Ceremonial Bloodbath “Genesis of Malignant Entropy”

    Sentient Ruin has already released a plethora of unfathomably brutal releases this year, however Ceremonial Bloodbath’s sophomore release “Genesis of Malignant Entropy,” is the apex album when pertaining to raw inhuman brutality. Based out of Vancouver BC, Canada, Ceremonial Bloodbath’s savage scorched-earth blackened death metal style is on a completely different level, and the band's new material looks to take the underground metal community by overwhelmingly unapologetic force. 

    Ceremonial Bloodbath's debut full-length album which was also released through Sentient Ruin, “The Tides of Blood,” is a monstrous sounding release featuring some unbelievably pestilent sounding cuts of gruesome blackened death metal along with some extremely insidious lyrical themes. If you enjoy pulverizing sadistic music similar to that of Bestial Warlust, Blasphemy, Archgoat and Beherit, then you will be instantly hooked by Ceremonial Bloodbath’s music. On this new album, these ruthless Canadian extreme metal musicians come up with even more apocalyptically devastating tracks by continuing where they left off on, “The Tides of Blood,” and going further into the deafening chaotic sounding realms of unspeakable demonic horror. 

    From the instant you start listening to this album, you feel as though you have stepped into some unholy wasteland where there is still this inhumanly savage sounding massacre taking place. The opening track, “The Ritual of Unholy Descent,” establishes a haunting atmosphere of pure surrealistic sounding horror to paint this lifeless dominion which has been incinerated through mass slaughter. On the second track, “Exhumation of the Ominous,” the band aggressively launches into a destructive sounding arrangement featuring some feverish drumming and savage riffs. The drumming on this album is utterly ear shattering and adds to the album’s catastrophic vision by fueling the band’s abhorrent drive with gruesome bone crushing rhythms. 

    Along with the primordial rhythms and barbaric guitar playing, I thought the vocals on this album were really sinister sounding and perfectly complimented the compositions. During the third track, "Bloodlust Raids of Vengeance,” I really thought that the hateful sounding vocals damned your full attention as the band hacked away at these sickening riff progressions. Another area of this album that I thought the band excelled at was incorporating some of those Bolt Thrower like lead parts into the bludgeoning mix, especially the frantic guitar solo towards the end of, “Bloodlust Raids of Vengeance.” One of the my favorite songs off of the album, “The Boneless One,” is another entropic exploration into the blackened death metal void that paints a horrendously bestial landscape where all light has been devoured by dark ageless entities. 

    Throughout this entire album I do not believe that the band ever failed to deliver a profoundly brutal sounding piece of music. Tracks like “Caustic Invocation” and “Dissonance of Morbidity,” convey such ferociously festering emotions that you become hopelessly trapped in this distorted sounding bombardment. I would say, “Mutilation of Sacrifice” is another exceptional cut of morbid brutality that appeared on the band’s 2021 demo titled, “Mutilation of Sacrifice.” I think the song perfectly fits into this album’s abysmal theme by really putting an emphasis on those agonizing riff sections as well as the blistering lead parts. For the final track on the album, “The Invocation of the Tomb of Mankind,” the band concludes by creating these terrifying cinematic sounds that makes you feel as if you are standing all alone on a deserted dark plain after witness some tragic event unfold. This feeling of complete solitude and frightening isolation is a surprising way to end an album after hearing such crushing sounding arrangements, but in the end that is what I think makes this final track vividly standout. 

    Overall, “Genesis of Malignant Entropy,” is an extremely sadistic offering and ventures into an even more hellacious direction musically, which is saying something given how much profoundly dark abhorrent energy can be heard on the band's first release. In my opinion, Ceremonial Bloodbath is one of the most destructively omniscient sounding blackened death metal acts around, and they have really worked hard to achieve a malevolent sound. I highly recommend that you check this album out as I do believe, “Genesis of Malignant Entropy,” will be making its way on some top ten lists for this year, because when all is said and done there is no denying this band’s truly raw ritualistic blackened death metal talents. 

Check out the song "Bloodlust Raids of Vengeance" below:

Sentient Ruin Bandcamp:

https://sentientruin.bandcamp.com/album/genesis-of-malignant-entropy

Ceremonial Bloodbath Bandcamp:

https://ceremonialbloodbath.bandcamp.com/music

Ch’Ahom “Knots of Abhorrence”

    There is much to be said about the raw surrealistic brutality which Ch’Ahom diabolically explores throughout their debut full-length release, “Knots of Abhorrence.” The band’s sadistic blend of savage ritualistic bestial blackened death metal with mind bending progressive elements creates a vividly abhorrent tale that travels deep into the dark jungles where malevolent forces dwell amongst the ancient mysterious ruins. 

    What impressed me most from these German extreme metal musicians was how well they captured the album’s theme by incorporating some ritualistic tribal noises to create these haunting hallucinogenic moments right before they would launch into a brutal sounding blackened death metal onslaught. The monumental riffs sections mixed with the constant nerve shattering rhythms from the band’s insanely talented drummer, really establishes this violent and unpredictable extreme sounding atmospheres. 

    From the very beginning of this album until the end, each of the five tracks hooks you with such aggressively raw force. The profound sonic exploration into the ancient Mayan lore and ritualistic themes is what I picked up right away when I started listening to the first track, “Xibalba.” You become completely frozen with fear by the primitive drum sounds and ceremonial flutes as if you are walking into a spiritual ritual that begins to unfold into something even darker once the gritty guitar distortion slowly creeps in and eventually kicks into a monstrous death metal assault. Ch’Ahom does a really great job when pertaining to how they transition from the slow riff sections to the more intense arrangements where you feel as though you are being viciously torn apart as the music ruthlessly evolves. 

    The band's fiendish and horrifying extreme metal mindset continues on the second track, “Chavín de Huántar,” which is another pulverizing piece of metal music featuring some utterly deafening rhythms along with some insanely frantic guitar solos. The lead guitar playing throughout this album is another crucial factor in establishing such an unfathomably brutal sound, and in my opinion the lead parts on, “Path to Ixtab,” perfectly compliments the juggernaut sized riffs. “Path to Ixtab,” is an extraordinary bestial beatdown that contains some really agonizing arrangements which reminded me of bands like Beherit, Necrovore and Archgoat. 

    The final two songs on the album, “Knots of Abhorrence I and Knots of Abhorrence II,” are both solid tracks containing more fearsome riffs and decimating drum parts, yet the band keeps standing out amongst most modern metal bands by passionately pursuing their sinisterly creative vision. I really believe that the overall execution and production on the final two tracks solidifies this album as one of the best extreme conceptual releases to come out this year.  Towards the end of, “Knots of Abhorrence II,” you start feel as though everything around you is imploding as the lead guitarist tears through these entropic sounding scales. 

    Sentient Ruin will be responsible for releasing this ritualistic blackened death metal beast upon the metal world, so make sure to mark your calendars for November 3rd when the album is to be released. “Knots of Abhorrence,” is a strong debut album and Ch’Ahom is a band that demonstrates some truly talented extreme music making skills. Also, the creativity that went into developing the album's lyrical themes is another reason why this album makes for a solid listening experience from start to finish. I highly look forward to how the band will build off of this album's strong execution and vivid lyrical themes on future releases, but for now I shall rejoice in the ceremonial sonic carnage that can be heard on this debut album. 

Check out the track, "Knots of Abhorrence I," below:

Sentient Ruin Bandcamp:

https://sentientruin.bandcamp.com/

Old Tower “Draconic Synthesis”

    From out of the pestilent dark esoteric shadows comes an ominous new recording from Old Tower titled, “Draconic Synthesis.” On this new release the one-man dungeon synth artist known as, The Specter, continues to establish Old Tower as one of the most profound dungeon synth and ambient acts around by creating terrifyingly gloomy atmospheres where all light is devoured by a supreme dark presence. 

    “Draconic Synthesis,” is slightly similar to previous Old Tower releases in which The Specter composes these vividly haunting landscapes that convey a very cinematic like feel. Old Tower’s previous full-length album, “The Old King of Witches,” was a sinisterly mesmerizing tale that took listeners into an almost otherworldly dark sounding realm featuring some unbelievably bone chilling sounds and spectral synth arrangements. The early Old Tower releases definitely focus on a more old school dungeon synth approach, which I would say pays homage to acts like Mortiis and Secret Stairways. However, with each new album I cannot but stress how The Specter’s malevolent vision has started to venture into an even more nightmarish direction, thus making the new recordings profoundly haunting at times. 

    On this new album, The Specter dives deep into the shadowy soundscapes that can be heard on past recordings, but this world seems to be even more mysterious and even more diabolic as you listen to each song. The album’s opening track,“Draconic Arcanum,” slowly begins with these hauntingly uncomfortable noises, as if you are slowly entering a bleak underground world hidden from the rest of normal society. As the ritualistic sounds begin to take form you sense a monstrous force rising from the depths waiting to lead you further into the ancient inhuman landscape beyond. There was something about this opening song which eventually put my mind at ease towards the end of it, yet also had me highly anticipating what frightful sounds would be conjured up following this beginning track. 

    The second song, “Spirit Vessel,” definitely takes on a more old school dungeon style by emphasizing these blaring medieval noises to create a triumphantly evil composition. For the third track,“Gateway to the Serpent’s Dimension,” I felt as though the music took on a more ethereal sound, especially when pertaining to the very captivating synth arrangement which made me feel like I was floating through a celestial void and into an unspeakable dominion where some greater force slumbers in the shadows. A lot of the arrangements on this album really do an impressive job heighten the album’s striking cinematic sound with the most profound example being the Gregorian like chanting during the song, “Sacred Carvings.” That song sent chills down my spine and instantly grips you with its surrealistic musical elements. 

    Another song that also really caught my attention was, “Draugr Armada.” This track was one of the most realistic pieces of music on the entire release by utilizing sound effects to compliment the song's theme. As the eerie atmosphere completely surrounds you like a sinister fog, you can also hear the sounds of water splashing behind the other layers of sound. I could imagine a fleet of grotesque phantasmal ships moving across a blackened sea as I listened to the track. After listening to this song, I thought it could have very well been the album's finale, however, the actual last track on the album, "Crafting the Symmetry of Aeons," was yet another really extraordinary piece of music. I would describe, "Crafting the Symmetry of Aeons," as a more dynamic ambient experiment that still compliments the previous tracks, but goes beyond the boundaries of dungeon synth. At first you are left wondering where the music is headed and then all of a sudden from the gloomy trenches you step into this horrifying mind bending synth wave like section which reminded me of something you might hear in a John Carpenter film. 

    As some who has followed Old Tower for a while now, I thought, "Draconic Synthesis," was a very creative and unique musical offering. Honestly, The Specter's ability to tell these haunting surrealistic stories is getting better and better with each new release. I personally was a huge fan of, "The Old King of Witches," so I was pleased to hear that same approach and willingness to experiment on this new album along with some old school dungeon synth touches thrown in at times. No matter what seems to be happening in the world of music, Old Tower continues to be that dark resilient force standing against all adversity and thriving in the ruins of solitude crafting these extraordinarily vivid ambient tales to let our imaginations wonder amongst the ghoulish archaic depths of untrodden realms. 

Check out the song "Draugr Armada" below :

Old Tower Bandcamp:

https://oldtower.bandcamp.com/album/draconic-synthesis

Infinite Rising “Awakening”

    Just as our galaxy is a place that has fueled human curiosity and inspired wondering minds, the Italian trio Infinite Rising combines their fascination for space and Sci-Fi movies with a passion for progressive rock and metal music that traverses through a plethora of captivating musical landscapes. The band’s debut album, “Awakening,” is a dynamic sounding instrumental release which combines technical talent with breath taking cinematic like touches. 

    Musically, Infinite Rising seems to be very efficient in terms of their technical talents, reminding me of such acts as Scale the Summit and Animals as Leaders. They really do an impressive job at building such complex compositions through the use of various time signatures as well as riff structures. The three band members, Federico Albanese (guitar), Silvia Pistolesi (bass) and Alessandro Formichi (drums), have really great chemistry and the music flows with a graceful synergy. “Awakening,” is a very refreshing release that not only demonstrates the group’s highly skilled technical talents, but also their keen compositional efforts and ability to have everything flawlessly come together. 

  The album features six tracks with the opening song called, “Nocturnal Skywatchers.” From the very beginning of the song, you can tell that these three musicians are extremely creative when pertaining to how they use their instruments to tell this complex progressive story without any words. Also, the production and recording quality adds so much to band’s sound and really highlights the guitarist’s brilliant tone. Plus, the bass parts during the track sounded so fluid and vibrant to compliment the mesmerizing guitar notes and precise drum rhythms. On the second track, "Cosmic Sunset," the band begins with some frantic scale runs and eventually transitions into a more metal sounding jam. I thought the lead guitar playing was very virtuosic and it really demanded your attention as the guitarist shredded throughout the composition. 

  As a huge fan of Rush, I really liked the bass playing on the third track, “Perpetual Mood,” which reminded me of Geddy’s playing on albums like “Roll the Bones” and “Counterparts.” That bass tone just hits you with such bombastic force, while at the same time offering up these funky and unbelievably catchy fills. The drumming is also very well executed and on the fourth song, “Orbital Inclination,” the different time signatures and rhythmic patterns has your head completely spinning. It can be very challenging to come up with instrumental tracks, as sometimes you might get overwhelmed by the constant tempo changes along with the endless technical arrangements. However, Infinite Rising did a solid job keeping everything sounding tight and making sure they did not deviate too far from their vision. 

  Personally I thought the final two songs on the album were the most fascinating pieces of music with the fifth song, “Eternal,” being a truly profoundly progressive science fiction themed odyssey. I am a huge fan of atmospheric elements and I thought the band incorporated some haunting celestial atmospheric sounds to compliment the dynamic arrangements. The final song on the album, “Emotion Galaxy,” features a spectacular piano arrangement, which allows the conclusion of this album to be a very soothing experience. Again, I thought the overall execution when pertaining to how they went about arranging their songs was without a doubt one of the band’s greatest accomplishments on this release. 

  When looking back at the entire release, “Awakening,” is an unbelievably creative and skillfully crafted album that brings together progressive rock and metal elements to explore infinite sounding possibilities. I would highly recommend this album to anyone who enjoys progressive instrumental rock and metal music, because when there are no words the music allows your mind to create these mental images and drift away into the comforting complex melodic landscapes. I look forward to more music from Infinite Rising and I hope the band digs deeper into some of the musical concepts I heard on the fifth track, “Eternal,” as that is easily the best song off the album in my opinion.
Even though there are still mysteries about the galaxy which we do not yet know, Infinite Rising is able to provide us with a soundtrack to listen to as we ponder about the vast starry frontier above us. 

Check out the video for the song "Cosmic Sunset" below:

Infinite Rising's website:

https://infiniterising.co/