KRATORNAS

track-list:
Cursed Sky Serpent
Evil and Plunder
Ravaged by Hurakaan
Novena para Guerra

all songs performed, written, produced and mixed by Bruno Zamora
mastered by Dan Swano

album band line up:
Bruno Zamora – all instruments, vocals, chants

Dan Swano
(on mastering God of the Tribes):
“I think it’s a good thing that it is a bit darker for music this intense and with so much ‘action’ in the upper midrange.”
No Clean Singing:
“The new music IS unquestionably different from what you might expect based on the last album, though if you caught the album’s first single ‘Ravaged by Hurakaan’ you already know that, and you’ll get a further idea from the lyric video for another album track we’re premiering today, ‘Evil and Plunder’ which is the album’s shortest song… Now, to the music, which is surreal. In line with the raging words, the vocals are blistering in their incendiary screaming intensity, but what goes on around them is dazzling and also a bit bewildering. There are indeed no blast-beats, but the sharp clatter of the snare and crash of the cymbals are still attention-seizing, in part because the timing and nature of the outbursts is unpredictable. The fretwork is also unpredictable. Above bubbling bass upheavals the shrill guitars play off of each other. They vividly swirl and glitter, spiral and dive, squirm and spasm, dart about and blaze. Other strange sounds speckle the song with their own odd texures. The experience is exuberantly demented and exhilarating to hear, like a bizarre but still mesmerizing sonic hallucination and rightly described in a forthcoming press release as a ‘3-minute descent into ritualistic chaos and psychological warfare’. But the arrangement of all the song’s wild embellishments repeats and returns to them in ways that cause them to catch in the head. As for the mechanics of how these dazzling and bewildering sounds were made, both here and throughout the album, we’ve learned that it was recorded without compression or metronome, and that to create such unpredictable riffs, Bruno ‘bought a cheap left-handed guitar, even though I’m right-handed, forcing myself to play completely differently. The riffs were then transcribed back for a regular right-handed guitar, making them sound completely unnatural yet intentional’.”
Crannk:
“With the upcoming release of ‘God of the Tribes’, extreme metal entity Kratornas returns from the abyss with a devastating new record that leans into ritualism, atmosphere, and unapologetic chaos. For over two decades, Kratornas has operated as a one-man war machine, who has consistently rejected conformity, trends, and convention.”
Project Metal Music:
“My take on the album: It is unique and unconventional. The album is brilliantly performed and crafted. If you looking for something different with cutting edge performance this album is for you. The longer songs in the album is pure magic.”
The Headbanging Moose:
“Kratornas will forever bring forth a primeval form of Black Metal, darkening our thoughts and minds while at the same time preparing us all for our inevitable end. Best moments of the album: ‘Cursed Sky Serpent’ and ‘Novena para Guerra’. Worst moments of the album: None.”
Myths of Rock 8/10:
“It’s this progressive sense of composition that separates ‘God of the Tribes’ from many of its peers in the extreme metal scene. Even in its most chaotic moments, there’s a weird sense of direction, a dark, strange logic that guides the madness. Of course, this is not easy listening. It’s demanding, violent and uncompromising. But for those willing to give it time, attention and an open mind, ‘God of the Tribes’ delivers the essence of underground black metal. It’s not about catchy hooks or accessible melodies – it’s about raw spirit, musical extremity and vision. And Zamora has plenty of all three. Active since 1995, Kratornas has always lurked in the shadows of the black metal underground, but this album has the potential to push the project into a more prominent position – not through trend-chasing, but by sheer force of artistic will. ‘God of the Tribes’ is a declaration that Kratornas is still here, still raging, and still deadly serious. Black metal fans, take note – this is an album that deserves your ears.”
Rock Hard Italy:
“After thirty years since the birth of the solo project Kratorras, Bruna Zamora, alias Zachariah, drastically changes direction on the fourth album, abandoning the chaotic black-grind of the early works for an avant-garde death metal, stained with black, even more unbalanced and disturbing. Deliberately annoying compositions and sounds show the Filipino multi-instrumentalist, now based in Canada, tackling a plethora of instruments – including tubular bells, jaw harp, seven-string guitars, and fretless bass – which casts a shadow of constant screeching. Recorded without a metronome, ‘God Of The Tribes’ reflects the conceptual apocalypse with a raw production (the master is signed by Dan Swäno), where screams remain buried under layers of dissonance. ‘Ravaged By Hurakaan’ slightly hints at the sounds of the past, while in ‘Cursed Sky Serpent’ a solo recalls the chill of ‘Freezing Moon’. The rest of the work proceeds like a mad avalanche making its way through structures that are almost devoid of logical sense. The cover, as memorable as it is unpleasant (and censored on multiple platforms), completes the picture of an imperfect album, certainly not for everyone. Yet, it is precisely this anarchy that becomes its strength.”
Metal Temple:
“The music was energetic, and hyper… Call this album unique, that’s for sure, and If you can deal with chaos and dissonance, this album is for you.”
Canadian Assault
(2017 – Human Livestock 7″ EP):
“Kratornas has returned and have taken large steps in progression with their musical maelstrom of violence.”
No Clean Singing
(2016-Devoured by Damnation LP):
“What’s even better is that the music doesn’t just move in the sense that a rocket moves. The songs are more than sheer exultations in the thrill of speed and violence. They also change course. They veer into hammering grooves; they bolt into bursts of blood-pumping thrash riffing; they pulse like some kind of laser weapon being triggered. Yes, the songs are often deranged – when Kratornas is in full grind mode, you can imagine oceans of blood spray ejected from a fire hose and bodies being atomized in a frenzied butchery – but there’s impressive intricacy and dynamism in the songs, as well as jaw-dropping technical skill and manifest blood lust.”
Metal At The Gates
(2016-Devoured by Damnation LP):
“This album is intense. From start to finish Kratornas is absolutely relentless and have put together one hell of an album with a whole lot of everything in the mix without sounding repetitive.”
World of Metal Mag
(2016-Devoured by Damnation LP):
“While its – drum and guitar/voice – format might suggest similarities with the Inquisition, in sound terms are two quite distinct entities. Here there is a greater degree of chaos and a greater departure from the traditional scene (second wave of black metal) than the one we can find ourselves in Inquisition. Basically it is what would happen if we join powerviolence with black metal. It is something that impresses, without a doubt, but that may have a tendency to tire. Fortunately this does not happen much here because all the themes end up having healthy dynamics, mainly a healthy rib of primitive death metal ( plus an element to join the party) and mainly a solo guitar taken from the breca that looks like a bouncing diabolite. Awesome and surprising album.”

Extreme metal entity Kratornas has released the highly anticipated full-length album ‘God of the Tribes‘ (mastered by Dan Swanö – Edge of Sanity) through Grathila Records.
In a dramatic departure from previous works, ‘God of the Tribes‘ represents a significant shift in Kratornas’ approach.
The mastermind behind the project explains:
“This album marks a turning point for KRATORNAS. Not because it tries to be ‘different’ but because it couldn’t have come out any other way. Every part of this release came together naturally. The sound, the pacing, the tension… it wrote itself, shaped by instinct and intention. This album is unlike the usual Kratornas so to anyone expecting it to sound like ‘early Kratornas’ will be disappointed.”
And continues:
“I don’t know… If they’re expecting another ‘superfast brutality’ or ‘sudden excitement’, this album will alienate most of them. Look, Kratornas is done. I’m retired, and I’ve been doing ‘fast’ for the first 15 years, so it’s time to ‘evolve’ and do whatever I want with it now. On this album, I did use instruments that were new to me, like a 7-string guitar for L/R channels, a 6-string fretless bass, and more. I have the ‘gears’ now and this brings no limitations. It will disappoint because this one is NOT ‘fast’, no blast beats, no power chords, no distorted fizzy guitars, all that stuff will not be heard here. It’s about ‘BUILD UP’ this time. If listened to loud, it’s ENERGY, motivation, and aggressive behavior. If you sit down and listen to, with good headphones, it will bring out a different ‘experience’ because the mix is ‘moving and breathing’ if that makes sense. Kratornas is created by an active person for another active person. It’s not meant to be ‘experienced’ by some lethargic, depressed ‘dude’ with ‘mental health’ issues looking to experience some… ‘atmosphere’. Kratornas drives ‘function’: working out, contribute to community, train, fuck some women, etc. I don’t get this ‘suicidal metal’ experience. Never that I encouraged the ‘fans’ to slump inside, watch TV all day, and eat Cheerios. NO! We sleep when we’re dead! If you’re a hyper person, then Kratornas is your jam! It’s time to move forward, and since I can do whatever I want now, I can say this album is the most natural and most honest album I’ve ever done. It’s the start…”
“The album features some unusual instruments, but one remains completely unidentifiable. After it was recorded and warped beyond recognition, I can’t fully explain what it sounds like anymore.”
“Seven-string guitars were used for both left and right channels, each playing differently but locking together as one. 6-string fretless bass – channels raw tribal energy, while the drums pulsing African polyrhythms, pushing everything forward. Layered in the background are some ‘ominous’ keyboards, chimes, and a jaw harp. Expect NO to lesser blastbeats!”
‘CURSED SKY SERPENT’:
“The world is in ruins, destroyed by massive natural disasters and man-made weapons. Depicts rain of fire, a flood of blood from an ocean of dead bodies, tornadoes, and lava wiping everything out. The ‘Sky Serpent’ (or Green Comet) is an ancient god returning to end humanity. The lyrics mix old myths with modern ‘doomsday visions’; f.ex ‘Heeding the prophecy, Beasts from the sea’ were how ancient prophets described visions of the future, unable to recognize aircraft carriers, submarines, and destroyers. What they called ‘beasts’ were just modern machines of death.”
‘EVIL AND PLUNDER’:
“This is about the world falling apart. Endless creeping of war and violence. ‘Demons’ rise, plague spreads, and the idea of peace is non-existent. The lyrics talk about secret societies and symbols of ownership hidden in plain sight, with people turned into slaves (as seen on the album cover). It shows a world ruled by pure greed and cruelty, where religion and authority become tools for mass murder, and no one is spared from the coming slaughter.”
‘RAVAGED BY HURAKAAN’:
“Describing the world being torn apart on purpose by ‘hidden rulers’ who want to create a new order. Once again depicting war, man-made plague, and economic collapse wiping out humanity. The lyrics paint images of burning nations, bodies dragged to boiling waters, and people hunted like animals. It’s meant to show there’s no hope or salvation but only destruction planned by the higher-ups, leading to chaos and death everywhere. Killing yourself is not an option, it’s a reward!”
‘NOVENA PARA GUERRA’:
“This song is a twisted prayer calling for war, ending in a nuclear strike. It depicts deluge, drought, poisoned waters, and suffocating heat waves killing everyone. The chanting dance fertilizing the ground by blood, and singing at the end, makes it known that humanity is worshipping violence, not peace. Visualizes dark decades of dust (fallout), mountains of corpses, and endless battlefields. The message here is: There’s nowhere to run! No Hope! No Life! I HOPE YOU DIE!!”
“To create unpredictable riffs, I bought a cheap left-handed guitar, even though I’m right-handed, forcing myself to play completely differently. The riffs were then transcribed back for a regular right-handed guitar, making them sound completely unnatural yet intentional.”
The striking album artwork perfectly complements the thematic elements of the record, which draws heavily from apocalyptic imagery and ritualistic concepts.
“There’s a ‘slipcase’ to conceal the album artwork. It explicitly depicts what is happening now. I call it ‘comforting’ to look at, but anyone can have their own way of ‘describing’ it.”
Kratornas, formed in 1995, stands as the pioneering one-man extreme metal act originally from the Philippines and now based in Saskatoon, Canada.
With roots tracing back to the underground tape trading scene of the late 1980s, Kratornas has forged its own path through extreme metal, evolving from its early Satanic themes to apocalyptic visions and now to a more nuanced, ritualistic approach with this upcoming release that is recommended for fans of all sorts of black metal.