The Headbanging Moose Show – Thursdays @ 20:00 UTC+2 exclusively at Midnight Madness Metal e-Radio

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Attention, metalheads!

It’s time to rumble with THE HEADBANGING MOOSE SHOW every Thursday @ 20:00 UTC+2 (with a reprise on Saturdays @ 19:00 UTC+2) exclusively at Midnight Madness Metal e-Radio, your Greece-based web radio blasting the best of heavy music nonstop 24/7!

Presented by Gustavo Scuderi, The Headbanging Moose Show will bring to you the cream of underground metal music, giving you a short and sweet background on every band played on the show. No silly jokes, no shenanigans… THIS IS PURE F****N’ METAL!

So remember, EVERY THURSDAY @ 20:00 UTC+2 (with a reprise on Saturdays @ 19:00 UTC) tune into Midnight Madness Metal e-Radio to enjoy one hour of kick-ass underground metal from all over the world, courtesy of The Headbanging Moose!

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Don’t forget to follow The Headbanging Moose on Facebook to know beforehand which bands will be played on the show every week.

And if you want to have your new album reviewed at The Headbanging Moose AND played at Midnight Madness Metal e-Radio, simply get in touch with us through our CONTACT US page.

Album Review – Unwanted Guest / Grave Metallum (2022)

Influenced by the rock and metal bands he grew up with in the 80’s and 90’s, a British vocalist and multi-instrumentalist invites us all to listen to his first solo album.

Influenced by the rock and metal bands he grew up with in the 80’s and 90’s, coupled with his unique melodic writing style, England-based NWOBHM band Seventh Son guitarist Dave Fox takes on his solo project under the name Unwanted Guest, a dream come true for Dave himself that was only possible due to the timeout taken by Seventh Son during the Covid-19 pandemic (like what happened with most bands). After the release of the project’s 2021 four-track self-titled debut EP (with all proceeds going to UK’s biggest mental health charity Mind), Dave and his Unwanted Guest are back this year with a full-length opus titled Grave Metallum, offering us all 12 amazing tracks of retro-modernist metal music all written, sung, played and produced by Dave himself, and I’m sure you’ll have a very good time enjoying the full album it doesn’t matter if you’re familiar with Dave’s work with Seventh Son or not.

As you hit play the Hard Rock riffs by Dave will kick off the opening tune Autopsy, a solid tune where his Myles Kennedy-like vocals add an extra dosage of electricity to the overall result, and keeping the energy level high it’s time for Dave to slash his guitar in great fashion in Birth Machine Baby, showcasing not only a pleasant pace but also a catchy and exciting chorus (“One hundred years from now none of us will be around / We’re singing ‘welcome to the nation’ / Birth machine baby coming at you maybe / Save all your dying for me”). The song that carries the name of the project, Unwanted Guest, reminds me a lot of some of the best creations by Velvet Revolver and Stone Temple Pilots spiced up by its 70’s-inspired background keys, whereas the title-track Grave Metallum is a song in honor of all of our deceased rock and metal heroes with Dave being on fire with both his riffs and beats while at the same time he explains why rock is hanging by a thread (but will never actually die). Future Not Fear presents another round of his fusion of Progressive Rock and Metal with more straightforward Rock N’ Roll sounds, with Dave once again hypnotizing us all with his Deep Purple-inspired keys, and there’s no sign of slowing down as he keeps fueling our inner rockin’ fire with Blood on the Saw, bringing forward heavy, dirty riffs combined with more of his classic vocals.

Our lone wolf keeps embellishing the airwaves with his piercing riffs and solos in the Rock N’ Roll party Load Shift, also drinking from his beloved 90’s rock and metal fountain, resulting in an awesome option to add to your road trip playlist. Waterfall not only has a chorus that is as catchy as it can be (“Down the waterfall / One last breath to call / Down the waterfall / Into the darkness”), but it could also be played at any radio station anywhere in the world with Dave doing an amazing job armed with his guitar and bass, whereas Only One Chance sounds a bit generic compared to the rest of the album, albeit Dave still showcases his trademark riffs and melodic vocals during the whole song, of course. Back to a more metallic, thrilling mode it’s time for Takin’ All the Money, where it’s impressive how he is capable of sounding like the dynamic duo Scott Weiland and Slash all by himself in a thrilling hybrid of classic Rock N’ Roll with modern-day Hard Rock; and Dave’s rockin’ feast has no time to end, so grab a cold beer and hit the dance floor to the sound of the awesome Brain Shadow, presenting an amazing pace full of groove and feeling with his sharp riffs walking hand in hand with his old school keys. And finally, let’s all bang our freakin’ heads one last time with Dave in Every Part of Me, also blending progressiveness with more modern sounds while also displaying interesting vocal effects.

After listening to Grave Metallum in its entirety, which by the way you can do on Spotify, you’ll feel extremely energized and ready to rock with the multi-talented Dave Fox, who’s waiting for you on Facebook and on Twitter to provide you with news about Unwanted Guest and other nice-to-know details about his career. Furthermore, in order to show him all your support, go grab your copy of Grave Metallum from the project’s BandCamp page, or click HERE for all locations where you can buy or stream his music. As opposed to the name of the project, I’m sure Dave and his Unwanted Guest will be a very welcome guest to your collection of rock and metal albums, inspiring this multi-talented British musician to keep kicking some ass armed with his vocals and all instruments in the project’s future releases.

Best moments of the album: Birth Machine Baby, Unwanted Guest, Future Not Fear and Brain Shadow.

Worst moments of the album: Only One Chance.

Released in 2022 Independent

Track listing
1. Autopsy 3:12
2. Birth Machine Baby 4:24
3. Unwanted Guest 4:39
4. Grave Metallum 4:45
5. Future Not Fear 3:38
6. Blood on the Saw 3:25
7. Load Shift 3:13
8. Waterfall 3:53
9. Only One Chance 3:52
10. Takin’ All the Money 2:51
11. Brain Shadow 4:23
12. Every Part of Me 3:56

Band members
Dave Fox – vocals, all instruments

Album Review – Ratos de Porão / Necropolítica (2022)

The iconic João Gordo and his crew show no mercy for the absolute disaster that’s the current Brazilian government, bringing to us all a true masterpiece of Punk Rock and Hardcore.

If you take a quick look at the current political, economic and environmental situation in Brazil, you’ll notice things are not going well. Quite the contrary, the whole situation is Brazil is beyond delicate and catastrophic, and that’s the main reason as to why São Paulo, Brazil-based Hardcore/Punk Rock veterans Ratos de Porão have just released the fantastic Necropolítica, or “necropolitics” in English, their thirteenth studio album and their first since the 2014 album Século Sinistro. Known for their rebelliousness and acid lyrics since their inception in the distant year of 1981, vocalist João Gordo, guitarist Jão, bassist Juninho and drummer Boka show absolutely no mercy for the nasty, disastrous government of Brazilian president Jair Bolsonaro throughout the entire album, dealing with topics such as the rising far-right movement in the country, the countless deaths during the Covid-19 pandemic, and the strong negative impact of the influence of the country’s evangelical church in all of the decisions taken by Bolsonaro and his horde of ignorants, all wrapped up by a sinister artwork designed by Rafael Gabrio, who intentionally made it very similar to Black Sabbath’s cult cover for Sabbath Bloody Sabbath, as personally requested by João Gordo himself.

The sound of a dying patient using a mechanical ventilator kick off the absolutely vicious Alerta Antifascista (“anti-fascist alert”), where Boka smashes his drums ruthlessly offering João Gordo exactly what he needs to vociferate the song’s austere lyrics, whereas Aglomeração (“agglomeration”) is a freakin’ awesome Punk Rock and Hardcore creation by the quartet where Jão is on absolute fire with his demented riffs, or in other words, simply slam into the circle pit and “pray for Jesus” to protect you in there (without a mask, of course). More melodic and dancing than its predecessors, Passa Pano Pra Elite (“cover up for the elite”) is an excellent option for their live performances where the bass jabs by Juninho complement Jão’s solos flawlessly, followed by the title-track Necropolítica (“necropolitics”), a fast and furious extravaganza that matches perfectly with the current actions of the Brazilian government, with João Gordo blasting his trademark roars nonstop. It’s almost like a new “national anthem” for the country, which can also be said about Guilhotinado em Cristo (“guillotined in Christ”), offering us all another round of their old school Punk Rock and Hardcore with Thrash and Death Metal elements while Boka once again hammers his drums like a beast.

The band once again adds hints of Rockabilly to their core sonority (and the final result is brilliant) in O Vira-Lata (“the mutt”), with Jão and Juninho being yet again in absolute sync with their stringed weapons while João Gordo sends all his “love” to Bolsonaro and his hideous family. G.D.O. actually means “gado”, the Portuguese word for “cattle” which is how the followers of Bolsonaro are called, and the music gets back to a more frantic, demented sonority while João Gordo talks about how harmful all fake news spread by those idiots can be to the society; followed by Bostanágua, or “bosta na água” (“shit in the water”), a play word with Bolsonaro’s name, a straightforward, in-your-face Hardcore tune where João Gordo keeps barking rabidly while Boka dictates the song’s electrifying pace. Entubado (“intubated”) is a song about the horrible situation that happened in the city of Manaus, in the middle of the Amazon, where due to a total lack of support from the government several people sadly died without oxygen during the peak of the Covid-19 pandemic, and the music is not only brutal but perfectly depicts all that despair; and lastly, Neonazi Gratiluz, with “gratiluz” being the combination of the words “gratitude” and “luz”, or “gratitude” and “light”, is a way to refer to the Brazilian white supremacist elite who believes they’re better than everyone else and who keep sending “good vibes” to everyone (when in fact they’re not). Needless to say, Jão slashes his guitar in great fashion accompanied by the classic beats by Boka throughout the entire song, culminating in the perfect conclusion to such meaningful album.

It doesn’t matter if you don’t understand a single word in Portuguese, Necropolítica is a must-listen for any fan of heavy music, and you can enjoy the album in full on Spotify, as well as show your total support to Ratos de Porão by following them on Facebook and on Instagram, and by purchasing their newborn beast from their own webstore or by clicking HERE. To be honest, based on the endless crimes committed by Bolsonaro and his henchmen and all the garbage he vomits everyday to the press, I think Ratos de Porão might need to record parts II, III, IV, and so on of Necropolítica, which despite being really sad news for Brazil as a country, it’s a good thing for the world of Punk Rock, Hardcore and Heavy Metal. Hopefully the evil Bolsonaro won’t be re-elected this year and Ratos de Porão can get back to their less obscure lyrics in their future albums, but we must all admit Necropolítica is a masterpiece of Brazilian rock music that will always remind us of the dark times Brazil is living right now.

Best moments of the album: Aglomeração, Necropolítica, O Vira-Lata and Neonazi Gratiluz.

Worst moments of the album: Absolutely none.

Released in 2022 Shinigami Records

Track listing
1. Alerta Antifascista 3:31
2. Aglomeração 2:29
3. Passa Pano Pra Elite 3:42
4. Necropolítica 2:32
5. Guilhotinado em Cristo 3:09
6. O Vira-Lata 3:39
7. G.D.O. 2:08
8. Bostanágua 2:08
9. Entubado 4:10
10. Neonazi Gratiluz 4:06

Band members
João Gordo – vocals
Jão – guitars
Juninho – bass
Boka – drums

Album Review – Oathbringer / Tales of Glory (2022)

Let’s head into the battlefield together with this promising Serbian band armed with their debut opus, offering us all an overdose of pure, unfiltered Heavy Metal.

Formed in the city of Kragujevac, Serbia at the end of 2019 as a project of guitarist Lazar “Berserker” Zakić under the name Riddle of Steel, the incendiary Heavy Metal army currently known as Oathbringer is set to release their debut opus, entitled Tales of Glory, bringing to our metallic ears an overdose of pure, unfiltered metal music. Recorded at Studio Coolijana, produced by Marko Petković Petko, and displaying a dark, heathen artwork by Velio Josto, known for his work with bands such as Vulture, Enforcer, Riot V, Iron Angel and Warlord, Tales of Glory offers the listener a selection of classic Heavy and Power Metal songs carefully brought forth by the aforementioned Lazar “Berserker” Zakić on the guitars together with his bandmates Miloš “Priestkiller” Stošić on vocals and bass, Petar “Axxer” Đorđević also on the guitars, and Bora “Helldiver” Petrović on drums, pointing to a promising future ahead of those Serbian warriors.

Simply hit play and the epic intro Arrival will invite you to the world of Oathbringer before the band comes ripping in Odin’s Call, where Lazar and Petar rev up their engines to the sound of their stringed axes while Bora dictates the pace with his classic beats, not to mention how powerful Miloš sound with both his vocals and bass. More of the band’s old school Heavy Metal infused with groovy and dirty sounds is offered to us all in Hail to the King, a headbanging party led by the raspy vocals by Miloš with Bora pounding his drums like the hammer of Thor (as the guys from Manowar would say); whereas putting the pedal to the metal it’s time for the quartet to head into the battlefield to the sound of Stand or Fall, a high-octane Heavy and Power Metal hymn where the band’s guitar duo is on absolute fire with their raw, visceral riffs and solos.

Venturing through Hard Rock lands the band inspires us to raise our horns to Alone in the Night, bringing to our ears another thrilling performance by Lazar and Petar on the guitars; and an acoustic, ethereal start to the melancholic vocals by Miloš kick off the Lord of the Rings-inspired ballad The Ring, sounding utterly beautiful from start to finish and, of course, very enfolding and epic. Then back to their heaviest mode it’s time for the breathtaking Shayol Ghul, with Bora kicking some serious ass behind his drums while also reminding me of the fastest tunes by Stratovarius with a Power Metal twist. The band continues to blend the heaviness of Thrash Metal with the epicness of the music by Manowar in Moria, which should work really well if played live due to its headbanging rhythm and catchy chorus, ending in a classy way to the sound of a piano. In addition, as a bonus the band offers us all the demo version for Under the Spell, from when the band was still called Riddle of Steel. As it’s “just” a demo it’s not as detailed as the rest of the album, but that doesn’t mean it’s not as powerful and in line with the band’s core sound.

After all is said and done, you’ll certainly feel the urge to grab your sword and shield and head into the battlefield together with the guys from Oathbringer, and you can start doing so by following them on Facebook and on Instagram for news, tour dates and other cool info about the band. Furthermore, don’t forget to show your utmost support to the Serbian underground by purchasing the excellent Tales of Glory by clicking HERE, keeping the fires of classic Heavy and Power Metal burning in the beautiful country of Serbia. Oathbringer were capable of turningtheir tales of glory into first-class metal music in their first full-length album, and I’m sure that when their sophomore album is released they’ll sound even stronger, more focused and more powerful for our total delight.

Best moments of the album: Hail to the King, Stand or Fall and Shayol Ghul.

Worst moments of the album: Under the Spell.

Released in 2022 RTR Records

Track listing
1. Arrival 0:50
2. Odin’s Call 4:20
3. Hail to the King 3:49
4. Stand or Fall 3:46
5. Alone in the Night 4:16
6. The Ring 4:02
7. Shayol Ghul 5:29
8. Moria 6:01

Bonus track
9. Under the Spell (demo) 4:32

Band members
Miloš “Priestkiller” Stošić – vocals, bass
Lazar “Berserker” Zakić – guitars
Petar “Axxer” Đorđević – guitars
Bora “Helldiver” Petrović – drums

Guest musician
Luka Milošević – guitars on “Under the Spell”

Album Review – Kreator / Hate Über Alles (2022)

Let the hate flow through you to the sound of the magnificent new opus by one of the trailblazers of the German Thrash Metal scene.

Recorded at Hansa Studios and Studio Wong, both located in Berlin, Germany, produced by Arthur Rizk, and displaying a classy, demonic artwork by renowned Israeli artist Eliran Kantor, Hate Über Alles is not just the fifteenth studio album by German Thrash Metal masters Kreator, but the band’s first studio album since their 2017 opus Gods of Violence, marking the longest gap between studio albums in their career, and the first to feature former DragonForce bassist Frédéric Leclercq, who replaced longtime band member Christian “Speesy” Giesler in 2019. And what do I think about the album? Well, let’s say Kreator more than nailed it once again, with the iconic Miland “Mille” Petrozza on vocals and guitar, Sami Yli-Sirniö also on the guitar, the aforementioned Frédéric Leclercq on bass, and Jürgen “Ventor” Reil on drums delivering sheer violence, blasphemy and hatred with a welcome dosage of progressiveness and experimentations throughout the entire album, therefore keeping the fires of German thrash burning bright for our total delight.

Sergio Corbucci was an Italian film director, screenwriter and producer who directed both very violent Spaghetti Westerns and bloodless Bud Spencer and Terence Hill action comedies, and there’s nothing better than the Spaghetti Western intro Sergio Corbucci Is Dead to set the stage for Kreator to kill in Hate Über Alles, with both Mille and Sami kicking some fuckin’ ass with their undisputed thrashing riffage. Put differently, a new metal anthem is born overflowing fury and hatred, and of course without a single second of boredom. Then in Killer Of Jesus we face an endless amount of brutality spiced up by absolutely austere lyrics (“Tell the hordes / I’ve come to save them all / Could their souls be dead / Or why can’t I hear their words? / Goddess of time / Always by my side / Faithless redemption / Is this what they have been praying for?”), with Ventor sounding demented behind his drums in another must-listen to any fan of our good old Thrash Metal, whereas the tribal beats by Ventor ignite the neck-breaking Crush The Tyrants, with Mille flawlessly vociferating the song’s visceral words. Strongest Of The Strong is very exciting from start to finish, with Mille and Sami delivering first-class riffs and solos throughout the entire song, resulting in another serious candidate to be part of their live performances, followed by Become Immortal, where I must say I love how Kreator are honoring all metal legends (including themselves) in their past few albums, with the song’s  galloping pace inviting us all to raise our horns together with one of the most important Thrash Metal bands of all time.

Conquer And Destroy brings forward old school Kreator for diehard fans of the band, and it will surely ignite some amazing circle pits if played live while Mille leads his horde with both his piercing vocals and melodic but razor-edged riffs and solos; and featuring guest vocalist Sofia Portanet, the hypnotizing Midnight Sun is by far the most experimental of all songs, with the final result being utterly captivating as if we were part of an uncanny, bloodthirsty Scandinavian midsummer festival. Demonic Future offers us all another round of wicked lyrics roared by Mille (“In terror, in riots in war / Just when you thought that you’ve seen it all / Awareness turns to repulsion / From everywhere, echoing chants / A requiem for their bitter lands / Just when you thought a sick society / Died in their final convulsions / Fantasies of omnipotence / Erased they’ll become aware”) while the music is that beautiful Thrash Metal we love so much, with Frédéric and Ventor making the earth tremble with their respective bass and drums, and when the entire album is awesome a song like Pride Comes Before The Fall that’s “just” very good becomes the “worst” one, albeit still showcasing of course Kreator’s unique thrashing sounds. And last but not least, Kreator darken the skies and send an apocalyptic message to everyone in Dying Planet, presenting hints of Doom Metal in their core sonority and, consequently, inspiring us to break our necks headbanging in the name of darkness together with Mille and his crew.

Kreator Hate Über Alles Deluxe Box

It’s time to let the hate blasted by Kreator in their outstanding new album flow through you, and you can do that by streaming it in full on YouTube and on Spotify, and obviously by purchasing it from the band’s own webstore or by clicking HERE or HERE, where you can by the way find the limited deluxe box including the red and black splatter double vinyl with etching on side D in trifold cover, a digibook CD, a digipack live CD, a photobook, the artprint and a pin. Furthermore, Kreator are waiting for you on Facebook, on Instagram and on YouTube for news, tour dates and more of their flammable music. Because in the end as you might already know it’s hate above all, as long as it’s blasted by an undisputed thrashing institution like Kreator.

Best moments of the album: Hate Über Alles, Killer Of Jesus, Strongest Of The Strong, Conquer And Destroy and Demonic Future.

Worst moments of the album: Pride Comes Before The Fall.

Released in 2022 Nuclear Blast

Track listing
1. Sergio Corbucci Is Dead 0:58
2. Hate Über Alles 3:48
3. Killer Of Jesus 4:05
4. Crush The Tyrants 4:10
5. Strongest Of The Strong 4:01
6. Become Immortal 4:23
7. Conquer And Destroy 4:45
8. Midnight Sun (feat. Sofia Portanet) 3:38
9. Demonic Future 4:43
10. Pride Comes Before The Fall 4:48
11. Dying Planet 6:52

Band members
Miland “Mille” Petrozza – vocals, guitar
Sami Yli-Sirniö – guitar
Frédéric Leclercq – bass
Jürgen “Ventor” Reil – drums

Guest musician
Sofia Portanet – female vocals on “Midnight Sun”

Album Review – Anachronistic / 700 And 19 Ways Of Decay (2022)

Have fun with the Blackened Hardcore blasted by two ex-pats, centering around the vocalist’s life experiences and incorporating elements from his job into their sonic madness.

The product of two ex-pats, those being American vocalist and lyricist Matt Ramarge (currently living in South Korea) and Ukrainian multi-instrumentalist Umarlak (currently residing in Poland), joining forces to create something truly unique, a heavy Black Metal sound overlaid with Hardcore vocals, or Blackened Hardcore if you prefer, Anachronistic have just unleashed upon humanity their debut effort, entitled 700 And 19 Ways Of Decay, the first installment of a metal trilogy in the works by the duo. Produced by Anachronistic themselves, mixed by Umarlak, mastered by Andreas “Jonsson” Westholm at Dark Prod Studios, and displaying a gory artwork by Indonesian artist Adi Dechristianize, the album centers a lot around Matt’s life experiences and incorporates elements from his job (by the way, 700-19 is the actual contract paperwork for working in Korea as a US contractor), being recommended for fans of Blood For Blood, Hatebreed and Behemoth, just to name a few.

Thunders cracking work as an intro to Recall, a metallic Black Metal storm led by the violent beats by Umarlak who also delivers sheer hatred from his riffage while Matt growls and barks in the name of Hardcore; whereas Time To Drink is more rhythmic and deranged than the opening tune, with Umarlak doing a great job armed with his unstoppable guitar and low-tuned bass, therefore living up to the legacy of Black Metal and Hardcore and inviting us all to slam into the pit manically. The duo is on fire from the very first second in the massive, extreme music feast entitled Late Night Fundraising, where Matt’s inebriate, deep vocals add an extra layer of insanity to the overall result, and if you think they will slow down or soften their sound at a given point in the album you’re absolutely wrong, as Matt’s raw screams and the Black Metal avalanche crafted by Umarlak will decimate you in Festering Stench.

Let’s slam into the circle pit like there’s no tomorrow with Going To The Ball, a beyond truculent Black Metal tune infused with the most electrifying elements from Hardcore where Umarlak’s instrumental feels like a nuclear bomb so heavy and sharp it sounds, while in Eruption Of A Hork Filled Gut we face another round of their unfriendly sounds presenting hints of the Rock N’ Roll played by Motörhead, with Umarlak creating a puissant wall of sounds with his riffs and beats, supporting Matt and his enraged roars. Follow The Rules Or Die is just as noisy and dense as its predecessors with Matt doing a great job once again with his deep roars; the song loses its grip after a while, but it’s still very enjoyable if Blackened Hardcore is your cup of tea. And it’s time for one final Extreme Metal explosion in the form of Hatred For Work Causes Gout, with both Matt and Umarlak sounding possessed by a demonic entity, consequently enhancing the song’s impact and putting a visceral conclusion to the album.

“We tried to encapsulate a dark and raw merging of genres with this band. The vison behind Anachronistic initial trilogy LP release is to get people hooked on the concept and leave fans waiting for the next chapter to come out. Sonically and emotionally this album is really fun to listen to from a ‘bird’s eye viewpoint’. Once fans dig deeper into the song lyrics and album cover they will realize this is a true, hilarious story that will continue through two more releases, getting darker, heavier, nastier with each release. Even as a standalone release, 700 and 19 Ways of Decay will stand strong amongst fans of Black Metal and Hardcore,” commented the band about their newborn beast, which is by the way available for a full listen on YouTube and on Spotify. In addition, don’t forget to give the duo a shout on Instagram, and of course to purchase 700 And 19 Ways Of Decay from the band’s own BandCamp page, banging your head nonstop until the second chapter of the adventures of Matt Ramarge see the light of day in a not-so-distant future.

Best moments of the album: Time To Drink, Going To The Ball and Eruption Of A Hork Filled Gut.

Worst moments of the album: Follow The Rules Or Die.

Released in 2022 Independent

Track listing
1. Recall 4:48
2. Time To Drink 3:59
3. Late Night Fundraising 3:11
4. Festering Stench 4:20
5. Going To The Ball 3:33
6. Eruption Of A Hork Filled Gut 3:02
7. Follow The Rules Or Die 4:55
8. Hatred For Work Causes Gout 3:38

Band members
Matt Ramarge – vocals
Umarlak – all instruments

Album Review – Am Himmel / As Eternal As The Starless Kingdom Of Sorrow (2022)

An ecclesiastical nightmare formed by emanations from the metaphysical voids trapped in the eternal light arises to the sound of its debut effort of unearthly Atmospheric Black and Doom Metal.

“As for thee also, by the blood of thy covenant I have sent forth thy prisoners out of the pit…”

An ecclesiastical nightmare formed by emanations from the metaphysical voids trapped in the eternal light, Atmospheric Black/Doom Metal entity Am Himmel, which translates as “in the sky” from German, is the new solo project from vocalist and multi-instrumentalist JMKP, an old soul from the Netherlands whose inspiration lies between doomy synth-based Drone, raw Black Metal and Shoegaze, channeling ancient and metaphysical energies through the combination of eerie soundscapes with raw and buzzing extreme music in his newborn beast entitled As Eternal As The Starless Kingdom Of Sorrow. There’s a sinister and unearthly atmosphere surrounding the whole record, not just from the devilish growls and shrieks, but also from the hypnotic mystical synth layers, being therefore highly recommended for admirers of the music by Urfaust, Lurker of Chalice and Xasthur, among other servants of darkness.

Bleared By The Infinite Wings is darkly noisy from the very first second, inviting us all to the ethereal world of Am Himmel by blending the melancholy of Atmospheric Black Metal with the obscurity of Doom Metal. Moreover, JMKP does an amazing job with both his sluggish beats and anguished gnarls, and continuing his path of darkness it’s time for The Patience And Silence Of A Saint’s Death, even more somber than its predecessor with our lone wolf’s devilish roars penetrating deep inside your mind in a lecture in Atmospheric Black Metal. Then get ready for over seven minutes of whimsical passages, slow and steady beats and cryptic vociferations in the form of The Virgin Wages Celestial War In The Seraphim Courts, flowing smoothly until the very last second thanks to the piercing riffage by the project’s mastermind; whereas adding elements from Drone and Ambient music to his core sonority JMKP offers us all the visceral The Fumes Of Thy Preposterous Torment, where all background elements match perfectly with his demented gnarling and vile beats, resulting in first-class extreme music. Once again bring to our ears sheer obscurity and despair, JMKP will drag you to his Stygian lair to the sound of his hypnotizing drums and screaming guitars in The Bewildered Firstling Thrusts The Knife Into Her Brother; and lastly, our multi-talented Dutch metaller brings forward another round of wicked, venomous sounds in the title-track As Eternal As The Starless Kingdom Of Sorrow, a song which not only concludes the album on a high note, but that will also please at the same time fans of old school Black Metal and admirers of modern-day Atmospheric Metal hands down.

If you want to put your doomed hands on As Eternal As The Starless Kingdom Of Sorrow, you can soon purchase it directly from Am Himmel’s own BandCamp page, as well as from the Burning World Records’ BandCamp page or webstore (for the US or the rest of the world customers). A starless kingdom bereft of celestial pureness, evoking strange rituals in the gothic catacombs of Christianity and insanity, Am Himmel will certainly change your view of Atmospheric Black and Doom Metal for the better, with As Eternal As The Starless Kingdom Of Sorrow beautifully representing everything JMKP and his new project stand for and, consequently, positioning it not only as one of the most promising names of the Dutch scene, but also as one of the driving forces of the genre worldwide.

Best moments of the album: The Patience And Silence Of A Saint’s Death and The Fumes Of Thy Preposterous Torment.

Worst moments of the album: None.

Released in 2022 Burning World Records

Track listing
1. Bleared By The Infinite Wings 6:56
2. The Patience And Silence Of A Saint’s Death 5:12
3. The Virgin Wages Celestial War In The Seraphim Courts 7:22
4. The Fumes Of Thy Preposterous Torment 6:31
5. The Bewildered Firstling Thrusts The Knife Into Her Brother 6:25
6. As Eternal As The Starless Kingdom Of Sorrow 5:23

Band members
JMKP – vocals, all instruments

Album Review – Sisyphean / Colours of Faith (2022)

A massively ambitious yet sincere album that ought to be regarded as a landmark album in Dissonant Black Metal, carefully brought into being by an uncanny Lithuanian horde.

Intense as well as atmospheric, Vilnius, Lithuania-based Dissonant Black Metal entity Sisyphean has the perfectly tempered sound for this style of music by crafting thrilling and engaging songs that are both coherent and fulfilling, which can be appreciated in all of its glory in their brand new opus, entitled Colours of Faith. Mixed by Satanic Audio, mastered by Resonance Sound Studio, and displaying a stylish cover artwork by Adam Burke of Nightjar Illustration, Colours of Faith is a massively ambitious yet sincere album that ought to be regarded as a landmark album in the style, showcasing all the talent of Dainius P. on vocals, Adomas V. and Kamil U. on the guitars, guest Andrius B. on bass, and Mantas D. on drums, appealing to admirers of the music by Svartidaudi, Deathspell Omega, Blut aus Nord, Mgla and Svartulven, just to name a few.

The dissonant, futuristic intro Before the Light warms up the listener for the pulverizing aria Scorched Timeless, with Adomas and Kamil showing absolutely zero mercy for their stringed axes accompanied by the rumbling bass by Andrius, all spiced up by the demonic vociferations by Dainius. Then investing in a more straightforward, no shenanigans Black Metal sonority, the band will darken your thoughts to the sound of Hearts of Mercury, again showcasing visceral riffs boosted by the infernal blast beats by Mantas, whereas strident guitar lines ignite the multi-layered Black Metal extravaganza titled Sovereigns of Livid Hope, offering our avid ears seven minutes of total chaos and darkness where Dainius roars in anger while Mantas adds a good dosage of intricacy to the overall result with his wicked drums.

After 25 seconds of ethereal sounds in the interlude The Descent the band comes crushing our senses with the beyond Stygian and heavy-as-hell Exiles, where the riffage by Adomas and Kamil will penetrate deep inside your psyche while Andrius and Mantas keep shaking the foundations of the earth with their respective bass and drums, resulting in a classic Black Metal tune with modern nuances. Their second to last explosion of evil sounds comes in the form of Open Wounds, a somber tune with Doom Metal hints that reminds me of some of the most recent creations by the almighty Watain; and lastly, it’s time for almost 10 minutes of insanity and chaos titled Conqueror, starting in a more than obscure manner before evolving into a sluggish, visceral feast of our beloved Black Metal where Mantas dictates the song’s hellish pace while Dainius keeps vociferating rabidly like there’s no tomorrow, with its second half becoming the soundtrack to a sinister horror movie until all fades into the unknown.

You can reach out to those Lithuanian metallers through Facebook and Instagram, letting them know how much you love their music, and also purchase Colours of Faith (which is also available for a full listen on Spotify) from their own BandCamp page or from the Transcending Obscurity Records webstore in the US (as a digipak CD or as a gatefold LP) or in Europe (also in CD or LP format). A brilliantly written and arranged album, Colours of Faith provides for intuitive undulations of extremity and emotions, not only captivating your attention throughout but also moving you, and that’s exactly the beauty of the music played by Sisyphean, delivering much more than just plain Black Metal by creating an enfolding atmosphere that will last for all eternity and, therefore, allowing the band to continue exploring the darkest side of music for many years to come.

Best moments of the album: Hearts of Mercury, Sovereigns of Livid Hope and Exiles.

Worst moments of the album: Open Wounds.

Released in 2022 Transcending Obscurity Records

Track listing
1. Before the Light 0:58
2. Scorched Timeless 6:43
3. Hearts of Mercury 5:18
4. Sovereigns of Livid Hope 7:02
5. The Descent 0:26
6. Exiles 5:49
7. Open Wounds 4:58
8. Conqueror 9:45

Band members
Dainius P. – vocals
Adomas V. – guitars
Kamil U. – guitars
Mantas D. – drums

Guest musician
Andrius B. – bass (session)

Concert Review – Cradle of Filth (The Opera House, Toronto, ON, 06/04/2022)

Existence might be futile, but witnessing Cradle of Filth live in Toronto every single time they come to the city is more than essential.

OPENING ACTS: Phantom High and Frayle

I always find it truly impressive how the traffic to get in and out of Toronto during the spring and summer seasons, mainly when the weather is clear and the temperatures are above +20oC, is multiplied by a thousand or more, making it impossible to arrive wherever you have planned on time. That’s the main reason why it took me hours to get to The Opera House this Saturday for the Existence Is Futile Tour with the bands PHANTOM HIGH, FRAYLE and the almighty CRADLE OF FILTH (not to mention American Thrash Metal act Misfire, who are missing part of the tour due to Covid-19 related issues), and because of that I sadly missed most of the awesome concert by Toronto’s own Glamcore/Death Pop/Alternative Metal outfit PHANTOM HIGH. Anyway, the few minutes of their performance I was able to witness were excellent, with their frontwoman Peril Erinyes showcasing all her talent, charisma and passion for what she does. I hope I can see them again in a not-so-distant future as their music and onstage performance are outstanding, and next time I promise I’ll beat traffic (even if that’s humanly impossible).

Band members
Peril Erinyes – vocals
Seven Six – guitars
Greg Shier – guitars
Faraz Jabbari – bass
Joey Prolx – drums

After a (very) quick break it was time for Cleveland, Ohio-based Doom Metal/Occult Rock band FRAYLE to kick some ass onstage with their massive, low-tuned, sluggish sounds, spearheaded by the angelic vocals by their stunning frontwoman Gwyn Strang, who by the way grew up on the east coast of Canada in the province of New Brunswick (which is why she said “I’m home” to the crowd several times during their performance). Playing a mix of songs from their awesome 2020 album 1692 plus a brand new song entitled Treacle & Revenge, from their upcoming album Skin & Sorrow (to be released on July 7), Gwyn and the boys put on a mesmerizing show, with Sean Bilovecky extracting sheer electricity from his guitar while bassist Eric Mzik and drummer Pat Ginley added endless heaviness and groove to the music. Nobody was capable of taking their eyes off Gwyn during their entire set, as not only she was at the same time the personification of good and evil, but her minimalist, delicate vocals and moves were a thing of beauty. There weren’t any mosh pits for obvious reasons, but everyone at The Opera House loved what Frayle had to show us, and Toronto is waiting for Gwyn to “return home” whenever she wants with her whimsical music.

Band members
Gwyn Strang – vocals
Sean Bilovecky – lead guitar
Eric Mzik – bass
Pat Ginley – drums

CRADLE OF FILTH

The last time I saw the unparalleled CRADLE OF FILTH was at the same venue back in 2019, before all this Covid-19 madness hit the world and still with Lindsay Schoolcraft on keyboards, and as you can see from their 2019 setlist only two songs were the same this Saturday, those being Nymphetamine (Fix) and Her Ghost in the Fog, with everything else being either based on their 2021 ass-kicking opus Existence Is Futile, such as Existential Terror, How Many Tears to Nurture a Rose? and Necromantic Fantasies, or some welcome surprises the likes of Nocturnal Supremacy, I Am the Thorn, A Gothic Romance (Red Roses for the Devil’s Whore) and Lustmord and Wargasm (The Lick of Carnivorous Winds). Was it better, the same or worse than their 2019 performance? Well, I don’t like to compare concerts, as I strongly believe each performance has its own taste, its own details and its own energy, but what I can say is that Dani and his horde were as electrifying as expected, inspiring the fans at the venue to slam into the nonstop circle pits (even if you’re on a power mobility scooter) while screaming together with the band in the name of evil.

Most fans of course had an absolute blast with classics such as the aforementioned Nymphetamine (Fix) and the closing song Her Ghost in the Fog, but I might say their new songs Crawling King Chaos and Us, Dark, Invincible sounded simply superb live, proving once again how alive the band is and that we can expect at least a few more decades of pure filth from those devilish metallers. Dani, Ashok, Daniel Firth and Marthus were on fire as usual, but I must mention how powerful the performances by guest guitarist Donny Burbage (of Melodic Death/Folk Metal act Æther Realm) and the gorgeous keyboardist Zoë Marie Federoff (of Symphonic Metal act Catalyst Crime) were as well, translating into an even more incendiary concert by one of the trailblazers of Symphonic Extreme Metal. As a Cradle of Filth fanboy I think they should return to Toronto next week already, but of course I think all fans who attended another memorable concert by Dani and his crew will be more than happy to wait another year or so for the band to come to our beloved city again. The traffic back home was just as bad as when I was going to the concert, but who cares? It’s CRADLE OF FUCKIN’ FILTH, a metal institution that deserves all our admiration, and if next time they come to Toronto I have to walk 40km to get there, so be it.

Setlist
The Fate of the World on Our Shoulders
Existential Terror
Nocturnal Supremacy
Lilith Immaculate
I Am the Thorn
Crawling King Chaos
Nymphetamine (Fix)
A Gothic Romance (Red Roses for the Devil’s Whore)
How Many Tears to Nurture a Rose?
Scorched Earth Erotica
Us, Dark, Invincible
Portrait of the Dead Countess
Lustmord and Wargasm (The Lick of Carnivorous Winds)
Necromantic Fantasies
Her Ghost in the Fog

Band members
Dani Filth – lead vocals
Marek “Ashok” Šmerda – guitars
Donny Burbage – guitars
Daniel Firth – bass
Zoë Marie Federoff – female vocals, keyboards
Martin “Marthus” Škaroupka – drums

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Album Review – Holocausto Canibal / Crueza Ferina (2022)

The legendary Portuguese purveyors of extremity celebrate 25 years of existence with a new opus featuring 19 tracks of flesh rending Brutal Death Metal and skin flaying Grindcore.

Featuring 19 tracks of flesh rending Brutal Death Metal and skin flaying Grindcore, Crueza Ferina, meaning “ferocious cruelty”, is the sixth full-length album from legendary Portuguese purveyors of extremity, pioneers of brutality, Porto-based horde Holocausto Canibal, highly recommended for fans of Haemorrhage, Nasum, Lay Down Rotten and Cliteater, among others. Utterly unstoppable and completely irresistible, Crueza Ferina was produced and engineered by João Ribeiro and mastered by Brad Boatright at Audiosiege Mastering Studio, sounding absolutely devastating from start to finish while adorned in the shocking image of a dead pig killed in a barbaric ritual of traditional slaughter. Far from their sadistic imaginations turning to the torture of animals though, vocalist Orca, guitarist António C., bassist Z. Pedro and drummer Diogo P. have embraced a vegan philosophy, with Z. Pedro telling Loud Magazine in a recent interview that “for us, the only blood we continue to accept to see is human”.

Over one minute of an infernal screeching pig ignites the opening tune Ad Bizarrem Morem before the band begins hammering their instruments in such demented intro, setting the tone for Êxodo Mortuoso, or “deadly exodus”, featuring guest guitars by Robert Vigna of Immolation, a lecture in Brutal Slammin’ Death Metal led by the inhumane gnarls by Orca and the razor-edged riffs by António. Epicédio Madrigaz (“madrigaz epic”) is as pulverizing as its predecessor where Diogo sounds bestial behind his drums, offering Orca exactly what he needs to crush our souls with his deep guttural, whereas Sinaxe do Sepúlcro Tafófobo (“synax of the taphophobic sepulcher”) lives up to the legacy of old school Grindcore with a D-Beat Crust touch, showcasing a sensational performance by António with his incendiary axe. Then drinking from the same fountain as Cannibal Corpse in their early days, Z. Pedro blasts his bass manically making the earth tremble together with Diogo’s massive beats in Ancestrais Ritos Hipóxicos (“ancestrals hypoxic rites”), and it’s time to slam into the circle pit in the name of Grindcore to the sound of Apresto Executório (“executive preparatory”), with António once again slashing our ears with his riffage. Diogo takes the lead one more time in the venomous Aniquilação Suídea (“swine annihilation”), sounding absolutely heavy and devastating from start to finish while spiced up by Orca’s visceral growling, followed by Ávida Tragação (“avid gulp”), keeping the album at a high level of dementia and gore and being perfect for breaking your neck headbanging like a true beast. And Congregação da Flama Felídea (“congregation of the felid flame’) is yet another fast and furious creation by Holocausto Canibal where Diogo sounds utterly possessed behind his drums accompanied by the ass-kicking guitars by António.

Psicótico Interlúdio (“psychotic interlude”) is an instrumental bridge that provides Orca with a break before he comes back ripping in Anátemas Nefandos (“nefarious anathemas”), bringing forward less than 40 seconds that will certainly crush your cranial skull so heavy and frantic it is; while Esquartejado em Segundos (“quartered in seconds”) is even shorter and more brutal than the previous songs with its 25 seconds of sheer savagery. In Prenúncios da Vingança Cavicórnea (“harbingers of cavernous revenge”) the band is back to their streak of “longer” songs, with Diogo’s blast beats hitting you in the head mercilessly, and there’s no time to breathe as the band continues their sonic devastation in Suprema Dominância Taurina (“supreme taurine dominance”), with António, Z. Pedro and Diogo being in a beyond blackened sync while the song’s ending sounds like the soundtrack to a gore flick. The band darken the skies with the truculent Campas do Negro Breu (“pitch black graves”), offering us all Brutal Death Metal at its finest spearheaded by the flammable riffage by António while Orca keeps vociferating the song’s evil words like there’s no tomorrow; and Girândolas da Agonia Profunda (“whirlwinds of deep agony”) is as deranged and heavy as it can be, showcasing another round of sheer brutality blasted by Z. Pedro and Diogo with their demonic kitchen, followed by Miasmas Onanizantes (“onanizing miasmas”), another song that lasts for less than a minute but that is enough for Holocausto Canibal to smash us all with their infuriated sounds. António leads his bandmates with his metallic riffs in Quérulo dos Finados (“kerulus of the dead”), a song that will certainly leave you completely disoriented after all is said and done, and the venomous bass jabs by Z. Pedro dictate the rhythm in the closing tune Sortilégio da Perversão (“perversion spell”), less puissant than the rest of the album but still brutal and grim.

If you think you have what it takes to face the brutality, heaviness and grind blasted by Holocausto Canibal throughout their hellish new album, you can purchase it from the Selfmadegod Records’ BandCamp or webstore as a regular CD or as a CD + shirt bundle, adding an extra touch of violence and gore to your personal collection. Hence, don’t forget to also follow those Portuguese butchers on Facebook and on Instagram for news, tour dates and other nice-to-know info about their career and their music, and to stream all of their wicked creations on YouTube and on Spotify. Put differently, brace yourselves for impact and let’s celebrate 25 years of utter extremity with Holocausto Canibal to the sound of their visceral new album, as the band remains as unflinching and uncompromising as ever.

Best moments of the album: Êxodo Mortuoso, Aniquilação Suídea, Congregação da Flama Felídea and Campas do Negro Breu.

Worst moments of the album: Psicótico Interlúdio and Sortilégio da Perversão.

Released in 2022 Selfmadegod Records

Track listing
1. Ad Bizarrem Morem 2:42
2. Êxodo Mortuoso 2:13
3. Epicédio Madrigaz 1:27
4. Sinaxe do Sepúlcro Tafófobo 2:23
5. Ancestrais Ritos Hipóxicos 0:57
6. Apresto Executório 1:11
7. Aniquilação Suídea 3:10
8. Ávida Tragação 1:26
9. Congregação da Flama Felídea 1:25
10. Psicótico Interlúdio 2:00
11. Anátemas Nefandos 0:38
12. Esquartejado em Segundos 0:25
13. Prenúncios da Vingança Cavicórnea 1:21
14. Suprema Dominância Taurina 1:35
15. Campas do Negro Breu 3:14
16. Girândolas da Agonia Profunda 1:14
17. Miasmas Onanizantes 0:51
18. Quérulo dos Finados 1:49
19. Sortilégio da Perversão 3:30

Band members
Orca – vocals
António C. – guitar
Z. Pedro – bass
Diogo P. – drums

Guest musician
Robert Vigna – guitars on “Êxodo Mortuoso”