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This week we recieved a few more recommendations than usual, and while that means a lot of researching and processing, Sarg actually saved us that by handing us what we needed (and we’re handing that on to you-with the links featured under this block of text). A four piece from eastern Germany, they lay themselves on the line called old school Black Metal.


Now, before you go getting any ideas we’ve nothing against that. Although keeping up with what school is what, and who sounds like who, can sometimes end up confusing all sorts of made up categories and starting fist fights and all kinds of chaos. But not here at UU. We gave the two provided tracks a quick skip through to guess what kind of old school Black Metal we were about to be subjected too and it checks out for the most part.

“1,2,Krieg” is the first of the songs we were given (as we said there were only two, we’re stretching it out a bit for you). We’re already temtped to say that this is our favourite, there’s pace changing like crazy and everything is suitably agressive and fuzzy for our tastes. For four guys they manage to pack a lot in without it sounding overcrowded or overly crammed with guitars. There’s a great off-beat riff that runs through most of this song and it sounds great… Speedy music with a sort of delay-lag from the off beats, culminating in good chance to hear the voice of our vocalist (Avnas).

“Abgrund” is next, it throws us off a bit that there’s quite a bit of silence at the start of this song, and then some backing tracks, but as soon as we hear Avnas again the fears are somewhat allayed. Like we said te music and vocals is all very well arranged, but it’s great to hear the vocalist seperated, as his voice rocks it. We were feeling this song and got suddenly interrupted by a sort of dance-remix synchophated beat from drummer Namtar. It kind of words and doesn’t at the same time, we voted it out and found that it pleased the most of us so don’t close your minds to it too early. Maybe crazy dance remix was a bit too harsh. Hey, it just shocked us after hearing “1,2,Krieg”.

We’ve got to say the more accoustic elements in “Abgrund” aren’t to our tastes, but Avnas makes them interesting for us, and they take nothing away from the song itself. Or the band.

We’d like to say thanks here for the recommendation and encourage others to send some in: your own band, one you know, we don’t give a shit… But any chance to hear new music is good.

As promised, links:




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“For those who worship the sounds of vehement regurgitation we will chant the hymns of pestilence”….

With a smidge of showmanship starting off our interaction with Carapax through our screens here, we were unsure whether what we were about to open was hellishly good or just plain old trash. Although our stack of tracks was limited to….two (links below). Blackened Thrashing Metal (their words, not ours) peaked our interest. This came about due to Carapax being on the line up for Black Fall Fest (North Germany-Link Below).

More than a touch of Mayhem rip-off screams at us as we hit up the band’s soundcloud page. And two tracks are all we see: ‘Spirit Mutilation’ and ‘Blood Salvation’. Both titles are followed with a somewhat unsure (rough), (testing) series of words. We hit play anyway.

So ‘Spirit Mutilation’ was the lucky winner and came up first. Although those who have read a few of our other posts may be aware that Thrash is usually not on the menu (anyone’s menu, anywhere….ever). The ‘blackened’ element of the song saves it (that element being the voice of who we can only assume to be Goathämmer Hellsmyth-Thundering Pulse Of Death And Monolithic Roars Of War And Hatred). Good show Hellsmyth.

‘Blood Salvation’ pulls back the thrash from the music as well as the blackend from the voice. It’s overall listenable, a-which-track-is-our-favourite-vote comes up narrowly ‘Blood Salvation’.

We feel like we’ve reached our limit with Carapax. If you feel like more than the two free tracks on soundcloud then check them out at Black Fall Fest (Northern Germany), or hit them up for even more live show dates.


Black Fall Fest:

And for us:

Until Next Time,




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Asator hail from Bremen, Germany, and before we get into how awesome their release Gezeiten is, we want to tell you to get your asses over to Black Fall Fest ( their next appearance alongside a few other good names (which might even just be featured).


‘Wenn Welken welten’ kicks us off here in Gezeiten, and for some reason reminds us immediately of Abwehrschlacht, even though it’s audibly….different. Definitely not staying in the honey-pot of Black Metal for some people (including a few here at UU), there’s arguably nothing un-Black-Metal against them (we’re argued aleady). A mellow track with alternating clean harmonies and a not-half-bad vocal performance, it’s an intriguing start to an album that we couldn’t really imagine from the get-go.


‘Schattentanz’, track two, really kicks things off here at the office, as it’s an over 14:00 epic that starts off acoustic. These things can go either way pretty quickly and we were all remembering the strite over the last load of long-ass songs we had to cover (Garden of Grief).

At this stage, after the song really kicks in, we’re feeling pretty divided here. Is that Cradle of Filth that they’re reminding of us? Amon Amarth? Asator have somehow blended more than a few elements together that we haven’t really noticed (enjoyed?) so much before, and there’s not much bad about it. It’s so far a good album to have on in the background, and definitely listenable. Amon Amarth-esque or not, they’re started to convince us they’ve made the cut (Solo Aside).

‘Nekrolog’ is track number three, and immediately takes to our liking. DIrty guitars, slow rhythms and fuzzy melodies, right up our darkly-lit alley. We should probably take the time to point out that Asator the band are indeed good and aren’t pulling the wool over anyone’s eyes, they list themselves as Melodic Black Metal and something are just bound to come with that. For out biased ears though, ‘Nekrolog’ is where Gezeiten really takes off.

Seriously, the song is the shit.

Gezeiten is seven tracks long, and because of that (and also the fact that Asator have let us listen to that for free on their website (beneath this text), we’re going to call it a day. Go listen.

Nekrolog, seriously.

Official website (music available to listen to and download too)

And for us:

Until Next Time,



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So, as we said we’re going to do something a little different right now.


Go and check out one of the previous reviews we’ve posted over the past few months. We have a lovely graph of country-specific views here on the admin side of UU so good luck cheating.

Choose one review as your winner. Any of the past posts featuring bands. We’ve already selected one as the winner here.

Leave us a post under your chosen review here on the UU site, or you can post on our facebook page, where we’ve briefly outlined these same instructions. (

We have a small prize to give away. The person who picks the correct review (to which the prize is related by the way) will win, simple as.

If more than one person pick the winning review, well we’ll have a round two, a good one.

Alright, go start reading.

UU Staff

Garden of Grief


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This Thursday we’re going to be talking about an Austrian band that got recommended to us out of the blue, and fuck, were we grateful after we heard this album. Garden of Grief is a one-man band (that one man being Boronian Sturmfels) that’s been operating since 2008, and not quietly as ‘Endstation’, today’s focus, is their 5th studio release. This is one of the few bands we’ve reviewed that’s been kept on our mp3 players, and one of the majority favourites in the office so far. Links to find/hear more are at the bottom of this post, which is slightly more long-winded today.


We’re going to run through this hour-long release track by track with you, as we felt that just giving our opinion with no specifics here might not cut it.

‘Auftakt:Angriffskrieg’ kicks us off. It’s an intro that doesn’t give away much but hints at a spring of old-school chaos waiting behind the fuzz. We had never heard of Garden of Grief before, and here in the office our tastes in BM can vary pretty wildly so we were anticipating a love/hate fight between us all. But hell, when ‘Initial Command’ kicks in a moment later… Well we were partly right about the old-school feel hinted at in the intro, but it’s been done in a somewhat new way. What we mean by this, is that GoG isn’t playing copy-paste music. There’s no drifting off for a predictable segment or lull. It’s not an attempt to sound like anything else. Excellent composition, full, complex riffs moving a mile a minute through the drums (which are something else by themselves by the way). There’s not a hint of confusion between each individual cog in the song, and more impressive is that no sound is becoming favoured over the other in the recording. Remember, this is a one-man band, and that can sometimes show through in other one-man-bands when an instrument gets favoured over the others, it gets the best writing, the loudest track; not here.  Not even close.

After we drool over the drums and bass in track two a little more, we move onto track three, ‘Aufbruch: Anfang vom Ende’. It’s a 180 turn from the last song, it’s still technically excellent but much mellower with less moving and interloping parts. And it holds our attention through a short atmospheric track. We say short here because the next song, ‘End of the Line’, is a 20 minute epic. Yeah, that’s a twenty minute song. Now when we first realised that, a hundred questions came to mind, about this one solitary Austrian hidden away somewhere writing songs that go on forever, and this is one of the big things that makes us want to have a chat with Sturmfels, so if you and us are both lucky you can watch this space for an interview.


Getting onto the actual track ‘End of the Line’, it’s another sharp turn away from the preceding songs. It has an impressive range, not just of music and riffs within the track, but also of the emotions it invokes along the way. Once again it’s seamlessly fitted together, and leaves us quiet for a good portion of it every time we listen. It manages to play through a solid 20 minutes without leaving you one to get bored in, so immersed are you in the sonic picture it’s painting.

‘All Out!’ is out next stop. We delve into the darker side of ‘Endstation’ for this one. The tone is dim, the vocals are on a warpath in an assault seemingly engineered by the drums. This feels like a more direct line, as opposed to the scenic route taken by ‘End of the Line’. Not that we’re missing any of the excellent components GoG has been stockpiling since the first track.

While we could talk about each individual track off this album for a lot longer than we have, there’s a constraint on our article size, and to be fair we wouldn’t want to ruin the surprises that still remain on the album for you (Try ‘Genocide Crescendo’). There’s a huge amount of diversity on this album, while the band maintains it’s own distinct sound. And we love the lot of it.

Garden of Grief have made hardened fans out of the UU team with just one album, and we’re off to track down the rest right now. Check out these links for more info on the band and everything to do with it.

And for us:

Until Next Time

Novus Ordo


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Yet again we’ve dug up some interesting new shit for you lot. These guys, Novus Ordo, are from Chile, and no matter how we dig on them, we can’t seem to get one solid bit of information. Some sites (including the band’s facebook) say they formed in 2009, some other sites say 2012. They released the full length ‘At the End of the New Times’ in September 2012, and once again the tracklist varies depending on where we look, but we’ve done the best with what we have and taken a look at it. As always, check below this post to get all the necessary links. We advise you to follow the links because googling Novus Ordo just leads you into the rabbit hole of christian-conspiracy-theories and boring shit about the vatican.  Go on, we know you’re going to do it anyway, we’ll wait here…

See? Alright, on with this album. We start with what we presume to be track one after a lot of comparing lists, ‘Hados and Destinies’. The first thing that sticks out to us is that it’s oddly emotive with the least amount of emoting… The music drags you along with it while your not really sure whats dragging you. We estimate it’s the excellent and relentless harmonies of out lead guitarist here. Two guitars in this type of Black Metal can often make things sound messy and just thrown together, as if no-one cares about the sound but want to fit all their mates in the band, but not here. This lead guitarist has been hammering away at these harmonies since we’ve started discussing and writing and while we feel for his fingertips it’s truely something else.

‘When Horns Call to the Battle’ is what we estimate to be the next in line for a listen, and yet again we cast a thought to that harmonising machine in the background. But this song, compared to ‘Hados…’ is a more collaborative effort in the evil sound Novus Ordo produce. We had a little bet on whether all the drum tracks on this album were recored by the listed drummer; Horus, because there’s a few lulls in the track which allow you to hear nothing but blistering double-kick, and, well, you know people’s propensity to lie about these things. The more we listen to this album the more the sheer talent comes through over the excellent music. You really can’t think of one without the other here.

We adore the fact these guys are from Chile and could so obviously school some of the bands coming out of more ‘accepted’ BM havens. They’re full of a relentless pace and instead of each track housing it’s own evils alone, the whole album feels like it’s ganging up on us to unleash this utter beast of a sound. Whether these guys have been around since 2009 or 2012 the album is a fucking must listen, really, get on this right away.

As it was a real fucking struggle to dig Novus Ordo out of the woodwork they were hiding in, we’d really appreciate if anyone who does know them a bit better could write to us either here on the blog, on facebook, or via our email (all provided below) to tell us if we got anything incorrect, or to clarify their information, or even to tell us more about their modern exploits.

So, without further nonsense, here’s some links:

And for us:

Until Next Time,



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This band is a little different in terms of the past reviews and discussions on our blog here, but it’s good nonetheless, obviously, or why would we be reviewing and recommending it to you.
So we jump from Tartarus in the UAE to Cntmpt in Germany. Cntmpt are a three piece as far as we can gather, they were formed in 2011 and hail from Leipzig, Saxony. As always the links for everything to do with them can be found underneath this chunk of writing here, at the end.

The EP we’re talking about is a self-titled 9-track released, according to the bands bandcamp page, in JAnuary 2014, making it their most recent release. We started off a little apprehensive as the band have classified themselves as atmospheric black metal, and that can be a hit and miss area for some of us here at UU. The first track ‘I’ (all tracks are labelled in roman numerals) almost threw us way off as it is indeed a kind of slow building, no-punchline, atmospheric song. However, after that we never looked back. The tone changes during the second track, keeping it’s atmospheric foundations but using fantastic harmonies and more frenetic guitar asides to build a really interesting song. It’s well structured and atmospheric but not at all static or repetitive.

In fact, this trend continues as we wait for the lull that usually accompanies atmospheric albums (for me at least). Each song is an independant track with no run on instrumentals connecting things together. The atmosphere of the album can’t be denied, it’s just not the atmosphere we’d associate with ABM. There’s a feeling of urgency in the songs, a rush to the next riff, bridge, the next track. Yet it comes off as a perfectly planned and organised rush, a controlled chaos. We think this is awesome, actually. While it’s easy to define the album ‘Cntmpt’ as a black metal album, and in some senses an ABM album, the term “atmospheric black metal” just doesn’t cut it here. We like a little upset in genre-titling.

Track 9 finishes us out gracefully, with another precision lull smothered in good riffs and clever structure. Really, if this is atmospheric black metal these days, count us back in.

Here’s some links to get to these guys yourself:

And as always, your hosts:

If you like these reviews, these bands, or if you hate them, we appreciate any spreading of our pages (here or fb). It means we get to meet more people, hear more bands, and share more music.

Until Next Time,



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After a relatively long time with no posts here on the UU blog, we’re kicking back off our regular music-coverage with Tartarus. If you haven’t heard of these guys already go to the bottom of this post, as ever, and you’ll find links to things that might interest you. Tartarus hail from the United Arab Emirates, and that’s the first time we’ve heard of a BLack Metal band from UAE, Dubai to be specific. As you can imagine we were pretty interested as to what we were going to hear when we first uncovered them and started throwing on CDs, and it turned out better than we expected. Not that we really knew what to expect, but it wasn’t a bad surprise.

We picked up ‘Of Grimness and Atrocity’, the newely released debut EP, and intend to describe a little of what Dubai Black Metal sounds like to you.

So, to kick off we put on track 1, ‘Seshot’ with a little trepedation. It’s an atmospheric spoken intro, which leaves us pondering if the songs will be in Arabic or English, Arabic would surely be something to hear. Track 2, ‘Axes (Of Hatred)’, drops the atmospheric joking around and powers off with a perfectly precise cacophany, and intricate guitar-drum play. These drums keep catching our attention, reeling off unexpected doubles in the background adding a incredibly controlled aspect to the song. A minute in, and you can tell that none of the members of Tartarus are playing around playing, but this drummer (Obscurus) really has our attention. English, co-incidentally, is the language the vocalist (Zymolust) is spewing, and it sounds excellent. His voice is steady and powerful, they have an ear for harmony too, with a vocal dual followed swiftly by an aside for the guitar. To be honest this song hasn’t eased up the pace once and it’s impressive.

One can’t judge people, music, or anything else purely on where they hail from, but we embarrasingly admit that we are really amazed at Tartarus. We had no idea there was Black Metal originating from the Muslim world on a scale like this. We didn’t know the fight was being brought to UAE so well, although we’re super glad of it.

‘Cosmic Storms’ and the title track ‘Of Grimness and Atrocity’ round off the EP. Both are just as technically advanced and acomplished as their track 2 counterpart. Their technicality is merged together incredibly well, and you can tell by the unity all parts have in the songs, regardless of how the music is progressing or what level of chaos is occurring. It’s something to hear. I wish there were more bands of this calibre, to be honest.

One thing we regret is that it’s unlikely we’ll get to see Tartarus live anytime soon, as the band is listed as residing in Dubai, and that’s quite a while away from us. If any of you are in the area, don’t hesitate to hit them up.

So, as always, here’s some links to go and check out this band yourself:

And as always, here’s some other links from us. Keep recommending bands for us, we’re getting quite a collection of new, local bands from all over the world, it’s excellent stuff and they’ll all be featured at some point.

Until Next Time,




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Yaotzin released Chaosbringer in January 2014. It’s a four track single, you can check it out yourself via the links below this post, and like our last band this group hail from The Netherlands. Yaotzin have a long and accomplished history behind them, and one short review like this won’t cover that history correctly and completely, or do their discography any justice. As always there will be plenty of links laid out at the end of this post to help you get more info on these guys, and we encourage you to waste no time and hop to it.

So, the four tracks on this release consist of the title-track, ‘Chaosbringer’, as well as ‘Malkuth’, ‘Murder’, and ‘The Incarnation of Satan’. As this is quite a short recording we’re going to try and dissect the songs a little, as we don’t have the luxury of leaving some of the release for you to discover on your own.

One of the ways we thought we’d tackle this somewhat difficult band was the following… On their ReverbNation page, the band posts that they sound like; “Dark Funeral, The True Mayhem, Immortal, Marduk Official, Belphegor”. So, with only four tracks to look at and with most of you knowing those five bands pretty well (I mean, you must, right?), let’s do a bit of an actual comparison. We started with the title-track.

‘Chaosbringer’ starts us off here with a melodic instrumental intro, that steadily increases in complexity until Theo’s vocals kick us off in the second minute to a backdrop of drums, drums and more drums (courtesy of Bas). The recording is clean, the music is tight. As with the intro, the song seems to gradually make itself more and more complex without loosing any of the atmosphere it has collected so far. It’s fast and ever changing and, finally, impressive. So, we take some notes but let’s move on for now.

‘Malkuth’ definitely sets a different tone. Each individual part is more solid and sure of itself. The harmonies are just as beautiful to listen to but it’s certainly more harsh and self-assured than the intricate guitar fills and harmonies from ‘Chaosbringer’. All the solid guitar work brought to us courtesy of Spoor, the former bassist. ‘Murder’continues this same feeling on, but it’s a much more sinister song. It’s a great mixture of the complexities already shown on the past two tracks. A wall of sound completely intertwined with light guitars, can rival the solid blocky songs in the same vital feelings.

When ‘The Incarnation of Satan’ begins we have some pretty high expectations for it. And, amazingly, it doesn’t fail to deliver. Overall this seems such a well composed MCD that the four tracks doesn’t bother us in it’s shortness but rather its lack of length… The track is another perfect mix of time changes, instant riff-jumps, and yet perfect unity.

Some of us at the office may have started off this post with a little bit of mocking in their voice at the claims of Yaotzin on their ReverbNation page, on which there’s not much else but album links and the list of bands they’ve listed under ‘Sounds Like’ (“Dark Funeral, The True Mayhem, Immortal, Marduk Official, Belphegor”). We’ve dug out the newest releases of all five of these in order to do a little comparison, more out of curiosity at this stage than an attempt at proving the claim wrong.

And we ain’t gonna tell you shit. Nah, we really did dig the albums out of our vast dusty collections. And we agree that they tagged themselves pretty well. But in the end, it’s up to us to listen to Yaotzin, not decide who they fucking sound like. We’ve linked the albums below. Enjoy.

We don’t know what’s in the Dutch scene to make the bands so intriguing, but we know exactly where we’ll be holidaying next, in search of some good gigs. Seeing Yaotzin and Weltschmerz together? Well let’s hope someone get’s the idea in their head.

Links for the Band:

Links for newest albums of bands referenced above:

Dark Funeral: Angelus Exuro Pro Eternus (2009)
Mayhem: Esoteric Warfare (2014)
Immortal: All Shall Fall (2009)
Maruk: Serpent Sermon (2012)
Belphegor: Conjuring the Dead (2014)

And Finally, Links for UU. Send us in music, letters, hate mail, whatever the hell, just get in touch and ask for an address.

Until next time,



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For this review we’re jumping back to the European continent with Weltschmerz. The four (five including live set-up) piece hail from Amersfoort, The Netherlands, and in March this year released their first full-length, 8 track album; ‘Odium Humani Generis’, which we thought we’d examine a little. As per usual, find the necessary links below the post.

bandfoto BIO

Here at UltimateUlulation we hadn’t heard of Weltschmerz before. We weren’t quite sure what we were getting ourselves into, and the emphasis with which the band describes themselves as a “ferocious live band” on their websites didn’t really allay our fears…
We like to judge these things for ourselves.

However, ‘Ab Æterno’, track one, starts promisingly and doesn’t turn us off immediately, and eventually becomes enjoyable when the vocals kick in. The vocalist, Hreim, knows what he’s charged with and gets on with putting out quality stuff. It’s a 05:30 minute long song and it jumps around tempos and time sigs pretty fast for such a short song. But there’s no doubt about their skill. However, It’s not a done deal here yet and sounds a little unfocused. Based on this track alone, we were a little dubious about the rest of the album. Weltschmerz seem to be right up our alley but there’s some disagreement about the levels of the vocals. Are they too clean? Is that causing them to overshadow the music a bit? Maybe, at least we started to think so. But, we put these things aside to crack on.

Tracks two and three don’t divide us so much. ‘Ending Your Life’ and ‘None of Us Will See Heaven’ is a huge chunk of what we love about Black Metal; fast, lulling, vicious, obscure, skilful, and dark as fuck. We start to see we were a little too quick to judge the album based on the first song. I, for one, am glad that the preceeding song was so different from these.

As ‘Geschrei in der Nacht’, kicks off with a slow and rhythmic, burzum-esque atmospheric intro, we’ve all pretty much agreed we jumped the gun judging Weltschmerz. The music is good, the band are talented, and it’s a grim fucking delight. As for their claims of a ferocious live show, we no longer doubt them, and intend to be right up the front whenever we get the opportunity to see them.

The album is rounded off by ‘Asmodeus’ and ‘The Night is My Domain’, and both keep up the standard of the rest of the recording. The drums in ‘Asmodeus’ in particular catch our attention, there’s nice melodies and speed without making the music sound like it’s chasing some careless, speed-freak thrash drummer.

The album is good. It surprised us and to be honest it still divides us a little but that makes it more interesting. Go and listen to it yourself and maybe you’ll see what we mean.

Here’s some links to checking these guys out:

And here’s some of our own links, follow some of them.

Until next time,