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(2 recensioni dei clienti)



Hailing from Italy since 2006, DARKEND have built themselves quite a reputation on the metal scene for being an impressive live act and not least for pioneering a new genre: Extreme Ritual Metal.

While their debut offering “Damned Woman And A Carcass” (2007) was a fine piece of symphonic black metal, the following two releases, “Assassine” (2010) and “Grand Guignol – Book I” (2012), enhanced the band’s individuality in sound and image alike, combining sinister extreme metal with black metal patterns, classical symphonies with obscure ecclesiastic chants and nocturne ambience, featuring some of the heaviest sulphur riffs and greatest guitar solos.

After numerous shows on Italian territory opening for notorious BEHEMOTH, MARDUK and IMPALED NAZARENE, it was “Assassine” that tore the curtains of obscurity and took DARKEND abroad to tour throughout Europe with ROTTING CHRIST, SAMAEL, MELECHESH & KEEP OF KALESSIN, bringing on stage a magic combination of sound, theatre and occult ceremony: from esoteric costumes and incense burning to ghastly skulls, grave candles and dead branches, every single detail is meant
to build an atmosphere of bleakness and horror.

With rave reception by fans and critics, the new album “Grand Guignol – Book I” consolidated the band’s spot on the international metal map and set the stage for further events in autumn 2012, when DARKEND proudly embarked on a long, crushing European tour supporting legendary CRADLE OF FILTH & GOD SEED. Later on they closed the year at Germany’s Satans Convention sharing the stage with the likes of TAAKE and INQUISITION.

2013 saw the band perform at some exciting European festivals alongside MAYHEM, SODOM, BELPHEGOR, IMMORTAL, SHINING, 1349, KREATOR and many other iconic acts, and 2014 kicks in with new live rituals in equally stellar congregations!

In 2016 the album called The Canticle Of Shadows, is released; in 2019 the new full length Spiritual Resonance is released through Dark Essence Records.


Darkend is an Italian Symphonic black metal band from Reggio Emilia, Emilia-Romagna, formed in 2006. The members of the band are Valentz, Animæ, Specter, Ashes and Nothingness



Label: Crash & Burn Records

Format: CD Jewel box

Band Website:

Band Facebook:


2 recensioni per DARKEND

  1. From Ottima doppietta per la label Crash & Burn che, dopo aver portato al debutto una band ottima come quella degli Abyss of Pain, ci rilancia i nostrani Dark End con questo secondo lavoro intitolato “Assassine”, dopo le difficoltà degli ultimi tempi avute con un’etichetta non proprio esente da critiche come la francese Deadsun.

    Alla luce dell’ottimo debutto “Damned Woman And A Carcass”, le aspettative per questo nuovo lavoro erano molto alte e bisogna riconoscere che nonostante la pressione, la perdita di tempo dovuta ai problemi contrattuali ed i cambi di line-up, nulla è mutato all’interno dei Dark End, in primis la qualità delle composizioni che formano il nuovo e bellissimo “Assassine”.
    Il symphonic black metal dei nostri è realizzato davvero con grande ispirazione e perizia, senza cadere in facili clicheè o trascinarsi in banalità da gruppo alle prime armi; sin dall’inizio del disco ci si rende conto che ci si trova di fronte ad una formazione che sa il fatto suo e che è decisamente superiore alla media, sia in fase di songwriting sia in quella di realizzazione.
    “Mater Terribilis” è uno splendido antipasto di ciò che troveremo più avanti, ancora migliore per intuizione e risultato, come le splendide “A Bizarre Alchemical Practice”, con degli splendidi inserti in lingua italiana, e la maestosa “Poisoned Lips of Lust”, di fronte alla quale bisogna veramente inchinarsi.
    Pur mantenendo una personalità fuori dal comune è indubbio il richiamo della mente a band come Cradle of Filth, a cui i Dark End si rifanno per risultati ed ispirazione, fortunatamente dei periodi iniziali, quelli di “Principle”, “Vempire” e “Dusk”, fortunatamente con una voce molto più gradevole di quella di Dani Filth.

    Ricco, completo e ben fatto il booklet, buonissima la produzione che non fa rimpiangere più di tanto i celeberrimi studi di registrazione europei; tutti gli amanti del black metal nella sua veste più sinfonica e teatrale e gli estimatori delle succitate band, magari oggi delusi dalle ultime prove in studio, dovrebbero regalarsi perlomeno un ascolto di “Assassine”.
    C’è il serio rischio che scoprano un gruppo enorme come i Dark End, con la loro freschezza, fantasia, illuminazione. Da avere.

  2. From Metal Archives: If you haven’t been to the theatre recently, but you’re longing for a dark ceremony, well, maybe it’s time to give “Assassine” a listen and step into the “Theatre of Horrors”, as Dark End call it themselves. And this is with no false pretense, as the album’s theatrical concept and structure will soon captivate any listener with a taste for a vivid imaginary spectacle. The 65 minutes, fully packed with symphonic black metal, are far from monotonous. Orchestral elements such as gothic organ, piano, violin and even symphonic percussion combine majestically with the intense drumming pace, memorable guitar riffs and a pleasantly vast vocal register (harsh screams, deep growls, high-pitched shrieks and lamenting whispers).

    Already invoked in the title (which is Italian for female murderers), the theme of the album is soaked in the horror of actual crimes committed by women only, some of which are not even that distant in history. From the raw brutality of butchering, through primeval instances of stoning to death or fanatic lapidation, and up to the perversity of poisoning, strangling or drowning, for reasons no other than passion, greed, anger, obsession or religious enthrallment, the blood-dripping portrayal of the feminine beast is complete.

    The choice of the killers alone makes an interesting change from everything that has been presented so far in the black metal area. The ones that stand out from the entire gallery are Leonarda Cianciulli (featured in “A Bizarre Alchemical Practice”), Italian serial killer of 1939, who not only performs human sacrifice, but also disposes of the corpses by boiling them down into soap and making cookies out of the dried blood, and last but not least Elga Gurroci (introduced in “Perinde Ac Cadaver”), a fanatic Italian nun, who in 1928 comes out of the monastic obscurity by sacrificing her sisters to God, while stoning them off a cliff like lambs.

    The theatrical impression builds also on the well balanced album structure. There are 8 songs equally set apart by intro, intermezzo and outro, which, in Dark End’s own concept, become dramatic mood-enhancers: “Tenebrae I” abounding in sound effects such as church bells, ominous raven croaks, squeaking doors and gothic organ, “Tenebrae II” which is an eerie piano passage with reverie-like guitar riffs, and finally “Tenebrae III”, a pandemonium of cries and laughter, where one almost identifies his own breath with that of the troubled soul awaiting its dark end.

    The songs’ architecture is a careful combination of intense parts (blast beats, fast guitar riffs accompanied by versatile keyboards or even violin tunes as in “Mater Terribilis”, “Bounded, Sisters By Solitude”) and slower, more emotional fragments sustained by superb guitar solos or piano/violin lines as in “Poisoned Lips Of Lust”, “Two Faced Beast” and “Perinde Ac Cadaver”. Sometimes the closure is done with amazing strength and speed like that of the vocals in “Perinde Ac Cadaver”.

    Using Latin, Italian and French intrusions in the English lyrics (for the crime’s local colour or just to twist some established religious quotes) can only add to the band’s individuality, which makes a nice change from the usual Northern rites of black metal.

    Therefore, “Assassine” is a journey well worth taking (and repeating).

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