Oct 292019


Die Kunst der Finsternis plays Horror Metal exclusively.” So says this Sweden-based band, the macabre solo project of Deacon D. (also a fixture in Hetroertzen), and truer words were never spoken. There is equal truth in the title of the band’s third album, Revenant in a Phantom World (Queen of Owls Addendum), because the music does indeed sound like the expressions of one who has known death and returned from its domain to haunt the living, or to feed upon their blood. It also captures the transformation that listeners risk by becoming immersed in its deeply chilling sensations.

It’s the kind of album that kindles the imagination, in very discomfiting ways, and perhaps is best described by the visions it spawns rather than by a dissection of its ingredients, which include bits and pieces of black metal, death metal, gothic melody, and a cavalcade of demonic voices, all interwoven through the experimental and expressionistic imaginings of its creator. Continue reading »

Sep 302019


I can’t think of anything very coherent to say by way of introduction this week, perhaps because the music below has rendered me incoherent. [Correction: more incoherent.] So let’s just go right in:


Void Prayer (previously known as Cave Ritual) are from Bosnia and Herzegovina, and its members are part of the Black Plague Circle, which also includes Nigrum Ignis Circuli, Deathcircle, Niteris, and Obskuritatem. Their previous releases under the Void Prayer name include a 2014 self-titled demo and a 2017 debut album, Stillbirth From the Psychotic Void, neither of which I’ve heard, but about which I’ve heard good things.

The Signal Rex label will be releasing a new Void Prayer three-track promo tape called L’appel du vide (“the call of the void”), and the first song in this collection is its title track. Continue reading »