Review by Alex on September 27, 2019.

Hailing from Italy, Bretus approach the stoner/doom metal void with their 4th record, Aion Tetra. This is not your played-out stoner/doom metal that is often accompanied by that annoying fuzziness, instead an epic heavy metal overtone is used to build the songs up from a flattened, worn-out, generic staple. Being one that is selective about doom metal, I was not very interested in Bretus as they play stoner/doom, thus I know what to expect most times, but hearing they are an Italian band quickly caught my attention. For me it has always been the Italians that have mastered and are kings of the doom metal arena even though there have been commendable acts outside the region, thus I had to hear it. Aion Tetra is like H.P Lovecraft tales being narrated over epic heavy metal supporting music with a pinch of that Lucio Fulci theme music eeriness we love. Aion Tetra is not only true to the genre, but it stands amidst the modern essentials of epic traditional doom metal.

The vocals on Aion Tetra is something to behold, the frontman’s delivery is an amalgamation of epic doom metal singing that comes with a pinch of punkiness, anger and a Glen Danzig sort of tone. Zagarus’ method of singing is nothing short of outstanding, these vocals add to the atmosphere of the instrumentals laying down that creepy conjuration home to the genre. ‘Third Eye Mystic’ is a thrill of a ride, painting a canvas stretching to touch the mystical remnants of the earliest and most revered doom metal recordings (Black Hole - Land of Mystery, etc.), and mixing them with a groovy epic stoner/psychedelic/doom metal hue. Aion Tetra appears to be a unification and celebration of most doom metal sub-genres; ‘Prisoner of the Night’, ‘Deep Space Voodoo’, ‘Cosmic Crow’ never let up on the pressure applied, every song is an exhibition of well thought-out compositions utilizing traits of the doom metal landscape to form combinations suitable for any unyielding doom metal junkie.

After deciding to give the music a chance I found a promotional video for the song ‘Third Eye Mystic’. What a fantastic tune filled with samples cut from cult horror movies; Bretus was already speaking my language and that was barely a preview. Then going from sample to full-length was all the more impressive, what was heard on ‘Third Eye Mystic’ was inserted with an exclamation mark into every song on Aion Tetra. Bretus’ understanding and capability to borrow different aspects and present them in a thorough way is commendable as most are well aware of what stoner/doom sounds like and how susceptible it is to inducing boredom. Though the characteristic is present on Aion Tetra, Bretus appears to substitute the extant apparatus to the side in favor of interesting and far more compelling songs as an adversary of what would have happened had they stuck to the routine of stoner/doom metal.

Listening to modern doom metal comes as mostly a chore to me, but it’s bands like Bretus, Windhand, Tombtoker, Capilla Ardiente, Monasterium, Evangelist Dautha etc. that emphasize replay-ability. Aion Tetra is perhaps my favorite doom metal album of 2019 so far, every new session spent listening is more rewarding than the last. Like finding a puzzle box that reveals a new compartment as you spend time with it. Aion Tetra is Bretus’ 4th full length album thus I am interested in their past works after being fortunate enough to make contact with their latest entry.

Rating: 8.5 out of 10

Review by Vladimir on October 27, 2024.

What would happen if I told you about this great underground band that fuses 80’s heavy metal from NWOBHM to Mercyful Fate with elements of First Wave Black Metal and Italy’s notorious soundtrack band Goblin, inspired by the cult classic old-school horror movies of Italian masterminds like Mario Bava and Dario Argento, with album titles in German? Would you shake from excitement or sweat from suspense? This great occult horror from the unknown that I am referring to is none other than the band Hexenbrett. Although their land of origin remains unidentified since the band debuted back in 2018, it still doesn’t change the fact that there is something so unique and mysterious about Hexenbrett that still pulls you into its dark magic, pure morbidity, and macabre atmosphere. I remember when I had first discovered them around the time when their Erste Beschwörung EP was re-released in 2019, and boy what a surprise it turned out to be because it was truly something different from what I got used to. You simply can’t deny the fact that Hexenbrett is one of those bands that knows how to take risks and incorporate their ideas so well, and when you hear all those things I’ve just mentioned, how could you not be so drawn to it? It’s downright impossible. As of this year, the world shall once again witness the return of the supreme evil, with the release of their second full-length album Dritte Beschwörung: Dem Teufel Eine Tochter on December 20th, 2024 via Dying Victims Productions, where dark forces will manifest themselves on the witches’ board. Transcend into the deep red and let’s begin… 

As midnight strikes and shadows fall, the occult soundtrack of Dritte Beschwörung: Dem Teufel Eine Tochter strikes hard like a blade in a giallo movie, with an unholy matrimony of black metal and heavy metal that sinks you deep into the very abyss. Once again, Hexenbrett delivers its masterly crafted signature performance with powerful musical crescendos that come down on you like a rain of knives, where the catchy and heavy guitar riffs, mixed with atmospheric keyboards, shouting vocals, and banger drums give a strong punchy attack that’s a real killer alright. Aside from their usually great tunes that dominate from start to finish, they snuck in a nice instrumental by the name of 'La Plese De La Nuit', which I experienced like an occult heavy metal’s answer to the Italian progressive rock/soundtrack band Goblin, executed in a pure Mercyful Fate/King Diamond style that it made you come into the coven and become Lucifer’s child. The genius musicianship of Hexenbrett is on point from the very get-go, from the first track 'Um Mitternacht' and it beautifully holds up all the way through this mesmerizing journey that plays around with your imagination, but once you get to the eighth track 'Denn Der Tod Lächelt Nicht', that’s when you get to see the band unleash their 110% and raise the bar even higher. If you felt entranced during the entirety of this album, you have seen nothing yet, because once you get to the final track 'Sette Gocce Rosse Su Velluto Verde', that’s when you experience some wild Italian prog rock shenanigans which will give you the impression of watching a suspenseful scene in a Dario Argento horror movie from the 70’s. This last track was such an unusual inclusion on the album, but it certainly managed to play out the final chapter so well that the credits rolled with the last few notes in the fadeout. 

It's evident throughout the entirety of Dritte Beschwörung: Dem Teufel Eine Tochter that Hexenbrett truly knows how to work around dynamic songwriting and then present such complex song structures with brilliant ideas from all angles that just never fail to deliver. I think the timing could not have been better for Hexenbrett to return with a new album, especially since I recently had a Dario Argento movie marathon and my impression of his filmmaking genius remained burned into my mind, that this turned out to be icing on the cake and sweet cherry on the top. I was always curious to see this band explore their capabilities through their musicianship, and with this new album, they certainly did a fantastic job at expanding their already broad horizon which was never set to fail. Ever since I first discovered Hexenbrett, I never doubted even for a second that I should probably embrace for disappointment, because they just keep getting better and better by the hour, and I might even say that Dritte Beschwörung: Dem Teufel Eine Tochter could easily be their best work yet. Other notable highlights of this album worth mentioning would be the great retro cover art designed in a pure Mario Bava horror movie poster fashion, which is visually suitable for the entire soul and musical essence of Hexenbrett, and even the old-school production with its organic retro sound is incredibly top-notch that it does the album justice. 

What can I say? Hexenbrett came back with such style and finesse that was so well executed on their new album Dritte Beschwörung: Dem Teufel Eine Tochter. If anyone dares to say that there is no innovation in black metal, they should probably check out this band and reconsider, because Hexenbrett means serious business and if I should say so, their business is good. It’s a shame that this album wasn’t released right around Halloween, which I think would have been an ideal and perfect setting, but then again, the timing truly could not have been better for these occult and giallo-driven maniacs to return. 

Rating: 9.2 out of 10

Review by Vladimir on October 27, 2024.

What would happen if I told you about this great underground band that fuses 80’s heavy metal from NWOBHM to Mercyful Fate with elements of First Wave Black Metal and Italy’s notorious soundtrack band Goblin, inspired by the cult classic old-school horror movies of Italian masterminds like Mario Bava and Dario Argento, with album titles in German? Would you shake from excitement or sweat from suspense? This great occult horror from the unknown that I am referring to is none other than the band Hexenbrett. Although their land of origin remains unidentified since the band debuted back in 2018, it still doesn’t change the fact that there is something so unique and mysterious about Hexenbrett that still pulls you into its dark magic, pure morbidity, and macabre atmosphere. I remember when I had first discovered them around the time when their Erste Beschwörung EP was re-released in 2019, and boy what a surprise it turned out to be because it was truly something different from what I got used to. You simply can’t deny the fact that Hexenbrett is one of those bands that knows how to take risks and incorporate their ideas so well, and when you hear all those things I’ve just mentioned, how could you not be so drawn to it? It’s downright impossible. As of this year, the world shall once again witness the return of the supreme evil, with the release of their second full-length album Dritte Beschwörung: Dem Teufel Eine Tochter on December 20th, 2024 via Dying Victims Productions, where dark forces will manifest themselves on the witches’ board. Transcend into the deep red and let’s begin… 

As midnight strikes and shadows fall, the occult soundtrack of Dritte Beschwörung: Dem Teufel Eine Tochter strikes hard like a blade in a giallo movie, with an unholy matrimony of black metal and heavy metal that sinks you deep into the very abyss. Once again, Hexenbrett delivers its masterly crafted signature performance with powerful musical crescendos that come down on you like a rain of knives, where the catchy and heavy guitar riffs, mixed with atmospheric keyboards, shouting vocals, and banger drums give a strong punchy attack that’s a real killer alright. Aside from their usually great tunes that dominate from start to finish, they snuck in a nice instrumental by the name of 'La Plese De La Nuit', which I experienced like an occult heavy metal’s answer to the Italian progressive rock/soundtrack band Goblin, executed in a pure Mercyful Fate/King Diamond style that it made you come into the coven and become Lucifer’s child. The genius musicianship of Hexenbrett is on point from the very get-go, from the first track 'Um Mitternacht' and it beautifully holds up all the way through this mesmerizing journey that plays around with your imagination, but once you get to the eighth track 'Denn Der Tod Lächelt Nicht', that’s when you get to see the band unleash their 110% and raise the bar even higher. If you felt entranced during the entirety of this album, you have seen nothing yet, because once you get to the final track 'Sette Gocce Rosse Su Velluto Verde', that’s when you experience some wild Italian prog rock shenanigans which will give you the impression of watching a suspenseful scene in a Dario Argento horror movie from the 70’s. This last track was such an unusual inclusion on the album, but it certainly managed to play out the final chapter so well that the credits rolled with the last few notes in the fadeout. 

It's evident throughout the entirety of Dritte Beschwörung: Dem Teufel Eine Tochter that Hexenbrett truly knows how to work around dynamic songwriting and then present such complex song structures with brilliant ideas from all angles that just never fail to deliver. I think the timing could not have been better for Hexenbrett to return with a new album, especially since I recently had a Dario Argento movie marathon and my impression of his filmmaking genius remained burned into my mind, that this turned out to be icing on the cake and sweet cherry on the top. I was always curious to see this band explore their capabilities through their musicianship, and with this new album, they certainly did a fantastic job at expanding their already broad horizon which was never set to fail. Ever since I first discovered Hexenbrett, I never doubted even for a second that I should probably embrace for disappointment, because they just keep getting better and better by the hour, and I might even say that Dritte Beschwörung: Dem Teufel Eine Tochter could easily be their best work yet. Other notable highlights of this album worth mentioning would be the great retro cover art designed in a pure Mario Bava horror movie poster fashion, which is visually suitable for the entire soul and musical essence of Hexenbrett, and even the old-school production with its organic retro sound is incredibly top-notch that it does the album justice. 

What can I say? Hexenbrett came back with such style and finesse that was so well executed on their new album Dritte Beschwörung: Dem Teufel Eine Tochter. If anyone dares to say that there is no innovation in black metal, they should probably check out this band and reconsider, because Hexenbrett means serious business and if I should say so, their business is good. It’s a shame that this album wasn’t released right around Halloween, which I think would have been an ideal and perfect setting, but then again, the timing truly could not have been better for these occult and giallo-driven maniacs to return. 

Rating: 9.2 out of 10

Review by Felix on October 27, 2024.

Some bands are easy to love or to hate. They play a certain style or they show a kind of behavior which makes it not problematic to put them into a prefabricated mental drawer. Hexenbrett are different since their first “Beschwörung” (invocation). It is hardly possible to love them, but it is even harder to hate them. I always read that they sound like the acoustic version of an Italian horror film. No clue, I wouldn't even know the name of a single movie like that. Be that as it may, the duo obviously loves morbid aesthetics. Sometimes they are fascinating, sometimes they are disgusting. But due to the pretty individual musical way of proceeding, the weird, obsessed, and partly psychotic aura of Hexenbrett’s compositions is definitely not vapid or expressionless. Now the artists have reached the third invocation – ladies (provided you have not yet been murdered) and gentlemen, here comes Dritte Beschwörung: Dem Teufel Eine Tochter.

The album continues the approach of its full-length predecessor. There are a lot of strange harmonies, but the main element for the spooky atmosphere is the lead vocalist who is definitely addicted to insanity. It is therefore ambivalent that the band decided to record an instrumental, in particular in view of its length; 'La Plese De La Nuit' crosses the seven-minute mark. The song is acceptable, but it remains the secret of the artists, why they are giving up one of their strongest weapons here. No doubt, the psychopath behind the microphone characterizes many tracks with his quite high-pitched nagging and screaming. Unfortunately, just like on Erste Beschwörung, he has to struggle to be heard. Even for my German ears, it is not easy to understand the lyrics. In the end, this is no big deal, but the band should have a look at this when it comes to the fourth invocation.

The crude mix of heavy rock, partly extreme metal, and sinister atmosphere once again led to the creation of some high-caliber, shadowy creatures in acoustic form. The short and pretty airy yet still terrifying 'Wozu Die Angst?' can rely on a good drive. 'Imhotep' is even better. The title alludes to the builder of the Old Kingdom in Egypt and means something like “he who comes in peace”, but things are not very peaceful here. The smoothly flowing number does not sound very oriental, but it would be a great soundtrack when you enter the decorated room of an old gypsy woman who wants to tell your fortune. 'Imhotep' is spooky, does not lack aggressiveness and in a few moments it reminds me of 'Blutige Seide', their mega-hit from Erste Beschwörung. I guess the atmospheric keyboards and the guitar lines are responsible for this. 'Denn Der Tod Lächelt Nicht' (“Because Death Doesn’t Smile”) also leaves only very little space for optimization, if any. While the lead vocalist wallows in big apocalyptic pictures, the instrumentalists offer a strong, mid-paced number. It is accessible, but not flat and its break after the second chorus adds a welcome haunting intermezzo with some strange guitar tones before a strict, fast-paced part terrorizes the audience. Inter alia this instrumental part makes clear that the production scores with density and a good balance of transparency and filth. It is impressive that the relatively defensive vocals are the only little weakness of the mix.

'Marisa' is another good song, similarly constructed as 'Imhotep'. The entire first third of the album leaves a solid impression, although they do not completely captivate me. The same goes for 'Leder Im Nachtverkehr' – its very cool title remains the best element of the song. However, Hexenbrett are going to establish their personal mix of ancient rites, sexual obsessions, murderous thoughts, and cultural abysses. The mid-harsh music is not polarizing, but the artists also do not swim in the mainstream, not even in the metallic one. From this follows that those who are not familiar with the band so far should not buy this album blindly, but everybody who likes their former outputs does nothing wrong with Dritte Beschwörung: Dem Teufel Eine Tochter.

Rating: 7.8 out of 10

Review by Felix on October 27, 2024.

Some bands are easy to love or to hate. They play a certain style or they show a kind of behavior which makes it not problematic to put them into a prefabricated mental drawer. Hexenbrett are different since their first “Beschwörung” (invocation). It is hardly possible to love them, but it is even harder to hate them. I always read that they sound like the acoustic version of an Italian horror film. No clue, I wouldn't even know the name of a single movie like that. Be that as it may, the duo obviously loves morbid aesthetics. Sometimes they are fascinating, sometimes they are disgusting. But due to the pretty individual musical way of proceeding, the weird, obsessed, and partly psychotic aura of Hexenbrett’s compositions is definitely not vapid or expressionless. Now the artists have reached the third invocation – ladies (provided you have not yet been murdered) and gentlemen, here comes Dritte Beschwörung: Dem Teufel Eine Tochter.

The album continues the approach of its full-length predecessor. There are a lot of strange harmonies, but the main element for the spooky atmosphere is the lead vocalist who is definitely addicted to insanity. It is therefore ambivalent that the band decided to record an instrumental, in particular in view of its length; 'La Plese De La Nuit' crosses the seven-minute mark. The song is acceptable, but it remains the secret of the artists, why they are giving up one of their strongest weapons here. No doubt, the psychopath behind the microphone characterizes many tracks with his quite high-pitched nagging and screaming. Unfortunately, just like on Erste Beschwörung, he has to struggle to be heard. Even for my German ears, it is not easy to understand the lyrics. In the end, this is no big deal, but the band should have a look at this when it comes to the fourth invocation.

The crude mix of heavy rock, partly extreme metal, and sinister atmosphere once again led to the creation of some high-caliber, shadowy creatures in acoustic form. The short and pretty airy yet still terrifying 'Wozu Die Angst?' can rely on a good drive. 'Imhotep' is even better. The title alludes to the builder of the Old Kingdom in Egypt and means something like “he who comes in peace”, but things are not very peaceful here. The smoothly flowing number does not sound very oriental, but it would be a great soundtrack when you enter the decorated room of an old gypsy woman who wants to tell your fortune. 'Imhotep' is spooky, does not lack aggressiveness and in a few moments it reminds me of 'Blutige Seide', their mega-hit from Erste Beschwörung. I guess the atmospheric keyboards and the guitar lines are responsible for this. 'Denn Der Tod Lächelt Nicht' (“Because Death Doesn’t Smile”) also leaves only very little space for optimization, if any. While the lead vocalist wallows in big apocalyptic pictures, the instrumentalists offer a strong, mid-paced number. It is accessible, but not flat and its break after the second chorus adds a welcome haunting intermezzo with some strange guitar tones before a strict, fast-paced part terrorizes the audience. Inter alia this instrumental part makes clear that the production scores with density and a good balance of transparency and filth. It is impressive that the relatively defensive vocals are the only little weakness of the mix.

'Marisa' is another good song, similarly constructed as 'Imhotep'. The entire first third of the album leaves a solid impression, although they do not completely captivate me. The same goes for 'Leder Im Nachtverkehr' – its very cool title remains the best element of the song. However, Hexenbrett are going to establish their personal mix of ancient rites, sexual obsessions, murderous thoughts, and cultural abysses. The mid-harsh music is not polarizing, but the artists also do not swim in the mainstream, not even in the metallic one. From this follows that those who are not familiar with the band so far should not buy this album blindly, but everybody who likes their former outputs does nothing wrong with Dritte Beschwörung: Dem Teufel Eine Tochter.

Rating: 7.8 out of 10