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Nothing you're saving
Deserves to be saved
Blood and wars
...Your bloody legacy
Nothing you're earning is useful to your young
Your souls has no doors, no entrance and no hope
Crawl to your wall, and start to hope in Lord
“He could be saved, as you blind you world”
For many and many died years ago
Now welcome and unseen,
You can live only in memories
Memories will be my epitaph... Memories!
Their children's children will be ashamed
No matter as they didn't throw the knife
I need to tell the young and the past
That the only real terror's still alive
'Cause I know this is the terror, nothing's able to compare
I'm welcome and unseen, everywhere
What I pretend from you
Is to join me in my crystal palace
Or dig you grave, charge their funeral stone
supported by 39 fans who also own “Epitaph Part I”
A truly stellar death/doom album with heavy doses of black metal. Tracks like Isolation, Child of Light, and Broken Hymns deliver the sorrowful and icy tone of this album, elevated by the stirring cello compositions of Raphael Weinroth-Browne. The album delivers a deeply satisfying crescendo in Becoming Intangible before stirring the soul once again with Epilogue. Matt Richardson
supported by 38 fans who also own “Epitaph Part I”
The first 30 seconds of "Revenge by Fire" convinced me to get the whole album! It is a face-melting blend of speed and black metal, reminiscent of Hellripper! KVAEN is a Swedish solo project much like Hellripper but many known guest musicians helped J. Björnfot in his endeavor. Altogether it is really a solid debut album, I loved the melodies and the pace changes in the second half too, ending with a "calm" instrumental one. Well-done!! sachavonkarl74
supported by 37 fans who also own “Epitaph Part I”
On ne frappe pas un homme à terre : c'est ce que dit la règle mais NONE a déjà prouvé qu'il ne les suivait pas et si son album éponyme retirait toute perspective de béatitude spirituelle, Life has gone on long enough, son deuxième opus, nous interdit l'accès au bonheur terrestre. La vie n'a aucune substance et la production plus distante le confirme. Le DSBM s'empare de textures sonores blues, mettant en relief une dépression urbaine. Les cris partent en fumées : ne restent que les pleurs... Jordan Vauvert