#138 Flork Reviews: Hrobár - Mŕtvy Ťah (2024)

 

Hrobar - MŔTVY ŤAH (2024)
by Flork

Emerging from the sleepy, historic town of Banská Štiavnica, a place known more for its art galleries, charming cafés, and medieval architecture than for mosh pits and mayhem—Hrobar’s MŔTVY ŤAH is like receiving a high-voltage jolt from a faulty defibrillator after a lengthy cardio arrest, waking up the town and everything else sleeping nearby. This 19-minute, 19-track blitz of metal, crossover, and thrash is the auditory equivalent of an energy drink overdose, injecting raw intensity that contrasts gloriously with the town’s laid-back atmosphere.

Hrobar (The Undertaker) wastes no time in setting the stage with Hrobar je najlepšia kapela na svete (Hrobar is the best band in the World), a self-assertive opener that’s as much a proclamation as it is a manifesto. At a mere one minute and sixteen seconds, the track blasts through with a distinct confidence that becomes a recurring theme across the album. In fact, this is one of the longer tracks; the majority speed by in under a minute. Even the band’s punchy, provocative titles are as relentless as the music itself, with tracks like Morálny kódex (Moral Code) and Tvoje telo nie je moja voľba (Your body isn’t my choice) challenging societal norms and personal boundaries with unapologetic attitude.

 

The album plays out like a barrage of metal vignettes, each track a short, sharp shock to the system. All of it is sung in Slovak (I think), yet it makes no difference. Songs like Prísny sused (Strict Neighbour) and Tichá domácnosť (Silent Household) capture everyday tensions, while Priemerný fanúšik Slayeru (Average Slayer Fan) offers a satirical jab at thrash culture itself. Hrobar balances critique with a playful edge, as heard in Kalorický kódex (Caloric Code) and Agresívny kontextuál vs. Hrobar pôžitkár (Aggressive Contextualist vs. Hrobar Hedonist), which feel almost absurdist, yet both tunes add depth to the band’s gritty worldview.

So how can I describe their sound best? Like this: Every track is an aggressive sprint to the finish line, punctuated by chugging riffs, frantic drums, and growling Slovak vocals. It’s like every track starts at 100mph many moments before the trigger on the starter pistol is pulled. The brevity of the songs—the majority clocking in around a minute—keeps listeners off balance as the album pulses forward like an uncontainable force. The raw energy peaks in Toto je Hrobar tu je tvoj hrob (This Is Hrobar, Here’s Your Grave), a roaring 1:24 culmination of the band’s ethos: direct, brutal, and darkly humorous.

Ironically, each track somehow brings something distinct, because it feels like the album leaves no room to breathe. It’s a relentless experience designed to hit hard and fast. Closing with Progresívna voda (Progressive Water), Hrobar caps off this meteoric journey without any intention of offering any resolution—just a final riff and a short lingering echo of distorted defiance.

And the Flork’s prognosis? MŔTVY ŤAH isn’t for the faint of heart, nor is it meant to be. But I like it all the same. In fact, it’s an explosive reminder that, even in the most picturesque settings, raw energy and unfiltered expression can find their place. After all, the town was built on the mining industry, and so it shouldn’t be any surprise for heavy underground music to surface. And much like their previous first full-length album, Hrobar delivers a collection of fast-paced compositions that are as chaotic as they are captivating. Definitely a „must-listen“ for anyone craving a fresh dose of thrash madness.

#135 Flork Reviews: Demonic-Eyed - V (2024)

Demonic-Eyed - V (2024)
By Flork

The first thing that hits you when listening to Demonic-Eyed is the intensity of sound. Like, you know right away that this is an “in-your-face” kind of band that is confrontational on all fronts.

Their latest release Demonic-Eyed V is a thrash-infused hardcore album that refuses to pull punches, instead, tackling both personal and societal issues with a blistering ferocity. And like their previous releases, they continue to blend heavy, crunching guitar riffs with an unyielding rhythm section, all the while diving into topics ranging from animal rights and social justice to mythology and existential dread.

If you haven’t listened to any of their previous stuff, you can probably guess that their sound leans more to the aggressive side, but Demonic-Eyed V shows a more polished, yet still unapologetically raw production compared to their previous efforts. The tracks alternate between chaotic bursts of energy and more controlled, rhythmic sections that allow the songs to breathe before unleashing again.

Tracks like Nostromo and Samotar stand out with their fast-paced guitar work and thundering drums. In particular, Nostromo, which kicks off the album strikes with a dynamic, aggressive tone, immediately setting the stage for the auditory assault to come. I have to note that the production strikes a balance between clarity and grit, ensuring that no instrument gets lost in the intensity, but still retaining the rough-edged aesthetic that fans of the genre crave.

But what I particularly like about this album are the captivating aspects of how it tackles both socially-conscious themes and introspective explorations. Songs like Ked ticho zabija (When Silence Kills) and Believe Me speak about deeper emotions and struggles, offering commentary on isolation and mental resilience. These tracks feel personal, with the band channeling frustration and emotion into every scream and riff.

Yet, Demonic-Eyed doesn’t limit themselves to introspection. On tracks like The Greed and The Foodgasm, they make sharp critiques of consumerism and overindulgence, themes that are sure to resonate with fans who appreciate music with a message. The band’s commitment to social causes, including animal rights, shines through in their abrasive, yet meaningful lyrics, even when sung predominantly in Slovak. This linguistic choice gives the album a distinctly local edge, while their messages remain universal. And still, there are tunes on the album that are just fun and meant that way. My favourites are Najeb ako ziadny iny (Get fucked-up like nothing else) and Plumbum. These are songs that keep the pulse fast and the energy buzzing.

And the Florkman’s prognosis? Demonic-Eyed delivers a well-rounded, thought-provoking album with Demonic-Eyed V. Their ability to blend aggressive thrash and hardcore elements with meaningful, socially-aware lyrics sets them apart in the metal and punk scenes. And yet they don’t stray far at all from the genre, in fact, they only sharpen their sound and message with this album.  Demonic-Eyed definitely has a place as one of Slovakia’s most exciting underground acts, proving that they can still deliver brutal, honest, and thought-provoking music with every release. I’m really excited about the upcoming release.

#134 Flork Reviews: PSØL - Contradiction Syndrome (EP, 2024)

PSØL  - Contradiction Syndrome (EP, 2024)
By Flork

Almost a year ago, I had the chance to review PSØL’s debut EP.  If I remember correctly, I had predicted that they would be a promising young band who demonstrated talent and depth in their music, totally belying their newcomer status. And when we fast forward a year later, I can confirm my predictions.

Emerging as a breath of fresh, albeit sinister air in the death/stoner genre with their latest EP Contradiction Syndrome, PSØL have become masters at blending elements of stoner and southern rock, as well as a healthy dose of metal, especially death, in this four-track release, offering an eclectic mix of sounds that challenge the conventions of several genres (think also doom and sludge as well) while remaining a fierce and powerful statement of artistic resilience.

 

Opening with Dawntrapped, the “Kremenchuk quartet” lures listeners into their realm very quickly with its atmospheric introduction. This is an amazing track with hypnotic riffs and dynamic contrasts between clean and extreme vocals. I was mesmerised right from the start by the guitar work, which is intricate and still simple, and less reliant on heavy bar chords, opting instead for melodic strumming and picking patterns that feel groovy and almost jam-like.  You can hear the contrasts between the aggressive vocal delivery and the smooth instrumental sections, which create a captivating push-and-pull dynamic. Even the bass shines on this album, adding a funky undertone that contrasts with the more demonic vocal sections, hence the “contradiction syndrome”. The drums also keep the groove tight, but never overpower, making this album and group such a standout — a fusion of contradictory styles.

The other three tracks are as amazing as the first. Take Kuningooroo, for example, with its mysterious title and equally enigmatic sound, pushing further into the stoner and southern rock territory. This subtle approach to rhythm allows the song to breathe, giving it a distinctive, laid-back swagger amidst the moments of chaos. Or Deathward, another gem that cranks up the intensity, but continues to contradict typical death metal heaviness. And of course, Postmoderninja, which is a wild, genre-bending finale. It brings together everything that makes Contradiction Syndrome stand out: clean, soaring vocals paired with gremlin growls and groovy basslines, mixing metal and southern rock guitar work that somehow gels seamlessly.

And the Florkman’s prognosis? There’s definitely a playful energy in the way PSØL experiments with different textures, all the while maintaining a dark, heavy atmosphere that listeners will appreciate. They draw from a diverse range of influences, both modern and classic and demonstrate their talent professionally in the craftmanship of their songs. Contradiction Syndrome and PSØL themselves definitely get high marks for this little gem of an EP. They prove there’s room for groove, experimentation, and resilience.

#133 Flork Reviews: Päfgens - Aspect of What (2024)

 

Päfgens - Aspect of What (2024)
By Flork

Not long ago, in fact, just a little more than a week ago, Berlin-based Slovak duo Päfgens, released their 15th recording in the form of Aspect of What, an album of light and dark beauty that expounds on the use of looped guitars and bass within a multilayered “soundscape”.  And, much like their previous recordings, which go back as far as 2013, Aspect of What could be described as a dreamy experimental shoegaze with ambient drones and field recordings, creating a final product of profound exploration in sound and emotion. Released by mappa and the support of the Slovak Arts Council, the album weaves together elements of slowcore and a meditative approach to music-making that feels both intimate and expansive.  If you are not familiar with the music of Päfgens, which consists of Jana Drábeková Kočišová (guitar, tongue drum, synths, singing bowls, vocals, etc.)  and Filip Drábek (bass, guitar, kastle drum, field recordings), the album is built around “framed improvisations,” where spontaneous passages are captured and developed over months, layering new textures that breathe and evolve. This approach mirrors the unpredictability of nature and life itself, making each track a living, organic entity. And, central to the album’s emotional core is a tribute to Filip’s late ethnologist grandmother, Božena Filová. Her voice is featured in the standout track Particles, where she speaks of the desire to help people and uplift rural communities through education. The spoken word is enveloped in gentle drones and resonant synths, grounding the album in a personal history that gives depth to its abstract explorations.

 

The opening track, The Dawn, introduces listeners to the album’s contemplative world with slow-building drones and field recordings, evoking a sense of awakening and reflection. I particularly like this track with its element of mystery and suspense that conjures images of surreal and distant places. This is followed by Particles and Sound of Ice, the latter exploring delicate ambient textures, sounds that magically mimic the sound of ice melting, capturing a moment of transformation and fragility. Rule the Waves shifts towards a lighter, more lifting atmosphere, with touches of dreamy sounds washing like waves over an isolated shore, while Journey offers a darker and raw, almost cathartic blend of distorted guitars and visceral drones. This is the longest track on Aspect of What, with just over 7 and a half minutes of despair and shadowy images, what I can only describe as “beautiful confusion.” The album concludes with Around the Clock, a serene, time-suspended composition that features what I believe might be chiming bells or a railway warning alarm (or at least a good reproduction of such sounds), as well as a tapestry of drones and the ambience of the singing bowls.

Mixed and mastered by Stephan Mathieu at Schwebung Mastering, the album’s production is definitely first class and highlights the clarity and depth of each element, allowing the music to unfold in layers as intended. I also need to add that the artwork by Rastislav Podoba and the design by Tereza Maco perfectly reflect the album’s blend of abstraction and organic forms. The mountain with its avalanche of paths leading to places unknown and without any particular direction.

And the Florkman’s prognosis? I give this album a 10 out of 10.  Despite the wealth of darkness throughout, I somehow felt better after listening to Aspect of What; it somehow grounded me emotionally. With its deep emotional undercurrents, use of field recordings, and a patient, evolving sound, Päfgens offers not just a listening experience, but a true reflective journey—a call to be open to learning, healing, and growing through sound.

#131 Flork Reviews: Kragrowargkomn & Jori Josiphson - Körkarlen Suite (2024)

 

Kragrowargkomn & Jori Josiphson - Körkarlen Suite (2024)

by Flork 

Ever since its release in 1921, the haunting allure of Victor Sjöström’s Körkarlen (The Phantom Carriage) has captivated audiences, and now, over a century later, the film finds new life through the chilling soundscape of Körkarlen Suite, an alternative soundtrack crafted by experimental artists Kragrowargkomn and Jori Josiphson. If you are unfamiliar with this epic silent film, it may give you some context by first giving the movie a watch before listening to the album. The story revolves around David Holm, a man whose life is marred by alcoholism and cruelty. According to legend, the last person to die before the clock strikes midnight on New Year's Eve is cursed to drive the Phantom Carriage, a ghostly vehicle that collects the souls of the dead, for the next year. And with this imagery in mind, Kragrowargkomn and Josiphson pay an audacious homage to the silent era, blending drone, dark ambient, and funeral doom into a work as eerie and timeless as the film it accompanies.

Körkarlen Suite begins with Prolog, a near ten-minute immersion into the void, where Kragrowargkomn's under-tuned six-string bass guitar reverberates through a thick fog of distortion. The rumbling drones, reminiscent of the legendary sounds of the doom/drone metal group Sunn O))), lay a foundation that is both oppressive and captivating, setting the tone for the journey ahead. This sonic landscape is further enriched by Josiphson’s use of acoustic instruments, particularly the Indian harmonium and Tibetan singing bowls, which add layers of ethereal beauty to the album's otherwise desolate atmosphere.

 

One of the most striking aspects of this project is how it respects the pacing and structure of Sjöström’s film. The soundtrack doesn’t just accompany the visuals; it interacts with them, enhancing the horror and emotional weight of the narrative. Tracks like Smrt Prichadza (Death Approaches) and Tyran David (David the Tyrant) are particularly effective in this regard, as they underscore the film’s non-linear exploration of a man’s spiral into madness and his subsequent reckoning with Death. The use of live drums provided by El Muflono on Tyran David and Epilog adds a visceral element to these moments, grounding the ethereal soundscape in a primal, human intensity.

In addition, Jori Josiphson’s contributions are especially noteworthy for their ability to bridge the gap between the electronic and the organic. His vocals, though sparse, are haunting, blending seamlessly with the harmonium’s droning chords and the metallic resonance of the Tibetan singing bowls. These elements combine to create a chemistry that feels both ancient and avant-garde, which is a fitting tribute to the film’s portrayal of a spirit world caught between heaven and earth.

The album also succeeds as a standalone piece of art. As I noted above that watching the film should add clarity and added value to the listening experience, even without the visual accompaniment, Körkarlen Suite offers a compelling journey through darkness and redemption. Tracks like Zimna Noc (Cold Night) and Spomienky (Memories) are immersive and evocative experiences, drawing the listener into a world of introspection and haunting beauty. The balance achieved between the relentless drone and the more melodic, acoustic passages showcases the duo’s deep understanding of dynamics and mood.

 

Körkarlen Suite was first performed live at the SCANDI 2022 festival in Bratislava, where it was met with acclaim from both film and music communities. The album’s release in July of 2024, under the Sky Burial label, has only cemented its status as a ground-breaking work in the realm of experimental music. The limited-edition cassette release, along with digital options, reflects the project’s roots in a tight-knit merch community that values physical media and the intimate connection it fosters between artist and audience.

And the Florkman’s prognosis? I have to admit that Körkarlen Suite is not just an alternative soundtrack, but a masterful reimagining of a cinematic classic through sound. And although there have been other soundtracks created for the film by various artists over the years, Kragrowargkomn and Jori Josiphson have crafted a unique gem that is as timeless as the film it pays homage to. I would say that Körkarlen Suite is essential listening for fans of drone, dark ambient, and experimental music. It’s a project that not only pays homage to its source material, but also stands as a powerful work in its own right, capable of evoking the same existential dread and beauty that made The Phantom Carriage a lasting work of art.

#130 Flork Reviews: Sons of Arrakis - Volume II (2024)

 

 

Sons of Arrakis - Volume II (2024)
By Flork

Inspired by the Dune novels by Frank Herbert, Montreal-based Sons of Arrakis recently released their second album dedicated to the epic books and films. And what’s interesting about the group is that their sound might surprise those expecting a contemporary stoner doom album, at least one that adheres to the genre, yet Volume II is on a much different (and possibly higher) level, especially compared to its predecessor. In fact, it strays far beyond the boundaries of doom or stoner doom, leaning more to a classic rock sound influenced by Thin Lizzy or the now-defunct sludge metal Acid Bath, and compared heavily to King Buffalo. Like Volume I, Volume II expands on a lyrical style that shares similarities from Neil Peart of Rush, an iconic Canadian band that employed Sci-fi themes of robots or AI and the near and distant future in the themes of their songs and albums. Don’t get me wrong, Sons of Arrakis are hardly a bunch of copycats, they are simply huge fans of the Dune story and find inspiration by incorporating its themes in their songs and relay it in the form of music. Being influenced by the musicians you love and respect is what motivates rockers to do what they enjoy most. And so, the final product of both Volume I and Volume II is a collection of original tracks that mirrors the images one would conjure from the myriad of moments portrayed in the stories with varying degrees of intensity.

 
 

Released in early June, and still fresh and under scrutiny of critics (the Florkman included), Volume II seems to be meeting both widespread appraisal and criticism. The dual guitars are amazing (Frédéric Couture and Francis Duchesne), both complementing each other in both rhythm and lead, although there are no solos per say, just short riffs that add drama and highlight to the emotion of the compositions. All of it is fully supported by a “motorcycle” and “groove” bass (Victor Lepage) and anchored by Mathieu Racine’s heavy but rhythmic drum style. You can almost feel the heat of the desert while listening to tracks like Scattering and Burn into Blaze. In fact, the former, which opens the album is such a cool song, you wonder whether the band confused Dune with Mad Max. But no matter, if you listen closely to the music and lyrics, you won’t care too much either way, regardless of whether you have read the books or not, since the album is a musical adventure that portrays a dystopian and chaotic future, simultaneously devoid and occupied by human spirit and soul.

Some of the tracks like Blood for Blood, Metamorphosis, and Interlude I and II fuse together a bit, staying away from the contrasts of the earlier tracks that hook the listener right from the get-go. These moments of optimism are found early in High Handed Enemy and Beyond the Screen of Illusion and of course, Scattering. And although the first half of the album might be more alluring than the second, I would have to say the latter shows off the band’s skills and musicianship. The energy does progress here, although the album ends in stark contrast to the speed and frenetic tempo of Burn into Blaze. The final track Caladan is more of an atmospheric Black Metal instrumental bit, and whether it is a suitable conclusion to Volume II or not, I’ll let other listeners be the judge to that.

Technically, the album is first class with superb musicianship and production. I think there is huge potential for this group and can only see them grow and evolve further. No one can doubt the diversity in their sound, whether it is authentic psychedelic stoner doom or not. I still appreciate the incorporation of elements of classic rock, southern twangs and Doom itself, the end result being thought-provoking and enjoyable. Volume II is an interesting creation and perspective on the Dune story, and Sons of Arrakis shares it the way they know best, with good energy and clean vocals that leave nothing to be guessed at, just pure contemplation.

And the Flork’s prognosis? Volume II may not be everyone’s cup of tea, but it will attract those looking for variety and spice in psychedelic and stoner rock. And as I mentioned just above, there is a load of potential for this group and they play and experiment and further develop their identity and sound. Definitely a band worth keeping within your radar this summer.

#129 Flork Reviews: Abuol - Povzbudenie do života (2023)

 

Abuol - Povzbudenie do života (2023)
By Flork

Every now and then, a little encouragement in life makes a world of difference. And, although Povzbudenie do života was released more than a year ago, the tracks on their full-length release resonate louder this year as Abuol extends its perimeter from faraway Prešov in Eastern Slovakia. Povzbudenie do života is kind of a clarion call that marries the raw, unbridled energy of punk with the introspective musings of alternative rock, consisting of a tempestuous blend of blistering guitar riffs, pulsating rhythms, and lyrical introspection. The vocals are shared by Samuel (bass) and Štefan (guitar), both carrying messages of defiance, hope, and existential contemplation.

 

 
The album begins on an upbeat note with the title track, but ends almost as quickly as it begins, setting the tempo and mood for an auditory ride that is both deeply personal and universally relatable. Abuol gives the impression of being skilled at crafting anthems for the weary and the hopeful—songs that reverberate in the hearts of those of us who are navigating the labyrinth of life’s frequent and not-so-pleasant challenges. And like the title track, each track pulses with a sense of urgency, yet still holds a visceral beauty and melodic undercurrent that offers solace and redemption. The music somehow cries with a cathartic release, full of bitter irony and foreshadowing, all the while maintaining an upbeat vibe.

Songs like Mysli na zdravie shine with brilliant guitar work (lighter picking of the high strings) and poignant messages, while tracks like Načo ti je mozog? and channel pure, unadulterated punk/alternative fury. Don’t get me wrong, it is not Green Day reincarnated in Eastern Slovakia, nor is it a Sex Pistols tribute band, but rather a unique and original sound that culminated from a variety of influences, including pop and anthem rock, and certainly the grassroots of British punk. The band’s guitars (Lukáš) weave some interesting tapestries of sound that soar and dive with an almost reckless abandon, while the drummer’s beats (Stanislav) provide a heartbeat to the chaos. The album’s lighter moments, such as Kohútik, offer a brief respite (and I stress brief), a chance to catch one’s breath before diving back into the fray.

 
 

The themes of the album traverse a broad spectrum—from questioning societal norms (Chuj zo života, Mole v smole) to advocating for mental health (Lietajúci jazvečík), as well as expressing gratitude (Vďaka), and grappling with the absurdity of existence (Jahodové líce). The entire album is sung in Slovak, so their audience may be somewhat limited to the home turf, but regardless of this fact, Abuol is a fun group to listen to and can make waves either on their own or in a lineup with other performers. Certainly, a fun summer band with an encouraging future.

#127 Flork Reviews Gig: Dool, Tengri @ Modrá Vopice, Praha (7th June 2024).

 

Concert Review: Dool, Tengri @ Modra Vopice, Prague, Czechia (June 7, 2024) 

By Flork

On a warm, summer evening in Prague, the intimate venue of Modra Vopice played host to the entrancing sounds of Dool, a  psychedelic rock band hailing from Rotterdam. Although somewhat unknown in this neck of the woods, they are quite established on the alternative music scene in Western Europe, but after this night’s performance, will have gained new fans and ground here in this part of the world.

Driving into the outside seating area of the Modra Vopice music club felt more like approaching the lumber yard of the local Home Depot rather than arriving at a psychedlic rock concert. We parked next to a couple of construction-site toilets and quickly took in our surroundings. The area was large, kinda hidden off a major road in the Nové Vysočany district of Prague 3 and far enough away from the Old Town district and the Prague that most out-of-towners are familiar with. There were several picnic tables as well as an outdoor bar where people could smoke and talk, even the the warm-up band Tengri and members of Dool themselves were hanging out there before their sets. I liked Modra Vopice right away, especially the friendly reception of the people at the front door who even let our gracious driver in for a beer without the need of paying the entrance fee. Artists here can play as loud as they want without any fear of receiving noise complaints from their neighbours. 

The Prague-based atmospheric post metal group Tengri began their set around 19:30 and the crowd gathered quickly. Tengri is a quintet with heavy guitars and an electric violin. They have no lead singer nor vocalists of any kind, which is interesting to listen to, although some of the crowd lost interest in their performance, at least those who were unfamiliar with this group, and chose to wait for Dool in the outside seating area. But Tengri showed no worries, they played tracks from their latest release Kontinuum and entertained their fans with songs that told stories without words, getting the crowd in the mood for the night ahead.

And it needs to be said that the atmosphere was amazing. The following day, my colleague from Jablka remarked that despite being a „buda“ (wooden hut), the acoustics were really good. But the best thing about watching this show at Modra Vopice was its small size. Even if you weren’t standing right up front (there are tables and places to sit off to the side), you still had the feeling that you could reach out and touch the band.  So when Dool came on, there was an immediate mutual energy and connection, which could be felt between the members of the band itself and the members of the audience. The night could be described as a meeting of like-minded individuals—rockers and intellects of all ages and walks of life.

The concert began with the electrifying Venus in Flames, instantly captivating the audience with its intense energy and setting the tone for the performance ahead.  This is an amazing track which also leads off their third and latest release, The Shape of Fluidity.  The setlist was comprised predominantly of songs from The Shape of Fluidity, while also paying homage to their earlier work with selections from Summerland, and Here Now, There Then. Raven’s voice is so captivating and her presence alone is hard to resist. Anger, pain, and determination, even hope exuded in every track she sang. Her bandmates added to the experience with their energy and devotion to their instruments, bringing this concert to a true next level. It was like being swept away in a current of deep emotions charged with introspective themes of dissenchantment and disagreement, but also relentless determination. At carefully-timed moments, the spirits of the 50 or 60 of us who witnessed their performance that night were lifted by the melodic and expansive soundscapes. Not one person in the room wanted to let go of the moment.

The show was undoubtedly immersive, with Raven providing background to some of the songs and taking time to speak to audience members after the set. My colleagues also got to speak to the guitar player (who also provided vacals) and drummer, who mentioned that just the night previous, they had performed to 2,000 people in Poland, yet just as much enjoyed the ambience of the show in Prague. They were so receptive to us, talking in depth and showing no sign that they were being held up from taking their instruments off stage and loading their van. Dool are those types of rockers who appreciate their fans.

And since returning to Bratislava, the band has taken the number one position in my Spotify library.  Definitely a band worth keeping inside your radar, they will continue to play shows throughout the summer in Europe and, fortunately for us, come to Vienna in autumn, where we look forward to repeating the sensation left to us on this summer evening in Prague.  

#126 Flork Reviews: Ľahká Múza - Piesne Ticha/The Songs of Silence (2024)

 

Ľahká Múza - The Songs of Silence (2024)
By Flork

After a bit of a hiatus (actually, a long one), Ľahká Múza emerges once more from the shadows of the darkwave underbelly in Slovakia with a masterfully-created collection of compositions called Piesne Ticha (The Songs of Silence). This is a good thing. It is so amazing to hear Gudrun’s strong, haunting vocals and 667’s guitar talents again with the usual (or perhaps higher) intensities and depths connected to their style. And although they have had changes in personnel over the years, it is great that the core of this group has stuck together for 40 years now. And so, listening to the first track Martajo took me back to a time in my past when industrial sounds were somewhat new and mysterious. The 1980s saw New Wave music flood radio stations across North America and Europe, as well as its sub genres like New Romantic, pop music where keyboards and electronic drums substituted guitars and drum sets. MTV had not only introduced the world to new sounds and variations that stemmed from rock, hard rock, metal and even disco, but also to fashion and hairstyles. In those days, pharmacies and drug stores profited heavily from sales of hair dye, spray, and eyeliner. But what punk was to metal, industrial was to New Wave, and consequently it was heavily criticized. Undoubtedly, it was the black sheep of the family with groups from Germany emerging, such as Kraftwerk or Die Artze, as well as Nina Hagen who blended all of the above-mentioned sounds and yet stayed somewhat obscure for much of her career (on purpose, she never had any intention of selling out nor becoming a commercial name). And because the music Ľahká Múza performs is, in fact, none of the above, it is appropriate to call their style of music Darkwave, a genre hard to describe in complete accuracy, but which certainly doesn’t allow in any light. 

And while I listen to Martajo, with its suspenseful and slowed-down beat, I wonder what underground bands like Ľahká Múza were wondering or feeling during the 1980s, especially coming from behind the iron curtain where songs were approved on the basis of a “zero harm factor” or censored completely, and knowing that any wrong move with regards to text or even the length of one’s hair could mean immediate arrest and lifelong suffering. In fact, Ľahká Múza didn’t release their first album until after the Velvet Revolution, when it was somewhat safe to play publicly and publish without persecution or negative repercussions. 

Despite the 10 or so years between Piesne Ticha and their last release, Ľahká Múza have not seemed to miss a beat. Nor do they appear to have even aged. Songs like Identita (Identity) and Hry (Games) are signature as well as timeless, and I realise the band is able to attract several audiences, not just those who are loyal to the genre, but also fans both older and younger alike of other genres, those who enjoy elements of darkness and the macabre and live shows that are far from ordinary. It’s great to see Ľahká Múza back and thriving. I particularly like V Zrkadlách Pocitov (In the Mirrors of Feelings) and Lenavilo, the latter is great with its vocal harmonies and dark imagery. The majority of the tracks incorporate a subtle, yet heavy drone sound in their backgrounds. This adds to the shadowy ambience, giving the entire album an element of suspense and foreboding nature. All of this was mixed and mastered quite craftily by Richard Sabo at eXcentriX studio. His style of production is particularly evident in the title track, which is my personal favourite on the album. The remaining tracks, such as V Kalných Vodách (Muddy Waters), Zlom (A Break), and Riavy (Torrents), all of which I’m guessing derive on themes of stormy nights and floodwaters and end the album without any hidden surprises or changes, just the suspense that predominates throughout. Piesne Ticha concludes exactly the way it begins, on neither a positive nor negative note, but a dark one.

And the Florkman’s prognosis? By far one of the best things to come out of Slovakia in 2024. I am so pleased to know that Ľahká Múza are once again out there and can easily dominate the scene. They have played relentlessly over the years, even at large festivals throughout Europe and I have no doubt that we will be seeing them soon on stages here in Slovakia or abroad. Piesne Ticha cements their position as iconic and professional musicians, an unbreakable ensemble who enjoy their craft and do it so well.

 

Ľahká Múza - Piesne Ticha (2024)
By Flork

Po krátkej pauze (v skutočnosti dosť dlhej) sa Ľahká Múza opäť objavuje z tieňov Darkwave podsvetia na Slovensku s majstrovsky vytvorenou zbierkou skladieb s názvom Piesne Ticha. Toto je predsa dobrá vec. Je úžasné znova počuť Gudrunin silný hlas a 667-ov talent na gitaru so zvyčajnou (alebo možno aj vyššou) intenzitou a hĺbkou spojenou s ich štýlom. A hoci sa v priebehu rokov zmenilo obsadenie skupiny, je skvelé, že jadro tejto skupiny vydržalo spolu už 40 rokov. A tak počúvanie prvej skladby Martajo ma prenieslo späť do času, keď boli industriálne zvuky niečo nové a tajomné. 80. roky zažili, ako New Wave hudba zaplavila rádiostanice po celej Severnej Amerike a Európe, ako aj jej subžánre ako New Romantic pop music, kde klávesy a elektronické bicie nahradili gitary a bicie súpravy. MTV nielenže predstavilo svetu nové zvuky a variácie vychádzajúce z rocku, hard rocku, metalu a dokonca aj diska, ale aj módu a účesy. V tých dňoch lekárne a drogérie profitovali výrazne z predaja farieb na vlasy, lakov na vlasy a maskary. Ale to, čo bolo punk pre metal, bolo industriálne pre New Wave, a preto to bolo silne kritizované. Nepochybne to bolo čiernou ovcou rodiny, napríklad s kapelami z Nemecka, ako Kraftwerk alebo Die Ärzte, či Nina Hagen, ktorá zmiešala všetky uvedené zvuky a predsa zostala počas veľkej časti svojej kariéry skôr neznámou (schválne nemala žiadny úmysel stať sa komerčným menom). A pretože hudba, ktorú Ľahká Múza predvádza, v skutočnosti nie je ani jedno z uvedených, je vhodné nazvať ich štýl hudby Darkwave, žáner ťažko presne opísať, ale ktorý určite nepúšťa dovnútra žiadne svetlo.

A zatiaľ čo počúvam Martajo s jeho napínavým a spomaleným rytmom, premýšľam, čo si podzemné kapely ako Ľahká Múza mysleli alebo cítili počas 80. rokov, najmä za železnou oponou, kde piesne boli schvaľované na základe „nulového škodlivého faktora“ alebo úplne cenzurované, a vedomie, že akýkoľvek nesprávny krok, pokiaľ ide o text alebo dokonca dĺžku vlasov, mohol znamenať okamžité zatknutie a celoživotné utrpenie. V skutočnosti Ľahká Múza nevydala svoj prvý album až po Nežnej revolúcii, keď to bolo celkom bezpečné hrať verejne a publikovať bez prenasledovania alebo negatívnych následkov.

Napriek 10 alebo tak rokom medzi Piesne Ticha a ich posledným vydaním sa zdá, že Ľahká Múza nevynechala ani takt. Ani sa nezdá, že by starnuli. Piesne ako Identita a Hry sú podpisové a zároveň večné a uvedomujem si, že skupina je schopná prilákať niekoľko publík, nielen tých, ktorí sú verní žánru, ale aj fanúšikov starších aj mladších z iných žánrov, ktorí si užívajú prvky temnoty a makabry a živé vystúpenia, ktoré sú ďaleko od bežných. Je skvelé vidieť Ľahkú Múzu opäť na scéne a prosperujúcu. Zvlášť sa mi páči V Zrkadlách Pocitov a Lenavilo, tá druhá je skvelá s vokálnymi harmóniami a temnou obraznosťou. Väčšina skladieb obsahuje jemný, ale ťažký dronový zvuk v ich pozadí. Toto pridáva k temnej atmosfére, čím dáva celému albumu prvok napätia a hrozivosti. Všetko toto bolo zmiešané a zvládnuté veľmi šikovne Richardom Sabom v štúdiu eXcentriX. Jeho štýl produkcie je obzvlášť zrejmý v titulnej skladbe, ktorá je mojím osobným favoritom na albume. Zvyšné skladby ako V Kalných Vodách, Zlom alebo Riavy, všetky, ktoré predpokladám čerpajú z tém búrlivých nocí a povodní, a končia album bez akýchkoľvek skrytých prekvapení alebo zmien, len s napätím, ktoré prevláda celým časom. Piesne Ticha končia presne tak, ako začínajú, ani pozitívne, ani negatívne, ale temne.

A Florkova prognóza? Bezpochyby jedna z najlepších vecí, ktoré v roku 2024 vyšli zo Slovenska. Som veľmi potešený, že Ľahká Múza je opäť na scéne a môže ľahko dominovať. Hrali neúnavne počas rokov, dokonca aj na veľkých festivaloch po celej Európe a nemám pochýbnosti, že ich čoskoro uvidíme na pódiách tu na Slovensku alebo v zahraničí. Piesne Ticha upevňuje ich postavenie ako ikonických a profesionálnych hudobníkov, nerozbitného súboru, ktorí si užívajú svoje remeslo a robia to tak užasne.
 

#125 Flork Reviews: My Own Star - The Deal with the Snake (2024)

 

My Own Star - The Deal with the Snake (2024)
By Flork

From the opening moments of The Deal with the Snake, the Olomouc quartet gives subtle allusion and foreshadowing to what the listener might expect ahead. Yet the album is full of nuances and twists that dabble with the macabre and suspenseful (but still fun) melodies, including references to original sin and the ensuing Millenia of self-destruction that we humans find ourselves dealing with even today.  And so, one can hear a lot of irony in the lead singer’s voice (who sings very well by the way) of people bargaining their lives with the Devil or God or whomever and whatever, as we attempt to outsmart our destinies and ultimate fates. After all, making deals is what many of us are good at, yet with no surprise that we are disasters at keeping good on our promises, since getting what we want far outweighs the debts we incur and create before and after any of our desires are fulfilled. And as I mentioned earlier that the album is full of allusions, this is evident from the first two songs Witch Hunt and Debt, where are references to making deals with or without the snake are mentioned, much like Eve did at Adam’s expense (and hers as well, but I won’t make any snarky “women” remarks at this moment as Mrs. Flork will undoubtedly be reading this review sometime this week on her news feed).  

 

   

 

Released earlier this month, the first full-length album by My Own Star is full of good stuff, with heavy and light guitars and great bass lines. I am somewhat reminded of early Bauhaus and later Pete Murphy’s solo material, who also touched on philosophical themes and made a lot of reference to human failure and our own, unavoidable demise (we’ll never learn). And this is why I love this album, it’s like a resurrection of a genre that never quite got off its feet, but finds itself resurrected in 2024 and fits perfectly into the world today. I write this because it is hard to say specifically what the style of music is, whether it is metal, jazz, punk, or even just classic rock. So many of these elements are incorporated into the compositions, creating a chemical reaction that works beautifully. As I listen to Angels are coming Back and Accept the Dark, two songs that are catchy and enjoyable, in fact, like every track on the album, and now I suddenly feel transported to my own past so long ago, when I used to have hair and just one chin. And for a pleasant lingering moment, I feel good and crave more of this album. And cheese, as I contemplate Olomouc and remember the tvaruzky in the fridge I bought last week. 

The majority of the tracks are all around 4 minutes or so, but they get longer in the latter half the album. And this is a good thing as none of it is tedious, but rather addictive. No Mercy is the longest, clocking in with just over six minutes of music, but it goes by so fast, even though the essence of this tune sounds like a slowed-down version of a faster version of itself (if that makes any sense). This is by far my favourite track with its myriad of twangs and pitches on the high notes and lingering resonation, as well as its moments of Jim Morrison-style spoken word, which is both sexy and soulful and sung in perfect English (no Czechlish detected whatsoever). And whoever the drummer and bassist are, man, you guys are the ultimate rhythm section. Just you two alone could play a whole show if your frontman and guitarist ever fail to show up to a gig. You two deliver a very bluesy and jazzy combination with a rocking end result that is refreshing to hear these days, since loads of music being produced these days lack true craftsmanship and talent (at least what I hear on the radio). This is evident on Lazy Mouth and The Key to my Soul, both of which are cool songs that roundup the album and confirm My Own Star’s rightful place at the top of the best bands coming out of the Czech Republic since the covid pandemic.

 

And the Florkster’s prognosis. Positive. Definitely a band to keep a watch out for, who I can imagine play equally well or even better on stage as they do in the studio. Oh, and so I don’t forget, the production and mixing are top-notch, with nothing added to prop up the musicians or songs themselves, since the band itself delivers a high-quality sound on its own. My earlier mention of feeling reminiscent and nostalgic of the past means attracting older listeners like myself, those who grew up in the 80s and 90s but listened to the rock albums of the early 70s, because we were old souls to begin with, much like My Own Star. 

#123 Flork Reviews: Crippled Fingers - Through the Pain (2024)

 

Crippled Fingers - Through the Pain (2024)
By Flork

 

I came across Crippled Finger's new album through a recommendation, one of those "have a listen to this sometime, it's super heavy, but you might like it." And so, I found myself searching for it on Spotify and gave it a go. And though it's not quite my genre, I admit that Through the Pain is an amazing example of heavy thrash and death, all with that unique touch of Czech metal that makes the hairs on your neck stand on end. 

Formed in 2011, Crippled Fingers has a somewhat strong presence on the Czech hardcore/alternative scene, playing loads of concerts at home and abroad, self-describing the strength of their live shows as "cheeky and hard". In fact, the Prague-based quartet will be playing at the upcoming concert "Fury over Prague" at the Modra Vopice club somewhere in Prague 9 (June 8th), and then less than a week later at the Czech Death Fest on the June 13th. Both shows I'm sure promise to deliver heavy doses of carnal rage and energy that only Crippled Fingers and colleagues like Born to Die and Besna (who I've also reviewed previously) or Massacre and Benediction do best. Let's see if the Florkman's schedule will allow him some time off to spend up in Bohemia and chill at some of these gigs.

 

Through the Pain is Crippled Finger's third full-length album; they did release an Ep in the past and, as I mentioned above, they tour relentlessly. Released just one month ago, Through the Pain begins on a heavy note, in fact, one of the heaviest notes Crippled Finger are able to hit with Torch, a composition in full throttle that sets the stage for battle. I use this comparison as it's like setting off on a fighter jet, although I'm quite sure I'm wrong with regards to thematics. Nevertheless, it does start with a sonic boom and the album takes off on its hard (and maybe also cheeky) journey.

The songs aren't overly long and the album contains thirty-two and a half minutes of loud and fast music. I particularly like Moshpit Killing Machine and Die Where You Stand, songs that remind me of Rollins Band and early days of hardcore in America during the 1980s, but with the mixing and production of 2024. Lots of throaty prompts and growls as well as great harmony and alternation between vocal styles (heavy growl and singing, kinda like the Beastie Boys, especialy on Stitches and others. Don't get me wrong, it is still extremely hardcore and no way mainstream, and also works magnificently). The musicianship is is also top-notch as the members display theirbest  skill and talent to date. 

 

And Mr. Flork's prognosis? This is a rocking album that will surely satisfy all listeners of thrash and hardcore (maybe not so much the Death or Doom crowd, as it isn't ambient nor atmospheric, but I doubt that any goth would feel unwelcome at one of their shows). What's also nice is that they sing in English and thus prove the band is versatile and not restricted to the domestic scene. I think that Through The Pain will be well-received next month at their upcoming shows and will also be well-liked in Germany when they play there later this summer. Definitely a band to keep on your watch list.

#122 Flork Reviews: Samsara - Charon's Lullaby (2024)

 

Samsara - Charon's Lullaby
By Flork

Emerging from the remnants of the Black Death Metal band MORS OMNIA SOLVIT in 2009 (which is a latin saying meaning Death Solves Everything), Samsara was initially conceived as a side project by guitarists Tibor Š. and Martin M. Their journey into the depths of atmospheric doom metal began as a whisper, a reflection of the cyclical nature of birth and death, from which their name derives. Over the years, the band grew in stature, garnering praise for their evocative compositions and captivating live performances. And despite facing pivotal changes in 2015, with the departure of drummer Peter J. and then a bit later, co-founder Martin M., Tibor Š. remained resolute in his vision for Samsara. With unwavering determination, he continued to uphold the band‘s legacy, orchestrating performances with the assistance of a temporary lineup, including Nickolas V. on drums, Brigita L. on bass, and Peter M. on guitar.

In 2017, Samsara unveiled their debut album, When The Soul Leaves The Body, under the banner of SMA (Slovak Metal Army). Recorded between 2012 and 2015 at the J. Kankulu studio in Partizánske (Upper Nitra Valley), the album bore the creative imprint of the Topoľčany band‘s founding members.

 

Now, in the present day, Samsara presents Charon's Lullaby, a haunting 4-track album (it is not an Ep) that delves deeper into the recesses of the human psyche. The title track, which spans nearly eighteen minutes and launches the voyage, serves as an opus of existential reflection, drawing on parallels to the solemn voyage of Charon (the lonely ferryman) across the river Styx. Tibor Š.‘s vocals, guitars, and samples conjure a haunting atmosphere, while the interplay between Lubo Čahoj‘s guitars and Martin Sokol‘s bass adds layers of depth to the sonic tapestry.
 
Buried Love provides a brief interlude, a moment of respite amidst the brooding darkness. Beautiful female vocals take over, very lullaby in nature, unfortunately I have little to no information on guest performers or producers of this album to give credit to. The lady sings extremely well, adding touches of celestial life to a barren landscape of death. Hats off to whomever recorded and mixed this album, as the sound quality is top-notch, with its ambient washes and moments of balance between light and heavy. The album‘s centerpiece, Sleeping Beauty, unfolds over fourteen mesmerizing minutes, and here, Samsara explores the ephemeral nature of existence, weaving a hypnotic web of melody and melancholy that ensnares the listener in its embrace. I am captivated by this music and my emotional side longs for more.

Closing out the journey is Memories, a poignant reflection on the passage of time and the ghosts that linger in its wake. Like Buried Love, this track is only 4 minutes or so long, but extending it would be futile. Through evocative lyrics and impassioned delivery, Tibor Š. brings the EP to a haunting conclusion, leaving a lingering sense of melancholy in its wake.

And Mr. Flork’s prognosis? Well, I have to say that I enjoyed this album immensely. Charon's Lullaby is the result of Samsara‘s evolution as a band. It demonstrates their ability to traverse the darkest depths of human emotion and emerge with music that resonates on a profound level. Each of the four tracks lure the listener into a world of introspection and catharsis, forging a connection that transcends the boundaries of life and death, and perhaps beyond. Well-written and composed with attention paid to the smallest of details, Samsara places high on my list of bands to look out for in 2024. 

#120 Flork Reviews: Endless Well - Чырвоная ніць (Red Night) (2021)

 

Endless Well - Чырвоная ніць (Red Night)
 By Flork!

It’s quite possible that the symphonic doom metal outfit Endless Well is Belarus’s best-kept secret. I stumbled across them quite by accident one night when they popped up after the conclusion of a Spotify playlist I had been passively listening to while swiping left (also endlessly, no pun intended) on the Tinder application I keep installed for some reason on my smartphone. Suddenly, I was reawakened by a strange, yet sublime combination of a soprano diva with the rough edges of a symphonic doom ensemble as her backrop. My interest and curiosity were piqued by the track I was listening to Дзiкае Паляванне (Wild Hunt), and for the first time in a long while, I was compelled to investigate further. A quick internet search did not provide me with much, but I was able to piece a bit of intel together from the snippets about them that I found on Encyclopaedia Metallum and a call for album funding support posted on Youtube.
 

Emerging with their debut full-length album Чырвоная ніць (Red Night) released in 2021, this album marks a significant milestone for the band, being their first full-length release following their formation in 2017 and the prior release of their 2018 EP „I“. Notably, the incorporation of Mariya Bulda as the lead vocalist seems to have also propelled the Minsk-based ensemble to a new height, as she infuses their sound with a haunting elegance and operatic prowess that has previously been unseen or unheard. This departure from their EP, where Bulda‘s presence was absent, signifies a pivotal moment for the band, as they craft an original sonic identity that sets them apart in the metal landscape. „Alluring“ is the best word I can think of to describe my listening experience.

Diving into the heart of Чырвоная ніць, the album captivates listeners with their sheer originality and depth. Each composition exhibits the band members‘ individual talents and their tight cohesion as a unit. From the ominous atmosphere of the opening track Пуць (The Way) to the primal energy of Лясны Гаспадар (Master of the Forest), every instrument is meticulously woven together, creating a crushing sound that is both mesmerizing and immersive. Daniil Yushkevitch‘s guitar work evokes a range of emotions from despair to triumph, while Dmitrii Podgornyi‘s basslines provide a solid foundation that anchors the music in a sea of darkness. Even the drumming by Shen adds a dynamic layer of intensity, driving the songs forward with precise timing and adding an element of drama to the changes. Add Maryia Bulda‘s vocals to the mix, which, by the way, soar high above the well-organised chaos, and you are blessed with a haunting elegance to the proceedings. I would never have imagined that such vocals could express the folk elements in the compositions so exquisitely — so different and so much better than screechy gremlin vocals.

What truly sets Чырвоная ніць apart is the seamless transition between each track, with one flowing effortlessly into the next. This cohesive approach to songwriting not only brings the listening experience to a completely different level, but also allows the album to unfold as a singular, cohesive work of art. Whether it's the atmospheric melodies of Песнь Паэта (The Poet’s Song) or the thunderous onslaught of Дзiкае Паляванне (Wild Hunt - Flork’s personal favourite), each transition feels natural and carries a purpose. My other favourites are Час (Time), with its ambient and primal energy, and Лясны Гаспадар (Master of the Forest), both of which rock heavily. The album ends as it begins, on a heavy note with Жывi (Alive), and, much like the name of the band, you find yourself in freefall in an endless abyss of emotion and a craving for more.  

And the Florkman’s prognosis? Чырвоная ніць (Red Night) is a hidden gem within Belarus‘s alternative metal scene, a scene so unknown to the rest of Europe or the world for that matter. As the band navigates through funding challenges to embark on their next musical endeavor, one thing remains certain: Endless Well is an act with great talent and potential to go far beyond its boundaries. Personally, I love this band and look forward to hearing more from them in the future. I totally recommend giving Чырвоная ніць a listen to, since it‘s not just a carefully crafted collection of songs, but a mesmerising musical journey, inviting listeners to immerse themselves in the dark and enchanting world of Endless Well‘s own alluring brand of symphonic doom metal.

#118 Flork Reviews Gig: Cradle of Filth, Wednesday13, Sick N' Beautiful, Drift (MMC, Bratislava)

Cradle of Filth - Necromantic Fantasies @ MMC, Bratislava (Concert Review)

by Flork!

One of the perks of the Florkman’s job is the opportunity to get out every once in awhile and enjoy an evening of music and performance. And luckily for this music reviewer, I was blessed with a ticket to witness a night of infernal energy and otherworldly performances as the Cradle of Filth Necromantic Fantasies Tour 2024 descended upon the stage of the Majestic Music Club in Bratislava. Headlined by the iconic British band Cradle of Filth, the evening was a showcase of dark melodies, intense performances, and a celebration of the macabre. And what made the night even more enjoyable were the opening bands that were craftily selected by COF to accompany them on the tour of this part of Europe.

The night commenced with a relentless onslaught of industrial hardcore metal courtesy of L.A.-based band Drift. Adorned in futuristic attire that seemed plucked from the depths of a post-apocalyptic wasteland, Drift captivated the audience with their pulsating rhythms and haunting melodies. The tall and imposing figure of their lead singer, clad in a spray-painted visage and dark fighter jet helmet and sunglasses, commanded attention with his keyboard strapped to his left forearm while he delivered a captivating performance. In fact, all of the members wore black, Darth Vader-style masks and black leather clothing, as well as amazing hair, many with dreadlocks. Try to imagine a mix of Mad Max and the Tusken raiders or Sand people from Star Wars. It was as if they had been sent from either a faraway planet or even our own, only hundreds of years in the future (or maybe not that distant) as survivors of a global atomic blast. Tracks from their 2022 release New Blood Type, like Cannon Fire, Churn, and a mesmerizing cover of Gojira's Stranded set the tone for a night of musical mayhem.

Following Drift's electrifying set, Rome-based ensemble Sick 'N Beautiful took the stage, unleashing a torrent of intergalactic rock. This time, the colour scheme turned from black to green. With their eclectic blend of genres (post-metal, hard rock) and theatrical stage presence (a lot of green neon lights on their costumes and green hair), Sick 'N Beautiful transported the audience to realms unknown. Many of the songs from their setlist came from their 2022 release Starstruck. From the infectious energy of Tonight We Go To War to the haunting melodies of Deep End Dark, their performance was a cosmic journey through sound and spectacle. Herma's hauntingly beautiful vocals soared effortlessly through the air, weaving a spellbinding tapestry of sound that held the audience in thrall. Like Drift, I was also blown away by their performance and will definitely keep Sick ‘N Beautiful within my radar.

And despite the packed venue, the atmosphere was still somewhat cozy and comfy, as the crowd behaved remarkably amicably throughout the night. Despite the intense energy of the performances coursing through the air, not a single act of unruly behaviour was witnessed. As I looked down from my perch above the soundboard in the VIP seats above, I witnessed how the audience of various ages and walks of life allowed themselves to be fully immersed in the experience, being swept away by the music without succumbing to the temptations of excessive alcohol consumption. I almost wished that I had been given a ticket to the standing section, since the friendly energy and positive emotional charge on the floor was amazing and mutually shared between the audience and artists on stage.

Regarding age, I have to say that the old Florkster was hardly the oldest rocker in the room. At one point, I witnessed some old geezer walk into the show, looking more like he had been searching for the bathroom and had opened the wrong door, rather than going out for the night to a heavy metal show. He disappeared into the crowd and I’m sure he had an amazing time as we all did.

And as the night progressed, the room grew increasingly charged with anticipation as Wednesday 13, the enigmatic frontman of the now-defunct horror punk band Murderdolls stepped into the spotlight. I had never heard of him until then, nor did I know what to expect, but it is safe to say that Wednesday 13 gave COF a run for their money. He even asked the audience if they had heard of him, and I almost put up my hand just to not look like a nerd. I decided not to as a memory arose of trying to impress a date a long time ago in the past when the Florkmeister still had hair. I remember this chick telling me how she was into Andrea Bocelli and of course, I commented that I was into “her” too and dug all “her” hits. The young lady corrected me that Bocelli was a male human and sung operas as a tenor. Naturally, I tried to save face by saying something like “oh yes, of course, I know this, I thought you had said Andrea Bertinelli”, but she didn’t buy it and consequently I didn’t get a second date.

Anyways, Wednesday 13 delivered a setlist brimming with dark anthems and twisted tales, all taken from albums during his tenure as frontman of the Murderdolls. And while Drift and Sick ‘N Beautiful wielded more of an an intergalactic performance, Wednesday 13 gave us a taste of horror punk that was unlike anything I had ever seen or heard before. Tracks like Chapel of Blood, Love at First Fright, and a raucous rendition of Billy Idol's White Wedding ignited the crowd and showcased Wednesday 13’s unparalleled charisma and stage presence. I was blown away by his energy and grateful to watch a true rocker on stage, someone born into this role. His relentless energy contrasted beautifully with the more subdued bassist and guitarist (I mean as far as stage movements) who played magnificently and with heavy doses of power. This was a tight show and like the bands previous, Wednesday 13 has since found a spot on the top playlists in my Spotify library.

Finally, the moment arrived that the audience had been eagerly awaiting. With an ominous aura and an unmistakable air of anticipation, Cradle of Filth emerged onto the stage, shrouded in darkness and adorned with the trappings of their infernal aesthetic. Led by the ageless Dani Filth, whose commanding presence belied his 50 years, the band launched into a setlist that spanned their illustrious career. From the haunting strains of Existential Terror to the infernal fury of Crawling King Chaos, each song was delivered with unparalleled intensity and precision. Classics like Nymphetamine (Fix) and Dusk and Her Embrace elicited fervent cheers from the crowd, while Necromantic Fantasies from their 13th studio album, Existence is Futile (2022), cast a spell of dark enchantment over the audience. Dani Filth rocked as hard as ever, as did the other members of the group, like the imposing figure of Marek Šmerda, the band’s tall guitarist, who loomed over the stage like a ghoulish specter from Hellraiser. Cradle of Filth played for around 75 minutes with unrelenting ferocity and timeless allure. I just love this band.

And Flork’s prognosis? The Cradle of Filth Necromantic Fantasies Tour 2024 was a night of unparalleled musical mastery and unbridled passion. From the futuristic dystopia of Drift to the cosmic extravagance of Sick 'N Beautiful and the haunting nostalgia of Wednesday 13, each performer left an indelible mark on the audience. And Cradle of Filth proved once again that age is no barrier to rocking. The show began just before 7:00 pm and ended around eleven, perfectly timed to catch the last bus home and get a proper sleep before work the next day. The evening was for sure a testament to the enduring power of dark and heavy music, completely captivating the soul and igniting imagination. It’s safe to say that everyone present at the Majestic Music Club on March 7th couldn’t and still can’t wait for the next descent into the abyss. Thank-you very much Jablka Daleko od Stromu, the Florkman is forever indebted.

 

#116 Flork Reviews: Mörkhimmel - Genium Obskurity (2023)

Mörkhimmel - Genium Obskurity (2023)

by Flork

Hailing from the heart of Prague‘s underground metal scene, MÖRKHIMMEL has long been a beacon of sonic darkness and musical extremity. Since its creation in 2007, it wasn‘t actually until 2012, with a pivotal lineup change and the release of their defining album Zloskřivec, that their presence truly began to loom large. Composed of seasoned musicians with backgrounds in legendary Czech underground acts, such as MOTHER, THEMA ELEVEN, and SEE YOU IN HELL, MÖRKHIMMEL swiftly carved their niche by amalgamating elements of hardcore, sludge, and black metal into a corrosive sonic brew.

Genium Obskurity, their latest offering which was released at the beginning of November 2023, is another testament to their enduring legacy and penchant for unrelenting darkness. The album serves as a sonic odyssey through realms of despair and desolation, encapsulating the essence of existential dread and human frailty. Sung entirely in Czech, the lyrics delve into themes ranging from the cradle to the coffin, painting a bleak portrait of life‘s futility and inevitable demise. Jsme všichni v prdeli.

From the ominous opening track Thanatos to the haunting finale of Návrat (The Return), each composition on Genium Obskurity unfolds like chapters in a macabre tome, all of them weaving a narrative of profound introspection and foreboding. I particularly like the French cabaret opening of Thanatos, especially when it is abruptly replaced by the sounds of heavy drones and the heavy chords of the guitars. This is an amazing track, actually quite simple in composition and difficult to categorise into one specific genre (think of doom metal with an undertone of classic metal with vocals reminiscent of Josef Vojtek (Kabát) after a heavy night in a Czech pub). I’m hooked immediately on their sound and totally get into the following tracks Aparát lidského hříchu (Aparatus of Human Sin) and Dotek smrti (A Touch of Death), which showcase MÖRKHIMMEL‘s mastery of dynamics, seamlessly transitioning between moments of brooding introspection and explosive catharsis (with heavy doses of the latter). The crushing weight of doom-laden riffs are juxtaposed with the frenetic energy of blackened tremolos, all of which create an atmosphere that is simultaneously suffocating and exhilarating. I particularly like this album, with its tones of black and death incorporated ingeniously throughout. And this is exactly one of the album‘s most striking qualities, with its ability to transcend genre boundaries, since it incorporates diverse influences and experimental elements without diluting its core essence. Tracks like A noc zdá se věčná (The Night Seems Eternal), which is my personal favourite, especially the atmospherics) and Návrat exude a primal rawness that evoke images of ancient rituals and primordial chaos, while Objetí (Embrace) and Země (Earth), with its cool spoken word and celestial sounds of the otherworld) unveil a more introspective facet, laden heavily with melancholy and ethereal ambience.

And the Florkman’s prognosis? Genium Obskurity certainly showcases MÖRKHIMMEL‘s commitment to pushing the boundaries of sonic extremity and the genre itself, once again reaffirming their status as one of the foremost purveyors of blackened doom/sludge metal on the Czech and Slovak scene. I was immediately captivated by their relentless sonic assault and uncompromising vision, especially in an age consumed by superficiality and artifice. MÖRKHIMMEL is no doubt a bastion of authenticity who can masterfully channel the darkness that lurks within the human psyche into a cathartic journey through the abyss of the world today.