Review by Felix on March 12, 2025.

Black metal with Bavarian lyrics was invented by Lunar Aurora in 2012 ("Hoagascht"), if I am not mistaken. But firstly this band does not exist any longer and secondly they did not have a monopoly on this approach. With that said, I am happy that Gràb have found their way out of the Bavarian Forest. It led them directly to the Klangschmiede Studio of Markus Stock, the main man of Empyrium who has also made some contributions to Kremess. So the two guys who build the core of Gràb were not alone and everything was prepared for a great work…

...and this is what we get here. Kremess has many facets. It is intense yet melodic, in-depth yet comprehensible, morbid yet mesmerizing. It lives up to its name which is hardly translatable. Kremess is a Bavarian term for "Leichenschmaus", a German word which means having a good time after the funeral while eating some good food with the other ones who also happen to still be alive. Literally, "Leichenschmaus" could also be understood as a term for eating a corpse with relish. But we Germans are too cultured for that – at least at the moment. Anyway, let's take a look at the production. Stock seems to be a kind of sound wizard. The album boasts with a full, warm and sublime but aggressive sound. I cannot say that I have any idea how this release could sound better. Amazing, especially in view of the broad range of used instruments, inter alia dulcimer, flute and viola. Nevertheless, it is only logical that guitars, vocals and drums (contributed by a guest drummer) stand in the focus of the mix – but the synths have also secured a prominent position. Their celestial, transcendental sounds create a mysterious and spooky atmosphere. Due to the opulent length of most tracks, the moody element comes into its own excellently. By the way, this is no matter of velocity. The titanic tittle track combines smooth doom parts with hellish up-tempo sections and every single note fits perfectly. "Galeere", the great work of Geïst, comes to my mind when I listen to "Kremess" (the song). It awakens the impression of floating above things despite all the heaviness and opening up a previously unknown dimension. I begin to realize that this album is a real gem and tracks like "Waidler" or "Kerkermoasta" confirm this thought.

But the brightest shining fixed point is yet to come. "Vom Gräb Im Moos" has simply everything – I repeat: everything! – what one can hope for when it comes to dark arts. A catchy yet never sugary melody, down-to-earth guitar work, expressive and demonic vocals, high atmospheric density, tragic vibes and so much more. Its absolutely coherent arrangement is almost a matter of course in view of all its wonderful single components. My thesis is: if this titan of a song was played three times at prime time on the radio, at least 80% of my fellow human beings would be converted to black metal. But to be honest, I don't like the idea at all. Our excellent community is well advised to not share its pleasure with every ordinary mainstream consumer. Exclusivity is bliss.

The stylish digipak leaves no doubt that the Bavarian duo follows a holistic vision. Indeed, nothing has been left to chance and I begin to understand what the booklet wants to tell us when it say that the vocalist "has let his life on this recording", although I am very glad that this is literally not true. Otherwise I could not fully enjoy his Attila-like performance in "Deifeszeig". If we ignore the ending of the track, he does not use theatrical vocal lines like Attila in the title track of Mayhem's eternal masterpiece. But the menacing growling which goes through marrow and bones picks up the vibes of the Hungarian role model in a very competent way. All in all, I have to look for the hair in the soup with a microscope, otherwise I do not find any shortcomings on Kremess. Yes, "Im Hexnholz", thematically connected with "Vom Gräb Im Moos", has one minute too many gentle sounds and the intermezzo "Waldeinsamkeit" does not belong to the most needed compositions. But these things cannot blind me or any other listener with even the slightest instinct for neither overly bombastic nor primitive black metal. We know when we are listening to an album full of passion, musicality, sombreness, hopelessness, spirituality and vigour. Thus, we enjoy the epic closer, but we don't accept it as a closer. We slyly sneak up to the remote control and press the repeat button. Lo and behold, the journey through the Bavarian forests in twilight begin anew. But don't worry, this does not mean that you have to read this review once again. Just inhale Kremness with all senses.

Rating: 9.3 out of 10

Review by Fernando on December 21, 2021.

Reviewing demos is always a gamble in almost any genre of music and especially in metal, since for all the bands with great potential, you also come across amateurs who’re in desperate need of a good producer, or the run of the mill worship band. But to be fair, some bands do have some hoops to overcome before they release a proper album, and a demo may be the only chance they get to unleash their music to the world, and today we have a particular black metal act out of Austria by the name of Gha’agsheblah.

Gha’agsheblah are for all intents and purposes and brand new band, formed in 2019 and this demo, titled Demo(N) (get it), is an interesting beast. I’m not gonna talk about the production since that’s a low hanging fruit aspect for a demo, but, one thing I will say is that the extremely raw and lofi production actually gives off a sinister and disturbing vibe to the music itself, which is something hard to achieve since most demos nowadays sound too digital or are downright unlistenable. Gha’agsheblah made good use of this limitation to their benefit. In regards to the music itself, Gha’agsheblah play black metal but there’s something off about it, in a good way. Their style seems to take cues from first wave black metal in the vein of Mortuary Drape and early Bathory. There’s a focus on riffs and vocals that sound evil and wretched, which is bolstered by an intentionally disturbing atmosphere, and what’s weird is how the band accomplished this with no actual embellishments. The atmosphere is the major standout, and it all comes together weirdly but very effectively, which makes me wonder how this band would sound with professional production, since this type of ugly and harsh sound could’ve only be achieved through intentionally crude conditions and equipment.

Overall, Gha’agsheblah really surprised me with their unhinged and necrotic music, but at the same time, due to this release being a demo there’s just so much that can be said. The band are supposedly making their debut record and if anything, this demo succeeded in making me interested in what this band can be furthered down the line. A neat little demo, and a cornerstone for this band.

Rating: 7 out of 10