Review by Felix on November 28, 2023.

The Will:
Driven by their affinity for sonic vandalism, Azaghal have returned once again. The restless Finnish institution meets Ars Veneficium, a bunch of newcomers from Belgium, in order to create an output for the underground. Both groups are united under the banner of extreme music and the will to write another chapter of acoustic destruction is omnipresent. Azaghal stay loyal to the ironclad principles of black metal and devote themselves completely to total blackness. Ars Veneficium do not intend to be left behind on the road to perdition. No doubt, in terms of passion and motivation, both bands are not in the mood for shoddy compromises.

The Power:
I don't think that anybody seriously doubts the massive force of Azaghal. During their long-lasting existence, they did not always deliver top quality. Yet it is also a fact that they never showed a sign of battle-weariness. "Uhri Yölle" flows like a torrid stream of lava. The mainly mid-paced tune thrives on its natural hostility and the mighty production which ennobles the contribution of Azaghal. The band accelerates the speed during "Varjojen Seremonia", but this track is also not exclusively focused on high velocity. Both tunes demonstrate impressively that Azaghal have never heard the term "fickleness". They celebrate their sinister art and that is the best they can do. The dark creatures of Ars Veneficium are endeavoured, but they do no reach the same level of remorseless aggressiveness. The band offers songs with constantly flowing lines that avoid an extra dose of melodies. Nonetheless, one can see the band's ambition to present powerful yet carefully thought through tracks. Unfortunately, both songs leave a very similar scent.

The Goat:
The first song of the Belgian warriors is called "Worship the Goat" and this seems to be the accepted maxim for the entire 12". Especially the misanthropes of Azaghal combine rawness, robustness and cruelty in a mature manner. This "satanic" mixture is crowned by the inhumane voice which underlines the hellish aura. Ars Veneficium are amazed about this degree of bestiality and only notorious liars would say that they are behaving like absolute beginners. Yet they have to acknowledge that the impenetrable darkness and the negativity of their Finnish opponents remain out of reach, at least for the moment. Anyway, "The Goat" will malignantly smile when listening to the results of this cooperation. No doubt, this vinyl is on his slightly carbonized shopping list, in particular because of Azaghal's songs. 80% for Azaghal, 70% for Ars Veneficium, this is his verdict. I do not think that I am a coward, but I dare not to disagree.

Rating: 7.5 out of 10

Review by Carl on April 20, 2020.

It's a preconception but I'm going to come out and say it right now: whatever Western thing the Japanese do, they always do it with gusto. Whether it's cars, electronics or death metal, they go the extra mile. No better way to prove this biased statement as Invictus and their full length The Catacombs of Fear.

The sound of this band is firmly rooted in old school death/grind from the late 80's and first half of the 90's and the band plows through a collection of varied tracks in which these influences can be heard to the fullest. There are nods aplenty to the earliest works of Carcass, Pestilence, Death and Massacre, but there's also a big helping of thrash influenced riffing and lead work that firmly acknowledges acts like early Kreator, Macabre or Protector. The layered growl/scream vocal style brings to mind the work of Deicide and gives the music that demented edge needed in this aggressive style of death metal. These men know their way around their instruments, and they know how to construct an interesting song. Tempo changes are abundant, and the songs are full of breaks without becoming annoying, while the riffing is technical without becoming sterile or boring. It's always in function of the music and it never deteriorates into an instrumental wankfest. The velocity is kept high for the most part but Invictus knows when to step on the break and even built in some atmospherics in places. A good example of this is in the middle of the title track. Here the band builds in a short spherical, somewhat jazzy part in between the raging death/thrash, a move that's reminiscent of what Pestilence did on their "Testimony of the Ancients" album. Even if small slip-ups can be heard here and there, I consider this album to be quite an impressive effort, in music as well as in execution. There's one thing I have to mention though, and that is the fact that the production is a bit on the peculiar side. I can't put my finger on it but it took me some spins to get used to its overall sound.

This is a really good old school death/thrash/grind album that gets better every time I play it. The music is well executed and there's quite a lot to be discovered here. It's one of those releases that stays interesting even after repeated spins. Add to that the impressive artwork and we have a great death metal package that I can recommend to all who like it old school.

Rating: 8 out of 10

Review by Alex on November 14, 2019.

Of men battling between their reckless desires and philosophies of right and wrong tumble to an inescapable and irredeemable abyss granting all urges while robbing them of sanity, find only a place in which their pleasures are but scratches to a morally and spiritually torn abode. Somewhere in Mexico City Mexico 4 men arrive at the conclusion that there is no escape from the siren of temptation and tragedy thus their shells become fully committed conduits to channel their collective depravity in a series of torments breaking apart the holy pillars overshadowed by "Glorious Impurity".

No single wandering mind could birth into life such a disastrous display of death metal without subjecting itself to the peril and pleasure portrayed; hence to make manageable such an ancient force of evil the accursed quartet of In Obscurity Revealed answer the slithering hiss of whores chased for ages with a brutish and bold display of death metal/black metal. Casts in a slingshot of war metal styled drumming and untamed vox, "Glorious Impurity" from an angle only bares the tag by chance as every note played alters the genre's path to reflect an animalistic rite. 'Our Crimson Madness' flings you into a chasm of carnivorous vocals, a whirlwind of riffs and ransacking drums. What began on a linear path of death metal suddenly shape-shifts with the introduction of 'Coven Maleficia' implying the first track was but a 3 minute prep and stretch session for what was to follow. With riffs starting to appear out of control and the drumming adopting an almost acrobatic carriage moving quick and deft with what little space is granted by the guitars, the fills and rolls pour out their own share of oohs and aahs, among riffs and solos left and right.

At the center of all this happens to be a competition occurring among guitars and drums not exclusive of the bassist as he is made to fend for himself all the while playing the role of a referee through the fierce competition. 'Beast and Serpent', 'Congress Cum Rampage', and 'Abhorrent Coffins' are the results of such rivalry taking place, tracks that not only dominate the highlights but push "Glorious Impurity" beyond the mark of an average death metal band and album. Vircolac brushes the senses too often to not find some similarities sound-wise leaving me to wonder whether In Obscurity Revealed is in anyway influenced by the Irish lads.

This very thin sheet separating black and death metal is torn too often to not recognize the breach in genres taking place, fundamentally death metal by riffs but the vocals and drumming sing a different tune that when fused causes a reaction. Even during the instances where In Obscurity Revealed disassembles or suppresses dominant elements to focus on lesser influential ones such as on 'Beast and Serpent' where the bassy groove parts the quarrel momentarily; those quieted sediments still come afloat and could be heard rumbling beneath the meaty layers of bass.

The topography of "Glorious Impurity" though strikingly death metal through the riff work offers more than what meets familiar ears and its there In Obscurity Revealed entices the listener/s inquisitive ears to detect even the most minuscule detail hiding beneath a bombardment of foul vocals, skilled riffing+soloing and a semi-gymnastic approach to the drums. Down this jagged cavity In Obscurity Revealed has uncovered, "Glorious Impurity" proves to be not just a strong album but a challenging one strenuous to the unseasoned.

Rating: 8.7 out of 10

Review by Alex on November 14, 2019.

Of men battling between their reckless desires and philosophies of right and wrong tumble to an inescapable and irredeemable abyss granting all urges while robbing them of sanity, find only a place in which their pleasures are but scratches to a morally and spiritually torn abode. Somewhere in Mexico City Mexico 4 men arrive at the conclusion that there is no escape from the siren of temptation and tragedy thus their shells become fully committed conduits to channel their collective depravity in a series of torments breaking apart the holy pillars overshadowed by "Glorious Impurity".

No single wandering mind could birth into life such a disastrous display of death metal without subjecting itself to the peril and pleasure portrayed; hence to make manageable such an ancient force of evil the accursed quartet of In Obscurity Revealed answer the slithering hiss of whores chased for ages with a brutish and bold display of death metal/black metal. Casts in a slingshot of war metal styled drumming and untamed vox, "Glorious Impurity" from an angle only bares the tag by chance as every note played alters the genre's path to reflect an animalistic rite. 'Our Crimson Madness' flings you into a chasm of carnivorous vocals, a whirlwind of riffs and ransacking drums. What began on a linear path of death metal suddenly shape-shifts with the introduction of 'Coven Maleficia' implying the first track was but a 3 minute prep and stretch session for what was to follow. With riffs starting to appear out of control and the drumming adopting an almost acrobatic carriage moving quick and deft with what little space is granted by the guitars, the fills and rolls pour out their own share of oohs and aahs, among riffs and solos left and right.

At the center of all this happens to be a competition occurring among guitars and drums not exclusive of the bassist as he is made to fend for himself all the while playing the role of a referee through the fierce competition. 'Beast and Serpent', 'Congress Cum Rampage', and 'Abhorrent Coffins' are the results of such rivalry taking place, tracks that not only dominate the highlights but push "Glorious Impurity" beyond the mark of an average death metal band and album. Vircolac brushes the senses too often to not find some similarities sound-wise leaving me to wonder whether In Obscurity Revealed is in anyway influenced by the Irish lads.

This very thin sheet separating black and death metal is torn too often to not recognize the breach in genres taking place, fundamentally death metal by riffs but the vocals and drumming sing a different tune that when fused causes a reaction. Even during the instances where In Obscurity Revealed disassembles or suppresses dominant elements to focus on lesser influential ones such as on 'Beast and Serpent' where the bassy groove parts the quarrel momentarily; those quieted sediments still come afloat and could be heard rumbling beneath the meaty layers of bass.

The topography of "Glorious Impurity" though strikingly death metal through the riff work offers more than what meets familiar ears and its there In Obscurity Revealed entices the listener/s inquisitive ears to detect even the most minuscule detail hiding beneath a bombardment of foul vocals, skilled riffing+soloing and a semi-gymnastic approach to the drums. Down this jagged cavity In Obscurity Revealed has uncovered, "Glorious Impurity" proves to be not just a strong album but a challenging one strenuous to the unseasoned.

Rating: 8.7 out of 10

Review by Brian on January 14, 2014.

US black metal has always got a bad rap. I don't know if that's because they don't come from the frigid land of Norway, or if they're not "trve" or "kvlt' enough, or maybe some other reason entirely that some purest has to educate me on. However, over the past few years I have paid special attention to USBM and have found some really special albums. Nachtmystium's Black Meddle series, Krallice's self-titled debut and Social Disservices from Panopticon have found there way into my steady rotation. Let's not forget about Inquisition who have gained quite a following over the last several years. USBM is doing just fine and in fact is producing some of the more memorable bands of the genre lately.

This brings me to Helgardh. Hailing from the Appalachian Mountain town of Bluefield, West Virgina, comes another solid US black metal band. Their debut album The Black Flame Descent, although not groundbreaking, displays some well crafted, well produced black metal. This is not "post" or "gaze", but rather traditional black metal in the vein of modern Gorgoroth and At the Heart of Winter era Immortal. Plenty of tremolo picking, semi-melodic riffs, smooth double bass drums, and the gutteral, grim vocal stylings of frontman Famine make The Black Flame Descent listenable and quite enjoyable.

The sound here is the signature black metal sound. No gimmicks, no fluff and no need to add any other descriptions to describe the music. In a time where bands shy away from being just black metal, Helgardh wears the label with pride. They also wear corpse paint, leather and spikes and make no apologies for it. There really isn't much filler here and is pretty solid throughout it's ten tracks. "Blessings from the Funeral Pyre" begins with a riff that could have been leftover from Sons of Northern Darknes and moves into a Gorgoroth-esc melody. The vocals move from tradiotnal higher shrieks to lower growls. Famine delivers a near flawless vocal performance on the album. "Abomination" is another stand out track, beginning with a classic Mayhem vibe, then moving to blistering fast riff and culminating perfect mix of Immortal and Gorgoroth. "Etheral Dawn" is the albums best track. The references that I made above hold true. The classic black metal melodies and drums that you just can't help but bob your head to. The vocals here are very reminiscent of Gaahl's finer moments on Incipit Satan.

If you like traditional black metal, with great production than this album is for you. The production here is so thick and full. Every instrument is placed perfectly in the mix. The vocals are not buried so far beneath the music that you can barely hear them nor are they out in front that they bury the music. The drums pop and thump sounding absolutely amazing. The guitar tone is so rich and crisp. This great production helps to bring out the musical ability of the band. These guys can play and do it with heart. These mountain men create some cold and devastating black metal and put another notch on the belt of the current USBM scene.

Categorical Rating Brakedown

Musicianship: 8.5
Atmosphere: 7.5
Production: 10
Originality: 7
Overall: 8

Rating: 8.2 out of 10



To purchase: CD or Digital

Review by Brian on January 14, 2014.

US black metal has always got a bad rap. I don't know if that's because they don't come from the frigid land of Norway, or if they're not "trve" or "kvlt' enough, or maybe some other reason entirely that some purest has to educate me on. However, over the past few years I have paid special attention to USBM and have found some really special albums. Nachtmystium's Black Meddle series, Krallice's self-titled debut and Social Disservices from Panopticon have found there way into my steady rotation. Let's not forget about Inquisition who have gained quite a following over the last several years. USBM is doing just fine and in fact is producing some of the more memorable bands of the genre lately.

This brings me to Helgardh. Hailing from the Appalachian Mountain town of Bluefield, West Virgina, comes another solid US black metal band. Their debut album The Black Flame Descent, although not groundbreaking, displays some well crafted, well produced black metal. This is not "post" or "gaze", but rather traditional black metal in the vein of modern Gorgoroth and At the Heart of Winter era Immortal. Plenty of tremolo picking, semi-melodic riffs, smooth double bass drums, and the gutteral, grim vocal stylings of frontman Famine make The Black Flame Descent listenable and quite enjoyable.

The sound here is the signature black metal sound. No gimmicks, no fluff and no need to add any other descriptions to describe the music. In a time where bands shy away from being just black metal, Helgardh wears the label with pride. They also wear corpse paint, leather and spikes and make no apologies for it. There really isn't much filler here and is pretty solid throughout it's ten tracks. "Blessings from the Funeral Pyre" begins with a riff that could have been leftover from Sons of Northern Darknes and moves into a Gorgoroth-esc melody. The vocals move from tradiotnal higher shrieks to lower growls. Famine delivers a near flawless vocal performance on the album. "Abomination" is another stand out track, beginning with a classic Mayhem vibe, then moving to blistering fast riff and culminating perfect mix of Immortal and Gorgoroth. "Etheral Dawn" is the albums best track. The references that I made above hold true. The classic black metal melodies and drums that you just can't help but bob your head to. The vocals here are very reminiscent of Gaahl's finer moments on Incipit Satan.

If you like traditional black metal, with great production than this album is for you. The production here is so thick and full. Every instrument is placed perfectly in the mix. The vocals are not buried so far beneath the music that you can barely hear them nor are they out in front that they bury the music. The drums pop and thump sounding absolutely amazing. The guitar tone is so rich and crisp. This great production helps to bring out the musical ability of the band. These guys can play and do it with heart. These mountain men create some cold and devastating black metal and put another notch on the belt of the current USBM scene.

Categorical Rating Brakedown

Musicianship: 8.5
Atmosphere: 7.5
Production: 10
Originality: 7
Overall: 8

Rating: 8.2 out of 10



To purchase: CD or Digital

Review by Brian on January 14, 2014.

US black metal has always got a bad rap. I don't know if that's because they don't come from the frigid land of Norway, or if they're not "trve" or "kvlt' enough, or maybe some other reason entirely that some purest has to educate me on. However, over the past few years I have paid special attention to USBM and have found some really special albums. Nachtmystium's Black Meddle series, Krallice's self-titled debut and Social Disservices from Panopticon have found there way into my steady rotation. Let's not forget about Inquisition who have gained quite a following over the last several years. USBM is doing just fine and in fact is producing some of the more memorable bands of the genre lately.

This brings me to Helgardh. Hailing from the Appalachian Mountain town of Bluefield, West Virgina, comes another solid US black metal band. Their debut album The Black Flame Descent, although not groundbreaking, displays some well crafted, well produced black metal. This is not "post" or "gaze", but rather traditional black metal in the vein of modern Gorgoroth and At the Heart of Winter era Immortal. Plenty of tremolo picking, semi-melodic riffs, smooth double bass drums, and the gutteral, grim vocal stylings of frontman Famine make The Black Flame Descent listenable and quite enjoyable.

The sound here is the signature black metal sound. No gimmicks, no fluff and no need to add any other descriptions to describe the music. In a time where bands shy away from being just black metal, Helgardh wears the label with pride. They also wear corpse paint, leather and spikes and make no apologies for it. There really isn't much filler here and is pretty solid throughout it's ten tracks. "Blessings from the Funeral Pyre" begins with a riff that could have been leftover from Sons of Northern Darknes and moves into a Gorgoroth-esc melody. The vocals move from tradiotnal higher shrieks to lower growls. Famine delivers a near flawless vocal performance on the album. "Abomination" is another stand out track, beginning with a classic Mayhem vibe, then moving to blistering fast riff and culminating perfect mix of Immortal and Gorgoroth. "Etheral Dawn" is the albums best track. The references that I made above hold true. The classic black metal melodies and drums that you just can't help but bob your head to. The vocals here are very reminiscent of Gaahl's finer moments on Incipit Satan.

If you like traditional black metal, with great production than this album is for you. The production here is so thick and full. Every instrument is placed perfectly in the mix. The vocals are not buried so far beneath the music that you can barely hear them nor are they out in front that they bury the music. The drums pop and thump sounding absolutely amazing. The guitar tone is so rich and crisp. This great production helps to bring out the musical ability of the band. These guys can play and do it with heart. These mountain men create some cold and devastating black metal and put another notch on the belt of the current USBM scene.

Categorical Rating Brakedown

Musicianship: 8.5
Atmosphere: 7.5
Production: 10
Originality: 7
Overall: 8

Rating: 8.2 out of 10



To purchase: CD or Digital

Review by Brian on January 14, 2014.

US black metal has always got a bad rap. I don't know if that's because they don't come from the frigid land of Norway, or if they're not "trve" or "kvlt' enough, or maybe some other reason entirely that some purest has to educate me on. However, over the past few years I have paid special attention to USBM and have found some really special albums. Nachtmystium's Black Meddle series, Krallice's self-titled debut and Social Disservices from Panopticon have found there way into my steady rotation. Let's not forget about Inquisition who have gained quite a following over the last several years. USBM is doing just fine and in fact is producing some of the more memorable bands of the genre lately.

This brings me to Helgardh. Hailing from the Appalachian Mountain town of Bluefield, West Virgina, comes another solid US black metal band. Their debut album The Black Flame Descent, although not groundbreaking, displays some well crafted, well produced black metal. This is not "post" or "gaze", but rather traditional black metal in the vein of modern Gorgoroth and At the Heart of Winter era Immortal. Plenty of tremolo picking, semi-melodic riffs, smooth double bass drums, and the gutteral, grim vocal stylings of frontman Famine make The Black Flame Descent listenable and quite enjoyable.

The sound here is the signature black metal sound. No gimmicks, no fluff and no need to add any other descriptions to describe the music. In a time where bands shy away from being just black metal, Helgardh wears the label with pride. They also wear corpse paint, leather and spikes and make no apologies for it. There really isn't much filler here and is pretty solid throughout it's ten tracks. "Blessings from the Funeral Pyre" begins with a riff that could have been leftover from Sons of Northern Darknes and moves into a Gorgoroth-esc melody. The vocals move from tradiotnal higher shrieks to lower growls. Famine delivers a near flawless vocal performance on the album. "Abomination" is another stand out track, beginning with a classic Mayhem vibe, then moving to blistering fast riff and culminating perfect mix of Immortal and Gorgoroth. "Etheral Dawn" is the albums best track. The references that I made above hold true. The classic black metal melodies and drums that you just can't help but bob your head to. The vocals here are very reminiscent of Gaahl's finer moments on Incipit Satan.

If you like traditional black metal, with great production than this album is for you. The production here is so thick and full. Every instrument is placed perfectly in the mix. The vocals are not buried so far beneath the music that you can barely hear them nor are they out in front that they bury the music. The drums pop and thump sounding absolutely amazing. The guitar tone is so rich and crisp. This great production helps to bring out the musical ability of the band. These guys can play and do it with heart. These mountain men create some cold and devastating black metal and put another notch on the belt of the current USBM scene.

Categorical Rating Brakedown

Musicianship: 8.5
Atmosphere: 7.5
Production: 10
Originality: 7
Overall: 8

Rating: 8.2 out of 10



To purchase: CD or Digital