Category Archives: Reviews

REVIEW: Vermilia – “Vedestä Vieraantunut” (Single)


unnamed (9).png

Review by Carina Lawrence / Dark Art Conspiracy

Vermilia is a female artist from Finland who has just unveiled her first self-released single “Vedestä Vieraantunut”. She has created a unique Scandinavian pagan metal sound with impressive and pleasant vocal harmonies to create a nice balance of dark and light.

The song features incredibly beautiful melodic vocals sung in her native Finnish language, which are enthralling and with fierce growls, in contrast, it gives it a great mix of metal and harmony. It possesses a hard groove through the instrumentation and is highly atmospheric, intriguing and delightfully dark. This is captivating and soaring, leaving you very hungry to hear more depthful pagan inspired sounds, so hopefully, a debut offering is on the way soon.

SCORE: 5/5 

“Vedestä Vieraantunut” was officially released on November 13th as a self-released single and is available for sale/streaming through all major platforms.

You can watch the video for the single below:

Official links:
www.vermiliaofficial.com
https://www.facebook.com/vermiliaofficial/
https://vermiliaofficial.bandcamp.com/
https://soundcloud.com/vermiliaofficial/
www.vermiliaofficial.com

Advertisements

Review: Theosophy – Eastland Tales pt 2


In autumn 2007 THEOSOPHY has recorded 5 songs for the debut demo. Musicians of famous local bands took part in that record session.

In 2008, russian label MUSICA Production has released these songs on the first Split-CD in label\’s history. THEOSOPHY and BIZARREKULT became participants of this release. The CD received good feedback and distribution in all parts of the world, from Brazil to Japan.

The first THEOSOPHY live show was planned in December of 2008 at the legendary festival \”Iron March”, organized and head-lined by thrash legends Korrozia Metalla, but the concert was canceled. As a result the band first hit the scene in 2009 at \”Only Metal Fest\” and draw attention of public. On the next show the band was one of headliners.

Continue reading Review: Theosophy – Eastland Tales pt 2

LIVE REVIEW: Mammothfest 2017, The Arch, Brighton UK – 6th-8th October


finalMFposter2017

LIVE REVIEW by Carina Lawrence / Dark Art Conspiracy

Brighton’s annual dedicated metal festival Mammothfest makes a bigger impact each year and this year’s event was no exception, especially as they impressively managed to bag 3 UK exclusive headliners with Rotting Christ, Fleshgod Apocalypse and Amenra.

Since its return in 2014 Mammothfest has always mustered up a formidable line-up, comprised of heavyweight acts such as Textures, Venom Inc, Sylosis, Entombed, Martyr Defiled and more in the past, as well as always showcasing the best and upcoming talent, they even have a whole stage devoted to this, named the Rikstock stage, after Mammothfest director Steve Dickson lost his close friend and business partner, Rik Mosquero to brain cancer, he went on to name the stage in his honour and highlight the emerging artists, Rik himself was in local band Hole In The Sky who have frequently played the festival, including this year’s event. Along with the bigger calibre acts they bring in each year, the festival has successfully managed to upscale its venue as its new current home is The Arch located on the seafront and is a perfect central spot in Brighton, whereas previously the festival has hosted at different and smaller venues across a weekend, highlighting again the growth and expansion of this massive metal event.

Continue reading LIVE REVIEW: Mammothfest 2017, The Arch, Brighton UK – 6th-8th October

REVIEW: MESMUR – S


REVIEW: MESMUR – S by Jessica Johnson / Dark Art Conspiracy

A singularity is the point in a black hole where density becomes infinite, space-time bends, and the laws of physics as we know them cease to operate.

This is the perfect way to describe Mesmur’s newest album “S,” an infinitely dense soundscape that bends space and time around the listener. A meandering funeral dirge through the chaotic void that is the universe.  A universe that was doomed from the start.

Mesmur is a funeral doom metal collaboration with members hailing from different parts of the globe: the U.S, Australia and Italy. Led by Yixja, the mastermind that brought to life the progressive black metal band Dalla Nebbia, along with vocalist Chris G (Orphans of Dusk), drummer Alkurion (Dalla Nebbia and Funeral Age), and bassist Michele M.

“S” is their second album, after their self-titled success, “Mesmur.” “S” will not disappoint fans of the genre. It does everything that funeral doom metal is supposed to do with a bit extra. Influences range from Evoken to Esoteric, Ea, Mar de Grises, Comatose Vigil, Ahab and Neurosis.

The music is not supposed to be “enjoyed,” but “experienced.” The synthesizer does a great job of creating a melancholic atmosphere that bends and fluxes around guttural vocals and discordant riffs that at times torture the listener with the dissonance of a dentist’s drill. At some points the distortion is very grainy. I’m not sure if that was an intentional choice or a flaw in the production. I also wasn’t a fan of the overdose of sound effects, but I suppose that was part of the experience.

Let’s talk about why the album was named “S.” The final track is called “S = k ln Ω.” This equation refers to entropy. I am not smart enough to give the exact definition justice, but put simply, entropy refers to a lack of order or predictability and the gradual decline into disorder.

I believe the song “S” along with the album encapsulates that theme. Each track is a progression into more chaos and disorder, with the first track being “Singularity” (an infinitely small but dense single point), followed by “Exile” (something going outward), “Distension” (enlarging, dilation, a ballooning effect), and finally “S” (breaking down into chaos). Indeed the first track is more tightly formed and dense than the rest, with harder distortion and more riffage. Each following track becomes more disorderly until you get to the end, which is almost an overkill of sound effects, and at times sounds like someone fell asleep on the synthesizer. But as a thematic representation of the expansion and break down of the universe, it’s fucking brilliant.

I also noticed that the cicada-like sound effects that ended the first song were played in the beginning of the last song. Were the artists trying to make an “S” shape through the album, or was that just a cool coincidence? Who knows? As one reviewer said, “If you look long into the abyss the abyss will look back. ‘S’ is the sound of the abyss looking back.” Perhaps I stared too long into the void with this one. “S” is a delicious descent into entropy. Each time you listen, there are new mysteries to discover.

So check out “S,” the sound of the universe’s demise.

SCORE: 4/5 

Country: USA
Style: Funeral Doom metal
Label: Solitude Production
(https://solitude-prod.com)
Release date: September 15, 2017

Jeremy L (Yixja) – Guitars/Synth
John D (Alkurion) – Drums
Michele M – Bass
Chris G – Vocals
Music and Lyrics by Jeremy L
Recorded/Engineered by Mesmur
Mixed and Mastered by Jeremy L
Cover Art by Cadaversky
Layout by Jeremy L
http://www.facebook.com/mesmurdoom
https://solitude-prod.com

REVIEW: SEPTICFLESH – CODEX OMEGA


Septicflesh – Codex Omega review by Ekaterina K.

Well, Septicflesh return again with another monumental and epic mix of death metal and wicked   orchestrations. Always being on the edge of metal and symphony, these Greeks put a lot of sense and concept in their albums. “Codex Omega” isn’t an exception from this point. All lyrics of Sotiris Vayenas are always full of symbols and often refers to mythology, occult or biblical themes and moves their music into a new depth, where pompous monster is born.

From the first sight, you can definitely say that this is Septicflesh – album cover says it directly. Seth Siro Anton’s style is unrepeatable. Though I found cover of the album “The Great Mass” (2011) more interesting than this one.

Opening track “Dante’s Inferno” catches attention with it’s softer intro and then crushes mix of splendous orchestra and death metal riffs upon listener’s head. Since “The Great Mass” and “Titan” it was still this orchestra+death metal formula, and on this album Sepriflesh didn’t invent anything new, this formula is brilliantly shaped and re-shaped by them in order to have an ideal Symphonic death metal. “Codex Omega” shows that they succeeded and no one can create more powerful music in this subgenre, than Septicflesh themselves.

In the “Third Testament” there com a bit different colors. With the biblical lyrics, this song has more brutal riffs and drum line, especially it concerns main riff, and even darker and lower orchestra lines, perfectly matching with Seth’s deep growl. Soundtrack of reversed Testaments and broken religious beliefs.

“Portrait of the Headless Man” begins with pressuring and sinister intros crosses with duduk sound, associated with spirits and secrets of the East. Gives a bit dramatism in the clue moments during the song and have its own thin, but unique line on the enraged symphonic death metal canvas. Sotiris’ clean vocals and choirs on the background bring diversity to the Seth’s powerful, but a bit monotonous vocal line.

  Read more

REVIEW: ARCH ENEMY – WILL TO POWER


Arch_Enemy-Will_To_Power-2017-Cover

REVIEW: Arch Enemy – Will To Power by Carina Lawrence / Dark Art Conspiracy

Swedish melodic death metallers Arch Enemy are back with their tenth album and follow up to the successful 2014 ‘War Eternal’ which saw new vocalist Alissa White-Gluz’s take to the helm, and was the first album in thirteen years to feature a new line-up after former long-time vocalist Angela Gossow stepped down. The transition went well and she was quickly accepted by fans. With this new album ‘Will To Power’, it is the first album to feature respected guitarist Jeff Loomis who joined in 2014 and notably is the first to incorporate more clean vocals throughout, again showing off Alissa’s wide talents and the evolution of Arch Enemy after their two-decade career.

Opening song ‘Set Flame To The Night’ is a scene setter, with voices and sirens accompanied by resonant fast and alarming guitars that build suspense and foreboding…

‘The Race’ furiously kicks off with Alissa White-Gluz’s fierce screamed vocals and urgent guitars. The guitar work, especially towards the end, carries over the creepy vibes seen in the opener. It features crashing riffs and rapid drums throughout, this is a solid and savage first full offering and sets the bar high.

Continue reading REVIEW: ARCH ENEMY – WILL TO POWER