Tag Archives: Inquisition

Abbath – Abbath


You know Abbath means business when he uses his stage-name directly as the name of his new band as well as the title of their new album and to use his fierce corpse-paint ridden face adorn the album cover. And, hell, he sure does not waste any time to reminding the old listeners of Immortal and new unsuspecting listeners what he’s capable of musically.

From the first track of “To War!”, one is immediately transported back to realms of cold relentless beautiful brutality. The momentum does not let up, with “Winterbane”, “Oceans of Wounds”, “Count The Dead” and “Root of The Mountain” fast becoming my personal favourites. Especially with “Winterbane”, I found myself headbanging on the first listen – it really reminded me of how I felt listening to Immortal’s “At the Heart of Winter”, which is highly pleasant. Scattered throughout the album are sweet and succinct reminders of the sweeping soundscape found in Immortal’s “Damned in Black” and “Sons of Northern Darkness”, even bits of I’s 2006 endeavour. This is extremely pleasing for me since I’m a huge Immortal listener.

When Immortal was no longer, I admit getting negatively affected. When I listened to this massive album, I admit that Immortal has only changed its incarnation – to Abbath. Hails to Abbath!


INQUISITION: Artwork For “Magnificent Glorification of Lucifer” Reissue Unveiled

INQUISITION have unveiled the new artwork for the reissue of their 2004 classic ‘Magnificent Glorification of Lucifer’, which has been scheduled for release on the 23rd of March 2015 (one day later in North America) and is already available for pre-order in various formats at the Season of Mist shop. The new cover can be viewed below.

he reissue ‘Magnificent Glorification of Lucifer’ comes with two rare bonus tracks: “Within The Red Hellfire We Burn” and “May The Rays Of A Fullmoon Shine Upon Us”.

Season of Mist previously announced the reissues of the band’s first five albums with a series of new and connected covers, created by renowned artist Paolo Girardi, who already created the cover art for INQUISITION‘s latest album ‘Obscure Verses For The Multiverse’ (2013). The original artwork will be each time included as well. Girardi’s covers are part of an overarching concept and should be seen in conjunction. More details about his mysterious work will be revealed with the final reissue.

‘Into the Infernal Regions of the Ancient Cult’ was released on January 26th (in Europe only) and the reissue of ‘Invoking the Majestic Throne of Satan’ has been scheduled for the 23rd of February (one day later in the US). Both albums are available in various formats including strictly limited collectors’ vinyl versions in leather sleeves through the Season of Mist shop.

INQUISITION - Magnificent Glorification of Lucifer

INQUISITION: Cover Artwork For “Invoking The Majestic Throne Of Satan” Re-issue Unveiled

INQUISITION are now revealing the artwork of the reissue of their highly praised sophomore full-length ‘Invoking the Majestic Throne of Satan’, which has been scheduled for release on February 23rd, 2015 (one day later in North America). This is part of Season of Mist exclusively releasing the official catalogue of the US black metal prodigies.

‘Invoking the Majestic Throne of Satan’ will come as all reissues will with new artwork by the renowned artist Paolo Girardi, who already created the cover art for INQUISITION‘s latest album ‘Obscure Verses For The Multiverse’ (2013). The original artwork will be included as well with each re-release. Girardi’s covers are part of an overarching concept and should be seen in conjunction. More details about his mysterious work will be revealed with the final re-release. His cover for ‘Invoking the Majestic Throne of Satan’ can be viewed below.


1. Embraced by the Unholy Powers of Death and Destruction
2. Enshrouded by Cryptic Temples of the Cult
3. Kill with Hate
4. Rituals of Human Sacrifice for Lord Baal
5. Invoking the Majestic Throne of Satan
6. Hail the King of All Heathens
7. The Realm of Shadows Shall Forever Reign
8. For Lucifer My Blood
9. Imperial Hymn for Our Master Satan

Inquisition - Invoking the Majestic Throne of Satan

The reissue of INQUISITION’s debut album ‘Into The Infernal Regions Of The Ancient Cult’, which was originally released in 1998 will be available on January 26th, 2015 and can now be pre-ordered from the Season of Mist shop. The album will come in various formats including strictly limited leather sleeves!

Inquisition - Into The Infernal Regions Of The Ancient Cult

Album Review: Draconis Infernum – The Sacrilegious Eradication

Draconis Infernum - The Sacrilegious Eradication

Draconis Infernum [Singapore]
The Sacrilegious Eradication
Full Length
Ketzer Records
Black Metal

The release of The Sacrilegious Eradication has placed Draconis Infernum at the forefront of the vanguard in the regional South-East Asian Black Metal fraternity. With this, their third release, the band’s conceptual vision and musical identity are both defined and proclaimed with uncompromising clarity. With two critically-acclaimed predecessors (Death in My Veins and Rites of Desecration and Demise), The Sacrilegious Eradication lends form and stability to a nascent but undeniably promising oeuvre. The technical and formal experimentation in both previous releases has matured into a structured synthesis that marries several established intra-genre styles of execution. The resultant product does not resemble a simple pastiche of stylistic variegation so much as a well-developed alloy that pays homage to, but is independent of, its constituents.

The stylistic range that The Sacrilegious Eradication manages to cover is particularly remarkable, and is arguably the record’s defining feature. Bestial and Orthodox Black Metal in the vein of Impiety, Besatt and Diocletian form one pole of the spectrum which Draconis’ brand spans; the other being heavy-melodic variants of which Inquisition’s Invoking the Majestic Throne of Satan and Taake’s pseudo-classical Over Bjoergvin Graater Himmerik are prime examples. Draconis’ overall sound inhabits the space between these two stylistic tethers, with each track situated at a particular point on the trajectory. With this constant interpolation between styles, Draconis Infernum succeeds in breaking the one-dimensional Orthodox monotony that has become characteristic of Black Metal from the region. Yet the individual tracks do not countermand each other, but yield a discerning, well-developed overall aural identity that the band can call its own.

Key to this success, and deserving of particular praise, is the strong writing of both guitar and basslines. An example of the stylistic interpolation that is employed in the writing is heard on the third track off the release, Anathema, which features an initially Orthodox bassline that burgeons into a fully-fledged melody in counterpoint to the guitar passages which are similarly layered in configuration. This shift provides the track with the dimensionality that is so often lacking in regional bands. The guitarwork throughout the record is especially well-executed and complements the phenomenal writing. Trampling the Divine features guitarwork of exceptional quality, with pronounced lead tangents bringing the strength of the writing to the fore. Also instrumental to the success of the record is its formidable drumming. The rhythmic complexity on The Sacrilegious Eradication extends far beyond the circumscription of blastbeat-laden monotony, and together with the complex basslines, provides the guitars with a fitting rhythmic canvas.

Lyrically, The Sacrilegious Eradication is relatively unsubstantial. A limited thematic locus oscillates between ritual and violence, remaining firmly entrenched in Orthodox territory. That being said, the lyrics do still provide navigable scaffolding for the listener to attempt entry into the ideological substrate of the work. The release also features two covers: Impiety’s Anal Madonna and Urgehal’s We Are Unholy. It should be noted that the rigidity of covering two well-known pieces, while detracting from the overall direction of the release, goes some way toward paying homage to the band’s heritage and diverse constellation of influences. The choice of covers proclaim Draconis’ bond to local and regional fraternities, while also managing to lift the band from regional-centricity.

The Dying Light is easily the best-written track on the release, and in the opinion of this reviewer, features the most nuanced and well-articulated guitarlines on any regional release to date. Not much can be said about the track itself that has not already been said about the record in its entirety, save for the fact that it is the most complete expression of the musical and conceptual motives underpinning this project. It must be said that The Sacrilegious Eradication is not merely a regional success or an opus for the regional fraternity, but a victory of note for the genre.

[xrr rating=4.5/5]

Draconis Infernum on the internet:
Ketzer Records

Best of 2013 (so far…)

It’s the time of the year again where we compile some of the albums that have grabbed our attention. We have seen and heard many good releases from bands young and old over the past year, and below is a non-exhaustive list of great records put out in the year 2013.

In no particular order:

Volbeat – Outlaw Gentlemen & Shady Ladies

Volbeat - Outlaw Gnetlemen & Shady Ladies

With their performance at Wacken, Volbeat has managed to keep me enchanted with the Elvis-like vocals of Michael Poulson, and the rock and roll vibe that the band has gotten going. Outlaw Gentlemen & Shady Ladies sees the band continuing in the same direction as before, only much more catchy with a more polished sound, making this album my personal favourite so far. Full review here

Black Sabbath – 13

Black Sabbath - 13

Black Sabbath‘s comeback album 13 has received mixed reviews, but the band’s ability to continue writing songs that remind fans of their classic days is still evident. There are numerous instances throughout the album where one is often reminded of Black SabbathParanoid and Master of Reality. Full review here

Ghost – Infetsissumam

Ghost - InfestissumamThis one took a bit getting used to. After the extremely hyped Opus Eponymous, expectations were high for Ghost, and honestly first listens were rather disappointing. Numerous spins later, Infestissumam sounds like a nice, coherent album rather than simply a compilation of good songs. Full review here

Orchid – Mouth of Madness

Orchid - The Mouths of Madness

Released shortly before Black Sabbath‘s 13Orchid‘s Mouth of Madness was a relief for fans who were eagerly waiting for the aforementioned. The band brings us back to the early days of rock and metal, with the psychedelic vibe and the bluesy sound being rather reminiscent of albums like Master of Reality. Full review here

Enforcer – Death by Fire

Enforcer - Death by Fire

Diamonds made Enforcer one of my favourite younger old school heavy metal bands, and this year’s Death by Fire solidifies their standing in my playlist. With Olof taking over guitar duties as well, the streamlined lineup proves to be faster and even more catchier on this album. Full review here

Impiety – The Impious Crusade

Impiety - The Impious Crusade

With a new visual style, Impiety continues their crusade against religion and humanity with their new EP, The Impious Crusade. Unlike the recent efforts of the band, The Impious Crusade will appeal to fans old and new, with the band fusing older elements of black/thrash along with the furious death metal of their later recordings. Full review here

Inquisition – Obscure Verses of the Multiverse

Inquisition - Obscure Verses for the Multiverse

On top of their usual ritualistic brand of black metal, Inquisition with their latest album Obscure Verses of the Multiverse brings in a more diverse range of elements, with Dagon experimenting with his guitar playing and Incubus sounding more ruthless than ever behind his kit. Full review here

Simon Yong – Alien Stole My Whiskey

Simon Yong - Alien Stole My WhiskeySimon Yong‘s debut full length instrumental effort brings in influences from some of my favourite solo guitarists, such as the technicality of Paul Gilbert, to the melody and emotions of Andy Timmons and the weirdness of Joe Satriani and Steve Vai. The progressive style that he plays in even reminds one of Dream Theater and Liquid Tension Experiment, and is sure to please fans of John Petrucci as well, as if the already diverse range of influences weren’t enough to get one interested. Full review here

Avulsed – Ritual Zombi

Avulsed - Ritual Zombi

4 years in the making, Dave Rotten and co. return with another brand new Avulsed albumin the form of Ritual Zombi. Music-wise, the band sounds like Rottrevore and Putrevore, as brutal and abrasive as all other Dave Rotten projects are, and lyrics-wise the band sticks to the zombie theme, even covering Death‘s Zombie Ritual, and certainly doing the track much justice. Full review here

Coffins – The Fleshland

Coffins - The Fleshlend

Coffins stands as one of my favourite death/doom metal bands, and on The Fleshland the band continues to prove themselves as one of the forces to be reckoned with. Fusing the grooviness of stoner/doom metal and the crushing intensity of death metal, the band easily starts a moshpit or gets one to headbang and lose oneself in The Fleshland.

Nocturnal Graves – …From the Bloodline of Cain

Nocturnal Graves - From the Bloodline of Cain

The Aussie outfit’s first release after the end of their hiatus, …From the Bloodline of Cain shows that Nocturnal Graves hasn’t lost any of their intensity despite the break. …From the Bloodline of Cain is even more intense than their previous release, with the bestial touch of bands like Blasphemophagher added into the mix to make things even more interesting than before. Full review here

Purtenance – Awaken from Slumber

Purtenance - Awaken From Slumber

Another contributor to this year’s Finnish death metal revival is Purtenance‘s Awaken from Slumber. Not losing any of their impact since their debut release in 1992, Awaken from Slumber sees the band including some of the grinding style of Bolt Thrower into the mix as well to make things even more crushing. Full review here

Cult of Fire – मृत्युकावीभत्सनृत्य

Cult of Fire - मृत्यु का तापसी अनुध्यानMind-blowing vedic metal, from where one would least expect to be from. Cult of Fire hails from Czech Republic, and their latest effort would keep fans of bands such as Rudra or Purvaja enchanted. Full review here

Grave Miasma – Odori Sepulcrorum

Grave Miasma - Odori Sepulcrorum

Grave Miasma‘s previous releases have kept me awaiting eagerly for even more new material, and this year sees the band releasing their debut album. Odori Sepulcrorum is an album that would definitely please fans of bands such as VasaelethUndergang or Incantation.

Beyond – Fatal Power of Death

Beyond - Fatal Power of Death

Germany proves what they are capable of again with Beyond‘s debut full length, Fatal Power of Death. Fusing elements of Finnish and Swedish death metal with a tinge of black metal, Fatal Power of Death is one album that is a classic in the making. Full review here

Tyrants Blood – Into the Kingdom of Graves

Tyrants Blood - Into The Kingdom Of Graves

Featuring ex-Blasphemy guitarist Marco, Tyrants Blood this year releases their third full length album, and perhaps their most diverse one to date. From the most bestial passages to some of soothing, melodic moments, Tyrants Blood manages to display their versatility and ability to continuously capture the listener’s attention. Full review here

Continue reading

Album Review: Inquisition – Obscure Verses for the Multiverse

Inquisition - Obscure Verses For The Multiverse

Inquisition [Colombia]
Obscure Verses for the Multiverse
Full Length
Season of Mist
Black Metal

Call me a fanboy, but right after Inquisition‘s 2011 release Ominous Doctrines of the Perpetual Mystical Macrocosm, I have been eagerly awaiting for more new material from the band, especially with the announcement of their signing to Season of Mist, quite a huge jump from their previous label, No Colours Records. This year the band finally satisfies this ravenous hunger with their brand new release, their sixth full length effort Obscure Verses for the Multiverse. The short preview in the form of Darkness Flows toward Unseen Horizons got me even more anxious in anticipating the release of the album.

The first riffs of Dagon that greet the listener on Force of the Floating Tomb immediately reeks of classic Inquisition, along with the energetic, relentless blasting of Incubus one is immediately set off into a headbanging frenzy. Everything on Obscure Verses for the Multiverse is at once so familiar, yet so fresh to fans of Inquisition and newcomers to the band alike. The style in which Dagon plays in, from the choice of chord progression to the way he bends his strings and how the dissonant chords are cleverly positioned on the tracks, and even in how the songs progress from a fast, energetic section to sudden, slow and ritualistic moments like on Spiritual Plasma Evocation all ensure that hardcore fans of the band are kept satisfied. Even the slight, rather folkish elements that the band has incorporated in their songwriting throughout their history is still present, reinforcing the grimness and coldness in the music. Of course, Dagon’s Abbath-styled croaks are stronger than ever on the album, sounding like a more bestial and brutal Immortal.

At the same time, there seems to be something rather different this time round, and I’m not exactly sure what it is. For one, Incubus’ drumming on this record seems to be much more energetic and brutal, with blasting being extremely abundant throughout the album (not something that I would complain about, for sure), even bringing in a slight death metal edge. Along with this energy, the band also indulges in some rather melodic moments, especially in the increased usage of melodic leads on the album, like on Darkness Flows towards Unseen Horizons. Dagon also experiments more with various guitar playing techniques, such as the usage of pinch and artificial harmonics on songs like Obscure Verses for the Multiverse and Infinite Interstellar Genocide, providing a rather different flavour to the usual Inquisition fare.

With the bar set higher with each new release, Inquisition once again surprises fans with yet another outstanding release. Obscure Verses for the Multiverse will certainly be one of my favourites, if not the favourite, record of the year.

Inquisition on the internet:
Season of Mist

Heavy Metal Tribune Issue 4 (November 2012)

OUT NOW: The fourth (November 2012) issue of Heavy Metal Tribune!

This month we talk to Dagon, mastermind behind the cult black metal band Inquisition to learn more about the history of the ancient cult, and their evolution over the years. Rob Moschetti then tells us more about the project featuring Exodus‘ Rob Dukes, Generation Kill. Polish death metal supergroup Masachist graces our Sounds of the Underground column this month, and Singapore thrashers Xanadoo tells us more about the shit that goes on behind the scenes and in their heads.

And as usual, 6 records that will leave your neck totally destroyed.

Read the online edition of Heavy Metal Tribune issue 4 here:

Outlets for Singaporeans to grab your physical copy to be announced soon. Alternatively, contact us for a copy to be sent right to your mailbox (postage and handling fee of 50 cents apply).

Foreign friends of Heavy Metal Tribune can also get your copy (and our back issues) from our online store at this location.

Heavy Metal Tribune is a completely free magazine. All prices listed here and on our online store are purely for postage costs.

Album Review: Inquisition – Ominous Doctrines of the Perpetual Mystical Macrocosm

Inquisition [USA]
Ominous Doctrines of the Perpetual Mystical Macrocosm
Full Length
Black Metal

After an extremely long wait and numerous delays, Inquisition finally released the follow up to 2007’s Nefarious Dismal Orations, Ominous Doctrines of the Perpetual Mystical Macrocosm, and to my delight they do not disappoint with this record with their music and the bombastic album and song titles.

From the opening track, Dagon’s trademark croaking style of vocals is instantly recognisable, blending into their unique brand of black metal (mostly because of Dagon’s different approach to black metal vocals). If you have followed Inquisition throughout the span of their career, Ominous Doctrines is a continuation of the foundation that they have set up in previous albums, not dissimilar from Nefarious Dismal Orations and before. However, compared to previous works of Inquisition, it feels like the emphasis of the guitars have increased, through the increased numbers of more complex guitar solos on the songs and also the increased range of usage of the guitars, such as the acoustic folkish guitar at the background on the first song Astral Path to Supreme Majesties. While it may be nothing new to Inquisition’s music, the emphasis placed on it seems to have increased.

Inquisition slows down slightly with the track Desolate Funeral Chant, but this does not mean that the song is not as good as other songs. Dagon’s vocals on this track are so tortured that listening to it causes the skin to crawl, especially on the parts of the songs where he chants out or drawls out the lyrics, giving off a suffocating and ominous atmosphere, befitting of the title of the track. While the song is more than 7 minutes long with little lyrics, it is well thought out and certainly proves the songwriting abilities of the band.

The spoken vocal parts present on songs such as the intro of Command of the Dark Crown and on Crepuscular Battle Hymn adds to the overall atmosphere of the songs, with the spoken parts for the latter song crackling as if played through a radio.

There are, however, times when it feels as if Inquisition has run out of ideas, with riffs that are reminiscent of songs that they have already written before, such as on Crepuscular Battle Hymn, where the main riff sounds almost similar to that of Through the Infinite Sphere Our Majesty Shall Rise from Nefarious Dismal Orations.

The production on this album shows a marked difference from the previous albums, with the sound of all instruments more crisp and Dagon’s vocals given a higher mix compared to previous works. Of course, the entire experience is completed by the magickal artwork that is included on the album.

Inquisition is one of those bands that are a hit-or-miss with fans of black metal, mainly because of the mismatch between Dagon’s croaked vocals and the catchy black metal riffing and music unleashed by both himself and Incubus. But listening to this album and their entire catalogue, it makes me regret not catching them last year at Thailand’s God Beheading Live Ritual, perhaps the only chance that they will ever come to this region.

Inquisition on the internet:
No Colours Records

©2011 Heavy Metal Tribune | Hong Rui