https://youtu.be/O657pY4nOOU

rirugiliyangugili - HOOLIGAN CHASER (ft. Yokai Jaki) [Prod.BENXNI]

HOOLIGAN CHASER (ft. Yokai Jaki) [Prod.BENXNI] *music vid in description*

KUJYO CYPHER (feat. EDWARD, rirugiliyangugili & Yokai Jaki)

STARKIDS - KUJYO CYPHER (feat. EDWARD(我), rirugiliyangugili, Yokai Jaki) (prod. AKVRI)

Jackass

Yokai Jaki - Knife Jack

Venom

Yokai Jaki - 442

Yokai Jaki - Welcome

108 (prod.fantommuzik)

KILL ME IF YOU CAN

“Seraphicide” opens The Desolation of the Abomination like a detonated god: a violent, ritualistic declaration that sets the album’s story in motion. This first chapter is not an allegory — it is the assault. It’s a sonic crucible where blackened deathcore brutality collides with apocalyptic atmosphere and suicidal grandeur. UNIDARK (Morning Star) sculpts the violence of the lyrics into music that feels like an execution: dissonant guitars that bite, drum work that alternates between militaristic march and machine-gun blast, cavernous low-end and vocals that move from bile-drenched growls to monstrous, shouted prophecy.

Lyrically, “Seraphicide” is direct and merciless. It depicts the physical and metaphysical overthrow of the divine: the striking of halos from heads, the shattering of sanctified icons, and the conversion of heavenly light into charred ash. The song’s narrative voice is an anti-prophet — equal parts butcher and visionary — whose acts are described in stark, corporeal language. That concreteness is mirrored by the production: guitars carved with razor precision, breakdowns engineered to feel like catastrophe, and layered atmospherics that keep the listener inside a landscape of collapsing altars and burning sanctuaries.

Musically this track sits squarely at the nexus of blackened deathcore and brutal deathcore, leveraging tremolo-picked black-metal textures and blackened dissonance while never losing the punishing low-end and syncopated chugs that define modern deathcore. Moments of bleak melody and cinematic noise lift the scene into something ritualistic — not peaceful, but formalized violence: a ceremony performed in acid and iron. The songwriting emphasizes contrast: surgically tight technical passages give way to wide, destructive grooves; whispered, venomous lines erupt into full-throated declarations of annihilation.

As the album’s opening salvo, “Seraphicide” functions on two levels: it introduces the protagonist’s mission (the deliberate dismantling of divinity) and establishes the album’s sonic law — nothing is sacred, and everything is subject to consumption. For listeners who track genres like deathcore, death metal, blackened metal and extreme metal, this is a meeting point of narrative and physical intensity: a compelling entry for fans who seek conceptual depth alongside crushing heaviness.

If you want to experience the full narrative arc, hearing “Seraphicide” as the opening chapter rewires the context for the entire album. On Bandcamp, buying this track or the complete album supports UNIDARK’s continuing work as a solo extreme-metal producer and ensures you receive high-resolution audio, exclusive future updates, and the best possible sonic reproduction of this harsh, detailed production.

Listen loud. Support directly. Follow UNIDARK (Morning Star) for the next chapter of the collapse. 

Buy on Bandcamp

Seraphicide

“Crypt of Madness,” the fourth descent on UNIDARK’s concept record The Desolation of the Abomination, abandons celestial warfare and authoritarian brutality to plunge inward — into the decaying architecture of the mind itself. If the earlier tracks wage war on heaven and the world, this is the uprising happening inside the skull. This is psychological collapse as theater. No grand villain. No divine enemy. Just thought itself turning predatory.

The lyrics portray consciousness as a locked chamber where intrusive thoughts mutate into parasites: “That’s not your heartbeat, that’s your thoughts scratching to get out.” Here, sanity isn’t lost — it’s actively hunted. Reality blurs into a nightmare of self‑inflicted horrors, hallucinatory self‑dismantling, and the constant dread that the voices behind your eyes aren’t yours anymore. This track refuses the romanticized idea of “madness” — it presents mental suffering as raw, vile, claustrophobic, and violently alive.

Musically, “Crypt of Madness” is one of the most unstable compositions on the album. Blackened deathcore chaos fractures into disorienting rhythmic shifts and glitch‑like guitar spasms, as if the song is trying to tear itself apart mid‑listen. Vocals mutate through layered schizophrenic snarls and suffocating growls — a performance that sounds less like singing and more like an exorcism inside the brain. When the breakdowns hit, they don’t slam — they spasm, resembling a seizure set to blast beats.

The song raises a core question echoed in its most chilling lyrical moment:
“Who the fuck decides what’s sane or death?”
It’s a challenge — not just to society’s perception of mental illness, but to the listener’s own trust in their consciousness. The “crypt” isn’t a metaphor — it’s the prison anyone can find themselves in when their own mind turns traitor.

For fans of avant‑garde heavy music, horror‑driven lyricism, and the psychological terror of acts like Anaal Nathrakh, Infant Annihilator, and early Slipknot, this track stands as a high point of creative derangement. It’s visceral. It’s uncomfortable. And that’s exactly the point.

Purchasing “Crypt of Madness” on Bandcamp supports the creation of extreme metal that refuses to sanitize the darkness. This is a track designed to trap you inside the head of the narrator, forcing you to breathe the same poisoned air while the walls of reality melt around you.

Enter the crypt. Listen too long — and it will enter you back.

Crypt of Madness

81022389-144 niepotrzebny płód

https://youtu.be/hcF6dCizRrA

rirugiliyangugili - CoD (ft. Lil Ash 懺悔, ₩ & Yokai Jaki)【Official Music Video】

CoD (ft. Lil Ash 懺悔, ₩ & Yokai Jaki) *music vid in description*

non-profit archive account
dm me on discord supvr for track removal