Monthly Archives: September 2019

Album Review – Tableau Mort / Veil of Stigma. Book I: Mark of Delusion (2019)

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A spiritual journey exploring humanity’s fixation with knowledge, sacrifice and perfection in the form of atmospheric and emotional Black Metal.

Drawing on symbolic and thematic influences from Romanian Orthodox Christianity, Veil of Stigma. Book I: Mark of Delusion, the debut album by British Black Metal horde Tableau Mort, is a spiritual journey exploring humanity’s fixation with knowledge, sacrifice and perfection, which is often a path to madness. Recorded and produced by Jerry Sadowski and George Topor, mixed and mastered by Neil Haynes at Parlour Studios, and featuring a beyond obscure artwork by Alex Shadrin (Nether Temple Design), Veil of Stigma. Book I: Mark of Delusion will bring to your ears a truly atmospheric and emotional sound that is both melodic and melancholic, also mixing Orthodox chanting with frenzied screams to expand on the band’s macabre foundations.

Formed in 2017 in London, the band comprised of veteran musicians of the underground scene (all of Romanian origin), those being James Andrews on lead vocals, George Topor on the guitar, keys and backing vocals, Cristian Giurgiu also on the guitar, Marek Basista on bass and George Bratosin on drums and backing vocals, might describe themselves as a Black Metal band, but there are in fact a lot more aspects and layers to their sound, resulting in the modern and powerful music found in Veil of Stigma. Book I: Mark of Delusion. Not only that, the band also invests heavily on their onstage performance and attire, proving those servants of the dark are more than prepared to spread their blasphemous message all over the world no matter who their enemies are.

Darkness is already upon us in the melodic and boisterous opening track Impending Corruption, where atmospheric keys complement the slashing riffs by George Topor and Cristian while James leads the horde with his fiendish gnarls and screeches. After such ominous start it’s time for Fall of Man and its darkly poetic lyrics (“And I find in your face, a most unfamiliar maze / I gaze at the sky as the colour bleeds out of space / In this moment of grief I light myself ablaze”), a Black Metal mass with hints of classic Blackened Doom (which obviously makes it even more menacing) where George Bratosin sounds extremely precise and brutal at the same time on drums. And it seems Tableau Mort want to get darker and darker as the album progresses, just like what we’re able to witness in Carpenter Of Sorrow, with Marek’s low-tune, devilish bass lines building a thunderous base for James to thrive with his unearthly roars; whereas Broken On The Wheel is a sonic mass of Stygian and venomous sounds where George Topor and Cristian are absolutely infernal with their guitars, while George Bratosin alternates between blast beats and doomed, intricate passages for our vulgar delectation.

Leaning towards classic Norwegian Black Metal, the band offers us an explosion of the most aggressive and obscure sounds you can think of in Tapestry Sewn, where James and George Bratosin sound utterly demonic on vocals and drums, respectively, and also bringing the most obscure elements from old school Doom Metal, therefore being prohibited for the lighthearted.  The band’s guitar duo keep crushing their sulfurous strings in Mother’s Promise while Marek and George Bratosin make the earth tremble with their weapons, inspiring us all to bang our heads and raise our horns to this ode to all things evil. Last but not least, a gargantuan amount of heaviness flows from all instruments in Beyond His Gaze, reeking of despair and insanity and showcasing captivating, poetic lyrics (“In Every blade of grass that shoots from the ground / The animals that graze, the parasites that feed / The rays of the sun that penetrate the darkness / The breeze that carries the rain”). Furthermore, the beyond demonic growling by James adds an extra touch of malignancy to this devilish aria, putting a climatic ending to such astounding album.

Tableau Mort’s lecture in Romanian Orthodox Christianity in the form of somber and disturbing Black Metal can be appreciated in its entirety on YouTube and on Spotify, but of course if you want to show your true support to those UK metallers simply follow them on Facebook and purchase your copy of Veil of Stigma. Book I: Mark of Delusion from Loud Rage Music’s BandCamp or webstore, as well as from Apple Music, Amazon or Discogs. Tableau Mort are definitely pinning the entire UK on the worldwide map of Black Metal with their music, and based on their skills, passion for heavy music and creativity, they have the potential to become one of the references of the genre in the coming years, leaving their mark already upon humanity with Veil of Stigma. Book I: Mark of Delusion, and leaving us eager for more of their cryptic creations.

Best moments of the album: Fall of Man and Tapestry Sewn.

Worst moments of the album: None.

Released in 2019 Loud Rage Music

Track listing
1. Impending Corruption 4:32
2. Fall of Man 6:17
3. Carpenter Of Sorrow 4:37
4. Broken On The Wheel 4:55
5. Tapestry Sewn 5:02
6. Mother’s Promise 4:41
7. Beyond His Gaze 6:18

Band members
James Andrews – lead vocals
George Topor – guitar, keys, backing vocals
Cristian Giurgiu – guitar
Marek Basista – bass
George Bratosin – drums, backing vocals

Album Review – Sathamel / Horror Vacui (2019)

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A seething cauldron of fire and blood in the form of Blackened Death Metal made in the UK, feeding the primal fear that writhes in our souls.

Is there anything more terrifying to the human mind than the void? Is it not the emptiness that lies beyond our last breath that props up all our dreams of heaven? That’s what a Black/Death Metal band formed in 2012 in Leeds, a city in the northern English county of Yorkshire, under the name Sheol, but currently known as Sathamel, is going to tell us all in their brand new album entitled Horror Vacui, a concept in art that is approximately translated from Latin to “fear of empty spaces”, continuing the path of darkness from their previous releases after a two-year hiatus while creating a more cohesive sound, and with the title applied in a more literal sense in terms of the void felt while the entity that is Sathamel had halted all activity.

Mixed and mastered by Samuel Turbitt at Ritual Sound Studios, Horror Vacui is a seething cauldron of fire and blood, a declaration of war, an edict of domination and a sentence of death, all embraced by the fulminating and devilish sounds blasted by Sathamel’s brand new lineup comprised of vocalist Kruk, guitarists KVN and Cygnus, bassist Nadir and drummer Reykr, being therefore highly recommended for fans of the scorching music by Hate, Behemoth, Deicide and Marduk. Each song in Horror Vacui carries that touch of darkness from beyond the world and feeds the primal fear that writhes in our souls, powerfully representing all your fears unleashed in an unrelenting firestorm of terror.

In the opening tune Libera Me, a cinematic intro will enfold you in darkness until the music reaches a devilish level led by Kruk’s enraged roars, growing into modern-day Black Metal showcasing scorching riffs by KVN and Cygnus and the infernal blast beats by Reykr. Needless to say, this is not recommended for the lighthearted, being effectively spiced up by phantasmagorical background sounds and vocalizations. The title-track Horror Vacui is brutal and blasphemous in the vein of Behemoth, with its dense and sulfuric instrumental penetrating deep inside your skin while you can enjoy dark poetry flowing form its lyrics (“Together as one / A carrion beast and tyrant’s fist / to consume the stars with purest joy / and to feed on covenants of creation / I create a masterpiece of horror and ecstasy / My canvas – your hollow smile / The front line expands under mastro’s hands / Universe bends to painter’s will”); and it’s time for total devastation with Sathamel in Raise Flame From Ash, an explosion of Blackened Death Metal where the vocals by Kruk sound as bestial and deep as they can be, with a venomous stench reeking in the air during its two and a half minutes of darkened sounds smashing your brain mercilessly.

KVN and Cygnus, supported by the rumbling bass by Nadir, dictate the rhythm in A New Age Of Lycanthropy, a neck-breaking, malevolent tune presenting all elements we love in extreme music, including a truly obscure and evil aura, whereas in The Devil’s Hand we’re treated to another onrush of demonic words (“Alive but intimate in death / Like maggots we nest / Nest in dead flesh / Alive but dependant on death / Like red fields we blossom embracing the dead”) while the music is beyond infernal, bringing to our ears flammable riffs by the band’s guitar duo and an intricate drumming by Reykr to give the whole song an extra kick. Then Kruk growls and gnarls like a beast from the underworld in Whispers Of A Husk, where the vicious beats by Reykr will crack your skull mercilessly in a lesson in technique and obscurity in the name of Black Metal.

Blazing guitars ignite the also hellish Świt, a cult-like, headbanging hymn crafted by the band, with Nadir extracting sheer thunder from his bass while the background choir makes the whole song more epic and imposing, not to mention how Kruk’s vocals remind me of Unleashed’s own Johnny Hedlund. There’s no time to breathe as Sathamel keep haunting our souls with their fiendish Blackened Death Metal in There Where Is No Time, not as complex and vibrant as the rest of the album but still presenting the band’s characteristic riffage and harsh vocals, and you better get ready for almost eight minutes of virulent and Stygian sounds in Of Spilled Wine And Broken Glass, more rhythmic than all previous songs and full of breaks and variations, but obviously still unleashing pure evil on us, ending in a twisted and obscure way.

If your heart is as dark as the music by Sathamel, and if you do not fear being trapped for all eternity in the void, you can follow the band on Facebook, subscribe to their YouTube channel, and grab your copy of such otherworldly album, which by the way is available in full on Spotify, from their own BandCamp page or Big Cartel, as well as from Apple Music and Amazon. Sathamel’s onrush of darkness and void will leave you completely disoriented from start to finish, proving once and for all there’s nothing better than some first-class Blackened Death Metal hailing from our beloved United Kingdom to feed all of our inner demons and fears.

Best moments of the album: Horror Vacui, Raise Flame From Ash and Whispers Of A Husk.

Worst moments of the album: There Where Is No Time.

Released in 2019 Independent

Track listing
1. Libera Me 5:51
2. Horror Vacui 4:32
3. Raise Flame From Ash 2:38
4. A New Age Of Lycanthropy 4:20
5. The Devil’s Hand 3:55
6. Whispers Of A Husk 3:48
7. Świt 3:55
8. There Where Is No Time 3:53
9. Of Spilled Wine And Broken Glass 7:41

Band members
Kruk – vocal
KVN – guitar
Cygnus- guitar
Nadir – bass
Reykr – drums

Album Review – Alunah / Violet Hour (2019)

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The Stygian clouds of doom are coming to darken the skies to the sound of the newborn spawn by a fantastic UK-based Hard Rock and Doom Metal unity.

Brace yourselves, my dear metalheads, as the Stygian clouds of doom are coming to darken the skies to the sound of Violet Hour, the brand new album by UK-based Hard Rock/Doom Metal frontrunners Alunah, one of the best albums of 2019 from the underground and independent scene without a shadow of a doubt. Founded in 2006 in “Sabbath City”, usually referred to as Birmingham, the band comprised of the enchantress Siân Greenaway on vocals, the talented Dean Ashton (bassist for UK’s Hard Rock institution Diamond Head) on the guitar, the unstoppable Daniel Burchmore on bass and founding member Jake Mason on drums is ready to strike once again harder than ever, bringing more riffs, more swagger and more groove to our avid ears with their newborn opus.

Recorded at Wales’ historic Foel Studio, produced by Chris Fielding (Skyhammer Studio), and featuring a beyond obscure and captivating artwork by Brazilian artist Felipe Froeder (Arcano XV), Violent Hour offers the listener a searing combination of intoxicating melodies and riffs on top of a high-class songwriting. “Alunah are very happy and excited to release Violet Hour to the world. It has been so enjoyable to write and record this album during an energetic and focused period for the band. Having it released on Heavy Psych Sounds is a great feeling and we cannot wait for people to hear it. The time to fear is now!”, commented the band about the album, inviting all of us to join them in their quest for old school doom.

Siân and the boys don’t give us a single second to breathe in the amazing opening track Trapped & Bound, spearheaded by Dean’s heavy-as-hell riffs and Jake’s pounding drums. I dare you to not bang your head to the song’s hypnotizing rhythm, a perfect fusion of the doomed music by Black Sabbath with the badass Sludge Metal played by Crowbar, and to show you how awesome this song is, it’s also featured on the 2019 compilation Doomed & Stoned in England, just like another crushing song by their countrymen Warcrab. And the somber, deep and addictive vocals by Siân add an extra touch of evil to the dark and sluggish Dance of Deceit, where Dean and Daniel are merciless with their stringed weapons, not to mention Dean’s amazing solo as the icing on the cake.

Then we’re treated to Hunt, a lesson in Doom Metal by Alunah sounding slow and enthralling form start to finish, with Jake’s beats bringing nuances of melancholy to the music while Siân beautifully declaims the song’s devilish lyrics. Put differently, it reminds me of some of the best tracks from Heaven & Hell’s classic The Devil You Know, and if you like that album you know what I’m talking about. In Hypnotised the name of the song says it all, with Dean being on fire with his demonic riffage and solos while Daniel couldn’t sound more thunderous on bass. Hence, it keeps the album at a high level of heaviness and darkness, being therefore recommended for all your beer-drinking, headbanging moments in life, whereas the title-track Violet Hour is just as mesmerizing and delicious as its predecessors, with Siân’s vocals sounding so powerful it’s hard to describe them in just a few words, and with Dean slashing our ears and minds with his grim guitar lines.

Jake smashes his drums fiercely in the also obscure and sexy Unholy Disease, one of those Doom Metal songs that will put you in a trance, or in other words, your soul belongs solely to Siân during the song’s five minutes of razor-edged riffs, low-tuned bass punches and an endless amount of electricity. Velvet sounds as delicate but at the same time as hot and striking as velvet itself, being the perfect soundtrack for a movie scene at an obscure pub somewhere in the middle of England, while Jake keeps hammering his drums slowly and steady just the way we like it, nicely boosted by Daniel’s metallic, rumbling bass. And crisp guitar lines and an enfolding atmosphere are the main ingredients in Lake of Fire, a dark and serene composition showcasing another flawless vocal performance by Siân supported by the thunderous sounds blasted by her bandmates, making you want to walk into a real lake of fire with her until the song’s ethereal finale.

This precious gem of classic Doom Metal made in the UK is already on pre-sale on the Heavy Psych Sounds Records’ BandCamp and webstore, as well as on several other locations such as the All That Is Heavy webstore, the Season of Mist webstore, the Shiny Beast music mailorder, and Amazon. Having said that, simply let your mind be enfolded by the spellbinding Doom Metal delivered by Alunah in Violet Hour, and may your damned soul forever be comfortable in darkness, exactly how we expect it to be in first-class Doom Metal from the always somber and charming United Kingdom.

Best moments of the album: Trapped & Bound, Hunt and Unholy Disease.

Worst moments of the album: None.

Released in 2019 Heavy Psych Sounds Records

Track listing
1. Trapped & Bound 4:58
2. Dance of Deceit 3:54
3. Hunt 5:38
4. Hypnotised 6:11
5. Violet Hour 4:24
6. Unholy Disease 4:55
7. Velvet 6:22
8. Lake of Fire 6:33

Band members
Siân Greenaway – vocals
Dean Ashton – guitar
Daniel Burchmore – bass
Jake Mason – drums

Album Review – SiXforNinE / Parallel Universe (2019)

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An amazing album of rock and metal music containing nine high-energy compositions overflowing groove and adrenaline, carefully brought forth by four talented musicians hailing from Greece.

It’s time to bang our heads to the groovy and melodic Alternative Metal blasted by SiXforNinE, a four-piece band formed in 2011 in the always fun city of Athens, Greece, who are releasing now in 2019 a brand new and extremely entertaining opus entitled Parallel Universe, a follow-up to their 2015 debut self-titled album being highly recommended for fans of the music by bands like Disturbed and Breaking Benjamin. Comprised of founding members Georga Kapa on the guitar, Herc Booze on bass and Pete Outfox on drums, as well as Fotis Benardo (Necromantia, Septicflesh) on vocals, SiXforNinE have been on a roll since their inception, having already shared the stage with renowned acts such as Monster Magnet, Fates Warning, Leprous, and Memory Garden, and with Parallel Universe representing an evolutionary step in their relatively short but already solid career.

Recorded at DevasoundZ Studios in Athens, produced by Fotis Benardo himself, mixed by Paul Pavao (Disturbed, Stone Temple Pilots, Breaking Benjamin), mastered by Tom Baker (Rob Zombie, Nine Inch Nails, Mötley Crüe), and featuring a stunning artwork by Vagelis Petikas (Revolver Design), Parallel Universe showcases a very special chemistry between all four band members in each of its nine high-energy rock anthems, dealing with distinct topics such as a galactic travel via astral projection and the story of a refugee hoping for a better future. In other words, you better get ready to rock with SiXforNinE, as the Rock N’ Roll party crafted by those four talented Greek metallers doesn’t seem to have a time to end based on the amount of adrenaline flowing from their new album.

The band begins their feast of mesmerizing and groovy sounds in Every Cloud Has a Silver Lining, a lecture in progressiveness by the quartet where Fotis and his Miles Kennedy-inspired vocals walk hand in hand with George’s crisp riffs, not to mention Herc’s rumbling bass lines, followed by the heavier and more progressive Life Devouring Demons, reminding me of some of the incendiary creations by Mastodon. Furthermore, Pete brings endless intricacy with his beats in an awesome fusion of Alternative Rock and Metal with the heaviness of Progressive Metal, while Herc is on absolute fire with his metallic bass. And as heavy as high-end Alternative Metal can be, the band explodes our ears with the melodic and vibrant Bullet Off Its Course, a song that could easily be played in any radio station with Fotis once again stealing the spotlight with his passionate vocals.

Then inspired by the music by Alter Bridge, Breaking Benjamin and other big names of the alternative scene, George slashes his strings beautifully while Pete’s beats bring groove and thunder to the music in Never Ending Road, whereas in More Than Words Can Say the band blends the heaviest elements from Progressive Metal with smoother rockin’ nuances, displaying a powerful job done by George on the guitar as well as Fotis on vocals, overflowing rage and anguish from start to finish. And it’s time to slow things down a bit and enjoy a pensive and whimsical musical journey by SiXforNinE in Counting Stars (a Parallel Universe), where George, Herc and Pete generate an enfolding ambience with their respective instruments, resulting in almost 10 minutes of ethereal passages and piercing sounds. Not only that, George’s guitar solo is a thing of beauty, adding an extra touch of finesse to a fantastic song that flows flawlessly into a catchy ending.

Very intricate and full of breaks and variations, Out of the Blue offers the listener the thunderous sound of the bass lines by Herc nicely complementing Pete’s wicked beats, being at the same time violent and very harmonious and with Fotis’ roars bringing even more stamina to the song’s already gripping vibe. In Sea of Lies we’re able to witness pure Rock N’ Roll flowing through the band’s instruments, sounding tailored for being played at top volume at a rock pub while everyone is enjoying a cold and tasty beer; moreover, George and Pete couldn’t sound more electrifying with their riffs and beats, also presenting the progressiveness that makes their music so compelling. And lastly, the angry bass by Herc ignites the closing tune Meditation Hyperjam, a sonic extravaganza of badass sounds and tones led by George’s heavy riffs while Fotis fires his potent vocals, putting a truly exciting ending to the album.

If you love rock and metal music with high dosages of complexity, groove and electricity, then Parallel Universe, which you can hear in full on YouTube and on Spotify, is the perfect solution to satisfy your craving. Hence, go check what SiXforNinE are up to on Facebook, including their tour dates, and grab your copy of the album from their own webstore, as well as from Apple Music or from Amazon. Fotis, George, Herc and Pete did one hell of a job in Parallel Universe, and there’s nothing better to show them our support and appreciation than by rocking like there’s no tomorrow together with this hardworking and amazing band coming from Hellenic lands.

Best moments of the album: Life Devouring Demons, Counting Stars (a Parallel Universe) and Sea of Lies.

Worst moments of the album: Never Ending Road.

Released in 2019 Eclipse Records

Track listing
1. Every Cloud Has a Silver Lining 6:12
2. Life Devouring Demons 5:52
3. Bullet Off Its Course 5:00
4. Never Ending Road 4:53
5. More Than Words Can Say 5:02
6. Counting Stars (a Parallel Universe) 9:16
7. Out of the Blue 5:58
8. Sea of Lies 4:10
9. Meditation Hyperjam 5:12

Band members
Fotis Benardo – vocals
George Kapa – guitars
Herc Booze – bass
Pete Outfox – drums

Album Review – Mavradoxa / Nightmarrow (2019)

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The final breath of dark and heavy sounds by a now extinct metal unity will take you on a journey of isolation and hopelessness through the realms of Atmospheric Black Metal.

Let me begin this review by saying that I was absolutely shocked when I read earlier this year that the beyond promising and talented Rochester, New York-based Atmospheric Black Metal band Mavradoxa was calling it quits after only a few years of existence. Fortunately for all of us, fans of dark and atmospheric music, the band left us with three excellent full-length albums, those being their 2016 debut opus Sojourners, their fantastic 2017 release Lethean Lament, and more recently Nightmarrow, released earlier this year via Hypnotic Dirge Records. Although related to the tonal atmosphere and character of their previous albums, Nightmarrow sees the band developing and intensifying their song-writing ability, crafting simultaneously cohesive yet unpredictable songs with a progressive hue that is still rooted in Atmospheric Black Metal.

Engineered by Nicholas Alan at Subterranean Studios, mixed by Stephen Parker (Pillorian, Maestus), mastered by Justin Weis at Trakworx Recording, and featuring a stunning artwork by American artist Dylan Garrett Smith, Nightmarrow represents a meditation on the isolation and hopelessness of our age (particularly in the realm of the urban), and the consequences of technology and voracious consumption of resources. Mavradoxa’s founding duo Zachary Smith, also known as Nival, and Monica Finger, also known as Lux, together with guitarist Tyler Stasierowski (from The Highest Leviathan) and bassist Josh Mason (from Wandering Oak and Acrylazea), perfectly depict that feeling of solitude and desperation in Nightmarrow, positioning the unfortunately now defunct band as one of the most creative and interesting bands of the underground scene in the United States.

Featuring guest vocals by Matt Greenwood and an additional guitar solo by Nicholas Alan, the opening track Maple begins in full force with the razor-edged riffs by Zach and Tyler and the intricate beats by Monica generating a rumbling ambience perfect for Zach’s anguished roars, sounding as powerful and grim just the way we like it in Atmospheric Black Metal. Furthermore, the song’s progressive ending flows smoothly into the even darker musical voyage entitled The Carrion Shade, where Josh and Monica make the earth tremble with their respective instruments while the entire band darkly intones the song’s cryptic lyrics (“Black sun, black moon / In shadows, entombed / Flame, gold, & rust / slowly coalesced / in the pale of the / last winter sunset”). This is Progressive Black Metal at its finest showcasing all band members in absolute sync, therefore delivering a crushing wall of blackened sounds for our total delight, in special Zach and Tyler with their flammable guitars.

Matt Greenwood returns in the title-track Nightmarrow, where the music gets closer to what was offered to us in Lethean Lament, presenting more introspective and atmospheric sounds and passages. Zach sounds utterly enraged and acid on vocals, with Monica’s gentle clean vocals bringing more balance to this dense and bold feast of extreme music. Then an acoustic, ethereal bridge named Rustling Leaves soothes our souls and warms up our senses for Black Crystal Snowfall, featuring guest vocals by Swamp and sheer poetry flowing from its lyrics (“Ancestral whispers beckon us back / to a starless womb, to a time before / this place where all is languishing, / where all is ensnared by the grasp / of synthetic hands, becoming, / and ripping our bones from within”), also bringing forward elements from Blackened Doom added to their core atmospheric music. Monica’s steady beats and Zach’s and Tyler’s crisp riffs will undoubtedly embrace your soul from start to finish, reaching a climatic and piercing grand finale that gently morphs into a melancholic outro titled Umbra, where Zach and Tyler deliver a passionate performance with their acoustic guitars, concluding Nightmarrow on a high and pensive note.

If Nightmarrow, which by the way is available in full on YouTube and on Spotify, is indeed the last breath of Atmospheric Black Metal by Mavradoxa no one knows for sure. The band might decide to come back from their “retirement” one day to smash our senses again with their somber music, who knows? Until that day arrives (if it arrives,  of course), you can keep in touch with Zach and Monica on Facebook, and purchase your copy of Mavradoxa’s final journey through the realms of atmospheric and extreme music from the Hypnotic Dirge Records’ BandCamp page (or click HERE for all details about the band and where to buy their music), as well as from your regular retailers such as Apple Music, Amazon, CD Baby and Discogs. Having said that, it’s with a heavy heart that I finalize this review (or maybe I should call it a tribute), as heavy, ominous and splendorous as the music by the now extinct Mavradoxa. Thank you for your music, Zah and Monica, and I’m sure we’ll be hearing from you two again in a not-so-distant future.

Best moments of the album: The Carrion Shade and Nightmarrow.

Worst moments of the album: None.

Released in 2019 Hypnotic Dirge Records

Track listing
1. Maple 7:41
2. The Carrion Shade 9:25
3. Nightmarrow 9:34
4. Rustling Leaves 1:45
5. Black Crystal Snowfall 10:57
6. Umbra 3:40

Band members
Zachary Smith – vocals, electric and acoustic guitars
Monica Finger – drums, vocals
Tyler Stasierowski – electric guitars, 12-string acoustic guitar
Josh Mason – fretless bass guitar

Guest musicians
Matt Greenwood – guest vocals on “Maple” and “Nightmarrow”
Swamp – guest vocals on “Black Crystal Snowfall”
Nicholas Alan – additional lead guitar on “Maple”

Album Review – Quilombo / Itankale EP (2019)

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The history and evolution of Afro-descendants told by the black hands of a ruthless Death Metal and Grindcore unity from Brazil.

Formed in 2018 by drummer and vocalist Panda Reis (Oligarquia, Armagedom, Brigada do Ódio, Heresia 666), who’s also involved in several amazing endeavors such as an educational and cultural project named Coyote Vive, and guitarist and bassist Allan Kallid (Oligarquia) in São Paulo, the most populous city in Brazil and one of the biggest cities in the world, Death Metal/Grindcore unity Quilombo is among us to tell the evolution of Afro-descendants all over the world as well as the technological history from the African continent in their debut EP, entitled Itankale. Their main objective with Itankale is not political, though, but to unveil the truth about the African slaves taken from their homelands, from their people and from their culture to live a new reality in Brazil, the last country in the Western world to abolish slavery, using the most underground of all music styles, our relentless Heavy Metal, as the perfect soundtrack for their speech.

Featuring an impactful artwork by Brazilian artist Artur Fontenelle, showing some of the greatest icons in the African-American history, and recorded and mixed at O Beco Estudio, Itankale is the voice of the voiceless, telling the history of slavery from the standpoint of the slaves themselves, who were discriminated, persecuted, tortured, raped and killed, but that never gave up, surviving an endless period of pain in the hands of the white man. Furthermore, according to Panda and Allan themselves, Quilombo are not trying to generate any controversy, fights or turmoil with other people, but to provide the view of those who were not allowed to write or speak to anyone about their reality. Based on historical sources that have been ignored until now purely due to ideological and political issues to maintain the status quo, Quilombo will crush your senses with their visceral Death Metal in Itankale, writing with their own black hands about all the suffering and sorrow that haunted the souls of their African ancestors for centuries.

In the opening track, simply titled Melanina (or “melanin” in English), we already face an intro that’s completely different from everything you might have ever heard, showcasing intonations and vocalizations inspired by the African culture before exploding into a sonic devastation overflowing rebelliousness and rage, led by Panda’s demented drumming and sick growls while Allan cuts our skin deep with his riffs. Put differently, this is one of those songs that will leave a mark on your psyche, sounding very unique and raw like the music found in Sepultura’s masterpiece Roots. Ancestralidade (“ancestry”) is another song with an eccentric intro that morphs into a carnivorous feast of Death Metal where Panda smashes his drums like a beast, also vociferating the song’s austere lyrics deeply and rabidly and with guest Binho Gerônimo bringing an extra kick to the music with his tribal percussion, followed by Treze Nações (“thirteen nations”), showcasing a capoeira-inspired intro and of course sheer savagery in the form of Death Metal and Grindcore, sounding as fast and heavy as it can be. Needless to say, Panda shows no mercy for his drums while Allan is on fire with his riffs, with their already violent musicality being effectively spiced up by guest Guilherme Sorbello’s deranged vocals.

Once again paying a powerful tribute to their Africa roots and their music, Descendentes de Reis (“descendants of kings”) reminds me of some of the most brutal creations by their countrymen Ratos de Porão, which obviously translates into awesomeness, whereas in Semideusas (“demigods”) it’s time to talk (and growl) about the importance of women in the African culture, flirting with old school Punk Rock. In addition, the wicked guitar riffs and solos by Allan mixed with Panda’s infernal roars provide the listener all that’s needed for some brutal slamming into the circle pit. And closing the EP we have Diáspora D.C. (“diaspora A.D.”), bringing hints of classic Reggae music in its intro but again quickly morphing into one final blast of aggressive and frantic Death Metal, with Panda sounding truly enraged on vocals and with its primeval, tribal finale putting a glorious ending to the album.

If you want to put your hands on Itankale, which by the way is available for a full listen on SoundCloud, you can contact Quilombo directly through their Facebook page or by sending an email to Panda himself, with the cost of the physical copy of the album being only 10 Brazilian Reais (plus shipping costs). The band is also working on several partnerships to distribute their album all over the Brazilian territory, with stores like Paranoid Records and Die Hard Records, both located in the famous Galeria do Rock in São Paulo, already being confirmed as part of the band’s distribution list. It’s not everyday that we are able to enjoy such distinguished and meaningful album of extreme music, and let’s hope that Quilombo keep giving a (heavy and thunderous) voice to all Afro-descendants for many years to come, it doesn’t matter if they’re metalheads or not.

Best moments of the album: Melanina and Treze Nações.

Worst moments of the album: None.

Released in 2019 Poluição Sonora Records

Track listing
1. Melanina 6:44
2. Ancestralidade 4:33
3. Treze Nações 1:43
4. Descendentes de Reis 1:53
5. Semideusas 2:54
6. Diáspora D.C. 1:49

Band members
Panda Reis – vocals, drums
Allan Kalid – guitars, bass

Guest musicians
Bruno – bass (recording)
Binho Gerônimo – percussion
Guilherme Sorbello – vocals on “Treze Nações”

Album Review – Gorebringer / A Craving For Flesh (2019)

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A gory fusion of Melodic Death Metal with more extreme styles blasted by a bloodthirsty trio from the UK, eviscerating your ears and minds ruthlessly.

Proudly carrying the flag of Melodic Death Metal everywhere they go, but always venturing through more aggressive and gory lands, London, England-based triumvirate Gorebringer has just unleashed upon us their debut full-length opus entitled A Craving For Flesh, highly recommended for admirers of the fusion of speed, violence and melody blasted by bands like The Black Dahlia Murder and At The Gates. Formed in 2017 by vocalist Blööd Wörm (also known as Gorebringer himself), guitarist and bassist Stench, and drummer Carrion, Gorebringer offer in A Craving For Flesh everything we love in traditional Swedish Melodic Death Metal, but of course with their own British (and utterly putrid) twist. Mixed and mastered by TsunTsun Productions, and featuring a demonic, parasite-inspired artwork by Kumislizer Design, A Craving For Flesh will eviscerate your ears and mind ruthlessly, showing Gorebringer are not among us to make new friends, but instead to pulverize us with their bloodthirsty onrush of sounds.

An ominous intro featuring the dark keys by guest B.ulugüney ignites the demolishing The Fog, where Carrion showcases all his technique and fury from the very first beat while Blööd Wörm’s hellish gnarls sound a lot more Black Metal than Melodic Death Metal, therefore bringing a humongous amount of obscurity to the music. Then deep guttural growls and nonstop blast beats permeate the air in Meatporn, showcasing classic Death Metal-like lyrics (“Rotten breath fills the air / As the eyes rolling back, / Sweat drops on smelly-sexy / Corpse of your beloved one.”), as well as some sick Carcass-inspired riffs and solos and demented bass punches powerfully delivered by Stench; and it’s time to slam into the circle pit to the high-octane and extremely vile Rivers Of Blood, with its strident, metallic guitars adding more balance to the overall devastation brought forth by the trio, resulting in a lesson in modern Melodic Death Metal with a truly devilish vibe.

In My Sweet Knife, a crisp and austere fusion of Melodic and Blackened Death Metal tailored for admirers of the darkest forms of metal music, we’re treated to over four minutes of nonstop action where the vocals by Blööd Wörm overflow adrenaline and rage, whereas in The Cabin a movie-inspired beginning evolves into a to a dark, raw and neck-breaking sonic extravaganza where Carrion is absolutely precise and violent on drums, with the overall musicality flirting with classic Black Metal at times. And back to a more Arch Enemy/Carcass-inspired mode, the trio fires sheer hatred and madness in Shattered Sanity, with Stench continuing to slash his strings mercilessly while the infernal roars by Blööd Wörm get even more piercing and menacing than before.

Bloodsoaked Chapel is a sonic havoc blending the most visceral elements from Melodic Death Metal and modern-day Hardcore where its bass couldn’t sound more metallic, also presenting demented, controversial lyrics (“Oh sodomized slaves of my mine / Stop whining, surrender and have fun / My rage will grow faster, darker / Digging your holes is my absolute pleasure / Your flesh is my most precious toy / Your skin decorates my den perfectly”). After such high level of aggressiveness, the trio slows things down a bit and offers us a darker, more introspective composition titled The Hollow, clearly inspired by the music by Arch Enemy. It’s not that this is a bad song, but in my humble opinion Gorebringer sound a lot more cohesive and vibrant when they play at the speed of light. Lastly, Carrion accelerates the band’s wicked pace in the closing tune, the instrumental beast named The Restless Forest, once again flirting with Melodic Black Metal, while Stench gives a lecture in electricity and groove with his guitar shredding and bass jabs.

I’m pretty sure the guys from Gorebringer are beyond satisfied with the outcome of their collective efforts in A Craving For Flesh (available for a full listen on YouTube), and they definitely should be, as their debut album is indeed an amazing work of contemporary Melodic Death Metal infused with the goriest elements from traditional Death Metal the likes of Cannibal Corpse. Hence, if you want to show your true support to this talented trio from the UK, go check what they’re up to on Facebook, and don’t forget to purchase your copy of A Craving For Flesh from the Gate Of The Silver Key Records’ BandCamp page or from Discogs, helping Gorebringer spread their visceral, acid and absolutely sanguinary creations to the four corner of our rotten and evil world.

Best moments of the album: Meatporn, Rivers Of Blood and Bloodsoaked Chapel.

Worst moments of the album: The Hollow.

Released in 2019 Gate Of The Silver Key Records

Track listing
1. The Fog 5:54
2. Meatporn 3:17
3. Rivers Of Blood 3:46
4. My Sweet Knife 4:34
5. The Cabin 6:29
6. Shattered Sanity 4:42
7. Bloodsoaked Chapel 3:30
8. The Hollow 4:30
9. The Restless Forest 4:41

Band members
Blööd Wörm – vocals
Stench – guitars, bass
Carrion – drums

Guest musician
B.ulugüney – keyboards

Album Review – Warcrab / Damned In Endless Night (2019)

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May all your nights be damned to the sound of the soul-crushing death and doom blasted by UK’s own monolithic metal workhorses in their brand new opus.

There’s nothing better than a badass and absolutely pulverizing fusion of Death, Sludge and Doom Metal to haunt our souls on a Friday the 13th, don’t you agree? I’m pretty sure not even Jason Voorhees himself is capable of generating such heavy and reverberating sounds like UK’s own monolithic metal workhorses Warcrab, who after three years of silence return with an ever darker and more threatening sonority found in their new full-length opus, entitled Damned In Endless Night, a thunderous display of unbelievable heaviness and groove that will please all fans of the soul-crushing death and doom played by bands like Bolt Thrower, Crowbar and Eyehategod.

Carrying on where they last left in their 2016 release Scars of Aeons with their unique blend of down-tuned Sludge and ponderous Death Metal, Warcrab flesh it out and leave no room for doubt on the efficacy of their powerful and cohesive fusion of underground styles in Damned in Endless Night. Featuring almost the same lineup as from their previous album, with Martyn Grant on vocals (replacing former singer Kane Nelson), Geoff Holmes,  Paul “Budgie” Garbett and Leigh Jones on the guitars, Dave “Guppy” Simmonds on bass, and Rich Parker on drums, the long-awaited full-length from this Plymouth, Devon, England-based band is arguably their best release to date, cementing Warcrab as one of the flagships of the current underground metal scene in their homeland.

Perpetua is a serene intro where the band’s guitar trio warms up our senses for the hammering and bold Halo of Flies, with the sluggish guitars by Geoff, Paul and Leigh dictating the rhythm while Martyn begins vociferating like a demonic entity and Rich pounds his drums slowly and fiercely. In the Arms of Armageddon sounds closer to what the band offered in Scars of Aeons, which means an infernal, low-tuned and grim musicality smashing our heads mercilessly, not to mention the massive wall of sounds created by Dave and Rich in the background, whereas Blood for the Blood God is pure old school Sludge and Doom Metal for your avid ears, with Rich sounding utterly ominous on drums while Martyn basically vomits the song’s lyrics in a brutal and devilish way, therefore being highly recommended for breaking your neck in half headbanging.

Then the creepy guitars by Warcrab’s stringed triumvirate penetrate deep inside our minds in Abyssal Mausoleum, and you better get ready for over eight minutes of damned passages, low-tuned bass lines and endless obscurity, showcasing Geoff on absolute fire with his doomed guitar solos; and  Dave slashes our ears with his distorted bass lines in Magnetic Fields Collapse, a classic display of modern-day Sludge Metal infused with Death Metal-inspired vocals. In other words, simply keep banging your head nonstop and raise your horns to Warcrab until the song’s fulminating grand finale; followed by Kraken Arise (which by the way is also featured in a very interesting 2019 compilation titled Doomed & Stoned in England), a bestial onrush of Sludge Metal by Warcrab spearheaded by Martyn’s enraged roars, with Dave and Rich sounding as thunderous as the music demands with their sonic weapons.

Warcrab Damned in Endless Night Silver-embossed CD Box Set

Dave’s menacing bass lines are embraced by wicked distortions and a somber atmosphere in Unfurling Wings of Damnation, leaning towards classic Doom Metal the likes of Celtic Frost and Black Sabbath, with Geoff, Paul and Leigh extracting minimalist but potent and sharp sounds from their guitars, growing in intensity until it reaches a decimating, rockin’ sonority for our total delectation. Needless to say, Geoff’s solos are insanely heavy and crisp, adding an extra touch of malignancy to the overall result. Swords sounds and feels dark and demonic from start to finish, keeping the album at a truly high level of acidity, rage and madness, with Rich stealing the spotlight with his steady, sluggish beats while Martyn growls and gnarls nonstop. and its lugubrious final moments build an instant connection with the outro Damnati, an instrumental feast of cutting riffs and solos, pounding beats and sheer darkness that puts a climatic ending to such impactful album.

I became a fan of the music by Warcrab in 2016 after listening to Scars of Aeons, but I must admit those guys stepped up their game in terms of aggressiveness, obscurity and intricacy in Damned In Endless Night, on sale from several locations such as the band’s own BandCamp page and the Transcending Obscurity webstore (where you can also find a sensational Damned in Endless Night silver-embossed CD box set, limited to 150 and containing an 8-panel silver digipak CD, an autographed card signed by the band personally, a logo patch, an album artwork badge, a fridge magnet and a 3D sticker), as well as from Apple Music and Amazon. In addition, don’t forget to follow this six-piece infernal horde on Facebook and to bang your head like a maniac to their harsh and ruthless music, and then (only then) may all your nights be endless and damned.

Best moments of the album: Halo of Flies, Blood for the Blood God and Kraken Arise.

Worst moments of the album: None.

Released in 2019 Transcending Obscurity Records

Track listing
1. Perpetua (instrumental) 1:59
2. Halo of Flies 5:20
3. In the Arms of Armageddon 5:27
4. Blood for the Blood God 5:49
5. Abyssal Mausoleum 8:25
6. Magnetic Fields Collapse 4:22
7. Kraken Arise 3:35
8. Unfurling Wings of Damnation 7:33
9. Swords 6:18
10. Damnati (instrumental) 3:13

Band members
Martyn Grant – vocals
Geoff Holmes – lead guitar
Paul “Budgie” Garbett – guitar
Leigh Jones – guitar
Dave “Guppy” Simmonds – bass
Rich Parker – drums

Album Review – Lindsay Schoolcraft / Martyr (2019)

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Renowned Canadian keyboardist and vocalist Lindsay Schoolcraft will take you on a very entertaining journey through the realms of Gothic Rock and Metal in her debut solo album.

An accomplished singer, songwriter, harpist, and pianist in her own right, Canadian keyboardist and vocalist Lindsay Schoolcraft (Cradle of Filth, Antiqva, The Astroplex, Daedalean Complex) is about to release her debut solo album entitled Martyr, a very entertaining feast of Gothic Rock and Metal recommended for admirers of the dark music played by bands like Evanescence and Nightwish, while  Cradle of Filth enthusiasts will certainly enjoy hearing this darkly romantic side of Schoolcraft’s music. Hailing from Oshawa, a city on the Lake Ontario shoreline, Lindsay is not only deeply proud of her Canadian roots, but she’s also a declared fan and a connoisseur of all things rock and metal, making us at The Headbanging Moose really proud of her development and growth as a musician, and with Martyr being the perfect depiction of all her dedication and passion for heavy music.

Produced, engineered, and mixed by Tyler Williams of Monolithic Productions, mastered by Lasse Lammert, and featuring a classy cover artwork by Anastasia Solti and logo by Lindsey Márton, Martyr is Lindsay’s personal tribute to rock and metal, channeling her years of experience as a musician and as a human being into ten original composition written by Lindsay herself together with American multi-instrumentalist Rocky Gray (Living Sacrifice, Evanescence, We Are the Fallen, Soul Embraced, Machina), who’s also responsible for all guitars, bass and drums in the album. Not only that, Martyr also brings an array of very special guests, including Xenoyr, vocalist for Australian Extreme Progressive Metal band Ne Obliviscaris, and who also plays with Lindsay in her Black Metal project Antiqva, adding an extra touch of darkness to Lindsay and Rocky’s goth-rock extravaganza.

Somber piano notes and a modernized vibe set the tone in Saviour, with Rocky slashing his strings before Lindsay comes ripping with her Amy Lee-inspired vocals in a top-notch Gothic Rock and Metal exhibit by our beloved Canadian musician, and a delicious feeling keeps permeating the air in Dangerous Game, where Lindsay not only does a great job on vocals, but her trademark keys also bring a nice touch to the music. Moreover, Rocky and his low-tuned bass punches sound as thunderous as they can be, adding the word “Gothic” to the final result. Stranger is even more delicate than its predecessors, but still presenting the electricity of Gothic Rock, and you can sense elements from bands like Evanescence, The Cure and Depeche Mode in the music; and her smooth piano notes keep dictating the rhythm in Into The Night, where it’s impressive how Lindsay can sound so gentle and dark at the same time (maybe a “side effect” of her years with Cradle of Filth), offering us all a ballad perfect for enjoying together with your loved one.

Can we call Blood From A Stone a Gothic, darker version of Enya, mainly due to the gorgeous way Lindsay declaims the song’s touching lyrics? Put differently, let Lindsay and her serene vocals and piano mesmerize you for over five minutes, which is also the case in the cinematic Dawn, where Lindsay is unstoppable with her melancholic piano notes in this ethereal and almost instrumental composition. Then supported by the innocent voices from a children’s choir, Lindsay’s keys get more piercing while Rocky brings heaviness to the musicality with his riffs and (programmed) beats in Remember, whereas in the metallic and gracious See The Light it’s time to put the pedal to the metal, reminding me of some of the best creations by UK’s Industrial Rock/Metal band Lahannya, featuring nonstop drums and the guttural vocals by guest Xenoyr, bringing the “beast” to the music while Lindsay obviously represents the “beauty”.

Where I Fall, another touching ballad by Lindsay, is perfect for soothing your soul on a cold and dark night, bringing to our ears spot-on piano notes and keys, whereas My Way Without You, featuring guest Lauren Francis (Devilment) on backing vocals, is almost just a “vocal and piano” song, showing how much Lindsay loves this variation of Gothic Rock. And last but not least, although the whole album is amazing, I must admit her version for The Cure’s dark classic Lullaby (you can check the original version HERE) is beyond hypnotizing,  and I’m sure Robert Smith is proud of Lindsay not only for the amazing job she does on the piano, but especially by the way she declaims the song’s wicked lyrics with so much feeling.

As already mentioned, we at The Headbanging Moose couldn’t be happier and prouder of Lindsay Schoolcraft and her newborn spawn Martyr, and if you also want to show your sincere support to such talented Canadian woman you should definitely follow her on Facebook, subscribe to her YouTube channel, listen to more of her music on Spotify, and purchase Martyr (anytime soon) and all of her other releases from her own BandCamp page. In a nutshell, Martyr a a more-than-enjoyable album of rock and metal music, and let’s hope it inspires Lindsay to keep releasing albums under her solo career for years to come and, consequently, to visit your city or town in a not-so-distant future for live performances, embellishing the airwaves with her undeniable talent and charisma.

Best moments of the album: Saviour, See The Light and Lullaby.

Worst moments of the album: Dawn.

Released in 2019 Independent

Track listing
1. Saviour 4:17
2. Dangerous Game 4:35
3. Stranger 4:15
4. Into The Night 5:02
5. Blood From A Stone 5:03
6. Dawn 3:10
7. Remember 4:01
8. See The Light 3:47
9. Where I Fall 4:48
10. My Way Without You 4:48
11. Lullaby (The Cure cover) 4:32

Band members
Lindsay Schoolcraft – vocals, piano, harp
Rocky Gray – guitars, bass, drum programming

Guest musicians
Spencer Creaghan – orchestrations
Matthew Van Dreil – additional orchestrations
Vassilis Thomas – Orthodox chant on “Saviour”
David Michael Moote – Gregorian chant on “Saviour”
Chanel Martins – support with children’s choirs on “Dangerous Game”, “Warm Me” and “Remember”
Xenoyr – guest vocals on “See The Light”
Lauren Francis – backing vocals on “My Way Without You”

Album Review – Grimgotts / Dragons of the Ages (2019)

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Set sail and enjoy this concept album about a war between dragons, sea-creatures and men in the form of classic and imposing Symphonic Power Metal.

Formed in the town of Horsham in 2015 by vocalist Andy Barton as a joke parody band at first, British Symphonic Power Metal act Grimgotts initially described themselves as “probably the best Harry Potter themed symphonic power metal band to come out of West Sussex”, having released only one (unofficial) single under that gimmick. Fortunately for us, fans of symphonic metal music, Andy decided to shift the band’s focus to fantasy and nautical themes the following year, and with the help of other musicians Grimgotts released their debut EP entitled Here Be Dragonlords, followed by another EP that same year named Extenditus Playus, the EP Part Man, Part Beast, Part Dragon in early 2017, and the full-length album Lions of the Sea by late 2017 after teaming up with  keyboardist Fabio Garau, guitarist David Hills and bassist James Taylor.

In 2018 Grimgotts solidified their lineup with bassist Nelson Moreira and drummer Mo Abdelgadir, playing at Power Metal Quest Festival and supporting German power metallers Victorius in London, England, inspiring the band to set sail once again in 2019 with the release of their sophomore full-length opus, titled Dragons of the Ages, a concept album about a war between dragons, sea-creatures and men set in the same fictional world of Vale as per the band’s own previous albums. Produced by Alex Loader (Ethereal Sound Studio) and featuring an epic, dragon-infused artwork by Ryan Marter (Arctic Wolf Design), Dragons of the Ages will please most fans of bands like Edguy, Twilight Force, Rhapsody, Alestorm and Sabaton, among others, taking the listener on a vibrant journey to a whimsical land where heavy music is the ultimate soundtrack to epic battles.

The sound of the waves and the symphonic keys by Fabio invite the listener to join Grimgotts in War’s Come to Our Shores, reminding me of the epic and adventurous music played by UK’s own Alestorm, with Andy’s vocals being a mix of Sabaton’s Joakim Brodén’s and Italian icon Fabio Lione’s, also featuring guest Julia Zelg with her beautiful female vocals. After such vibrant welcome card it’s time for The Last Dragon Warriors, where Julia once again helps Andy to declaim the song’s classic Power Metal lyrics (“For every day that we are here / We prepare to take the world / With our ships we can sail to the sun / For years we’ve sat and we’ve decayed / But today with stand as one / A mighty army, hail to the lords”) while David fires some ass-kicking, incendiary solos to add more electricity to the overall result, whereas Ancient Waters sounds and feels even more epic and imposing, inspired by the symphonic music played by acts like Rhapsody of Fire, Blind Guardian and Sabaton, with David’s riffs and Nelson’s rumbling bass dictating its thrilling rhythm.

In War at Dawn Fabio fires strident key notes while Mo pounds and slams his drums with precision and feeling, resulting in a Symphonic Power Metal extravaganza perfect for heading into the battlefield, with Andy telling the story with a lot of passion. Then prance around the fire pit together with your friends to the sound of The King Under the Sea, where David keeps slashing his stringed weapon and Mo keeps smashing his drums nonstop, not to mention the epic vibe generated by Fabio’s keys; and folk-ish elements ignite the metallic feast entitled The Long Road, sounding more progressive than its predecessors but still loyal to the foundations of Symphonic Power Metal. In addition, Nelson and Mo once again shine with their refined techniques. And Turning the Tide, the most Power Metal of all songs, is another battle hymn where David is on fire with his riffs while Mo sounds like a stone crusher on drums, sounding and feeling very melodic, epic and, above all, as fast as good Power Metal should be.

Despite bringing forward fanciful lyrics as its main ingredient (“The Shaman spoke to me / Told me of my destiny / The Northmen march to war / The dragons still can fall / For our great ancient city / Let’s not delay / Pray, we won’t go astray”), Take to the Sea lacks more stamina and strength. It’s still very enjoyable, though, especially if you’re a diehard fan of the genre. Back to a more dense sonority, The Great Shadow is embraced by the crisp keys by Fabio, with Andy delivering high-pitched, tuneful vocal lines the likes of André Mattos (R.I.P.), and with that inspiring vibe going on until the song’s climatic ending, all spiced up by David’s flammable solos. Last but not least, get ready for over eight minutes of folk-like keyboards, galloping beats and bass, electrifying guitars and soaring vocal lines in Here Be Dragonlords, even presenting some deep guttural vocals on the second half of the song while its ending is amazingly epic, melancholic and powerful.

You can listen to Grimgotts’ tribute to the sea, to mythical creatures and dragons and, of course, to our beloved Heavy Metal on YouTube and on Spotify in its entirety, and after “returning” from such distinct voyage don’t forget to follow the band on Facebook, to subscribe to their YouTube channel, and to purchase Dragons of the Ages from the band’s own BandCamp page, as well as from Apple Music or from Amazon. And may those metal pirates and warriors hailing from the UK continue to invade our minds and enhance our senses with their imposing and symphonic music for many years to come, always fighting for glory, for freedom and for metal.

Best moments of the album: The Last Dragon Warriors, War at Dawn and Turning the Tide.

Worst moments of the album: Take to the Sea.

Released in 2019 Independent

Track listing
1. War’s Come to Our Shores 6:05
2. The Last Dragon Warriors 5:26
3. Ancient Waters 3:54
4. War at Dawn 4:18
5. The King Under the Sea 3:20
6. The Long Road 4:54
7. Turning the Tide 3:32
8. Take to the Sea 3:28
9. The Great Shadow 5:22
10. Here Be Dragonlords 8:30

Band members
Andy Barton – lead vocals
David Hills – guitars
Fabio Garau – keyboards
Nelson Moreira – bass
Mo Abdelgadir – drums

Guest musicians
Hector Clark – backing vocals on “The Last Dragon Warriors”
Julia Zelg – additional vocals on “War’s Come to Our Shores” and “The Last Dragon Warriors”
Nick Thurtell – additional vocals
Prash Sarma – additional vocals