Review by Fernando on September 2, 2024.

Splits are a release format that is still a large part of extreme metal as a whole, they basically pull the double duty of two or more bands collaborating, or as one band’s way to help peers. Regardless, even in this digital age where physical media is becoming a collectors’ preference, splits have their place, and arguably are more effective since once it's online, the audience just has to find it.

Today we have an interesting collaboration by 2 very interesting bands I wasn’t familiar with. Dominion Of Suffering are a black/death metal band from Slovakia and Switzerland that plays a very dissonant, cavernous, and oppressive style, where the band seems to dwell between the avant-garde darkness of Deathspell Omega and the frenzied brutality of Portal. On the other hand, we have Phobonoid, an Italian project that mixes black metal with doom metal and industrial music. Suffice it to say, these are bands that have created a very peculiar niche for themselves and are as different from each other while displaying a similar devotion to intensity. One of the cons of splits, and this is something I still believe can happen, is that some bands simply don’t mesh, with very different styles, or are so similar that it becomes redundant. As a whole, this split completely overcame those pitfalls. Both bands are distinct enough from each other that you can differentiate between the two and appreciate how unique each one is, but they perfectly complement each other’s style.

Dominion Of Suffering really grabbed my attention from the get-go with their punishing style. Any fan of the more unorthodox and relentless side of extreme metal should definitely check them out, as they definitely make their presence known, with blindingly fast riffage, coarse and dry vocals, and punishing drumming. In three songs, the band leaves nothing in their wake, and they also take their time, while 6 and 7 minutes is a standard within extreme metal, given how aggressive and blistering Dominion Of Suffering is. That does bring me to my one issue with their side of the split. First and foremost, they’re great at what they do, they masterfully have the brutality of death metal with the sense of dread of black metal mixed together, and their individual skills are awe-inducing, but even at just 3 songs, they feel a bit one-dimensional, consistent for sure and insanely skilled, but I would’ve liked a little bit more variety. That being said, they make one hell of an impression, and I’m interested to see what they do on a full-length.

Phobonoid on the other hand was a major surprise. As a foil to the utter relentlessness of Dominion Of Suffering, Phobonoid leans more atmospheric and hypnotic, but they’re still able to match the intensity, just differently. This project’s blend of blackened doom with industrial music creates a very overwhelming and psychedelic sound, and the songs are even longer, with 2 beefy 10 and 8-minute songs, and an under 3-minute outro. The instrumentation and overall production really caught my attention. The main man Lord Phobos perfectly implements a clean, yet reverb-heavy production, that makes each instrument pop. The double guitar riffs and melodies are complemented by a very intense bass, and the synths provide a suitably off-kilter texture while working in complete unison. But the most striking parts are the industrial elements, particularly in the introduction of ‘Cosmonauta Eterno II’ and the entirety of ‘Crionia’, Lord Phobos seamlessly incorporates industrial music into the context of black and doom metal and the end result is and feels so dark.

Overall, while both bands did surprise me, I’d say Phobonoid is the band I enjoyed the most, and again Dominion Of Suffering are absolutely no slouches whatsoever, but in the end, the deciding factor was how invested I was with each band’s offering, and Phobonoid were the clear winners. Regardless, this is an excellent split and a true example of how the split format can really highlight 2 bands.

Rating: 8 out of 10

Review by Faithless on July 27, 2022.

Progressive music navigates not only different types of musical genres but also conveys emotions, landscapes, and atmospheres. That’s the case of Swords Of Dis's newest work, released last year in October. I feel like it casts an aura of darkness from different fronts; songwriting, production, and instrumentation (mostly vocals and guitars).

Cor Mundum Crea In Me, Sanctum Ignis is a short EP that consistently demonstrates how you can merge a variety of musical inspirations and atmospheres to create a unique piece of dark art. The fact that the EP is short does not mean is not worthwhile, on the contrary, I found it highly engaging and enjoyable. The first track, 'The Great Suppurating Wound Of Dissension', starts the EP with a somber tone, the fire that purifies humanity from their double face morals and marks a new beginning. It is an instrumental track and builds a great sense of anticipation for what’s to come. Next, we have the title track and oh I was mesmerized by this song. Vocals resemble Attila Csihar from Mayhem, it was surprising how Alice detaches herself from her humanity and creates this otherworldly character that can deliver such a demonic register. Swords Of Dis music changes gears in unexpected ways, at the beginning of the track the drums blast in a black metal fashion but by the middle of the song the atmosphere gets into a doomy and solemn feeling. The transitions between styles are smooth and fit the overall atmosphere like a glove. The third track, 'Moonlight Illumes Thee', is again another change in the EP’s mood. It begins with a cleaner vocal approach mixed with a more guttural grunt. The drums blast and the guitars sound dissonant creating a perfect and harmonious cacophony. It seems like the band creates some kind of disagreement with the instruments but anyhow works in their favor to create a strange and unique song-writing. The song ends with some fire/flames effect and it serves as a bridge for the final track, 'In The Fires Of Man, We Are Destroyed', the tune that closes the EP. Yet another instrumental track that generates more cohesion between the previous songs and closes the experience with the feeling of being purified both body and soul.

The overall impression of listening to Cor Mundum Crea In Me, Sanctum Ignis was unique and at the same time, you know that music is an endless circle of influences that are interpreted differently depending on your mood. You know that you can relate passages of music and vocals to other musical references, however, what fascinated me was the way those passages were performed by these talented musicians. Variations between black and doom metal along with the impressive occult atmosphere were the elements that I can highlight in this EP. Highly recommended.

Rating: 8 out of 10

Review by adhlactha on July 27, 2022.

Swords Of Dis is a doom/black metal band from Birmingham, and it consists only of two members – Richard (multi-instrumentalist) and Alice (vocals) Corvinus. Hailing back from 2009, they have released one full-length album Tides Of Malediction four years later, and now, after eight years of oblivion they have returned with brand new EP Cor Mundum Crea In Me, Sanctum Ignis, released by Dark Temple Records. And though it’s not so easy to fully assess what expects us on the next LP (hopefully there won’t be such big gaps), regardless, we’ve got a glimpse of creative ideas and working methods of Swords Of Dis’ inner world.

There are four songs on this Extended-Play, and the first and the last serve as intro/outro. These compositions are the atmospheric catalysts responsible for mood of the album. Everyone needs trancelike state of mind before any ritual or simple meditations, and 'The Great Suppurating Wound Of Dissension' and 'In The Fires Of Man, We Are Destroyed' are perfect mood hypnotizers with mesmerizing aural charm. These are minimalistic pieces, and whilst 'The Great Suppurating Wound Of Dissension' is all about occult atmosphere and ceremonialism (like ancient monks are chanting their liturgies in the distance), 'In The Fires Of Man, We Are Destroyed' shows its softer side under an acoustic accompaniment full of melancholic angst.

But what lies between intro and outro, is much more expressive and original. Both songs are divided into certain rhythmic structures – some are traditionally built and are inclined towards one of the stylistic direction (black or doom), but some are peculiarly dissonant and atypical. And of course the psychedelic vibes overwhelm you in depressive gusts of horror. Self-titled 'Cor Mundum Crea In Me, Sanctum Ignis' is an epitome of madness and a journey into subconscious labyrinths of our fears. Yes, it’s amazingly disharmonic even in the context of experimental music, but nonetheless it still sounds relatively holistic. Classical doom metal passage at the end hints on kind of traditional rules, meanwhile raw black metal elements return us back to the primitive, when rawness and aggression take the lead roles.

Peaceful acoustic beginning on 'Moonlight Illumes Thee' shows the relaxing notes, and with the angelic voice of Alice it even smooths away the oppressing heaviness. But her oblique and distant manner of singing can’t break through this suppressed mire of despair. It seems like an angel of light has decided to visit some old friends in Hell, and her presence is noticed, but it can’t change the hell’s rules and primal needs for infinite tortuous agonies. It’s very interesting duet when she as a detached and sacrosanct creature opposes the violent and devastating screams of hellish creature.

Their fondness for occultism and religious dogmas is very strong; the songs are soaked in ritualistic atmosphere and the chants in Latin only highlight this special clandestine mystic spirit. Artwork is also a part of this conceptual theological world and with some medieval vibes. The sound isn’t perfect on this record, but the bands who worship raw black metal’s principles often contaminate the general sound, making it closer to old underground traditions. So, primitive, raw, traditional, psychedelic or disharmonic, it doesn’t matter, this music is full of these traits, and this mélange of various emotions and musical experiments also bestows upon them a touch of their own uniqueness.

Rating: 8.5 out of 10