Krisiun is one of the heaviest bands to emerge from Brazil. They debuted in 1995 with their tremendously abrasive death metal debut entitled Black Force Domain, and have since not stopped devastating the world with their uniquely heavy brand of death metal. From one of their later albums called Works of Carnage is the track “Murderer“. I did not even know there was a Murderer Music Video…
I was combing through YouTube looking for videos of various bands to share and I ended up stumbling upon a video for the song “Murderer” off the album Works of Carnage by Krisiun, I have never seen this one before so here it is for everyone to check out. Comment below with some of your favorite Krisiun songs and videos.
Angelcorpse has always had a hold within the metal community. There are many splinters of Angelcorpse that are actively creating new, intense, music for our ears to consume including Perdition Temple, Blasphemic Cruelty, Abhomine, and of course.. KERASPHORUS.
Kerasphorus’s two existing EPs ( Cloven Hoofs at the Holocaust of Dawn and Necronaut) have been compiled into one concise take down. This is something you need to get your grubby hands on. The intensity of Kerasphorus is an unholy combination of occultism and brutality.
In 2008, Pete Helmkamp and Gene Palubicki agreed to pursue their musical endeavors and decided to put Angelcorpse on hiatus. KERASPHORUS was the result for Pete Helmkamp. Concept-wise, KERASPHORUS was composed by P.Helmkamp (bass/vocals) and B.Wolaniuk (guitars) with the intention of creating a sound that allowed all the musical elements to speak with their own voices. KERASPHORUS utilized disharmonies and undertones to further enhance its obscure nature.
In 2009, three days of rehearsal and recording with J.Read (session drums) were completed, resulting in the Cloven Hooves at the Holocaust Dawn MCD. Two years later, two days of rehearsal and recording resulted in the Necronaut 12LP. Both releases received acclaim from fans and press alike. But at the time of the recordings, J.Read and B.Wolaniuk rejected the notion of playing live with KERASPHORUS.
In 2016, after much consideration and conversation with Gene Palubicki and Ronnie Parmer, it was decided to make KERASPHORUS a facet of Angelcorpse. Angelcorpse has always been described as a black/death band; KERASPHORUS is the black-cloaked side of Angelcorpse. G. Palubicki and R. Parmer are now permanent members of KERASPHORUS.
HELLS HEADBANGERS and OSMOSE PRODUCTIONS will be re-releasing the two original recordings together on a self-titled CD/LP in September 2016, with new artwork and layout.
Fusing elements of folk or pagan metal to any element of extreme metal is not an easy task. The Greek folk/black metal veterans Kawir are back with Father Sun Mother Moon. Kawir makes the fusion look like an easy task because this album flows very fluently like the genres are meant to be intertwined.
Kawir has existed since the early 90’s yet this is the first album I have ever heard by them. The first thing that popped in my mind to describe them is to say they sound like what Skyclad would theoretically sound like if they went on to become a black metal band. The most peculiar thing about Kawir is, yet you would think it would be more common place, all of their albums are untranslated from Greek and Father Sun Mother Moon is no exception.
The presentation of Father Sun Mother Moon is pretty enthralling. The black metal and pagan elements flow together seamlessly. Where most bands would use some sort of synth or keyboards to create an evil atmosphere, Kawir uses wind instruments to fill the background which creates a resonating feeling that is uplifting. Do not misunderstand my statement this is not some unblack or white metal, this is pagan black metal. There are many instances where the black metal element is more profound and traditional to the term black metal. The backing black metal blasts are a key example as to how this is still a true black metal album as well as a pagan metal album. The vocals are also distinctly black metal, until you get to the group vocal parts which feel they have a folk atmosphere to them.
Kawir is an acquired taste, much like the fanbase of Korpiklaani and Skyclad meets the second wave of black metal. Don’t try to figure out what it would sound like, just check em out.
I feel that the biggest problem metal bands face is directly forcing their energy to strictly fit a genre. They alienate their creativity to it’s full potential by limiting themselves to the politics of one genre, sound, scene, or ideology. Rarely a band like Khthoniik Cerviiks arrives and shows everyone how to think outside the lines of the set rules so to speak that genres bind music to. SeroLogiikal Scars is a daring album that is bold, sophisticated, entrancing, and melodic; still yet it is raw, aggressive, dark, and heavy.
Germany’s Khthoniik Cerviiks has taken the rules of blackened death metal and has pissed all over them. That piss has fertilized a seed that has grown into an exciting album that melts barriers in a world of a hive-mind filled with creative blockades. Even the artwork is colorful, which is unseen in blackened death metal as if it is an unwritten no-no for the genre. There is so much originality and personality to be heard in SeroLogiikal Scars. The previous mold that is used to structure a blackened death metal album has just melted to a new form. Khthoniik Cerviiks has set a new standard of which all subsequent acts must adhere to. Even Khthoniik Cerviiks now has a standard a follow up album must break.
I cannot criticize a single thing about this album. I feel that there is a theme of some sort that this album follows. Every track title has a sub-name i.e. “Schizophradio (KC Exhalement 2.0: Technocide Inertiia)” almost as if the theme is to pay homage to Voivod while remaining 100% autonomous. I feel that if this is the theme, they definitely succeeded. Though I feel an influence I do not hear resemblance.
If you are in search of a blackened death metal album that dares to be different than the usual generic sheep of an extreme metal release, SeroLogiikal Scars (Vertex of Dementiia) is the first album you need to listen to listen to on your journey.
It is no secret that Brazil is home to some of the most influential and extreme metal bands ever. But rarely do people speak of one of the most violent and abrasive albums released in the mid-nineties. That album of course being Krisiun’sBlack Force Domain.It is a shame that this album goes unnoticed to many. This album’s blasphemous and abrasive nature makes this a diamond in the rough so to speak. Metalheads should pay more attention to this release. This album is a relentless beatdown which features many excellent buzzsaw guitar solos and guttural vocals. There are not many albums of this nature that actually have a production value which is raw but does not take away from the distinguished sound of the bands unison. Despite the raw recording production the music actually sounds very crisp.
There’s just something very unique about Krisiun’s Black Force Domain that demands you to keep the album playing in its entirety. It is the equivalent of watching a car crash where you know someone is going to die, you just can not take your eyes off of it. So it must be the violent nature of this album that makes you listen to it. I’m not saying that the lyrics are violent it’s just that the music itself sounds like warfare of a blasphemous origin.
This is an album that started a sound trend in extreme music. After this album’s release many bands tried to emulate the sound that Krisiun created on Black Force Domain but, many sounded very sloppy and immature which is not what this album sounds like.
If you are looking for an album that perpetually personifies the sound of extreme metal in the mid-nineties, this is the album to listen to. This is an instant classic for underground metal.