Lord Wind – The Forest Is My Kingdom

The case of Rob Darken is a symptomatic one. He is undeniably the most important (and enduring!) metal musician from Poland and Eastern Europe in history. And yet, when black metal or folk is concerned, even on his own soil he is overlooked in favor of others, like Behemoth or Percival Schuttenbach respectively, solely on basis of some external attributes of their music. It seems that for some time now Darken is trying to gain at least a bit of the recognition he deserves: the exposure in Nergal’s biography, playing live with both Graveland and Lord Wind, and now the changes in the very formula of Lord Wind on The Forest Is My Kingdom.

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Nocturnal Metal

Slayer showed us the prototypical underground metal band, fusing together melodic heavy metal (Iron Maiden, Mercyful Fate, Judas Priest) and high-speed hardcore to make a new voice for metal. It kept the metal spirit entirely, and turned up the volume on that, but also gave the music the voice of desperation amid dystopian decay where everything is broken and wrong that made hardcore so apocalyptic.

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Sepsis – To Make Rotten (La Caverna Records)

To Make Rotten was initially released in 1991 by the band Sepsis and only seventy handmade copies existed at the time. La Caverna records have re-released this record twenty eight years of its initial release. While many expect another band that is rediscovered uniquely for existing at the right time and having a certain “spirit”. Sepsis put these claims to rest with a good demo that shows untapped potential.

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Malevolent Creation The Ten Commandments Re-Issued

Peer into the intense fury of three decades ago when Malevolent Creation unleashed their powerful fusion of speed metal and percussive death metal, The Ten Commandments (1991). Full of nice meaty riffs cleated to pounding double-bass drumming, this album explored the side of death metal that stayed closer to conventional metal.

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SMR – Will the Madness Ever End?

Peripheral Cortex – God Kaiser Hell
Various Necrophagist riffs arranged in a mathcore style with no rhyme or reason as everything is thrown into the kitchen sink. Vocals are annoying shouts that devolve into nonsensical off-key singing. The best parts are the genuine carnival breakdowns featuring random saxophones as they are less annoying than the Epitaph ripoffs. The gimmick here is “creative freedom” but by doing it in such a random manner, all creativity is lost and what we are left with is a collage of unrelated music packaged into an album.

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