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Age of Damnation is the first album by the Serbian doom band The Father of Serpents, a group of six individuals from other well-known bands in the Serbian scene who united in 2015 to follow in the steps of such groups as My Dying Bride, Saturnus, Paradise Lost, and Moonspell.

 

Age of Damnation will be co-released on June 19 by Satanath Records (Russia) and United By Chaos (Finland). Today we are premiering a powerful song named “The Afterlife Symphony“, and providing streams of two previously released songs as well, so that you might become more fully immersed in the apocalyptic atmosphere created by The Father of Serpents.

 

The beautiful, reverberating guitar and violin notes at the outset of “The Afterlife Symphony” are immediately seductive, and the soaring guitar and violin melodies that follow continues to weave a web of spells even as the mountainous riffs and booming percussion come down like a rain of boulders.

 

As entrancing as the melodies are, the song also surges with power, and it’s a headbanger, too. The deep, monstrous growls and vicious howls in the vocal department give added weight and ferocity to the song, while the solemn (and impassioned) clean vocals add to the contrast in the music — a contrast between mystical lightness and spine-shivering heaviness, between a grieving gloom and the intensity of a defiant struggle.

 

 

 

We hope you enjoy “The Afterlife Symphony” as much as we have, and if you do, you can also listen to two other tracks below — “The Walls of No Salvation” (free to download at Bandcamp) and “Flesh Altar“.

 

http://www.nocleansinging.com/2017/06/18/an-ncs-premiere-the-father-of-serpents-the-afterlife-symphony/

 

 

The Father  of  Serpents  are  a  band  from  Serbia  that  plays  a  mixture  of  doom,  goth,  and  death  metal  and  this  is  a  review  of  their  2017  album  "Age  Of  Damnation"  which  was  released  as  a  joint  effort  between  Satanath  Records  and  United  By  Chaos.

 

  Melodic  guitar  leads  start  off  the  album  along  with  some  heavy  doom  metal  riffs  a  few  seconds  later  that  also  utilize  a  great  amount  of  melody  and  you  can  also  hear  all  of  the  musical  instruments  that  are  present  on the  recording  and  also  awhile  death  metal  growls  start  to  make  their  presence  known.

 

  Spoken  word  parts  can  be  heard  in  certain  sections  of  the  recording  along  with  some  clean  playing  and  the  music  also  mixes  in  a  great  amount  of  goth  elements  while  some  tracks  also  add  in  a  small  amount  of  stringed  instruments  and  when  screams  are  utilized  they  add  in  a  touch  of  black  metal  and  some  songs  also  add  in  a  small  amount  of  clean  vocals  and  some  of  the  tracks  are  very  long  and  epic  in  length  and  all  of  the  songs  stick  to  a  very  slow   musical  direction.

 

  The  Father  Of  Serpents  plays  a  style  of  doom/death  metal  that  is  very  heavily  rooted  in  the  90's  while  also  mixing  in  elements of  goth  and  black  metal,  the  production  sounds  very  professional  while  the  lyrics  cover  spiritual  survival,  battles  and  war  themes.

 

  In  my  opinion  The  Father  Of  Serpents  are  a  very  great  sounding  mixture  of  goth,  doom  and  death  metal  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  band.

 

http://hatredmeanswar2.blogspot.ru/2017/06/the-father-of-serpentsage-of.html

 

 

You’ll be crying for more.

 

Yesterday, we had our buns scorched with a ripper from Verthebral (Paraguayan DM) courtesy of rising label Satanath Records. Today, we’ve got a new song from Serbia’s The Father Of Serpents titled “The Last Encore”.

 

Being Toilet Ov Hell’s official angery sadboi, this song hits all the right notes. It’s a little gothic, a little doom, and a bit of death. Oh, and you can actually hear the bass! The band has 2 vocalists, one clean and one for growls/screams. On the surface that may turn some people off, or recall the bad old days of nu-metal bands with one vocalist yelling and the other rapping, but it works for TFOS. The dual vocals bring depth to a song that already contains many layers.

 

“The Last Encore” brings to mind old My Dying Bride, Novembers Doom, and Insomnium. It has a driving yet catchy groove that bores into your soul and lays the seeds of mourning. This song is the perfect song to rage against the dying of the light.

 

http://www.toiletovhell.com/premiere-the-father-of-serpents-the-last-encore/

Bentrovati avventurieri in queste lande, un vento nero soffia da Belgrado portandoci un messaggio apocalittico: è “Age Of Damnation” dei The Father Of Serpents. Come il mostruoso Yig, il Father Of Serpents originale dei romanzi di H.P. Lovecraft (e prima ancora di Zealia Bishop), arrivano a noi questi cavalieri del doom/gothic metal.

Atmosfere cupe e sonorità massicce sono I biglietti da visita di questo gruppo che esordisce con una formazione di musicisti già noti alla scena metal serba (da gruppi come The Hell, Awaiting Fear, Tamerlan, Rain Delay, Consecration...). Il logo campeggia scuro sulla copertina di questo disco; dai colori violacei e funebri fino ad imbrigliarci nelle spire delle tenebre serpentine che avvolgono la donna rappresentata ad effige dell’umanità intera; ma solo l’ascolto del disco ci dirà se potrà liberarsene. La componente gothic della band permea da tutti i pori (o dovremmo dire le spire in questo caso?), il disco parte subito con un fade in armonizzato creando una sensazione di abbandono ed al contempo di lontananza, come se il messaggio arrivasse da un altro mondo. É “The Walls Of No Salvation” il pezzo che ci fa da introduzione in questa caduta nell’ oscuro. Canzone già edita nel febbraio del 2015 sotto forma di video-demo e qui remixata e riarrangiata. Ma a volerci spiazzare ulteriormente arriviamo a ”The Flesh Altar”, una composizione armonica degna di nota. Raramente capita di sentire uno scritto musicale che riesca ad essere un così bel connubio tra dolcezza e violenza. Il suono del violino sarà la speranza che ci accompagnerà in tutto l’album, a lui il compito di indicarci sempre la luce in queste tenebre. In questo brano non si sente assolutamente il desiderio di nascondere I gusti musicali del gruppo: l’influenza di band come “Paradise Lost“ e “Moonspell” è forte e non è affatto un male. No, perché i ragazzi hanno imparato bene e possono dimostrarlo. Una caratteristica di questo ed altri brani, a livello compositivo, è la tendenza all’uso di soluzioni originali, atte a creare dei sapori che spesso sconfinano in territori estranei al genere. Sono affermazioni musicali sottili, tra le righe e molto delicate, ma ci sono. L’uso sapiente di cambi tra maggiore e minore, ritmiche spezzate e beat che, pur rimanendo su tempi maestosi, risultano molto sostenuti. Spesso l’ascoltatore si troverà a sentire un cambiamento nel tono delle composizioni che non mancherà di travolgere e coinvolgere. Volendo riassumere queste sensazioni con una metafora diremmo che: l’ascolto di questo album è come viaggiare sul treno del Gothic Doom Metal, guardando fuori dal finestrino il paesaggio fatto da tutti gli altri generi e, di volta in volta, lasciandosi pervadere da tutte quelle emozioni. Basti ascoltare la mastodontica e bellissima “The Grave For Universe”. Tra queste note le serpi non vi lasceranno andare più via; è la composizione più lunga dell’album ma, a giudizio di chi scrive, la più travolgente. Nulla lasciato al caso, sbavature completamente assenti e una prova di forza musicale che farebbe trasalire anche i più ferrati in materia. Queste caratteristiche non possono non far pensare a quei “Black Sabbath” di “Children of the Grave”. L’effetto di sorpresa è il medesimo in questa canzone. Quando oramai pensiamo di aver inquadrato il disco ecco che, come una folata di vento inattesa, arriva “Tainted Blood”. Non questioneremo sul cantato in lingua italiana, sicuramente scelto come lingua veicolare più adatta di altre e che apparirà, comunque sia, ben comprensibile alle orecchie dei portatori di stivale. Ma è il sound del pezzo che è notevole: un sapore di musica pop ottantiano, che nulla avrebbe a che vedere con il genere, ha un effetto gradevolissimo. Da “The Quiet Ones” che ci dà un attimo (ma proprio uno) di respiro alla, passateci il termine, folcloristica “The God Will Weep For You”. Siamo già in dirittura di arrivo a “The Last Encore” che ha il compito di accompagnarci malinconicamente alla fine dell’album con “Viral”. Quest’ultima, infine, pare essere la canzone designata come killer application che si presenta con video musicale annesso all’uscita dell’album. Francamente non appare come uno stendardo più adatto di altri per questo album ben riuscito ma, forse, la composizione più di genere è stata ritenuta più adatta ai fini promozionali. Alcune canzoni di questo album erano già protagoniste di alcuni video musicali editi qualche mese prima dell’album ed ovviamente questo è indice di una composizione musicale dilatata nel tempo ma che non ha dato affatto risultati sgradevoli od in contrasto tra le varie sfumature di questo lavoro. A livello sonoro non si possono non appoggiare le scelte fatte sul suono pulito delle chitarre che conferiscono alla registrazione un sapore attualissimo, così pure risultano le percussioni dove il rullante porta da solo il peso di una corona ritmica di genere.Il disco è tecnicamente ben registrato ed editato in maniera certosina non presentando alcuna sbavatura sensibile. La composizione musicale è sicuramente figlia dell’ esperienza dei membri del gruppo; non troverete assoli di chitarra inutili e fuori tema, le sovraincisioni sono sempre atte a creare delle armonie uniche e ben scindibili e si sposano eccellentemente con l’insieme. L’assenza di melodie vocali particolari è pienamente giustificato dai bei fraseggi di chitarra che nulla fanno rimpiangere ad un comparto melodico ben riuscito. Le voci di questo disco sono tuttavia l’unico punto in cui ci si ferma a riflettere. La doppia vocalità dei dei due cantanti non sempre valorizza, a giudizio del sottoscritto, la composizione. Voci pulite, screams e growls si sovrappongono spesso e non sempre con successo, finendo con togliere l’attenzione del filo conduttore del pezzo, generando un attimo di spaesamento che per fortuna rientra subito permettendo all’ascoltatore di favorire della musica. Il risultato è comunque un album da promuovere a pieni voti e che potrebbe essere addirittura un ottimo inizio per chi volesse iniziare ad ascoltare questo genere musicale; ed in questo senso ci sentiamo di consigliarlo. Lo suggeriamo sopratutto a quegli ascoltatori che vedono questo stile come una musica fatta solo di tempi e melodie lugubri, oscure e pesanti. Con questo disco potreste cambiare idea, lasciate ogni speranza o voi che entrate!

 

https://www.insane-voices-labirynth.it/qabar-pr/recensioni/the-father-of-serpents/

 

 

The Father of Serpents was formed in 2014 as a side project by the members of few established extreme metal bands coming from Belgrade, Serbia with one aim in mind – to play old school doom metal.

 

The band recorded two songs – “The Afterlife Symphony” and “The Walls of Salvation” and since the response in the underground was overwhelming, the guitarist, producer and founding member decided to gather, according to his words, an ideal and well experienced team for the full time band.

 

With the steady new lineup, in 2015 the band performed concerts and festivals all over the Balkans, sharing the stage with acts like Mourning Beloveth, Fear Factory, Attic, Caronte, Eye of Solitude and concentrated in making the debut album.

 

During the summer of 2016 the band headed to Wave Studio in Belgrade to record Age of Damnation. The result was 10 songs reminiscent of 90s doom metal, with modern top notch production. Mandatory listen for fans of Saturnus, My Dying Bride, Amorphis, Tiamat, Moonspell. A perfect mixture of eerie atmosphere, catchy melodies, top musicianship, growl and screams from deepest abyss and deep gothic clean vocals.

 

http://newnoisemagazine.com/stream-father-serpents-age-damnation/

 

Ik ben altijd wel in voor een donker potje muziek, alles dat ook maar een beetje neigt naar doom verdient op z'n minst een momentje van mijn aandacht. Op voorhand lijkt de Servische band The Father Of Serpents ook wel zo'n band die best eens gehoord mag worden. Het zestal presenteert zich als gothic doomband, en spiegelt zich aan grote namen als Saturnus, Moonspell, My Dying Bride, Paradise Lost. Age Of Damnation is het eerste wapenfeit van de band, die bestaat uit ervaren muzikanten uit de lokale scene. Vooral death metalband The Hell lijkt hoofdleverancier.

 

Vanaf opener The Walls Of No Salvation is het me al wel duidelijk dat The Father Of Serpents de zaken serieus heeft aangepakt. Goede muzikanten, afwisselende zangpartijen (clean en grunt), emotievolle composities en een heldere productie zijn hier wel de basisvoorwaarden. De raakvlakken met vooral de Britse jaren '90 scene zijn me al snel duidelijk, en ook elementen van wave/darkrock/gothic zijn aanwezig. Traditionele melodieuze doom metal is het hokje waar je deze muziek wel in kwijt kunt.

 

Slechts op een heikel puntje schuurt het hier enigszins wat betreft mijn luistergenot. Ik vind het rauwe van de grunt niet altijd in overeenstemming met de melodieuze aanpak van de muziek zelf. The Grave For Universe is hier een voorbeeld van, omdat hier ook ingetogen stukjes met cleane zang te horen zijn. En juist op zo'n moment denk ik: tja, zo kan het ook. Wat dit nummer ook bevat is een tempoversnelling, en die gaat er dan juist weer in als koek. Qua composities en muzikale insteek ben ik dan ook tevreden.

 

En alle terechte vergelijkingen met genoemde bands ten spijt, ook Candlemass komt wat mij betreft bovendrijven in een nummer als The Quiet Ones. Behalve die zang dan weer natuurlijk, maar met name het gitaarwerk - dat heerlijk slepende - duwt me behoorlijk in die richting. En dat is natuurlijk helemaal niet erg! Sowieso is er van enige na-aperij geen sprake lijkt me, hoe herkenbaar de riffs ook in de oren klinken, want The Father Of Serpents probeert wel degelijk z'n eigen ding te doen. En dat bevalt me op Age Of Damnation prima!

 

https://www.wingsofdeath.net/The-Father-Of-Serpents-Age-Of-Damnation

 

 

Fazer Death/Doom Metal para muitos significa apenas desacelerar o Death Metal, mas o The Father Of Serpents conseguiu fazer algo digno de ser ouvido várias vezes.

 

Contando com uma excelente produção, “Age Of Damnation” nos entrega 10 faixas, grande parte delas de média/longa duração mas sem dar sono ou vontade de interromper a audição, pelo contrário, já que há uma certa vibe hipnótica e não será difícil você partir para a segunda audição sem nem notar.

 

O uso de elementos mais melódicos, instrumentação acústica e até um slap no baixo (técnica extremamente incomum no estilo, mas que casou muito bem) trazem uma certa diversidade a “Age Of Damnation” e dando aquela sensação que a banda poderia ter um potencial muito maior caso fosse de um grande centro europeu em vez da Sérvia.

 

As vocalizações são muito bem usadas. Tanto ultragutural, como limpa e mais distorcida, elas estão bem encaixadas e coexistem bem, sem que haja algum destoamento.

 

Quem busca conhecer novas bandas e tem um carinho por grupos mais sorumbáticos, daqueles que são a trilha sonora perfeita pra um dia chuvoso e frio, o The Father of Serpents é uma excelente pedida. Já separe o vinho e o queijo.

 

http://metalnalata.com.br/site/the-father-of-serpents-age-of-damnation-2017/

 

 

Leto gospodnje 2017. preti da će biti jedno od najboljih i najuspešnijih za metal u nas Srba. Mislim da to ponavljam (i nastaviću) u svakom tekstu koji priložim na uvid centrali SMP-a. Pregršt dobrih albuma je već uveliko ugledalo svetlost dana, dok za to vreme veliki broj izdanja čeka u niskom startu na realizaciju. Ali lagano i nadasve sigurno, dva nova epiteta hvataju tekuću godinu za ruku. Najsporija i najteža. Paraf na ovu moju tezu stavlja fenomenalni album Age of Damnation, drugo vrhunsko doom metal ostvarenje koje imam prilike da recenziram u proteklih nekoliko meseci. Podsećanja radi, doomersku dominaciju po pitanju kvaliteta najavio je povratnički Inevitable, niške ekipe The Bloody Earth.

 

 

Da ne idem mnogo okolo nakolo, izneću odmah konkretan i krajnji zaključak vezan za “AOD” – ovo je jedan od onih albuma gde su se svi delovi slagalice sami složili, gde je sve na svom mestu, bez ičega viška ili manjka. Osvežavajući po svim pitanjima, gde pesme, koje su pojedinačno jako kvalitetne, čine jednu specifičnu celinu neverovatne atmosfere, koja ima predispozicije da bude uvrštena u doomersku lektiru za sva vremena i za sve uzraste. Materijal je izuzetan, svetskog kalibra i to izgovaram bez ikakvog ustezanja. Kreativnost u samom vrhuncu i to još u okviru jednog žanra koji nudi milion prilika da se upadne u zamku repetitivnosti, sve podržano vrhunskim aranžerskim rešenjima i visokim stepenom sviračkog umeća. Umeća, koje je dozirano demonstrirano kroz deonice koje nisu karakteristične za doomere, kao što je, na primer, povremeno korišćenje slap bass načina sviranja, koje prosečan muzikant ili pak fan, nikada tu ne bi stavio.  Age of Damnation dobija poseban i originalan kolirit ovakvom upotrebom instrumenta koji se obično u metalu gura u drugi ili treći plan.

 

MATERIJAL JE IZUZETAN, SVETSKOG KALIBRA I TO IZGOVARAM BEZ IKAKVOG USTEZANJA

Prepustiti se ovom albumu je veoma laka stvar, nije problem ni da se dugme repeat stisne nakon sat vremena. Uopšte nije. Nadam se da će reakcija publike i populacije koja poštuje ovaj žanr biti odgovarajuća jer će isti imati prilike da konzumiraju album koji karakteriše brilijantan autorski rad, mnoštvo hrabrih odluka kod pisanja pesama i sve to kroz zvuk koji ovom izdanju savršeno pristaje.

 

Dakle, finalna reč ide na račun produkcije. Sve zvuči jako prirodno, sirovo taman koliko treba. Miks, tačnije pristup istome, u kontekstu ovog albuma je gotovo savršen, a to se jedino i boduje. Kome se takav zvuk sviđa ili ne, drugo je pitanje. A ko želi da se sa takvim pitanjem zamara umesto da sluša doom MASTERPIECE, kakav Age of Damnation jeste, treba da zna da gubi dragoceno vreme i propušta jedinstveno iskustvo. Za mene lično, pogotovo imajući u vidu cifru koja numerički simboliše broj slušanja koji sam uknjižio na svoj konto po pitanju “AOD”, ovaj album je gotovo savršen za to što treba da bude. I naravno, nikako nije za svakoga… Neka tako i ostane.

 

http://www.serbian-metal.org/recenzije/15660/the-father-of-serpents-age-of-damnation/

 

 

I admit I care about band’s names, and The Father Of Serpents is not a name that drives my attention initially. My opinion: too long. But my opinion and $ 10,00 buy a CD. So I put “Age Of Damnation” to play. Yeah, the hell with the name! The Father Of Serpents “Age Of Damnation” is a very good effort. The thing I liked most is the myriad of vocals done in all ten tracks of “Age Of Damnation.” The Father Of Serpents alternate a clean, and well-tuned vocal, with a powerful and hollow gutural. The result is a contrast of singing that gives more variety to songs. More opportunities to The Father Of Serpents express their myriad of emotions. And a Metal band always has a lot of emotions to explore.

 

The Father Of Serpents in “Age Of Damnation” do a smart explotation of their chosen style, doom metal, has to give. Every style has its own reaches and purposes, and doom metal is what it is. Its slow tempo songs allow bands to care more about instrumentals, and that’s what “Age Of Damnation” is made of: good instrumentals. The bass guitar, always the ugly duckling of Metal, had a highlight here due to the clean and open production that allows all instruments to shine. “Tainted Blood” and “The God Will Weep For You” are some of them. The care on production is always something that can perfect a band or kill it. For The Father Of Serpents sake it was the first option. Songs like “The Afterlife Symphony” show that The Father Of Serpents cared a lot about the instrumental. Again the vocal duet is the highlight, and also the symphonic parts. The clean vocals gave songs a post-punk taste, something like 1980s gothic bands. It works fine. Check it out in “The Last Encore.” In some songs like “The God Will Weep For You” another facet of vocals is shown: an angry harsh one. Yeah, The Father Of Serpents are a band with many vocal abilities and facets. But not only, instrumentals are well-cared as well. Facing the executioner, facing the choice between a slow or fast death, The Father Of Serpents would for sure choose slow. No doubt about it. By analogy of the pain and suffering that The Father Of Serpents “Age Of Damnation” want to express, imagine that guy who worked for long thirty years in the same boring, low-paid and meaningless job. Done? That’s it! The suffering of life itself. And The Father Of Serpents “Age Of Damnation” was a good expression of that.

 

http://www.metaladdicts.com/site/father-serpents-age-damnation/

 

 

Ah… ma è Yig! È lui il padre dei serpenti che i fan di H.P. Lovecraft ricorderanno. Da oggi vi verrà in mente anche una buona band bella morbosa come piace a me. Ammetto di essere volutamente andato incontro alla fagocitazione perché conoscevo i discreti Awaiting Fear e le perle nascoste dei Balcani, i Rain Delay. Generi molto diversi, death metal i primi, una sorta di doom/melodeath molto dinamico i secondi. Un paio di loro membri hanno fondato nel 2014 i The Father of Serpents ed eccoci qui, risucchiati nella decadenza di questo pienissimo esordio. Non è da tutti cominciare con così tanta carne al fuoco, ma consideriamo che di inizio vero e proprio non si può parlare, mica i sei musicisti sono alle prime armi.

 

Age of Damnation è una via di mezzo, manco a farlo apposta, dello scarno disfacimento nero degli Humanity Zero e quello sconvolgente e mostruoso dei Moribundo. Ha qualche concessione melodica in più, siamo dalle parti dei Paradise Lost in più punti, è gothic metal come zio Lovecraft comanda. In genere però il nome più vicino, che deve onorare i Papà-serpente (dai, era per abbreviare), è quello dei mitici November’s Doom, che dal doom/death hanno tratto il meglio in una carriera lunga e sostanziosa, e anche qui dentro ci sono passaggi avvincenti che vanno oltre la necessaria e solita lentezza del genere. In particolare spiccano, ad un livello ancor più alto della già abbastanza elevata media qualitativa, le pecore felici (ecco, non nere) del gregge: l’apertura con The Walls of No Salvation e la conclusiva Viral, un papabile singolo ed un singolo vero e proprio, per durata e capacità riassuntiva del sound della band; e The Afterlife Symphony, un brano fatto per rappresentare l’album e le sue tante anime. Un altro motivo per fuggire dall’estate, se quelli che vi ho presentato nei giorni scorsi non sono bastati.

 

https://blogthrower.wordpress.com/2017/07/31/the-father-of-serpents-age-of-damnation-satanath-records/

 

 

Serbian band “The Father of Serpents” sounds like “Paradise Lost” on its best days and that is just a top of the hill, trust me. What we can hear on “Age of Damnation” is the perfect blend of the doom and gothic metal, where this sextet brilliantly shows that their other influences (“My Dying Bride”, “Saturnus”) gave them some cool ideas to paint their own canvas. I admit that it’s damn hard not to compare them with previously mentioned bands, but we are not talking about some simple copying or paying a tribute to that sound, no sir. For the first official release, this is a perfectly done job.

 

http://ciklonizacija.blogspot.ru/2017/07/kombo-24.html

 

 

Quirky Serbian gothic doom act. There’s a lot of Moonspell to their sound (particularly in the clean vocal sections), but you can certainly catch more of an affinity to the bombastic, melodic lead line-driven sound of acts like My Dying Bride or My Silent Wake as well.

 

While not as full and bombastic as I’d prefer (or as you might expect for a band working the latter variant of gothicized death/doom), the production isn’t bad at all, with guitars right up front and overtaking the vocals and drums, but simultaneously without becoming overbearing. It’s clear the guitarists were sitting right there during the final mixdown, making sure they remained the ultimate focus…but it’s not as obnoxious as you’d assume in hearing that.

 

Hey, it’s doomy, it’s melodic, it works for me.

 

Well worth giving a spin to, to see if it grabs you as well.

 

https://thirdeyecinema.wordpress.com/2017/07/14/a-mostly-meritorious-and-only-occasionally-if-not-downright-mildly-meretricious-midsummer-roundup/

 

Serbian Black/Death/Doom Metal sextet THE FATHER OF SERPENTS formed in 2015, influenced by bands like MY DYING BRIDE, SATURNUS, PARADISE LOST, and MOONSPELL. “Age of Damnation” is their debut full-length album, and contains ten tracks. The album is about “ten tales of struggles against the very real monstrosities this world has created, as well as the parts of human beings, that such monstrosities have infected. These are the tales of spiritual survival, battles, wars, kicking, tearing, and biting in order to preserve at least some sanity, in the world, which has doomed us all to slavery, and connected us to a single mind-machine, in order to harvest us for any drop of quality, that we, as individuals, have.”

 

“The Walls of Salvation” leads off the album. Two lead guitars combine in the opening with a twisted and eerie sound, and the main riff plods slowly underneath. The Death vocals are intense, dark and very low on the spectrum. The sound creates a spooky amalgam of Black/Doom/Death metal overall. Doomy elements mostly come from the lumbering pace, ambient passages and the bass guitar notes along the way. “The Flesh Altar” opens with some legato violin notes and presents another slow moving song with plenty of despondence. The Death vocals are among the nastiest I have heard, and the cleans cut against them to create a moody but clear atmosphere where you can more easily assimilate the melody.

 

“The Grave for Universe” is thick with Death vocals and some riff changes add some depth along the way. The dual guitar harmonies definitely remind me of PARADISE LOST. Around the half way mark the brutality breaks up and clean vocals linger over a bed of clean guitar notes. I have to say that these ambient passages are really as great at creating a gloomy outlook as the heavier ones. “Tainted Blood” is the first track up to the half way point on the album that moves with a little more haste. The guttural utterances are enough to make you look over your shoulder at the shadow that is growing in size behind you, as the stench of a foul beast permeates your nostrils. “The Afterlife Symphony” is a real heart-tugger. The sense of forlorn is very strong here, like watching the world crumble around you until there is nothing left. Some of the chord patters remind me of INSOMNIUM at times, and the violin accentuates the agony presented. If you don’t feel totally dejected after listening to this you might want to make sure you are still breathing.

 

“The God Will Weep for You” is agonizing in the sluggish opening sequence but picks up speed with tortured vocal wails, and a brilliant bass guitar lead that dances with the violin in a funky and animated way that is really the first passage that lifts outside the black haze of Doom. “The Last Encore” feature again some really solid bass playing by Milan Suput. A lot of really good bands still struggle at how to incorporate this instrument into their music. It really has a lot to offer if you think outside of the box and let the bassist decide on his/her notes. That is definitely the case here and it is very refreshing. “Viral” closes the album and is the shortest track at under four minutes. It has a more straightforward sound but again with a clear sense of melody when needed and it really makes an impression.

 

Overall, I definitely think fans of the aforementioned bands will enjoy this album, but I found that it was more than just the influence of previous works from some of these giants, and really has a lot of the band’s own personality present here. The ambient passages are very good at pushing the sound and the Death vocals are absolutely frightening. The combination is a plate of food that will both excite your taste buds with an exotic flavor, and awaken your senses, along with morsels of vile disgust that you can’t get past your nose.

 

http://www.metal-temple.com/site/catalogues/entry/reviews/cd_3/t_2/the-father-of-serpents.htm

 

 

I “The Father of Serpents” sono un gruppo deathdoom metal proveniente dalla Serbia e nato nel 2014 in una delle più belle città dell’Est europeo, ossia Belgrado (la città bianca, non bella, Ndr). Il loro sound è caratterizzato da un insieme di elementi funerei ma leggeri, melodici ma grezzi. Nonostante sia il loro primo album, esso è comunque denotato da un’impronta molto elaborata in quanto i membri che fanno parte della band hanno già avuto delle precedenti esperienze in altri gruppi musicali. La peculiarità in questo gruppo è data dalla presenza di un violinista, Pavle Sovilj, il quale fa anche da voce in background durante gli intermezzi della voce portante, ovvero quella di Timur Iskandarov.

 

 

 

Il suono ed il ritmo dati dalla fusione degli strumenti rendono l’ascolto dell’intero album molto interessante, dove si possono percepire momenti di caos alternati a momenti di apparente tranquillità. Un ascolto travolgente, piacevole e assai nitido. Infatti, il tutto appare molto nitido e strutturato, ben calzante e melodico al punto giusto.

Costituito da 10 brani, i quali paiono legarsi l’un l’altro, l’album presenta una copertina dall’ atmosfera eterea ed inter-dimensionale, dove possiamo notare il serpente (il quale rappresenta il nome del gruppo) avvinghiato ad una figura femminile la quale osserva un vortice infinito dal candido bagliore sfumarsi all’ orizzonte, mentre delle alte formazioni rocciose rendono inagibile il suolo. La copertina ha anche un qualcosa di ipnotico, come quando si guardano gli occhi misteriosi di un serpente.

Nel complesso questo album può essere considerato un bel lavoro, con una buona tracklist e sound. Una valutazione intermedia sancisce il verdetto generale dell’album.

 

 

https://heavyreviewsit-recensioni.blogspot.ru/2017/10/recensione-father-of-serpents-age-of.html

 

 

Die sechs Musiker von THE FATHER OF SERPENTS fühlten sich schon bei einigen anderen Kapellen aus dem serbischen Underground dem Doom verpflichtet, haben sich unter neuer gemeinsamer Flagge jedoch vorgenommen, ihre reichhaltigen Erfahrungen zu bündeln und die weiteren musikalischen Wege gemeinsam zu beschreiten. Allem Anschein nach hat man sich bei der Vorbereitung des neuen Bandprojekts immer wieder die alten Scheiben von MY DYING BRIDE, ANATHEMA und PARADISE LOST reingefahren, hier und dort noch einmal ins Gedächtnis gerufen, was TIAMAT und THERION in ihren Anfangstagen komponiert haben, und versucht, mit all diesen Einflüssen ein anständiges Doom-Album zusammenzustellen.

 

Nach relativ gutem Start entpuppt sich "Age Of Damnation" jedoch als relativ träges Event, das durch die ziemlich einfallslosen Riffstrukturen kaum imstande ist, genügend Tiefe in das Material zu bringen. Die Instrumentierung ist ziemlich minimalistisch und vertraut auf vereinzelte Geigenpassagen und andere exotischere Parts, die dem Material zu mehr Schwung verhelfen sollen, allerdings zeichnet sich nach wenigen Minuten bereits eine dauerhafte Monotonie ab, die auch von den verwirrenden Breaks und den holprigen Übergängen innerhalb der Songs nicht kompensiert werden kann. Vor allem im Schlussspurt gehen den Serben die Ideen aus, sieht man mal von einem ziemlich unpassend arrangierten Solo in 'The God Will Weep For You' und dem etwas melodischeren 'The Last Encore' ab. Doch auch im Letztgenannten hält sich der Beifall in Grenzen, weil Bands wie PARADISE LOST oder MOONSPELL einen solchen Track mit viel mehr Enthusiasmus unters Volk bringen könnten als THE FATHER OF SERPENTS - und genau an diesem entscheidenden Merkmal scheitert die Band aus Belgrad auch.

 

Es fehlt die Leidenschaft nebst dem kreativen Input, denn einen solchen Release schaukelt man nicht mit ein bisschen Routine runter. Da muss einfach viel, viel mehr kommen, um die Konkurrenz zu beleben. Denn dass diese nicht schläft, hat die jüngere Vergangenheit dutzendfach gezeigt. Und das nicht gerade zum Vorteil eines durchschnittlichen Releases wie "Age Of Damnation"...

 

http://powermetal.de/review/review-Father_Of_Serpents__The/Age_Of_Damnation,31334.html

 

 

The Father of Serpents is a six headed beast comprised from members of various Serbian extreme metal bands. The combination of their talents hoped to recreate the sounds of classic doom with a melodic death metal edge, taking the mantle from established bands like (early) Paradise Lost, (early) My Dying Bride and Cathedral. It doesn’t take too long after hitting the play button on their 2017 release ‘Age of Damnation’ before it’s obvious that the vision they’d hoped for has been reproduced in a spectacular fashion.

 

This is one of those albums that starts well and gets better. ‘The Walls of No Salvation’ fades in with a full compliment of harmonic guitars, before a solid riff underpins the leads with a steady and gothic stomp. The contrast between the base riff and the leads is striking but never jarring…and just as you’ve got the measure of that, the band explodes into a heavier, pneumatic frenzy. In just a few short bars, they exercise their fast and heavy chops, before descending into a slow and gothic bass led groove. The focus of the verses accentuates the goth, with elements of Type O Negative colliding with an almost British quality – hints of the early Fields of the Nephlim inform the slightly atonal lead voice – while bassist Milan Šuput dominates with a fierce bottom end. Having showcased three styles in approximately two minutes, it’s time to bring them all together and what transpires is classically heavy; the tune has plenty of weight and – vocals aside – manages to balance everything with a melodious touch. As the twin leads return for a fade out, there’s very much a sense of completeness, of things having a natural cycle…and so, it provides a fine introduction to a new band of old faces. …And if you like this, then you’ll certainly like the remaining fifty minutes or so, since although The Father of Serpents are talented enough to lead the listener through a mixed style, they often choose to focus on the slow, gothic and weightier elements of their sound…which, in this case, is a good thing indeed.

 

A beautifully sad and haunting violin kicks off an instant album highlight, ‘The Flesh Altar’. Melodic death metal growls are far more evident here, but the contrasting string melody always distracts from the uglier parts of the performance. Accompanied by a slow and dominant riff, this is almost a complete homage to ‘Turn Loose The Swans’ era My Dying Bride, but frankly, recycling rarely sounded so good. The first couple of minutes of this particular number could stretch to a further six without ever seeming dull, but the band has other ideas, ushering in a lighter section with a cleaner vocal and more narrative style. Perhaps more indebted to a folk metal tradition, the lilting guitar melodies add an echoing and almost proggy touch; this turns out to be the perfect foil for a crushingly heavy death metal groove around the corner…and the push and pull between the two contrasting styles really draws in the ear. With a meaty old school lead guitar break on hand to fill more space, this track is nothing short of a doom/folk metal masterclass.

 

More eighties twin leads mesh against a pulsing bass and death metal growl at the outset of ‘Tale of Prophet’ in a melody that recurs throughout a solid but less interesting tune. A touch of groove metal lightens the death toll in places, but it’s when descending into a softer, almost purist goth style this number offers something essential. Although this less heavy moment appears brief – and is then threatened into redundancy by black metal rasps along the way – the more reflective passage is a solid showcase for the way Šuput uses his bass to interact with Željko Zec and Igor Lončar’s guitars. Once you’ve got a handle on that, the forthright bass seems much more dominant once the guitars drop back into a muddy, doomy intensity…which is often where these Serpents seem most at ease.

 

Following a blistering opening trilogy of tracks, there’s a brief feeling that the rest of the album might not have the same quality. Surely Fathers of Serpents will experience some kind of lag at some point, or perhaps expose some filler material? Nope. It seems that every effort has been made not to let this album out into the wilds of Serbia and beyond until it is good and ready. Makes sense too: with so much extreme metal, death- and doom metal vying for attentions (especially from Eastern Europe), a band needs to stand out. …And if Fathers of Serpents don’t always stand out through originality – and they’ve said themselves, this album is very much a homage to the great doom acts – then they need quality material.

 

From ‘Grave For Universe’s ultimate collision of Black Sabbath riffery and Entombed vocal attack to ‘Tainted Blood’s perfect hybrid of melodic death and doom metal staples, there’s more evidence of a band truly focused upon a solid and heavy style. While ‘Grave’ seems to be more intent on delivering a riff at the expense of almost everything, ‘Tainted Blood’ certainly shows off a dark and heavy heart in a way that should appeal to many fans of extreme metal styles. The chugging guitars throughout the number are among the album’s most direct, while the growling vocals harken back to a purer 90s form of death, with Chuck Schuldiner and Alex Hellid as obvious touchstones.

 

Into the second half of an already impressive long player, there’s very much more of the same, with ‘The Quiet Ones’ exploring a slow and almost sludgy riff, before stepping up the pace to throw out a fearsome chug, while Tamerlan makes his presence truly felt via a selection of husks, growls and deep bellows. The lyrical concerns aren’t always immediate, but with the neo-cinematic style on display here, it’s often best to accept his voice for what it is…and better still if you’re able to treat it like extra instrumentation. ‘Viral’ comfortably shifts between doom and goth, very much in the band’s tried and tested style, while ‘The Last Encore’, meanwhile, hits a musical groove that’s much closer to classic Paradise Lost, shifting from outright doom to a heavy gothic strut, bringing a clean voice to suit. At least at first, since the death growls are just around the corner. Looking a bit deeper, a shift in guitar tones suggests gothic prog-metal, a style which really shows off the musical prowess from all concerned. With ‘The God Will Weep For You’ throwing another massive riff forward from the outset, it’s easy to assume where things are headed, but the Serpents have one last trick to reveal when the violins head into an almost Arabic musical motif and everything else steps down from doom metal to unleash a funky slap bass… While it’s unlikely anyone will take this and run with it to create “doom-funk”, it’s a brilliantly fun interlude.

 

Perhaps the finest moments of the album’s second half – and indeed, the whole album – come courtesy of ‘The Afterlife Symphony’, a lengthy piece that, much like the impressive ‘Flesh Altar’, pushes Pavle Sovilj’s string work to the fore, where a mournful violin battles a very melodic and very 80s lead guitar for dominance. Moments of clean guitar suggest a band capable of branching out, too, but…ultimately stay in their comfort zone, ploughing a furrow of deep, intense riffs against a circular lead. Vocally, Tamerlan goes all out for throaty menace; his performance, while nothing new, should certainly please those who crave death metal roots. As the track pulls to a close with a barrage of drum fills, a devastating croon and twin guitars cranked to oblivion, it’s a track that covers pretty much all of the essential extreme metal bases and more.

 

For the style, this is an absolutely terrific album. It’s ten songs have a devastating crunch when required (and it’s seemingly required a lot!), but even the ultimate heaviness so often comes tempered by a haunting and melodic selection of lead guitars. The tunes are expertly crafted, with even the shorter pieces clinging on to an almost epic sense of the theatrical, while the individual players come together sounding much weightier than the sum of the band’s parts. In short, for intense metal, this has it all. Grab it now.

 

http://www.realgonerocks.com/2017/10/the-father-of-serpents-age-of-damnation/

 

 

Gothic death doom di buona fattura è quello che ci arriva da Belgrado grazie ai The Father Of Serpents.

 

Cercando di mettere contemporaneamente sul piatto gli influssi provenienti soprattutto da giganti del genere come Moonspell, My Dying Bride e Paradise Lost, i nostri riescono senza dubbio nella non facile impresa e laddove viene sacrificata in parte la freschezza della proposta si riceve in cambio un’interpretazione pulita e ricca di buoni spunti melodici.

In effetti, l’unica critica attribuibile alla band serba è proprio quella di sembrare ogni tanto una congrega di bravissimi assemblatori delle intuizioni altrui, sensazione che prende piede, per esempio, fin dal secondo brano The Flesh Altar, con il suo riff portante simile a quello di Lesbian Show dei Nightfall, e che si protrae sino al termine, con l’appassionato più esperto che si diletterà nel rinvenire passaggi che rievocano, in maniera comunque mai troppo marcata, il meglio offerto dal genere negli ultimi vent’anni.

Detto ciò, veniamo ai lati positivi, che poi sono nettamente prevalenti su qualsiasi altra considerazione: i The Father Of Serpents, con Age Of Damnation mettono assieme un’opera dal notevole spessore qualitativo, con una decina di brani caratterizzati da un invidiabile equilibrio tra ruvidezza e melodia, esprimendo un gothic doom spesso elegante nel quale l’utilizzo appropriato del violino (ad opera di Pavle Sovilj, che si occupa anche delle clean vocals) conferisce in più di un frangente un decisivo tocco malinconico.

Il sestetto slavo fornisce una prova priva di sbavature, i suoni sono ottimi così come gli arrangiamenti, l’uso della doppia voce risulta inattaccabile (l’ottimo growl è opera di Tamerlan, il quale però ha da poco abbandonato la band) e si fatica davvero a trovare un brano che non sia all’altezza della situazione, con menzione d’obbligo per la notevole Tainted Blood e non solo per la citazione dantesca (“lasciate ogni speranza voi che entrate”, declamata con una dizione invero rivedibile).

Questo quadro complessivo ci suggerisce che Age Of Damnation è un album rimarchevole, prodotto da una band dal sicuro potenziale che deve fare, però, solo un piccolo sforzo per imprimere un marchio personale alla propria musica, pena la permanenza nel confortevole limbo delle realtà di buon livello ma nulla più.

 

http://metaleyes.iyezine.com/the-father-of-serpents-age-of-damnation/

 

 

Eastern Europe continues to be a hotbed of quality Metal output. Serbia’s The Father Of Damnation fall definitely within this category. The brand of Goth-tinged misery really is something to behold. It seethes and bellows and groans through an hour of abject misery. Pretty decent stuff! Not bad for a debut release.

The album kicks off with “The Walls Of No Salvation”, which is possessed of a rather fetid groove, and a pungent sense of decayed melody. The atmosphere that the band create here is positively suffocating. Next up is “The Flesh Altar”, full of stately violin and intensely heavy riffing, which then gives way to gothy shoegazing, then shifts seamlessly between the two. “Tales Of Prophet” creates a heartsick ache, driven as it is by sour tunefulness and an insistent rhythm. It is followed by the album’s only real disappointment – “The Grave Of Universe”, an uninspired trundle, which is, to be blunt, a bit of a chore to listen to.

Thankfully normal service is resumed with “Tainted Blood” which is straight out of the Bauhaus playbook, before once again returning to worship at the altar of doom. The balance the band achieve between the two is really something to behold. Exquisite. “The Afterlife Symphony” features some warm and folkish violin juxtaposed with the contrast of the diabolically miserable guitars, and “The Quiet Ones” is filled to the brim with abject woe and hopelessness, underpinned by controlled aggression.

The experience of listening to “The God Will Weep For You” is akin to wrapping yourself in a blanket made out of anguish, before it erupts into a comparatively uptempo attack. “The Last Encore” is more of the same superlative quality. The album is rounded off with the powerful and poisonous “Viral”.

“Age Of Damnation” is a very rewarding experience. In many ways it recalls “Shades Of God” era Paradise Lost, spliced with the best of 1980s Goth. The balance of crunch, melody and atmosphere is often flawlessly elegant. The lead guitar work sometimes veers away from traditional Metal climes, into Knoppfler/Gilmour territory, and is breathtaking. This is an inspired blend of 1980s Goth and Doom.

 

http://www.theindependentvoice.org/2017/08/30/the-fathers-of-serpents-age-of-damnation/

 

 

Evo što se dogodi kada se na istom mjestu skupe vrhunski muzičari, sa dugogodišnjim iskustvom sviranja i stvaranja, a sve sa ciljem da naprave album isključivo za svoju dušu. Bez ograničavanja, kako žanrovski, tako i u smislu samog muziciranja. Na kraju se dobije album koji je tek blago uokviren nekakvim Doom/Death Metal crtama, a sam po sebi predstavlja slobodnu umjetničku formu koja sama sebi crta granice. Potpuno se osjeti sloboda koju svaki instrument za sebe ima tokom pjesama. Čak do te mjere da na momente zazvuči kao čvršća, distorzirana Jazz improvizacija. Uostalom, poslušajte samo solo duel bas gitare i violine u pjesmi ’The Gods Will Weep For You’.

 

Spomenuo sam Doom/Death Metal kao klasičan primer generalizacije zvuka. Vjerovatno bi na polici neke prodavnice i bio zaveden pod tim žanrom. Uostalom, teška, turobna atmosfera koja okružuje ovaj album bi ga lako mogla svrstati u taj ’kalup’. No, ako uzmemo tekstove za primer, tu ima i ’gore’ elemenata (’The Flesh Altar’), religije (’The Gods Will Weep For You’), socijalne kritike (’Viral’) uz nezaobilazne suicidalne asocijacije (apsolutni poetski vrh izdanja u ’The Afterlife Symphony’). Ovako prezentirano kroz moj skromni vokabular, ovo sve djeluje prilično ’razbacano’, ali nije. Vrhunski primeri aranžiranja numera na ovom izdanju odlično drže pažnju. Možda je pogrešno kada govorimo o jednom od najcrnijih žanrova omiljene nam muzike upotrebiti reč ’razigranost’, ali tako zvuči bukvalno svaki instrument na ovom izdanju. Govorio sam o umjetničkoj slobodi i baš tu se najbolje osjeti. Ni jedan instrument u ovih nešto manje od sat vremena nije poslužio samo kao popuna zvuka. Svako je odigrao svoju ulogu i stvarno je nevjerovatno koliku širinu pjesma dobije ako se obrati pažnja na bas dionicu ili prateće vokale ili bilo šta drugo što nije obično u ’prvom planu’.

 

Bespotrebno je pričati o svakom instrumentu zasebno, ovaj album ne služi da se pohvali muzičar već sama muzika. Tako ga treba i shvatiti i preslušavati. Prepustiti se u potpunosti i užitak je zagarantiran. Najbolje izdanje ove godine u Srbiji, bez konkurencije.

 

http://metaljacketmagazine.com/recenzija-the-father-of-serpents-age-od-damnation/