. Satanath Records

Reviews: SODP104

< Обратно к релизу / Back to page

“Loathed Be Thy Name – this song was inspired by Cthulhu Mythos and written from the perspective of a disciple praying to the Dread Lord. H.P. Lovecraft has always been a huge inspiration for me. His writing seems to have a way of expanding your consciousness and taking you somewhere new. Absolute genius.” – Bestialord


Law of the Burning offers nine menacing tracks shrouded in darkness and Lovecraftian atmosphere. Bluesy solos and thick dreadful riff structures authenticate its doom foundation, whereas the spirited vocal, incorporating the ghoulish energy of David Vincent and ancient caveman like tone of Lee Dorrian at the same time, acts as the harbinger of ghastly death metal atmosphere.





Bestialord was formed in 2016 by vocalist/guitarist Mark Anderson (Manilla Road, Sanctus Infernum) and drummer Chris Johnson (Sanctus Infernum), with the line-up rounded out by bassist Rob Harris. Their debut album Law Of The Burning showcases their unique style described as Occult Horror Doom, and one listen clearly showcases their influences which includes Celtic Frost, Candlemass, Morbid Angel, and Mercyful Fate.


The album launches head first in to their take on an atmospheric death metal sound layered over a heavy doom foundation. The first song, The Doom That Came, starts with a teasing instrumental opener full of atmosphere, before launching into a heavy, doom-laden sound. Mark Anderson’s vocals have that traditional growl sound, yet are clear and audible. The middle of the song features a killer, thrashy guitar solo that will have you head-banging along. The second track “Vermin” really solidifies the bands sound. The blackened doom sound is stronger with some great key and pace changes to keep things interesting and another guitar solo. The drums really stand out on this track as they are faster paced, with some solid blast beats.




All Fall Down opens with some sound bites of an angry crowd accompanied by an acoustic guitar instrumental. This leads into a song that has a heavier more epic feel that fans of very early 80’s extreme metal will love. The lyrics stray into themes of social destruction, which is highlighted by a vocal style that is getting raspier and more death metal sounding. There is an almost power metal element to this song that really draws you in. The track really picks up towards the end and draws the listener in. This leads in to the title track of “The Law Of Burning” in which the band really hit their stride. The vocals are a stand out, along with an excellent bass line. The band have figured out their sound and really improve on it showing some great musicianship. Every track has featured a guitar solo but this one has an epic, almost symphonic quality. The song is faster paced and you can’t help but find yourself growling and air guitaring along. Definitely my pick as the stand out track on this album.




The following three tracks: Marduk Kurios, I Am Pain and Loathed by the Name really solidifies the bands sound. Lyrical themes of war and death abound with a touch of a fantasy/occult element. In each song the band tries something new whilst sticking to their core atmospheric death-touched doom genre. Heavy choruses buffeted by spirited guitar solos, clear yet gutteral vocals and some very heavy drum work abound. There is nothing truly ground-breaking but each song draws you in and keeps your interest.


We see a slower pace being adopted with Above The Vaulted Sky. The symphonic instrumental over nature sounds in this tracks opening really grab your attention, as does the songs womanly subject matter. The pace is slower yet heavier with a building feel throughout. The band try for something different here and it really works, showcasing the skills if the members. They continue this ambitious fell with the closing track What Is The End. The bass line really stands out on this track as the song takes on a more epic, power metal feel. This track is designed to draw you in, keep your interest and get you rocking along. It does this well, ending the album on a real high note.


Law Of The Burning is a very solid effort from some clearly talented musicians. They know the sound they are after and really work to bring that to the listener, taking them on a journey.  A great harbinger of things to come for Bestialord. If you are someone who likes to break out the greatest hits of the early 80s extreme metal scene, this album is for you.





OK, one of the selling points being pushed here is that this band features a member of Manilla Road.


Hey, I love Manilla Road – Crystal Logic and Mystification in particular. Shelton, Park, Fisher and later the crazy off-meter percussion patterns of Foxe…some really good, quirky “outsider metal” there.


Oh, wait, he came well after the classics, circa the early 2000s. Yeah, know nothing about that era – Shelton lost me by Courts of Chaos (the older-styled “book of skelos” aside).


So anyway…how to describe this one? It’s sort of pre-Covenant Morbid Angel by way of early Nocturnus vocals (yeah, Anderson sounds a lot like Mike Browning here, with just a touch of earlier David Vincent) appended to a quirky/simplistic riffing style falling somewhere between the uber-basicness of Acheron and the off-kilterness of Shelton and Manilla Road…but as pressed very pointedly into the service of first wave black metal or a late 80’s-ish, very Americanized take on blackened thrash.


I guess if you take the Nocturnus demos and bring them down more to an Acheron-ish level of fretboard skill, you’d get Bestialord. It’s certainly “blackened” enough on the lyrical end.


I was good with this, it felt extremely retro 1988-1990, with a far less tech-inclined Morbid Angel/Nocturnus vibe.





Formed last year by ex-Manilla Road bassist Mark Anderson alongside his bandmate Chris Johnson from Sanctus Infernum, Bestialord offers up their version of occult/horror themed doom on their debut full length ‘Law of the Burning’.  While there have been plenty of bands that have fallen into that category in recent years, where Bestialord differs is in their ability to pull in riffs that recall death metal’s earlier days just as much as doom.  It’s a combination that’s drenched in an ominous, gritty atmosphere that feels appropriately old-school without treading too closely to any one particular band.  With ‘Law of the Burning’ due out on January 1st courtesy of Cimmerian Shade Recordings and Symbol of Domination Productions, today we’re premiering the track All Fall Down.


Bestialord establishes a dark and ominous vibe early on with a soft, eerie melody that leads into the type of bottom heavy distortion you’d expect from doom.  But the instrumentalists have taken a very different approach from the usual retro doom sound, instead capturing a grittier, bass heavy sound that pulls just as much influence from earlier death metal as it does Candlemass.  The riffing throughout All Fall Down is drenched in grime and decay and moves along at a mid-tempo pace that emphasizes the lurching bass grooves and crunchier guitar tone.   It’s not quite as bottom heavy as what one might think of when they hear death/doom as of late, with the production opting for the dirt and grime over sheer weight, but it still leaves an impression with the eerie leads and haunting atmospherics.  Plus the solo around the three quarter mark adds to the haunting nature of the track considerably, helping to break up the mid-tempo groove perfectly.


Mark Anderson handles the vocal work throughout ‘Law of the Burning’ and he utilizes a raspier scream that hangs over the recording with a ghoulish presence.  This is where a lot of the death metal vibe I get from the track comes from as Anderson’s pitch is reminiscent of a number of vocalists from that genre, particularly those that are more horror oriented.  The production values allow the screams to hang over the instrumentation and take the spotlight on more than one occasion, and this helps to add a little bit more bite to the material.  It’s a nice change of pace from the clean singing you’d expect from doom of this type, and is one of the elements about Bestialord that I think will grab a good deal of listeners.


Other songs on ‘Law of the Burning’ explore some Mercyful Fate style heavy metal and even some very early black metal alongside the death metal tonality, but at its core this remains a doom album.  Bestialord is old-school in the best way possible, channeling just about every side of extreme metal’s roots without coming off as cashing in on nostalgia.  The group’s left themselves room to expand further upon these concepts, but they’ve still delivered a catchy yet eerie debut.  ‘Law of the Burning’ is out January 1st on Cimmerian Shade Recordings and Symbol of Domination Productions.





Bestialord have already chosen their name, but if they hadn’t, I would have suggested Riff Lord (it seems that “Rifflord” has already been taken). Seriously, if you don’t want to severely strain your levator scapulae, I’d recommend you give them a good limbering up before listening to this new Bestialord song from their debut album, Law of the Burning, because headbanging is pretty much compulsory.


But there’s also some logic in the name this trio did choose for themselves, because their brand of occult horror doom also sounds like it was concocted in the infernal lair of a bestial demon overlord.


Bestialord was formed roughly a year ago in Wichita, Kansas, by two members of Sanctus Infernum — Mark Anderson (ex-Manilla Road) and Chris Johnson — who were soon joined by bassist Rob Harris. This first album was recorded earlier this year and will be jointly released on New Year’s Day, 2018, by Symbol of Domination and Cimmerian Shade.


The song we bring you today through a lyric video is “Vermin“. It seems to tell the tale of a vicious and remorseless judgment being passed upon some doomed soul by a supernatural narrator.


The mid-paced music has a primitive and primal power that draws not only from the song’s ominous and brutish (and highly infectious) riffing but also from the kind of drum tone that makes the snare cracks feel like spontaneous skull fractures and the bass booms resonate in your lower intestines, and the vocalist’s craggy growls sound just as savage and heartless as the words he’s proclaiming.


As suggested earlier, the song also has a supernatural atmosphere, thanks to the eerie, spectral reverberations of the lead guitar and the freakish sound of the solo that rears its horned head in the song’s back half.



Pelo jeito, o ano novo que mal começou já nos dá um lampejo de esperança e certeza de boa dose de entretenimento metálico. Tomemos como exemplo o Bestialord.


Lançado em 01/01, “Law of the Burning”, seu álbum de estréia, já nos trás a melhor das expectativas, pois quem consegue harmonizar com tanta maestria Doom Metal com Death Metal é merecedor de ao menos um voto de confiança.


Apesar da clara opção estética e sonora da banda, a mesma abole o Doom Metal marcha lenta sorumbático para aplicar suas virtudes em um som mais dinâmico, bastante pesado, situado em algum ponto entre o próprio Doom e o Metal tradicional.


Assim sendo, no lugar de arranjos que, muitas vezes, podem causar sonolência nos menos familiarizados ao gênero, temos andamentos empolgantes, densamente cadenciados e pontualmente melódicos, que cativam e evidenciam uma banda com sólidos princípios e identidade já definida.


Não chega a ser ousado, mas também está muito longe do genérico. “Law of the Burning” reflete aquilo que toda banda extrema almeja em sua estréia: um disco forte, agressivo e marcante. “All Fall Down” e “Marduk Kurios” são indicativos de que o caminho a ser trilhado é espinhoso, mas é correto. Bom demais da conta.





MANILLA ROAD, au même titre que VENOM, offre une vision très old-school et primaire du Metal, y mélangeant le Black, le Speed, le Death, le Doom, bref tout ce qui est crade et pue la mort ! Au premier abord, on a souvent un mouvement de recul en ce demandant où veut en venir le groupe, mais au final, c'est l'authenticité qui finit toujours par ressortir. Un ex-membre de MANILLA ROAD revient avec un nouveau groupe, offrant là son premier album, Law Of The Burning, il s'agit de Mark Anderson, bassiste du groupe de 2000 à 2002, qui tient ici le chant et la guitare au sein du trio BESTIALORD. L'homme est accompagné de Chris Johnson, batteur de SANCTUS INFERNUM aux côtés de Mark justement, la basse étant ici tenue par Rob Harris pour compléter le trio, format de groupe standard pour le style.


Alors, pour ceux qui connaissent SANCTUS INFERNUM, on est justement pas très loin avec ce Law Of The Burning mais en même temps assez loin. Dans les intentions, on sent que la patte est la même, sauf qu'ici tout est brut, peut être un peu trop parfois, avec SANCTUS INFERNUM, c'est plus produit, plus moderne également dans la production. C'est d'ailleurs ce qui frappe en premier, le côté plat de la production, le grain de la guitare est aussi habillé qu'une playmate sur la page de juillet d'un calendrier pour chauffeur routier (ah le cliché !), la basse est plutôt noyée dans l'ensemble et la batterie est d'un naturel assez déconcertant. Toutefois, à l'image d'un "Loathed Be Thy Name", le travail d'arrangement et de production est bien plus fin que ce que l'on entend en surface, le style exigeant que vous vous immergiez totalement dans la musique, et au final, BESTIALORD démontre qu'il n'est pas obligé de survitaminer les guitares, d'en avoir 2 ou 3 d'ailleurs, de trigger la batterie, pour faire vivre des émotions à l'auditeur. Il faut juste savoir lâcher prise pour entrer dans l'univers proposé là, une chose de plus en plus difficile dans notre société qui nous pré-mâche un peu tout maintenant.


Attention, il y a bien quelques défauts sur cet album, le style brut et old-school ne couvre pas tout, la verrue de la guitare en son clair au début et à la fin de "All Fall Down", un son de caisse claire trop présent ("The Doom That Came") expriment des choix qui, s'ils avaient été dans le sens de l’esthétisme, n'auraient pas dénaturer pour autant le propos initial. Et lorsque le trio s'essaie à ralentir le rythme, ce n'est pas encore au niveau du reste, pour exemple cet ultime "What Is The End" qui brille surtout pour son solo central et nous laisser entrevoir un potentiel également dans ce domaine, mais ce titre n'est pas tellement marquant, il ne s'y passe pas grand chose malheureusement.


Pour le reste, la musique de BESTIALORD n'est pas extrême, souvent proche du Heavy Speed Metal d'un VENOM, c'est la voix de Mark Anderson qui la rend moins accessible. Un peu comme ACID WITCH, la voix tire sur le rendu Black Metal par son aspect crasseux, enlaidie par une approche gutturale qui correspond parfaitement avec l'effet escompté. Cet album n'est cependant pas aussi inspiré que les grandes œuvres de MANILLA ROAD, il manque encore un peu de folie, on a envie de taper du pied mais pas encore envie d'headbanguer avec mamie venue pour le gigot du dimanche, un album moyen qui passera comme il est venu mais qui permettra de dire plus tard, « voilà comment tout a commencé », les bases étant tout de même solides.




MANILLA ROAD au même titre que VENOM offrent une vision très old-school et primaire du Metal, y mélangeant le Black, le Speed, le Death, le Doom, bref tout ce qui est crade et pue la mort ! Au premier abord, on a souvent un mouvement de recul en ce demandant où veut en venir le groupe, mais au final c'est l'authenticité qui finit toujours par ressortir. Un ex-membre de MANILLA ROAD revient avec un nouveau groupe, offrant là son premier album, Law Of The Burning, il s'agit de Mark Anderson, bassiste du groupe de 2000 à 2002, qui tient ici le chant et la guitare au sein du trio BESTIALORD. L'homme est accompagné de Chris Johnson, batteur de SANCTUS INFERNUM aux côtés de Mark justement, la basse étant ici tenue par Rob Harris pour compléter le trio, format de groupe standard pour le style.


Alors, pour ceux qui connaissent SANCTUS INFERNUM, on est justement pas très loin avec ce Law Of The Burning mais en même temps assez loin. Dans les intentions, on sent que la patte est la même sauf que là où ici tout est brut, peut être un peu trop parfois, avec SANCTUS INFERNUM, c'est plus produit, plus moderne également dans la production. C'est d'ailleurs ce qui frappe en premier, le côté plat de la production, le grain de la guitare est aussi habillé qu'une playmate sur la page de juillet d'un calendrier pour chauffeur routier (ah le cliché !), la basse est plutôt noyée dans l'ensemble et la batterie est d'un naturel assez déconcertant. Toutefois, à l'image d'un "Loathed Be Thy Name", le travail d'arrangement et de production est bien plus fin que ce que l'on entend en surface, le style exigeant que vous vous immergiez totalement dans la musique, et au final, BESTIALORD démontre qu'il n'est pas obligé de survitaminer les guitares, d'en avoir 2 ou 3 d'ailleurs, de trigger la batterie, pour faire vivre des émotions à l'auditeur. Il faut juste savoir lâcher prise pour entrer dans l'univers proposé là, une chose de plus en plus difficile dans notre société qui nous pré-mâche un peu tout maintenant.


Attention, il y a bien quelques défauts sur cet album, le style brut et old-school ne couvre pas tout, la verrue de la guitare en son clair au début et à la fin d'"All Fall Down", un son de caisse claire trop présent ("The Doom That Came") expriment des choix qui, s'ils avaient été dans le sens de l’esthétisme, n'auraient pas dénaturer pour autant le propos initial. Et lorsque le trio s'essaient à ralentir le rythme, ce n'est pas encore au niveau du reste, pour exemple cet ultime "What Is The End" qui brille surtout pour son solo central et nous laisser entrevoir un potentiel également dans ce domaine, mais ce titre n'est pas tellement marquant, il ne s'y passe pas grand chose malheureusement.


Pour le reste, la musique de BESTIALORD n'est pas extrême, souvent proche du Heavy Speed Metal d'un VENOM, c'est la voix de Mark Anderson qui la rend moins accessible. Un peu comme ACID WITCH, la voix tire sur le rendu Black Metal par son aspect crasseux, enlaidie par une approche gutturale qui correspond parfaitement avec l'effet escompté. Cet album n'est cependant pas aussi inspiré que les grandes oeuvres de MANILLA ROAD, il manque encore un peu de folie, on a envie de taper du pied mais pas encore envie d'headbanguer avec mamie venue pour le gigot du dimanche, un album moyen qui passera comme il est venu mais qui permettra de dire plus tard, "voilà comment tout a commencé", les bases étant tout de même solides.





Despite what a name like Bestialord would suggest, the Wichita band’s debut album actually sounds rather clean by death/doom standards. Law of the Burning is a melodic album, though its influence from groups like Celtic Frost, Candlemass, and Obituary can be strongly felt throughout. The guitars match intricate riffs with a fiery tone, the drums generally opt for active rhythms, and the surprisingly enunciated rasps recall a mix of Altars of Madness-era Dave Vincent and Repulsion’s Scott Carlson with a subtle black metal undercurrent.


The results are clean and competent, but the production also makes things sound rather stiff at times. The drums often seem hollow and the guitar tone is stilted, lacking much of the ominous or existential feeling essential in most death/doom. Fortunately, the actual performances are well done and the lead guitars on the title track do occasionally invoke an eerie dread reminiscent of Scream Bloody Gore-era Death.



In addition, the different influences on display does result in some varied songwriting. Most of the songs run the gauntlet of speedy pacing to sluggish doom as songs like the appropriately titled closer “What is the End” prominently reside in the slower end of the spectrum while others like “Vermin” and “I Am Pain” serve as aggressive beatdowns. There’s nothing to really hate about these tracks, but they aren’t too outstanding either.


Overall, Law of the Burning is a decent debut though it needs an extra oomph that would really help Bestialord stand out. The musicianship is solid and the diverse songwriting is welcome, but the artificial production job keeps the band from being a true staple of death/doom. I think a more savage-minded approach and more memorable writing will help Bestialord on future efforts, but their debut may still be worth checking out for a somewhat cleaner look at the genre.




Lord Of The Burning is the debut album of Kansas based doom metal band Bestialord. Bestialord were formed by members of Sanctus Infernum and play self styled occult horror metal. Bestialord offer up a very old school sound with 80’s doom metal being the prevalent influence though there is a big influence from old school death metal and black metal. The pace of the songs alters throughout the album giving a bit of variation and helping to retain interest. You get slow burning doom such as What Is The End to faster paced ones such as the title track.


The performances are great throughout the album. The harsh vocals by frontman Mark Anderson really add to the evil and malevolent feel of the album. The performances are complimented by a fine production job which is clear but not too clean sounding. Bestialord have a great debut album to put out in January which is a pure love letter to 1980’s extreme metal. Lord Of The Burning oozes pure nostalgia and by the end of it you will have an overwhelming urge to grab your Celtic Frost and Candlemass records and give them a spin.





Offering nine tracks of occultism based doom metal, Law of the Burning is the debut album from Bestialord. Influenced by the likes of Morbid Angel, Cathedral, Celtic Frost and Mercyful Fate, the record will be released on January 1st 2018 via Symbol of Domination & Cimmerian Shade Recordings (USA).


Menacing & shrouded in dark atmosphere, Law of the Burning is an album that is layered thickly with doom heaviness. The methodical approach to delivering a disturbing level of ghastly riffs, solos & twisted vocals is quite something.


The Doom That Came burns slowly while Marduk Kurios has a bit more energy to it. Both throw in spirited, screeching solos to give a more rounded & full sound. Chugging along with just the right touch of classic doom mixed with a smoother, modern sound. Above the Valued Sky ups the occultist feel to the album before All Fall Down drops the catchiest number so far with a trippy guitar solo that leaves a mark.


Those influences can certainly be heard throughout especially within the vocals. Dark death metal with just a hint of energy. A good example is the title track that switches between thumping slow doom & faster, traditional metal riffing.


By time Bestialord hit the penultimate track ‘Vermin’, they’ve confirmed themselves as a band to get excited about within the heavy doom/occult metal scene. Drawing a lot of their strength from inspiring trips into darkened caves of the past, Law of the Burning closes out with one final heavy push in I Am Pain.


A thunderstorm of a finale bringing raging darkness to cover the earth.





Law of the Burning by Bestialord is a piece of gloomy, rough death/doom that gives us a very no-frills approach to the genre. The sound is decidedly old-school and resembles slower death metal from the turn of the 90s with a bit of campy “first wave black metal” overt evil in the vocals, lyrics, and low, gloomy sound thrown in to round out the band’s personality quite a bit. This debut is actually a pretty good one considering how a stripped-back approach to death/doom could end up being really sluggish and simple. Law of the Burning avoids a lot of the pitfalls involved in the style and actually give us something that does a good job of sounding rotten and ugly while keeping the songs going well.



The guitars on here generally run at a pace that’s creeping, but rarely plodding. It actually gets up to faster speeds at some points without losing its darkened gloam and doomy feeling. Even so, the vocals are probably what gives this the most kick since the guy singing here delivers his lines with a lot of venom and clear enunciation to let you know about the evil things he hisses forth. The verses he delivers on “Vermin” and “Loathed Be Thy Name” sound a lot like he’s invoking some hateful elder entity. This isn’t the most unorthodox band in the world, but they do know how to do a lot with their instruments and make their rotten stomping carry a lot of darkness and get heads swaying. The raw sound, no-frills darkness, and somewhat campy hissed growls remind me a lot of Necrophagia if they slowed down. The riffs keep the pace churning especially on “Above the Vaulted Sky” where things go nice and heavy with a faster tempo. The album as a whole makes for some good, trudging evil, even if the production on those guitars could have been more forceful.




Even if the production is somewhat undercooked on Law of the Burning, it seems Bestialord are off to a good start with their brand of ugly death/doom. The sense of gloom is palpable on here, the guitars bleed with dread and the vocals are spiteful and wicked with the singer narrating out some very direct lyrics about occultism and torture. The pace is kept to a speed where boredom is avoided and there are some songs that vary from mid-paced mud-stompers to gloomy slow-burners that hold the atmosphere well. The sound works and brings a morbid and back-to-basics approach to death/doom. This may not be particularly revolutionary, but Bestialord know which dug-up sonic coffin they fit in just right and make themselves really comfortable. All they need is some more elaborate songwriting and some meatier production and they will do well in the future.




In de biografie van Bestialord wordt als belangrijke marketing troef het korte verleden van bassist Mark Anderson bij de cult heavy metal band Manilla Road aangehaald. De beste man nam aan het begin van dit millennium zowaar twee albums op met de band van Mark ‘The Shark’ Shelton. Inmiddels zijn we vijftien jaar verder en speelde Anderson de laatste jaren gitaar in de band Sanctus Infernum samen met zijn maatje Chris Johnson (drums) waarmee hij drie albums uit bracht. In oktober 2016 startten beide heren samen met bassist Rob Harris hun nieuwste band Bestialord met als doel Occult Horror Doom Metal geïnspireerd door Black Sabbath, Celtic Frost, Candlemass en Morbid Angel te spelen. Na enkele maanden nummers te hebben geschreven dook het drietal begin dit jaar de Red Cat Recording Studio in om hun debuutalbum ‘Law of The Burning’ op te nemen. Cimmerian Shade Recordings (USA) en Symbol of Domination (Wit-Rusland) brengen het album gezamenlijk uit.


‘Law of The Burning’ bevat negen tracks met een totale speelduur van 40 minuten. Het valt niet mee de muziek van Bestialord te omschrijven, maar één ding is duidelijk, en dat is dat de heren uit Wichita, Kansas een heel eigen en herkenbaar geluid hebben weten te creëren met hun mix van heavy metal, death metal en doom metal en rasperige zang van Mark Anderson. Het is geen onplezierige schijf om naar te luisteren, maar toch ontbreekt er iets waardoor de klik gedurende de hele plaat uitblijft. Het snare geluid moet je bijvoorbeeld van houden (soms klinkt het net als heien), maar ook de solo’s lijken er net iets te onsamenhangend ingevoegd te zijn en de nummers lopen niet altijd even lekker. Aan de andere kant klinkt Bestialord wel weer lekker oldschool en is het een echte metal band zonder fratsen. Een potje bier erbij en headbangen op nummers als ‘Vermin’ en ‘The Doom That Came’ gaat zeker lukken. Geen wereldschokkende release, maar voor fans van echte metal zeker een keer het proberen waard.





  Bestialord  are  a  band  from  Kansas  that  plays  a  musical  style  they  describe  as  being  'occult  horror  doom  metal'  and  this  is  a  review  of  their  album  "Law  Of  The  Burning"  which  will b e  released  in  2018  by  Symbol  Of  Domination  and  Cimmerian  Shade  Recordings.


  A  horror  movie  orientated  sound  starts off t he  album before  gong  into  more  of  a  heavier,  old  school  and  melodic  direction  while  all  of  the  musical  instruments  have  a  very  powerful  sound  to  them  while  the  vocals  are  mostly  80's  style  death  metal  growls  and  the  solos  and  leads  are  also  done  in  a  classic  metal style. 


  All  of  the  musical  instruments  have  a  very  powerful  sound  to  them  while  clean  playing  is  also  added  into  certain  sections  of t he  recording  along  with  the  sower  riffing  being  heavily  influenced  by  doom  metal  as  well  as  the  mid  tempo  sections  of  the  songs  bringing  in  a  great  amount  of  thrash  elements and  the  music  sounds  like  it  could of easily  been  recorded and  released  more  than  25  years  ago  and  horror  movie  samples  can  be  heard  briefly.


  Bestialord  plays  a  musical style  that  takes  doom, death  and  thrash  metal  and  mixes  them  together  to  create  a  sound  of  their  own,  the  production  sounds  very  old  school  while  the  lyrics  cover  Occultism  and  Horror  themes.


  In  my  opinion  Bestialord  are  a  very  great  sounding  horror  occult  doom  metal  band  and  if  you  are  a  fan  of this  musical  genre,  you  should  check  out  this  album. 





Press kits can be deceiving. Hell even record reviews can be misleading, I think one thing I can pride myself on with this blog is giving you a straight from the hip, cut the bullshit evaluation of what is going on here. So this self proclaimed horror doom band which features Mark Anderson of Manilla Road, might not have been the doom I was looking for , but they do crank out some pretty decent metal regardless. This band shares some common ground with Acid Witch sonically. More upbeat and double bass heavy than what I think of as doom, there are early thrash influences abounding as much as their is any  kindred spirit to Candlemass or Black Sabbath. "Vermin" has a more head banging chug. I think they are not thinking of themselves as death metal because they are not as fast as most of today's bands, but a certainly as fast as older Obituary. The gallop going into the chorus is very effective and makes this song more powerful than the opener. "All Fall Down' I am just hearing thrash, with no touches of doom at all. While some of the gallops work much like old Metallica, there is not a ton of originality in it.


The two songs that follow both go down a more thrashy road with the title track might be a punchier more old school feel to thrash, with a more deliberate, but not doomy darker side going toward what would be the chorus. There are some cool guitar melodies that I did not notice the first go around with this album.   "Marduk Kurios" is very focused by I don't think it's as good as the title track. "I Am Pain" which seems to be about "Hell Raiser" doesn't offer much in the way of riffs that actually make it stand out as a song. There are some well played played punches and the bass can be felt more on this song, but it finds the edge the band had beginning to dull as they do more of the same.


"Loathed Be Thy Name" is a higher quality of writing than the previous song, but the wheel is not being re-invented. At times this reminds me more of Possessed. There is a darker touch to "Above the Vaulted Sky". The riff is a little more biting, think "Bonded By Blood" era Exodus. The songs tend to run around the four minute mark, but I think given the rather straight forward nature of what they are doing they could have even been scaled back to three. They slow down on the last song, and I guess it's more of a Celtic Frost pace, but I would be reluctant to call this doom even when dialed back to this.  These guys were sucessful in taking me back to that early Possessed like sound which I used to love as a teenager, so while I am rounding it down to an 8, it's well done for what it is and if you are a fan of mean spirited early thrash then check this out for sure.






Welcome to 2018! Since we like the idea of starting the year off right, how about we do so by melting some faces with H.P. Lovecraft-inspired metal? If that sounds up your alley, allow me to introduce you to Wichita, KS occult horror metal group Bestialord, who are releasing their new album Law of the Burning today via Cimmerian Shade Recordings.


The band tells Dread Central, ““Law Of The Burning” as an album developed very organically. The music almost wrote itself to a great extent. There really wasn’t a premeditated direction, only that it felt right when we played it. Lyrically the works of H.P. Lovecraft played a major role as well as various horror films.”


Below is an exclusive stream of the entire Law of the Burning album, so if you want to kick off 2018 with metal that would make the Elder Gods headbang through eternity, this is your chance!




So 2018 has finally rolled around, and what a way to start the new year. Bestialord come before our unworthy selves with an absolute belter of an album that, for my thinking, has an almost instant classic feel about it in more than one way. Yes it’s a big call to throw out there, but by the Seven Gods of my Holy Sock collection, I am prepared to make it!


Featuring Mike Anderson on guitar and vocals, Rob Harris on bass and Chris Johnson on drums, Bestailord bring all of the finest things metal can deliver and tie it all up into their debut album, being the one we are currently discussing. Well duh. ‘Why is this so damn good?’ you may well ask. Let us go through it together, hand in hand, as we skip down the road of awesomeness, shall we?


For starters, Mike’s vocal delivery is as evil as all fuck, and yet clear enough for you to make out exactly what he is singing about. That is a good thing considering the theme’s on offer here. Without spoiling a single thing for you, it’s all about darkness and horror. Who’d of thunk it! Not impressed yet?


For second starters, the riffs on this release are simply mind blowing, palm muted crunchiness of the kind that gets your head nodding along nicely. The pacing is superb. It may not get you flailing your hair around (if you have any left) like a wildebeest with a fly infestation, but I defy you not to be moving along with this excellence.


For third and fourth starters, that bass tone is just drop dead lead heavy. LEAD! That’s some heavy shit. Try carrying four car batteries around on your head and tell me it isn’t so. The drums? Well, they just do exactly what they should do. No fancy pancy bullshit here, just solid accompaniment and fills and accentuation of the show. Rather a blessing in these days of a double bass bum kicking at every turn.


I don’t know if I would actually call this doom of any kind. It has the feel and tone of a lot of earlier metal like King Diamond without the silly screaming. That instant appeal that you felt when you first heard an album like one of Possessed’s, or more for these times like what Fetid Zombie have achieved. The ability to sound so dated and keep it so fucking relevant.


Happy New Ear. I love it. May this be the first of your blessings to come.




I Bestialord si formano nel Kansas per volere del cantante e chitarrista (ex-Manilla Road) Mark Anderson e del batterista Chris Johnson, entrambi membri dei Sanctus Infernum. Qualche mese dopo si unirà alla combriccola il bassista Rob Harris ed è con questa formazione che la band registrerà l'album di debutto, "Law of the Burning", uscito il 1° gennaio per Symbol of Domination Productions.


Quello che abbiamo davanti è un lavoro tutt'altro che perfetto. Il Death/Doom dei Bestialord è devoto soprattutto a suoni 'vintage', con influenze che sono da andare a ricercare in Black Sabbath, Candlemass, Cathedral, Celtic Frost e Morbid Angel. Le cupe atmosfere lovecraftiane soprattutto richiamano la leggendaria creatura di Ozzy, così come molte soluzione create dal trio statunitense, soprattutto nel riffingwork. Questo pur non mancando episodi più duri, come "Vermin" o "Marduk Kurios". "Law of the Burning" paga però una produzione forse un po' troppo old school: troppo asciutta, con suoni non equilibrati benissimo e volumi che a tratti sembrano quasi un po' sbalzati. A parte questo, dopo un po' si ha la sensazione di 'già sentito' che porta ad una certa noia col proseguire dell'ascolto, tanto da voler skippare avanti dopo un paio di minuti del pezzo.


Se si sorvola su quel paio di punti a sfavore, "Law of the Burning" dei Bestialord è un disco che comunque potrà piacere agli amanti del Doom più classico e 'vecchio', quello appunto dei vari Sabbath, Candlemass ecc. ecc. Nel complesso un disco sufficiente, cui avrebbe giovato non poco una produzione anche solo un pelo migliore.





Очередной подгон от дружественного лейбла Satanath Records возродил утраченное на время чувство ностальгии. Кроме шуток, «Law Of The Burning» — это, мать его, самый настоящий олдскул, воплощенный в современных реалиях людьми, которые «в теме», как говорится. Bestialord — проект из США, который основали Mark Anderson и Chris Johnson, известные по Sanctus Infernum. В общем и целом, оба проекта смотрят в одну степь, разве что, в случае с S.I парни сделали больший упор на дум при black/death. В случае с Bestialord — в дебютнике мы имеем честь слышать жирные death-doom’овые рифаки, харшевый вокал и сквозящую из всех щелей уютного склепа оккультную атмосферу, вдохновленную мифами Ктулху. С большего — материал среднетемповый и, конечно, задумчивый неспешный. Как такового чистого вокала нет, к трад.думу приписать не получится. Хотя, как мне думается, фанатам трада альбом вполне мог бы вкатить.


Немного перегибая палку, можно сказать, что «Law Of The Burning» — это гибрид Abysmal Grief, Black Sabbath, Obituary, Celtic Frost а также ряда групп по хоррор-панку, олдовой дезне, вдохновленный Candlemass, Morbid Angel и Mercyful Fate, но при этом — со своей подачей. Такого рода альбомы навряд ли выбиваются в мейнстрим, но среди почитателей жанра вполне достойны уважения.


Арт — wonderful!

Обложка была отдельным поводом начать прослушивание среди прочих релизов именно с Bestialord. Она не блещет феноменальной графикой, сложность или оригинальностью, но слеплена всецело по канонам жанра. Блуждающие среди кладбищ чуваки в капюшонах — наша тема! При детальном осмотре, чувак оказался дамочкой с книгой, такие дела.


Открываешь альбом и понимаешь — он «твой», он тебя понимает. Этакий революционер, идущий напролом, среди груд однотипного вылизанного до блеска метала, выжигающего сетчатку глаза. Применительно к подобного рода музыке, как на «Law Of The Burning», хочется говорить — настоящий саунд.


Из минусов (хотя минус ли это?), наверное, стоит отметить явное отсутствие хитов. Каждый трек цепляет по-своему, но является схожим кирпичом в монолитной музыкальной стене. Ещё раз, напоминая о том, что подобного рода музыка не метит в хит-парады, можно опустить сей момент. Просто врубаешь альбом, открываешь винтажные хоррор-комиксы, пожевывая уже не выпускающуюся жвачку, заказанную с е-бэя — и вуаля! Рецепт ностальгического счастья готов.


Хотелось бы услышать о Bestialord в будущем.


Оценки ставить не люблю, числа — условности и не отражают чувства. Но, если вдруг для кого-то они имеют значение, то давайте остановимся на 89/100.





Horror and heavy metal seem to be forever intertwined. The music evolved from the genre. At this point in pop culture, one represents the other. So why not make that your sound? That seems to be the MO for Bestialord out of Wichita, KS.


The first striking thing about them is their subgenre. Bestialord describe themselves as “occult horror metal”. One listen to this record makes it hard to disagree. The trio has a clear Mercyful Fate influence. A closer listen reveals a few hints of doom and death though no clear analogs. The whole record’s feeling is similar to that spooky feeling when a nasty storm approaches.


It even goes down to the instrumentation. Mark Anderson’s guitar has that late 70s fuzzy crunch quality to it that really brings out the horror. His soloing mimics that era as well with the flashy rock guitar-style solos common in the first wave of black metal. Rob Harris’s bass helps to fill out the riffs to balance the guitar’s crunch, and Chris Johnson keeps a full beat. He can drive the beat but leaves enough space so that all the parts are heard relatively equally. The only difference between their sound and that of their heavy influence is Anderson’s vocals. Instead of King Diamond’s operatic singing style, Anderson opts for a snarling growl. It suits the songwriting well. Telling their dark tales of heavy metal really requires the snarl.


The stories their songs tell are what’s really great about this record. These songs are tales straight from dark fantasy. The first track, “The Doom That Came,” is a story of the destruction of a lakeside city destroyed by a monster. There are glimpses of Satanic rituals, rats in dungeons, and ancient demons. The closing track is a story about torture demons a la the Hellraiser series. It’s a real treat of the darker side of heavy metal.


One word about this record: it is pretty rough. Bestialord has only been a band since late 2016. They did not even have a full band until mid-2017 when Harris joined. This record was made only a few months after that. It’s impressive that they have been able to figure enough out in that short time to write the songs they have and enter the studio. Their youth as a group shows a bit in some of the recordings. There are a few times where the rhythm gets fumbled a bit. The low production values are readily apparent as well. Bands with more recording experience may be able to get around those issues, but Bestialord is not yet one of those bands.


That being said, this is a fun record. Their sound is not one that comes around enough. Fans of metal with a side of monsters, gore, and magic are going to be quite pleased with this. Maybe it’s a bit kitschy, maybe it’s a little rough around the edges. It should be noted that these guys have only been a band for a year. If this is what they produced for their first record, just consider what they can do with more experience.





Law of Burning album released on CSR and Symbol Of Domination. Featured here are nine tracks that will haunt your mind. The classic tones of early metal can be heard profoundly in each composition. Living up to the expection layed out in the description

'Occult Horror", the music will make you feel like you have been transported into one of many classic horror films like a menacing Dario Argento Suspiria or John Carpenter The Thing. Some of the stand out songs for me would be "All Fall Down" and "I am Pain".

Don't expect a clean polished production here, it is more of a raw and grit recording, which is a perfect fit for the intent of the sound. Heavy bass lines and some awesome lead guitar riffs. The vocals are well understood, which is something I prefer. Its a great thing to be able to understand the lyric content without having to decipher through a bunch of growls.


In conclusion, the theme and delivery is established withing the first few songs and made crystal clear. Raw and relentless power that goes well with any of

your favorite horror films.





Doom metal could only be put into full on blast when an act such as Bestialord takes over the genre. For it is their album "Law Of The Burning", that blasts away any expectations, you could ever want from the doom metal genre. With that said, of course, this album pulls together the doom metal genre, like never before, as the intensity within the vocalization alone, really sets this album up. "Vermin", "All Fall Down", I Am Pain", and "Loathed By Thy Name", are likely the only handful of tracks to come from "Law Of The Burning", that sound picturesque. Like how the vocalization dominates the instrumentals is quite believable, as the vocal chords are more intense friendly, as the instrumentals just hang back, delivering a more in-depth feeling of approach. Likewise the material just sounds intense through and through, with energy pacing thrown together here and there. More of a lingering sense to the musical direction at least. When it comes to the album itself "Law Of The Burning", is just a solid hit or miss album, that has Bestialord being presented in a favoring passion, with more pride that they can bear.





De Death/Doom metal band Bestialord ontstond in 2016. De band haalt zijn invloeden bij acts als Black Sabbath, Celtic Frost, Candlemass, Morbid Angel, Cathedral, en Mercyful Fate. Daar kan uiteraard nooit iets mis mee zijn. Via Symbol of Dimnation/Cimmerian Shade Recordings bracht Bestialord op 1 januari 2018 hun debuut op de markt. Law of the Burning. Onze bevindingen:


De occulte omkadering, die je vaak tegen komt in Doom tot Death metal middens hoor je eveneens terug op deze schijf. Dat blijkt reeds uit songs als The Doom that Came, Vermin tot titeltrack Law of the Burning. Maar is bovendien een rode draad doorheen het geheel. Bestialord trekt puur instrumentaal dan ook alle registers open, waardoor vlijmscherpe gitaar en bas geluiden tot verdovende drum salvo's je de ene na de andere mokerslag bezorgen. Echter, ondanks de ijzersterke instrumentale omkadering, is het eerde de vocale capaciteiten van Mark Anderson dat ons het meest over de streep trekt. Zijn inbreng bezorgt je telkens opnieuw koude rillingen, het lijkt wel op de putten van de Hel wijd open staan als hij zijn keel open zet.


Luister maar naar verschroeiende songs als A Am Pain. Mark zijn stem, in samenvoeging met de eerder vernoemde hartverscheurende riffs en drum partijen. Lijken als ijzingwekkende klauwen die je de strot dicht knijpen, tot je laatste adem is uitgeblazen. Bestialord brengt bovendien hun muziek op een zodanig perfect hoogstaand niveau dat we ons de vraag stelden op de bandleden al wat ervaring hebben in de scene. Na enig opzoekwerk stellen we inderdaad vast dat dit het geval blijkt te zijn. Mark Anderson maakte samen met drummer Chris Johnson het mooie weer bij Sanctus Infernum. Mark speelde trouwens ook bij verschillende andere gewaardeerde bands binnen de scene. Ook Rob Harris (bas) heeft heel wat ervaring binnen het metal wereld. Die ervaring spelen ze binnen dit project uitvoerig uit, met alle positieve gevolgen van dien.


We kunnen dan ook besluiten:


Net die samensmelting van de uitzonderlijke capaciteiten van getalenteerde, en ervaren muzikanten resulteertin een parel van een typische Doom/death metal plaat. Waarbij de combinatie tussen alle bovenstaande elementen je telkens opnieuw doet vertoeven in die diepste kelders van voornoemde Hel. Zonder meer is Bestialord daardoor een welgekomen meerwaarde binnen deze scene. Met dit debuut levert de band een visitekaartje af waarmee ze bewijzen niet gewoon uit het goede hout gesneden te zijn. Eerder eentje van uitzonderlijke kwaliteit. Uiteraard al voorgedaan, maar als je de ultieme duisternis voelt neerdalen, alsof het licht nooit meer zal shijnen?  bij elke luisterbeurt opnieuw? Dan lijkt de missie geslaagd




Ok. With a name like Bestailord I was totally expecting Black Metal. Damn, was I TOTALLY wrong! Bestialord’s “Law of The Burning” serves up quite a tasty little morsel of straight to your face metal ranging from doom, to death, and thrash. It’s like Black Sabbath, Death, and Mercyful Fate some how got together and infused their sound into some kind of twisted demonic child who loves to feed on freshly deceased corpses. You will love the production on this album as well. Now if you’re looking for some guitar virtuosity, keep looking because it’s not here.


This album relies on two or three riffs to carry the songs, but does it in a way that never gets boring. The production is really clean yet it retains that kind of sound like they just set their gear up and pressed record. The lyrics fit this sound perfectly. With topics ranging from Satanic rituals, diseased rats, cities being destroyed and the movie Hellraiser, this album oozes death out of every single sickly pore.





Америчка деатх/доом метал скупина Bestialord нас својим првенцем Law of the Burning из 2018. године враћа назад у ране деведесете, у време када су и настали најкултнији албуми овог жанра. Наиме, албум од почетка до самог краја одише атмосфером и сировом продукцијом карактеристичном за поменути период. Бенд функциоше у трочланој постави и то бубањ, бас и гитара, а гитариста је уједно и вокалиста. Звук је сиров и опскуран, ритам секција је углавном у мид-темпу, али и поред тога има доста решетања дупле бас педале. Гитара је тешка као црна земља а сами рифови веома јаки и моћни. Соло деонице су такође врло ефикасне, мада не баш и оригиналне. Приликом првог преслушавања албума све време ми је негде у подсвести одзвањала God of Emptiness бенда Morbid Angel, те је и сада помињем поређења и приближавања ради, јер звучна слика бенда Bestialord најприближније се и може упоредити са звуком овог kultnog хита. Ако сте љубитељ оваквог звука, не губите време, потражите ovaj album одмах, нећете се покајати.





Mark Anderson, quien fuera bajista de los discos "Atlantis Rising" y "Spiral Castle" de MANILLA ROAD, está detrás de este proyecto de doom/death metal que hace su debut este 2018 de la mano de "Law of the Burning", un álbum de nueve canciones y cuarenta minutos en el que plasma una faceta muy densa por medio de pistas comandadas por lentos ritmos, y pesados, pero atrapantes riffs, con un sonido compacto y perfecto para lo que la banda ofrece, recordando por momentos a ese magnífica obra llamada "Journey Into Mystery" de DREAM DEATH. Si eso no les dice nada... mal por ustedes. Pero es entendible. Personalmente no me agrada el doom/death, salvo la banda recién nombrada, para mí esos géneros no suenan bien juntos, salvo contadas excepciones, y esta es una de ellas.


Si algo les atraen los estilos nombrados, no dejen de oír "Law of the Burning" o al menos algunas de las canciones que lo componen, como "The Doom That Came", la homónima "Law of the Burning", "I am Pain" o "Above the Vaulted Sky", cortes que sin variar en demasía la propuesta, explotan todo lo que el estilo puede llegar a ofrecer dentro de cánones que los hacen seguir sonando como si se tratáse de una banda de los ochenta, al menos en cuanto a la composición y mezcla del disco. Sin duda que se trata de una buena alternativa para darle variedad a sus listas de música, claro, siempre y cuando dentro de sus preferencias se encuentre el metal denso, lento y pesado.






Bestialord è il nome scelto da questi musicisti del Kansas per dar vita ad una nuova band dedita a sonorità a cavallo tra il death ed il doom.


Law of the Burning è un album che non riserva particolari sorprese, nel senso che la proposta è decisamente lineare per quanto non priva di una sua efficacia, anche se alla lunga lo schema compositivo tende ad essere un po’ ripetitivo.

Più death (e un po’ di thrash) che doom, comunque, è quello che troviamo in Law of the Burning, con i dettami della scuola floridiana che vengono talvolta rallentati, ma sempre in maniera non troppo accentuata; restano quindi apprezzabili i lavori del basso, sempre ben in evidenza, e della chitarra solista, al contrario non convince del tutto il suono troppo secco della batteria, mentre la voce appare adeguata anche se leggermente monocorde.

In fondo il problema di un album simile, scritto ed interpretato con buona competenza, è quello di non riuscire a colpire come dovrebbe, tanto che in certi frangenti viene persino il dubbio che il lettore si sia incantato sullo stesso brano.

Peccato, perché l’opener The Doom That Came è una traccia che fa scapocciare non poco, facendo presupporre uno sviluppo ben più eccitante di quello chi si rivelerà, in seguito, un album piacevole ma sul quale difficilmente ci si soffermerà troppo a lungo, a meno che il tipo di sound descritto non sia il proprio pane quotidiano.





Hailing from Wichita, Kansas, BESTIALORD are a Death / Doom band that actually reminds me more of blackened Death Metal outfit SATHANAS than anything else, albeit with a tamer, less aggressive, less chaotic sound. And though first full-length "Law Of The Burning" doesn't necessarily offer anything new to the genre, it does seem to manifest itself nicely into a solid album. The album opener 'The Doom That Came' begins with a monstrous roar deep in the bowels of the caverns before mid-tempo guitars and drums gently boil and burble, releasing a steady blackened Death track which, as mentioned earlier, reminds me of a more relaxed SATHANAS. 'Vermin' creeps and crawls its way into another mid-paced song with chugging guitars halfway through and hoarse vocals by Mark Anderson. The third track 'All Fall Down' is introduced by an acoustic guitar before breaking into guitars that feel like they were written in the murky depths of the filthiest swamp, with a little stoner, SABBATHy feel layered inbetween it all. 'Law Of The Burning' is a somewhat faster-paced track that stomps and barrels its way through the masses. 'Marduk Kurios' is one of the better tracks that changes from mid-tempo fist-pumping to galloping rhythms sure to get you on your feet. You almost feel the Cenobites chomping at the bit to rip your soul apart as 'I Am Pain' references Pinhead and Hellraiser in blood-drenched abundance. The seventh track 'Loathed Be Thy Name' is a similar offering not unlike the other songs on the album. Again, there's not much diversity on "Law Of The Burning", but what IS there is a solidity and consistency that glues it all together. 'Above The Vaulted Sky' carries on the not upbeat and not yet slow theme with the album. 'What Is The End' wraps it up in a doomy, plodding beast wandering around lurking in the shadows. BESTIALORD have a chance to work their way into the Metal masses if they can gain a little more of their own sound and uniqueness which would eliminate them from comparisons to other bands in the genre. Their first album is a decent, solid delivery with room to grow on.





Das Debut des amerikanischen Dreiergespanns Bestialord sollte man sich definitiv zu Gemüte führen, denn „Law Of The Burning“ ist ein überaus gelungenes Stück Extremmetal im Stil der alten Schule. Alte Platten von Death, oder auch Vergleiche wie „alte Kreator im Midtempo, aber mit Doom und etwas Groove versehen“ kommen mir vorübergehend in den Sinn.


Ohne Geschwindigkeitsrekorde, Frickel – oder Tiefgrunzwettbewerbe, auch ohne Keyboards oder besondere Image-Gimmicks kommen Bestialord aus. Stattdessen zocken sie im durchgehend fast schon gemütlichen Tempo ihre furztrockenen, aber an Hooks reichen und effektiven Old School Riffs – und erreichen damit doch mehr Atmosphäre, Horror und Härte als der Großteil der Todes-und Schwarzwurzelbands.


Von “The Doom That Came” bis zu “What Is The End” ist die Scheibe eigentlich durchgehend herrlich fies, modrig und Evil. Aber „Vermin“, „Law Of The Burning“ und „Loathed Be Thy Name” möchte ich besonders dringend empfehlen.





OK so with a name like BESTIALORD I thinking this was going to be black metal. Ah no it's not at all. The tagline on this band turned out to be death / doom. Alright I'll give em that. But after listening to a couple of cuts, well three to be honest, I got this huge devious grim going. This really sounds like fuckin NUNSLAUGHTER albeit not as funny. Right now there's a reader in Bumfuck, Ohio going "You think NUNSLAUGHTER is funny? You have a sick sense of humor."


But seriously folks this band's vocalist is a dead ringer for NUNSLAUGHTER's Don of the Dead. As far as the music goes forget the whole death doom idea. This is a straight up metal act that touches upon those genres but is not diving in head first. This release just rocks while you're giving the horned fist of approval. I bet there's plenty of those flying when this band plays live. This band, a three piece by the way, hails from Wichita, Kansas. For you non Americans that's the Midwest which is full of sickos.


Look people I'm as honest as the day is long. I'll tell ya when writing about bands there are times when it feels like I'm painting the same portrait but using a different brush hoping that someone sees a difference. Yeah it feels like work but then a band like BESTIALORD comes along with cool songs like "Vermin" (my favorite cut on here), "Marduk Kurios" (with a great guitar solo from a guy who was in MANILLA ROAD for two years, yeah why bother mentioning that namedrop in the promo) and of course "Loathed Be Thy Name".


Listening to this release, which basically en-tales I just can't stop, is the equivalent of getting off of work after a long hard schedule. I don't wanna talk about fuckin work. Just give me a good beer, something decent to eat and cool music to blast. After all of that well a good fucking will suffice. Everything about Law Of The Burning reminds me of that except for the fucking part. This album has already earned it's place in the SFM666 2018 Favorites List. I just don't know what category to put em in. Fuck it I'll just say Death Metal to piss people off.





Ah, the joyous creaks and aches of doom metal. Only this time those mournful moans come from Wichita, Kansas-based Bestialord; a trio who formed only two years ago. So, let’s say hello then to former Manilla Road bassist Mark Anderson (vocals and guitar), Rob Harris (bass) and Chris Johnson (drums).


We’re welcomed by some cool artwork depicting a hooded soul roaming an eerie cemetery and armed with book, seemingly conjuring up all manner of denizens under a creepy sky. And thankfully the music on offer provides a great soundtrack to the art as the band lunges into a sinister plod of utmost horror.


But this isn’t traditional doom metal, far from it in fact. Bestialord conjure up a frightful plod of a sound given an extra dash of evil coating by Anderson’s rather rough sneers. The music behind him is as pitch as midnight, as the band prowls its way through some rather simplistic but most certainly engaging doomy designs that flirt with death and black metal nuances to create an atmospheric soundscape of impending gloom.


Opener ‘The Doom That Came’ marches like an eerie funeral procession; a standard stormy chug leads us into a faster segment of dread before Anderson’s murky yelps begin their grim narration. It’s excellent stuff, played with true antiquarian style and dripping in horror – imagine one tip-toeing through some vast array of dusty catacombs unknowingly pursued by some hidden terror. Damn, I can smell the mustiness of it all as the skies rings out with thunder – or maybe that’s just the bellowing grotesquery provided by Johnson’s oaken drums? Leads fizz about the place like snaking ivy reaching for the ankles, but again the pace quickens like a horror score about to reach terror point.


However, it’s with ‘Vermin’ – my favourite track – that Bestialord really comes into its own. Again, we have that suspenseful trudge, and all sorts of Gothic images are evoked as the drums simmer and then the riffs come chugging in, with Anderson’s growls taking us down into the underworld beneath the graveyard; a place where Harris’ bass trembles and the echoes of lost, trapped souls ring out to give extra chill to the singer’s call. “Die! Vermin!” bellows Anderson; his gravelly tones reeking of earth as his guitar tones bounce of the coffin walls and reverberate.


In a perfect world of misery, Bestialord somehow play as the younger sister to Eric Wagner’s The Skull and Blackfinger. But believe me, you probably won’t find a better doom metal record this year other than Druid Lord’s mossy death / doom outburst Grotesque Offerings. And it’s those vocals and downright chilling structures which set this record apart. The faster tempo of ‘All Fall Down’ brings with it a swirling solo amidst the suffocating darkness and a general accessible groove mesmerising enough to entice you into the grave. And yet while I continue to use the doom metal tag, you’ll find that as the album flows you’ll find yourself looking to categorise the opus by other means; the blackened riffs, the snarling vocals just aren’t your standard doom metal ingredients.


The title track hints at a thrashiness before yawning like some gargantuan beast, bringing together a Bathory sort of eeriness coupled with Candlemass, only unlike neither. Meanwhile, ‘I Am Pain’ sees Anderson take on the role of chief cenobite as he welcomes us to Hell, and has such sights to show us as the drums and bass rattle like the very chains cast around your neck.


‘Above The Vaulted Sky’ aches of 80s Gothicness; a truly lo-fi plodder that speaks of the “Countess in red, amidst adoring eyes. Mistress of death, walking the graves by night”. It doesn’t get much more atmospheric than this shuffling marauder; an eerie visitation to midnight black mass if ever there was one as Anderson paints grisly images of all manner of horrors.


And as the bell chimes to bring in closing track ‘What Is The End’, I can only sell my soul to this cult of doom; rendered insane and terrified am I by this trudging yet fruitful work of terror.





Of all the reviews I’ve landed thus far I am MOST excited that I got this one! I had never heard of Bestialord until I selected them from the list but I can tell they are going to a be a quick favorite for me. I checked out their Facebook page and saw their genre was “occult horror metal” so I knew before listening to them that it would most likely be something I would enjoy. They hail from Wichita, Kansas. I then hopped over to Spotify so I could give them a listen.


Right away I was happy with what I was hearing. Bestialord’s Law of the Burning immediately took me back to the 90s. While that might sound like a bad thing to some, believe me, it is a welcomed treat for me! It was reminiscent of some 90s Morbid Angel! Anderson’s vocals are great since he incorporates the growl but I am still able to decipher exactly what he’s saying. Musically, there are guitar solos and the drums and bass are perfect throughout the entire album. Their overall sound is menacing, spooky, bad ass and wonderful! One of my personal favorites from the album is “I Am Pain” because the lyrics remind me of the great horror film Hellraiser; it doesn’t get much better than that for me! Another quick favorite was “What is the End” with it’s slowed down tempo; I listened to it several times in a row. I assure you the rest of the album is just as amazing and I highly suggest it to everyone.






A new band from Kansas is on the map under the name of Bestialord, featuring (ex)-members from Sanctus Infernum, Manilla Road and so on. “Law of the Burning” is their first output and also their debut album. The band plays Death/Doom with a strong Thrash vibe, more on the groovy side of the spectrum and a good doses of old Doom. This together with the warm and not over pumped production gives it some kind of ancient feeling without sounding retro. Take some Death (“Spiritual Healing”), Infernäl Majesty, some Black Sabbath, Saint Vitus and Goatlord and you got an idea how the band could sound and the vocals have a lot in common with Don of the Dead of Nunslaughter. This is the sound for a walk on old graveyards….The spirit lives, the mood is here. It`s old, it`s muddy, it`s dirty, it`s uncomfortable, it`s something you already witnessed but still gives you shivers down the spine. Being almost on mid/slower tempos it`s perfectly meant to bang your head. This is not for the technical wankers, nor for the avant-gardists. This is for traditionalists who love catchy, easy listening songs who still can kick ass and are cool for a midnight trip on the cemetery. Great mid 80s proto death that still has something to offer, most for being not too complicated but being catchy and with the extra bonus of good song writing skills to make it interesting. Killjoy would have liked it for sure. Old School reigns!





Das Duo Mark Anderson (Gitarre) und Chris Johnson (Schlagzeug) spielt seit 2006 mit Sanctus Infernum eine infernalische Mischung aus Black-/Death- und Doom Metal und hat bis heute drei Alben rausgebracht, ohne sich jemals mit Demos oder EPs abgegeben zu haben. Zehn Jahre nach der Gründung wurde es Zeit für ein reines Death-/Doom-Projekt: Bestialord waren geboren und hauen nun ihr erstes Lebenszeichen unter diesem Banner raus. Sie nennen ihre Musik Occult Horror Metal. Was ist das genau? Nun ja, was viele nicht wissen, ist, dass Mark Anderson von 2000 bis 2002 auch mal Gitarrist bei Manilla Road war, nämlich auf den beiden Alben „Atlantis Rising“ und „Spiral Castle“. Mit denen hat man aber – bis auf ein paar simple Riffs und der Demo-Produktion – nicht sehr viel gemein. Sie behaupten selbst, Einflüsse von Black Sabbath, Celtic Frost, Candlemass, Morbid Angel und Mercyful Fate zu haben. Auch diese Vergleiche sind nicht so richtig passend, obwohl ich sagen muss, dass ich es toll finde, dass Bestialord aus vielen vertrauten Zutaten ein eigenständiges, diabolisches Gebräu zaubern. Ein bisschen erinnern sie mich auch an Barathrum, Imprecation, Mystifier und Mortuary Drape. Die Musik ist simpel, aber effektiv. Der heiser phrasierte Gesang klingt kehlig und wahrhaft böse. Die Musik ist meist im Midtempo angesiedelt und stampft ordentlich. Auch vor gemäßigter Doublebass schreckt man nicht zurück. Die Produktion ist etwas demomäßig, untermalt aber gekonnt den Underground-Faktor und gefällt durchaus, auch wenn die Gitarren knarzen und das Schlagzeug etwas hohl klingt. Alles passt sehr gut ins Gesamtkonzept. Bestialord liefern tatsächlich mal ein Album ab, welches sich von der großen Masse unterscheidet und mich richtig vom Hocker haut!




No amigo, esto no es un álbum de Doom más con influencia de los Black Sabbath, así que presta atención porque esta banda es de mesilla de noche. Proceden de Wichita (Arkansas) ¿dije Wichita? ¿quiénes son de allí? Los Manilla Road. El guitarrista de esta banda, Mark Anderson pasó por los Manilla Road. Concretamente estuvo en la época Atlantis Rising y Spiral Castle y ahora forma esta banda con la que oficializa su debut.

bestialord 2Es una especie de Death/Doom por tratar de calificarlos de alguna manera. The Doom That Came mezcla el Death de Chuck Schuldiner pero a cámara lenta mezclado con una base rítmica muy oscura y Thrasher que me recuerdan a unos mitos vivientes del Underground como son los Tyrant, una banda americana creada en los setenta de Power/Thrash.

Vermin tiene sentido del ritmo, atmósfera oscura y esa base rítmica tan primitiva mezclada con un estupendo trabajo de este guitarrista, en esta ocasión el tema tiene pinceladas de Death mezclado con un metal seminal que recuerda mucho a los Celtic Frost, el estribillo es más poderoso que un trueno y más venenoso que una serpiente de cascabel.

All Fall Down nos muestra otras cartas. Un arranque acústico atmosférico y oscuro marca de la casa… su paso por Manilla Road creo que debería ser revisado pues es un guitarrista cinco estrellas. Producción sucia y aquí entra el Doom en su vertiente más oscura y psicodélica de cabeza.

Law Of The Burning es otro de esos temas donde ellos le imprimen una velocidad y con ese sonido tan primitivo que recuerda a los dioses del Crust, los Amebix y también a los reyes de la ortodoxia como son los Celtic Frost, la mezcla de estilos es casi de puro alquimista.

Ese toque oscuro y ese aire Thrash que tiene todo el álbum recuerda a los Sodom y también a las bandas de Death/Thrash más primitivas como son los Poison alemanes, por poner un ejemplo. Son temas de una enorme personalidad y garra como es Marduk Kurios y atención al pedazo de solo de guitarra que se marca Mark Anderson.

I Am Pain sigue la tónica de los anteriores temas esos ritmos tan marcados y garajeros, con una batería contundente y de sonido metálico que nos recuerda a la época de experimentación de Quorthon en Octagon y Requiem, álbumes vilipendiados de forma grotesca que creo que exigen una revisión.

Loathed Be Thy Name recupera la esencia del Doom pero siempre con esa mezcla de Death/Doom y aire metalero oscuro. El álbum más oscuro de los Manilla Road seguramente sea Mystification, aunque Andeson no estuvo en este álbum, hay un aire a ese álbum.

Above The Vaulted Sky arranca con una guitarra completamente distorsionada y de una brutalidad a mediotiempo absolutamente bestial, todo el álbum tiene un enorme feeling. Finalizamos con What Is The End, un corte completamente Doom para finalizar el álbum. ¿Qué decir que no dijera? Simplemente escúchalo, porque es uno de los álbumes del año.





Amigos de Dioses del Metal, nueve pistas desbordantes de ocultismo basadas en el Doom Metal es lo que vamos a descubrir en el álbum Law of the Burning, debut de los estadounidenses (Wichita, Kansas) Bestialord. En él notaremos Influencias de Morbid Angel, Cathedral, Celtic Frost y Mercyful Fate, ……también entraremos en otras corrientes como las de Celtic Frost, Candlemass y Obituary. Lo mejor y supongo gratamente valorado por los neófitos, es que su música es un engranaje cuasi perfecto de armonía y abrasión blackmetalera. Los más extremos dirán que les falta corrosión, que se han quedado a medio camino, pero creo que este nicho en cuanto al enfoque del disco se refiere es muy interesante y el dúo de voces perversas e instrumental siniestro está bien conjuntado.


Lanzado el pasado  1 de enero de 2018 a través de Symbol of Domination y Cimmerian Shade Recordings (EE. UU), los ritmos plúmbeos propios del Doom junto a otros más energéticos son engullidos por atmósferas oscuras, en un lento avance decibélico por las sendas del Death, pero sobre todo sentiremos que estamos oyendo un trabajo compositivo ciertamente coherente y más para ser un debut de una formación creada en 2016. Resumiendo, Law of the Burning es perfecto para ahondar en la tristeza sin suicidarse y aprender sobre el ocultismo y tortura si nos quedamos con las letras, quedando pendiente para el siguiente mejorar en detalles sónicos en cuanto a contundencia guitarrera y diversificar las composiciones en lo que respecta a recursos musicales.





Mark Andersson, ex Manilla Road e attualmente con Sanctus Infernum, chitarrista e voce, suona con Chris Johnson, batterista proprio dei Sanctus Infernum, reclutando anche Rob Harris al basso. Ne esce fuori un trio dedito a Morbid Angel, Manilla Road, Master, Celtic Frost, con alcuni esempi embrionali del death metal della Florida, ma in una versione meno roboante, più flebile, scarna e a suo modo anche più chiara e nuda, rispetto alla ventata devastante che seppero creare Obituary e tutti gli altri. Quaranta minuti di buoni spunti tra un doom energico e un death primevo che sbocciano in una marea di cose vicine a modelli pensati altrove, da gente come Mercyful Fate, Autopsy e Cathedral. Mettiamoci un Andersson che ricorda il Dave Vincent di “Abominations of Desolation” ed ecco che per quanto “Law of the Burning” sappia essere a suo modo gradevole, riesce al contempo a non scrollarsi di dosso quel carattere scontato. “Law of the Burning” è ben registrato e alla lunga suona piatto, a causa della mancanza di scatti avvincenti. Suoni forti, affatto laccati, ma un’energia di fondo che si esaurisce pian piano con l’avanzare dell’ascolto.





Bestialord’s PR sheet drops a ton of band names that really don’t sound a bit like their music. Candlemass? Mercyful Fate? Not a shred of them here. Pretty crass, in my view.


However, the band is working “death/doom” territory and that always gets my notice. This is not the totally cavernous filthy sound of Incantation, but something with more of a “stalking” feel. The guitar sound is cleaner and not as murky sounding. The slower songs of Morbid Angel come to mind, but the band that Bestialord really reminds me of is that old Florida death metal chestnut Resurrection. Any fans of that great cult outfit should enjoy what they hear here.


The style here takes a while to work its way into your brain, but it does grow on you, once you get used to the sound.  There’s no one standout tune and the quality is pretty uniform throughout. Last song “What Is The End?” gets the award for doomiest tune but if I had to pick a fave, it would be “I Am Pain”, which is really sinister sounding. As you might well guess, horror and the occult play a big part in Bestialord’s theme so if you dig that, it’s a plus.


Not really a blowaway release, but something that gradually creeps up on you.





Od stěny se odlepil temný stín. Najednou jste měli pocit lovené zvěře. Záblesk nože v ulici, pach smrti. Proříznutá tepna, sražené kapky krve, rozstříknuté po dlažbě. Tu noc bylo sychravo a kolem vás se pomalu vytvářely rudé kaluže. Městem obcházel vrah. Lidé se báli chodit ven. Celou čtvrť jakoby zahalil černý mrak z nenávisti.


Pouštím si novou desku maniaků BESTIALORD a jsem doslova unesený pochmurnou náladou celé nahrávky. Jakoby se v jejich hudbě prolínala temnota, smrt a zloba. Skladby v sobě mají jakousi magickou formuli, která mě nutí k dalším a dalším poslechům.




Album "Law of the Burning" je volně inspirováno kapelami jako MORBID ANGEL, CELTIC FROST, OBITUARY, CANDLEMASS, ACID WITCH, THE OBSESSED, BLACK SABBATH, MERCYFUL FATE. Samozřejmě, BESTIALORD mají svůj vlastní ksicht, nezaměnitelnou černou auru. Přiznám se, že takhle dobře umíchaný jed z doom metalu, starého deathu, thrashe a hororových témat jsem už dlouho neslyšel. Jakoby se mým pokojem procházel opravdový vrah. Kapela je schopna složit velmi návykové riffy, nahrávka má skvělý prašivý zvuk a vokalista připomíná zombie, právě vylezlou z hrobu. Až půjdu zase na noční směnu, vezmu si do přehrávače novou desku "Law of the Burning" a knížku od Stephena Kinga. Budu se pořád ohlížet za sebe a budu vyděšený z každého stínu. Mám pocit, že mě někdo stále sleduje. Tohle album, jakoby přišlo ze starých dobrých časů. Vtáhlo mě přímo dovnitř, do pořádně krvavého a šedivého filmu. Cítíte to také? To je pach Smrti! Vynikající deska!




Asphyx says:


A dark shadow had jumped from the wall. Suddenly you felt like a hunted animal. The shinning of the blade of a knife in the street, the smell of death. Sliced artery, dropped blood drops, splashed across the pavement. The weather was chilly that night and there were red pools slowly forming around you. There was a murderer walking in the town streets. The whole neighbourhood seemed to be covered with black cloud of hate.


I am listening to the new album by madmen BESTIALORD and I am literally kidnapped by the gloomy atmosphere of the whole album. It feels like darkness, death and music went through their music. The songs have some kind of magical formula in them which makes me to listen to them again and again.


The album “Law of the Burning” is freely inspired by bands like MORBID ANGEL, CELTIC FROST, OBITUARY, CANDLEMASS, ACID WITCH, THE OBSESSED, BLACK SABBATH, MERCYFUL FATE. Of course, BESTIALORD have their own face, the unmistakable black aura. I have to admit that I have not hear so nicely mixed poison from doom metal, old death, thrash and horror topics for a very long time. It feels like in my room is a real serial killer. The band is able to compose very addictive riffs, the album has great ashy sound and the vocalist sounds like a zombie who has just came out of a grave. When I will once again go to the night shift, I will take the new album “Law of the Burning” with me in my player and a book by Stephen King. I will keep looking behind me and will be terrified from every shadow. I feel that I am being followed by someone. This album seems like it is from the ancient times. It drew me right inside of the real bloody and grey film. Do you smell that? That is the smell of death! Excellent album!





Hailing from Wichita, Kansas, Bestialord is a killer new project from band members that served time in kick ass outfits Manilla Road and Sanctus Infernum.  Guitarist/vocalist Mark Anderson played on one of my favorite latter days MR records Spiral Castle.  Bringing along his SI bandmate Chris Johnson on drums with bassist Rob Harris completing the rhythm section, Bestialord’s debut Law of the Burning offers up some doom-laden, rubbed raw metal across its 9 tracks that hearken back to a run roughshod, gritty sound that’s prime days stretched from the mid-80s through the early 90s.


Opener “The Doom that Came” creeps into existence on the haunches of a self-realized, sort of horror movie sample before slithering into a mid-tempo, dirt-caked thrash riff backed by urgent, audible walking bass lines and bone dry snare pops that give way to careening runs of double-bass drumming.  I could have seen myself picking this up alongside my first purchases of To Mega Therion and Mortal Throne of Nazarene.  Anderson’s jagged, blackened screams act as the fourth instrument in all of their crustily authentic glory.  His riffing is even better with lots of gloomy, craggy dips that rise up into technically delicious shredwork that makes a noticeable impact without overstaying its welcome.  Several changes to the cutthroat main riff fluctuates the tempo enough to keep things plenty interesting.  The begotten downtempo hate riff, psychotic pedal board psychedelia, desolate percussion and churning bass groove that splay “Vermin” wide had me from the first note.  Soon a crippled, shot off at the knee thrash attack vaults to the forefront with heart attack vocals and molten, maddening tempos to match.  Filthy lyrics are instantly memorable thanks to their deliberate delivery.  Johnson’s pounding, double-bass lava crawl boils the track with hot rage to spare and the tune’s ratty thickness is rendered an unusual clarity to each instrument thanks to the weirdly stripped-down, airtight production.  There’s no lack of rawness but every element stands strong on its own two feet, especially the sweeping 2nd half solo.




“All Fall Down” pipes in the sound of a tortured, harried mob while neoclassical, acoustic guitar enriches the suffering in a foreground shaded with beauty.  It’s not long until the riffing and rhythms go straight for the jugular; this time by double-tracking the guitars into a sludgy, mutant harmony while an aggressive drum/bass shakedown takes no prisoners.  Doom-y lurches uncoil into ugly thrash lurches and utterly ruthless death metal chugs beaten to shit by corrosive double kick drumming, demonic Floridian grooves and white-hot soloing.  It’s certainly clear to me why the band lists metal diversity ranging from Morbid Angel to Mercyful Fate as their influences.  The whole scope is present on this track.  A militant thrashing snare march and radiation-fried guitar/bass debauchery courses through the title track’s veins but it’s the double-dipped acidic death/doom sleaze that follows which really warps the song to the next level.  Shades of Autopsy and Abscess ooze from the decaying walls; the track rising from these cellar dwelling lows to an increasingly intense death metal workout peppered by double-bass and blasts (despite the rhythm section’s ascent into overdrive, the riffs stay the same slothful speed until the next thrashing segment).  Johnson steps out front with a lead so delightfully evil it absolutely seals the deal for me.


Trudging through a swamp of mud, whiskey vomit and airplane glue “Marduk Kurios” emerges from an intro of howling winds with a dingy, doom-diseased riff that lopes and crests atop of a mountain high bass line.  A galloping yet slovenly thrash break soon drops off a cliff only to be impaled upon a diamond sharp, doomed-out Slayer style riff.  An ugly, desolate vibe reeks from the song’s every orifice but the lively pacing gives way to some runaway rhythm riff grooves with another one of Mark’s madder than a nuthouse solos.  His viper-bite vocals trade variety for a vicious, lacerating scream that’s a perfectly effective cornerstone for the music and his delivery is decipherable enough to rabidly shout along to.  “I am Pain” issues a similar statement of doom, death, thrash and classic metal but twists the riffing and song-structure just enough from its predecessor to make a severe blunt trauma impact.


A soul destroying doom riff propelled by Harris’ crystalline bass grooves permeates “Loathed be Thy Name’s” gale force lead-in.  Again, the sheer force, scaly riffs, back-breaking percussive weight, scathing vocals and deliberate tempos slowly ratchet up into fleet-footed death/thrash runs that constantly alternate the instrumentation and pacing for an invigorating rape of the senses.  At 2:17 one of the few directly Black Sabbath/early Cathedral inspired grooves finds solace in a shoving, bluesy swing while a wah-drenched solo sends this brief respite of tangible madness spiraling into a screaming, yawning cataclysm.  This section climaxes in a cacophony of harmonized guitar sickness that hurtles its way back to the song’s main thematic focus.  It should be noted that the bass is audible note for note throughout (in every track, thankfully), yielding added depth and weight to the track’s formidable disgust for humanity.  “Above the Valued Sky” seems to be an ode to metal’s first lady; Elizabeth Bathory.  The doom n’ gloom lifts just enough for heightened tempos relishing brutish, mid-paced death/thrash filth complete with solos and hard-charging riffs to get you air shredding in no time.  In fact, every player on this record merits their own air performance.  Closer “What is the End” is a stumbling drunk riff sprawl that is the other cut that pipes in some very clear Sabbath/Cathedral/Candlemass doom influence; filtering its haggard, harrowing grooves through some Autopsy sewage.


Bestialord came like a bat out of hell and delivered nothing but the good stuff on Law of the Burning.  Every track is a twisted anthem summoning up influence from the dirtiest, most goddamned old school bands that helped shape our beloved metal genre.  There’s certainly a throwback quality to this record yet Bestialord are talented composers with superb chemistry between the band members.  You can just tell from the quality of this album that they had a helluva time making it and when that vibe emanates upon a listener’s playback of the recording, it makes for a wholly satisfying experience.  This is damn good stuff through and through, check it out!





Refusing to confine themselves to one genre, Wichita’s Bestialord tightly walks the line between thrash, death, and doom metal. The songwriting approach on their debut, Law of the Burning, feels like a more mid-tempo approach to Nunslaughter’s style of death metal ripped straight from the womb of thrash. Blend this with the more melodic sensibilities of contemporary Sodom, and perhaps a dash of Goatlord’s penchant for doom, for a record that has the potential to pack a real punch. Bestialord have chosen to keep things fairly clean in the production realm, eschewing atmosphere entirely and relying completely on the power of the songs. What the band delivers is decent, yet largely unremarkable.


The riffs are good, not great, and nothing too original, but do work in service of the songs as a whole. “Marduk Kurios”, for example, is constructed almost entirely around the two main riffs, and while not bad per se, they fail to fully carry the full weight of the track. The rhythm section adds little more; the bass mostly stays locked in with the guitar, while the drums (excellently recorded, I might add) are content to do little other than their primary task of holding the song together. With so much space for sound created by the production, it wouldn’t hurt to add in a few tasteful fills in more unexpected ways than just at the end of each phrase.

Beneath the surface there’s not a lot going on. The lyrics come off as copy/pasted from the Death Metal Handbook™, despite the more-than-serviceable vocal performance by Mark Anderson. While not falling victim to overproduction, the lack of discerning production characteristics results in failing to capture the listener’s imagination. The biggest standout of the album is the guitar work, from the solos in the hammer-on frenzy of “I Am Pain” (one of the doomier, and better, tracks) to the melodic wailer on “Loathed Be Thy Name”. Of particular note are the Phrygian breakdown sections of album opener “The Doom That Came” and title-track ripper “Law of the Burning” that perhaps serve as a nod to mid-era Death. Moments like these shone brightly, and finding creative ways to blend in other bits of influence could add some much-needed meat to the album.


Law of the Burning is one of those records I really want to like, yet it falls in a murky era where I feel I can appreciate it more than I can truly enjoy it. It’s a solid, honest effort but fails to leave a more lasting impression. Bestialord pay a bit of a price for playing it safe here and instead of sounding like a fresh, inspired debut recording, Law of the Burning sounds more like a band that’s been churning out similar material for the last twenty years. It’s an enjoyable ride while it’s happening, with a pedigree for potential, but it doesn’t leave me wanting to return for more.





Bestialord are a new occult horror metal band from Wichita, Kansas. Having formed in 2016, they started recording Law of the Burning in early 2017, which has now just been released.




As debut albums go, this isn't too bad. There is an amount of potential in the guitars, as the hooks are pretty good, certainly grabbing your attention. While they class themselves as “occult horror metal”, it might be a bit better to say they are atmospheric death metal instead, as their sound certainly gives more credence to that, while also changing the expectations of what you would get from the album.




There is a clear Slayer influence here, in terms of the guitar sound. While the standard Death metal growl is there throughout, is it clear and the words are discernible, which is to vocalist Mark Anderson's credit. The guitars seem to have a fairly standard sound throughout the album, so there is a definite theme ongoing.








Sadly, the production side of things seem to be amiss a couple of times, certainly with the drums, as they occasionally came across as grating slightly, or perhaps a touch rawer than the rest of the instruments. Also, there needs to be a bit more variation in the hook, as a lot of the songs are interchangeable. While they're not bad songs, it does at times feel a touch repetitive, due to that similar sound throughout. While there is obviously a theme here, it could perhaps not be stuck to quite so tightly, which I think would allow them all a bit more creative freedom to express themselves better.




With that all said, the album is still enjoyable and is certainly not one I regret listening to. While it is closer to an old school Death metal sound, in my opinion, obviously, this is hardly a bad thing and is something that seems to suit how they play. I firmly think if they looked more at doing that than at times using effects pedals on the guitars solos for more of a psychedelic effect and that occult sound, this outfit would improve sufficiently to get a much better score, as I think there is not enough of that psych/occult edge in their music to really attract that kind of fan.




Overall, an album that's worth a few listens, but probably will not be featuring on my end of year best albums list.




Bestialord es una banda de Death/Doom formada en el año 2016 en Wichita, EEUU, en la que militan, nada más y nada menos, un ex-miembro de Manilla Road y miembros de Sanctus Infernum. Este año 2018, concretamente el día 1 de enero, lanzaron su álbum debut, titulado “Law of the Burning”, a través de los sellos Symbol of Domination y Cimmerian Shade Recordings.




La formación de Bestialord se compone de Mark Anderson (voz, guitarra), Rob Harris (bajo) y Chris Johnson (batería).


“Law of the Burning” es un álbum en el que encontraremos nueve canciones en las que, aún habiendo una principal influencia del Death más primitivo, recordando especialmente a Celtic Frost, y el Doom en forma de armonías y tempos que evocan una atmósfera de ocultismo y cierto misterio; también encontramos influencias del Heavy Metal ochentero, esencialmente enfocadas en Mercyful Fate, y del Thrash Metal.


A lo largo de 40 minutos, Bestialord crea una atmósfera musical cruda e incluso se podría decir que podrida en ciertos momentos. Los riffs son generalmente graves y sucios, muy distorsionados y envueltos en un mid-tempo con ritmos muy marcados, lo cual en ocasiones juega en su contra, pues da la sensación de cierto estatismo, solucionándose a lo largo de las partes más rápidas puntuales en las que añaden instantes de blastbeats y una mayor fluidez en cuanto a la línea musical de la guitarra y el bajo, con lo que otorga mayor dinamismo, algo que personalmente agradezco. También cabe destacar los solos de guitarra que aparecen en prácticamente todas las canciones, estos, como decía anteriormente, son los que le dan ese toque Heavy y que, a pesar de estar aparentemente muy poco relacionado con la tónica general del disco, casan sorprendentemente bien, además, todos ellos están ejecutados de manera muy notable.




Vocalmente, el registro utilizado es un growl sucio muy en la línea del Death Metal en sus orígenes.




Resumiendo, “Law of the Burning” es un buen disco inspirado en diferentes estilos que gustará a aquellas personas amantes de los sonidos de la vieja escuela, aunque una mejor producción le hubiera hecho más justicia al sonido de Bestialord.





Prepare seu pescoço para o som porrada que o Bestialord produz nesse grande álbum, uma eficiente mistura de Death/Thrash/Doom metal durante a execução deste material.


A gravação é mais típica das gravações do metal dos anos 80, o que eu sempre acho muito bom, acho as gravações dos anos 80/90 muito mais orgânicas, empolgantes e eficazes do que as produções modernas.




Existe toda uma atmosfera mais dark e macabra nesse registro, as guitarras são bem pesadas, os vocais rasgados com muita personalidade, baixo e bateria deixam o álbum mais sólido, refrões que ficarão na sua mente e te obrigarão a ouvir esse cd mais vezes.






Quando ho scritto che i Doomortalis mi sembravano puliti, non avevo ancora avuto a che fare coi Bestialord. Nome fantastico, sappiatelo. Credo che qui si debba fare “hop”, e come il fustacchione dell’Olio Cuore scavalcare la staccionata: questo è doom con la voce cattiva. Non c’è nulla di male, anzi il trio del Kansas lo fa benissimo, è che non riesco a catalogarli nel death/doom. In realtà non mi piace proprio la categoria appena enunciata: altrimenti dovremmo dire che gli Asphyx sono dello stesso genere? No, per nulla.



Law of the Burning prende ovviamente dai Celtic Frost, ma non si spingono mai troppo oltre, hanno uno stile di scrittura dei pezzi abbastanza semplificato e diretto che me li fa accostare più a un gruppo doom metal che a uno death. Il cantato intorbidisce le acque perché è qualcosa a metà tra Angelripper e Killjoy, mentre la produzione è molto squadrata e traccia i solchi degli strumenti con righello e compasso. Gioca un ruolo fondamentale il trascorso classico nei Manilla Road del cantante e chitarrista Mark Anderson in due ottimi dischi (Atlantis Rising e Spiral Castle), lo si sente nei bellissimi e diffusi passaggi di chitarra solista, che in contesti orrorifici come questo non si sentono così spesso. Come vi ho già ribadito più volte per me è un dischetto di doom estremo, il death è solo un frammento minore della più che buona ispirazione dei Bestialord. Loro stessi si definiscono “occult horror metal”. Non mi lamento affatto del risultato, dico solo che sarei ancora più contento se diventassero un po’ meno scolastici e dessero ancor più liberamente sfogo ai loro mostri interiori. Più What Is The End, meno Vermin, per quanto sia tutto abbastanza divertente.





A new band from Kansas is on the map under the name of Bestialord, featuring (ex)-members from Sanctus Infernum, Manilla Road and so on. “Law of the Burning” is their first output and also their debut album. The band plays Death/Doom with a strong Thrash vibe, more on the groovy side of the spectrum and a good doses of old Doom. This together with the warm and not over pumped production gives it some kind of ancient feeling without sounding retro. Take some Death (“Spiritual Healing”), Infernäl Majesty, some Black Sabbath, Saint Vitus and Goatlord and you got an idea how the band could sound and the vocals have a lot in common with Don of the Dead of Nunslaughter. This is the sound for a walk on old graveyards….The spirit lives, the mood is here. It`s old, it`s muddy, it`s dirty, it`s uncomfortable, it`s something you already witnessed but still gives you shivers down the spine. Being almost on mid/slower tempos it`s perfectly meant to bang your head. This is not for the technical wankers, nor for the avant-gardists. This is for traditionalists who love catchy, easy listening songs who still can kick ass and are cool for a midnight trip on the cemetery. Great mid 80s proto death that still has something to offer, most for being not too complicated but being catchy and with the extra bonus of good song writing skills to make it interesting. Killjoy would have liked it for sure. Old School reigns!





Vintage. Soa bem melhor que retro, não é verdade? Podemos dizer que é o que o power trio nos traz, uma simplificação daquilo que foi evoluindo desde a década de oitenta. Death metal, como uma evolução directa do heavy/doom tradicional. Andamentos mais compassados, a voz a não ser propriamente o centro das atenções e grandes solos de guitarra. Este último ponto, aliás, é mesmo aquele que mais impacto teve em nós, porque o resto acabou por não nos impressionar propriamente. Não sendo um trabalho mau, não consegue desfazer a imagem que os Obituary já o fizeram há quase trinta anos atrás e de forma mais pujante. Ainda assim, recomendado para os menos exigentes.




Con un estilo propio basado en el doom este trío de Wichita, (Kansas), nos traen su nuevo disco con 9 cortes brutales. Con una musicalidad oscura y, podría decirse, podrida crean un ambiente opresor cuando se les escucha. Con unas letras basadas en la oscuridad y la muerte que son lanzadas contra nuestros oídos con una voz de ultratumba, pesada y rota. Acompañada de un sonido macabro, que roza el horror, de las cuerdas afiladas del bajo de Rob Harris y la guitarra de Mark Anderson que a su vez es lo voz de la destrucción de la que hablaba antes. El golpeó de batería se lo dejan a Chris Johnson. Y entre los tres llevan unos tiempos muy pausados y lentos que ayudan a crear ese ambiente del que hablaba antes. Con momentos más acelerado, nos harán imaginarnos corriendo por un cementerio escapando de miles de horrores que quieren atraparnos para destruir nuestra alma y cuerpo de las formas más salvajes posibles.


Este redondo de «Bestialord» arranca con fuerza, una intro de sonidos extraños nos sumergirá de golpe en el mundo tenebroso que nos espera, la guitarra y el bajo nos saludarán con un riff que irá subiendo en intensidad para que luego la batería entre machacona y continúe el dolor a la vez que la voz nos cuenta que nos depara en «The Doom that came». A destacar el punteo agudo cercano al final y la conversación final entre guitarra y bajo.

«Vermin» el segundo tema empezará más crudo, con una voz rabiosa que se va enfadando y con un momento que nos pondrá los pelos de punta con un eco. El sonido sigue en su línea pero con una guitarra que se sale por encima de todos para marcar el inicio de su frase, corta y precisa. Con un final apoteósico en el que oiremos como la Muerte de se hace grande.

El tercer tema será más afilado, mas pensado para disfrutar de la guitarra pero con un bajo sonoro que mantendrá la melodía a la par que la batería y que se irán acelerando según avanza el tema, con un estribillo que nos recordará el nombre del tema; «All fall down». Buenos riffs y cambios de ritmos para dejar que la oscuridad nos invada.

Cerca del ecuador nos encontramos con el tema que da nombre al disco, y podríamos decir que el principal, igual que el anterior rápido y directo, con alguna caída para darle ese tono pesado que acompaña a todos los temas. Una batería muy trabajada acompaña toda la melodía, incluso cuando la guitarra se viene arriba y lo tapa todo con sus momentos personales, siendo los más largos del disco, punteos que rasgan el sonido, afilados como la guadaña de la Parca.

Pasado la mitad del disco sigue la caña, «Marduk Kurios» tiene la esencia del disco pero es la más rápida y sin casi cambios de tiempos, con el punteo más largo y trabajado la voz nos narrará una leyenda macabra.



Esta «I am the Pain» es la que más me ha gustado. Sigue la estela de la anterior, con una melodía parecida, pero más trabajada y con algún cambio pesado y un bajo espectacular que destaca bastante, la letra es cojonuda; «you will pray for death» nos gritan a los oídos en este particular descenso al infierno. Acompañando nuestras torturas con una guitarra chillona en un único momento corto pero inolvidable y un gran juego de riffs y líneas que crean una de las melodías más oscuras del disco. Para acabar gritando a coro el titulo de la canción y cerrando de golpe como quien deja caer la tapa de un ataúd mientras el de dentro grita y llora.

La penúltima es una declaración de intenciones de la banda, una oda a la Oscuridad y el abismo con una melodía sencilla, un poco plana, pero funcional para el tema más largo. Un solo más heavy y evocador, que se convertirá y cambiará hacia el sonido más propio de la banda para terminar con la repetición de unas frases que se repetirán hasta el final, con un leve cambio según se va haciendo más salvaje la letra y nos va buscando la Muerte en esta «Loathed be thy name».

Otra intro, de segundos, nos sacará un momento de este horrible viaje para que en un momento nos explote el sonido en la cara, trabajo perfecto de batería machacona para hacernos mover la cabeza, acompañada de sus hermanos de cuerdas, «Above the Vaulted Sky» es una gran transición para el cierre del disco.

«What is the end» es, también, de las mejores, lenta, pesada, oscura, podrida, agobiante, hermosa. Ritmos más pausados que en todas las anteriores, una letra pesimista y que pesara como una losa gracias a la voz, mucho más grave y atronadora. La guitarra aquí gana fuerza sobre una melodía que se va apagando poco a poco, pero que no se irá de la cabeza al igual que esos mensajes sobre la muerte y la vida que nos lanzan.






En definitiva un disco imprescindible de los amantes de la música más oscura y pesada, tanto a nivel auditivo como de letras. Esta es una de esas bandas que sé qué me será casi imposible ver en directo pero me encantaría.






This is a band that I have heard of before. I did an interview with them back at the beginning of 2018. And now I get to review the album. I should have done this review earlier but for some reason I forgot about it. This is doom metal but not in the Candlemass or Black Sabbath style. This is much more like Dream Death or even Canadian Slaughter. This is more heavy than it is melodic or atmospheric. This is like thrash metal being played really slow. If you don’t like your metal slow and with few variations this is not for you. But if you like it repetitive and heavy this is one you should give a chance. I know that I like it.




Bestialord is a new band founded in 2016 by two members of Sanctus Infernum, and this is their debut album, 9 tracks into 40 minutes of playing time. What's clear from the start is that the band is looking back for influences and the analog sounding productions is the first proof for that, and from my point of view a very good choice, honest and straight-forward, without "tricking" the listener in any way. The music is based on a mix of traditional Doom with '80's Heavy, Thrash and Death Metal, so a primal take on Extreme Metal if you would, one that doesn't sound that extreme nowadays but one that uses patterns of the genre that were already tested and working, so this might just work as well. To me this band sounds like the Wisconsin based Thrash Death band Rictus Grin went to a Doom Metal bar and got intoxicated, the guitar riffs and the vocals are from the exact same movie, what differenciates the two are the extra influences and there's where Bestialord are clearly on a more Candlemass / Saint Vitus path. All in all 9 tracks of organic sounding Doom Heavy Thrash Death Metal with plenty of moments to get involved and the right amount of variety and complexity to keep things interesting all the way, a good debut.




Kylmän sodan tietää olevan toden totta ohi, kun jenkkiläinen death/doom-yhtye levyttää venäläiselle metallilafkalle. Mitä taas tulee wichitalaisyhtye Bestialordin debyyttiin, niin tavara on kuin aikakaudelta, jolloin Reagan ja kumppanit puivat nyrkkiä toisilleen ja Berliinin muurikin oli vielä pystyssä.


Eräänlaisena Sanctus Infernum -sivuprojektina toimiva Bestialord-kolmikko on ollut kasassa vasta pari vuotta. Tältä pohjalta on ryhdytty kokopitkän tekoon ja lopputulema on rujosti rautaa takova aikamatka kaunistelemattoman synkistelyn lakeuksille.


Jos musiikki tuokin lähinnä mieleen 80-luvun lopun, niin samaa voi sanoa myös soundeista. Kitarat soivat enemmänkin raskaasti pöristen kuin nykymittapuun mukaisella kuolonsoundilla. Tietynlainen orgaanisuus toki sopii hyvin alleviivaamaan yhtyeen doomahtavuutta ja thrash-sukuista alkudödistä.


Biiseiltään Law of the Burning on perin simppeliä kamaa. Tempo on rauhallinen ja laulutyylin poikkeuksellisen selkeä ilmaisu enemmänkin sekoitus karjunaa ja örähtelyä kuin puhdasverista örinää.


Ei tämä levy monttua auki saa, vaikka onkin viehättävä, aikalaisteoksen kaltainen retrotekele 80-luvun kultaisen muistojen ajalta. Suositellaan naavaparroille ja muille kasarifiilistelijöille.




BESTIALORD was formed by Mark Anderson (guitars/vocals) and Chris Johnson (drums) in October 2016 and a year later joined by Rob Harris on bass. The band identifies their music as Occult Horror Metal. Well, this description fits perfectly their 9-song repertoire, but let me clear up that a mixture of Death & Doom Metal will await you there with classic Heavy Metal touches. In fact, one can get a clear picture about the musical part of BESTIALORD by imaginarily blending together the following giants of metal: MORBID ANGEL, NOCTURNUS, ACHERON, CELTIC FROST, MERCYFUL FATE, CATHEDRAL and BLACK SABBATH. Especially the first 2 bands did a big impact on them. The lyrical content was enshrouded by a Lovecraftian atmosphere, so you can surely expect the rise of the ancient ones and the completeness of the omnipotent darkness there. Now as you know, where the occult and the horror dwells, feel free to enter the menacing realm of BESTIALORD and perceive thy doom that suddenly came by. It's a perfect music for the midnight hour! Can't wait to hear the continuation!!!




На что обратить внимание? На обложку, не правда ли красиво? И на трэк Marduk Kurios. Ударные настилают дорожку или ковер из свежекрасных костей, сплетенных желтыми жилами, неистово болтающийся над бездной... впрочем тут заходит полная ритм-секция и ритуал начинается. Марк выкрикивает, выпевает, выплевывает слова -заклинания и мир начинает неминуемо меняться - понемногу - с каждым ударом бесноватых, ломающихся в ритме, барабанов. Соло-гитара распахивает широкие кожаные крыла и демон взлетает... духи Celtic Frost беспокойно мечутся в дальних могильниках, им кажется, что их вызывают в мир живых...

Ну вот, считаю, нужно сразу взять быка за рога, как опасно это бы ни было. В этой замечательной канзасской группе играют

Chris Johnson - Drums (2016-present), Sanctus Infernum

Mark Anderson - Guitars, Vocals (2016-present), Sanctus Infernum, ex-Grand Facade, ex-Manilla Road, ex-Inner Voice, ex-Pain Purveyor, ex-Satyros

Rob Harris Bass (2017-present).

Вторая грань в этом оккультном треугольнике - это Марк Андерсон, как видите. Который более всего известен участием в легендарной команде хэви- павер- металла Manilla Road. Те выпустили с 1977 года ...надцать или более альбомов и уже закончили свое музыкальное существование - как группа (а остались пластинки и диски этих ветеранов), так что это такой столп американского металла, от которого исходит радиационное свечение.

Марк как раз сотоварищи решил поиграть, кроме остальных своих команд, еще и в таком эзотерическом проекте как BESTIALORD. Для того и создал его. Причем, смотрите, лейбл их стиль называет думом, архивы — дэт-думом, а сами они в фб обзывают себя Occult Horror Metal. Если разыгрывать из себя Шерлока Холмса, то я бы обратил ваше драгоценное внимание на то, что два соратника - Крис и Марк играют в группе Sanctus Infernum. А это Black/Death/Doom Metal.

Есть отклик, кстати, ибо Сатанат рекордс выпускал их диск.

Все это неспроста, ибо я бы не стал упоминать о малозначащих фактах. Так вот, BESTIALORD все-таки играют дарк-дэт материал, с неистово спокойным голосом: низким харшем Марка и его же мелодическими гитарными партиями олдового разлива - предельно четкими и реально направленными на... курс на старый Celtic Frost.

Именитые музыканты написали более 40 минут забойного эзотерического материала, который действительно, если вслушаться, поднимает старейшие слои металла, чем и исключительно ценен, ибо например, группа Coroner и Celtic Frost уже никогда не напишут альбомы из середины 80-х. Это невозможно по разным причинам, а вот корневой РУТСовый альбом записан быть может. Кем? Наша троица и сделала.

Совершенно аутентично, добавим. Потому что золото классики звучит или блестит здесь во всем. Когда это осознаешь окончательно, то становится просто гм-гм удивительно — какие странные вещи возможны на нашем тяжко-металлическом свете.

Альбом олдово прописан, низа тут как самые реальные низа )). башат в колонки с самого начала, создавая совершенного ритм-секционного монстра: безумного и неспокойного. Моторность этой двойки музыкантов весьма высока, ибо драммер и басист выламывают врата в иной мир и потихоньку стравливают бесов в наш.

Совместный релиз с Cimmerian Shade Recordings (USA). Includes 12-page booklet. Includes OBI. Includes Pit-Art CD.




Que golazo metió el sello SOD. De lo mejor que yo haya recibido de dicho sello está aquí, en el disco debut de Bestialord.

Insisto, me gusta porque edita el disco Symbol of Domination, pero no me gusta la irregular distribución que da esa compañía a las bandas.

Me gusta que la discográfica se haya aliado con un par de USA para editar este álbum, lo cual podría dar renovado impulso a la banda, pero no me gusta que por esa razón reciba más atención que otras.

Me gusta la frescura que subjetivamente le noto al trabajo. Creo notar que los temas fueron escritos y llevados al estudio a poco de ser elaborados. El hecho de que detrás de Bestialord este el guitarrista Mark Anderson (de muy buen paso por Manilla Road) me parece que lo confirma. No me gusta que la mayoría de las veces las bandas se hagan más conocidas por ser “ex integrantes de” que por su música en sí.

Me gusta porque este disco es heavy/thrash/death, en ese orden. No me gusta que los hayan catalogado como doom/death ni que la banda se catalogue como “Occult Horror Metal”. Aflojen con los rótulos.

Me gusta la vuelta de tuerca que la banda le encuentra al heavy. Hay influencias externas, pero llevadas al propio sonido.

Me gusta que la banda está descontracturada. Ojala este sea solo el comienzo de una carrera.

Me gusta mucho la onda Carcass que se respira en todo el álbum.

Me gustó “Law of the burning” y ahora quiero que Bestialord grabe su propio “Heartwork”.




Bestialord, presents his album 2018 Law Of The Burning, at first sight an old-school death metal album, slow but crushing rhythms, deadly riffs and a dense and solid drum, amazing solos and a very correct voice for the style. The Belarusians give a completely professional plate where we can get songs like: The Doom That Came, Vermin, All Fall Down, Law Of The Burning, Marduk Kurios, slow themes but with great strength remember that they practice death metal and add the metal doom making a dark mixture formidable and that presents great energy, surrendering to the old school and being a brutality completely. Those responsible for getting us this plague are: Chris Johnson Drums Mark Anderson Guitars Rob Harris Bass The band signed by Symbol of Domination Prod continues to present us with their album now with songs like: I Am Pain, Loathed Be Thy Name, Above The Vaulted Sky, A part of the album that I consider quite somber and very consistent with the doom without leaving behind the extreme of death metal. And they finalize their disc with the hymn: What Is The Endm better final than this one does not exist, if you are lover of this style I can recommend them to you.




From Witchita/Kansas comes occult metal trio Bestialord which was summoned barely 2 years ago, in 2016. The band feature former members of Manilla Road and Sanctus Infernum.


It`s 2018 debut album from them which is like an archetype sound of 80/90`s death/doom and thrash heavy metal, but without any obvious proof that this album stands within those genres only. The sound is organic and I am sure they are able to reconstruct this studio effort during their live shows because they keep playing those songs very old school, without any major interference of modern studio tricks that probably could kill godless atmosphere of the album. Devilish vocal performances from Mark Anderson are one of the strongest of the album. Baphomet`ian fire in his voice along with lyrics are really something that even horror fans would appreciate because the song I Am Pain is like opening the door to the realm of Hellraiser. The song called What Is The End I relate to last Black Sabbath album and two first songs from that record, where some questions have being asked in that album. What Is the End is actually my favorite track from which magic of words, damned sound of church bells and riffs are spellbinding. I find my pleasures going through obscurity of some songs that evoke hell and torment - Vermin, All Fall Down, Law Of The Burning, Above The Vaulted Sky.  All these songs sound like Bestialord instruments were soaked with blood of Lovecraft`ian creatures which is a lie but with that bore in your head I think they tried to reach that state of mind that brings mysteries for music and better effects which you can treat as evil truth.


If you like classic metal bands and all early records from Candlemass, Hellhammer, Mercyfull Fate, Pentagram, After Death, Morbid Angel then Bestaialord is all yours with their graveyard of music and don`t wait to seal the deal for this album.


                                                  “...Grant me your power, your magic and strength...”