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Ombdue/Feliz Aniversario(2406)/Entocomophobic Records/2019 Demo Review

lundi 29 juin 2020 à 20:43

  Ombdue  are  a  solo  project  from  Mexico  that  plays  a  very  suicidal  and  depressive  form  of  black  metal  and  this  is  a  review  of  his  2019  demo  "Feliz  Aniversario(2406)"  which  was  released  by  Entocomophobic  Records.

  Semi  clean  playing  starts  off  the  demo  while  also  taking  the  place  of  an  acoustic  guitar  while  the  vocals  are  mostly  depressive  black  metal  screams. After  awhile  the  riffing  also  starts  to  speed  up  along  with  most  of  the  tracks  being  very  short  in  length  and  also  capturing  a  very  lo-fi  atmosphere.

  Omdue  plays  a  style  of  suicidal  and  depressive  black  metal  that  is  somewhat  clean  and  acoustic  sounding  while  also  being  very  raw  at  the  same  time.  The  production  sounds  very  dark  and  raw  while  the  lyrics  cover  depression  and  suicidal  themes.

  In  my  opinion  Ombdue  is  a  very  great  sounding  depressive  and  suicidal  black  metal  solo  project  and  if  you  are  a  fan  of  this  musical  genre,  you  should  check  out  this  demo.  RECOMMENDED  TRACK  "Wasted  Love".  7/5  out  of  10.

https://entocomophobicrecords.bandcamp.com/album/feliz-aniversario-2406-demo      

Source : http://occultblackmetalzine.blogspot.com/2020/06/ombduefeliz-aniversario2406entocomophob.html


Worship/Sacrificial Forest/Nailed Nazarene Industries/2020 EP Review

lundi 29 juin 2020 à 04:07

  Worship  are  a duo  from  the  United  Kingdom  that  plays  a  very  satanic  and  occult  form  of  black  metal  and  this  is  a  review  of  their  2020  ep  "Sacrificial  Forest"  which  will  be  released  in  July  by Nailed  Nazarene  Industries.

  A  very  fast  and  raw  sound  starts  off  the  ep  along  with  a  great  amount  of  tremolo  picking and  blast  beats.  All  of  the  musical  instruments  on  the  recording  also  have  a  very  powerful  sound  to  them  while  the  vocals  are  mostly  tortured  sounding  black  metal  screams  and  a  couple  of  tracks a re  very  long  and  epic  in  length.

  Throughout  the  recording  you  can  also  hear  a  decent  mixture  of  slow,  mid  paced  and  fast  parts  while  the  music  also  adds  in  some  depressive  touches  at  times.  Dark  sounding  melodies  can  also  be  heard  in  the  bass  guitar  riffing  in  certain  sections  of  the  recording  along  with  the  music  also  adding  in  a  decent  amount  of  90's  influences  and  the  whole  ep  also  sticks  to  a  very  heavy  and  raw  musical  direction. 

  Worship  plays  a  style  of  black  metal  that  is  very  raw  in  the  90's  tradition  along  with  some  depressive  elements  and  also  using  the  bass  guitar  as  a  lead  instrument.  The  production  sounds  very  dark and    raw  while  the  lyrics  cover  Satanism,  Occultism,  Darkness,  Death  and  Pestilence  themes.

  In  my  opinion  Worship  are  a  very  great  sounding  raw,  satanic  and  occult  black  metal  duo  and  if  you  are  a  fan  of  this  musical  genre,  you  should  check  out  this  ep.  RECOMMENDED  TRACKS  INCLUDE  "Ode  To  A  Cold  Moon"  and  "Ritual".  8  out  of  10.

https://nailednazareneindustries.bandcamp.com/album/sacrificial-forest           

Source : http://occultblackmetalzine.blogspot.com/2020/06/worshipsacrificial-forestnailed.html


Brood In Black/DCLXVI/Blasfemas Records/2020 EP Review

dimanche 28 juin 2020 à 23:22

  Kentucky's  Brood  In  Black  have  returned  with  a  new  ep  that  goes  the  music  going  into  more  of  a  raw,  satanic  and  occult  mixture of  black  and  death  metal  and  this  is  a  review  of  their  2020  ep  "DCLXVI"  which  was  released  by  Blasfemas  Records.

  Ritualistic  sounding  synths  start  off  the  ep  along  with  some  grim  sounding  black  metal  screams  and  drum  beats  a  few  seconds  later  which  also  takes  the  music  into  a  heavier  direction.  When  the  music  speeds  up  a  great  amount  of  tremolo  picking  and  blast  beats  can  be  he  heard  which  also  gives  the  songs  more  of  a  raw  feeling.

  Most  of  the  music  is  also  very  heavily  rooted  in  the  90's  era  while  also  mixing  in  some  elements  of  old  school  death  metal.  Throughout  the  recording  you  can  also  hear  a  decent  mixture  of  slow,  mid  paced  and  fast  parts  along  with  all  of  the  musical  instruments  also  having  a  very  powerful  sound  to  them  and  some  of  the  faster  sections  of  the  songs  also  mix  in  the  raw  brutality  of  war  metal,  dark  sounding  melodies  can  also  be  heard  in  the  guitar  riffing  briefly.

  On  this  recording  Brood  In  Black  bring  more  death  metal  elements  into  their  raw  style  of  black  metal  and  takes  out  all  of  the  thrash  influences  to  take  the  music  into  a  heavier  direction.  The  production  sounds  very  raw  and  old  school  while  the  lyrics  cover  Satanism,  Demonology,  Occultism  and  Anti  Christianity  themes.

  In  my  opinion  this  is  another  great  sounding  recording  from  Brood  In  Black  and  if  you  are  a  fan  of  raw,  satanic  and  occult  black  and  death  metal,  you  should  check  out  this  ep.  RECOMMENDED  TRACKS  INCLUDE  "Spawn  Of  The  Devil"  and  "Oath  Of  Satanic  Loyalty".  8  out  of  10.

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Source : http://occultblackmetalzine.blogspot.com/2020/06/brood-in-blackdclxviblasfemas.html


Silenced Minstrel Interview

dimanche 28 juin 2020 à 22:23
1.For those that have never heard of you before, can you tell us a little bit about the musical project?
Hi everyone! This is Silenced Minstrel from the one-man-band Silenced Minstrel, playing black metal with death metal and Nusantara influenced gothic elements. I’ve just released my fourth album “Volume 4” online not too long ago and I’m currently looking for a record deal from any interested parties.

2.So far you have released 4 albums with this project, musically how do they both differ from each other?
My debut album “Volume 1” was a mishmash of materials from my former band, thrash metal stuff that I done from the mid 90’s (before I formed a band) and also some experiments I did after the band broke up, experimenting on new sounds like keyboards, synths and MIDI orchestra among other things. The sound is still quite “erratic” at this stage, where I used drop tunes for some of the old band material, and standard tuning for both the before and after songs.
The second album “Volume 2” was more of a gothic death metal showcase, with an extensive use of keyboards and synths, strong melodies and a bit of atmosphere, whereas the lyrics contained dark poetry, vampirism, psychotic musings and lots of depression.
“Volume 3” was an experiment of mixing dark heavy riffs with MIDI orchestra; with lyrical content of spiritual negativity. There’s a lot of anger, hatred, depression and some damning philosophy thrown in between. This is also where I ditched my gothic tendencies for a more metal dynamic, wanting to drop the sentimentality for something that reflects the harsh reality.
And the latest one “Volume 4” saw my music taking a step further from the previous one, concentrating only on guitars, bass, drums and vocals. This time I aim for chaos and damnation on all the tracks, both chord progression-wise and lyrics-wise.

3.What are some of the lyrical topics and subjects you have explored over the years with the music?
I was struggling with clinical depression for more than a decade so my lyrics are mostly psychotic, erratic, incoherent and…suicidal? If you look at the song “Misery, Revisited” (Volume 1) that song was written on the onset of my disorder, and from there you can imagine how all my lyrical content would sound like. Whereas the lyrics to “I Shall Miss Quintessa” and “Another Black Year” (Volume 2) were taken from my unpublished anthology called “Paintings Of My Minds”, a collection of poems that I wrote when it was at its peak, when I actually hated playing music but I pressed on nevertheless. I also wrote about automatic writing, Sufism and undead love affair in between and, thankfully, by the end of the decade I’ve recovered. Hence a part of my third and all of my fourth album sounds a bit “happy” in a metal sense. Depression opens a floodgate of creativity but it comes at a huge cost, which I thankfully didn’t pay for it.

4.According to the facebook page you also have an interest in the occult, shamanism and new age, can you tell us a little bit more about your interest in the esoteric arts?
Though this statement may never be taken seriously by the outside world but I was actually born a clairaudient psychic, meaning that I can hear not only the dead but also lower and higher spirits. However all my abilities were kept in check until my father died, and that’s when all systems switched on! Guided by my “whitelighter” uncle I learned about accessing my abilities, a bit about eastern mysticism, contacting the fae folk and also some Sufism. I remember talking to my late grandparents at their graves, joined an entourage to stay on top of Mt Ophir for three days just to seek treasures of the Orang Kayangan (High Elves) among other things. I also supplemented my eastern mysticism with western new age spiritualism, where I discovered my knack for scrying, automatic writing, reading the Tarot and the Elder Futhark runes and also noninvasive healing. And since I was suffering from depression at that time my foray into this part of reality actually helped facilitate my healing—I never took any anti-depressant meds at all but still I recovered.

5.What is the meaning and inspiration behind the name 'Silenced Minstrel'?
Superficially it means my voice sucked, something I found out earlier on in the 90’s when thrash metal was all the rage and everybody wanted to be James Hetfield. So I went out of the spotlight and concentrated on songwriting and arranging until my old band broke up, right at the time when metal was not in demand anymore! So I resorted to take on the vocals again, after hampered by my attempts to find any suitable vocalist to carry my songs.
But on a deeper context, it represents my internal grouses with God, where I always questioned on why does somebody with good looks and voice always gets the best jobs whereas a committed songwriter like me didn’t get the full package, e.g, talented but bad voice and ugly looks; much less, gets signed!
Add in to all that my inherent introvertedness, always didn’t get a chance to speak my mind and always be the last to know of everything, I found out that I work best from the shadows, observing people’s mistakes and foibles and then finish them off when they’re down on their luck. It is universally known that stepping on other people’s faces--those that used to step on yours--when they have no more fight left in them; evokes a sense of justice and satisfaction.
In conclusion, Silenced Minstrel hates humanity thus he resorts to sing songs for the dead.

6.Can you tell us a little bit more about the artwork that is presented on the new album cover?
The picture shows an image of a restless angry spirit with his mouth welded to the inverted crucifix (evoking a sense of vengeance from beyond the grave that can only be met via metal music) and superimposed with an image of a small child (representing lost innocence in pursuit of material stability)…my proverbial middle finger to humanity and its narrow-minded perception of normalcy.

7.With this project you record everything by yourself but also have experience playing in full bands, how would you compare the 2?
I missed playing in a full band in truth. When I picked up my instrument my dream is the same like any other stoked teenagers: to be a part of a successful touring band. I missed the enthusiastic planning, the pre jamming hangouts, the thrashing of studio equipment, the post-jamming hangouts, the reviewing of the badly recorded rehearsal songs on some Walkman over our drinks as we laughed ourselves silly and then our pledge to do it again same time next weekend. Times that by a hundred when some organizers found out about our music and invited us to play in a gig, times that by a thousand when some fanzine editors agreed to interview us, and times that by a million when some metal label approached us to sign a record deal!

8.In the past you have also worked with 'Depressive Illusions' and 'Vibrio Cholerae Records' on the physical copies, do you feel these labels have been very helpful when it comes to getting your music out there heard?
Yeah, it was one of my friend’s ideas because he got ties with some eastern European labels looking for Asian metal stuff, so I said what the heck and sent two albums in. Thanks to these two labels “Volume 2” and “Volume 3” found its way to the Russian and Ukrainian underground music market. Unfortunately that’s just about it. Not a reply from them at all. Maybe because of competitions from local metal bands made my music got lost in the tide but I don’t mind. At least in the future somebody will find these two albums and appreciate them.

9.On a worldwide level, how has the reaction been to your music by fans of black metal?
Cold I guess? Apart from some Asian fans on my Facebook pages that’s just about it. I did send ads to some metal discussions groups over there concerning my band’s progress but so far it’s been the same.

10.What is going on with some of the other bands or musical projects these days that you are a part of?
Sadly most of them are just hobby bands now, playing free gigs organized by close friends in the underground scene (don’t you just love cronyism?) doomed to be raided at any moment by cops even though all requirements have been met. I never heard of any of them getting a record deal, going out touring overseas and such so yeah, I am among the tiniest of minority so to speak.

11.Where do you see yourself heading into as a musician during the future?
Maybe I’m going to keep on getting better and better as a songwriter and producer, learning new skills and upgrading to better equipment. Maybe I’m going to get signed, maybe not, but one thing’s for certain, maybe I’m going to try my luck in playing in a band again. I’ve observed for a long time that most metal labels would sign a full band instead of solo artists because the former has a tangible track record like the list of shows performed, zine interviews, newspaper articles etc, where they can gauge the band’s worth. But for solo artists like me? Not so much. This is not fair but hey, that’s how things have been since the beginning.

12.What are some of the bands or musical styles that have had an influence on your music and also what are you listening to nowadays?
A lot of old school black metal bands especially from 90’s Scandinavia scene, old school metal bands like Deeds of Flesh, Immolation, etc, and Norwegian goth metal bands like The Sins Of Thy Beloved, Tristania and Theater Of Tragedy. My list of listening is quite erratic, sometimes I’d go all 90’s Scandinavian black metal, sometimes I’d listen to US death metal but The Sins Of Thy Beloved influenced me a lot when I was about to form a band back in the late 90’s.

13.Before we wrap up this interview, do you have any final words or thoughts? 
I’d like to thank Mr Zach Moonshine of Metal Devastation Radio and  Occult Black Metal Zine for this interview. It really amped my motivation a bit replying to these questions! Till next time everyone. All hail!
MDR CEO
Zach Moonshine

1.For those that have never heard of you before, can you tell us a little bit about the musical project?
Hi everyone! This is Silenced Minstrel from the one-man-band Silenced Minstrel, playing black metal with death metal and Nusantara influenced gothic elements. I’ve just released my fourth album “Volume 4” online not too long ago and I’m currently looking for a record deal from any interested parties.

2.So far you have released 4 albums with this project, musically how do they both differ from each other?
My debut album “Volume 1” was a mishmash of materials from my former band, thrash metal stuff that I done from the mid 90’s (before I formed a band) and also some experiments I did after the band broke up, experimenting on new sounds like keyboards, synths and MIDI orchestra among other things. The sound is still quite “erratic” at this stage, where I used drop tunes for some of the old band material, and standard tuning for both the before and after songs.
The second album “Volume 2” was more of a gothic death metal showcase, with an extensive use of keyboards and synths, strong melodies and a bit of atmosphere, whereas the lyrics contained dark poetry, vampirism, psychotic musings and lots of depression.
“Volume 3” was an experiment of mixing dark heavy riffs with MIDI orchestra; with lyrical content of spiritual negativity. There’s a lot of anger, hatred, depression and some damning philosophy thrown in between. This is also where I ditched my gothic tendencies for a more metal dynamic, wanting to drop the sentimentality for something that reflects the harsh reality.
And the latest one “Volume 4” saw my music taking a step further from the previous one, concentrating only on guitars, bass, drums and vocals. This time I aim for chaos and damnation on all the tracks, both chord progression-wise and lyrics-wise.

3.What are some of the lyrical topics and subjects you have explored over the years with the music?
I was struggling with clinical depression for more than a decade so my lyrics are mostly psychotic, erratic, incoherent and…suicidal? If you look at the song “Misery, Revisited” (Volume 1) that song was written on the onset of my disorder, and from there you can imagine how all my lyrical content would sound like. Whereas the lyrics to “I Shall Miss Quintessa” and “Another Black Year” (Volume 2) were taken from my unpublished anthology called “Paintings Of My Minds”, a collection of poems that I wrote when it was at its peak, when I actually hated playing music but I pressed on nevertheless. I also wrote about automatic writing, Sufism and undead love affair in between and, thankfully, by the end of the decade I’ve recovered. Hence a part of my third and all of my fourth album sounds a bit “happy” in a metal sense. Depression opens a floodgate of creativity but it comes at a huge cost, which I thankfully didn’t pay for it.

4.According to the facebook page you also have an interest in the occult, shamanism and new age, can you tell us a little bit more about your interest in the esoteric arts?
Though this statement may never be taken seriously by the outside world but I was actually born a clairaudient psychic, meaning that I can hear not only the dead but also lower and higher spirits. However all my abilities were kept in check until my father died, and that’s when all systems switched on! Guided by my “whitelighter” uncle I learned about accessing my abilities, a bit about eastern mysticism, contacting the fae folk and also some Sufism. I remember talking to my late grandparents at their graves, joined an entourage to stay on top of Mt Ophir for three days just to seek treasures of the Orang Kayangan (High Elves) among other things. I also supplemented my eastern mysticism with western new age spiritualism, where I discovered my knack for scrying, automatic writing, reading the Tarot and the Elder Futhark runes and also noninvasive healing. And since I was suffering from depression at that time my foray into this part of reality actually helped facilitate my healing—I never took any anti-depressant meds at all but still I recovered.

5.What is the meaning and inspiration behind the name 'Silenced Minstrel'?
Superficially it means my voice sucked, something I found out earlier on in the 90’s when thrash metal was all the rage and everybody wanted to be James Hetfield. So I went out of the spotlight and concentrated on songwriting and arranging until my old band broke up, right at the time when metal was not in demand anymore! So I resorted to take on the vocals again, after hampered by my attempts to find any suitable vocalist to carry my songs.
But on a deeper context, it represents my internal grouses with God, where I always questioned on why does somebody with good looks and voice always gets the best jobs whereas a committed songwriter like me didn’t get the full package, e.g, talented but bad voice and ugly looks; much less, gets signed!
Add in to all that my inherent introvertedness, always didn’t get a chance to speak my mind and always be the last to know of everything, I found out that I work best from the shadows, observing people’s mistakes and foibles and then finish them off when they’re down on their luck. It is universally known that stepping on other people’s faces--those that used to step on yours--when they have no more fight left in them; evokes a sense of justice and satisfaction.
In conclusion, Silenced Minstrel hates humanity thus he resorts to sing songs for the dead.

6.Can you tell us a little bit more about the artwork that is presented on the new album cover?
The picture shows an image of a restless angry spirit with his mouth welded to the inverted crucifix (evoking a sense of vengeance from beyond the grave that can only be met via metal music) and superimposed with an image of a small child (representing lost innocence in pursuit of material stability)…my proverbial middle finger to humanity and its narrow-minded perception of normalcy.

7.With this project you record everything by yourself but also have experience playing in full bands, how would you compare the 2?
I missed playing in a full band in truth. When I picked up my instrument my dream is the same like any other stoked teenagers: to be a part of a successful touring band. I missed the enthusiastic planning, the pre jamming hangouts, the thrashing of studio equipment, the post-jamming hangouts, the reviewing of the badly recorded rehearsal songs on some Walkman over our drinks as we laughed ourselves silly and then our pledge to do it again same time next weekend. Times that by a hundred when some organizers found out about our music and invited us to play in a gig, times that by a thousand when some fanzine editors agreed to interview us, and times that by a million when some metal label approached us to sign a record deal!

8.In the past you have also worked with 'Depressive Illusions' and 'Vibrio Cholerae Records' on the physical copies, do you feel these labels have been very helpful when it comes to getting your music out there heard?
Yeah, it was one of my friend’s ideas because he got ties with some eastern European labels looking for Asian metal stuff, so I said what the heck and sent two albums in. Thanks to these two labels “Volume 2” and “Volume 3” found its way to the Russian and Ukrainian underground music market. Unfortunately that’s just about it. Not a reply from them at all. Maybe because of competitions from local metal bands made my music got lost in the tide but I don’t mind. At least in the future somebody will find these two albums and appreciate them.

9.On a worldwide level, how has the reaction been to your music by fans of black metal?
Cold I guess? Apart from some Asian fans on my Facebook pages that’s just about it. I did send ads to some metal discussions groups over there concerning my band’s progress but so far it’s been the same.

10.What is going on with some of the other bands or musical projects these days that you are a part of?
Sadly most of them are just hobby bands now, playing free gigs organized by close friends in the underground scene (don’t you just love cronyism?) doomed to be raided at any moment by cops even though all requirements have been met. I never heard of any of them getting a record deal, going out touring overseas and such so yeah, I am among the tiniest of minority so to speak.

11.Where do you see yourself heading into as a musician during the future?
Maybe I’m going to keep on getting better and better as a songwriter and producer, learning new skills and upgrading to better equipment. Maybe I’m going to get signed, maybe not, but one thing’s for certain, maybe I’m going to try my luck in playing in a band again. I’ve observed for a long time that most metal labels would sign a full band instead of solo artists because the former has a tangible track record like the list of shows performed, zine interviews, newspaper articles etc, where they can gauge the band’s worth. But for solo artists like me? Not so much. This is not fair but hey, that’s how things have been since the beginning.

12.What are some of the bands or musical styles that have had an influence on your music and also what are you listening to nowadays?
A lot of old school black metal bands especially from 90’s Scandinavia scene, old school metal bands like Deeds of Flesh, Immolation, etc, and Norwegian goth metal bands like The Sins Of Thy Beloved, Tristania and Theater Of Tragedy. My list of listening is quite erratic, sometimes I’d go all 90’s Scandinavian black metal, sometimes I’d listen to US death metal but The Sins Of Thy Beloved influenced me a lot when I was about to form a band back in the late 90’s.

13.Before we wrap up this interview, do you have any final words or thoughts? 
I’d like to thank Mr Zach Moonshine of Metal Devastation Radio and John Larsen of Occult Black Metal Zine for this interview. It really amped my motivation a bit replying to these questions! Till next time everyone. All hail!
MDR CEO
Zach Moonshine

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Source : http://occultblackmetalzine.blogspot.com/2020/06/silenced-minstrel-interview.html


Putrid/Grave Desecration/Satanic Union From The South/Totalitarian Hate/2020 Split Album Review

dimanche 28 juin 2020 à 04:23

  This  is  a  review  of  a  split  album  between  Peru's  Putrid  and  Grave  Desecration  called  "Satanic  Union  From  The  South"  which  which  was  released  by  Totalitarian  Hate  and  we  will  start  off  the  review  with  Putrid  a  band  that  plays  a  mixture  of  blackened  thrash  and  death  metal.

  Their  side  of  the  split  starts  out  with  some  dark  soundscapes  and  spoken  word  samples  while  also  introducing  chaotic  guitar  leads,  heavy  riffs  and  black  metal  screams  a  few  seconds  later.  Death  metal  growls  are  also  a  very  huge  part  of  their  side  of  the  recording  and  all  of  the  musical  instruments  also  have  a  very  powerful  sound  to  them.

  Dark  sounding  melodies  can  also  be  heard  in  some  of  the  guitar  riffing  while  blast  beats  can  also  be  heard  in  the  faster  sections  of  the  songs.  Elements  of  thrash  are  also  utilized  quite  a  bit  throughout  the  recording  along  with  the  music  also  being  very  heavily  rooted  in  the  90's  era.

  Throughout  their  side  of  the  recording  you  can  also  hear  a  decent  mixture  of  slow,  mid  paced  and  fast  parts  along  with  some  tremolo  picking  also  being  added  into  the  faster  riffing  and  all  of  their  music  sticks  to  a  heavier  and  brutal  musical  direction.  The  production  sounds  very  professional  while  the  lyrics  cover  Satanism,  Baphomet,  Occultism  and  Anti  Christianity  themes.

  In  my  opinion  this  is  another  great  sounding  recording  from  Putrid  and  if  you  are  a  fan  of  black,  death  and  thrash  metal, you  should  check  out  their  side  of  the  split.  RECOMMENDED  TRACK  "Chaos  Baphomet".

  Next  up  is  Grave  Desecration  a  band  that  plays  a  satanic  form  of  black/war  metal.

  Their  side  of  the  split  starts  out  with  some  church  style  choirs  before  going  into  a  very  fast  and  raw  musical  direction  which  also  uses  a  great  amount  of  blast  beats  and  tremolo  picking.  Elements  of  war  metal  are  also  added  into  their  music  along  with  the  vocals  being  a  mixture  of  bestial  growls  and  black  metal  screams.

  All  of  the  musical  instruments  on  the  recording  also  have  a  very  powerful  sound  to  them  along  with  the  songs  also  adding  in  a  decent  mixture  of  slow,  mid  paced  and  fast  parts.  The  sounds  of  torture  can  also  be  heard  briefly  as  well  as  a  later  track  also  bringing  in  the  atmosphere  of  a  classic  horror  movie.

  Dark  sounding  melodies  can  also  be  heard  in  some  of  the  guitar  riffing  as  well  ads  the  music  also  being  very  heavily  rooted  in  the  90's  era  along  with  the  church  choirs  also  returning  on  the  closing  track.  The  production  sounds  very  dark  and  raw  while  the  lyrics  are  written  in  Spanish  and  cover  Satanism,  War,  and  Blasphemy  themes.

  In  my  opinion  Grave  Desecration  are  a  very  great  sounding  satanic  mixture  of  war  and  black  metal  and  if  you  are  a  fan  of  those  musical  genres, you  should  check  out  this  band.  RECOMMENDED  TRACK  "Crucificcion".

  In  conclusion  I  feel  this  is  a  very  great  sounding  split  and  I  would  recommend  it  to  all  fans  of  war,  satanic  black,  blackened  death  and  blackened  thrash  metal.  8  out  of  10.

https://www.metal-archives.com/bands/Putrid/3540321237

https://www.metal-archives.com/bands/Grave_Desecration/28043

        

Source : http://occultblackmetalzine.blogspot.com/2020/06/putridgrave-desecrationsatanic-union.html