https://t.me/Tradition8Intolerance8Militia

Tradition Intolerance Militia, Reggio nell Emilia (2025)

23/07/2025

I said hey goodbye to romance yeah
Goodbye to friends and to you
Goodbye to all the past
I guess we'll meet, we'll meet in the end...
R.i.p.

19/07/2025

On August 29th, Hellsheadbangers will release yet another musical violence from the diabolical Norwegian duo!
Deathhammer, Satan's strike!!!

11/07/2025

Solve et Coagula : The Almighty Force of Darkness (2025).

La banda colombiana Solve et Coagula ha lanzado su álbum debut: The Almighty Force of Darkness (2025).
En estos 30 minutos, divididos en siete liturgias profanas, nos adentramos en las profundidades del nefasto black metal, envueltos en una atmósfera oscura que refleja la visión esotérica y oculta de la banda.

El sello se abre con la oscura homilía: Transmigrating Flesh into Divine Awareness, un ímpetu violento que rinde homenaje a su propia libertad a través del caos.
Las constantes de estos temas se evocan a la perfección mediante la estructura musical de riffs vibrantes y cortantes, capaces de crear una atmósfera ritualista.
Mentes siniestras, Pestem Hominum y Human, Cosmos, Nothing... (And Everything) son excelentes ejemplos.

The Almighty Force of Darkness (2025), es una densa concentración de atmósferas oscuras y pesadas, con una producción que evoca el black metal de los 90, manteniendo al mismo tiempo la visión de la banda.

La batería de Irkalla VII es rápida y precisa, como un ritmo inevitable que se repite incesantemente, casi como para enfatizar el concepto de "Solve et Coagula". Las líneas vocales de Hrms Ktlhu (por fin un grito puro, como debe ser el black metal) son gritos desgarradores y blasfemos que nos guían en este viaje sin retorno. El español y el inglés se funden a la perfección en esta reverberación maligna. Las dos guitarras de Nazgûl e Iskur crean una textura cautivadora y violenta. Coatl al bajo crea una línea clara y distintiva con un sonido oscuro y contundente.

Nuestras conclusiones...
The Almighty Force of Darkness, un ensamble maligno con ideas e intenciones claras. No es solo una obra musical, sino una verdadera experiencia sonora que abruma al oyente con su poder destructivo y su búsqueda de una sensación de "iluminación" a través de la oscuridad. Una exploración poderosa y profundamente cautivadora de la noche, la oscuridad y el renacimiento. Una declaración de fuerza que deja clara la capacidad de Solve et Coagula para ser una de las bandas más interesantes y prometedoras de la escena del black metal colombiano.

06/07/2025

Entrevista: Nekro Cvlt Desecration

Tradition.Intolerance.Militia da la bienvenida a Ereshkigal, bajista de las bandas: Transmigration Macabre y Nekro Cvlt Desecration.
¡El culto underground perdura!

1- Ereshkigal, bienvenida a nuestro búnker. Podemos empezar pidiéndote que te presentes para los lectores de esta entrevista.

E: Salve Malditos, agradecida de poder participar en este espacio de difusión de verdadero under. Espero el recorrido por mis palabras no sea tan tedioso.

2- Como mencioné en la introducción, eres bajista.
¿Qué artistas o álbumes en particular te han vinculado con este instrumento?

E: Mi primer instrumento adquirido a los 12 años fué una guitarra, mi meta en ese entonces era ser guitarrista.
Luego diferentes circunstancias me fueron llevando a conseguir un bajo y comenzar a tocar con el mismo.
No puedo considerarme un bajista profesional, pero si que lo hago poniendo todo de mi. Mis sentimientos mas extremos son canalizados y expuestos en la forma de ejecutar el instrumento. Puede gustar o no, es lo que menos me importa.

Influencias de bajistas;
Lemmy Kilmister
Phil Lynott

3- A través del canal de Instagram de Nekro Cvlt Desecration, han lanzado su nueva ofensiva Witching Possession, que preludia su próximo álbum, Purification in The Witchcraft Flames. ¿Qué podemos esperar de esta reverberación infernal?

E: Podrán encontrarse con un material visceral. En el cual venimos trabajando muy duro desde que afianzamos esta formación.
Puedo decir que valió la pena el cambio de integrantes para llegar a esta maduración compositiva.
Los temas son creados desde las entrañas tomando en cuenta nuestras influencias, influencias que por suerte compartimos todos los integrantes de la banda y eso hace que la química a la hora de crear sea inmediata y fluída.
Un mounstro como el de Frankenstein, con partes de Heavy Metal, Thrash, Punk, Black.
Las líricas blasfemas de Seth, que pasan desde la magia negra latinoamericana y africana, nigromancia y energías ancestrales, hasta duras criticas a la realidad y la especie humana.

4- Te uniste a la horda con el EP "The Psalm of the Black Goat" (2023). 9 canciones que desataron un caos de 34 minutos de violencia descarada de black/thrash metal.
En tu opinión, ¿qué elementos aportaste a la banda?

E: En realidad me uní mas de un año antes. Dicho material tardó bastante en ver la luz.
Es difícil para mi hablar de aportes sin sonar pedante, pero trataré. Creo que es bastante notoria la impronta y sonido del bajo. Tambien se pueden encontrar riffs de mi autoría en varios temas. Propuestas/ guiones de los videos, en los cuales ponemos siempre mucho esfuerzo e ingenio. Hacemos mucho con poco. Esto siempre es un trabajo en equipo.
Creo que el aporte mas valioso es mi energía, siempre voy a tirar para adelante con mis compañeros de banda para seguir esparciendo la peste.
Antes de ingresar a la horda, ya había escuchado a Nekro Cvlt tiempo antes con su LP Nekrosatani Alcoholocausto, y me voló la cabeza.
Sinceramente entrar fué un reto importante. Era y es menester dejar una huella imborrable.

5- Tanto la música como la estética de Nekro Cvlt Desecration se basan en los dictados de la vieja escuela; de hecho, se pueden percibir las influencias atemporales de los años 80.
¿Qué significa para ti pertenecer a este mundo irreverente y cómo ha influido la música en tu vida y pensamiento?

E: Exactamente, respetamos y apuntamos a crear en base a esa energía maldita, rebelde, caliente y antitodo que tenía el Metal de los 80's.
Lo visual es solo un reflejo de nuestra pasión por esos gloriosos años, donde se parieron bandas y albums históricos.
Por otro lado, no me he planteado mucho que significa para mi "pertenecer" si bien era bastante lejana a esa palabra, puedo decir que es mi forma de vida desde que soy muy pequeña, lo he naturalizo demasiado y no podría imaginarme siendo diferente. Desde la pre adolescencia me sentí atrapada e identificada por el Metal, el Rock, y el Punk. Si miro para atrás, veo mi vida musicalizada. Año tras año ayudando a forjar el carácter e ideales que tengo hoy en día.
El odio y la desesperanza son consecuencias de la realidad que nos rodea, la música mi forma de canalizar, hasta que decida no estar mas en este plano.

6- Hablando de irreverencia, el metal extremo siempre se ha identificado como una contracultura inmutable. Sin embargo, últimamente esta insolencia se está suavizando cada vez más, o peor aún, adaptándose a los caprichos de una sociedad cada vez más ridícula. ¿Qué opinas al respecto y cómo se puede combatir esta censura inútil?

E: Opino que espero mueran pronto, ese tipo de gente no aporta nada serio a la música. Son lame c**os, y como mencionas, caprichos de moda y movimientos blandos y correctos para agradar.
Solo se puede combatir haciendo todo lo contrario, creando, difundiendo, apoyando a quienes permanecen reales a traves del tiempo, sin doblegarse por estandares de la sociedad. Ni los brillos superficiales de la adulación masiva.

7- Revenge of South American Be******ty e South American Unholy Trinity, se trata de dos álbumes compartidos con bandas sudamericanas. Cada banda encarna el sonido crudo y clásico de Sudamérica.
¿Qué hace que la escena mencionada sea única y respetada en todo el mundo?

E: El Metal sudamericano tiene rebeldía y odio Real. Por eso es respetado, porque no es fingido.
Puede sentirse la ira y disconformidad que provoca vivir día tras día en países subyugados por hijos de p**a con poder. Los amigos mu***os por la droga, por la policía o suicidios, la pobreza, la marginalidad, la indiferencia.
Por otro lado la oscuridad de cultos prehispanicos y su relevancia en diferentes lugares.
Personalmente creo que esos factores hicieron que surgieran bandas crudas, enfermas, genuinamente malditas.

8- Hablemos de Transmigration Macabre, una nueva banda en la escena del death metal. Cuéntanos cómo te uniste a este proyecto y qué planes tienes para el futuro.

E: En sus inicios T.M fue creada como una banda que apuntaba solo a grabar material. Ya que dos de sus músicos (2da Guitarra y Bajo)
Vivían en el sur de Argentina.
Luego les surgieron las ganas de volverla una banda activa, y ahi es donde ingreso a ocupar el puesto de bajista. Ya habíamos compartido hacer música con Gustavo Quiroga en Nekro Cvlt asi que tocar con gente amiga ya lo hace una buena experiencia de por si.
Los planes con ambas bandas, -y los proyectos que vengan- son grabar todo el material que pueda antes de morir. Conocer nuevos lugares, disfrutar de la música. Ni mas ni menos.

9- En el videoclip de la canción «Misery for all», extraído del único álbum (hasta ahora), Funeral Eve, se critica claramente la hipocresía de una sociedad corrompida por guerras e intereses políticos.
¿Puede la música metal ser la forma correcta de no ser esclavos de un sistema autodestructivo?

E: Inebitablemente estamos inmersos en este sistema de miseria. Creo que como respuesta debemos hacer música contestataria, agresiva, chocante. Prescisamente para seguir sembrando esa semilla de disconformidad contra lo establecido. Normas, religion y demas mierdas. Quizá en algún momento el odio sea tan grande que queme todo...

10- Tocando en dos bandas, ¿cuáles son las barreras y dificultades que encuentran las bandas underground a la hora de proponer su música sin venderse al “mercado”?

E: No creo tomarlo como dificultad o barrera. Simplemente es algo que no nos interesa, no lo tenemos en cuenta. Y supongo que el "mercado" tampoco le interesamos jaja y eso es un logro para nosotros.
Queremos ser eso que no quieren!
Hacemos lo que nos gusta! Si el recibimiento es bueno bien, sino tambien.
Asi mismo con los videoclips, los cuales están hechos por nosotros mismos, como mencioné anteriormente, con bajisimo presupesto y mucho ingenio.
Ahi volcamos nuestra afición por lo fílmico, por ejemplo el terror de los 80s clase B.
Ni fama ni busqueda de aprobación, hacemos lo que queremos y nos gusta!
Y al que no le guste, que le den por el c**o y siga de largo.

11- Preguntas y respuestas rápidas -

-Bebida favorita: Cerveza.

- Álbum de resaca: Bathory - Blood on Ice.

- Si tu vida fuera un libro o una película, ¿qué título le pondrías?
" Yamauba, la vieja bruja de la montaña"

- ¿Cómo pasarías tu último día en este planeta? -
Lo pasaría en un lugar alejado de la multitud y la ciudad.
Cojiendo, comiendo, bebiendo y contemplando y disfrutando de la naturaleza y mi finitud.

-Banda histórica con la que te gustaría tocar...

Uf. Si Darkthrone tocase en vivo seguramente sería con elllos. Junto a Bathory son de mis bandas favoritas.

12- Ereshkigal, nuestra entrevista ha terminado. ¡Concluye con un último mensaje para la Legión Negra!

Un saludo a los lectores, Maníacos aficionados al Metal Under, quienes se mantienen firmes y reales por sobre todo.
Y agradecer a Tradition Intolerance Militia por haberme tenido en cuenta y brindarme este espacio de expresión. Espero estar a la altura.

Cuernos en alto!
🔱

English

Tradition.Intolerance.Militia welcomes Ereshkigal, bassist for Transmigration Macabre and Nekro Cvlt Desecration.
Underground Resistance!

1- Ereshkigal, welcome to our bunker. We can start by asking you to introduce yourself to the readers of this interview.

E: Hail, Damned souls, grateful to be able to participate in this space for spreading the word about the true underground. I hope the journey through my words isn't too tedious.

2- As I mentioned in the introduction, you're a bassist. What artists or albums in particular have connected you with this instrument?

E: My first instrument was a guitar when I was 12; my goal at the time was to be a guitarist. Then, different circumstances led me to get a bass and start playing it. I can't consider myself a professional bassist, but I do it with all I have. My most intense feelings are channeled and expressed in the way I play the instrument. Whether you like it or not, that's the least of my concerns. Bassist influences: Lemmy Kilmister and Phil Lynott.

3- Through Nekro Cvlt Desecration's Instagram channel, you've released a new song, Witching Possession, which preludes their upcoming album, Purification in The Witchcraft Flames. What can we expect from this hellish reverberation?

E: You'll be able to find visceral material. We've been working very hard on it since we formed this band. I can say that the change of members was worth it to achieve this compositional maturity. The songs are created from the core, taking into account our influences, influences that luckily all the band members share, and that makes the chemistry when creating is immediate and fluid. A monster like Frankenstein, with elements of Heavy Metal, Thrash, Punk, and Black. Seth's blasphemous lyrics range from Latin American and African black magic, necromancy, and ancestral energies to harsh critiques of reality and the human species.

4- You joined the horde with the EP "The Psalm of the Black Goat" (2023). 9 songs unleashed a 34-minute chaos of blatant black/thrash metal violence. In your opinion, what elements did you contribute to the band?

E: I actually joined more than a year earlier. It took a long time for that material to see the light of day. It's hard for me to talk about contributions without sounding pedantic, but I'll try. I think the imprint and sound of the bass is quite noticeable. You can also find riffs of my own making in several tracks. Proposals/scripts for the videos, into which we always put a lot of effort and ingenuity. We do a lot with little. This is always a team effort. I think my most valuable contribution is my energy; I will always push forward with my bandmates to continue spreading the plague. Before joining the horde, I had already heard Nekro Cvlt some time before with their LP Nekrosatani Alcoholocausto, and it blew my mind. Honestly, getting in was a significant challenge. It was and is necessary to leave an indelible mark.

5- Both the music and aesthetic of Nekro Cvlt Desecration are based on old-school dictates; in fact, we can sense the timeless influences of the 80s.
What does it mean to you to belong to this irreverent world, and how has music influenced your life and thinking?

E: Exactly. We respect and aim to create based on that cursed, rebellious, hot, and anti-everything energy that 80s Metal had. The visuals are simply a reflection of our passion for those glorious years, where historic bands and albums were born. On the other hand, I haven't given much thought to what "belonging" means to me. Although I was quite far from that word, I can say that it's been my way of life since I was very young. I've taken it for granted, and I couldn't imagine being any different. Since I was a pre-adolescent, I felt trapped and identified by Metal, Rock, and Punk. If I look back, I see my life filled with music. Year after year, helping to forge the character and ideals I have today. Hatred and hopelessness are consequences of the reality that surrounds us; music is my way of channeling them, until I decide to no longer be on this plane.

6- Speaking of irreverence, extreme metal has always been identified as an immutable counterculture. However, lately this insolence is becoming increasingly softened, or worse, adapting to the whims of an increasingly ridic**ous society.
What do you think about this and how can we combat this useless censorship?

E: I think, I hope they die soon; those kinds of people contribute nothing serious to music. They're ass-kissers, and as you mention, they're fads and soft, correct movements to please. It can only be combated by doing the exact opposite: creating, spreading, and supporting those who remain true over time, without bending to societal standards or the superficial glitter of mass adulation.

7- Revenge of South American Be******ty and South American Unholy Trinity are two split albums featuring South American bands. Each band embodies the raw, classic sound of South America. What makes the aforementioned scene unique and respected worldwide?

E: South American metal has real rebellion and hatred. That's why it's respected, because it's not fake. You can feel the anger and discontent that comes from living day after day in countries subjugated by powerful bastards. Friends killed by drugs, by the police, or by su***de, poverty, marginalization, indifference. On the other hand, the darkness of pre-Hispanic cults and their relevance in different places. Personally, I think these factors led to the emergence of raw, sick, genuinely cursed bands.

8- Let's talk about Transmigration Macabre, a new band on the death metal scene. Tell us how you joined this project and what your plans are for the future.

E: In the beginning, T.M. was created as a band that only aimed to record material, since two of its musicians (second guitar and bass) lived in southern Argentina. Then they wanted to make it an active band, and that's where I came in as the bassist. I had already shared music with Gustavo Quiroga in Nekro Cvlt, so playing with friends is a good experience in itself. The plans with both bands—and future projects—are to record as much material as I can before I die. See new places, enjoy music. Nothing more, nothing less.

9- In the music video for the song "Misery for All," taken from the only album (so far), Funeral Eve, the hypocrisy of a society corrupted by wars and political interests is clearly criticized. Can metal music be the right way to avoid being slaves to a self-destructive system?

E: We are inevitably immersed in this system of misery. I think that in response, we should make music that is rebellious, aggressive, and shocking. Precisely to continue sowing that seed of discontent against the established order. Norms, religion, and all that crap. Maybe at some point, the hatred will be so great that it will burn everything down...

10- Playing in two bands, what are the barriers and difficulties that underground bands encounter when trying to present their music without selling out to the "market"?

E: I don't think I see it as a difficulty or a barrier. It's simply something that doesn't interest us, we don't take it into account. And I suppose the "market" doesn't care about us either, haha, and that's an achievement for us. We want to be what they don't want! We do what we like! If the reception is good, fine, if not, that's fine too. The same goes for the music videos, which we made ourselves, as I mentioned before, with a very low budget and a lot of ingenuity. We pour our love of film into them, for example, B-grade 80s horror. No fame or approval-seeking, we do what we want and what we like! And whoever doesn't like it, f**k them and move on.

11- Quick Q&A

- Favorite drink: Beer.

- Hangover album: Bathory - Blood on Ice.

- If your life were a book or a movie, what title would you give it?

"Yamauba, the Old Witch of the Mountain"

- How would you spend your last day on this planet?

I would spend it somewhere far from the crowds and the city. Fu***ng, eating, drinking, contemplating and enjoying nature and my finiteness.

-Historical band you'd like to play with...
Wow. If Darkthrone played live, it would definitely be with them. Along with Bathory, they're some of my favorite bands.

12- Ereshkigal, our interview is over. It concludes with one last message for the Black Legion!

E: Greetings to the readers, Maniacs of Underground Metal, who remain steadfast and real above all else. And I want to thank Tradition Intolerance Militia for considering me and giving me this space to express myself. I hope I live up to it. Horns Up! 🔱

02/07/2025

REWIEW
"Fathan Aiseras Seus" - AD OMEGA

ENG / ITA

On June 16, 2025, the third full-length album was released by a band whose penultimate work, "Aphelic Ascent," we already had the pleasure of reviewing.

Today we talk about "Fathan Aiseras Seus" by our compatriots Ad Omega

It all begins with "Aisna," an instrumental intro of almost two minutes, devoted to dark and sinister sounds, a dark journey into the depths of the earth towards the unknown.

With "Pava Tarchies," we get to the heart of the composition and begin to rediscover the sounds that Ad Omega has accustomed us to and that we already found in "Aphelic Ascent" (which we reviewed at the time).
Here, dissonance reigns supreme, even if the riffing is superbly composed and although the 6-minute duration of such a track can sometimes be heavy, in this case the listening remains fluid throughout the track;
We also find a piano interlude accompanied by Sci-fi-style synths that keep the listener in a state of dark trance.

Moving on, we have "Descensus ad Noctem," which ties in perfectly with the previous track, continuing along the same lines. The only note on "Descensus ad Noctem" is the ending: a short violin outro, which can be described as unexpected, apt, and theatrical.
Halfway through this work, we have "Athanatizein," one of my favorites on the album.
Here, a slightly more melodic vein takes center stage, intertwining perfectly with the abyssal echoes given by the dark composition that accompanies us throughout the listening experience.
A factor that I think particularly enhances this track is the choice of unconventional instruments and sounds, such as choirs during what I would call the chorus, wind instruments, and an effect similar to a sitar, which I believe pays homage to Middle Eastern sounds. Really effective.

The fifth act of this opus is called "Numen In Abysso Est."
With a short intro, it gives us the idea that we have arrived at a slower and more enthralling track; Error: In true Swedish style, it strikes decisively with blast beats and high speeds.
However, that little Dungeon Synth influence continues to emerge, helping to give an extra boost to a track that was already more than worthy in its own right.

As we approach the end of our journey, we find "In Æternum Lukmnes."
Once again, the rhythms remain fast, despite becoming more cadenced in the middle of the track.

The penultimate step towards the underworld is called "Hirpi Sorani" and continues to demonstrate Ad Omega's compositional and, above all, instrumental skills.
The track continues unabated along the line traced so far.
The work ends with "Sin Aiser," which I consider a perfect ending for this album.
The song remains tied to darkness despite the fact that Dungeon Synth emerges more than ever in this track.

In conclusion, I consider "Fathan Aiseras Seus" an excellent work; a worthy successor to "Aphelic Ascent," released two years ago.
The band has once again demonstrated its skills with an album that never tires in its 45 minutes of total playing time.
I have spent fewer words on some tracks than on others; I would like to point out that this is not because some deserve more than others, on the contrary, I consider every song on this album to be fundamental.
I would also like to say that developing an album like this, with sounds like these, and taking the risk of becoming repetitive is extremely difficult.
Well, Ad Omega has done it, and I assure you that throughout the duration of "Fathan Aiseras Seus," you will want to hear the next track.
A special mention must go to the Dungeon Synth influence, which undoubtedly adds great value to the whole work.
It is impossible not to mention the artwork, which seems to be the perfect graphic representation of the listening experience, created by the now (deservedly) famous Sang Ho Moon of Vhan Artworks & Printings, whom I invite you to contact for artwork and logos.
The album was produced on CD by the Greek label "Zazen Sounds," run by none other than Nikolaos, founder of Acherontas, which Nokturnal joined this year.

This is a must-listen, and if you want my advice, listen to it on headphones to savor every detail.

A must-have.

ITA

Recensione "Fathan Aiseras Seus" - Ad Omega

Il 16 Giugno 2025 è uscito il terzo Full-length di una band di cui abbiamo già avuto il piacere recensire il penultimo lavoro "Aphelic Ascent"

Oggi parliamo di "Fathan Aiseras Seus" dei nostri compatrioti Ad Omega

Il tutto ha inizio con "Aisna", intro strumentale di quasi due minuti, devoto a sonorità tenebrose e sinistre, un viaggio oscuro nelle profondità della terra verso l'ignoto.

Con "Pava Tarchies" entriamo nel vivo della composizione e iniziamo a ritrovare le sonorità a cui gli Ad Omega ci hanno abituato e che abbiamo già trovato in "Aphelic Ascent" (che abbiamo già recensito a suo tempo);
Qui le dissonanza regna sovrana incontrastata, anche se il riffing è composto in maniera superlativa e sebbene la durata di 6 minuti per un brano del genere talvolta può risultare pesante, in questo cosa l'ascolto rimane fluido in tutta la traccia;
Inoltre troviamo anche un intermezzo di piano accompagnato da synth in stile Sci-fi che mantengono l'ascoltatore in uno stato di trance oscura.

Proseguendo, abbiamo "Descensus ad Noctem" che si allaccia perfettamente alla precedente continuando sulla falsariga della stessa; unico appunto su "Descensus ad Noctem", il finale: un breve outro di violini, che definire tanto inaspettato quanto azzeccato e teatrale.
Giunti alla metà di questo lavoro abbiamo "Athanatizein", una delle mie preferite dell'album;
Qui si rende protagonista una vena leggermente più melodica, che si va ad intrecciare perfettamente con gli echi abissali dati dalla composizione oscura ci accompagna durante l'ascolto.
Un fattore che secondo me valorizza in particolare questo brano è la scelta di strumenti e suoni non propriamente convenzionali come Cori durante quello che definirei il ritornello, strumenti a fiato e un effetto simile ad un Sitar che rende omaggio a mio parere a sonorità mediorientali. Davvero efficace.

Il quinto atto di questo Opus è chiamato "Numen In Abysso Est".
Con un breve intro ci da l'idea di essere arrivati ad una traccia più lenta e trascinante; Errore: In pieno stile Svedese colpisce decisa a suon di Blast Beat e elevate velocità.
Tuttavia continua ad emergere quella piccola influenza Dungeon Synth che contribuisce a dare una marcia in più ad un brano che già di per sé era più che meritevole.

Avvicinandoci al termine del nostro viaggio troviamo "In Æternum Lukmnes"
Una volta ancora, i ritmi rimangono alti, nonostante diventino più cadenzati nella parte centrale della traccia.

Il penultimo passo verso gli inferi è denominato "Hirpi Sorani" e continua a dar prova sente abilità compositive ma soprattutto strumentali di Ad Omega.
Il brano prosegue imperterrito sulla linea tracciata fino ad ora.
L'opera termina con "Sin Aiser", che reputo una chiusura perfetta per quest'album.
Il brano rimane legato alle tenebre nonostante in questa traccia il Dungeon Synth emerga più che mai.

Concludendo, reputo "Fathan Aiseras Seus" un ottimo lavoro; un degno erede di "Aphelic Ascent" uscito due anni fa.
La band ancora una volta ha dato prova delle sue abilità con un album che non stanca mai nei suoi 45 minuti totali.
Per alcune tracce ho speso meno parole che per altre; ci tengo a precisare che non è dovuto al fatto che alcune meritino più di altre, anzi, reputo ogni canzone di quest'album fondamentale.
Ci tengo anche a dire che sviluppare un album come questo, e con sonorità come quelle proposte, assumendosi il rischio di diventare ripetitivi è di una difficoltà estremamente elevata;
Ecco, gli Ad Omega lo hanno fatto e vi assicuro che in tutta la durata di "Fathan Aiseras Seus" avrete voglia di sentire la traccia successiva.
Una menzione doverosa va proprio all'influenza Dungeon Synth proposta che da indubbiamente un grande valore aggiunto a tutto il lavoro.
Impossibile non menzionare un Artwork che sembra essere la perfetta rappresentazione grafica dell'ascolto, creato dell'ormai (meritatamente) celebre Sang Ho Moon di Vhan Artworks & Printings che vi invito a contattare per artwork e loghi.
L'album è stato prodotto in CD dalla Greca "Zazen Sounds" gestita da niente meno che Nikolaos, fondatore di Acherontas, in cui Nokturnal da quest'anno é entrato in formazione

Ascolto assolutamente doveroso e, se volete un consiglio, ascoltatelo in cuffia per assaporare ogni minimo dettaglio.

Assolutamente da avere

Lorenzo De Angelis Intolerance Dictator

27/06/2025

Indesiderium USBM : The Nocturnal Seance of Lucifer (2025).
Review

English

Indesiderium was born from the histrionic mind of guitarist and vocalist Atrum Abbas in Los Angeles. After having launched 2 excellent works such as: Wanderer of the Abyssal Plains (2015) and Of Twilight and Evenfall... (2018), today we find ourselves in front of the third and new act of this excellent discography.

The Nocturnal Seance of Lucifer (2025), released on CD by Satanath Records, a journey into a dark exploration...

The hellish descent begins with Ashes, a grotesque intro where we can hear a crow croaking while the noise of the flames begins to overheat the environment, which transports us to the next one.

"Merciless Extermination", which reflects 100% what could have been the canons of the old Swedish school, of the early 90s. A hard, violent and warmongering Black Metal, but at times still melodic in the icy harmonies proposed by the guitars.
3 and a half minutes of pure hellish destruction.

Tenebrae Inpenetrabiles, with its only 56 seconds, acts as a bridge that transports us even further down, towards the hidden depths of our soul through a disturbing atmosphere.

The Nocturnal Seance of Lucifer, is a dark whirlwind of 90's black metal style Riffs. The nefarious voice of Atrum that for 5 minutes vomits pure war, fire and blood. Sharp riffs, double pedal style MG42, an iron fist in the face of those who want Black Metal Friendly and rainbow flag.
The séance itself symbolizes a communication with the darkest and most hidden forces of the universe, to connect beyond the visual realm. An act towards forbidden wisdom and immersion in personal transformation.

Infernal Meditative Visions is a ritualistic interlude with the aim of creating a mediative trance. In fact, in the album we will find ourselves in front of 4 similar acts.

Apocalyptic Funeral March with its 6 minutes, confirms once again the ability of Indesiderium to propose an old-style and impetuous black metal, thanks also to a "raw" production and at the same time does not forget the sinister melodies proposed in the two previous works. The coordination in the riffs of the two guitars and the harmonies created are in my opinion wonderful. A little pearl of almost 6 minutes that will surely enter my top 10 of the year.

Unhallowed Transcendental Gnosis, another gloomy interlude where the dark atmosphere is the master, while the obscurity becomes increasingly dense.

Baneful Apparitions Within the Crypt of God, presents itself as the slowest and most reflective step of the album, the mid tempo inexorably marks every damned minute. The sounds remain devoted to Old School Black Metal and even if initially the rhythms may seem more calm, we find a ferocious acceleration again, thanks also to the killer work done by Warhead.
To close this magnificent song, one of the most beautiful riffs I have heard in a long time.

Mournful Funerary Monuments, as the title suggests, is a solemn moment where rain and sacred or profane songs (depending on your personal vision), celebrate the great mystery and the solemn question, when death looms.
Is it the end of everything or a new beginning?

We reach the end of the journey (quoting Dante Alighieri), with the last stop called: The 9 Circles of Inferno. The 9 Circles of Inferno, in fact, is in all its duration, a machine gun ready to riddle our ears. The title perfectly represents what we are listening to. A ride through the infernal circles among the most fearful horrors that the human mind can imagine. In the finale, a solo that gave me goosebumps, shows us, in addition to the incredible compositional skills, also what Atrum Lorde is capable of doing by taking up a guitar loaded with 50 caliber bullets. This title perfectly paints what this song and the 31:08 of the album represent. Abandon all hope, you who listen to these demonic liturgies.

These are our final conclusions...

The production, although raw, has a clarity that allows every element of the sound to shine through. A vision of Lucifer as a symbol of enlightenment, rebellion and transcendence. An exploration of the role of bearer of knowledge and inner transformation. Each track seems like a different step in a dark and ceremonial journey, towards the deepest human emotions.

The Nocturnal Seance of Lucifer is an album forged in solid black metal that holds high the old school verb, in a musical world, and not, increasingly robotic and lobotomized, there is still someone with a black heart that beats naturally!

Italiano

Gli Indesiderium nascono dall istrionica mente del chitarrista e vocalista Atrum Abbas in quel di Los Angeles.
Dopo aver lanciato 2 ottimi lavori come: Wanderer of the Abyssal Plains ( 2015) e Of Twilight and Evenfall... ( 2018), oggi ci troviamo davanti al terzo e nuovo atto di questa eccellente discografia.

The Nocturnal Seance of Lucifer (2025), prodotto in versione CD dalla Satanath Records, è un viaggio verso un oscura esplorazione...

La discesa infernale inizia con Ashes, un intro grottesco dove possiamo ascoltare un corvo gracchiare mentre il rumore delle fiamme comincia a surriscaldare l ambiente, il quale ci trasporta alla successiva.

"Merciless Extermination", che rispecchia al 100% quelli che potevano essere i canoni della vecchia scuola Svedese, dei primi anni '90.
Un Black Metal duro, violento e guerrafondaio, ma a tratti comunque melodico nelle armonie gelide proposte dalle chitarre.
3 minuti e mezzo di pura distruzione infernale.

Tenebrae Inpenetrabiles, con i suoi soli 56 secondi, funge da ponte che ci trasporta ancora più giù, verso gli abissi nascosti della nostra anima attraverso un inquietante atmosfera.

The Nocturnal Seance of Lucifer, è un oscuro turbinio di Riff stile black metal anni 90. La nefanda voce di Atrum che per 5 minuti vomita pura guerra, fuoco e sangue.
Riff taglienti, doppio pedale stile MG42,
Un pugno di ferro in faccia a quelli che vogliono il Black Metal Friendly ed arcobaleno.
La seduta spiritica stessa simboleggia una comunicazione con le forze più oscure e nascoste dell'universo, per connettersi oltre il regno visivo. Un atto verso la saggezza proibita ed immersione nella trasformazione personale.

Infernal Meditative Visions è un intermezzo ritualistico con lo scopo di creare una trance mediativa.
Infatti nell' album ci troveremo davanti a 4 atti simili.

Apocalyptic Funeral March con i suoi 6 minuti, conferma ancora una volta l' abilità degli Indesiderium di proporre un black metal vecchio stile e impetuoso, grazie anche ad una produzione " grezza" ed allo stesso tempo non dimentica le sinistre melodie proposte nei due precedenti lavori.
La coordinazione nei riff delle due chitarre e le armonie create sono a mio parere meravigliose.
Una piccola perla di quasi 6 minuti che entrerà sicuramente nella mia top 10 dell'anno.

Unhallowed Transcendental Gnosis, un altro lugubre intermezzo dove la lugubre atmosfera ne è padrona, mentre l oscurità si fa sempre più densa.

Baneful Apparitions Within the Crypt of God, si presenta come il passo più lento e riflessivo dell album, il mid tempo scandisce inesorabilmente ogni dannato munito. Le sonorità rimangono devote al Black Metal Old School e anche se inizialmente i ritmi possono sembrare più pacati, troviamo nuovamente una feroce accelerazione, grazie anche all'eccesso lavoro dietro alle pelli di Warhead.
A chiudere questo brano magnifico, uno dei riff più belli che abbia ascoltato da tempo.

Mournful Funerary Monuments, come il titolo suggerisce è un momento solenne dove pioggia e canti sacri o profani ( a seconda della personale visione), celebrano il grande mistero e la solenne domanda, quando la morte incombe. È la fine di tutto o un nuovo inizio?

Giungiamo alla fine del viaggio ( citando Dante Alighieri), con l ultima fermata chiamata: The 9 Circles of Inferno.
The 9 Circles of Inferno, infatti è in tutta la sua durata, una mitragliatrice pronta a crivellare le nostre orecchie.
Il titolo rappresenta perfettamente quello che stiamo ascoltando. Una cavalcata attraverso i gironi infernali tra gli orrori più temibili che la mente umana possa immaginare.
Nel finale, un assolo che mi ha fatto ve**re la pelle d'oca, ci mostra, oltre alle incredibili abilità compositive, anche quello che Atrum Lorde sia in grado di fare imbracciando una chitarra caricata con proietti calibro 50.
Questo titolo pennella perfettamente ciò che rappresenta questa canzone e i 31:08 dell album.
Lasciare ogni speranza o voi che ascoltate queste demoniache liturgie.

Queste le nostre conclusioni finali...

La produzione, sebbene cruda, ha una chiarezza che permette a ogni elemento del suono di trasparire.
Una visione di Lucifero come simbolo di illuminazione, ribellione e trascendenza. Un esplorazione del ruolo di portatore di conoscenza e trasformazione interiore.
Ogni traccia sembra un passo diverso in un viaggio oscuro e cerimoniale, verso le emozioni umane più profonde.

The Nocturnal Seance of Lucifer è un album forgiato nel black metal solido che tiene alto il verbo dell old school, in mondo musicale, e non, sempre più robotizzato e lobotomizzato, c'è ancora qualcuno con un nero cuore che batte naturalmente!

Tradition Intolerance Militia

23/07/2025

19/07/2025

11/07/2025

06/07/2025

02/07/2025

27/06/2025

Indirizzo

Telefono

Sito Web

Notifiche

Contatta L'azienda

Scelte rapide

Condividi

Digitare