Legion of The Damned Descent Into Chaos (2011)

Dutch thrash veterans Legion Of The Damned have once again entered into an alliance with the devouring depths of black and death metal and unleash another angry beast, The Poison Chalice via Napalm Records. The shredding monster delivers the most delicious pitch-black brew and tortures dark souls into demonic underworlds. For almost 35 years, they have formed their aggressive signature sound from the most horrific ingredients of thrash and death metal, combined with brutal blackened influences, resulting in one of the most defined and unique sounds in the scene.
The Poison Chalice comes to life by spreading its eerily beautiful wings within the first few seconds, then dives headfirst into a hellishly furious storm before the second song "Contamination" absolutely kills. In classic Legion Of The Damned manner, there is no escape as the track relentlessly drives into the abyss…

Death and thrash metal go together like peanut butter and jelly. Few bands capture the essence of a riff-driven thrash sound with sheer death-like anger so well like Dutch masters Legion of the Damned, who managed to successfully make a name for themselves since they were playing beautiful black/thrash as Occult. Always unleashing killer music, the group led by Erik Fleuren (drums) and Maurice “Sephiroth” Swinkels (vocals) pave their way to victory once again with 2019’s ‘Slaves of the Shadow Realm’…

Dutch thrash/death/black metal outfit LEGION OF THE DAMNED has returned after a five-year hiatus. On January 4, 2019, the quartet will release "Slaves Of The Shadow Realm" via Napalm Records. The follow-up to 2014's "Ravenous Plague" was produced by Andy Classen and merges the unadulterated fury of the early LEGION OF THE DAMNED years with the sophistication of a veteran band.

The Orchestra of the Antipodes' 2011 set of J.S. Bach's Brandenburg Concertos is certainly worth having for its exquisite period performances of these perennial favorites, but it is even more attractive for offering eight popular sinfonias from the cantatas, thereby giving listeners added value in an already excellent set. The Australia-based ensemble plays original instruments, and the performances are appropriate in textures, tempos, and ornamentation, so everything a fan of Baroque performance practice could want can be found here. The pacing is fleet and efficient, the counterpoint is transparent, and the sonorities are bright, so the combination will certainly excite even the most experienced devotees of these works.