Review by Felix on November 28, 2023.

The Will:
Driven by their affinity for sonic vandalism, Azaghal have returned once again. The restless Finnish institution meets Ars Veneficium, a bunch of newcomers from Belgium, in order to create an output for the underground. Both groups are united under the banner of extreme music and the will to write another chapter of acoustic destruction is omnipresent. Azaghal stay loyal to the ironclad principles of black metal and devote themselves completely to total blackness. Ars Veneficium do not intend to be left behind on the road to perdition. No doubt, in terms of passion and motivation, both bands are not in the mood for shoddy compromises.

The Power:
I don't think that anybody seriously doubts the massive force of Azaghal. During their long-lasting existence, they did not always deliver top quality. Yet it is also a fact that they never showed a sign of battle-weariness. "Uhri Yölle" flows like a torrid stream of lava. The mainly mid-paced tune thrives on its natural hostility and the mighty production which ennobles the contribution of Azaghal. The band accelerates the speed during "Varjojen Seremonia", but this track is also not exclusively focused on high velocity. Both tunes demonstrate impressively that Azaghal have never heard the term "fickleness". They celebrate their sinister art and that is the best they can do. The dark creatures of Ars Veneficium are endeavoured, but they do no reach the same level of remorseless aggressiveness. The band offers songs with constantly flowing lines that avoid an extra dose of melodies. Nonetheless, one can see the band's ambition to present powerful yet carefully thought through tracks. Unfortunately, both songs leave a very similar scent.

The Goat:
The first song of the Belgian warriors is called "Worship the Goat" and this seems to be the accepted maxim for the entire 12". Especially the misanthropes of Azaghal combine rawness, robustness and cruelty in a mature manner. This "satanic" mixture is crowned by the inhumane voice which underlines the hellish aura. Ars Veneficium are amazed about this degree of bestiality and only notorious liars would say that they are behaving like absolute beginners. Yet they have to acknowledge that the impenetrable darkness and the negativity of their Finnish opponents remain out of reach, at least for the moment. Anyway, "The Goat" will malignantly smile when listening to the results of this cooperation. No doubt, this vinyl is on his slightly carbonized shopping list, in particular because of Azaghal's songs. 80% for Azaghal, 70% for Ars Veneficium, this is his verdict. I do not think that I am a coward, but I dare not to disagree.

Rating: 7.5 out of 10

Review by Arek on January 7, 2018.

Musically, Australia is associated primarily with AC / DC and maybe with INXS or Kylie Minogue. However, it cannot be said that Australia’s thrash metal is a thing that’s unheard of. Bands such as Hobbs' Angel Of Death, Destroyer 666, or recently King Parrot were able to inculcate their own mark in this genre. Will Mason have such power? It seems that it probably won’t be today.

Released late last year, Impervious is a pretty solid kick through the door, but it's still far from the throne. These 36-minutes are enough though to make you lick your wounds for a week after just one listen. At the moment, it is a well-played American thrash straight from the coveted Bay Area, loaded with Australian ADHD. Impervious is their second album, and although the band has recently undergone a small reconstruction, the biggest changes appeared in the graphics layer - a new logo and cover. The author of the painting was none other then Eliran Kantor, so I do not think I have to explain anything anymore.

Mason is based on energetic, guitar-driven thrash metal without any 'sideway' jumps. Opening the album ‘Eligos’ or ‘Burn’ are just embers for what ‘Tears Of Tragedy’ brings. This song and the accompanying music video were entrusted with the promotion of the album, and with the cascades of fast riffs enhanced with great solos it also must be an excellent piece to play live! Although I could write pretty much the same words about the rest of the material, I confirm the correctness of this choice for promotional tasks. I find similar magic in the title song ‘Impervious’ but also in ‘Cross This Path’ and in the longest and final track, ‘Created To Kill’. With these few sentences I could actually finish writing this review, but I do not want to harm the rest of the songs in any way. I suppose that among the people who listened to Impervious there are those for whom so-called killers will be ‘Burn’,  the somewhat slower Testament- like ‘The Afterlife’, the rhythmic ‘Sacrificed’, or the percussion driven ‘Hellbent On Chaos’. What drives my assumptions you ask? Well, this is a very balanced album; it is difficult to find the weak spots in it, and even if you could, why would you? It's music that brings a lot of entertainment, so let's just listen to it and have fun. Before ending this review I would like to go back to ‘Cross This Path’, which, paired up with the concert video, also promotes this album. Here, they’ve shot a bull’s eye by choosing this piece. It explodes with energy, and the dueling of solos in the second part of the song. It is pure thrash metal gold.

The dynamics of this music make it flow very nicely.  I already regret that I have not yet found myself at their concerts because this material will work perfectly for those in front of the stage. These quick shots can automatically start a decent moshpit and the 'head bop' automatically starts after the first rhythms.

Thrash, doled out by these Australian-sun soaked chaps, kicks ass quite properly, but it seems to me that the explosion of this musical volcano has not yet occurred. I am waiting impatiently, rubbing my hands together like a classic movie villain, because I like this kind of energetic thrash. I hope that with the success of Impervious Mason will return to Poland and I will be able to move my old ass around. For now, I am sending everyone out to listen to the independently issued album at hand.

Rating: 8.5 out of 10