#belphegor — Public Fediverse posts

drowaz
egawa satsuki
江河サツキ

煉獄の七姉妹 / 煉獄の七杭
Seven Sisters of Purgatory / Seven Stakes of Purgatory
うみねこのなく頃に / Umineko no Naku Koro ni - When They Cry

#うみねこのなく頃に #UminekonoNakuKoroni #WhenTheyCry #SevenSistersofPurgatory #SistersofPurgatory #SevenStakesofPurgatory #煉獄の七姉妹 #煉獄の七杭 #Umineko #SSOP #anime #アニメ #なく頃に #モンスター娘 #monstergirl #monstergirls #monstergirlmonday #Asmodeus #アスモデウス #Beelzebub #ベルゼブブ #Satan #サタン #Lucifer #ルシファー #Leviathan #レヴィアタン #Mammon #マモン #Belphegor #ベルフェゴール

drowaz
egawa satsuki
江河サツキ

煉獄の七姉妹 / 煉獄の七杭
Seven Sisters of Purgatory / Seven Stakes of Purgatory
うみねこのなく頃に / Umineko no Naku Koro ni - When They Cry

#うみねこのなく頃に #UminekonoNakuKoroni #WhenTheyCry #SevenSistersofPurgatory #SistersofPurgatory #SevenStakesofPurgatory #煉獄の七姉妹 #煉獄の七杭 #Umineko #SSOP #anime #アニメ #なく頃に #モンスター娘 #monstergirl #monstergirls #monstergirlmonday #Asmodeus #アスモデウス #Beelzebub #ベルゼブブ #Satan #サタン #Lucifer #ルシファー #Leviathan #レヴィアタン #Mammon #マモン #Belphegor #ベルフェゴール

🦉💬

Lucifer! Always so soaked in your petty pride!

Merci for the compliments, Lilith, just... You know, try not to scratch my plumage chic et raffiné given to me, and only me, during Belphegor's travel to New Caledonia. I'm quite fond of this noblest fabric, which you're ruthlessly perching on..."

Ah, the lovely cosmic strife! The cosmic strife never changes, does it?

🦉💬

Lucifer! Always so soaked in your petty pride!

Merci for the compliments, Lilith, just... You know, try not to scratch my plumage chic et raffiné given to me, and only me, during Belphegor's travel to New Caledonia. I'm quite fond of this noblest fabric, which you're ruthlessly perching on..."

Ah, the lovely cosmic strife! The cosmic strife never changes, does it?

🦉💬

Lucifer! Always so soaked in your petty pride!

Merci for the compliments, Lilith, just... You know, try not to scratch my plumage chic et raffiné given to me, and only me, during Belphegor's travel to New Caledonia. I'm quite fond of this noblest fabric, which you're ruthlessly perching on..."

Ah, the lovely cosmic strife! The cosmic strife never changes, does it?

New post: Belphegor’s black metal landmark Pestapokalypse VI gets the reissue treatment https://moshville.co.uk/news/2026/04/belphegors-black-metal-landmark-pestapokalypse-vi-gets-the-reissue-treatment/ #Belphegor

#KnowledgeBit: #Belphegor's prime is the palindromic prime number 1000000000000066600000000000001, named after the demon Belphegor, due to its superstitious significance containing "666" (the Number of the Beast) and being surrounded by thirteen zeroes on either side.

https://knowledgezone.co.in/kbits/67dbb039d563f80145d114ad

♬️ BELPHEGOR at DNA Lounge starting now!
https://www.dnalounge.com/calendar/2026/03-07.html?utm_source=sp_ma
#dnalounge #belphegor #incantation #hate #narcoticwasteland #deathmetal #blackmetal #extrememetal #metal #livemusic #concert #sanfrancisco

♬️ BELPHEGOR at DNA Lounge tonight: Sat Mar 7, 6pm!
https://www.dnalounge.com/calendar/2026/03-07.html?utm_source=sp_ma
#dnalounge #belphegor #incantation #hate #narcoticwasteland #deathmetal #blackmetal #extrememetal #metal #livemusic #concert #sanfrancisco

BELPHEGOR! With Incantation, Hate and Narcotic Wasteland. This Saturday, at DNA Lounge! Early doors! 6pm! Get Adv Tix Here:
https://www.dnalounge.com/calendar/2026/03-07.html?utm_source=sp_ma
#dnalounge #belphegor #incantation #hate #narcoticwasteland #deathmetal #blackmetal #extrememetal #metal #livemusic #concert #sanfrancisco

New post: Belphegor summon the Leviathan with crushing new single / video https://moshville.co.uk/news/video/2026/02/belphegor-summon-the-leviathan-with-crushing-new-single-video/ #Belphegor

Seeing an album described as “blackened death metal” almost always gets my juices flowing. The problem with that tag, however, is that it can mean anything from weird avant-garde blackened dissodeath (yuck) to Christcrushing necronuclear Blasphemy-worshipping goat metal (fukk yeah!!). But Bloodred are neither of those things. This German band is technically a duo but is really more like the solo project of vocalist, guitarist, and bassist Ron Merz, who’s been enlisting the talents of drummer Joris Nijenhuis (ex-Atrocity, ex-Leaves’ Eyes) since the band’s first releases back in the mid-2010s. I admittedly hadn’t heard of these guys when I saw their name crop up in our promo bin, but I decided to give their back catalog a whirl when I saw Amon Amarth was tagged as a similar artist on Encyclopedia Metallum. It turns out that comparison isn’t entirely off the mark, as the group’s three prior albums generally do sound like a band capitalizing on Amon Amarth’s more epic moments while increasing the black metal influence and stripping away a lot of the melody.

With fourth album Colours of Pain, Ron has again kept himself within the blackened death sphere, this time by producing what’s essentially a modern black metal album that still contains enough variety and heavier flourishes to keep it from being trapped solely within that genre’s confines. Roughly half the songs here are similar to the opener, “Ashes,” which faintly recalls Satyricon in how it bobs forward on rocking rhythms that support Ron’s wretched, raspy growls and headnod-worthy riffs. The song is a decent tune with guitar-work that’s clear and assertive, if somewhat unremarkable. Of the other songs in this style, “Mindvirus” and the closer, “Resist,” are the best of the bunch, with snappy mid-tempo drumming and catchy, “riding to war” riffs that are sure to earn them a spot on my future jogging playlists. In much of the record’s second half, things drift more into post-black metal territory, with tracks like “Death Machine” using slightly slower passages, flashes of melody, and high-register guitars to conjure the melodrama of stuff like Woods of Desolation.

On paper, Colours of Pain seems to be a pretty diverse set of songs. Yet, somehow, it still comes across as oddly homogenous. In part, this issue may be caused by Joris’s drumming: While I enjoy the man’s beats, I wouldn’t call his performance particularly dynamic, with much of the album cruising pleasantly along at a similar tempo. As a result, many of the songs end up having a similar overall feel, even when the underlying riffing is quite different. The blame is not solely his, however. While Ron employs some decent riffs here, he never delivers anything that truly grabs you by the balls, resulting in an album that requires a decent amount of undivided attention to reveal its charms. The production has a clear and balanced sound that reminds me of Art of Propaganda signees like Harakiri for the Sky, which works for Bloodred’s style but exacerbates the album’s homogeneity a bit by coming across just a touch too loud and clean for me.

Despite these shortcomings, Colours of Pain remains an enjoyable release overall, and its highlights become increasingly apparent with repeated listens. The title track, for instance, shifts between a nice shuffling, mid-tempo riff and more traditional black metal hammering, resulting in a cool song that sounds something like a socially-conscious version of Belphegor. “Heretics” is another good cut, featuring an odd sidewinding riff and a particularly combative tremolo line. The backing operatic vocals in “Winds of Oblivion” and the climax of “Ashes” are also a nice touch, with the former track also serving as one of the album’s only true “slow” songs (making it a perfect lead-up to the boisterous closer, “Resist”).

Colours of Pain is the type of album that you can put on for any extreme metal fan, and while they may not love it, they almost certainly won’t hate it. Although initial impressions suggest an album that’s too inoffensive for its own good, repeat listens reveal a record with enough quality ideas and variety to keep it from being just extreme metal elevator music. What’s more, a perusal of Bloodred’s website shows that Ron seems quite passionate about the music he makes and the politically tinged lyrics that color these songs. In all, if you’re looking for a modern extreme metal album that goes down easy, you could do far worse.



Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Massacre Records
Websites: bloodred.bandcamp.com | bloodredband.com | facebook.com/bloodredofficial
Releases Worldwide: February 13th, 2026

Belphégor, d'après le mythe d'Arthur Bernède : premières images https://actualitte.com/a/LTLIlgtI #adaptation #film #belphegor #relecture #modernite

Belphégor revient : Première bande-annonce pour la nouvelle série

Soixante ans après avoir marqué l’imaginaire collectif, le mythique Belphégor fait son grand retour sur nos écrans. HBO Max dévoile la mini-série fantastique dès le 11 décembre 2025, mêlant suspense, surnaturel et drame intime, avant sa diffusion sur M6 et M6+ en 2026. Les premières images promettent un voyage captivant au cœur du Louvre et de l’histoire mystérieuse de Belphégor.

Un mythe réinventé pour le XXIᵉ siècle

Belphégor : entre passé et modernité

La nouvelle mini-série de quatre épisodes propose une réinterprétation contemporaine du légendaire fantôme du Louvre. Produite par Pathé en collaboration avec HBO Max et M6, la série mélange enquêtes policières, drames personnels et phénomènes surnaturels. L’atmosphère est accentuée par des décors exceptionnels, allant des salles historiques du musée parisien aux lieux emblématiques de la capitale, offrant une immersion totale au spectateur.

Une héroïne au centre du mystère

Au cœur du récit se trouve Hafsa, interprétée par Shirine Boutella, jeune restauratrice d’art confrontée au masque millénaire du dieu de l’orage, Belphégor. Sa rencontre avec cet objet énigmatique déclenche une série d’événements troublants, impliquant disparitions mystérieuses et menaces invisibles. Hafsa doit alors naviguer entre ses fantômes personnels et les forces obscures qui semblent la traquer.

Un casting de renom pour incarner l’ombre de Belphégor

Des comédiens confirmés

Aux côtés de Shirine Boutella, le casting réunit Vincent Elbaz dans le rôle de Joseph Bellegarde, Aure Atika, Tiphaine Daviot, Nicolas Briançon, Bellamine Abdelmalek, Kevin Garnichat et Laurent Bateau. Kad Merad complète la distribution avec une participation spéciale. Cette alliance d’acteurs expérimentés et de jeunes talents promet des performances nuancées et une dynamique crédible face aux événements surnaturels.

Une équipe créative engagée

La série est réalisée par Jérémy Mainguy et créée par Nils Antoine Sambuc, en collaboration avec Thomas Mansuy. Le scénario a été développé par Sambuc, Mansuy et Mathieu Leblanc, s’inspirant librement du roman d’Arthur Bernède. La production, dirigée par Aude Albano pour Pathé, assure une qualité technique et narrative digne des plus grandes productions internationales.

Une intrigue mêlant mystère et suspense

Enquête et drame intime

L’histoire se déploie sur fond de suspense haletant et de confrontations psychologiques. Hafsa doit résoudre le mystère entourant le masque de Belphégor tout en faisant face aux machinations de personnages énigmatiques. Le mélange de mystère historique et de tension contemporaine crée un récit captivant, destiné à séduire les amateurs de thrillers et de fantastique.

Une course contre la montre

Chaque épisode de 52 minutes plonge le spectateur dans une atmosphère de danger permanent. Hafsa n’a d’autre choix que de déjouer les pièges et d’affronter des forces invisibles, tout en explorant le côté sombre de l’histoire du Louvre et des secrets qu’il recèle. La série promet ainsi un équilibre entre action, émotion et suspense.

Une bande-annonce qui promet

Premières images et tonalité

HBO Max a diffusé la bande-annonce officielle, offrant un aperçu de l’ambiance sombre et mystérieuse de la série. Les visuels mettent en avant le Louvre comme personnage à part entière et introduisent Hafsa dans un environnement où chaque recoin recèle un secret. La bande-annonce suscite déjà curiosité et anticipation parmi les fans du mythe.

Une sortie très attendue

La série sera intégralement disponible sur HBO Max dès le 11 décembre 2025, avant sa diffusion sur M6 et M6+ en 2026. Cette stratégie de diffusion permettra au public de découvrir l’œuvre dans sa globalité, renforçant l’expérience immersive et la fidélisation des spectateurs.

https://www.youtube.com/watch?v=CoqLHnJcFLc

Belphégor revient ainsi sur le devant de la scène avec une adaptation moderne et captivante. Entre suspense, fantastique et drame, la mini-série s’annonce comme un rendez-vous incontournable de fin d’année. Les premières images promettent une immersion totale dans l’univers mystérieux et fascinant du Louvre.

#belphegor #fantastique #hboMax #jeremyMainguy #louvre #m6 #miniSerie #pathe2 #serieFrancaise #shirineBoutella #suspense #vincentElbaz

Belphégor renaît sur HBO Max : un mythe revisité pour décembre 2025

Soixante ans après sa première apparition, Belphégor revient hanter le grand public avec une mini-série événement. Produite par Pathé en collaboration avec HBO Max et M6, cette nouvelle adaptation promet un mélange inédit de fantastique, d’enquête et de drame intime. Disponible dès décembre 2025, elle offre aux spectateurs une plongée immersive dans les mystères du Louvre et les rues de Paris.

• Shirine BOUTELLA
• Kad MERAD
• Nicolas BRIANCON
• Tiphaine DAVIOT
• Vincent ELBAZ Aure ATIKA
• Laurent BATEAU Shirine BOUTELLA

Une résurgence spectaculaire du mythe

Un classique modernisé

Belphégor, figure emblématique du patrimoine télévisuel français, retrouve aujourd’hui une nouvelle jeunesse. La mini-série se compose de quatre épisodes de 52 minutes et revisite le récit original avec un angle moderne. L’intrigue combine habilement enquête policière, drame personnel et éléments surnaturels, créant ainsi une expérience captivante pour les spectateurs contemporains.

Un cadre exceptionnel

Tournée en grande partie au Louvre et dans différents quartiers parisiens, la série bénéficie d’un décor somptueux et unique. Ces lieux emblématiques, associés à une mise en scène soignée, renforcent l’atmosphère mystérieuse et visuellement spectaculaire du thriller. Les spectateurs sont ainsi plongés dans un univers où l’histoire de l’art se mêle aux forces occultes de Belphégor.

Une intrigue captivante et moderne

Le personnage central : Hafsa

Au cœur de la série, Hafsa Moreau, interprétée par Shirine Boutella, est une jeune restauratrice d’art récemment embauchée au Louvre. Son quotidien bascule lorsqu’elle entre en contact avec le masque millénaire du dieu de l’orage, Belphégor. Cette rencontre marque le début d’une série de disparitions inexpliquées qui plongent Hafsa dans un tourbillon de mystère et de danger.

Une course contre le temps

Pour élucider les secrets entourant le musée et le masque mythique, Hafsa doit affronter des ennemis déterminés et affronter ses propres fantômes. La narration explore à la fois ses dilemmes intimes et les enjeux surnaturels, offrant une tension constante et un suspense haletant qui tient le spectateur en haleine jusqu’au dénouement.

Une équipe artistique et technique de renom

Des acteurs prestigieux

La mini-série réunit un casting de choix. Outre Shirine Boutella, on retrouve Vincent Elbaz dans le rôle de Joseph Bellegarde, Aure Atika en Élise Wagner, Tiphaine Daviot incarnant Chloé Séverin et Nicolas Briançon dans la peau de Luc Trivic. Kad Merad fait également une apparition en tant que Charles Moreau, apportant une dimension supplémentaire à l’ensemble.

Une réalisation et une écriture soignées

Sous la direction de Jérémy Mainguy, la série bénéficie d’une mise en scène dynamique et immersive. Le scénario, élaboré par Nils Antoine Sambuc, Thomas Mansuy et Mathieu Leblanc, s’inspire librement du roman original d’Arthur Bernède tout en proposant une adaptation contemporaine. Cette collaboration permet de respecter l’esprit du mythe tout en offrant une intrigue renouvelée pour le public moderne.

Un événement médiatique et international

Avant-première et promotion

À la veille de sa présentation au Festival de la Fiction de La Rochelle, HBO Max et M6 ont dévoilé de nouvelles images inédites de la série. Ces extraits révèlent toute la puissance visuelle et l’ambiance envoûtante du thriller, des galeries majestueuses du Louvre aux ruelles mystérieuses de Paris, et témoignent du soin apporté à l’esthétique de la production.

Une diffusion internationale

Produite par Pathé avec le soutien de la PROCIREP et du CNC, la série bénéficie également de ventes internationales assurées par Mediawan Rights. Ce dispositif garantit que Belphégor pourra toucher un public au-delà des frontières françaises, renforçant ainsi son statut d’adaptation emblématique et contemporaine.

Avec Belphégor, le mythe renaît sous une forme moderne et spectaculaire. La mini-série allie suspense, fantastique et drame personnel, offrant une expérience immersive et captivante. Disponible dès décembre 2025 sur HBO Max, elle promet de séduire à la fois les nostalgiques et un nouveau public.

#Belphégor #drame #enquête #hboMax #KadMerad #Louvre #m6 #miniSérie #sérieTV #ShirineBoutella #thrillerFantastique #vincentElbaz

Belphégor est de ces figures qui traversent les âges et les imaginaires. Tour à tour démon biblique, fantôme littéraire ou créature télévisuelle, il incarne à lui seul le mariage subtil entre superstition et culture populaire. Cette chronique vous propose une immersion dans ses origines, ses résonances et ses incarnations modernes.

#mythe #paranormal #cinema #francais #france #Belphegor #louvre #SophieMarceau #film #mystère #démon #paris #europe #histoire #history

https://mesplaisirs.com/belphegor-voyage-au-coeur-dun-mythe-eternel/

Proscription – Desolate Divine Review

By Dear Hollow

Last we met Finland’s Proscription, an overwhelming amount of promise was almost as intense as their blackened death attack. While rerecorded songs from their 2017 demo such as “I, the Burning Son” and “Blessed Feast of Black Seth” singlehandedly tamed the experience with jarring simplicity and excessive repetition killing momentum, tracks like “Conduit” and “To Reveal the Word Without Words” were elite blackened death. The promise was insane, causing a bigger stir in the underground than the music itself. While Conduit was solid, Desolate Divine promises even bigger and better – and delivers.

Proscription in a way, feels like a blackened death metal underdog story. The band’s constituents are assembled from the fringes of Finnish black/death, most prominent likely being formidable vocalist/guitarist Christbutcher of Maveth, Cryptborn, and Excommunion fame, although caliber from Brutal Torment, Tramalizer, and Ominous offer their relentless services. This background in more brutal stylistic tendencies pairs neatly with the mountain of sound that Proscription offers. Unlike its predecessor, which dwelt in hints of insanity and riffy mid-tempo crunch, Desolate Divine is a streamlined and no-holds-barred brutalizer of an album, bordering on war metal. Paired with a uniquely blackened death obscurity that appears in haunting leads and hints of atmosphere, Proscription offers a winning formula that is slightly held back by its brickwalled production but ultimately improves upon its predecessor in every way.

If it’s intensity you want, Proscription has it in droves. Haunting leads and blackened tremolo are often the only tether to sanity, their only sense of tangible in their blasting of Behemoth-through-the-war-metal-machine. Bottom-heavy beatdowns are aplenty, with an old school riffy death metal template a la Morbid Angel or Bolt Thrower with the insanity of blastbeats and panicked rhythms (“Bleed the Whore Again,” “Behold a Phosphorescent Dawn”), while overlapping leads, flaying technicality, and wild solos cut through tremolos both down-tuned and blackened (“Gleam of the Morning Star,” “Entreaty of the Very End”). Centerpiece “The Midnight God” (a previously released track in a 2023 split with Sulphurous) and closer “The Great Deceiver” (also from a previously released 2023 demo) offer nearly perfect overlapping of relentless beatdown, blackened grime, and riff – both expertly placed throughout the album. It’s refreshing that previously released material is a highlight rather than a hitch.

Desolate Divine is a bit of a tale of two halves. Proscription goes off the rails in the first half, forsaking every act of subtlety for sheer violence, while the second half is a much more ominous affair. Don’t get me wrong, these tracks will rip you a new one, but at their core is a much more plodding and stable approach, focusing on an almost marching rhythm throughout, making their more obscure and haunting qualities that much more impactful and downright epic when the technical insanity and rhythmic heft collide (“Heave Ho Ye Igneous Leviathan,” title track). Even synth makes appearances in haunting, spacious overtones in this second act (“Behold a Phosphorescent Dawn,” “Not But Dust”), capitalizing on the more haunting attack.

Desolate Divine is dense and unforgiving and certainly imperfect. The brickwalled production and the jarringly start-stop songwriting (not uncommon for other acts like Belphegor or Adversarial) make it difficult to uncover the treasures amid the muck; the central melody of “Behold a Phosphorescent Dawn” sounds too much like Inspector Gadget, and ambient interlude “Not But Dust” feels out of place. However, it’s a step up from Conduit in that its previously released material is a highlight, and there are no bad songs aboard this uncompromising album. It seamlessly blends deathened viscera and blackened flaying in ways that few else can, with stunning brand-setting performances across the board from largely unrecognized Finnish black/death veterans. The potential on Desolate Divine is almost as suffocating as the blackened death metal Proscription wields.

Rating: 3.5/5.0
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Dark Descent Records
Websites: proscription.bandcamp.com | facebook.com/proscriptionhorde
Releases Worldwide: August 29th, 2025

#2025 #35 #Adversarial #Aug25 #Behemoth #Belphegor #BlackMetal #BlackenedDeathMetal #BoltThrower #BrutalTorment #Cryptborn #DarkDescentRecords #DeathMetal #DesolateDivine #Excommunion #FinnishMetal #Maveth #MorbidAngel #Ominous #Proscription #Review #Reviews #Sulphurous #Tramalizer

Beheaded – Għadam Review

By Dear Hollow

I’m not sure which is worse: to release terrible or forgettable albums. Unfortunately for Maltese death metal outfit Beheaded, it has been the latter for the vast majority of their career. Always releasing competent material but nothing that sticks, their tenure within these hallowed halls has been rife with mediocrity, both 2017’s Beast Incarnate and 2019’s Only Death Can Save You lauded acknowledged for sounding like brutal death metal by the inimitable Kronos – the definition of “mixed” territory. Even 1998 highlight Perpetual Mockery has been covered up by the sands of time. This is precisely why Għadam is such a monumental release for this death metal stalwarts.

For Għadam, Beheaded becomes “il-kittieb” of their own horror – both lyrically and musically. Nearly forsaking all brutal tendencies without sacrificing its bite, the quintet focuses instead on channeling its heritage. The songs are entirely in Maltese, each track named after and capturing the storytelling of local horror writer Anton Grasso:1 the songs grapple with folk horror, local struggles, and the supernatural, and reflect the nation’s troubled history with religion and Christianity. For the first time in Beheaded’s history, it feels as though the band is writing their own music rather than regurgitating what brutal death ought to sound like. While the album is imperfect, Għadam is a motion from a band previously stuck in the muck of their own habits to rise from the dead and make the future bright again.

While elements of Beheaded’s brutal death peak through periodically, Għadam is remarkably atmospheric and dread-inducing. Drawing from Maltese folk music, the melodies here give an otherworldly flare, conjuring horrors both tangible and surreal. While the opening title track and the concluding instrumental “Irmied” feature harp guitar that sets the tone for a more focused and streamlined affair, the meat of Għadam is ominous, dense, and foreboding. From dirging riffs layered with doomed menace and vicious vocals (title track, “Iħirsa”), the kickass guitar work amplified by wild solos (“Iljieli bla qamar,” “Jidħaq il-lejl”), or the blackened tremolo and subtle synths that add a whole new dimension of intensity (“B’niket inħabbru l-mewt,” “Ix-xjaten ta’ moħħi”), riffy motifs and haunted leads are streamlined and consistent across the board. Cleans are used sparingly, but utilize a mournful mumble that adds to the desolation of the atmosphere. Ultimately, Beheaded feels reborn into a sound that feels very much theirs, despite newfound comparisons to God Dethroned, Belphegor, and Angelcorpse.

Given highlights and individual song identity, the structure of Għadam feels more intentional than Beheaded has offered before. Most notably, the track “Il-kittieb” serves as a centerpiece not only for being the fifth track in the nine-track album, but as a sonic eye of the storm; while it utilizes the same tricks as its surrounding tracks, they are weaponized in a slow-building crescendo whose climax serves as the most satisfying moment of the album. Intertwined dissonant leads and ethereal solos collide in a 6/8 timing that feels like a waltz through hell. Even last full song “Jidħaq il-lejl” feels like a culmination of the two tracks preceding it, a riffy and ominous trek through dark territory. This structure makes it easy to forget the weak links, such as the frenetic and anchorless (“Xtrajt l-infern”) or the forgettable (“B’niket inħabbru l-mewt,” “Iħirsa”). The spoken word passages scattered throughout are also hit or miss.

Beheaded has forsaken their long-time forgettable signature in favor of something that ironically suits them better. Għadam is imperfect in its experimentation, but is surprisingly realized regardless, a consistent thread of viciousness and menace woven into all its movements gives exposure to its homeland, a culture tragically neglected in the annals of history. While “Maltese death metal” would have traditionally conjured images of brutal death’s relentless pummeling in Beheaded or Abysmal Torment, Għadam’s sinister and atmospheric approach to blackened death metal tinged with local dark lore and haunting melodics, even if imperfect, sets Beheaded out onto a new and unforgettable path.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Agonia Records
Website: facebook.com/BeheadedMT
Releases Worldwide: July 25th, 2025

#2025 #35 #AbysmalTorment #AgoniaRecords #Angelcorpse #Beheaded #Belphegor #BlackenedDeathMetal #BrutalDeathMetal #DeathMetal #Għadam #GodDethroned #Jul25 #MalteseMetal #Review #Reviews

Beheaded – Għadam Review

By Dear Hollow

I’m not sure which is worse: to release terrible or forgettable albums. Unfortunately for Maltese death metal outfit Beheaded, it has been the latter for the vast majority of their career. Always releasing competent material but nothing that sticks, their tenure within these hallowed halls has been rife with mediocrity, both 2017’s Beast Incarnate and 2019’s Only Death Can Save You lauded acknowledged for sounding like brutal death metal by the inimitable Kronos – the definition of “mixed” territory. Even 1998 highlight Perpetual Mockery has been covered up by the sands of time. This is precisely why Għadam is such a monumental release for this death metal stalwarts.

For Għadam, Beheaded becomes “il-kittieb” of their own horror – both lyrically and musically. Nearly forsaking all brutal tendencies without sacrificing its bite, the quintet focuses instead on channeling its heritage. The songs are entirely in Maltese, each track named after and capturing the storytelling of local horror writer Anton Grasso:1 the songs grapple with folk horror, local struggles, and the supernatural, and reflect the nation’s troubled history with religion and Christianity. For the first time in Beheaded’s history, it feels as though the band is writing their own music rather than regurgitating what brutal death ought to sound like. While the album is imperfect, Għadam is a motion from a band previously stuck in the muck of their own habits to rise from the dead and make the future bright again.

While elements of Beheaded’s brutal death peak through periodically, Għadam is remarkably atmospheric and dread-inducing. Drawing from Maltese folk music, the melodies here give an otherworldly flare, conjuring horrors both tangible and surreal. While the opening title track and the concluding instrumental “Irmied” feature harp guitar that sets the tone for a more focused and streamlined affair, the meat of Għadam is ominous, dense, and foreboding. From dirging riffs layered with doomed menace and vicious vocals (title track, “Iħirsa”), the kickass guitar work amplified by wild solos (“Iljieli bla qamar,” “Jidħaq il-lejl”), or the blackened tremolo and subtle synths that add a whole new dimension of intensity (“B’niket inħabbru l-mewt,” “Ix-xjaten ta’ moħħi”), riffy motifs and haunted leads are streamlined and consistent across the board. Cleans are used sparingly, but utilize a mournful mumble that adds to the desolation of the atmosphere. Ultimately, Beheaded feels reborn into a sound that feels very much theirs, despite newfound comparisons to God Dethroned, Belphegor, and Angelcorpse.

Given highlights and individual song identity, the structure of Għadam feels more intentional than Beheaded has offered before. Most notably, the track “Il-kittieb” serves as a centerpiece not only for being the fifth track in the nine-track album, but as a sonic eye of the storm; while it utilizes the same tricks as its surrounding tracks, they are weaponized in a slow-building crescendo whose climax serves as the most satisfying moment of the album. Intertwined dissonant leads and ethereal solos collide in a 6/8 timing that feels like a waltz through hell. Even last full song “Jidħaq il-lejl” feels like a culmination of the two tracks preceding it, a riffy and ominous trek through dark territory. This structure makes it easy to forget the weak links, such as the frenetic and anchorless (“Xtrajt l-infern”) or the forgettable (“B’niket inħabbru l-mewt,” “Iħirsa”). The spoken word passages scattered throughout are also hit or miss.

Beheaded has forsaken their long-time forgettable signature in favor of something that ironically suits them better. Għadam is imperfect in its experimentation, but is surprisingly realized regardless, a consistent thread of viciousness and menace woven into all its movements gives exposure to its homeland, a culture tragically neglected in the annals of history. While “Maltese death metal” would have traditionally conjured images of brutal death’s relentless pummeling in Beheaded or Abysmal Torment, Għadam’s sinister and atmospheric approach to blackened death metal tinged with local dark lore and haunting melodics, even if imperfect, sets Beheaded out onto a new and unforgettable path.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Agonia Records
Website: facebook.com/BeheadedMT
Releases Worldwide: July 25th, 2025

#2025 #35 #AbysmalTorment #AgoniaRecords #Angelcorpse #Beheaded #Belphegor #BlackenedDeathMetal #BrutalDeathMetal #DeathMetal #Għadam #GodDethroned #Jul25 #MalteseMetal #Review #Reviews

Beheaded – Għadam Review

By Dear Hollow

I’m not sure which is worse: to release terrible or forgettable albums. Unfortunately for Maltese death metal outfit Beheaded, it has been the latter for the vast majority of their career. Always releasing competent material but nothing that sticks, their tenure within these hallowed halls has been rife with mediocrity, both 2017’s Beast Incarnate and 2019’s Only Death Can Save You lauded acknowledged for sounding like brutal death metal by the inimitable Kronos – the definition of “mixed” territory. Even 1998 highlight Perpetual Mockery has been covered up by the sands of time. This is precisely why Għadam is such a monumental release for this death metal stalwarts.

For Għadam, Beheaded becomes “il-kittieb” of their own horror – both lyrically and musically. Nearly forsaking all brutal tendencies without sacrificing its bite, the quintet focuses instead on channeling its heritage. The songs are entirely in Maltese, each track named after and capturing the storytelling of local horror writer Anton Grasso:1 the songs grapple with folk horror, local struggles, and the supernatural, and reflect the nation’s troubled history with religion and Christianity. For the first time in Beheaded’s history, it feels as though the band is writing their own music rather than regurgitating what brutal death ought to sound like. While the album is imperfect, Għadam is a motion from a band previously stuck in the muck of their own habits to rise from the dead and make the future bright again.

While elements of Beheaded’s brutal death peak through periodically, Għadam is remarkably atmospheric and dread-inducing. Drawing from Maltese folk music, the melodies here give an otherworldly flare, conjuring horrors both tangible and surreal. While the opening title track and the concluding instrumental “Irmied” feature harp guitar that sets the tone for a more focused and streamlined affair, the meat of Għadam is ominous, dense, and foreboding. From dirging riffs layered with doomed menace and vicious vocals (title track, “Iħirsa”), the kickass guitar work amplified by wild solos (“Iljieli bla qamar,” “Jidħaq il-lejl”), or the blackened tremolo and subtle synths that add a whole new dimension of intensity (“B’niket inħabbru l-mewt,” “Ix-xjaten ta’ moħħi”), riffy motifs and haunted leads are streamlined and consistent across the board. Cleans are used sparingly, but utilize a mournful mumble that adds to the desolation of the atmosphere. Ultimately, Beheaded feels reborn into a sound that feels very much theirs, despite newfound comparisons to God Dethroned, Belphegor, and Angelcorpse.

Given highlights and individual song identity, the structure of Għadam feels more intentional than Beheaded has offered before. Most notably, the track “Il-kittieb” serves as a centerpiece not only for being the fifth track in the nine-track album, but as a sonic eye of the storm; while it utilizes the same tricks as its surrounding tracks, they are weaponized in a slow-building crescendo whose climax serves as the most satisfying moment of the album. Intertwined dissonant leads and ethereal solos collide in a 6/8 timing that feels like a waltz through hell. Even last full song “Jidħaq il-lejl” feels like a culmination of the two tracks preceding it, a riffy and ominous trek through dark territory. This structure makes it easy to forget the weak links, such as the frenetic and anchorless (“Xtrajt l-infern”) or the forgettable (“B’niket inħabbru l-mewt,” “Iħirsa”). The spoken word passages scattered throughout are also hit or miss.

Beheaded has forsaken their long-time forgettable signature in favor of something that ironically suits them better. Għadam is imperfect in its experimentation, but is surprisingly realized regardless, a consistent thread of viciousness and menace woven into all its movements gives exposure to its homeland, a culture tragically neglected in the annals of history. While “Maltese death metal” would have traditionally conjured images of brutal death’s relentless pummeling in Beheaded or Abysmal Torment, Għadam’s sinister and atmospheric approach to blackened death metal tinged with local dark lore and haunting melodics, even if imperfect, sets Beheaded out onto a new and unforgettable path.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Agonia Records
Website: facebook.com/BeheadedMT
Releases Worldwide: July 25th, 2025

#2025 #35 #AbysmalTorment #AgoniaRecords #Angelcorpse #Beheaded #Belphegor #BlackenedDeathMetal #BrutalDeathMetal #DeathMetal #Għadam #GodDethroned #Jul25 #MalteseMetal #Review #Reviews

Beheaded – Għadam Review

By Dear Hollow

I’m not sure which is worse: to release terrible or forgettable albums. Unfortunately for Maltese death metal outfit Beheaded, it has been the latter for the vast majority of their career. Always releasing competent material but nothing that sticks, their tenure within these hallowed halls has been rife with mediocrity, both 2017’s Beast Incarnate and 2019’s Only Death Can Save You lauded acknowledged for sounding like brutal death metal by the inimitable Kronos – the definition of “mixed” territory. Even 1998 highlight Perpetual Mockery has been covered up by the sands of time. This is precisely why Għadam is such a monumental release for this death metal stalwarts.

For Għadam, Beheaded becomes “il-kittieb” of their own horror – both lyrically and musically. Nearly forsaking all brutal tendencies without sacrificing its bite, the quintet focuses instead on channeling its heritage. The songs are entirely in Maltese, each track named after and capturing the storytelling of local horror writer Anton Grasso:1 the songs grapple with folk horror, local struggles, and the supernatural, and reflect the nation’s troubled history with religion and Christianity. For the first time in Beheaded’s history, it feels as though the band is writing their own music rather than regurgitating what brutal death ought to sound like. While the album is imperfect, Għadam is a motion from a band previously stuck in the muck of their own habits to rise from the dead and make the future bright again.

While elements of Beheaded’s brutal death peak through periodically, Għadam is remarkably atmospheric and dread-inducing. Drawing from Maltese folk music, the melodies here give an otherworldly flare, conjuring horrors both tangible and surreal. While the opening title track and the concluding instrumental “Irmied” feature harp guitar that sets the tone for a more focused and streamlined affair, the meat of Għadam is ominous, dense, and foreboding. From dirging riffs layered with doomed menace and vicious vocals (title track, “Iħirsa”), the kickass guitar work amplified by wild solos (“Iljieli bla qamar,” “Jidħaq il-lejl”), or the blackened tremolo and subtle synths that add a whole new dimension of intensity (“B’niket inħabbru l-mewt,” “Ix-xjaten ta’ moħħi”), riffy motifs and haunted leads are streamlined and consistent across the board. Cleans are used sparingly, but utilize a mournful mumble that adds to the desolation of the atmosphere. Ultimately, Beheaded feels reborn into a sound that feels very much theirs, despite newfound comparisons to God Dethroned, Belphegor, and Angelcorpse.

Given highlights and individual song identity, the structure of Għadam feels more intentional than Beheaded has offered before. Most notably, the track “Il-kittieb” serves as a centerpiece not only for being the fifth track in the nine-track album, but as a sonic eye of the storm; while it utilizes the same tricks as its surrounding tracks, they are weaponized in a slow-building crescendo whose climax serves as the most satisfying moment of the album. Intertwined dissonant leads and ethereal solos collide in a 6/8 timing that feels like a waltz through hell. Even last full song “Jidħaq il-lejl” feels like a culmination of the two tracks preceding it, a riffy and ominous trek through dark territory. This structure makes it easy to forget the weak links, such as the frenetic and anchorless (“Xtrajt l-infern”) or the forgettable (“B’niket inħabbru l-mewt,” “Iħirsa”). The spoken word passages scattered throughout are also hit or miss.

Beheaded has forsaken their long-time forgettable signature in favor of something that ironically suits them better. Għadam is imperfect in its experimentation, but is surprisingly realized regardless, a consistent thread of viciousness and menace woven into all its movements gives exposure to its homeland, a culture tragically neglected in the annals of history. While “Maltese death metal” would have traditionally conjured images of brutal death’s relentless pummeling in Beheaded or Abysmal Torment, Għadam’s sinister and atmospheric approach to blackened death metal tinged with local dark lore and haunting melodics, even if imperfect, sets Beheaded out onto a new and unforgettable path.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Agonia Records
Website: facebook.com/BeheadedMT
Releases Worldwide: July 25th, 2025

#2025 #35 #AbysmalTorment #AgoniaRecords #Angelcorpse #Beheaded #Belphegor #BlackenedDeathMetal #BrutalDeathMetal #DeathMetal #Għadam #GodDethroned #Jul25 #MalteseMetal #Review #Reviews

New post: Belphegor unleash ferocious new single ‘Sanctus Diaboli Confidimus’ https://www.moshville.co.uk/news/video/2025/08/belphegor-unleash-ferocious-new-single-sanctus-diaboli-confidimus/ #Belphegor

New post: Festival Review: Tons Of Rock (Day 2) – Oslo, Norway (Thursday 26th June 2025) https://www.moshville.co.uk/reviews/gig-review/2025/07/festival-review-tons-of-rock-day-2-oslo-norway-thursday-26th-june-2025/ #BadNerves #Bastardane #Belphegor #BleedFromWithin

煉獄の七姉妹 / 煉獄の七杭
Seven Sisters of Purgatory / Seven Stakes of Purgatory
うみねこのなく頃に / Umineko no Naku Koro ni - When They Cry

#うみねこのなく頃に #UminekonoNakuKoroni #WhenTheyCry #SevenSistersofPurgatory #SistersofPurgatory #SevenStakesofPurgatory #煉獄の七姉妹 #煉獄の七杭 #Umineko #SSOP #anime #アニメ #なく頃に #モンスター娘 #monstergirl #monstergirls #monstergirlmonday #Asmodeus #アスモデウス #Beelzebub #ベルゼブブ #Satan #サタン #Lucifer #ルシファー #Leviathan #レヴィアタン #Mammon #マモン #Belphegor #ベルフェゴール

出る杭は打たれる
THE STAKES HAVE BEEN RAISED
うみねこのなく頃に / Umineko no Naku Koro ni - When They Cry
煉獄の七姉妹 / 煉獄の七杭
Seven Sisters of Purgatory / Seven Stakes of Purgatory

#うみねこのなく頃に #UminekonoNakuKoroni #WhenTheyCry #SevenSistersofPurgatory #SistersofPurgatory #SevenStakesofPurgatory #煉獄の七姉妹 #煉獄の七杭 #Umineko #anime #アニメ #なく頃に #モンスター娘 #monstergirl #monstergirls #monstergirlmonday #dailymotion #Asmodeus #アスモデウス #Beelzebub #ベルゼブブ #Satan #サタン #Lucifer #ルシファー #Leviathan #レヴィアタン #Mammon #マモン #Belphegor #ベルフェゴール

#DidYouKnow: #Belphegor's prime is the palindromic prime number 1000000000000066600000000000001, named after the demon Belphegor, due to its superstitious significance containing "666" (the Number of the Beast) and being surrounded by thirteen zeroes on either side.

https://knowledgezone.co.in/kbits/67dbb039d563f80145d114ad

Franchement, c’est difficile de regarder jusqu’à bout, c’est trop nul!

#belphegor #cine

Et ça ne fait qu’empirer de seconde en seconde.

#cine #belphegor

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 August 11th, 2023🤘
WARRANT, LED ZEPPELIN, BELPHEGOR, VENOM INC.

https://bravewords.com/news/today-in-metal-history-august-11th-2023-warrant-led-zeppelin-belphegor-venom-inc

#Warrant #LedZeppelin #Belphegor #VenomInc #KnebworthPark #HollywoodWalkOfFame #JaniLane #ErikKeithBrann #JimKale #MoysesKolesne #WindsOfPlague #Belphegor #AllOutWar #Cormorant #Hinder #Incantation #Motograter #Necrophobic

@davidwilkins: Indeed, about every second vintage streetfood van is a Citroën H Van (or a replica). If you want the really odd and (at least nowadays) not so well-known #Citroën commercial vehicle, have a look at the 1964 (or '65 depending if you trust more the German or English Wikipedia 🤪) to 1972 Citroën 350 to 850, which is usually just named the #Belphégor after a French 1927 crime novel which made it into TV in the 60s: https://en.wikipedia.org/wiki/Citro%C3%ABn_Belph%C3%A9gor

#WeirdCarMastodon #Oldtimer #CitroënBelphégor

Great Horror Movie Posters, day 254. Never heard of this. Anyone know if its around? #GreatHorrorMoviePosters #MoviePosters #Cinemastodon #Belphegor