Sargeist – Feeding the Crawling Shadows – (W.T.C.Productions)

The Infernal Outcome of Truest BM from The North

Okay, some shall say REAL black metal is dead. No it isn’t! It’s just hiding itself in places as far as Finland.

Those who are fans of the quality bands that Finland has been throwing to the word are no strangers to the sacred name of Sargeist (if you don’t know them, you’re really in debt with the style). Like their countryfellows (Horna, Behexen, Satanic Warmaster) they showcase gruff stuff, yet, skilled Black Metal.

Almost 50 minutes of Infernal assault the album starts with the title track and its noisome axework that throws the listener straight though the inferno of fierce destruction.

In Charnel Dreams and Unto the Dead Temple keep on castigating the hellbangers with craggy soundscapes of bleak textures.

 But I can say that the things turn into astringent proportions in the track The Shunned Angel whose sound and production muffle the senses. It’s not boring, it’s perfect, but one gets used once the framework is set.

Inside the Demons Maze keeps the very same idea and the nasty atmospheric is a demonic feast and I like to imagine that hell is like that when I die. Heheheh

Kingdom Below has a more common approach, not exactly a filler, but with the traditional hardcore drumming and some breaks.

Funerary Descent closes the opvs with a real grandiose and pompous atmosphere of Black Metal victory over the idiotic servants of “Christ”! Hail!

 Feeding the Crawling Shadows is excellent work that fulfills the expectative of Sargeist audience. The band continues on their crusade to keep the real flame of Black Metal alive and that’s why posers don’t like them and real headbangers of satanic persuasion will continue to praise them as one of the greatest diabolic acts!

(Daniel Death)

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Heresiarch – Wælwulf 7″ EP – (Iron Bonehead)

Intransigent hammer from New Zealand is back!

When I first heard of Heresiarch was three years ago when they released the high acclaimed demo Obsecrating the Global Holocaust and the subsequent EP Hammer of Intransigence. The latter in particular, changed (or better broadened) my visions of nuclear warfare and desolation without fucking compromise.

Now with this new EP Wælwulf they up the ante in the intolerant approach of their music, bringing the radioactive winds of war with them.

First song is a über debasement of human values, with the extreme fast drumming and low pitched muscular axework, leaving no place for any diplomatic conversations!!!!! For instance while the guitar is calling headbangers to war, the bassline enters announcing that the escalation has begun. The drummer (name not revealed) castigates his drum kit, but then everything implodes into an all out global war leaving victims all over the Earth.

Second track called Abrecan is based on military drumming assembling the troops in provocation against enemies. The feedback in the background sounds even more ominous than the actual riffs… and the actual riffs contain an extremely low pitched guitar with a probably bass plugged into a guitar amp to give this heaviest effect! Really disturbing!

Endethraest, the closer, bursts into a sound of panzers rolling over the Christian souls while they scream of pain in the middle of confusion rampage. Over again drumming sounds like two hundred thousand bullets fired per second, and there are no triggers here mofos. If you’re not keen to this kind of death/black noise invocating the nether spirits of war, then bugger off!

 Heresiarch, once more, proofs that they are totally immersed in the war against low lives who infest the war metal scene, no matter how far they have to go, they’re going to annihilate them all! If you wait for a better future, go listen to something else.

Vornth – Vornth (Iron Tyrant)

Playing the old school Swedish game…


Vornth is a band from Sweden that resembles a lot other Swedish acts like Nifelheim and international ones like Midnight or Vulcano for example. Being subpar to them is no problem since all old metal seems to be an influence to them.

But although their sound is (initially) cool and (old school) they make a strange salad of Traditional Heavy Metal, Speed Metal, Thrash Metal that does not work all the time.

For example, after the Iron Maiden-esque intro, the song Evil Blood secure to their fold satanic and brutal sensations with their Living Death/Exciter approach. It’s really dead on and brutal.

Rapid Death is even more brutal putting a dose of old Slayer and raising the bar of velocity and aggression.

Rip Rip Rip go a step behind with a strange approach of Japanese metal, just like an all out imitation of Metalucifer. Even the Japanese accent is emulated.

Darkness and Steel sees the band returning to their speed/thrash, but this time they sounds like Voivod, a little bit confusing. It’s never bad to emulate Voivod but what is bad is that the CD has no clear direction up to this point.

So, they try to make a ballad as good as Accept. I mean Accept is good in making rapid songs not ballads… It’s a big fiasco, but one can only hope it’s an intro to the next song Metal Skies which, thanks Satan, it is…

At this point, the band starts to wear out their welcome. The songs are not as catchy as the beginning of the disc and everything thenceforth is made to complete gaps and to be a filler. It’s the kind of decision young bands always have when they are making their first album: “well maybe we aren’t going to record anything else, so let’s put all our material in the album”.

This decision costs the listener 58 minutes of ups and downs…

Axemurder is virtually the last number to gain attention of hellbangers… Fast, sounding like a furious Venom in their heyday. Be that as it may, the song has unjustified 7 minutes… okay then.

That’s when the tentative to return to trad metal causes embarrassment for the deadpan attitude to ape the past in all possible ways. The 5-minute Death’s Horse sounds like a bad new wave of what the fuck heavy metal. I mean they could be winners doing only ONE kind of speed metal but they decided to go to some b-side heavy metal way that they are not good in doing so.

Last song Grave of the Living is even worst: a snail paced 8-minute song boring to the bone. Pretense Epic Heavy metal in a Manilla Road/Heavy Load way. You want to be the producer and say to these guys: “please, could you not?” The vocals are, eh… terrible…

This first full length of Vornth brings a great lesson to the band: they are excellent doing speed metal but they are subpar doing trad metal, and mix the styles only to show 1980’s dexterity is a mistake. I hope they see that and fix these errors, honing their skills in what they are good: fast and unrelenting speed metal: I’m FUCKING sure that oldschoolers will LOVE them. Myself included…

(Daniel Death)

Nebiros – Necromanteion – In Commvnio Tenebrae (split) (Iron Bonehead)

South American infernal attack!


Okay here we have a short one, a split with only two songs released by Iron Bonehead with the Colombian band Nebiros and Bolivian blasphemers of Nekromanteion (not to be confused with the Norwegian band of almost the same name).

Nebiros and its track Yo Pecador sung in Spanish is not a fast number, but interestingly showcases the real South American way to make black metal, with a dose of death metal, but forget everything new in the two styles: everything here is primitive to the bone. The song remembers me the old days of Profane Creation from Brazil with a bassline dominating the beginning and the end of the song with the sacrilegious song in between.

But the ice in the cake is Nekromanteion and why the fuck this band ISN’T recognized by brutal headbangers worldwide? They sound like a mix of Blasphemy, Morbosidad and Satanic Bloodspraying, what a fucking brutal sound!!!

Well sadly this EP is really short clocking at 11 minutes and, as always happens with the releases of Iron Bonehead it leaves a need to get more and more material from those bands. Excellent EP!!! For DIE-HARDS ONLY!!!!!!!!! Poseurs BACK OFF!

(Daniel Death)

Kampfar – Djevelmakt (Indie Recordings)

Old is cool. Older is colder!

Kampfar is being on activity from 20 years now, and to celebrate this milestone they’ve just released the album Djevelmakt which is according to the band is the natural successor of the prior work Mare.

In order words Kampfar has evolved from its primeval roots which put the basilar sound, to new heights. Let’s not say this is an experimental album, because it would be a prosaic statement. This is indeed, the very old and cold Kampfar with new elements that gives a different nuance or angle to the whole framework or modus operandi that the band has been using for 20 years.

Some call them Viking, some call them folk, and every one of these statements is untrue. Actually they are Norwegian Black Metal proper. Nothing else.

Mylder, the first track showcases a shabby mid-sequenced keyboard sound and in a matter of seconds the band explodes into Kampfar does best: A mix of mid tempo-music with explosive blast beats and moderate use of chords, for while it is creative and totally non-minimalistic it’s still hard to get the differences between riffs as the songs goes, but they are there and this sets the framework for the remainder of the album. Croaky vocals in its sublime ode to the Norwegian music and culture entice those who are 30-plus headbangers that had lived the heyday of the style. Does this mean simply nostalgia? Not here, buddy. Let’s say this is the return of what never went away.

Kujon with its blatant marked pace introduces an impeding doom rifferama and as I said between the lines, this is another song of the cold and medieval North while the freezing cold weather is degrees below zero. What a cadence and perfect equilibrium.

Blod, Eger og galla follows the same groundwork, but have this said, this is an album that only can be admired in all these stances by multiple spins in order to take part of the gravitational world of Kampfar!

I particularly lose it with the track Fortapelse because it’s so perfect and nocturnal and brings the whole looming mood into the fold.

Other excellent numbers take place like De dodes Fane and Svarte Sjelers Salme, but it’s in the melancholic-ten-cathartic last track Our Hounds, Our Legion that make me want to book a flight to the extreme North just to feel the hyperboreal force of nature. This track per se is not so different from the entire opus, but as the last song it adds more variants as the last farewell of an album that has few, but exact elements to make a perfect Black Metal opus.

Kampfar is more than ever in the forefront of the movement they helped to create and shape and respect is the least you can offer to this Norwegian Institute of Art!

(Daniel Death)

Iskald – Nedom Org Nord (Indie Recordings)

The ice-cold winds from the far North are back!



If you don’t know, Iskald has been a staple in the black metal scene from Norway, and one may say: So what?

Well this is the “new” scene of Norway. Particularly I hate everything that is “new” but the long running “second wave” of Black Metal has evolved into something else, (please let’s not talk about a silly third wave or post-black metal, this is no evolution)… Bands like Borknagar, Enslaved, Demonaz, Isahn and ICS Vortex are the best example on how this sound is being made nowadays, often by veterans… well, Iskald came to scene in 2000’s and they’re acting like veterans let me say!

The grandiosity of this album and awesomeness of it push the border of the style where soundscapes bring the gelid scenery into the forefront, even acting inside of what some shall call “melodic black metal”.

A Fading Horizon is a first pure-blood metal attack with its 7 minutes showcasing a fast and snail paced music alike and riffs that send shivers down my spine.

But the song that got my ears was Underwordly with its melodic approach, but it’s not a stupid tentative to ape other famous names of the style: in the case of Iskald everything sound very natural, you know somewhat that is in their blood to develop an ice-cold sound like that: lengthy, yet inspired like a Saga!

Iskald, the song, is still more Norse! It’s a song that HAS to be appreciated several times as in the old days of progressive rock. I’m not saying they are progressive-whatnot, they just do their stuff, a very organic sound without gimmicks, honest and in-your-face attack sometimes sounding like the old and cold Limbonic Art.

Another great track (in all senses) is the 10-minute closer Nedom Org Nord sung in their mother tongue is a crossover of old and new atmospheres that pervades Norway nowadays. My heart seriously skips a beat when I hear the ultra inspired riffs of Simon Larsen (who also plays bass and does the vocals in the opus along with the drummer Aage Krekling – actually they are a due in studio). Some syncopated drumming as a military call from the abyss brings all changes of phrases and nuances of the album into one song. That doesn’t mean the album is not perfect in its entirety.

Actually Iskald is a band that married the old and new scenes into only 6 long songs and it’s highly recommended for those who still defend the faith of Norwegian Black Metal!

 (Daniel Death)




Dark Souls United is a Blog that comes from the ashes of Daniel Death’s experiences with reviews in the past. They reached some kind of success but the time has come to move onto something else. This is another level of self-made experience to bring you quality Interviews and Reviews from the Metal, Rock n Roll and satellite styles worldwide. It doesn’t care your ideology, as long as it is as dark as hell itself. If you’re a PR, a band, a project, contact and send me your stuff. I’ll do my best to get it published and sent to relevant channels. To contact please send your request to