Meslamtaea – Weemoedsklanken

Meslamtaea – Weemoedsklanken
Babylon Doom Cult Records
Release Date: 25/02/2022

Running Time: 40:57
Review by Wallace Magri

“Weemoedsklanken”, the fourth release from the Dutch based Black Metal band Meslamtaea, is very influenced by the Norwegian Second Wave of Black Metal, however exaggerating in brighter and soft solutions among the songs’ parts, taking advantage of avant-garde elements to the mixture, through fungelhorn, vocoder and saxophone on some musical passages, as heard on ‘Moegestreden’, which imposes a jazzy approach to the song. I must confess that I am not a fan of the inclusion of wind instruments on Heavy Metal songs, but I think I got the band’s point here, considering the freedom to flirt with unusual arrangements in the whole album concept.

Don’t get me wrong, I always believed that Black Metal is one of the Metal styles that are more accessible to have a dialog with other musical genres – Industrial music layers and textures, Symphonic elements, sometimes distilling Doom and Death Metal patterns in the song’s composition, etc. On “Weemoedsklanken” it felt to me that this kind of stylistic transgression brought an epic and Progressive flow to most of the songs. There are always unexpected conduction brakes, and sometimes there are a healthy transition between Black Metal and some Doom Metal to give to the song a dragged musical conduction. Sometimes it works, sometimes, it does not.

In the song ‘Verstoten’, the vocals are declaimed in a dismal vibe and then you hear the intervention of traditional Heavy Metal guitar riffs. Then we are relapsing in some atmospheric synth arias with lots of rhythm brakes, invoking then, the Second Wave of Black Metal at the end of the song. I think the band could have avoided the insertion of too many dissonant musical arrangements here, however. 

Meslamtaea have definitely carried forward a peculiar stylistic option on “Weemoedsklanken”, which sounded to me like a band trying to find his own musical identity but, maybe, going way too far on the experimental direction, on a lot of occasions. Aligned to that, the contemporary production technique turned out everything way too clean to my ears, considering what I look for when I put on a Black Metal album. Maybe a dirtier mix and production could have given the songs a proper Black Metal ambience.

That said, if you are into making a little research about bands who are willing to break up the boundaries of the orthodox Black Metal, on “Weemoedsklanken”, you can get in touch with Meslamtaea’s proposal to bring a peculiar progressive jazzy vibe to the style. If you are up to that kind of musical incursion, check it out and just let me know your impression on that. 

01. Weemoed
02. Rad des Tijds
03. Grauwe Muren
04. Schone Lei
05. Moegestreden
06. Nevelsluiers
07. Verstoten
08. Uiteengevallen

 Floris – All Instruments, Vocals 
Izzy – Flugelhorn 
Ward – Vocals 

Guest contributions: 
Otto Kokke (Dead Neanderthals) – Saxophone 
Kevin Kentie (Ibex Angel Order) – Vocals 
Fraukje Van Burg (Doodswens) – Spoken Words


Disclaimer: This review is solely the property of Wallace Magri and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Helleruin/ De Gevreesde Ziekte – Invincible / Ω

Helleruin/ De Gevreesde Ziekte – Invincible / Ω
Babylon Doom Cult Records
Release Date: 07/01/2022

Running Time: 45:00
Review by Wallace Magri

Hey, you all! It’s been a while since I wrote my last review for Ever Metal. No big deal, I just couldn’t find the right time and vibe to sit my ass down, to listen to an album and talk about my impressions on that. The funny thing is, when people ask me what I am, I get a little confused answering that question: because I can’t define myself by telling you about what I do for a living (I am a lawyer and I teach philosophy of law, when I get paid for it). What I do know is that I write a lot, most of the time. So, basically, I guess I am a writer. 

The point here is: when I am not able to write, I know that something is going wrong in my mind. Because, If I define myself as a writer, I must write the goddamn texts, right? That is why, in order to reactivate my writing ability, instead of starting over posting on FaceBook, complaining about this and that on my wall, I decided to fight against my procrastinating tendencies by finding inspiration on what brings colour to my life: listening to Heavy Metal music – Black Metal, actually… not really colourful, I know… but black, white and grey seem like a full rainbow, in my blue sky world, at least.

While I had the writer’s block, I was listening to, from time to time, the split album from Helleruin and De Gevreesde Ziekte, “Invincible/ Ω”: 3 songs from each band, inspired by lots of second wave of Black Metal, which sounded heavy, fast and dirty enough for my old school metalhead ears. 

Helleruin is the typical one-man-band project experience – performed by Carchost, who is in charge of everything here: composing, arrangements and he also plays all the instruments – that is what I call a man who is taking on enough for himself! It seems like closing himself into a shell makes things easier for the musician to give birth to his own ideas, with nobody bothering him with details that would perhaps make the songs richer and more accessible. And, at the same time, if you are the only one who is able to understand your own composing process, it is possible that fewer people would get connected to the songs. 

Possibly, Carchost doesn’t mind about any of the arguments above and neither do I, because I loved his 3 songs, ‘Invincible’, ‘Mijn ziel aan de duivel’ and ‘We Rush Ahead’. That is it, my friends: raw producion, rough mixing, painful blast beats, tremolo-lead guitar fingering riffs and somebody screaming throughout this wall of noisy Black Metal atmosphere. There are some calm rhythm sections here and there, which helps to increase the sense of heaviness of the songs as a whole. Pretty simple, it is true, and that can’t get any better than this, I tell you! 

The 3 songs delivered by Eindhoven based De Gevreesde Ziekte are also related to the second wave of Black Metal, but with a more post-Black Metal approach on the composition process. Just listen to the 8 minute self-titled ‘De Gevreesde Ziekte’ and you are going to understand exactly what I mean. 

Fun fact: on the contrast to Helleruin, De Gevreesde Ziekte have 5 musicians giving life to the band, but they are named only by a single letter each, instead of using their actual names: L, M, T, R, K … 

Yeah, definitely “Invincible/ Ω” is a split album that either is going to blow your mind away, or make you realise that something went wrong in the history of civilization… So, if you are into bizarre Black Metal performed by anonymous / nameless individuals, just go for it and rejoice yourself with mayhem and emptiness’ momentum consuming your life!

01. Helleruin – Invincible
02. Helleruin – Mijn Ziel Aan De Duivel
03. Helleruin – We Rush Ahead
04. De Gevreesde Ziekte – Zwartgallig
05. De Gevreesde Ziekte – Zelfhaat
06. De Gevreesde Ziekte – De Gevreesde Ziekte
Carchost – All instruments & vocals
S. – Photography
Carchost – Recording, mixing & mastering

De Gevreesde Ziekte:
 L – Guitar
M – Guitar
T – Vocals
R – Bass
K – Drums


Disclaimer: This review is solely the property of Wallace Magri and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

LHAÄD – Below

Below Album Cover Art

LHAÄD – Below
Babylon Doom Cult Records / Extraconscious Records / Fólkvangr Records
Release Date: 10/12/2021

Running Time: 40:14
Review by Wallace Magri

A putrid and uncomfortable piece of art made of Black Metal, enriched with avant garde touches that, somehow, homologate to Traditional Heavy Metal basic structures. That is a good start to try and describe what is heard on “Below”, the first album from the Belgium based one-man-band, named Lhaäd by his creator, Lykormas.  

To make things easier for the reviewer, there are only Roman numerals distinguishing one song from another: ‘Below I’ , ‘Below II’ (… until the song #VI), while musical progressions plunge relentlessly all the way to the slime pit’s bottom, during the 40 minute duration of the album.  

This criteria of naming songs helps us to focus purely on the musical element, instead of distracting the listener with extensive song titles, such as… “Blessing Upon the Throne of Tyrany”… oops, did I mentioned a Dimmu Borgir song? Dimmu Borgir probably aren’t the best reference for aiding understanding of what is going on on “Below”. But, let’s take the above-mentioned famous Norwegian Black Metal band as a parameter to set Lhaäd’s territorial demarcations for the hordes: what is heard on Lykoma’s solo project is way more Extreme than any Dimmu songs that I have ever heard. And, besides that, on Lhaäd’s sludgy fields, the symphonic elements aren’t required all the time, to maintain the dark ambience. 

Lhaäd leans towards harsh Industrial programming, leading the songs to an almost Progressive/Experimental form of art – or Avant Garde/ Atmospheric Black Metal, as some use to name that kind of musical style, which I like a lot, as a matter of fact! Just take a close listen to ‘Below III, if you want to really understand what I am trying to express through my words.

“Below” is basically a tremolo riff conducted Black Metal album filled with musical passages at the speed of light, where immoderate blast beats meet chaotic, Electro-Industrial layers, and vocals screams and roars are wrapped in ‘hadopelagic’* ambience. 

*(Relating to or inhabiting the layer of the water column of the open ocean that lies below the abyssopelagic layer at depths greater than about 6,000 meters (19,680 feet) – taken from

On ‘Below V’ the roars are mixed with a liquid texture, as if the artist was increasingly sunk into the musical immersion that gets deeper with each new track.  And then, the album ends in a suffocating and austere conduction towards complete drowning into the deep ocean, on ‘Below VI’.

It is impossible not to love such an unpalatable piece of music that allows Black Metal to surpass its boundaries, combining it with ambiences and musical textures that are unusual, chaotic and unexpectedly beautiful somehow? 

The one thing that I know is: it is going to be really hard for me to let “Bellow” go from my day-to-day Spotify library!


01. Below I
02. Below II
03. Below III
04. Below IV
05. Below V
06. Below VI

Written, performed, recorded & mixed by Lykormas 


Disclaimer: This review is solely the property of Wallce Magri and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.