instead, you’re stunned by the mournful, apocalyptic sound of a Jericho trumpet delivering a solo that feels 103% tragic. A brief bridge earns the #Post_Black tag, and its continuation seems to affirm this choice. Here, ominous low-frequency bass guitar parts become discernible—practically a revelation, as earlier, all the tragedy was carried in the mid- and low-frequency range.
The track "Honesty" is very short—a kind of breather before the storm.
And onward! A suffocating black hurricane roars through the speakers, creating whirlwinds and a full-scale vortex—not only in your thoughts but in the surrounding world itself. This feature comes as a standard with the album.
The tag #Avantgarde_Black_Metal is justified by the track "Monologue," where the scope of the composition expands visibly, forming a small dirigible that harbors ominous entities from the nearest dark dimension. Ritualistic? Quite possibly, supported by the somewhat narrative vocal style.
A small but serious homage to Oldschool Black Metal can be found in the track "Dead Head," featuring a distinctive rhythm section reminiscent of Thrash Black. Yet it’s a 21st-century dedication from followers of True Black Metal. Everything feels organic, even the guitar solo that seems strangled and suppressed, yet survives.
Don't be surprised by the acoustic guitar in the track "Nostalgia." It serves as a prelude to archetypal fear and horror, preserved under the title "THIS." Its chaos is so intense that many instruments failed during testing.
A great gift for practicing black metal fans.
High marks.

https://akromusto.bandcamp.com/album/dead-heads-album

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resurgam
Wednesday 14 May 2025 - 17:00:02
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Endless Осean – 2025 – Покинутый. Глава Первая - (Album)

Moscow-based band Endless Ocean describes their music with the tags "Progressive Post Doom Metal," which immediately raises curiosity—and as practice has shown, not without reason. This is the band’s second full-length album, and it's evident that the musicians approach their craft with the utmost seriousness.
The combination of Progressive and Post Doom Metal is undeniably intriguing. Clearly, musicians setting such ambitious goals wouldn't settle for simple solutions. And indeed, they haven't.
Imagine creating a vast musical canvas where melancholic (post-doom) themes merge seamlessly with progressive elements into a cohesive whole. This is achieved by reassembling the hallmark techniques of Doom Metal. Upon reflection, it becomes apparent that this ambitious artistic challenge has been successfully met. Moreover, it’s clear the musicians have poured a lot of themselves into this work—not just emotions, as one would expect, but also unique compositional techniques and decisions (let me remind you: reassembly). It couldn’t have been done any other way.
The album Pokinutyy (Abandoned), Chapter One (spanning over 40 minutes), consists of four extended tracks. Here, the musicians fully embrace the stylistic boundaries and opportunities of their chosen genre. The opening track is dominated by a post-doom lyrical theme that sets the tone. Of note, the clean male vocals are imbued with an eastern flair, which is mirrored musically to a degree, though less overtly than in the vocals. To balance this, harsh extreme vocals come into play. The band has achieved a stunning interplay in vocal architecture here. There’s no shortage of vocals—there’s also a high-pitched female vocal line—all woven into an alluring progressive knot. It’s not a Gordian knot; it’s captivating to listen to and immerse yourself in this musical extravaganza, masterfully crafted by the performers and, let me add, the sound engineering team.
Do you anticipate a shift to heavier, more metallic intensity in the second track? Honestly, not really, because the hypnotic musical fabric is utterly engrossing. The trance-like effect is greatly enhanced by the female vocalizations that permeate the entire album. Nevertheless, Track 2 takes a more rock-oriented and metallic turn. The guitars pour out their soulful melodies, complemented by soaring vocals in perfect harmony. It’s powerful. Then come the “soft” harsh and clean vocals. The impressive vocal polyphony continues, accompanied by high-caliber instrumental progressiveness.
Track 3 begins brutally, almost in a thrash or Black Metal style, with ferocious guitars and vocals. This energy plays its part before the band transitions into a comfortable post-doom flow. Yet the spiritual energy in this composition is still abundant, bursting through like demons breaking into this world through a ritual.
Should it be mentioned that the album’s tempo is far from constant? Probably. But the rhythm changes feel like breathing—sometimes quickened during movement, sometimes slow in moments of calm, then accelerated again due to emotional upheavals.
The final composition is a post-doom relaxation piece with flashes of bright melancholy. It’s a fitting way to conclude the album. After all, shouldn’t there always be at least a glimmer of hope? The guitars—both acoustic and electric—form a beautiful duet, joined by the female vocalizations.
In the end, this is a strong, monolithic work that showcases Moscow’s metal scene in a light of complex, intricately woven, and deeply somber emotion.
As you’ve likely gathered, after Chapter One comes Chapter Two. We wait eagerly.

https://vk.com/endless_ocean_official
 
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resurgam
Friday 16 May 2025 - 21:58:43
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Human Time - 2025 - Пробуждение... Новый день (Single)
Death Metal project HUMAN TIME from Western Siberia has released a new single titled "Awakening... A New Day." It's worth mentioning that the band released a full-length album "Bestiary: Pages of Madness" in 2023, following a series of singles and EPs. The core creative team of the group adds the tag #Progressive to their work.
Many singles resemble a puzzle piece taken out of a larger picture—cool and beautiful, but... Others, however, feel like a complete and self-contained work. "Awakening... A New Day" belongs to the latter category. Why is that? It’s hard to pinpoint exactly. BUT! If a track creates a musical space with development, depth, and at least the slightest intrigue, then yes—this single can stand on its own. Singles of the first kind are often part of conceptual albums, so the distinction is logical.
The composition "Awakening... A New Day" begins with an ambient industrial soundscape, gradually transitioning via a rapid and somewhat dramatic guitar riff to the main narrative. Incidentally, the first third of the track features some samples, though they’re buried in the mix, somewhere in the third or fourth layer—rather distant. Yes, there are vocals and two vocalists involved. More on that later. The vocals build tension and stoke this musical furnace to temperatures high enough to melt iron. The guitars keep up with the race, adding the intense heat of classic Death Metal.
Sometimes, a track includes a simple, calm bridge. Here, however, it’s something that breaks the structure of the frantic tempo with the force of a sledgehammer. At that point, it feels like the track is nearing its conclusion—but no. A gloomy, mid-tempo Doom Death Metal section enters, heralding dark themes. Still, HUMAN TIME steers back toward a boiling, rapid Death Metal pace, with elements reminiscent of the classic composition "Time, Forward!" by Georgy Sviridov.
The band's leader and vocalist, Alexander, invited Adru Bru, the vocalist from DATURA, to collaborate. Adru Bru’s voice is deeper than HUMAN TIME's frontman, adding a dynamic layer to the song. The interplay between the two vocalists is complex and evident throughout, as they alternate leading roles. However, you can simply immerse yourself in the track and enjoy it.
I couldn’t miss the chance to ask the HUMAN TIME leader about plans for a full-length release this year.
The answer: everything is on track.
Alright, then.
https://vk.com/humantime19
 
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resurgam
Tuesday 27 May 2025 - 19:14:56
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Черный ягель - 2025 - När Naturen Sörjer - (Album)

Recently, the atmospheric Black Metal project from Sarov, CHYORNY YAGEL (Black Reindeer Moss), released an entire album titled "När Naturen Sörjer", which translates from Swedish as "When Nature Mourns." Right away, it’s appropriate to tag this work as #Folk_Black_Metal due to the complex instrumental foundation upon which the music is built. The artist mentioned using guitars, bass guitar, ukulele, tambourine, hurdy-gurdy, bagpipes, jaw harp, zhaleika, recorder, whistle, igil, and more. An impressive list, isn’t it?
Can it be said that the creator and performer of CHYORNY YAGEL was influenced by Burzum? Probably, yes. The overall impression certainly leans in that direction. BUT! It’s important to note that the artist doesn’t resort to mindless copying. Instead, it’s more accurate to say that the music captures the spirit of Burzum’s legacy while carving its own unique path.
The musician begins thoughtfully, dreamily, and with a detachment from our world, weaving sounds of instruments not traditionally associated with metal into the subconscious of the listener. These very instruments carry their message—sometimes melancholic and melodic, other times dramatic and hypnotic. The blackened, “disenchanted” guitar sketches a boundary between worlds.
If the sound in the first track was somewhat dry, the second introduces a rhythm section with powerful lows, like a colossal shamanic drum pushing the atmospheric theme forward. Strings enter beautifully, like fresh rain and a cleansing breeze. Incidentally, the opening tracks are instrumental. Yet, the kaleidoscopic and mesmerizing sound was so captivating that I didn’t even notice at first.
Looking for brutality? It’s there in the track "Döden Är Alltid Nära" ("Death is Always Near")—starting with a siren, then alongside it, distorted guitar “tightens nerves like a drive shaft.” Meanwhile, the clean sound of an instrument resembling a harpsichord lightens the atmosphere, dispersing the darkness and horror. It’s an excellent track, one that belongs on a compilation like "Atmospheric Black Metal — 2025."
What can be said at this point? The artist behind CHYORNY YAGEL didn’t just assemble an array of rare and ancient instruments; they clearly know how to handle them and, more importantly, how to make them interact to achieve a “Wow, that’s amazing” effect. Sometimes the result feels a bit too demonstrative or “rough,” but after a moment, it becomes clear that the musician is probing logical and illogical connections in our musical perceptions that are rarely explored. At times, there are internal issues with the sound—an understandable challenge given the complexity of recording such a rich and layered sonic palette.
The whirlwind Black Metal track "Uråldrig Visdom" ("Ancient Wisdom") features the jaw harp, evolving into Black Metal avant-garde with cosmic keyboards and an incredible sensation of flight.
The track "Till Minne Av" ("In Memory Of")—this one with lyrics—sung in Swedish, delivers a grim vocal performance and a funeral mood.
And that’s far from all.
In conclusion, the musician behind CHYORNY YAGEL has poured immense creative energy into this fantasy-laden album, crafting a work that resonates deeply with the listener’s imagination and emotions.

https://vk.com/black_jagel_sarov


Playlist in VK

https://vk.com/music/playlist/92094218_ ... 18f36e588a


resurgam
Monday 09 June 2025 - 21:07:34
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Infiltration - 2025 — Sociobastard

Did you wait for it? Of course, you did—but not for such a powerful punch, frenzy, and sheer force. Presenting the latest album from INFILTRATION.
Let us remind you, the band was formed in 2017 by musicians who came from some of the country's most renowned acts, so there's no shortage of experience or creativity here.
Since 2020, they've been going steady, starting with their first full-length album, Point Blank Termination. Now, the Petrograd band has dropped their fourth album, which has already grabbed the audience's attention. So much so, in fact, that the comments section lit up almost immediately—mostly with praise. "An excellent, bone-crushing album! I listened to it in one go!" writes Anton C., for example. And it’s hard to argue with that.
INFILTRATION has infused their signature Death Metal style with the heavy-hitting tags of #Grind and #Hardcore. Even the stark black-and-white album cover hints at this fusion. But, as we know, metalheads aren’t sustained by cover art alone...
INFILTRATION kicks things off at full throttle, like a high-octane race car roaring to life. The rhythm section immediately sets a blistering pace, reinforced by dynamic vocals and equally ferocious guitar riffs. The strings lash and bite, driving the relentless assault forward. In the track “Brexit Wounds” (and throughout the album), more expansive solos emerge, unfurling like flags in a storm.
The band has seamlessly integrated those #Grind and #Hardcore elements into their bubbling Death Metal core. The result? A compelling and well-crafted mix, churning out material sure to captivate fans of heavier sounds.
The ultra-dark vocalist fits the role perfectly, occasionally layering dual vocal lines but mostly sticking to growls. He’s right at home in Grindcore, diving in like a fish to water. At times, harsh vocals and other vocal variations also make an appearance.
Naturally, the band varies their approach to track architecture, slightly shifting tempos and compositional decisions. But the foundation here is clear: INFILTRATION's exceptional ability to maintain dynamics and deliver fiery guitar outbursts. The band’s cohesion is evident—it’s a studio recording, sure, but this material will eventually need to hold up on live stages.
It’s obvious that the group has crafted a maniacal product that breathes new life into many already-archaic forms of heavy metal. Let’s note: the resuscitation was a success.
P.S. The better the quality of your audio setup, the more goodies this album will unleash from your speakers.

https://vk.com/infiltrationdeath

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resurgam
Friday 20 June 2025 - 19:27:04
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Putrid Requiem - 2025 - Engulfed In Rot... You Lay - (EP)
The Petrograd researchers of the most brutal underground, PUTRID REQUIEM, have released their debut EP. It showcases that amidst the ironclad conglomerate of the New Wave of Russian Death Metal, a new devotee of crushing sound has emerged.
The band members make no secret of their influences: "In our music, we strive to combine elements of both classic old-school Death Metal and moments reminiscent of modern bands like CEREBRAL ROT."
After the depressive intro, "Sickness Of Life", the band plunges into a swampy reservoir, crafting a literal carnage reminiscent of the best albums by AUTOPSY. The atmospheric intensity of the track "Coffin Spawn" is off the charts, as is the sound engineering.
In true old-school style, the vocalist delivers deep guttural growls interspersed with what seem to be gutturals and bursts into higher pitches. These bursts are supported by a genuinely insane guitar that sounds either on its last breath or ablaze with overwhelming emotion. As the tempo picks up slightly, the entire PUTRID REQUIEM machine rushes headlong into the abyss—only to pull back and reveal their affinity for Doom Death elements, proving they haven’t abandoned the human, melancholic side of their sound.
The track "Putrid Requiem" opens with a tribute to the rhythm section, which seems to rise from beneath a multi-ton shroud. The drummer and bassist create a ferocious onslaught here, laying down a foundation upon which layers of vocals fit seamlessly. The guttural roars are strategically positioned to pierce and anchor any instrumental parts that come too close. Old-school and maniacal.
"Prophecy On Entrails" is a slow, inevitable invasion into the realm of anatomical studies—classic Doom Death Metal at its finest. The musicians cleverly accelerate at key moments, as if ensuring the electricity hasn’t run out in every outlet yet. It’s heavy and almost trance-like. Despite the apparent simplicity of the material, the performers and studio engineers have approached the track’s structure with serious intent. At times, it feels like the band has fantastically split in two, with the song being played simultaneously by two ensembles.
For the final track, PUTRID REQUIEM recorded a cover of the mighty MORTICIAN’s "Cremated." The result is crushing, though the vocal line feels somewhat buried in the track's primary mix.
The EP format was undoubtedly chosen with intent. As soon as the melodies of the last track fade, metalheads will be compelled to play the mini-album again. How many times? Well, that depends on the listener’s mental fortitude.
A strong start to their career.
High marks.

https://vk.com/putrid_requiem

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