Country of origin:Italy
Location:Rimini, Emilia-Romagna
Status:Active
Formed in:2005

Genre:Black Metal (early), Post-Black Metal (later)
Lyrical themes:Existentialism
Current label:A Sad Sadness Song
Years active:2005-present
Compilation Appearances:- "I Commanded the Death's Touch" on MetalBeta Alliance Vol.1
- "1486" on Into the True Underground Spirit Compilation Tape (Holocaust of Dreams Records)

DISCOGRAPHY

Noise of War, Noise of Doom Demo 2006
Sentiero I - Empi inni alla consapevolezza di sé EP 2007
Kvlt666 Dominion - The Firstborn Evil Split 2008
Decadenza Full-length 2008
Sentiero II - Ceneri Full-length 2011
Manthe Full-length 2014
Chasm EP 2016
Through the Void, Above the Suns Full-length 2018 1

current line up

Adres Bass (2005-present)
See also: Omega, ///Suicide\\, Etere, Nahabat
Marco Ceccarelli Drums, Percussion (2005-present)
See also: Omega, ex-Hanging Garden, ex-Suicidal Nihilism, ex-..., ex-Ah Ciliz, ex-Dark Paranoia, ex-Meaning of Life, ex-Moloch, ex-Nostalgie, ex-Painful Depression, ex-Sieghetnar, ex-Fáfnir, ex-Grim Landscape, ex-Secretly in Pain, ex-Cold Wind, ex-Dysteria, ex-Etere, ex-Inherent Sorrow, ex-KZ9 vs. Vo)))id, ex-La Ville Des Rêves, ex-Nahabat, ex-NM0, ex-Sociopath (Mex), ex-The Ancient One, ex-Vo)))id
Dave Guitars (2008-present)
See also: Misere Nobis, Wear and Tear
Alexios Ciancio Vocals, Guitars, Synths (2009-present)
See also: Ashes of Chaos, Omega, Tha Goblvnz March, ex-Slave of Teloth

PAST MEMBERS

Silent Vocals (session)
See also: Seraphel
Nicolas Guitars (2005-2008)
Marcello Vocals (2006-?)
See also: The Thiks, ex-...

reviews

These guys know what they're doing! - 88%
Daemonia, July 19th, 2008
Just one small consideration: WHAT A FANTASTIC START FOR THIS GROUP! This release is just a wonderful example of how a very young group can self-produce an excellent Cd, in terms of musical production, arrangement, registration and songwriting.

Musically talking, this release is really enjoyable and is a display of the great musical capacities this group has. The songs, even though they have quite the same structure (which is: instrumental start with quick paced riffs, sudden slow tempo or acoustic guitar part, vocal part, then instrument crescendo until end), sound clear and easy to follow but in the same time give proof of an intense musical composition, which really invites you to listen to it; and do not appear repetitive or badly arranged.

Their Genre is clearly black metal (inspired by the first Dimmu Borgir and Emperor) with a very strong drone metal ( mainly from Sunn)))0 ) influence. For example, in the first song "Antica Europa"; guitar and bass keep the same slow riffing from beginning to end (clearly a drone metal influence) while the drums accelerate the rhythm by using double bass (mid speed) and inserting tom passages, together with the hi-hat and snare drum they usually use to keep the tempo.

Every song though is different from the other and the good point is that each one mixes very well black metal drumming (for the abundant double bass use and some really wild blast beats in “Facing the path to eternity”) and a harsh screaming voice with guitars that tend to play in a doom/drone metal style, with constant and slow riffs through all of the song and sometimes an acoustic guitar plays a short solo part, thus these short solo parts really remind me of Opeths Cd “Damnation”.

But don't think guitars can play just slow riffs because, suddenly, after the quite slow songs “Antica Europa” and “1486” (even though in its central part sounds very influenced by Darkthrone's black metal style) come the shorter but intenser songs, the last ones, so “Sogno Evanescente” that at the start switches between very slow riffs and much quicker and sharper riffs, together with a powerful blast beat and then comes the albums masterpiece, their best song: “Facing the path of eternity”.
And I can say: WHAT A KICK-ASS SONG! Nearly makes you forget the other three songs: this is a really sick and quick piece compared to the others, from start to end. In fact, the acceleration after the start is just a total head banger, followed by a wild blast beat and very quick guitar and bass parts. No slow downs, progressive tunes or repetitive riffs, this song's in pure black metal style without compromises, supported by a really angry screaming voice.

Pros: excellent production, superb drumming, simple but catchy guitar riffs and a very interesting songwriting

Cons: the voice has a very strange filter effect. It's really annoying when hearing the sung parts. Bass parts are very hard to hear, they should have given the bass a bigger part

In the end, I really hope they continue playing in this excellent way!

Hands (and ears) wide open - 68%
autothrall, August 29th, 2011
Italians Deadly Carnage have conceived a quandary for their sophomore Sentiero II: Ceneri, an album which strafes the margins between heavily structured, bombastic and melodic black metal and threads of a more graceful, atmospheric nature that reek of a Gothic doom spectrum. At times, the material seemed somewhat confused in its intent, but that's not to say that they lack some compositional ability, and the way they pursue such warlike, percussive rhythms is not something you often experience among the methodic, straight blasting practitioners who represent the lion's share of the medium. I will go on a limb and say that the album reminded me of Portugal's Moonspell: not the Gothic, friendlier mainstream Moonspell of the mid to late 90s, but the more crushing black roots from which they emerged (and have since returned).

This is primarily in the sense of melody they weave through the rather churning, grandiose fare like "Guilt of Discipline" or "Epitaph Part I", and also in the overbearing volume of the vocals, which are enormous and bloody, Marcello giving you the full breadth and agony of his throat. Another, more obvious parallel can be drawn to Bathory's Blood Fire Death. The Italians like to utilize a lot of crashing, enormous, dipping rhythms that jerk the listener in and out of an almost Viking swagger of belligerence (also heavily present in the opener, "Guilt of Discipline"). Shifting and intricate walls of streaming tremolo guitars and intense double bass ability help to escalate these influences into a more precise, modern context. But then, there is the atmospheric and 'epic' side of this effort, like the 9 minute "Parallels" which feels like Falkenbach, Bathory and Dornenreich in a bloodied sea battle, with brief spurts of calm and deviation. Or the closer, "Ceneri", which is a tranquil and eloquent, 9+ minute piece with clean vocals.

Despite the obvious arsenal at their disposal, though, I did not find the majority of the music here to stick on me. Deadly Carnage could never be accused of lacking variation, evocative lyrical imagery or musical proficiency, because Sentiero II: Ceneri exhibits all of these elements in spades. For some reason, though, the content rolls off me like a wave breaking and ending its journey from the deeper sea. The various acoustic and distorted guitars, tempo shifts and vocals are all well integrated, and feel like they're telling a clear story, but they don't really add up to something I want to revisit. I also found the cover image, band name and lyrical ingredient to contrast a bit widely. There is passion and pain here, a stirring of emotions, but 'deadly carnage' seems about as fit as 'rotting christ' to that Greek band's later works. But this is a minor gripe for an album upon which the drummer plays a solo with his hands ("Ceneri"). Ultimately, I might laud the Italians for their stylistic hybrid, and their unique, strangely uplifting prose, but I didn't come out of the album heavily impressed by the actual songs.

-autothrall
http://www.fromthedustreturned.com

An Absolutely Thrilling Album! - 90%
SlayerDeath666, May 29th, 2018
Italy is probably not one of the first countries that comes to mind for outstanding black metal. It is a country known primarily for its wealth of outstanding power metal after all. However, there are always diamonds to be found in the rough and Deadly Carnage are certainly one of them. Through the Void, Above the Suns is their fourth album and it brings forth a unique blend of post-black metal and atmospheric doom that is not only artistically compelling but also thoroughly enjoyable.

The one thing that immediately jumps out at you about this album is the riffs. Most forms of black and post-black metal are not known for having high-quality riffs but Deadly Carnage bucks that trend. The riffs on this album are fantastic, with plenty of heaviness in the tone while also displaying an excellent sense of melody. Consider the mid-album instrumental “Cosmi” as a prime example. It starts with a plodding, doomy riff, layers in a gorgeous guitar melody, and speeds up a tad while still maintaining the doomy atmosphere and pace until speeding up further for a blissfully bleak mid-section. Naturally, it goes back to the doomy pace to finish out the song but that is a lot going on for a song under three minutes. It is not all slow and doomy though as “Lumis” boasts decent speed (for the style) and a fast and furious, tremolo picked mid-section. Even in the tremolo picking though, the atmosphere and tremendous melodies are maintained and that is what sets Deadly Carnage apart from many of their peers.

The drumming on this album is truly excellent. There is very little speed in Marco’s style here but you can tell that every fill and every beat has purpose. Nothing he does is on a whim or left to chance and it makes the album that much more compelling. There is one exception and that is “Divide,” which contains multiple sections of unrestrained blast beats and double kick drumming. Even then, there is plenty of atmosphere as Marco plays the black metal standard slower than usual. There is plenty of bombast in Marco’s style but it all has a purpose and he mixes in a lot of variety over the course of the album. Just listen to the opening pattern of “Matter.” It sounds like the slow, steady drums of a battalion going off to war. It eventually speeds up but also brings in some nice cymbals to add to the fray.

Alexios’ vocals on this album are really interesting and very well done overall. His harsh vocals are harsh enough to fit the post-black bill but clean enough to where you can sort of understand the lyrics. His clean vocals are top-notch too and the way he can flow between them so easily makes the album pretty easy to follow. His cleans are the kind of soaring vocals you expect in post-black and they have more power and bite to them than those of say, Neige. “Ifene” is almost entirely clean vocals and if you understand Italian, you could probably figure out the lyrics. Alexios also handles the synths and shares the guitar duties with Dave, which allows the band to really flesh out all the progression, even interspersing three short instrumentals throughout the album. Naturally, it helps a great deal that the synths provide a wonderful atmosphere for this album with plenty of enchanting melodies.

This album is obviously not for everyone but if you are a fan of post-black metal in all its bleak, soaring glory, you should definitely give this a few spins. The atmosphere is incredible and while things may start out fairly bleak, it evolves over the course of the album. As bleak as “Matter” sounds, “Divide” is one of the most bliss-filled, hopeful black metal songs ever written. What this album lacks in speed, it more than makes up for with its heaviness, atmosphere and incredibly strong compositions. It is still early but this should be a strong contender for the top 10 come December.

- originally written for The Metal Observer