Mansvara - Sable Odes to Nihility (2026) Review

Since the earliest days, Polish black metal has maintained a firm presence in the underground scene and has notably evolved its psychological darkness over the years. What once was an obscure force of paganism and profanity later gauged interest into the avant-garde, the melodic and the theatrical, with a few names eventually landing their feet well into the mainstream. The younger generation of bands has a lot to absorb from their national markers, but it would be a mistake to assume you know what to expect. Fresh blood Mansvara formed last year and have already garnered enough firepower for their debut full-length album, Sable Odes to Nihility, a carefully organized black / death metal acrimony.

The band draws its inspiration from two main sources for its own approach on black metal, characterized by heightened melodies and Icelandic impulses. Not only the name reminds me of Sinmara, the particularized logo (by Entitatem.Null.Arts) also bears some resemblance, as the band's visuals invite engagement even before the listening starts. The record's fantastic cover, courtesy of Patrycja Wrona, and the clean-cut production, both show the additional professionalism on how the release is treated. On "Deathsentence", Mansvara introduces open note melodies, comfortable middle-paced semi-dissonance and a triumphal ending, showing a rich song writing attitude already from the get go.

It's hard not to notice the apparent Mgła influence in various riff progressions and especially at these middle-paced sections, most clearly to me at the soaring guitar lines of the second part of "Lingering Void's Echo" and the two final tracks, "Ephemeral Winds" and "Sable Ode to Nihility". Thankfully, Mansvara are not too self-limited on that distinctive but effective play style, and are driven by other compositional elements, like the quasi-distorted post metal passages in various pieces, e.g. in "Grief Doctrine" and "Consigned Doom". One of the record's heaviest moments is at the end of the shortest track, "Obsidianize", where a tremendous guitar line lifts it to an irresistible headbanging moment.

With Sable Odes to Nihility, Mansvara demonstrates control over the album's volatility in a way new bands sometimes are totally oblivious of. There are numerous velocity and mood changes across the tracks, remaining within the lines of modern black metal that could musically and stylistically be described as a half-Icelandic, half-more hostile version of Mgła kind of soundscape. As much as I have been a fan of the aphoristic scene of these Northern countries over the last few years, I miss the activity of multiple artists that we experienced in the mid '10s until about 2021. Mansvara, out of their own accord, make a really good case for claiming piece of that land with this debut.

Release: May 22nd, 2026 | Godz Ov War Productions
Website: Facebook
Rating: 4 out of 5 

Hauntologist - Hollow (2024) Review

Mgła has teased the possibility of two more releases this year, leaving fans eagerly anticipating what they (and KSM) have in store. Meanwhile, Darkside's collaboration with The Fall (Over the Voids..., Owls Woods Graves), under the moniker Hauntologist, unveils an album that sits at the crossroads. Half of it resonates with the familiar semi-decent Mgła vibes, showcasing their signature style. The other half ventures into the realm of experimental post-rock and post-metal, offering a unique soundscape that is, well, okay. While uncertain about revisiting this release, especially considering the remarkable capabilities of these musicians, it still manages to strike a chord. Hauntologist's offering is a blend of the expected and the exploratory, creating an album that, although not an instant classic, holds its ground as an intriguing deviation. [3 out of 5 - Good]

Release: January 8th, 2024

Label: No Solace

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Decapitated - Cancer Culture (2022) Review

It’s now been 20 years since Nihility, Decapitated’s second and highly influential album in the modern / technical death metal scene. They have gone a long way since then and even after all this time, I can not account the band for any serious misstep in their discography, as they have more or less maintained their posture these two decades. Latest offering Cancer Culture is an alteration of the common term “cancel culture” that has been in the spotlight the last few years, and Decapitated take a stand regarding it with an opinion that is easy to guess from the album’s title already. Compositional prowess has always been there, the band is more than capable in creating continuous streams of intense and heavy guitar riffing, yet Cancer Culture has, in my opinion, the most dreadful and lousiest lyrics they have ever written. Since such a hot topic was picked, it would have been more convincing if it was articulated more consistently and not as if Decapitated are teenagers themselves (just five years ago in Anticult, the band nailed it on the lyrical content). Some tracks are  great musically, like the self-titled, “Locked” (a highlight!) or “Suicide Space Program” and “Last Supper”. And then, on the two tracks where guest musicians are featured, there isn’t a riff that was written that was not generic, especially in “Iconoclast” (with Robb Flynn of Machine Head). “Hello Death”, with Jinjer’s Tatiana, is by far the weakest piece in Cancer Culture for the same reasons, as it barely even has an actual riff. Decapitated is a band I have been following for years now, and for the first time I’d rather not understand what they’re singing about, because while the concept itself could prove interesting, the delivery here is embarrassing. At the same time, it’s not short of musical excellence in some parts of the record, and almost toothless at others (further example, “Hours as Battlegrounds” shouldn’t even be there). Cancer Culture has a great cover, but I wish a lot of its insides would be different. [2.5/5 - Average]

Behemoth - Opvs Contra Natvram (2022) Review

Since I Loved You At Your Darkest in 2018, an overall skippable record that amounts essentially to nothing, and considering their rapid ascent into shameless mainstream territory, I had almost fully excluded Behemoth from serious discussions on extreme metal. The band is dressed in gold by now, and it feels like it has the budget of the whole rest of the scene on its feet, with extravagant live shows, visuals and effects. Nergal, the face of rockstar satanists, smirks while sitting on the throne of all anti-religious themed bands of the world, and conveniently puts out another record of the same hate and malice against everyone. On a positive note, things have not gone off the rails as much as their last album, but on the contrary, there’s a handful of bangers in Opvs Contra Natvram. Specifically, tracks like “Malaria Vulgate”, “Disinheritance” and “Thy Becoming Eternal” contain the most brutality Behemoth can offer and reminds of the overwhelming assault the listener would get by listening to the band in the 00’s. “The Deathless Sun” has fairly attractive chorus and melodies and would do great in a live show, and the middle paced tempos in “Off to War!” make it an easy listening track, hinting that they should never play slower than that. At the same time, the fragility of the record’s more adventurous pieces like the mellow “Ov My Herculean Exile”, the ineffective introduction or the worst piece “Upon A Pale Horse” (whatever they tried to do here, it failed), present all the musical weaknesses of the band, clear as day. Lyrics are as frivolous as they’ve always been (special e.g. “Versvs Christvs”) with Behemoth, but at least all the art on Opvs Contra Natvram is wonderfully artistic, and just beautiful. This work, while not that bad, confirms for one more time how ridiculously overrated this band is, but it’s a step ahead from where they were four years ago, and there are a couple of great tracks. [2.75/5 - Average]

Lamashtu - Plaque des Enfers (2022) Review

Not a lot of information is known about this project, yet their debut album Plaque des Enfers already seems to have been noticed and getting a fair amount of exposure, self-released but soon in physical format too. There is a strong sense of genre traditionalism in this record, yet Lamashtu often pushes the music into even more frenetic ends than usual, without abusing high speeds and being constantly barbaric. With just three tracks and 28 minutes, one would say that it is a rather short full length but it's still worth its time and contains only passable material, while being a record that is not monotonous at all. The vocals in Plaque des Enfers are harsh, often in shrieks but also grunting somewhere between the styles of Attila and Dagon, while the production is semi-dusty but clear enough for the ongoing chaos. Using a deep echo in the drums, the atmosphere becomes more dominant especially in building up moments or part introductions, like in the opening track "Amuleth I". It starts fast and heavy, then through a middle paced riffing bridge and a ritualistic dark ambient short part, it arrives to a very intense ending right when you would think that's all with this piece. Similar roller coaster moments unravel in the record's two other tracks, which are 10 minutes each. Lamashtu combines scourging guitar lines with occult ambiance and a personal touch to their music, and they don't stretch different ideas that come and go in the songs. "Amuleth III" has a clean introduction that would also remind of some neofolk / pagan ambient band, but when the record goes into black metal, it does so full boar. Plaque des Enfers is indeed not that long, but a solid first introduction to Lamasthu, and it makes me eager for the future. [3.5/5 - Great]

Origin: Poland

Label: Self-released

Release date: July 27th, 2022

Listen: Bandcamp

Owls Woods Graves - Secret Spies of the Horned Patrician (2022) Review

Band: Owls Woods Graves
Country: Poland
Album: Secret Spies of the Horned Patrician
Label: Malignant Voices
Website: Facebook

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Punk and black metal are often fused together, often from underground bands with battered production and short duration releases in their ballpark. From my perception, the two genres part ways on a first level the cleaner the sound gets, but black metal has always had punk elements even if its most basic forms, while the same doesn't hold vice versa. Owls Woods Graves' debut Citizenship of the Abyss, released in 2019, was a tango between these two genres with rather distinct changes from one another throughout the album, co-existing but not mixing into one solution, and it was a banger. They were not afraid to to employ some tremolo picking, nice clean vocals, typical punk lines, and all in all, biting and energetic tracks with nice transitions.

Another notable point to mention is the choice of aesthetics, which uses fantastically drawn black and white designs (courtesy of Robert A. von Ritter), with typical Old English inspired fonts on white worn out frames for the album title and band name. Now, again I sense this is like a combination of the old school, DIY black metal / punk approach for text on a cover, combined with a well-made and catered design instead, e.g. of an out of sorts photo collage. It was like that for their debut, and it's the same with Owls Woods Graves' second installment, Secret Spies of the Horned Patrician. These two covers alone can make me buy the albums in physical format just for their grimy beauty and it was certainly a good sign when I saw the news of a new Owls Woods Graves release, a band that is unlikely to show signs of divergence because they don't really have to compromise their sound for anyone.

Secret Spies of the Horned Patrician has a distinct difference compared to its predecessor, even though it's not such a surprising turnaround. M., frontman of compatriots Mgła, is now handling the bass and some vocals in Owls Woods Graves, along with already existing members E.V.T. and The Fall, and once again the record has been recorded / mixed / mastered with the help of Mgła, as they are all related to and around of a common suspect label like Malignant Voices. Once listening to it, one can definitely identify M.'s touches to the vocal work of Secret Spies of the Horned Patrician, which has now taken a slight turn towards black metal more than the punkish debut. Nevertheless, both elements are present and vibrant in this album.

Immediate nodding begins after a few distressed second introduction of the first track "The Entity", which hits hard and already shows the band playing slightly heavier than in Citizenship of the Abyss. Atmosphere and riffs are filthy, the sound is pleasant and it's an excellent opener to set the engine working for the band, which had me childishly celebrating about what I'm about to listen just from the first seconds of Secret Spies of the Horned Patrician. The album proves to have a marvelous flow between its tracks, which contain several nice twists and turns around the main genre structures that we would expect, and that's what makes it more interesting for me than the average black punk album I come across today. Much like in the movies, it's often anticlimactic to be able to predict a whole record by not even listening to it.

Distinct punk patterns emerge in pieces like "Bats in the Belfry", "Return of Satan", and "Antichristian Hooligan", which also feature chanting chorus singing that has been prominent in the genre since its beginnings. From these tracks, I thought "Antichristian Hooligan" to be the least compelling for me, but "Return of Satan" is pretty heavy and not limited solely to punk in its content. Owls Woods Graves now have song numbers in the mother tongue as well, with "Idzie Diabeł" (=here comes the devil) seeing the band playing more in middle-slow paced tempos and the final "Zobaczysz" (=you will see) giving a a dismal closure to the record.

Secret Spies of the Horned Patrician is not limited there. One of the most exciting moments in the album is the short but fierce "Rabies", a track straight from a war metal course book, which is also accurately placed third and makes an excellent case after the first two songs. And then, the black metal flavors are a bit scattered throughout the whole work, yet at "Obscure Monastery" and "At the Crossroads", melodic guitar lines would strongly remind of other current black metal bands of the Polish scene. Vocals and bass sound amazing in Secret Spies of the Horned Patrician, yet I would have preferred slightly more engaging drumming in the less cogent moments of the record, but that's not that much of a big issue in the end.

Owls Woods Graves pick up a genre combination that can be tormented with stagnation from its very definition, and manages to make an album that is a hell of a listen, and maybe even better than their previous work. I think I prefer some aspects of the debut more, like the textual work, but I'm glad they continue with the same cover art philosophy, and compose tracks that are not purely punk, not purely black metal, but something in between with a distinct touch of the musicians involved and the surprise egg that was "Rabies" for me. I could listen to a whole Owls Woods Graves release with tracks like that. All in all, listen to Secret Spies of the Patrician today.

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Release date: January 25th, 2022

Tracklist:

1. The Entity

2. Return of Satan

3. Rabies

4. Obscure Monastery

5. Idzie Diabeł

6. Bats in the Belfry

7. Antichristian Hooligan

8. At the Crossroads

9. Zobaczysz

Listen:

Youtube | Bandcamp

Kriegsmaschine - Deathdriven: Archive 2006 - 2010 (2020) Review

By releasing this compilation, Kriegsmaschine now have a really tidy discography: Prism: Archive 2002 - 2004, released in 2014, covers all their material prior to the debut Altered States of Divinity, this one covers the two splits they released in between the debut and Enemy of Man, and the rest are the infamous full lengths. Neither the split with Infernal War nor the split with Szron come quickly to mind when thinking of the band, especially when they have released such monstrous albums recently, yet the quality of the material is equally powerful and in a structural sense, even more approachable than the slow-paced yoke they enforce with what came afterwards. In this time period, Kriegsmaschine laid the foundation and were slowly taking form, before exploding with Enemy of Man in 2014, one of the best black metal albums of all time. 

Deathdriven starts "backwards", as the first thing featured is the Transfigurations split that was originally released in 2010. Both tracks are massive, the guitar work is exceptional and the evoking atmosphere is naturally closer to what was composed for the full length that followed. These two pieces are hidden gems in the band's discography and they get along really well together, how one gives way to the next almost feels like it is one whole piece. "Onward Destrudo" has this KSM crushing tempo and quite memorable riffing here and there, while "Fear and Loathing in Gesthemane" can't help but make someone wonder where they thought of the title? Could be slight reference to the unconventional black comedy Fear and Loathing in Las Vegas, the eight minute song describes Christ's struggle from an absolutely human, regretting angle, but I think it doesn't really depict Kriegsmaschine's finest lyrical work. On the other hand, "Onward Destrudo" is perfect in all sections.

Following are the three tracks from the Szron split from 2006, and they lay in the same area as the material from the album they are closest to, Altered States of Divinity. The familiar, painful shouting vocals, along with chants, are present, at times the band goes full speed, which became sparser and sparser until it completely disappeared later on. This is an extra reason to listen to this compilation if you're a fan of the band mainly for the latest records. For example, parts of "E" as well as "The Fall in All its Glory" employ the traditional black metal framework of frenetic speed. The lyrics are nothing less than impressive and the talent of this band in general, gloriously shines through this release.

Sometimes compilations are void of meaning, but Deathdriven is a good opportunity for you to purchase and own this part of Kriegsmaschine's discography. The five tracks contained have been possibly left on the shelf due to the exposure the last two full lengths have gotten, but I don't see anything lesser here in terms of quality. A blast from the recent past to remind their audience of their early endeavors, and to never skip a mini-release. In my opinion, Deathdriven is totally worth it and makes up of a fine listen, something that is quite rare among compilations even from well-acclaimed bands.

Find it here: No Solace Store

 

Behemoth are not in a forest anymore

News of coming Behemoth material are very hard to miss now and their new EP is a mini-release consisting of their adaptation of The Cure's classic song "A Forest", a live version of that and a couple of tracks from the I Loved You At Your Darkest time. Nergal also got ridiculously photogenic Niklas Kvarforth for a very fancy video clip, who was hired for his "psychotic appearance, attitude and vibe". If you're giggling already, just wait to watch the actual video.

While I enjoy the Shining albums, Kvarforth has been a shameless sell-out for many years now and just the fact that one person can maintain a self-destructive project for more than two decades gives me the shivers. Behemoth's The Satanist will probably be the last album I will enjoy by them, even if the affection has faded a bit after six years of listening, and I Loved You At Your Darkest really wasn't for me.

In my opinion, they didn't serve any good justice to the song at all, it doesn't fit their style and it was a baffling listen, apparently overproduced with a high budget, as Behemoth in general for some reason choose to come out as some kind of evil Power Rangers. The edge has completely disappeared from this band by now, so if you want some painfully mainstream metal just check it, but be careful if you are fans of The Cure. Frankly, Carpathian Forest did a much better job covering this specific track.

Xaos Oblivion - Black Mountains Spirits (2014) Review

Album | Black Mountains Spirits
Country | Poland
Genre | Ambient / Doom / Black Metal
Label | Nykta Records

| Black cave prayer |

It surprises me that I have never heard of this band, especially when their new album is being released and promoted by our own Nykta Records, a label I try to follow nowadays. This Polish project is led by one guy and he has already released four albums including this one, since 2008 that he's been active under this particular name. Black Mountains Spirits is a blend of black / doom metal with some ambient elements and it anxiously tries to chew the walls of it's closet to get out, standing right to the standards of a typical likeminded fan.

First of all, the album has a really good and clean production, not following the trend of solely dirty recordings of other bands. The atmosphere is of major importance and the proper sound needs to support it, therefore something like that is needed for sure, as it creates the feeling and the vibe the album aims for. Not many effects are necessary either, as the music is funereal enough on it's own to express it's claustrophobic misanthropy. Black Mountains Spirits has a cool cover as well, with more intense colors than usual, depicting a basic forest location.

The compositional variety of the record is not limited but not overburdened either, focusing on growls  and clean vocals, slow paced riffs and sometimes samples or ambient moments. The guitar lines are more simplistic that I might have wanted, but they don't reduce the overall level of the tracks. In overall, Black Mountains Spirits is legit and interesting, yet I would say it is a bit shy and doesn't dominate with it's atmosphere, keeping a silent stand for as long as it lasts. The tracks last around ten minutes, apart from the outro which only goes at two minutes, and the second track "Of Mists and Spirits".

Xaos Oblivion does not demonstrate tremendous skills on the instruments either, maintaining a style where he feels comfortable and working on the tracks from a couple of checkpoints each time. Listening to the album, one can see that there are similar elements between the songs and that might be to obvious to go unnoticed. The samples can be found in the beginnings and the endings of the tracks, where "Wind (Endtime" is played on a clean guitar and has a nostalgic / sorrowful melody, similar to any post-black metal band.

I think the third track "Paths" and the fourth "Wyryte Na Kamieniach (Carved On The Stones)" are the strongest here, as they quickly caught my attention and held on to it for some time, even though I don't think they are actually better songs than the rest. Black Mountains Spirits is a legit album and I appreciate the effort of Xaos Oblivion, yet I was not blown away by it, for a little more energy would not be bad. For fans of slow and atmospheric funeral doom metal, it is a band you have to listen to, and their other albums to, I don't know.

DAMAGE: 6/10

Voidhanger - Working Class Misanthropy (2013) Review

 Album | Working Class Misanthropy
Country | Poland
Genre | Black / Punk / Thrash Metal
Label | Pagan Records

Voidhanger hail from Poland and they count three releases and two full length albums already, which is a fair amount for a band that has formed in 2010. The band seems well tight already and they have been tickling the attention of the scene since their first Wrathprayers, which was a notable debut by all means. With a post modern title like Working Class Misanthropy, the new record has come to stay and it marks an imposing message for all the fans of black / death / thrash metal. It contains eight songs and thirty three minutes of music in total.

The band dodges the typical concepts of extreme metal in their new record, which isn't totally anti-religious lyrically. Instead, they display their own shaped form of urban hatred, which is a nice break from all the same, all the time. The blend of musical elements they play is also quite personal, as you can hear all kinds of groovy, edgy and heavy melodies throughout the album. I don't know if there is a reference to Darkthrone's "I Am the Working Class" at all, but listening to this reminded me a bit of them, especially in the second and self-titled track. "A Song for Lennon" is also an unusual title for a black / death metal band, even though the actual music isn't as soft as it sounds.

The musicianship is fairly solid and there is an obvious variety of sounds in the album. I really liked the shouting vocals of Warcrimer, which are raw and hurtful, while the rest of the instruments are also great. Priest controls the drums quite good and throws a couple of tricks in there (there is a ride in a couple of lines), as well as the standard playing at various black / thrash / punk moments like "Uniesienie". The guitar work is attractive and it derives from various metal subcategories combined, both old school and state of the art (like the two phrase samples in the first and last song).

In general, Working Class Misantropy is a fast paced record, containing all kinds of headbanging moments. Voidhanger continue their steady and solid way with this energetic and quite interesting offering, which should help in building a fanbase. They have already opened for acts like Inquisition and Nunslaughter, it's a band to look out for in the future.

DAMAGE: 8/10

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Graveland - Thunderbolts of the Gods (2013) Review

Graveland "Thunderbolts of the Gods"

Summer 2013, No Colours Records

Official Website

Graveland have walked away from the raw black metal path they used to follow back in the mid nineties, with a sound more towards pagan/viking metal nowadays. To be sincere, i have not listened to a single record by them after "Creed of Iron" but after seeing this hysterical trailer, i decided to listen to the new album. I kept in mind that disappointment is possible.

To begin with, the length of the songs is the regular Graveland usually pulls out, moving around 7 and 9 minutes, putting the album at a convenient total time of 42 minutes as a whole. The music is based on the atmosphere so there is no rush needed, he takes his time to present each piece with patience. As for the cover, it is artistic and as pagan as it should be.

I can't say Darken has improved his skills on the guitar or drums, but he can sure compose great epic metal, that's what this album is all about. As for the vocals, i naturally prefer the hollow screams of his first albums and not the gargling burps he does now, still i was not turned off by them. In fact, i think they fit better with this new style of mid-paced calm music he plays. Even if it seems like he boosts up the speed at some points, he really isn't. The production of the album is satisfying, in terms of the sounding purity, no instruments were left out.

A major element of the album is the keyboards. It brings up the ancient times that Darken is so nostalgic for and it adds a great flavor to the songs. Anything, from synths to chanting vocals, is used here very carefully to colour the otherwise dim compositions of the album. He has always been using keys for his albums from the early days, but now they are given more attention since its not straight forward black metal anymore. Its not as hateful and sharp as i remember either, he focuses more on a pure worship of paganism. There is a somehow wailful composition named "Chambers of Wicked Tears" that depicts this change, which is an amazing song as well.

This album is also full of gorgeous riffs, with efficient melody and old school grimness, combined with the synths and the vocals. Look out for the guitar lines in the second half of "Wolf on the North", in the middle of "Red Polaris" and in "Possessed by Steel". They are not hard to play, and solely not innovative, but as a whole they create an awesome vibe and atmosphere of a different time, it succeeds in creating the appropriate feelings as it was meant to create. There is a profound consistency in each track of the album, meaning that it has no weak spots or vulnerable moments.

There is always an ideological background that holds Graveland albums together and fuels them with inspiration. Even though his appearance and photos are theatrical to the unaware viewer (theatrical used with a negative meaning), he has not changed his views since he first started and he pretty much keeps his own way. The music itself, at least for this album, is interesting.

DAMAGE: 7.5/10

Belzebong - Dungeon Vultures (EP, 2013) Review

Belzebong "Dungeon Vultures"

Instant Classic, Spring 2013

Listening needs

Physical needs

I remember i stumbled upon their first demo in 2009 because that green smoking goat they had in the cover drew my attention, as always, and i thought i should check it out. I was not familiar with the stoner rock/metal genre back then, i had listened to some bands by accident but i didn't know what was what. To this day, i enjoy that demo. They later on released a full length which got me even more into them, despite the mixed feelings the stoner community has about them (some love them, some don't, at all).

And now, there we have a new EP that was released this April by a local polish label, there is another new song around the internet, assuming a second full album? Maybe. Till then, we have an EP with one 14 minute song. If you're familiar with this band, you know what that means. It follows the simple recipe they've been using in the past years, they hail the bong with down tuned slow and heavy riffs, samples and a talking introduction, stoner/doom melodies, no vocals (a relief, they would not fit anywhere here) and a trippy mood of course.

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DAMAGE: [7.0/10]

Graveland - Carpathian Wolves (1994) Review

Origin: Poland
Genre: Pagan / Raw Black Metal
Label: No Colours Records

The debut album of Graveland clearly smells of the rotten underground scene of its time. Listening to it, im happy that i wonder if it was recorded in a bathroom or in a studio, the sound is fucked up on purpose. There is a lot of sloppy work in this album, i still think something hateful was meant to be written, this or they had no money to record an album. I don't even think its negative. So, as the album progresses, you either hate Christianity or yourself for putting yourself in this situation, mission accomplished.

The reissued version i own contains some songs from a rehearsal in 1993 and a bit of different artwork from the original (different fonts, the main art is the same in the front cover). If you also know how to wield a sword and spend time in the woods, if you think black metal is serious business with a true mission and purpose, you will be good friends with Rob Darken and this is a must for you. They later went to viking / pagan metal, or something like that, not my cup of tea. Torn out black metal is my cup of tea. Im glad i have this.

DAMAGE: [8.5/10]