Dangerous Curves - So Dirty Right

Band: Dangerous Curves

Album: "So Dirty Right"

Label: Independent

Release date: April 6, 2018

Country: Australia

Format reviewed: FLAC

It is both a privilege and an honor to write the first review concerning a (Hard Rock) Glam Metal release for Blessed Altar Zine - dedicated to bringing to our readers honest opinions regarding quality releases in the ever expending world of the underground metal.

The Glam Metal (an integral part of Hard Rock) of the mid 80s into the early 90s was at the time, a very well regarded rock/metal genre, receiving ample airtime on music TV and on dedicated FM radio stations across the globe. Glam Metal was then considered mainstream, and it's popularity helped usher in many other rock/metal styles to the discovery and enjoinment of the masses. By the mid 90s, Glam Metal has been scraped by all major labels and it ceased to exist in it’s “glory days” form - a fact most rock music fans are familiar with. Some efforts were made by well established acts of the genre, to revive it into the new millennium, but unfortunately, the vast majority fell short. That is not to say that quality Hard Rock albums were not released. However, none were able to capture the real essence of Glam Metal from it’s glory days. One of the acts that captured said essence to a large extent, in the most recent years is the Finnish band Santa Cruz. With that said, it wasn’t until earlier this year, on April 6th, when a young band from Geelong, Australia, managed to bring back, at full magnitude, the quality Glam Metal that most of us fans, believed to be gone and buried. This band is DANGEROUS CURVES!

Growing up, I was exposed to a large variety of music, including to what it's now considered the classics of rock. Deep Purple, Led Zeppelin, Black Sabbath, AC/DC and The Eagles are fine examples of acts that I was familiar with from a young age. Growing up behind the Iron Curtain made it very difficult to be exposed to the newer musical trends of the West, specifically in the 80s. A total censorship of western rock/metal music was in place. Rock & metal LPs and tapes were verboten by the communist regime, and nearly impossible to procure. New releases were smuggled-in via bootleg tapes. Two short-wave radio stations aimed against the communist authorities in the Eastern Europe, Voice Of America and Radio Free Europe, aired rock music programs, exposing the eastern block audience to the newest trends in the genre. In our early teens, a schoolmate and I, upon listening to one of these radio programs on Voice Of America, decided to write a letter requesting a tape. A couple of months later, a 90 minutes audio tape miraculously arrived in the mail. On side A: Bon Jovi’s “Slippery When Wet”, and Europe’s “The Final Countdown” on side B. Game changer! Glam Metal became the core of my love and passion for all things rock & metal.

Fast forward 30 plus years: the hopes for a quality Glam Metal new release, able to mimic what is now considered relics of the past, has diminished drastically. Most of the established bands of the genre’s past are still touring on the laurels of their heydays. Newer materials, while some great, not up to snuff. On a late April night, while browsing Bandcamp, I stumble upon an independently released album, tagged “glam metal”, by an unknown (to me) Australian band, DANGEROUS CURVES. The album, titled “So Dirty Right”, is precisely what I’ve lust for all these years: unapologetic, fun and anthemic Glam Metal. The incredible part being: Glam Metal, once a mainstream genre, is now an integral part of the underground!

The new crowned kings of Glam Metal, DANGEROUS CURVES, formed in 2015, and released their self-titled debut EP in 2016. The band’s line-up remained unchanged since formation: Kym Britten (vocals), Cammy Paul (guitars), Ziggy Robertson (bass), and Luke Chapman (drums). After countless gigs, around their home state, the Geelong boys reentered the studio, this time Melbourne’s Monolith Studios, where Chris Themelco recorded, engineered and produced their full-length debut, “So Dirty Right”. Self-evident is the band’s inspiration from superstar acts such as Bon Jovi, KISS and Van Halen, etc. and their achievement in recreating the 80s L.A. styled rock and roll, with a few modern twists thrown in the mix. They would’ve been right at home performing at any of the famed rock clubs on the Sunset Strip, at the end of the 80s. Unmistakable is the band's ardent esteem for the glorious past of Glam Metal, while re-enacting a joyous and familiar vibe, not by recycling the past, but by constructing ten undeniably new and exciting tracks on their release. The songs are upbeat, sing-along-able, with great guitar hooks and solos, catchy lyrics and huge drums - anthems that would’ve filled stadiums not that long ago. For good measures, the acoustic stuff is there, and so it is the obligatory power ballad (lighter appropriate). There are no mediocre songs on this album. All compositions, arrangements and performances, are well and enthusiastically rendered! This is not Poison (sorry, Poison fans). “So Dirty Right” feels right at home alongside vibrantly guitar driven releases by SouthGang, Beau Nasty, Lancia, Heaven’s Edge, Lynch Mob, Flame, and Shark Island, among others. I don’t care if lyrically some content is not politically correct, or offensive to some ears. This style of music is about fun and about having fun. Sterility need no apply. Deal with it!

In a world of hassle and incertitude, the almost forgotten vibe of party rock, as present on DANGEROUS CURVES’ “So Dirty Right” is a welcomed diversion from current realities, a throwback to a less complicated time. Highly recommended. Party like it’s 1988 and most importantly, have fun! 9/10 UHF

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 9/10 – Epic Storm

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Coldawn – …in the Dawn

Band: Coldawn
Title: …in the Dawn
Label: Flowing Downward
Release Date: 26 February 2018
Country: International (Australia and Venezuela)
Format reviewed: Digital Promo

Coldawn is an international duo band, featuring B. (Australia) on all instruments from and Ausk (Venezuela) on vocals. Started as Beyond the Dawn in 2013, both men decided to rebrand and since 2016 they adopted the current name, logo and musical performance (continuing the already taken direction with Beyond the Dawn though). It’s not the first time I write about such artists, crafting alone or by pair into that particular style. And again I would say that the lads are doing their job well.

“...in the dawn” is a 38-minutes album, very much into the post-black and shoegaze mood. Featuring a lot of piano, (quieter, sometimes almost whispering) growling vocals for the sake of painful epic melodies, weeping guitars and nice almost all the time present solo-lines, and grieving keyboard passages. With most of the time in the mid-tempo with some mid-tempo blasts, the album offers what it has to offer and it meets expectations most of the time. “My Escape” is a nice opener for the musical escape the duo offers. “The Essence” and “Only moments” offer the expected melodies and riffs. Female chants and vocals included in “La primavera no llegara esta vez” (which is more ambient, slow) and in “This-Over” (slow galloping tempo, riff, and melody). “...in the Dawn begins peacefully with its alone piano and twist into bursting breaking the dawn and suddenly ends. The record ends with “My Destiny” which already offers us what we have heard so far in the whole record, despite of its faster rhythm and clean and screaming vocals combination.

With 8 tracks full of sorrow and feelings, the album could be another soundtrack for one’s winter sunset. Atmospheric, vast and open as light and air at certain parts, the album is uplifting and inspiring. What made me impression is that all the tracks in the album end suddenly, quickly, unexpectedly, as B. didn’t want to prologue or to find a way to fade them away. Another impression: almost all the time I had the feeling the music promises and points to much into the bright future, instead of being drown into the desperation and anguish of the impossible existence.

“...in the Dawn” is a good debut album with some very nice ideas which could be further developed. It is delivered in an already crowded territory and it is very hard to achieve first line position with material which is there already. It is an album be listened as a whole, to create momentary atmosphere and to bring the thoughts, feelings, and dreams for a while, but it could be quickly replaced by the next thing in listener’s the collection. 6/10 by Count Vlad




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6/10 – We may survive

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Vahrzaw - Husk

Band: Vahrzaw
Title: Husk
Label: Blood Harvest
Release Date: 23 April 2018
Country: Australia
Format reviewed: Digital CD quality

"Husk" is the third full length of the veterans of the Australian underground extreme scene: Vahrzaw. A trio of musicians dedicated to the sonic invocation of blasphemous storms of Blackened Death. A band that began in the mid-90's, but could only release its first album in 2009: the highly recommended "Defiant". Five years later they launch the successor, "Twin Suns & Wolves' Tongues", and now, four years later, the album that we have in hand and that, unfortunately, represents the swan song of the trio. As I could read recently on the Bandcamp page of his label, Blood Harvest: “After 25 years of playing punishing black/death metal, VAHRZAW have really had enough of the bullshit associated with producing albums, and even EPs”, I assume they got tired of writing music. Which is a pity, since they have always had great potential.

"Husk", musically, constitutes a great monolith of fury that starts without concessions and, in rare occasions, stops to catch its breath. The first thing that stands out is the drumming of Brandon Gawith, which is quite high in the mix, and is a good thing in this case. I mean, the guy sounds like a bulldozer crushing skulls in his path. A feature that is always welcome in a Blackened Death album. The allusions to God Dethroned are obvious, though removing all the more melodic aspect of that band. I think that Vahrzaw exploits very well the trio format to achieve an assault more linked to the most brutal specter of the genre, concatenated a chain of riffs that, without being highly original, lean very well on the implacable machine behind the kit. The bass is correct and simply follows the guitars, although helping to achieve a very well obtained meaty tone. Vocals vary between raspy rashes and some growls, also very effective. The album develops with demolishing force in its first half, fading a little in the last tracks, where some ideas begin to repeat and move away from Black/Death territory, to venture slightly into more Thrash structures.

We must not forget to mention the excellent cover art, with a hand-painted drawing, totally monochromatic, with an eerie scene of skeletons in a misty forest. It really gives the work a very specific and solid visual concept. One of the best aspects of "Husk". An album that fulfills its purpose and a band that exceeds in the technical aspect, completing a very solid last album, although sounding a bit forced in its last section. Recommended for any Blackened Death fan. 7.5/10 Sergio






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7/10 – Victory is possible

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Claret Ash - The Great Adjudication

Band: Claret Ash
Album: The Great Adjudication
Label: Casus Belli Musica / Beverina Productions
Release Date: 30 April 2018
Country: Australia
Format reviewed: Digital CD quality

Hailing from Canberra, of the Australia Capital Territory, Claret Ash have returned with their 3rd full length ‘The Great Adjudication’. However, if you were thinking that you might have seen this before, you would be half-right! You see, this 75 minute album is a combination of the bands last two releases that had the same title (The Great Adjudication: Fragment I and II) - released independently in November 2017 and April 2018 respectively. With their signing to Casus Belli Musica, we are now presented with both, laid out on one full album!

Featuring stunning cover art from Samuel Nelson (Stigma Art), the look and feel of this album just screams Darkness. Slated as a Progressive Black Metal band, Claret Ash are just that and a tad more. There is far more going on here than you might think. There is a certain ‘epic’ quality about Claret Ash’s writing. Essentially, the first five tracks is the aforementioned Fragment Part I, which conveys Claret Ash’s blindingly vicious tremolo picking style wrapped up in a thick, dark, yet highly atmospheric production. The opening track ‘Essence of Fire’ smacks in with one drop on the snare and then a blast-beat full throttle affair rips through with cascading riffs and leads. The following four tracks are of similar ilk. Totally menacing.

Throughout The Great Adjudication, the influences are laid out for all to hear – for me, second and third wave Black Metal proponents in Borknagar, Gorgoroth, Wolves in the Throne Room and even proggy Arcturus moments rear their heads on multiple occasions - and this is where the second half of this album becomes an even more interesting beast. While the album does play out as one complete entity, it is clear that the seven tracks from Fragment II show off Claret Ash’s penchant for a more riff oriented and progressive side to their music. From the multi-faceted vokills (dual lead/backing vocals provided by guitarists James Edmeades and Josh Pearse) – harsh, black screaming and guttural to clean, almost spoken word approaches. From the use of dreamy acoustic work on several introductions to slower, more epic melodic phrasing in the leads, there is a great sense of experimentation in the band’s song and as such gives them a particular identity among their peers. If pushed for examples – tracks such as the fantastic ‘Like Tears in the Rain’ and the epic 7+ minute epic of ‘Vicissitude’ are ample proof of this band’s talent.

The Great Adjudication sounds great – a dark, brooding feel has been captured in the production with Tracks 1-5 mixed and mastered by Ryan Huthnance; Tracks 6-12 by Mike Trubetskov at AOL studios; The mastering by Maynard Gold at Hilltop Recording Studios. Add this to some top-notch quality songwriting and a visually striking presentation, Claret Ash possess all the characteristics of a seriously professional act! Hopefully with the backing of the Casus Belli Musica label, their work can be fully realized and their following outside Australian shores increases! High recommended for fans of dark, atmospheric Progressive Black Metal! 8.5/10 KMaN







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8/10 To Greatness and Glory

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Vomitor - Pestilent Death

Band: Vomitor
Title: Pestilent Death
Label: Hells Headbangers Records
Release Date: 20 April 2018
Country: Australia
Format reviewed: Digital CD quality

Do you remember the good old days?  Times of bullet belts and piercing standard tunings, sharp like a razor. Times of primitivism, blood and eternal glory. Welcome to the world of the Australians Vomitor, where the pestilent riffs and the Black/Thrash fury are reborn, in an infinite cycle, like a horde worthy of the best warriors of the old Cogumelo Records. I mention this because the music of Vomitor is like an ode, in sound and aesthetics, to bands like Sarcófago or Vulcano (Although with certain reminiscences to the first Sodom or Destruction as well). Basically, the mostextreme aspects of the First Wave of Black Metal and Thrash music of the 80's. Even the band's logo shares imilarities with that of Sarcófago, with those inverted and sharp crosses.

The sound banquet is deliciously raw, capturing perfectly the old recordings of those demos of the first wave, which today are so valuable and fundamental for any good collector. The riffs are unleashed, dirty and frantic, on varied tempos, which can be slow and heavy or powerful cavalcades of crazy blast beats, worthy of the legendary D.D Crazy. The guitars, as it could not be otherwise, constitute the main dish, with an excellent dynamism and execution, managing to submerge the listener in a rough, slightly fuzzy tangle, with maximum treble. Pure delight for the most nostalgic Black hearts.

"Pestilent Death" is a frantic recording, which does not decay at any time, with an adequate duration of just over 30 minutes, which leaves you wanting much more. And with an ultra-sharp band, eager to write odes of pure retro metal delight that, despite its remarkable nostalgic value, offers us a work of high quality, excellently enjoyable. Of obligatory listening for any true metalhead. Enjoy it at full volume. 8.5/10 Sergio






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8.5/10 To Greatness and Glory

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Mesarthim – The Density Parameter

Band: Mesarthim
Title: The Density Parameter
Label: Independent
Release Date: 3 April 2018
Country: Australia
Format reviewed: FLAC

According to Wikipedia, Gamma Arietis (γ Arietis, abbreviated Gamma Ari, γ Ari) is a binary star in the northern constellation of Aries. The two components are designated γ¹ Arietis and γ² Arietis, also named Mesarthim in the catalog of the star names. The combined apparent visual magnitude of the two stars is 3.86, which is readily visible to the naked eye and makes this the fourth-brightest member of Aries. Based upon an annual parallax shift of 19.88 milliseconds the distance to Gamma Arietis from the Sun is approximately 164 light years.

Again according to Wikipedia, the density parameter, Ω, is defined as the ratio of the actual (or observed) density ρ to the critical density ρc of the Friedmann universe. The relation between the actual density and the critical density determines the overall geometry of the universe; when they are equal, the geometry of the universe is flat (Euclidean). In earlier models, which did not include a cosmological constant term, critical density was initially defined as the watershed point between an expanding and a contracting Universe. In cosmology, the cosmological constant – Λ, is the value of the energy density of the vacuum of space. It was originally introduced by Albert Einstein in 1917 as an addition to his theory of general relativity to hold back gravity and achieve a static universe, which was the accepted view at the time.

Oh my!...

That said, it is obvious that the music of Mesarthim is expected to be glorious, extra intelligent, completely deep and cosmological. About Mesarthim member(s) there is no information, just: . – vocals, and . – other. The band rose on the metal star map in 2015 and so far has released three full length albums (incl. "The Density Parameter"), five EPs, a single and a compilation. "The Density Parameter" is a 48 minutes of epochal journey through stars and galaxies, encompassing the whole Universe, all black holes and constellations. Six tracks of cosmic atmospheric black metal with couple more ambient and industrial parts here and there; a Universal dream of outer worlds and existential absolutes. A feeling of a timeless time.

Compared to the previous records, this one is much slower, and this exactly contributes to the “density”, the huge depth of the record. With great synth black metal atmosphere and ambient feeling, slow industrial drum rhythm and sound, solid (black metal) riffs and of course the typical vocals, the album yearns to be experienced and felt. I won’t dissect each of the songs, no need to, no point to. It’s a music light-years from our pathetic existence. Still, my favourite tracks are “Transparency” and “Fragmenting”, although I listen to "The Density Parameter" from the start till the beginning and again, holding my breath, feeling so small, dreaming and gazing into the stars. Now it’s your turn to take this journey. Just play new Mesarthim record and drown into the infinity.

3, 2, 1 Liftoff! 9.5/10 Count Vlad

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9.5/10 Epic Storm

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Mournful Congregation – The Incubus Of Karma

Band: Mournful Congregation
Title: The Incubus of Karma
Label: Osmose Productions
Release Date: 23 March 2018
Country: Australia

Close your eyes. It’s a dark grey day. It’s raining. You can hear the rain. Falling, Touching the lonely autumn leaves, and drowning into the muddy soil. Silence. Loneliness. Sorrow. Pain. The casket goes down. Tears. Now comes Mournful Congregation and the bleeding wound at heart they open with their music. A macrocosmic doom for microcosmic beings. Heavy, slowly, drawing immense pictures of melancholy and sheer grief. This is Incubus of Karma – the fourth full-length allbum in the 25 years-career of these masters of the funeral doom. The album comes seven years after their last massive full-lenght The Book of Kings, as well as four years after the EP Concrescence of Sophia. It’s like the time runs and prolongues respectively to the art of the band – processing slowly and mournfully through the narrow alleys of the lonely cemetery.
With six tracks in The Incubus Of Karma, or 1 hour and 20 minutes of total running time, the Aussies deliver attention to detail, doom, gloom, dissonance and fantastic progressive melodies with guttural vocals. On top there are beautiful dreamy acoustic passages. The solos in the tracks are really impressive too, adding another tone of long despair to enjoy. Monolithic, Incubus of Karma grows into one grandeur dimension in its whole playthrough. It adds moods, visions and landscapes, creating a overal experience of unbearable solitude and sorrow. At the end it is really A Picture Of Devouring Gloom Devouring The Spheres Of Being. A masterpice. Now close your eyes again and let the tears flow... 9.5/10 By Count Vlad

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Cryptivore"Unseen Divinity"

Band: Cryptivore
Title: Unseen Divinity
Label: Blood Harvest
Release Date: 26 February, 2018
Country: Australia

Cryptivore began in 2015 as a one-man band from Australia fronted by Chris Anning, handling all. Unseen Divinity was originally an independent CD demo debut from the band but has now been released as a limited-edition cassette on Blood Harvest records.
Containing seven tracks of old school grinding death metal and totalling a hair over 13.5 minutes in length, this release flies by fast! Reminding me, a bit of the sounds and influences of the early Carcass albums, this has a raw presentation and feel, yet is distinctive, combining the elements of death metal and grindcore. With low guttural vocals and sometimes higher vocal trade offs in parts, this flows with crunchy guitars belting out catchy riffs and harmonies and melodic leads too. From fast speed picking segments, usually accompanied by either mid-paced to fast drumming, along with heavy chugging chords bringing out the old school riffing of slower tempos with heavy rhythms, Cryptivore have an all around, classic old school sound. This is something you would almost expect to hear in the late 80’s to early 90’s era on tape or vinyl. Keeping traditional elements of death metal alive and to say that old habits never die either, is all right here in seven tracks that do go by fairly quickly, but keep you playing this again and again. 9/10 By Wolven Deadsoul


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Scythian Fate Interview

Scythian Fate is an Aussie metal band offering a fair combination of dark progressive technical thrash, mythological and historical lyrical themes and hopeless fatality in their music. Their obscure debut EP “Darkaena Scythia” was out in 2016, and now I’m chatting with Tom Kotsonis and Nino Morano about the band, the recording of their new album and future plans.

Hello, guys! Thank you for taking time for this interview! Could you please tell us in brief about Scythian Fate. Since when the band has been around and how would you describe your music?

Tom – Hey, thanks Vladi. It's an honour to be interviewed by you and horns up to the Blessed Altar Zine  for supporting new bands \m/. You guys do a great job! The concept of Scythian Fate was hatched over five or six years ago,  although Nino and I have been jamming and writing shit together for over three decades. We describe our music as  dark progressive/ technical thrash. Over the years, we developed and matured our writing styles which compliment each other well. Our friendship and musical partnership was forged in the school playground. We shared the passion for metal, in an environment where we were greatly outnumbered. Our classmates referred to us as "those two devil worshippers" but we couldn't give a toss. It inspired us to continue to be non conformists and believed in the power of metal. We toyed around with many band names over the years; "Acolyte", "Lost Messiah", "Azazel", "Lord of Thorns" amongst others. I have always been fascinated by the history of the Near East and Anatolia. The "Scythian Gate/s" was an important geographical feature which saw many armies marching through over the centuries. I thought it would be a really cool name. One day, A typo on a text message to Nino accidentally led to Scythian Fate rather than Scythian Gate Lol. We both agreed this was perfect.

You are a studio band duo. Who’s playing what, and how do you manage it with the other guest-musicians and instruments

Tom - I play rhythm guitar and Nino plays rhythm and lead guitar; he is also playing bass on the new album. We have played with a number of cool session musicians over the years who have contributed their time to our music. However we decided in more recent years, that it was important to keep a unique signature sound and Nino and myself form the core of our music. After recording our EP, we decided it was more productive for us to be more of a studio band and see "Scythian Fate" as more of a metal project, for the time being. 

What are your main musical influences – personally and those which could be found in the band’s music? 

Tom- I grew up in a Greek household where I was surrounded by Balkan and middle eastern folk music. I developed an ear for offbeat exotic melodies and the melodic minor scale. Nino was classically trained and has a very extensive classical guitar playing repertoire.

Ultimately we were both influenced by heavy metal from a very early age. Our influences stem from Black Sabbath, Iron Maiden, King Diamond, Kreator, Exodus, Slayer to Dream Theatre and Symphony X. We are disciples of the  early thrash scene and have been heavily inspired by Teutonic and Bay Area thrash bands

Your dark debut EP Darkaena Scythia was out in 2016. It lays conceptually on the mythlogy and offers dark progressive thrash elements. What’s the inspiration behind?

Tom - Drakaena Scythia was the mythological mother of the ancient Scythian race. She was half serpent and half woman who seduced the hero Herakles in her cave to give birth to the Scythians. It made sense to use this old folk tale to name our EP. The music has a unique signature sound and as you say, it has elements of dark prog thrash. We also included an instrumental which features an operatic singer signifying the wailing of the Drakaena. The songs on the EP dwell into historic and sociopolitical themes.  

So besides music, you are very much interested into history, myths, and of course the world’s situation as it is now?

Tom- Yes we both have a fascination with world history and ancient lost civilizations. We are freedom fighters and critical of Hypocrisy and injustice. We also have an inherent interest in the paranormal and share the same passion for world football.

Now you are working on a new album. It will interesting to understand more about in terms of music and lyrics. What is the direction?

Tom- The new album is called "Matrimony in Madness!". It is a much heavier darker album. Although it is a more mature album,  it still maintains our signature sound. The themes are  essentially based on the lunacy of our society and the undercurrent that binds it all together. We feature a tribute tune to Chuck Shuldiner which is a crushing thrashy/ death metal tune. Our songs cover everything from shock jocks, Shakespeare, false preachers, philosophy and history. Overall we are very happy with this album. The skeletons of the songs have been recorded and Nino is now tracking the solos. Once that is done we will lay down the vocal tracks.

When can we expect this album to be released and which is the team working behind it?

Nino - We have set a rough deadline to have this album ready by mid year. So if all goes well it should hopefully be released sometime in the 2^nd half of 2018. Tom and myself are the main team behind this project. We also have assistance and help from friends and aqaintances who contribute their expertise where it’s required. Our long time mate Ed Sleiman is our resident artist and is currently working on an epic canvass for “Matrmony in Madness”. It’s excellent artwork and look forward to unveiling it when we release the new album

Do you plan to release the new album in various formats? Vinyl and CD?

Nino - That’s something we have not fully discussed as yet, but off-course we would like to give our fans more options other than just a digital release. Hopefully, we will be able to sort something out for when Matrimony In Madness is ready to go.

What about live shows after the release? A tour maybe?

Nino- We would love to play live shows and tour. Being from Australia though has its logistical challengers. This is due to distances needed to travel and the economics involved. For example, touring costs etc.. In saying all that, it’s something that we have not closed the door on, especially as the band grows. Anything is a possibility in future, so never say never.

How is the metal scene in Australia as you see it now, especially the underground one?

Nino- The underground metal scene in Australia is reasonably healthy but at times has a tendency to be fractured. There are quite a few excellent bands in the various metal sub genres. The problem for Australian Metal is our isolation due to geography. This makes it's difficult to tour outside the country and also within. Cities and towns on this continent are very widespread and sparse.

  

We’ll be looking forward to the new record and news around the band. I was a pleasure having this interview with you, guys. Is there anything else you would like to tell to the lunatic underground metal community?

Nino - Thank you, and the Blessed Altar Zine for your support. And thank you to our fans, friends and loyal supporters out there. We greatly appreciate it.

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