Loud Magazine - http://www.loudmag.com.au/- 95/100
Astriaal - Anatomy of the Infinite
Released: August 2010
Seven years ago, Astriaal attained the pinnacle of their art with Renascent Misanthropy. Anatomy of the Infinite sees them reaching the same height, if not surpassing it in its exploration of cold, malefic spite.
With much of the previous album's symphonic elements stripped away, Anatomy of the Infinite brandishes a harsher, even more malevolent sound. The rawness only helps to further enhance Astriaal's sharp, deft melodies that stand in antithesis to the sheer brutality of the riffs and Gryphon's relentless blast beats. Baaruhl and Helthor's unison tremolo picking and Arzarkhel's typical shrieking howls don't see the band experimenting very much beyond the usual melodic black metal framework, but that only means they are working closer to the perfect ideal of the genre. Snippets of narrative and choruses of dark chanting add to the cheerless vision of ultimate oblivion that is this album, draped in the morbid works of Notke and Valdés Leal. Like Renascent Misanthropy, the intro piece "Blessed are the Dead" builds towards the crushing fury of "Visceral Incarnate" and little remorse is offered from that moment. The clean tones and gentle, haunting dynamics of "Relinquishment of the Stars" is in stark contrast to "For the Day Will Come", an epic, majestic track that closes the album on a note of unaccountable bleakness.
Anatomy of the Infinite is the perfect companion to its predecessor and a further definition of Astriaal's mastery of their chosen art, their own unflinching statement on the fraility of humanity in the face of eternity. Another masterpiece.
Review by Brian Fischer-Giffin

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MetalCrypt - http://www.metalcrypt.com- 4.25 / 5
Astriaal - Anatomy of the Infinite
I've been spinning this album for a little while and it's very hard to review it because I tend to lose myself into it – it has some kind of entrancing effect (very cool, unless you really need to get a review done. ;)) Anatomy of the Infinite sees Astriaal taking a turn toward a rather epic Black Metal that's mostly slow to mid-paced. The overall feeling is heavy and crushing, a bit more on the depressing than the "evil" side of things – the music is a bit of a downer, not something you really headbang to nor feel like burning churches after listening to it, but rather something that you "survive from" – and in Black Metal, that's a compliment.
This is not Black Metal in its purest form – some more "blasting" parts remind me a little of Phoenix Rising-era Deströyer 666, while there are parts that are straight up old school Heavy Metal, and I even hear a few passages that remind me of mid-80s Metallica – the more melodic stuff off Ride the Lightning and Master of Puppets, served with a blackened sauce. The vocals are less of a surprise – harsh BM-style rasps, sung rather than just mindlessly screamed so the vocals are a perfect match for the melodic, atmospheric musical approach of the album.
Anatomy of the Infinite is a great blend of metal genres, melody and atmosphere that comes out as varied, catchy, depressing and, as I said earlier, entrancing. No filler on this one, folks. Recommended.
Review by Michel Renaud

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Metal Temple - http://www.metal-temple.com/- 7 / 10
Astriaal - Anatomy of the Infinite
However the band sounds, it is kind of hard to avoid getting excited when you see a beautiful digipak release with enchanting artwork. The fact is whether the band will manage to keep you interested or let you down with its music. I guess that's something I'll have to find out by listening to the album.
I was kind of surprised when I realized that this band has been playing music since 1998 and has several releases under its belt, yet this is the very first time I hear about them. ASTRIAAL hail from Australia and return after seven years of recording silence carrying a brand new album, as well as a brand new contract with the also Australian Obsidian Records.
The band's sound can be described as something between symphonic and melodic Black Metal, yet with a harsher, rawer approach. "Anatomy Of The Infinite" is filled with aggressive out breaks full of blasts and poisonous guitar melodies, but the band has paid a lot of attention to its atmosphere, retaining an epic feel throughout the whole album, without spoiling the brutality. Trying to compare them to some bands, I can say that they reminded me a bit of NAZXUL (who also happen to be Australian). The haunting dynamics of this album is what will surely attract you from the very first moment, since the majestic, epic intro ("Blessed Are The Dead") builds up, only to unleash the chaos with "Visceral Incarnate". Thumbs up for the album's structure, too, which seems concrete as a rock making you listen to "Anatomy Of The Infinite" from the beginning to the end without losing that "something" that draws you in its shadows.
The only negative thing (some may find it attractive) is the raw production, since I strongly believe that if this album featured a crystal clear sound it would add an even more schizophrenic vibe to it. Anyway, I just hope it doesn't take 7 years to see another release after such a promising album.
Review by Yiannis Dafopoulos

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TimeOff - http://www.timeoff.com.au- 4 / 5
Astriaal - Anatomy of the Infinite
Formed in 1998, it has been nigh on seven years since Queensland's Astriaal released their debut full-length Renascent Misanthropy – an album that established the group as one of Australia's most impressive black metal bands, gaining them recognition far beyond our shores. Recently emerging with the long-awaited Anatomy Of The Infinite, you'd want to hope that after this much time, the band has a highly refined recorded product in hand. You can rest assured – they certainly do.
The eight songs spiral through boundless riffs and resonating leads, providing a culmination of sounds that pull the listener's mind deeper through the lulling motions of dream-like atmosphere as they progress. Vocalist Arzarkhel's held screams resonate within the music, with the frontman occasionally offering quiet spoken word passes and even skilful Nordic-style melodies on tracks such as Foundations In Flesh and the giant finale For The Day Will Come. While the typical-of-the-style blast beats and attacking riffs occasionally cut through the emotive swells with their more brutal nature, they are not at all commonplace, the band clearly content to focus on their more brooding or even calmer sides.
Astriaal's second album has seen them delve quite deeply into the more subtle and haunting realms of their dark and entrancing sound. Anatomy of The Infinite possesses an almost circular and time-softening quality that would normally be reserved for an album of much greater length. The stellar recording manages to somehow walk the line between crystal clear production and typical black metal fuzz – in other words, it's an album that's grim like the frost-encased ruins of an ancient civilisation, without the audibility of the music suffering. It's effortlessly devoid of filler, and a release that will definitely be remembered more for the overall experience rather than a handful of standout tracks or moments.
Review by Lochlan Watt

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The Metal Forge - http://www.themetalforge.com- 8 / 10
Astriaal - Anatomy of the Infinite
Astriaal's second album is solid, aggressive black metal
Ever wished you could have the best of modern black metal's clean, solid production without the frills of symphony and the spirit of older, lo-fi black metal with the grim atmosphere minus the production annoyances? Then Astriaal is that band. This black metal outlet formed in 1998 and after numerous demos and EPs, released their debut album in 2003. It was a great start. The debut had a clear sound that allowed all the instruments to be highlighted, it wasn't just about Satan, and wasn't just full of blast beats or the same kind of riffs and musical structure over and over. There was a genuine touch to it. Seven years later, Astriaal have made another attempt, and it still sounds just as good, if not better.
Much of Anatomy of the Infinite is a mix of instrumentals and vocal laid tracks, but each one is extremely aggressive. "Visceral Incarnate" features melodic guitar work and vocals that are deep, throaty, and varied. Sometimes they stay in their medium snarl, others are deeper growls. The drums tend to be a bit one sided as they blast away with pure, aggressive fury, but the tempo of the track varies around. In the beginning it is a hammer to the face, and then the solo gives way for a more melodic, ambient section that eventually breaks off into chugging catchiness. "'Neath the Bones" is more black rock n' roll influenced and straightforward in the riffing, but the solos are still engaging.
"Ad Interim" is one of the short instrumentals. It is mostly guitar driven while being slow and depressing. There's even a bit of wailing in the background to really bring out the ambiance. "The Scars of Aberration" is a bit wild in the sense that lots of the guitar riffs are all over the place and schizophrenic, like a Deathspell Omega track. It starts out solid but then starts changing and twisting about, which really adds to the depravity and esoteric style of Astriaal's music. "Relinquishment of the Stars" is the most melodic offering on the album and sounds more like melodic death metal than black metal. But, it sounds exciting and different from the usual riffs that Astriaal employs while still retaining that dark and evil sound. "For The Day Will Come" features choral backing vocals and a thick, chugging melody that again sets new standards for Astriaal's music. The vocals are present, but they act more as an instrument with their wailing and roaring. It's unique and perhaps makes this the best track on the album.
Those who are new to Astriaal will enjoy it if they like bands such as Marduk or Dark Fortress. Like these two bands, Astriaal don't stray into experimental territory too far with each album, but they also don't make their music sound exactly the same each time. The music here is purely sinister, but the themes and lyrics embrace more than just evil; they're more theological and say more than 'worship Satan, defy God.' It is hard to get bored with an album such as Anatomy of the Infinite with the varied music patterns and tendency to sound as depraved as black metal should without all the cheesiness.
Review by Colin McNamara

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Astriaal - Anatomy of the Infinite Unleashed in 2003, Astriaal's debut full-length release "Renascent Misanthropy" earned the Brisbane (Queensland) based act critical acclaim both nationally and internationally. But despite the overwhelming praise lauded upon the band at the time, Astriaal spent the better part of the years that followed in virtual hibernation, with only the occasional live performance providing any sort of proof of the band's continued existence.
But after a lengthy seven years of recorded silence, and a year after the band first announced plans to start recording a new album, Astriaal have finally returned with their long awaited second full-length effort "Anatomy Of The Infinite". With such a lengthy gap between releases, it comes as no surprise to find that Astriaal (Who now comprise of vocalist Arzarkhel, lead guitarist Baaruhl, rhythm guitarist Helthor, ex-Psychrist/Infinitum bassist Dan Marsden and drummer Gryphon) have moved on from "Renascent Misanthropy" in terms of sound and direction. But while "Anatomy Of The Infinite" does represent some shifts in the Astriaal sound of old, this is very much an Astriaal album, and one that followers have definitely been waiting for.
Much in the way that "Renascent Misanthropy" opened (With "The Funeral Procession"), the short "Blessed Are The Dead" introduces the album with its gradual build of tight knit guitar work, shredding lead work, blasting drums and some venomous screamed efforts from Arzarkhel. After a gentle fade out, the band unleash pure hell with their follow up track "Visceral Incarnate". Although every bit as brutal as the past material, "Visceral Incarnate" relies little on the symphonic influences that dominated their past work, and instead sees the band stripping their sound back to its basic components of dual guitars, bass and drums. That's not to say that all of the symphonic touches have disappeared, but for the most part, this is very much a harder, more aggressive, and technically inclined sound for Astriaal. And it's one that definitely works in their favour.
The fast paced riffing and the relentless blasts from Gryphon propel "Neath The Bones Of Salvation", giving the song a fairly straight forward black metal feel, but with a hint of melody seeping through the chaos. Meanwhile, "The Scars Of Aberration" (Which is preceded by the short "Ad Interim"), "Foundations In Flesh" (Which boasts a catchy and melodic introduction, and some equally impressive lead work around its latter half) and the epic sombre closer "For The Day Will Come" (Which is introduced via a stunning melodic instrumental piece entitled "Relinquishment Of The Stars") showcase the band's growth since the release of their debut, with the song writing sounding far more varied and challenging than anything they've previously attempted before.
Seven years is quite a long time between releases for any band, but more so for a band that have only managed one full-length release prior to their self imposed exile from the spotlight. But despite their absence, "Anatomy Of The Infinite" is a worthy return effort for Astriaal, and one that's sure to receive as much critical acclaim as they did all those years ago.
Review by Justin Donnelly

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TIMEOFF MAGAZINE TREET PRESS
BASTARDFEST
THE GLOBE: 28.08.10
Perhaps the 7pm doors are the first ever Bastardfest may be too early for some, with opening metal act Schiamacy making clear the fact that they are unimpressed by the smaller numbers, trying to incite some activity in the crowd with an angle that perhaps does them no favours. Local rockers High Plains Drifter have their turn next, delivering an impressive set of dirty tunes to a slightly more appreciative crowd.
Thankfully the night starts to warm up a little as local death metal lords Defamer take to The Globe's luxurious stage. Playing their final show with lead guitarist Mitch 'Lanky' Rogers, the band slays through a selection of tracks both new and old, sweating it out under ridiculously intense and slightly erratic red lighting. Seemingly a little short for a Defamer set, the band winds up the end of an era with harrowing violence of The Great Rift.
Canberra doom lords Pod People are next in line, and push the PA to the limits. Having existed since 2001, the five-piece is expert in their delivery, but perform with an unhinged intensity that charges their downtuned music with a fiery urgency, despite its comparatively lagging pace. Vocalist Brad Walker's hulking frame and dominating voice, along with guitarist Josh Nixon's fiercely raised devil horns, stamp the five-piece's sound with a completely certain confidence.
Set to the projected backdrop of the haunting paintings taken from the artwork of their most recent album Anatomy Of The Infinite, Astriaal is up next. Their ethereal blend of black metal is nothing short of captivating, with the delicate, rack-powered leads of guitarist 'Baaruhl' resonating through The Globe with a haunting brilliance. With the set somehow reflecting an almost spiritual journey, when it's over one wonders if any time has passed at all.
Things get off to a rough start for Melbourne death'n'rollers Blood Duster, with the looks of dismay on many of the members' faces quite obviously in regards to the disgustingly muddy mix they've unfortunately just been confronted by. Things feel a little stilted to begin with, but as the band progresses through a career-spanning set, hits such as Pornstorestiffi get everyone little more involved. Vocalist Jason PC demands to see some tits, and a good-spirited local gal gets up on stage to show the crowd her assets. The smiles on their faces pick up a little as things get more rowdy, however due to an unfortunate stage-diving incident, guitarist Matt Collins' vintage 1979 SG guitar has its neck snapped in half, and his newly-formed smile is unfortunately switched into an expression of pure heartache, and the band's finale of Drink Fight Fuck is bittersweet.
LOCHLAN WATT

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FALLOUT MAGAZINE
BASTARDFEST
THE GLOBE: 28.08.10
The Brisbane leg of the touring metal gig Bastardfest played out to a packed crowd of pleased metalheads at the Valley's prestigious Globe Theatre on Saturday August 28. While the local audience seemed to amass in favour of the show's interstate acts rather than their homegrown acts, the event nonetheless carried out a liberal helping of stunning performances from many varied key acts from around the country.
The two opening groups, tech-metallers Sciamachy and local stoner rockers High Plains Drifter varied in performance and had a lukewarm attendance as the show opened up. Sciamachy tightly belted out their set, comprised entirely of new songs from their upcoming album. The band has upped the ante in their songwriting since their Prognosis/Contagion debut.
However, the sharp-dressed High Plains Drifter suffered a few technical difficulties during their show and looked like they were having troubles hearing each other on stage. The band's performance faltered as the set went on, but quickly picked up just before the end as they belted out their cover of the theme from Round the Twist.
Defamer then took to the stage as the crowd numbers began to pick up. The band unleashed their chaotic blackened death metal to a responsive crowd, while some had a chuckle at their drummer James Geekie playing a glittery purple drum set (!). Tonight was Defamer guitarist Mitch Rogers' last show with the group, signing off his tenure with an incredible lead guitar solo near the end of their final song Hail Chaos. The band is currently nearing completion of their second album.
At ten o'clock came a little band from Canberra whom I had been hanging out to see again for years… Pod People! Opening their set with Filling the Void, yours truly was charmed by the band's intense riffs, wind- milling his way through the song at the front row of the moshpit. These guys have never failed to impress each time I've seen them live, and tonight was no exception.
Brisbane titans Astriaal then presented themselves for their first appearance at the Globe Theatre. Joined by Psycroptic bassist Cameron Grant and accompanied by a projection of art images in the background, the five-piece hammered through their set which included The Scars of Aberration from the new album as well as old favourite Ode to Antiquity. Astriaal's frontman Arzarkhel's vocals echoed through the room over the top of the band's intricate melodic riffs as the band finished with Foundations in Flesh. If Astriaal were to disappear from the limelight again soon like they did not long after the touring behind Renascent Misanthropy, they'd be doing it with much dignity after the quality of tonight's set.
Finally, extreme mischief–makers Blood Duster closed off the event. Throughout the night you could see some of the Duster lads hanging out at the Globe's front bar - well, from the stage you could easily tell that front- man Tony had been! However, Jason PC as- sured the crowd that after nearly twenty years, the aging Blood Duster boys are now more "dignified drunks"… Anyway, the moshpit was in a live frenzy when the band belted out healthy proportions of their mor- bid grind songs from the then and now, to their equally popular rock songs, such as the classic Three Oh Seven Oh, which had the crowd screaming out its famous "Go and Get Fucked" chorus. Age shall not weary these crazy lunatics…
After the event came to a close, some of the crowd headed up to the StepInn for the Bastardfest Afterparty, where Sydney's Darker Half treated the visiting punters to even more metal. The four-piece melodic metallers have been long overdue for another Brisbane visit, and despite playing in a tiny corner of the StepInn they relentlessly tore away killer song after killer song, throwing in a few Iron Maiden and Metallica covers, while the crowd tirelessly kept yelling for more.

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Metal Obsession - http://www.metalobsession.net
Astriaal @ The East Brunswick Club, Melbourne
w/ Ignivimous, Disentomb and Stormbane
14th August 2010
The long-awaited follow up to Astriaal's brilliant 2003 release Renascent Misanthropy is one that Australian black metal fans have been patiently waiting for, for far too long. Thankfully, the time has come, and the legendary black metallers hit the live scene once again.
After a couple of drinks in the main bar of the East Brunswick Club, quickly becoming more and more of a regular metal venue, I made my way into the somewhat empty band room to catch Stormbane, a band I was completely unfamiliar with. And how I wish I still was. Playing a fairly sloppy brand of traditional straight-forward black metal, the band lacked in both energy and inspiration. With a couple of failed starts of a particular song, and zero stage presence, it wasn't exactly the greatest start to the night. Judging by the bored faces of the few scattered crowd members, I wasn't the only one who found the music stale. Apart from the reaction to the announcement of a cover song, the crowd reaction said it all.
Thankfully by the time Brisbane's Disentomb hit the stage, the crowd had built up a bit. Playing both "Subterranean Burial" and the simply titled "Gutted" off their 2009 demo, as well as a bunch of tracks from their upcoming debut full length, the band proved that they really are one of the most brutal bands in the country. While some of the more technical guitar parts were a bit lost in the mix, the rest of their set was faultless with an incredibly tight performance, and killer overall sound. Jord's consistently guttural vocals might not be to everybody's taste but the fact he can keep up such a deep, smooth growl so well is sure to impress. The only thing that could have made the band better would have been a smaller venue, which would've bumped the intensity up that extra notch. While it's unfortunately a couple of months away before they make the trip back down south again, their new album is just around the corner. Death metal fans; keep an eye on this band.
A quick trip up to the servo for a pie and a few beers in the beer garden were next up, where I got completely distracted by the comfortable couches and cold ale that I missed Ignivimous' set. Although having seen them before and not being overly impressed, I wasn't fussed.
Finally, the time had come, for the mighty Astriaal to hit the stage. While the crowd wasn't quite as big as I had expected, the room had filled up nicely, and I grabbed a comfy spot near the sound desk with ample leanage. While tracks like "Ode to Antiquity" and the incredible "lories of the Nightsky" were absolutely awesome, the new material was what everyone was there to hear, and it didn't disappoint. While the track names were lost on me, the sound of the new tracks was much more refined and showed a definite overall improvement in the band's writing skills. The new-new track, which I assume will appear on the next album, was an all-out black metal attack in its most traditional form, which was not what I expected. The sound wasn't the clearest, and the lack of a smoke machine really dragged the atmosphere of the room down, but the band themselves put on an impeccable set, faithfully performing the classics while showcasing the new, and quite awesome, material. I, and I'm sure all those who witnessed the band, patiently await their return back down south. And seeing as the band have really hit the ground running with a string of live shows and a another new album in the works, I can't see it being too far away.
Astriaal really are one of the greatest black metal bands to ever exist in this country.
Posted by Mean Machine

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Mayhem, Astriaal, Guild of Destruction @ The HI-FI Bar, Melbourne 23/09/10
Expectation can be an evil mistress should her desires not be met. Mayhem must surely tangle with her on a regular basis. A band with such a sordid history and one of the main flag bearers for Norwegian black metal, a heavy (inverted) cross to bear.
Always keen to try and catch the support acts, I arrive timely to the opening notes from Melbourne's 'Guild of Destruction' and it is loud. The band carries a big sound, with a straight to your face attitude. Mixing the fierceness' of Black Metal with the punch of Death, the band seems prepared to blast the listener into submission.
Brisbane's Astriaal sit high on the Australian black metal tree and with good reason. They produce a great sound that is entrenched in the classic with enough accents to call their own. They manage to capture the grandeur without sacrificing the menace of the music. For me a key success to their sound is the superb vocals, the mix is brilliant. The mostly present dry rasp, with the occasional guttural growl and topped of with the cleanly sung passages with a chant like quality, all done exceedingly well. The drum work is tight with some great pattern variety, the twin guitars and bass all working at frantic pace with some sweet solo work dropped in, not always cool (I hear) but dammit, I like my black metal with a side of melody. The band is great on record and equally good live, for my money they sit side by side with the best of them.
With what seemed a lengthy delay, Mayhem take to the stage under the cover of a dimly lit venue. The band casually decked out in the black t-shirt (always into self promotion) and pants ensembles begin that ever familiar riffing. The ever shy Attila Csihar bounded onto the stage in full cardinal robes, adorned with large inverted cross and a noose slung around his neck. All complemented with what I can only describe looked as if the skin had been peeled from his face leaving the bare flesh exposed. Pope Benedict meets Bella Lugosi. For me, this man really keeps the drama alive for this band. I am a fan of his theatrics, not only in his attire and stage presence, but all the drama delivered in his vocals, which are truly unique within the scene.
The setlist is a nice mix from their (extensively noted on the stage attire) 25 year career, Freezing Moon garnishing much crowd appreciation and reaction. I enjoyed the inclusion of Silvester Anfang playing prior to the band returning to stage for an encore. It was great to hear Hellhammer in action; the drumming was a real highlight of their sound. Not super fancy, but very direct and precise (and all done in leather pants, so metal). Easy to hear why he is such a gun for hire.
If the band manages to pull a few curious attendees based their history, a conversion to fan and/or healthy respect is hopefully what they left with. Let the Mayhem continue.
by Gotterdamerung

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Metal Obsession MAYHEM Sydney Live Review - http://www.metalobsession.net
Mayhem, Astriaal, Anno Domini @ The Factory, Sydney 24/09/10
Sometimes, amidst such prominent occurrences as church burnings, murders, and imprisonments, it is easy to focus on the activities surrounding a band rather than the music they produce. That is, until you see the band in the flesh and they put on a show that not only makes you forget any incidents attached to their title, but makes you realise that the band in question are amazing musicians who put on one hell of a show worthy of forgetting any past events.
The band I'm referring to is infamous black metal band Mayhem from Norway who have finally made their return to Australia after 8 long years. Mayhem released their last studio album, 'Ordo Ad Chao' all the way back in 2007 and were originally meant to tour in support of the release in 2008, but due to visa issues, it was delayed indefinitely. Well, their time finally came and Mayhem have now made a triumphant return to Australia.
The Sydney leg of the tour, which was held at Marrickville's The Factory Theatre, had two support bands before Mayhem hit the stage. First up was local death metal band, Anno Domini, who were finally releasing their debut album, 'Atrocities', to the public at the show. I arrived just as they kicked into their second track of the set and was immediately set back. I hadn't seen these guys live in quite some time, at least a year or so, and I was instantly impressed in how much they had improved as a band both in performance and stage presence. All clad in black with red 'AD' initials printed on their shirt pockets, the band both looked and sounded impressive as they blasted through a set of what will undoubtedly be future crowd favourites from what I'm sure is going to be an extremely well received album.
The second support came from long time running Brisbane black metallers Astriaal, who scored the slot as main support for all Mayhem east coast shows. Astriaal recently released their second full length album entitled 'Anatomy of the Infinite' in which they played a few tracks of. While I thoroughly enjoyed their set, I found their sound to be a tad muddy, especially compared to the first band who hit the stage. Sound issues aside, I found Astriaal to put on an immaculate set that was extremely tight and engaging. The crowd absolutely loved them and it was great to see the crowd embrace them as if they were a headliner. It'll be great to see them on their return to Sydney in a couple of months as part of the massive Black Mass show.
And after two amazing supports, it was time to witness the legendary Mayhem. Entering through a thick layer of smoke, the band took to the stage and with a fiery passion, kicked straight into Pagan Fears from their classic 'De Mysteriis Dom Sathanas album'. This set the perfect foundation for what the rest of the night had to offer. There were so many highlights of the night, I don't know where to start. First of all, what I and many others found to be the most impressive component of the band was vocalist Attila Csihar. The man had a godlike presence about him as stood in what seemed like a trance, rarely straying from his position on stage. Both his harsh, outstanding vocals and his onstage theatrics involving his costume as well as a mask and noose, pretty much defined and carried the band to a whole new level. As heavy and tight as the band was playing, it was hard to keep your eyes off Attila as he pierced the eardrums of all in attendance through the set.
Another highlight was that of drummer Hellhammer. As many know, Hellhammer has been involved in more projects I'd wish to try and count, and there's a reason so. The man's a machine. He never misses a beat and he is always able to implement different patterns and beats that one wouldn't usually expect from the different genres he plays in, especially in the case of black metal. As he went into the march-like snare rolls of the intro to View from Nihil, I actually felt shivers go down my spine as I knew what was to come.
Between long serving members such as bassist Necrobutcher to newcomers like guitarists Morfeus and Silmaeth, the collective group known as Mayhem put on a show that was truly spellbinding and mesmeric. They are truly a force to be reckoned with as they slayed through each track, playing a set composed of tracks from each of their studio releases. After the response they received, I'm sure we won't be waiting another 8 years until we see Mayhem visit our shores once again.
by Cryptor