. Satanath Records

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Skullthrone are a band from Columbia that plays a blackened form of death metal and this is a review of their 2015 album "Biomechanical Messiah" which was released a s a joint efforet between Satanath Records and Morbid Skull Records.

A very fast and brutal blackened death metal sound starts off the album along with a great amount of blast beats as well as a good balance between deep growls and high pitched screams and the riffs also use a great amount of morbid sounding melodies and the songs also bring in a great mixture of slow, mid paced and fast parts.

When solos and leads are utilized they are done in more of a melodic fashion and all of the musical instruments have a very powerful sound to them and one track brings in a brief use of spoken word samples and the album also manages to remain very heavy and brutal from beginning to ending of the recording.

Skullthrone plays a style of blackened death metal that is very brutal and blasphemous as well as always remaining heavy, the production sounds very professional while the lyrics cover Satanism and War themes.

In my opinion Skullthrone are a very great sounding blackened death metal band and if you are a fan of this musical genre, you should check out this album. RECOMMENDED TRACKS INCLUDE "Imperial Satanic Artillery" "Hell's Oblivion" "Antichristian Revelation" and "Empire Of the Skull".



Anti-Christian and anti-religious death and black metal bands have always fascinated me with their personalized hateful lyrics against religion in general, but Skullthrone tear Christianity and the Catholic faiths a new asshole.

“Biomechanical Messiah” is the newest long player from Russians Skullthrone, and man, does this album wreak merciless havoc on Jesus and his devotees. One listen to the music and the low-end deathly growls here, you’re going to be convinced that this quartet are here to destroy all that is holy. There are tons of blast beats to rapidly accelerated snare drum assaults to violent soul raping guitars screaming “Death to Christianity and Catholics”. Now, if you do not think this is outright insane, just check out their awesome, heart stopping “There’s No God At All”, as this song lays down the feelings of the members of Skullthrone, as to how they truly feel about the subject of Christ and all of the dogma surrounding it.

When you put together all of the unholy musical, lyrical and vocal elements within Skullthrone’s old school Satanic death metal with hints of black metal, these guys are meant to be taken seriously. People, the lyrical subject matter at hand is very deep and from a personal standpoint as far as the band is concerned.

There are a total of 10 cuts of some of the most flesh bruising, sadistic death metal hell that is nothing but the purest of hell on earth.

In case you are wondering, as to how the record sounds, it is professionally recorded, with a solid and clear production, and the mix is really good, as you can experience all of the band’s Satanic fury in its blackened splendor.

Warning, listen with the highest level of caution, as this is not written for weak-minded listeners. Check out Skullthrone if you’re crazy about first two Deicide records, Krisiun and Marduk.



The immense world of music could be seen as one giant black hole. On the very edges, calm, soothing music gently floats through space. Gradually, while coming closer and closer to the core, the music gets more extreme, chaotic and wild. Even closer to the core and genres are being blended into something you can only call 'extreme'. Right there, near the center of the core of the musical black hole, Skullthrone take in everything from black metal, death metal to grindcore and industrial and spew it out in a massive flash of energy.

The band hails from Bogota, Colombia. In 2011 they released 'Abyssmal Hymns For Satan', a quite traditional black metal title. Now, I'm not familiar with the previous effort but I can definitely say that 'Biomechanical Messiah' is a pulverising nuclear bomb, somewhere between Limbonic Art and Krisiun I guess. The tempo is deadly, the grunts and screams are fearsome and the riffs grind, gnaw and tear flesh like there's no tomorrow.

In fact, I took me a while before I actually believed that this was a human drumming. For a brief moment I even thought 'Imperial Satanic Artillery' was supported by real artillery. The inhuman speed make this is a very intense album, even more intense than most black and death metal albums. It has a mechanical effect, much indeed like some industrial acts, and it almost constantly drills holes in the listener's brain. And it never ends, the punishing just goes on and on.

Extreme metal fans can and should not ignore this album. With songs like 'There's No God At All', 'Sadism Ex Machina' and 'Goatlust', these Columbians have managed to write something that would even impress the most die-hard metal heads. Headbanging to this stunning piece of work is nearly impossible. Best thing you can do is lay on the floor and let the massively spiked steamroller crush you until there's no drop of blood left in your body. This is insane stuff, period.



The first time I read the title of this album I imagined that this was going to be in the vein of Fear Factory. But upon further investigation I have revised my expectations of what this is gonna turn out to be. The first band I came to think of when the music started was Behemoth. But this turned out to be even more brutal than that so my mind wandered to Brazilian bands like Rebaellium and Krisiun. Bands that are so bloody brutal that you need protection to not be hurt listening to them. This is extreme.



E' difficile per il sottoscritto scrivere qualcosa di non troppo positivo su una band al debutto, ma i colombiani Skullthrone non mi hanno per nulla convinto. Devo però premettere che la band in questione suona un buon death/black metal, di quello brutale e con un tasso tecnico non trascurabile, e questo lo dico subito per chiarire che l'operato dei musicisti in fatto di esecuzione risulta convincente e si sente tutta la preparazione tecnica di questi ragazzi.

Ciò che non colpisce però è un approccio un po' "slegato", quasi approssimativo in sede di costruzione delle canzoni. Se è vero che in un genere come il death/black metal come quello proposto dai Nostri non occorre comporre delle hit pop da cantare a squarciagola, è anche vero che quando i riff risultano un po' attaccati tra loro in maniera poco convinta, quasi da sembrare un collage non troppo riuscito, allora qualcosa non torna sul serio. La band cerca di mettere rabbia e potenza nelle proprie canzoni, andando spesso a velocità elevatissime, con blast beat a supportare il tutto. Si cerca anche di variare con decelerazioni e riff più cadenzati, e questo nelle intenzioni potrebbe essere positivo, ma molte volte si rivela come sforzo inutile.
L'iniziale "Imperial Satanic Artillery" parte in quarta, ma mostra presto la corda e purtroppo questo è dovuto ad un senso di incompiuto che aleggia su tutta la canzone. Non si azzecca quasi mai la via giusta per colpire in maniera efficace, e quando parte "There's No God at All" si capisce molto presto che i limiti di questa band sono molti, troppi. La volontà di proporre qualcosa di tecnico e "intricato" non ottiene i risultati sperati, e invece che rendere le canzoni ancora più interessanti, il continuo cercare l'effetto sorpresa rovina degli intenti di base, che tutto sommato non sono sempre disprezzabili.

Ci sono buoni episodi, come ad esempio la veloce e diretta "Biomechanical Messiah", che dovrebbe essere presa da esempio per la band nel suo futuro, in quanto evidenzia sia il lato vagamente "technical" che quello più malvagio e furente, senza girare troppo attorno a un discorso prolisso e che porta a quasi nulla. Non aiuta poi di certo una produzione di certo pulita e curata, ma quasi priva di basse frequenze in grado di dare un po' di profondità, soprattutto alle parti più groove presenti nel disco. Non proseguo oltre in quanto questo "Biomechanical Messiah" non ha la capacità di risollevarsi nemmeno nella seconda parte del disco, continuando su un incerto procedere, senza una guida ben delineata.
Non dico sia tutto da buttare in questo album, la preparazione non è da mettere in discussione, ma l'ispirazione e la capacità di comporre buone canzoni non sono per adesso doti di casa per gli Skullthrone.



Colombian blackened death metal band realised the album that is in every sense phenomenal and awesome, this album is more death metal than black, but there is influence of black metal.On this album it can be heard tehnical compliance that is brought to ideal, acoustic is great and the production is phenomenal.This album brings you in the world of the occultism,death,brutality,darkness,evil.Skullthrone is anonymos band that desirves a lot of the public and listerens, awesome blackened metal band, that brought out the best of death metal genre as possible and a great blackened death metal music at the highest point.



The Colombia-based quartet Skullthrone was formed five years ago, and recently they finished their debut album, called Biomechanical Messiah, which gets released by Satanath Records (Russia) and Morbid Skull Records (El Salvador), with distributional assistance of Metal Masala (India) and More Hate Productions (Russia). It lasts for just over half an hour and was recorded with following line-up: vocalist / guitar player Luciphago, drummer Goatlust, bassist Marius Alhazred, and guitarist Cerberus. In mean time they recruited a full time vocalist, Ivan ‘Demiurge’ Torres, but at the moment of these recording sessions, it was Luciphago taking care of that vocal aspect.

Biomechanical Messiah brings that kind of Extreme Metal I usually dislike, being too exaggerated, too (bio)mechanical, too fabricated. But… I do not know whether it is because this band isn’t from Polish soil especially (or European one more generally), but they seem to dwell within related yet slightly different dimensions of this specific form of hyper-tech Blast / Black / Death Metal.

First of all it’s the sound quality that surprises me. Lots of bands that try to be a Behemoth-clone come with a production that is clinically perfected, but in this band’s case there’s a subtle rawness, and undersigned is extremely pleased to experience this aspect. After all, the origins of these scenes are based on old schooled tradition, so what’s wrong with expressing the initial roughness of the sonic terror?

Secondly, I cannot dislike the timelessness of this band’s approach. Many bands try to sound as futuristic as possible, adding melodies, structures and diverse elements that trespass cosmic limitations. Sometimes it works, often it’s a turn-off. In Skullthrone’s case the lo-fi, even old styled execution is a surplus. It does not mean that this band goes back to the roots; at all! …for their influences are clearly rooted within the modern-technical aspects of the 21st century’s era. But since there’s room for quite some tradition, it gives another dimension.

A third great element is the song writing and performance: no bullshit, no gimmicks, yet based on a joy-of-play, and with an implicit well-balanced equilibrium in between the different players and aspects. It does not mean that this band brings something new or refreshing – because Skullthrone do not. But the simplicity, and the idea that all this gets performed so fluently and easily, well, it reeks of quite some conviction and professionalism.

Does this mean that this album is the best recording of the year? Well, no, that would be too exaggerated too. But seen the overload on comparable bands lately, I think these Colombians might show a difference within the current over-crowded scene.



Zwartgeblakerd geweld uit de Colombiaanse hoofdstad, met Skullthrone. Satanath records is duidelijk verlekkerd op alles wat Latijns-Amerikaans is en Satan aanbidt. Dit keer frist het Russisch label geen oudere release op, maar levert ze het debuut af van deze vijf heren.

Het kwintet brengt ons duidelijk erg ruwe en doffe blackdeath waarbij de eerste minuten me doen fronsen omdat het wel erg chaotisch en brak klinkt. Skullthrone had het duidelijk zo bedoeld, want meteen trekt deze rammelende oorlogsmachine het stuur recht en knalt Biomechanical Messiah lekker oldschool door. Niet van een niveau om echt rillingen van te krijgen, maar dit zwarte gekweel en vooral deze erg sterke drummer maken hier best een sterk plaatje van. Misschien wat eentonig, maar dat zijn de liefhebbers van dit genre ongetwijfeld wel gewend. Misschien ook nog niet overtuigend genoeg, vooral door deze slappe productie en oppervlakkige structuur.

Biomechanical Messiah heeft zo wel wat minpunten, maar een liefhebber van stoffige blackdeath/warblackmetal komt hier wel aan zijn trekken. Ik geniet vooral van deze hevige drumpartijen en de smerigheid van de tweezang. Dit verdient zeker nog een extra inspanning om alles op het juiste niveau te krijgen.



This work is limited to 500 copies. And they just hand over one to me. The band was formed in 2010 in Bogota, Colombia and has since then released one demo in 2011. This album dates back to August already and was released by Satanath Records, in cooperation with Morbid Skull Records. Well, you’ve got to give the dog a name, we say. The band plays blackened death metal, with a clear preference to black, as a whole. But more than regularly a lot catchier than standard black metal. Skullthrone as a name sounds very obvious, but their music is a bit more adventurous. When it sets off you think you are listening to a rehearsal, after which a tremendous blast in your face takes you along a much better produced album, on which the musical development of the members cannot be denied. Blasting violence, freaky passages and a 100% blackened death metal spirit are the ingredients they serve us. And a treat it is indeed. Despite the fact you can’t say this is an innovating band, they apply sufficient amounts of variation and surprising elements to dress up their songs. For those who love the genre it is an extended half hour well-spent time listening to fine violence.


Obwohl Satanath Records ein russisches Label ist, und es auch eine russische Black Metal-Band mit dem Namen Skullthrone gab, handelt es sich hierbei um eine Death-/Black Metal-Combo aus Kolumbien. Gegründet wurden sie 2011, ein erstes Demo folgte ein Jahr darauf. Nun legen sie ihr Debüt vor, und dies klingt sehr professionell. Pfeilschneller, leicht angeschwärzter Death Metal wird hier technisch versiert und mit fetter Produktion aufgefahren. Dabei wird alles arschtight genau auf den Punkt gespielt. Die Kolumbianer verstehen ihr Handwerk. Der Gesang wechselt von tiefen Growls zu gelegentlichen, heiseren Schreien und ist ziemlich variabel. Vergleiche zu Bands wie Behemoth, Belphegor, neuen Septicflesh, Unearthly, Krisiun oder Vader sind angebracht. Somit sollten sich also auch die Fans dieser Lager hier angesprochen fühlen.


Bogotà, Colombia, tra le strade di una delle città più pericolose del mondo, si aggira questo spirito malefico, dal nome che è tutto un programma, Skullthrone.

Metal estremo, un’entità demoniaca che fa del black/death metal la sua arte nera, portando nel mondo il verbo satanico accompagnato da un’ayrea guerrafondaia.

Il quintetto sudamericano è al debutto sulla lunga distanza, in archivio ha solo un demo, le prime avvisaglie di una guerra portata al mondo, uscito nel 2011 (Abyssmal Hymns for Satan), confermando l’ottimo impatto del proprio sound in questo primo lavoro dal titolo Biomechanical Messiah.

Death/black di scuola est europea, in particolare influenzato dai blacksters Behemoth, è quello che il gruppo mette sul piatto e non è poco, considerato la già buona compattezza, il gran lavoro delle sei corde e buone sfuriate in blast beat della sezione ritmica.

Senza fronzoli, e con pochi attimi per riprendere fiato, veniamo inseguiti da questo oscuro mostro satanico, famelico e vorace, che inghiotte male e risputa puro odio.

Nemici dichiarati del cristianesimo, gli Skullthrone, aggrediscono con un lotto di brani assolutamente evil, il growl diabolico e le chitarre che non lasciano tregua con riff e solos che grindano sangue innocente, faranno la gioia degli amanti dei suoni oscuri e da tregenda del genere, con svariate songs che superano abbondantemente la sufficenza, per impatto e violenza.

Niente di che non sia assolutamente originale, ma un ascolto consigliato per chi aspetta con ansia i parti blasfemi di Behemoth e Vader, sicuramente ripagati dal mood satanico e brutale di Imperial Satanic Artillery, Sadism Ex Machina, Antichristian Retaliation ed Empire of the Skull.

Gli Skullthrone confermano l’ottimo livello che da anni contraddistingue l’underground dei paesi sudamericani, tane di fiere metalliche pericolosissime e dall’attitudine spiccatamente anticristiana … astenersi posers e ragazzini dai pruriti evil.


Le maschere metalliche coprono mezzo viso dei musicisti e sembrano voler eliminare l'essere umano celato dietro di esse per renderlo un cyborg, rinnegandone così la creazione da mano divina. "Biomechanical Messiah" è il primo disco del quartetto Black-Death Metal colombiano degli Skullthrone, fondato nel 2010.

Il concetto biomeccanico si ritrova nello stile molto asciutto, sentirete un po' di melodia solo nella prima traccia, trasportato dalla sezione ritmica martellante. La complessa morfologia dei pezzi ricorda il Brutal Death e i suoi dettagli sono molti, casalinghi, nordamericani o addirittura mediterranei. A tratti la carne al fuoco è anche troppa e alcuni ascoltatori preferirebbero una variazione in meno nelle tracce, a favore di una struttura più nitida. La vasta scelta di scale e ritmi lascia tanto spazio alla batteria di Goatlust, innamorata della tecnica ma soprattutto dei blastbeat. Questi alla lunga annoiano e distraggono dal buon lavoro degli strumenti a corda, nonostante i passaggi più groove alleggeriscano l'insieme.

"Biomechanical Messiah" è un debutto ben prodotto, poco accessibile e particolarmente gradevole per chi consideri superflue le melodie.


Po (paskudnej jak moja pierwsza katechetka) okładce wnioskowałbym, że Skulltrone ma ciągotki industrialno-elektroniczne. Pewnie przez te trybiki w minichrystusowej dupie. Okazało się jednak, że z industrialem to ma niewiele wspólnego. Za to tematyka się zgadza. Skullthrone jest bluźnierczy i jadowity, a do tego bardzo przyjemnie się go słucha.

Wydany w ubiegłym roku Biomechanical Messiah jest pierwszym długograjem kolumbijskiego kwartetu. Płyta została wydana przez Satanath Records i Morbid Skull Records. Zawiera dziesięć kawałków składających się na jakieś pół godziny. Powinno się składać na trochę więcej, ale o tym zaraz.

Pierwsze wrażenia są jak najbardziej pozytywne. Imperial Satanic Artillery bije już od początkowych dźwięków (no, poza wstępem zaaranżowanym w sposób wyjątkowo niepełnosprawny. Przez chwilę się bałem, że to faktycznie tak będzie brzmiało).  Perkusja łomocze ostro, gęsto i sprawnie, bas okazuje się nie tylko słyszalny, ale wręcz dobrze przemyślany i zróżnicowany (szczególnie w tytułowym numerze), i ogólnie zalewani jesteśmy potokiem solidnego blackened death metalu. Może i sztampowego, ale świetnie zrealizowanego, a i potrafiącego od czasu do czasu chwycić nietypowym motywem. Mowa tu głównie o There’s No God At All z całkiem egipskimi melodiami, choć bardzo dobre są też piłujące gitarami Sadism Ex Machina czy Goatlust o pornolowatym intrze (stęskniłem się za takimi jękami w promkach). Jeżeli miałbym porównywać do czegoś kompozycje Skullthrone, powiedziałbym że to miks Marduka i wczesnego Deicide. Utwory są mocne, jadowite, agresywne, ale też posiadają dobrze dopasowany pierwiastek blackmetalowej melodyki, choć jest on używany może ociupinkę za często. Dobre, treściwe kawałki o odpowiedniej długości i dynamice, czego chcieć więcej?

Biomechanical Messiah nie ma wielu wad, choć kilka się znajdzie. Pierwszym są solówki, które bywają źle nagłośnione (w końcówce Imperial Satanic Artillery wydaje się występować solówka drugiej gitary, jest ona jednak ledwo słyszalna), bez większego pomysłu i ogólnie takie raczej niepotrzebne. Czepiając się jeszcze brzmienia, bardzo brakuje tu dołu (a przez co też i mocy), perkusja dźwięczy mi lekką cyfrą. Ale to nic przy Hell’s Oblivion i Technomancer Revelation. Nie, żeby coś, same kawałki są spoko, tylko że… one są ucięte. Nie wiem, czy celowo (sprawdzałem w internetach, wszędzie twierdzą, że te utwory właśnie powinny mieć tyle, ile mają u mnie) czy też to błąd w produkcji, ale to okropny strzał w mosznę i paskudne niedopatrzenie. Sprawdźcie w podanym linku do bandcamp, tam jest to samo.

Pomijając ten (nie taki) drobny mankament, Skullthrone naprawdę przypadł mi do gustu. Wiem, że podobnych im projektów jest milion, ale zazwyczaj wyczerniona śmierć działa na mnie średnio stymulująco. Ekipa z Kolumbii natomiast nie tylko utrzymała moje zainteresowanie przez całą długość płyty, ale też całkiem pozytywnie nastroiła na kolejne wydawnictwa.


Buon debutto per Skullthrone, band proveniente dalla Colombia, con all’attivo il demo “Abyssmal Hymns For Satan”, uscito nel 2011. Le influenze principali dei nostri, provengono dalla scena estrema Est Europea, in particolare da bands Polacche come Behemoth e Vader, attingendo dai primi per quanto riguarda il riffing veloce ed intricato dei brani, mentre l’approccio diretto e privo di orpelli è mutuato dallo stile della band capitanata da Peter Wiwczarek. Blackened death metal dalle tematiche anticristiane, tecnicamente ineccepibile ed assolutamente brutale. I brani sono improntati su velocità molto elevate, con riffs secchi accompagnati da frequenti sweeps eseguiti a velocità impressionanti, mentre la batteria macina blast beats a ripetizione, il tutto pervaso da un mood malvagio e sinistro. Dieci pezzi senza compromessi, furiosi e ricchi di tecnica mai fine a se stessa, magari non stilisticamente originali, ma eseguiti con la giusta grinta e con ottime capacità.




Con Skullthrone le doy nuevamente la bienvenida a Colombia al universo de bandas que nos han enviado su material para ser reseñado, ya que hacía rato que no nos llegaban bandas de aquel país.

Esta banda oriunda de la ciudad de Bogotá esta enrolada en el más pesado, rápido y violento black / death metal, y este “Biomechanical messiah” es su larga duración debut, con el cual planean darse a conocer al mundo entero.

Si tuviese que usar una palabra para definir este álbum decididamente ésta seria “brutal”, ya que lo de Skullthrone no tiene otro fin que el de volarte la cabeza, sobre la base de riffs supersónicos, voces guturales, una batería que es una aplanadora y temas que inducen al headbanging desquiciado. Una banda para tener muy en cuenta, profesional en lo suyo, con una latente proyección internacional y un futuro promisorio.




South America has often stood for impressive extreme Metal, Death, Black, Thrash or hybrid forms of these genres. The underground is full of new bands who come out with traditional or vaguely original styles. SKULLTHRONE hail from Bogotà, Colombia, and "Biomechanical Messiah" is their first full-length album and the only follower of their unique demo "Abyssmal Hymns For Satan" released in 2011. If you look at the cover artwork and the band logo before listening to the music, you can maybe expect some kind of Industrial Metal or something not too different than Nu Metal. However, when the opener 'Imperial Satanic Artillery' starts, you are hit by excessively fast drums mixed too loud compared to the other instruments and vocals. Some of you will also enjoy this style of gravity blast beat, but surely not me. Anyway, they try to mix Black and Death Metal with a modern approach, adapting themselves to the BEHEMOTH way with some added Norwegian influences. Unfortunately, the songwriting is the real handicap here. Despite the Colombian quartet show themselves as being good musicians, the sequences of riffs are often incoherent, and redundant, and most of the riffs themselves are terribly banal. You can also find some decent songs in the almost thirty-five minutes of this album, like the title-track or the concluding 'Empire Of The Skull', but the rest of the album is very weak in my opinion. Maybe SKULLTHRONE can please more indulgent listeners and Satan himself surely smiles at their blasphemous lyrics, I actually do, but it's not enough.




Four years after the release of a demo on CD-r comes the debut CD from the Colombian butchers, 10 songs with clear decent sounds in which maximum speeds are regularly utilized without making the listener yawn.


After a brief intro sounding like a Death Metal band rehearsing followed by a mortar shot, "Imperial Satanic Artillery" begins and it's immediately clear we're being decimated by a fast onslaught of Death/Black Metal, where several diversified riffs keep from monotony, among which a slow one before a refined guitar solo. The last part with supertight drums is proof of the many Red Bulls the drummer drank before recording his duties.

Violent and martial, "There's No God at All" is embellished by blaspheme backing vocals, and also here the skinbeater seems to have been supplied with four brand-new Duracell batteries on his back ahead of entering the studio.

The title track alternates Black and Death Metal riffs, while the usual slaughter is caused in the background by the drummer's performance, the rhythm section being strengthened by precise bass lines. A punishing compositions without steady variations.

Thanks to its stops 'n' go and sublime drum strokes, "Hell's Oblivion" can be considered one of the highlights, but unfortunately you have to download it from Soundcloud to hear it all because the CD version is cut at the end. There are four punctual guitar licks, whilst the drums scourge unmercifully.

The same goes for "Technomancer Revelation", whose final seconds have been mistakenly cut in the official CD version. The song starts with propedeutical drums, then along with the multiple bludgeonings, it also delivers magnificent riffs and rotten vocals. The guitar solo must be applauded with a standing ovation, and later a macabre slightly distorted part in mid-tempo appears prior to the finalé, thus making the song really special.

"Sadism Ex machina" displays the fastest drumming of the album, well entwined with the guitars, whereas "Antichristian Retaliation 2015" is opened by the recording of Catholic Pope Bergoglio's election and then a slaying. If it sounds good on one side, it would be infinitely better if the same attack went against Mohammed or a Muslim leader because it's really too old and easy to attack Christians, as they never retaliate. The track itself is a bit less involving than the others, as well as its guitar solos.

Moans of sexual deeds initiate "Goatlust", another pearl of "Biomechanical Messiah", where the work behind the drums is once again unforgettable. This is real Extreme Metal with guitars squealing tight to their limits.

Majestic, and subsequently sustained by a rapid mono riff that is repeated, "Carnal" is followed by "Empire of the Skull", another incursion leaving no peace and no time to rest; actually this song is the one offering the largest range of variegated riffs, some not even wicked like the rest; indeed they sound very Rock 'n' Roll.


Skullthrone has been a plesant surprise to me and one of the most no-compromise acts with a distinct sound I've heard in 2016 together with Hellwaffe. Recommended for fans of Marduk, Enthroned, Vital Remains and the likes.





Все утопающие говорят, что дельфины толкали их к берегу. А знаете почему?

Потому что те, кого дельфины толкали от берега, уже ничего никому сказать не смогли.

Честно скажу, я думал, судя по облоге, - это метал-индастриал какой-то, но мои ожидания были обмануты. Во-первых, в пресс-релизе команды указано - это блэкенед дэт, или блак-дэт, потом я увидел, что это колумбийская группа, и понял, что все тогда ясно: - и насчет обложки, и насчет тэгов. А нужно слушать все как и раньше - бережно вытаскивать диск из коробочки, ставить его в воспроизводящее устройство и заняться буклетом. Он всего-то восьмистраничный, но в нем немало инфы, и главное - есть тексты.

«Трон из черепов» вообще с 10-го года рубится тотально. В 11-ом выпускал дему, и в 15-ом тоже — но только сингл)). Доведу до вашего сведения, господа, что формация неистово выступает на всяческих концертах и доводит своим исполнением публику до настоящего безумия, это то, что очень прилично удается группировке.

Пока я проводил всяческие исследования, диск успел в первый раз доиграть до половины, и у меня уже сложилось первое впечатление об этом компакте и, как водится, это первое - оно максимально близкое к сути дела. Это музло в дэтовом диапазоне: средне- и низкочастотном, и саунд соответственный, чтобы в нем погрязать, и погружаться. Команда создает целый монструозный музыкальный хаотический скоростной лабиринт, в котором недолго и заплутать. Причем по ощущениям, это живое устройство. Оно активно дышащее, не стабильное и гибкое относительно системы координат. Это могло бы быть минусом в дэт-машине, но в дет-монстре - это только плюс. Такая вот анимированная смерть.

Чего ж здесь блэкового? Разберемся к окончанию этого отклика. А сейчас глянем на траки повнимательнее.

После невнятного долбежа - 10 секунд, в контраст к нему Skullthrone начинает впиливать тотального риффажа, и придерживается этого направления более минуты, потом дает мелодический глубоководный гитарный проход, красивый и всеобъемлющий (!): - будто бы питон колумбийский заглатывает сельскую курицу целиком, с перьями и когтистыми лапками. Продолжением стало тотальное рубилово, очень бодрое в плане всех примененных инструментов, все старались ))).

Далее ребята потихоньку начали повышать градус хаотического намерения, нередко останавливаясь чтобы перевести дух, собраться с силами, чтобы продолжить ковать стальные арматурины. Постоянно группа перешагивает на две-три ступеньки выше по уровню своей ДЭТовости, чтобы вырваться из цепких ручек мело-дэта. Ибо потенциал уйти по этому адресу есть. Но нам не нужно МДМ, нам нужен дэт, и музыкантам нужен именно он, и потому нередко все лирические (по)пытки дают результат — только претензии на некий прогги-полив. А мне кажется, музыканты говорят: гитарист у нас есть толковый, не использовать его со всеми наличными «лирическими» заморочками было бы просто негуманным.

Гроул у вокалиста Люцифаго индексируется четкий, отработанный, реально. Потому он не боится «тянуть» его, тогда получается рычащая тирада, (и думаешь, для дума он бы тоже пригодился).

Но все равно в итоге имеем жестокий брутальный спонтанный дэт, с хорошими прокуренными легкими, доброй мускулатурой гитарного мяса, и просто шикарной местами ритм-секцией, иногда такой быстрой, что у слушателя в глазах темнеет. И кой-какие проходы тянут Skullthrone к дэто-трешу, но это только на пользу ему, ибо такой разбаланс увеличивает его ЭГО. И становится понятно, чем они берут слушателей на концертах!!!)))

Ага, так что же здесь блэкового? Можно сказать, что и ничего. Если не считать вполне безумных скоростных проходов и нередкого маниакального мизантропического настроения.