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(2 recensioni dei clienti)



Italian rock group founded in 1977 by Steve Sylvester with the aim of forming a band that encloses inside of itself all its particular interests for occultism, horror films, erotic comics and rock music, in an original manner. The singer, then just a teenager, decided to apply the concept of “glamor” with a strong visual characterization to five characters inspired by stories of terror, the vampire (the singer), the mummy (the bassist), the wolf man (the drummer) , the zombie (the guitarist) and the phantom of the opera (the keyboard player), animating them with the iconoclastic charge received by the then nascent punk scene, from which to gather the extreme and shocking ideological aspects, developed however musically in a heavy manner. The musicians of the project, in addition to essential musical skills, also had to possess the right attitude and the phisique-du-role to impersonate its characters.

From this point of view DEATH SS (literally “in DEATH of Steve Sylvester”, name chosen to mean the symbolic ”death” of the human state of Steve Sylvester (SS) and its rebirth as initiated under the light of Occult, without any political reference in the two “S”), are to be considered as the inventors of that musical phenomenon that a few years later will be known as “Black Metal”. The shocking live-show of the band aroused a great echo in the stagnant national scene of that time, immediately earning to the quintet a reputation of “cult-band”. Starting from a musical carpet of horrifying sound effects, the group, from a stage set up with material stolen by cemeteries (gravestones, human skulls, funeral crowns, etc.), involved the audience in the scene with bloodshed, rotten meat, worms and human bones, while on stage the performers / witches of the band mimiced, completely naked, complex rituals of sexual magic. The extreme life-style of the young formation soon had tragic consequences that led in 1982 to the death of the original bass player and the split of the band, which in the meantime had only recorded some self-produced singles. In 1988 Steve Sylvester refounded the band with new good musicians of the Florentine area and, thanks to a contract with Discomagic, gave to the prints “In DEATH of Steve Sylvester”, the first real studio album of the band (in the previous years it was circulated a bootleg containing demos and live recordings of the first line-up, entitled “the story of Death SS 1977/1984”).
Then, with more or less regular expiration, will follow other albums such as “Black Mass”, the live “The Cursed Concert” and “Heavy Demons”, (produced by Sven Conquest, with guest the legendary actor Oliver Reed, and first gold disc of the band, cause it exceeded twenty-five thousand copies sold in its various editions). All the records was marked by a constant qualitative and stylistic evolution and by many revolutions in the line-up, that keeps over the time the only constant presence of the leader Sylvester.

After alternating contractual events, the group arrived in 1996 to an agreement with Self Distribution, with whom Steve founded LUCIFER RISING Records, a label that sees him also engaged in the function of artistic director. The first birth of the label was the compilation “Horror music – the best of DEATH SS”, a double collection with unpublished, historical pieces and unobtainable old singles. The following year the group enters the English Academy Studios, where, under the guidance of Mags and Keith Appleton (producers of Paradise Lost, My Dying Bride, Anathema, Cradle of Filth, etc.), they record the album “Do what thou wilt “, a sort of concept on the magical-sexual work of the famous” magus “Aleister Crowley, always one of the main inspiration points for the philosophy of Steve Sylvester. In 1999, after the release of the documentary “Night of the living Death SS”, a DVD containing clips and excerpts from the tour just ended, the group moved to Texas at the Tornillo Village Productions, where, together with the producer Neil Kernon (winner of a Grammy and with work experience with Judas Priest, Queen, Bowie, Queensryche, Nevermore etc.) recorded the album “Panic” “, a tribute to the god Pan, god of love, humor and confusion, another step forward in the sound evolution of the band, a disc that also boasts the presence as guest of the legendary Chilean director / poet Alejandro Jodorowsky, the inventor of the “panic theater”.
The album and the following tour were a success and at the end of the summer 2001 the band concluded an agreement with the producer team David Shiffman (already with Nine Inch Nails, Rage Against The Machine, Red Hot Chili Peppers, System Of a Down etc.) and Fab. V.Zee Grossi. This collaboration opens a new musical vision to the DEATH SS, whose classic and unmistakable sounds are further enriched with cyber-harsh-punky and nu-metal influences, combined with a very personal euro-goth class. The band then moved to Los Angeles to give birth to the new album called “Humanomalies”, a sort of concept about the world of freaks and human “ugliness”, considered by many their most extreme sound experiment. The band’s next and seventh studio album was titled “The Seventh Seal”, in honor of the same named cult-movie directed by Ingmar Bergman, and was again recorded in Los Angeles.

Conceptually it represents the closure of an artistic cycle of the band, a sort of “magic pact” signed by Steve at the beginning of his career and lasted about thirty years, to the celebration of which was released a double anthological DVD packaged in the shape of a coffin (” 1977/2007 – 30 years of Horror Music “) which, through video clips, fragments of concerts, TV appearances, unpublished extracts and spicy backstage, it shows all the fundamental stages of a career dedicated to horror music! A pause period followed, during which the vocalist dedicated himself to new experiments, creating the bands W.O.G.U.E. (acronym for Work of God United Entertainment) with dark-wave 80es sounds, and Sancta Sanctorum, (the latter together with the rhythm section of the first line-up of the DEATH SS), which instead propose a psychedelic and seventies doom rock. At the same time, Steve continues his acting career by participating in the horror movie “Eaters” produced by Uwe Boll, and on the television series “L’Ispettore Coliandro” and “Il commissario REX”, while in November 2011 he released his official biography, “The Necromancer of Rock “, written together with the music writer Gianni Della Cioppa, a book that tells all the background of the period that goes from his adolescence to the split of the first line-up in 1982, and that collects in Italy a great success . DEATH SS continue to exist and to compose new material, part of which destined to be part of the soundtrack of some films such as “The darkest night” by John Morrison and “Fear 3D” by Manetti Bros, and in June 2013 return to the scenes with the new platter “Resurrection”, from the beautiful cover in 70es erotic-horror-comic style , designed by the master Emanuele Taglietti, illustrator of cult comics as Sukia, Zora, Ulula, Cimiteria and Belzeba. A new tour follows, with dates that include the one at the Sweden Rock Fest with Black Sabbath, and the headliner gig at the festival (whose video footage was later published on the DVD “The Whole Rite”) ‘, as well as the new live CD and double DVD “Beyond Resurrection”, again with artcover illustrated by Taglietti. In 2017 Steve Sylvester officially joins the Hall of Fame of the legendary Hard Rock Cafè chain, donating one of his stage costumes, while continues to grow the certificates of esteem from musicians and groups from all over the world who declare to have been influenced by DEATH SS.

In this regard, two other tribute-albums are released, the quadruple “Terror Tales” and “The Other Face of Evil – An EBM / Neofolk Tribute To Death SS” (a third was already released in 2000), respectively edited by Black Widow Records (October 2018) and EK Product (2019), where about fifty artists from the most diverse musical backgrounds have ventured into the cover-version of many classics of the band. On September 7, 2018 “Rock’N’Roll Armageddon” was released, whose cover was created by Alex Horley (formerly author of covers for Rob Zombie, Gene Simmons and DC Comics). The platter was preceded by a new single and a new video-clip for the title-track. Two other singles and related clips are released the following year for the songs “Madness of Love” and “Hellish Knights”. In 2020, thanks to an agreement with Tsunami Edizioni, a reissue with new cover and photos of the book “The Necromancer of Rock” was published, followed shortly thereafter by a new one, entitled “THE STORY of DEATH SS – 1987-2020” which continued the story, a monumental book of over 500 pages, always written together with the friend Gianni Della Coppa, this time assisted by rock journalist Stefano Ricetti.

The global pandemic of Covid 19 inevitably blocks the official activities of the band during the rest of the year, so the band take the opportunity to compose the new songs that will be part of the new album, the tenth of their official discography, which will presumably see the light in the late spring of 2021. Meanwhile Self Distribuzione has started releasing a series of picture-disc reissues of their entire catalog



Resurrection è l’ottavo album in studio del gruppo musicale italiano Death SS. Pubblicato nel 2013 dalla Lucifer Rising Records, interrompe un silenzio discografico durato dal precedente The Seventh Seal del 2006. Come spiegato nelle liner notes, si tratta di un mix di canzoni scritte appositamente e altre recuperate dai vari progetti solisti e non del cantante Steve Sylvester.


  1. Revived – 4:25
  2. The Crimson Shrine – 4:15
  3. The Darkest Night – 3:50
  4. Dionysus – 5:09
  5. Eaters – 4:18
  6. Star In Sight – 4:58
  7. Ogre’s Lullaby – 4:39
  8. Santa Muerte – 5:16
  9. The Devil’s Graal – 4:16
  10. The Song Of Adoration – 9:01
  11. Precognition – 5:36
  12. Bad Luck – 3:20


Format: CD Digipack

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2 recensioni per DEATH SS

  1. From Truemetal: Ai tempi che furono i Death SS pretendevano di iniziare i Loro concerti a mezzanotte in punto, così da sublimare il patto d’acciaio siglato con quell’immaginario horror-occultista che fece di sicuro la Loro fortuna ma che si portò in dote anche una serie di sciagure, alcune delle quali immortalate nel libro Il Negromante del Rock, in pratica la storia del mastermind del gruppo Steve Sylvester, personaggio a tutto tondo.

    Per rimanere fedeli alla linea, oggidì, 6 giugno 2013, vede la luce Resurrection, il disco del ritorno, per certi versi inaspettato, della band, quantomeno con un prodotto fuoriuscito da uno studio di registrazione. Data di certo scelta non a caso, infatti 6/6/2013 può essere ricomposto in 666, semplicemente aggiungendo al naturale “66” dato da giorno e mese anche l’ultimo “6” ricavato dall’anno 2013: 2 + 0 + 1 + 3 = 6.

    Dopo il fortunato The Seventh Seal, infatti, pareva che la parabola musicale dei Death SS fosse destinata all’oblio, forte del raggiungimento di quel Settimo Sigillo che rappresentava il degno coronamento di un Circolo Magico che prese inizio nel lontano 1977, a chiudere una sorta di patto trentennale con Se stesso – ma non solo… – da parte del Líder Máximo “SS”. Testimonianza epocale dell’addio in terra italica fu il concerto all’Italian Gods of Metal del marzo 2008, con la formazione killer a due chitarre.

    Sarà perché non esistono nuovo eroi degni di tale nome e il fenomeno dei ritorni eccellenti non accenna a diminuire ma sta di fatto che un’anima dannata come quella di Steve Sylvester, artista sempre in fermento e che non si fa negare nulla, fra una partecipazione cinematografica e l’altra e la consequenziale composizione di nuovi pezzi, evidentemente decide che siano maturi i tempi per risvegliare la Bestia, ed eccoci quindi qua a commentare le dodici trame contenute all’interno di Resurrection, prodotto che vede il prezioso lavoro di Emanuele Taglietti a curarne la copertina e l’artwork in generale. Pittore di culto e dalla fama internazionale, l’autore dei disegni di Sukia, Zora e La Poliziotta, accompagnò idealmente, con i suoi tratti grevi su nudità, guêpière e chiaroscuri, le prime pulsioni di generazioni di teen-ager degli anni Settanta e Ottanta. Oltre a questo vi è il ritorno al glorioso moniker: l’ultima volta che fu utilizzato per degli inediti risale al 1997, in occasione del disco Do What Thou Wilt. Due parole anche riguardo la formazione: oltre a Sylvester vi sono Al Denoble alla chitarra, il fido Glenn Strange al basso, la new entry Bozo Wolff alla batteria e una vecchia conoscenza quale Freddy Delirio alle tastiere.

    Resurrection si apre con la “cattiva” Revived, scritta nel 2009 e apparsa per la prima volta nella puntata della fiction L’ispettore Coliandro “666” passata sugli schermi della Rai TV qualche tempo fa. La traccia marchia la naturale prosecuzione di quella Give ‘Em Hell di seventsealiana memoria, ove Steve dimostra di possedere ancora quell’acidità vocale malata che può piacere o meno, ma che da sempre incarna il vero trademark dei Death SS. A seguire The Crimson Shrine, rielaborazione dell’ “Inno a Pan” del celebre occultista inglese Aleister Crowley, pezzo che traduce in note lo sguardo del gruppo italiano rivolto verso i sussulti gotici provenienti da più parti del Nord Europa, come ben esplicitato dagli inserti delle voci femminili contenuti all’interno.

    The Darkest Night, già pubblicata lo scorso anno nell’Ep omonimo, si rifà al tradizionale, quantomeno nell’accezione che identifica i Death SS in alcuni passaggi degli album successivi a Heavy Demons, disco che a tutt’oggi permane come il più fortemente rappresentativo del periodo stra-classico nella sua dimensione più defender. La vena creativa di Steve Sylvester & Co. 2013 raggiunge il proprio picco in Dyonisus, pezzo trasognato che rimanda inevitabilmente al passato aureo del gruppo di stanza a Firenze: grande melodia mista a un ottimo songwriting, in linea con i fasti degli anni Ottanta, interpretazione delle coriste inclusa. Per lo scriba uno dei pezzi migliori scritti dai Death SS negli ultimi quindici anni.

    Uwe Boll, filmaker tedesco, chiede a Steve Sylvester un brano che si possa adattare alla colonna sonora di un film horror-splatter moderno: ecco servita Eaters, traccia numero cinque dell’album, inquietante come da richiesta. Star in Sight si rivela l’altro highlight assoluto del disco della Resurrezione: evidentemente evocare cose di Aleister Crowley, così come in Dyonisius, porta bene ai Death SS che confezionano un pezzo articolato che sapientemente mesce atmosfera e violenza, ancora una volta riandando al pathos emanato da The 7th Seal del 2006. Ciliegina sulla torta le azzeccate voci bianche presenti in alcuni passaggi.

    Ogre’s Lullaby è tanto cinematografica – vedasi il film Paura 3D – quanto agghiacciante nella sua vena Argentea, oltreché per certi versi completamente slegata da quanto finora proposto da Resurrection. Santa Muerte celebra la famosa Madonna dalle sembianze scheletriche, venerata dai ceppi ispanici e successivamente assurta a sigla del serial TV Squadra Investigativa Speciale, nella quale Sylvester ricopre un ruolo di attore. La successiva The Devil’s Graal è solenne, ipnotica, degna continuatrice del cammino artistico interrotto con il Settimo Sigillo, ispirata agli orrori commessi decenni fa dal Mostro di Firenze. The Song of Adoration racchiude l’anima celestiale insieme con quella maledetta dei Death SS 2013, anche in questo caso il seme instillato da Crowley colpisce abbondantemente nel segno con un singolare capitolo del Suo Book of the Law, tradotto in note dal combo fiorentino e insufflato da inserti etnici di marca egizia. Passa senza impressionare la modernista Precognition e il disco si chiude con la rock’n’rolleggiante Bad Luck, episodio nel quale la band ironizza riguardo tutti quelli che negli anni nemmeno hanno avuto il coraggio di nominarli per esteso perché secondo Loro portava sfortuna, una presa in giro bella e buona indirizzata a gente priva di spirito, elemento che viceversa i Death SS dimostrano di possedere a quintali.

    Se pressoché ogni singolo pezzo contenuto all’interno di Resurrection può vivere di vita propria, altrettanto non si può asserire nei confronti dell’album in quanto tale. Il disco pecca nei rispetti della continuità, ossia quel sottile filo invisibile che idealmente lega le tracce fra loro e magicamente le fa crescere in modalità sinergica ascolto dopo ascolto. L’effetto finale è quello di aver fra le mani un ben concepito best of, con tutti i pregi e difetti del caso.

    Al di là di questo, l’ulteriore e succosa notizia è che la band tornerà ad esibirsi dal vivo, in contesti mirati, il primo dei quali si terrà a Noto (Sr), e vedrà i Death SS in posizione di headliner al Metal Camp Sicily il prossimo 16 agosto. La lunga attesa è finalmente finita. W(Hell)come Back!

  2. From Metal Rules: The legendary Italian band Death SS have delivered their latest record “Resurrection”, 7 years after their last full length album “The 7th Seal”. Though the band’s early material is more Heavy Metal oriented with some Goth and even proto-Black Metal musical elements thrown in, during the 1990’s Death SS’ sound shifted toward a more industrial rock style. “Resurrection” finds the band still dwelling within that industrial rock influenced sound, which honestly makes the band sound a derivative at times. While there are sections in the music that tease the listener into thinking that the group will break out of the industrial rock mode and into their old approach, the record really just sort of stays trapped within their new style.

    “Revived” kicks off the album with a danceable beat combined with Goth Rock keyboards and Metal riffs, and it sort of lays the groundwork for what the listener is to expect during the rest of the album.

    While the song has a pounding chorus and crunchy guitars, the band throws in some dance and techno interludes that in all honesty, have been used too many times by dozens of bands. The riff heavy songs “The Crimson Shine” and “Darkest Night” remind me of the band …And Oceans, and again make the listener wish that the band would bring their guitar riffs to the forefront and ditch the rest of the Industrial Rock and Techno music sounds.

    In the past, the band would throw in keyboards that sounded like the haunted movie soundtracks that Fabio Frizzi or groups like Goblin would record for Dario Argento or Lucio Fulci films. That would have been a big plus if incorporated on some of the songs on this record; however, the keyboards here sound like what you would hear at a Rave or Techno danceclub. “Eaters” ,which in my understanding is to be the band’s lead single to promote this record, is also plagued with the very same issues that I have discussed.

    There is also the element of sameness between songs that starts to creep in after a few minutes of listening to the record. In essence, about the only thing that I can recommend from this album is the song “Ogre’s Lullaby”. It actually reminded me a bit of their classic “Black Mass” song, with some Black Sabbath riffs thrown in along with eerie sounds and weird vocalizations. It is the only moment during the whole album in which I truly since any type of ‘resurrection’ or rekindling of the old fire from the band.

    I don’t think this album will appeal to many, not even Industrial Rock fans, basically because most of what the band has incorporated into their sound has been done a million times. It’s a shame, because Death SS is blessed with some great musicians, and the band are more than capable of delivering a solid album, as proven in the past.

    Apparently now the band is satisfied with merely delivering collections of songs that attempt to be hit singles, instead of records with songs that meld with one another thematically in order to create an ambiance, like in the past. I can understand the fact that a band should experiment with new sounds, but experimenting with new sounds and changing your style of music to achieve a broader appeal are two different things.

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