About Gustavo Scuderi

"If I could survive to live one more time I wouldn't be changing a thing at all Done more in my life than some do in ten I'd go back and do it all over again..."

Album Review – Soilwork / Övergivenheten (2022)

Musically and lyrically evolved, Swedish Melodic Death Metal masters are back with a fantastic new opus dealing with darker thoughts that have shaped the band itself.

Musically and lyrically evolved, Swedish Melodic Death Metal masters Soilwork are back with their twelfth studio album, entitled Övergivenheten, the follow-up to the amazing Verkligheten and one of their most complex and elaborate albums to date, strengthening their legacy even more in the world of heavy music. Recorded and produced by Thomas “Plec” Johansson and Soilwork at Nordic Sound Lab, and mixed and mastered by the same Thomas “Plec” Johansson at The Panic Room (assisted by Simon Eliasson and Viktor Brunö), Övergivenheten, which means “abandonment” in Swedish, deals with darker thoughts that have shaped the band itself and affected the development process of the album. The personal struggles align with social difficulties outside of the band, all embraced by the first-class, sharp music beautifully crafted by frontman Björn “Speed” Strid, guitarists Sylvain Coudret and David Andersson, bassist Rasmus Ehrnborn, keyboardist Sven Karlsson, and drummer Bastian Thusgaard.

The acoustic guitars and banjo by guest Johan Randén kick off the multi-layered title-track Övergivenheten before Björn and his henchmen begin a fantastic sonic attack showcasing melodious riffs, rhythmic beats and endless adrenaline; followed by Nous Sommes La Guerre, or “we are the war” from French, where the ladies’ choir brings an extra kick to the music while Björn beautifully declaims the song’s lyrics (“I can feel the shadows enter, risin’ from the earth / Now that everyone is giving me the widest berth / I have nightly visits, sentient absence watchin’ me / Nurturin’ the itch where other worlds are scratchin’ me”). There’s no time to breathe as the band keeps slamming their instruments in Electric Again, with Sylvain and David doing an amazing job armed with their stringed axes; and in Valleys Of Gloam the skillful Bastian adds tons of groove to the overall result is a first-class Melodic Death Metal feast for the masses. Let’s then slam into the circle pit together with the Soilwork boys in the striking, high-octane Is It In Your Darkness, with Bastian hammering his drums mercilessly supported by the rumbling bass by Rasmus, whereas the band keeps invading our senses with their dense, groovy Melodic Death Metal in Vultures, where Rasmus is on fire with his metallic bass lines, being therefore perfect for headbanging like a true metalmaniac. After the short, atmospheric instrumental interlude Morgongåva / Stormfågel, or “morning gift / stormbird” from Swedish, it’s time for us all to bang our heads to Death, I Hear You Calling, a solid composition where Björn’s angry vocals match perfectly with the song’s lyrics, pace and heaviness, meaning it should work amazingly if played live.

The gentle keys by Sven are suddenly joined by a wall of sounds spearheaded by Bastian’s crushing beats in This Godless Universe, presenting elements form Death and even Black Metal which bring a touch of eccentricity to it. More modern than its predecessors, Dreams Of Nowhere offers another round of their caustic lyrics (“Bleeding through the blanching skin you’re / Offering the Gods your name / Bound to see the sunrise fading / The everlasting flame”), flowing into the whimsical interlude The Everlasting Flame, where Sven will captivate your senses once again before we’re treated to tons of progressiveness in the form of Golgata, with Sylvain and David extracting sheer electricity form their guitars, providing Björn with exactly what he needs to fire both his guttural roars and his classic clean vocals. Those Swedish metallers still have a lot of fuel to burn in the album, with Harvest Spine being the perfect depiction of how heavy and melodic they can sound at the same time and with Björn stealing the spotlight once again with his flammable vocals; and lastly we have On The Wings Of A Goddess Through Flaming Sheets Of Rain, a stunning name for an incendiary song that begins in a sinister manner before evolving into one last Melodic Death Metal attack by Soilwork, offering our avid ears piercing, strident riffs and solos, massive blast beats and stylish keys, putting an outstanding ending to Övergivenheten.

Needless to say, Soilwork did it again, kicking some serious ass with their undisputed Melodic Death Metal throughout the entire Övergivenheten while always loyal to their core essence (even when experimenting with new elements and sounds). Hence, don’t forget to check what the band is up to on Facebook and on Instagram, to subscribe to their official YouTube channel for their official videos, to stream more of their top-of-the-line creations on Spotify, and above all that, to grab your favorite version of Övergivenheten by clicking HERE or HERE. Övergivenheten is one of those albums that not only represents what Soilwork are all about, but it also emanates a sharp and strong energy that’s the result of all of the aforementioned personal struggles from the band members, proving once again heavy music is always the best remedy for any type of adverse situation.

Best moments of the album: Is It In Your Darkness, Death, I Hear You Calling, Harvest Spine and On The Wings Of A Goddess Through Flaming Sheets Of Rain.

Worst moments of the album: Dreams Of Nowhere.

Released in 2022 Nuclear Blast

Track listing
1. Övergivenheten 5:45
2. Nous Sommes La Guerre 6:53
3. Electric Again 4:22
4. Valleys Of Gloam 4:11
5. Is It In Your Darkness 4:04
6. Vultures 5:47
7. Morgongåva / Stormfågel 1:33
8. Death, I Hear You Calling 4:41
9. This Godless Universe 4:41
10. Dreams Of Nowhere 4:29
11. The Everlasting Flame 1:06
12. Golgata 4:59
13. Harvest Spine 5:10
14. On The Wings Of A Goddess Through Flaming Sheets Of Rain 7:31

Band members
Björn “Speed” Strid – vocals
Sylvain Coudret – guitar
David Andersson – guitar
Rasmus Ehrnborn – bass
Sven Karlsson – keyboards
Bastian Thusgaard – drums

Guest musicians
Johan Randén – acoustic guitars and banjo on “Övergivenheten”
Laila Prigorowsky, Helene Alexandersson, Catrine Ellwen, Gonca Yazan, Jenny Ericsson & Cia von Heijne – ladies’ choir on “Nous Sommes La Guerre”

Album Review – Shuriken Cadaveric Entwinement / Constructing The Cataclysm (2022)

A demonic American duo is back in action with eight songs of fiercely implacable Death Metal bristling with riffs like lethal weapons and devilish growls, inspired by the history and mythology of the samurai.

Drawing on the complex history and vibrant mythology of the samurai, the powerful warrior caste of feudal Japan, Gastonia, North Carolina-based outfit Shuriken Cadaveric Entwinement has carved out their own kingdom of intense and characterful Death Metal, and although the demonic duo formed of multi-instrumentalist Jordan Varela (Lust Of Decay) and vocalist Jay Barnes (Cesspool Of Vermin) unveiled their second album Resuscitating The Vile almost a decade ago and may have fallen on their swords, consigning the project to the dust of ages, their third full-length opus, entitled Constructing The Cataclysm, is about to see the light of day. Recorded by Mike Clevenger at Audio Helm Studios, and displaying a fantastic samurai-inspired artwork by Andreas Christanetoff of Armaada Art, the album features eight songs of fiercely implacable Death Metal bristling with riffs like lethal weapons and devilish growls and howls, taking the duo to new levels of intensity and sheer class.

Get ready to be transported to feudal Japan before Jordan begins decimating his drums in the hellish Insurrection of the Diabolic while Jay growls and roars like a rabid beast, offering us all unrelenting and extremely vile Death Metal that goes straight to your jugular. Then blasting old school Death Metal the likes of Morbid Angel and Deicide it’s time for the duo to crush us all in Breaching the Gates of Tranquility, where Jordan is not only an evil machine behind his drums but his riffage is also caustic just the way we like it; and there’s no time to breathe as Jay and Jordan continue to hammer our heads with their Brutal Death Metal in Insidious Spiritual Incarceration, a fantastic option to slam into the pit to the wicked, demented vociferations by Jay. And Awaiting the Infinity of Oblivion doesn’t have a single moment of peace or boredom; quite the contrary, it’s an endless Death Metal onrush that will leave you completely disoriented when it’s over.

Jordan once again gives a lecture in caustic riffs and blast beats in Irrevocable Siege of the Abominable, offering Jay exactly what he needs to infernally roar the song’s dark words nonstop, being therefore perfect for some good old headbanging, whereas in Fragmenting the Profane the duo adds some welcome elements from Thrash Metal to their core sonority, resulting in another riff-fueled devastation by the duo tailored for igniting some serious circle pits at a live concert or festival. The second to last explosion of intricacy and rage by Shuriken Cadaveric Entwinement, entitled Tribunal of the Oni, keeps the album scorching hot, with Jordan sounding fantastic with both his riffs and metallic bass, followed by the title-track Constructing the Cataclysm, putting a sick ending to the album by blending traditional Japanese sounds in the background with the fury of American Death Metal, while also leaving our corpses lying in the battlefield like deceased samurais after all is said and done.

The metal samurais Jay Barnes and Jordan Varela are waiting for you to join them in the battlefront by following them on Facebook, by streaming all of their wicked compositions on Spotify, and mainly by purchasing a copy of the excellent Constructing The Cataclysm from the Comatose Music’s BandCamp page or webstore (as a regular CD or a CD + shirt + sticker bundle), as well as from Apple Music and other retailers such as Barnes & Noble and Plastic Head Megastore. Having said all that, instead o committing a seppuku or hara-kiri, use your katana for something a lot more fun such as raising it in the air while banging your head to the music blasted by Shuriken Cadaveric Entwinement in their high-octane new album, honoring all metalheads that came before us.

Best moments of the album: Insidious Spiritual Incarceration, Fragmenting the Profane and Constructing the Cataclysm.

Worst moments of the album: None.

Released in 2022 Comatose Music

Track listing
1. Insurrection of the Diabolic 4:19
2. Breaching the Gates of Tranquility 4:10
3. Insidious Spiritual Incarceration 3:43
4. Awaiting the Infinity of Oblivion 4:46
5. Irrevocable Siege of the Abominable 3:13
6. Fragmenting the Profane 4:06
7. Tribunal of the Oni 3:47
8. Constructing the Cataclysm 4:55

Band members
Jay Barnes – vocals
Jordan Varela – guitar, bass, drums

Metal Chick of the Month – Sandie Gjørtz

The resurrection of the Lilith!

As the summer solstice is gone, the days are getting shorter and the nights are getting longer, and here at The Headbanging Moose it’s time to darken the skies even more with our metal lady of the month of August, the stunning, enigmatic and evil Sandie Gjørtz, also known as Sandie “The Lilith” Gjørtz, Sandie The Lilith, or simply Lilith, the unrelenting frontwoman for Danish Melodic Death Metal outfit Defacing God. Her devilish roars will haunt your damned soul for all eternity, and I’m sure you’ll thank us at The Headbanging Moose for introducing you to such talented woman of the current metal scene. Be careful, though, as Lilith is the primordial she-demon as you might know, and succumbing to her enchantment means you might never see the light of day again in your life.

Growing up with Rock N’ Roll and Heavy Metal as both her parents are metalheads, Sandie mentioned heavy music has always been a natural part of her life. “I’ve been told that even before I could walk, I often crawled in front of the TV when my parents played a VHS live video with Ozzy Osbourne and I managed to stand up in front of the TV and shake my diaper-ass to ‘Bark at the Moon’ for example. So yeah, it is simply in my veins”, commented our mesmerizing vocalist in one of her interviews, also saying she started out “softly” with Judas Priest, Black Sabbath and King Diamond before getting to know Pantera and, with the discovery of YouTube when she was around 11 years old, being introduced to harder and heavier bands the likes of Sepultura, a band her father loves by the way. When she told her father about that, he got so excited he showed her his copy of Slayer’s ultimate classic album Reign In Blood, and once again she felt that indescribable rush flowing through her veins.

“I am eternally grateful for these influences on music in my youth. It has always been following me and helped me through dark times, many times! And since that time, I just knew that I wanted to be or do something in this kind of music. It’s a deep, burning passion that is extremely hard to even describe as said. If you know and get it, you get it. If not… You never will,” complemented Sandie, who also said that although she knew nothing about growling or extreme vocal techniques when she was young, she has always been busy with music, singing and acting in drama classes during her school years, as well as choir singing at the church, which was curiously one of her hobbies before turning into Lilith. She knew she wanted to become a vocalist, but as mentioned she didn’t know at that age that women could also do extreme singing, while at the same time she realized choir singing and clean vocals weren’t enough for her.

Having a raging fire burning inside her and dealing with anger issues, things she wanted to express somehow as she considered herself an intense and emotional girl during her youth, Sandie finally discovered bands the likes of Holy Moses and Arch Enemy when she was around 15 years old, being blown away by those women who could manage to do extreme singing just like some of her idols such as Cannibal Corpse and Morbid Angel. “First, it seemed a little bit extreme for me because I never saw anything like that before and for me, it was not a ‘natural’ thing for a woman to scream and sing that deep. Back then, I also don’t think that women who did growls, screams and extreme vocals, in general, was such a common or known phenomenon like it is nowadays. Not that I know at least. I just know that I adored it and decided that if they could do it, I sure as hell could do it too!”

Since then, our unstoppable growler has been investing all her talent, energy and passion into making extreme music, learning extreme techniques on her own, always trusting her feelings and saying metal music works as pure therapy for her, that it is really what she lives for. After so many years practicing and developing her vocal skills, Sandie knew it was time for her to have her own Extreme Metal band, leading to the creation of Defacing God in 2015. “I always wanted to play in a band, but only did something about it in 2015 when our drummer (Michael Olsson) and I decided to start a project together. After the decision was made, we began to search for musicians with the same intentions and passion as ourselves, and it ended up with the constellation we have today.” From that day on, Lilith was born.

Currently comprised of Sandie “The Lilith” Gjørtz on vocals (who’s also responsible for all visuals and lyrics), Signar Petersen and Christian Nielsen on the guitars, Rasmus “Kalke” Nielsen on bass, and Michael Olsson on drums, Defacing God were formed in 2015 in Aalborg, a city in the Jutland region of Denmark, but only going public in 2018. Sandie mentioned she hadn’t worked in any other projects before founding Defacing God, only focusing on her singing as well as on some other instruments like the guitar, keyboards, piano and cello, which means we can all consider Defacing God her beloved (and evil) first baby. “Since most of us in the band are experienced musicians by now, we chose to keep our project close to our bodies until we thought everything was completely clear. We didn’t think it made sense to make ourselves visible before, and none of us wanted to stand on stage and deliver something half-finished. Therefore, we have worked at high pressure to be coordinated and create something that we ourselves are proud to show off. I myself really appreciate bands that have a complete theme, stage expression, etc.,” commented our Lilith, also saying that “in addition to the above, we have had some legal construction problems with our rehearsal rooms, and we were therefore forced to take a break for a few months and have our rooms rebuilt and ready. Furthermore, we have had a change in the lineup and our band members. Everything takes time – especially when it comes to music. We have had so much in the making, so many ideas, and it is only now that I feel that we have found our right track and expression. I just think that’s how it is with art in general. It’s one big bubble of ideas, thoughts and expressions, and it can take a long time before the result of all this turns out to be something that makes sense.”

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Inspired by opulent Scandinavian metal traditions, Defacing God base their conceptual themes on the seeping darkness that moves in us all, rooted in occultism and witchcraft, but primarily the mythologically mysterious female demon Lilith and her tales of fervent defiance and perseverance. Through their storytelling, music and aesthetic, the band pulls their listeners into a dark universe of obscure myths, folklore and ancient stories, all the while weaving in often subtle lyrical inspirations from modern societal oppressions and personal demons while musically speaking they echo the styles of artists such as Cradle of Filth, Carach Angren and Dimmu Borgir, blending it with a conventional dose of Black Metal and merging these auras with infernal Death Metal. Hence, as Defacing God are gearing up for the release this September of their debut opus The Resurrection of Lilith, the band has already unleashed upon us a few songs that will feature in the album just to give us a taste of how devilish and heavy it will be, and you can already succumb to the dark world ruled by Defacing God by listening to the songs Succumb the Euphoria, Monolith Of Apocalypse Arise, The Marked Ones, and Rise Of The Trinity, all available on Spotify by the way, also showcasing stunning, hypnotizing visuals thanks to the wicked mind of Lilith. Celebrating feminist power and sisterhood throughout Defacing God’s entire upcoming album, Sandie mentioned that the trinity formed of Abyzou, Jezebel and Lilith is the kind of catalysator who speaks for all cremated witches who never got a voice through times and history, strong and wise women have been slaughtered, molested, executed and abused, just because the herd were scared of their wisdom and free spirit.

As already mentioned, Sandie is highly inspired by Scandinavian metal as well as witchcraft and occultism, also nurturing a personal love for Black Metal, all expressed through the band’s upcoming stage performances and in many of her texts, representing her view of the world and her own experiences. “In the era of witch hunting (between the 15th and 18th centuries) it was only women who stood out from the crowd or perhaps knew something. They were not considered part of normality, and so they were burned – basically because the ‘masses’ did not understand them and were afraid of them. Today it is more acceptable to fall outside the norm. Actually, I think that it has become modern to be alternative – but no matter what, there will always be those who cannot or will not understand you, and you cannot and must not please everyone. That is really what is the message in the theme and what many of the texts can be analyzed down to. Therefore, we have decided that it must be a consistent theme throughout our expression,” commented Sandie in one of her interviews. Furthermore, among her favorite artist and bands, you’ll find some renowned acts the likes of Marduk, Lord Belial, Rotting Christ, Nile, Morbid Angel, Septicflesh, Dimmu Borgir, Cradle of Filth and Belzebubs, also being inspired by movies, books, games, ancient history and “dark places” that she has visited through time.

A proud Aalborg citizen, Sandie said that the metal community in her hometown and in the entire Denmark is quite strong, also saying that it houses a lot of talented solo musicians and great bands compared to other bigger countries. “The community is strong here in Aalborg, too, where I live. We, for example, have a big international festival, Aalborg Metal Festival, scheduled in November every year which is a great festival with lots of passionate, hard-working people behind. Through blood, sweat and tears they make this huge festival work each fucking year without complaints,” also mentioning concerts and festivals arranged by AR&M (Aalborg Rock & Metal) several times a year, where a bunch of hard-working volunteers line up for making the whole thing work as well. One interesting fact about Sandie and her Defacing God is the fact that in 2019 the band was booked for Viborg Metal Festival having only released one song at that time, which according to Sandie herself happened because some people behind the festival already knew her bandmates from other bands and trusted them to put on a great show regardless.

Although she hasn’t been involved with other bands prior to Defacing God, Sandie was a guest musician in the album To Live To Kill To Live, by Danish Heavy/Power Metal act Manticora, saying she loved the experience of collaborating with the band in their latest album. “This part I sang was supposed to be an evil Chinese aunt who killed her whole family due to jealousy. The more brutal, the better!” However, if you think her life is just surrounded by brutality, you might be really impressed by the quality work she used to do before focusing on her career as a musician. “After I finished high school, I took some exams related to business and straight after that I followed my vision (besides of the music) to become a social worker, specialized in young people with mental health diagnoses and social problems. I started to study my bachelor’s in social education and on the side I worked as a teacher,” she said in one of her interviews, also mentioning her passion for the beauty industry. She simply loves everything that has to do with makeup, skincare routines and the ways we can express ourselves in a visual and creative way, taking some exams in the beauty industry and having actually made a living off her own beauty firm, Gorgeous By Gjoertz, while at the same time taking a degree in service, hospitality and tourism management at University College in Aalborg. Not only that, she was also a self-employed insurance agent at one of Scandinavia’s biggest insurance companies, proving how unrelenting and full of energy she is. So, after all is said and done, what are you waiting for to renounce to your weak gods and succumb to the dark powers of a true goddess like Lilith?

Sandie Gjørtz’s Official Instagram
Defacing God’s Official Facebook page
Defacing God’s Official Instagram

“In the name of art there should no boundaries and everyone should have the freedom to be their own independent self, to explore and to express as they desire without being judged or oppressed.” – Sandie Gjørtz

Album Review – Black Reuss / Journey (2022)

Liechtenstein’s own one-man Gothic and Doom Metal band returns with the second part of his four-album concept, surrendering to inner preferences and being less and less controlled by material or negative things.

Formed in 2018 in Triesen, the third largest municipality of the Principality of Liechtenstein, Gothic/Doom Metal one-man army Black Reuss has just released the second part of his four-album concept, entitled Journey, the follow-up to his 2021 album Metamorphosis and a preparation for the upcoming albums Arrival and Death. The man behind Black Reuss, vocalist and multi-instrumentalist Maurizio Dottores, is at home in doomy Heavy Metal with a touch of melancholy and a certain heaviness that has accompanied him in some chapters of his life, with Journey being about surrendering to inner preferences and being less and less controlled by material or negative things, being therefore highly recommended for admirers of the doomed music by Paradise Lost, Type O Negative, Katatonia and Black Sabbath, among others.

Eerie, futuristic sounds ignite the atmospheric Exodus, with Maurizio wasting no time by distilling his trademark fusion of Gothic Rock and Metal while firing sharp riffs from start to finish, and switching gears to a more sinister vibe thanks to his tribal beats and minimalist guitar lines we’re treated to Dejection, living up to the legacy of classic Doom Metal. Moreover, Maurizio’s deep vocals add a touch of anguish to the overall result, whereas experimenting with more unconventional sound and elements it’s time for the somber Egression, where Maurizio does a great job with both his riffs and bass lines; followed by the bold, atmospheric and pensive Hole, where its sonority will embrace you in the name of Gothic and Doom Metal and with Maurizio’s riffage and beats bringing forward sheer heaviness. Slowing things down a bit we have the Gothic Rock feast Fail, where once again Maurizio is on fire armed with his rumbling bass, adding endless groove to the music, while a beyond sinister and atmospheric start evolves into a Gothic Metal extravaganza in Deep-Seated, with Maurizio’s introspective, deep vocals and low-tuned bass lines beautifully darkening the skies, also presenting hints of Southern Rock and Metal for our total delight.

Drinking from the same obscure fountain as renowned acts the likes of Moonspell, My Dying Bride and Paradise Lost, Maurizio brings forth sheer doom in Regression, another first-class composition showcasing sluggish beats and riffs enfolded by an ethereal ambience, and it’s then time for a headbanging tune entitled Dependence, where Maurizio slashes his guitar in great fashion while his beats bring an extra kick to the song, being clearly inspired by the 80’s Gothic Rock scene (and a recommended addition to your road trip playlist, by the way). Integrity keeps the album at a high level of energy and doom, with Maurizio adding a phantasmagorical vibe to it with his keys while his guitar work sounds very melodic and sharp as usual; and the last two songs of the album are also the longest ones, starting with Affection, a slow, reverberating composition that exhales pure Doom Metal with his guitar solos being a thing of beauty, flowing into the pensive and grim Redemption, an atmospheric nine-minute aria where Maurizio declaims the song’s lyrics with tons of anguish while its instrumental pieces are simply spot-on, consequently putting a delicate but impactful ending to the album.

While we wait for the third and fourth chapters in the musical adventure crafted by Maurizio Dottores and his Black Reuss, we can definitely have a very good time enjoying Metamorphosis and of course Journey, which is by the way available in its entirety on Spotify, and you can also show your utmost support to this interesting one-man band from Liechtenstein by following him on Facebook and on Instagram, by subscribing to his YouTube channel, and obviously by clicking HERE and purchasing your favorite version of Journey. What’s next for Black Reuss? How will Arrival and Death sound in comparison to Metamorphosis and Journey? The wait for those questions to be answered is one of the most compelling parts in the music by Maurizio Dottores, a man that’s definitely placing Liechtenstein in the map of heavy music with his unique creations.

Best moments of the album: Hole, Deep-Seated and Dependence.

Worst moments of the album: Egression.

Released in 2022 Independent

Track listing
1. Exodus 5:54
2. Dejection 6:41
3. Egression 4:40
4. Hole 4:20
5. Fail 4:51
6. Deep-Seated 6:02
7. Regression 6:17
8. Dependence 4:44
9. Integrity 4:46
10. Affection 8:39
11. Redemption 9:46

Band members
Maurizio Dottores – vocals, all instruments

Album Review – Flame Imperishable / Glory and Ruin (2022)

This talented husband-and-wife duo is back in action with a new project of first-class Progressive Power Metal inspired by J.R.R. Tolkien, Brandon Sanderson, video games and more.

A husband-and-wife duo comprised of multi-instrumentalist Jason Lee Greenberg and vocalist Jennifer Michelle Greenberg, known for the 2014 self-titled album by Orisonata, Houston, Texas-based Progressive Power Metal entity Flame Imperishable is ready to take the world of heavy music by storm with their debut opus entitled Glory and Ruin, inspired by J.R.R. Tolkien, Brandon Sanderson, video games and more. Produced and engineered by Gregg Rossetti of Suspyre, who also plays saxophone and keyboards, and is responsible for the orchestrations in the album, Glory and Ruin is highly recommended for fans of Blind Guardian, Opeth, Epica, Nightwish and Ghost, with each one of its songs presenting either a heroic literary figure or a very tragic soul destined for a path of ruin.

Acoustic guitars ignite the opening tune The Halls of Waiting (Oblivion), where Jennifer beautifully declaims the song’s lyrics (“Broken, treachery, a given promise kept / of changing and of shifting shape / Thereby the snare was set / Revealed the truth of where / his companions lay / and thus his kinsmen found / their final resting place”) amidst an imposing and progressive sonority, whereas investing in a more direct, metallic sound we have Frozen in Time, with Jason doing an awesome job with his riffs and beats accompanied by the classic keys by Gregg in a first-class fusion of Symphonic and Progressive Metal. And the couple keeps delivering epicness and intricacy in Slavebranded, showcasing their more Dream Theater-ish side with hints of Opeth while keeping a more direct, vibrant vibe, followed by Shrine of Resurrection, featuring bass lines by Gregg and sounding a lot less metal or intense than its predecessors, but still very melodic thanks to the great job done by Jennifer on vocals. Then the whimsical, melancholic sax by Gregg in the interlude Bregalad’s Lament sets the stage for The Herald’s Approach, with a guest guitar solo by Drew Creel (Masqued) and another round of their magical lyrics (“Surrender the light / In the midst of ruin, defy / The silent watchmen of lies / Broken promises shattered inside”) while Jason and Gregg make a dynamic duo with their respective riffs and sax.

Flammable riffs by Jason and the futuristic keys by Gregg ignite the Symphonic and Progressive Metal feast titled Reign of Fire, also presenting a sick guitar solo by Drew, where once again Jennifer fires her fusion of operatic and metallic vocals for our total delight; whereas The Scarlet Gale (Part 1: Darkness Falling) will prepare our souls to the sound of the acoustic guitars by Jason and Jennifer’s whimsical voice for the 12-minute aria The Scarlet Gale (Part 2: The Descent), featuring male vocals by John Yelland (Judicator, Dire Peril, Principium). It’s an exciting musical voyage alternating between ethereal passages, sheer heaviness and climatic moments where John and Jennifer make a fantastic vocal duet while Jason is a machine of progressiveness, also presenting elements from the music by early Nightwish, Dream Theater and Opeth with the band’s own twist, therefore resulting in a metal opera that will please all fans of the genre, flowing into the closing tune The Scarlet Gale (Part 3: Reflection), a delicate, melancholic outro featuring the stunning classical guitar by guest Valerie Hartzell that puts a beautiful ending to the album, mesmerizing us all until the very last second.

“I fully devoted myself to studying and pursuing classical guitar. In getting back to writing metal music, it was a blast incorporating newly learned classical composition techniques, approaches to counterpoint melody, as well as baroque and romantic styled themes into heavy metal,” commented Jason about his approach in crafting the music found in Glory and Ruin, and it’s indeed a fun experience noticing all those nuances in each and every track of the album. Hence, don’t forget to give Jason and Jennifer a shout on Facebook and on Instagram, subscribe to their YouTube channel, stream their creations on Spotify, and above all that, purchase a copy of their new album directly from their BandCamp page to keep the flames of Progressive Power Metal burning for all eternity.

Best moments of the album: The Halls of Waiting (Oblivion), Slavebranded and The Scarlet Gale (Part 2: The Descent).

Worst moments of the album: Shrine of Resurrection.

Released in 2022 Independent

Track listing
1. The Halls of Waiting (Oblivion) 9:12
2. Frozen in Time 4:39
3. Slavebranded 6:00
4. Shrine of Resurrection 5:13
5. Bregalad’s Lament 2:52
6. The Herald’s Approach 5:32
7. Reign of Fire 4:44
8. The Scarlet Gale (Part 1: Darkness Falling) 2:21
9. The Scarlet Gale (Part 2: The Descent) 12:53
10. The Scarlet Gale (Part 3: Reflection) 2:57

Band members
Jennifer Greenberg – vocals
Jason Lee Greenberg – guitar, bass, drums

Guest musicians
Gregg Rossetti (Suspyre) – saxophone, keyboards, orchestrations, bass on “Shrine of Resurrection”
Drew Creel (Masqued) – guitar solos on “Reign of Fire” and “The Herald’s Approach”
John Yelland (Judicator, Dire Peril, Principium) – male vocals on “The Scarlet Gale (Part 2: The Descent)”
Valerie Hartzell – classical guitar on “The Scarlet Gale (Part 3: Reflection)”

Album Review – Fireproven / Epilogue (2022)

Let’s all say farewell to this talented Progressive Metal act from Finland to the sound of their second (and last) full-length album.

Hailing from the Finnish capital of Helsinki, the Progressive Metal outfit known as Fireproven has just unleashed upon us their sophomore effort, entitled Epilogue, which is also their last album as in January 2022 the band announced they would be disbanded, thanking their loyal fans for their support through the years. “Sadly, we have to announce that Fireproven will no longer continue. There are number of reasons that led us to this decision but we’re all still good friends, and will continue to keep it that way. We’re going to release our last album later this spring but all shows will be cancelled. We want to thank you all for your love and support during these years. None of this would have been possible without you guys listening to our tracks and showing us your love,” commented vocalist Sanna Solanterä, guitarist Janne Väätämöinen, bassist Juha Väätämöinen, keyboardist Ilari Hannula and drummer Nuutti Hannula, leaving us with the musical freedom and explorations from Epilogue embraced by a stylish cover art by Petri Lampela.

The whimsical keys by Ilari will captivate your senses in the opening track The Maze, being joined by the slashing riffage by Janne and the blast beats by Nuutti, sounding very modern, progressive and melodic from start to finish. Then blending the Melodic Metal from bands such as Epica and Within Temptation with Progressive and Groove Metal nuances we have The Addict, a pleasant, headbanging tune led by the always striking vocals by Sanna; whereas  the metallic, thunderous bass by Juha dictates the pace in King, offering more of the band’s hybrid of Melodic and Progressive Metal with the growls by Juha making a great paradox with Sanna’s vocals. And phantasmagorical keys and pounding drums generate a dense atmosphere in Haunted, sounding very theatrical while Janne extracts pure obscurity from his guitar. Moreover, it’s very different from its predecessors, but still loyal to the band’s core essence.

In Time to Heal, the tick tock on the clock grows in intensity until the music turns into a heavy and aggressive onrush with Juha roaring like a beast alternating with Sanna and her beyond melodic vocals, while sheer adrenaline flows from the breathtaking Dream Catcher, where all band members are in absolute sync spearheaded by the Melodic Death Metal keys by Ilari. After such intense tune, an epic, imposing intro to the slashing riffs by Janne evolves into more of the band’s Progressive Metal in Grace, where Janna once again beautifully declaims the song’s lyrics; and the band offers our ears over six minutes of progressiveness in the form of Waves of Extinction, with a delicate but mesmerizing vocal performance by Sanna as if Dream Theater or Opeth had a female vocalist. Lastly, the keys by Ilari add an extra touch of finesse to the nine-minute aria Unity, where Nuuutti keeps hammering his drums nonstop, providing Sanna with exactly what she needs to shine on vocals while Janne and Juha make an incendiary duo with their stringed weapons.

If Progressive and Melodic Metal with female vocals is your cup of tea, you should definitely take a listen at Epilogue, which is by the way available in full on Spotify, and although Fireproven have just called it quits you can still give a shout to the band on Facebook and on Instagram (and who knows, maybe that will inspire them to get back in action in the near future, right?), listen to more of their music on YouTube, and purchase Epilogue from Apple Music. Unfortunately, as already mentioned, Epilogue is the last album by Fireproven, which means we won’t probably hear from those talented Finnish metallers again unless they decide to come back from the ashes one day. However, they’re definitely going out with a bang thanks to the amazing job done in their new album, leaving their mark in the underground Finnish scene while also bringing a lot of fun and joy to our ears and hearts, all in line with the name chosen for their farewell album.

Best moments of the album: The Addict, Dream Catcher and Waves of Extinction.

Worst moments of the album: Haunted.

Released in 2022 Independent

Track listing
1. The Maze 4:29
2. The Addict 5:19
3. King 4:11
4. Haunted 5:08
5. Time to Heal 5:08
6. Dream Catcher 4:54
7. Grace 5:40
8. Waves of Extinction 6:29
9. Unity 9:02

Band members
Sanna Solanterä – vocals
Janne Väätämöinen – guitar, backing vocals
Juha Väätämöinen – bass, vocals
Ilari Hannula – keyboards
Nuutti Hannula – drums

Album Review – Bad Baron / Ace Of Hearts (2022)

This Sleaze Rock outfit from the land of ice and snow will bring the heat to our hearts with their incendiary debut album.

You might be tempted to assume that you’ve come across yet another Scandinavian Sleaze Rock band, following a path well-trodden over the past few years by bands like Crashdïet, Santa Cruz and Reckless Love, but you’d be wrong as Finnish Melodic Rock act Bad Baron does things a little differently. With big looks, even bigger hooks, and more gratuitous key changes than you ever thought possible, Bad Baron set the bar just a little bit higher with their new album Ace Of Hearts, a thrilling Rock N’ Roll party by vocalist and bassist Lauri Huovinen, guitarist Tommy Widdow, keyboardist Alex Kron and drummer Sammy South. “I’m a massive fan of the AOR and glam metal that came out of the 80s,” commented Lauri, “Whitesnake, Journey, Mötley Crüe and so on, so it was amazing to find people who want to keep that flame burning in a time where rock musicians have to try harder than ever to cut through.”

The album couldn’t have had a more Hard Rock start than Edge of Our Dreams, where the keys by Alex will take you back to the 80’s while Lauri fires his Bret Michaels-inspired vocals and Tommy kicks some ass with his old school riffs and crisp solos. The Van Halen-ish keys by Alex walk hand in hand with the headbanging beats by Sammy in Can You Love Someone (For Just One Night), perfect for their upcoming live concerts, whereas keeping the atmosphere as thrilling as possible it’s time for another straightforward Hard Rock tune titled Breakdown In Communication, where once again the quartet is ready to rock like there’s no tomorrow. Hungry brings forward pure Sleaze Rock and Hair Metal for lovers of the genre, being tailored for singing it along with Lauri while Sammy pounds his drums in great fashion; and ethereal sounds ignite the Glam Metal extravaganza entitled Rebel Heartache, showcasing another solid job done by Tommy and Alex with their respective riffs and keys. After such fun party, get ready to rock together with those Finnish boys in the incendiary Lights Go Out, displaying a very pleasant “Eye of the Tiger” vibe thanks to the classic beats delivered by Sammy.

After a brief Interlude the band offers our ears the very melodic and whimsical Our Story Isn’t Over, a classic 80’s Hard Rock tune with Lauri being flawless on vocals supported by his bandmates’ spot-on backing vocals, and the rumbling bass by Lauri dictates the pace in the Sleaze Rock extravaganza Going Down In Flames, while Tommy brings fire to the music with his riffage, sounding dense and piercing while alternating between more delicate moments and sheer adrenaline. Then an amazing bass and keys combo by Lauri and Alex respectively will inspire you to raise your fists in the air in the name of Rock N’ Roll in Rock In The City, presenting all elements we learned to love in the genre, whereas although One Minute To Midnight is obviously not “Two Minutes to Midnight”, it lives up to the legacy of 80’s Hair Metal, and you better get ready to sing along its catchy chorus together with the band while Tommy is on fire with his stringed axe . The album’s second to last song, the power ballad Long Road Home, is not bad at all but it lacks the extra punch from the rest of the album, and finally the quartet offers us all an ode to rock music (straightforwardly) titled Anthem For Rock’n’Roll, where Lauri and Sammy will make the stage tremble with their groovy kitchen supported by the electrifying keys by Alex.

After all is said and done I’m sure you’ll get addicted to the music by Bad Baron, especially if you’re a longtime admirer of Sleaze Rock with an European touch, with Ace Of Hearts representing more than just the first step in their promising career but an amazing addition to the Finnish rock front. Hence, don’t forget to follow them on Facebook and on Instagram, to stream more of their music on Spotify, and to purchase your copy of Ace Of Hearts from the Pride & Joy Music webstore or from Apple Music, keeping the flames of Hard Rock burning and, consequently, bringing some heat to our hearts and obviously to the land of ice and snow.

Best moments of the album: Edge of Our Dreams, Going Down In Flames, Rock In The City and One Minute To Midnight.

Worst moments of the album: Long Road Home.

Released in 2022 Pride & Joy Music

Track listing
1. Edge of Our Dreams 3:11
2. Can You Love Someone (For Just One Night) 3:15
3. Breakdown In Communication 3:47
4. Hungry 3:48
5. Rebel Heartache 4:54
6. Lights Go Out 3:57
7. Interlude 0:46
8. Our Story Isn’t Over 4:04
9. Going Down In Flames 3:20
10. Rock In The City 4:27
11. One Minute To Midnight 3:20
12. Long Road Home 3:50
13. Anthem For Rock’n’Roll 4:39

Band members
Lauri Huovinen – vocals, bass
Tommy Widdow – guitar
Alex Kron – keyboards
Sammy South – drums

Album Review – Splintered Throne / The Greater Good of Man (2022)

The reaper is calling us all to join this electrifying American squad in their quest for Heavy Metal to the sound of their awesome new album.

Having already captivated audiences on the West Coast for over a decade with their high energy performances, Portland, Oregon-based Heavy Metal powerhouse Splintered Throne is beginning the next chapter in their solid career by unleashing upon us their new album The Greater Good of Man, delivering bluesy influences with dynamic bass, groove rhythms and soaring vocals just the way we like it in metal music. Produced by Kevin Hahn and Splintered Throne, recorded at Primal Studio and Opal Studio, mixed and mastered by Kevin Hahn at Opal Studio, and with graphic design by Jen Taylor of VividPix & Design, The Greater Good of Man showcases all the talent and passion for heavy music by frontwoman Lisa Mann, guitarists Matt Dorado and Jason “JMo” Moser, bassist Brian Bailey and drummer Kris Holboke, resulting in a dynamic collection of energy, emotion and storytelling. “I still pinch myself that I’m even in this band – and now we’ve written and recorded a kick ass album? It’s as good a feeling as sex and chocolate,” commented Lisa about the album.

The slashing guitars by Matt and Jason will invite you to raise your horns in the name of metal in The Reaper is Calling, being quickly joined by the hammering drums by Kris and the soaring vocals by Lisa in a pure, unfiltered 80’s Heavy Metal feast for our total delight. Then drinking from the same fountain as some of our metal heroes the likes of Iron Maiden, Judas Priest, Saxon and Accept, Lisa continues to lead her henchmen in The Crossing, with Kris showing no mercy for his drums supported by the rumbling bass by Brian; followed by Morning Star Rising, a beautiful power ballad by the band where Lisa steals the spotlight with her passionate vocal performance, flowing powerfully to the pounding beast by Kris and the striking solos by Matt and Jason. And putting the pedal to the metal it’s time for the title-track The Greater Good of Man, where all band members are on absolute fire spearheaded by Lisa’s fiery vocals while we’re also treated to some thrilling, ass-kicking solos.

If you’re a fan of Warlock you’ll have a blast with the epic tune Let it Rain, again showcasing an amazing job done by the band’s guitar duo with their piercing riffs and solos, not to mention its galloping pace is perfect for banging your head together with the band. Inspired by those struggling with addiction and to those who made it into recovery, Underdogs is another touching ballad by the quintet where its backing vocals provide Lisa with all she needs to shine on vocals; whereas let’s all slam into the circle pit to the sound of Night of the Heathens, a song tailored for heading into the battlefield armed with ass-kicking Heavy Metal, with Brian and Kris bringing the heavy artillery to the music while the guitar solos by Matt and Jason will pierce your ears in great fashion. The second to last blast of awesomeness by Splintered Throne, titled Time Stands Still, brings forward their more Hard Rock vein, with Lisa once again showcasing all her vocal range and talent accompanied by the solid instrumental form her bandmates, and last but not least the band offers us the re-recording of their 2017 ballad Immortal 2020, already released in 2020 as you can see, this time with Lisa on vocals of course plus a few adjustments to the overall result, resulting in a great “bonus track” for us fans.

As aforementioned, Splintered Throne have just started a new era in their career with The Greater Good of Man, and in order to show them your utmost support you can start following the band on Facebook and on Instagram for news, tour dates and other cool stuff about them, stream more of their awesome music on Spotify and on YouTube, and obviously grab your copy of The Greater Good of Man from their own BandCamp page, from Apple Music or from Amazon sooner than you can say “splintered throne”. Heavy Metal made in Portland, Oregon has never been as fantastic as now thanks to the amazing job done by Splintered Throne in their newborn opus, and I can’t wait for more of their stunning music in the near future to raise my fists in the air and have a beer with the band while my heart is filled with pure metal and joy.

Best moments of the album: The Reaper is Calling, The Greater Good of Man and Night of the Heathens.

Worst moments of the album: None.

Released in 2022 Independent

Track listing
1. The Reaper is Calling 4:10
2. The Crossing 6:09
3. Morning Star Rising 5:50
4. The Greater Good of Man 3:55
5. Let it Rain 4:04
6. Underdogs 4:50
7. Night of the Heathens 3:23
8. Time Stands Still 4:03
9. Immortal 2020 4:34

Band members
Lisa Mann – vocals
Matt Dorado – guitar
Jason “JMo” Moser – guitar
Brian Bailey – bass
Kris Holboke – drums

Album Review – Provectus / Postero Mundi (2022)

Inspired by the early pioneers of the genre, this Belgian horde carries the spirit of old school Black Metal in their pulverizing newborn beast.

Founded in 2015 in Vosselaar, a municipality located in the Belgian province of Antwerp, while rooted from the minds of vocalist and guitarist Tempore Anomalia and drummer Obitus, the unrelenting, old school Black Metal horde Provectus focuses on creating quality 90’s Black Metal cutting into a diverse range of lyrical themes, always inspired by the early pioneers of the genre such as Immortal and Dissection. Now in 2022 it’s time for Tempore Anomalia and Obitus, together with bassist Roach, to crush us all with the rawness and brutality found in their first full-length opus Postero Mundi, which translates from Latin as “the next world”, the follow-up to their 2018 debut EP Existential Delusion. Produced and mixed by the band itself, mastered by Yarne Heylen at Project Zero Recording Studio, and featuring a sinister artwork by Kris Verwimp, Postero Mundi carries the spirit of old school Black Metal by distancing itself from the modern fusions and endless subgenres , being therefore highly recommended for admirers of the darkest and most sulfurous side of extreme music.

Sinister organ pipes and epic background sounds invite us all to join Provectus in pitch black darkness in the intro Gloria Dolorem before the trio pulverizes our souls with the title-track Postero Mundi, with Obitus delivering pure hatred from his old school Black Metal blast beats accompanied by the rumbling bass by Roach while Tempore Anomalia vociferates like a true servant of the underworld. In Aetherflow Dimensions we face poetry flowing from the song’s lyrics (“In a distant vision a grace to behold, where the dark has shifted and the space seems so cold. / Mystical and phenomenal sights of blazing lights beckoning to me.”) while the trio keeps hammering their instruments nonstop; followed by Bane of Existence, starting in a melodic, somber manner before Tempore Anomalia begin extracting pure obscurity from his riffage while growling deeply at the same time, and all that heaviness and violence keeps growing in intensity in the name of classic Black Metal.

It’s then time for the phantasmagorical, spine-chilling interlude Lucid Nightmare, led by the unearthly keys by Tempore Anomalia, captivating our souls before we face the imposing Torn Fabric of Time, bringing forward total fuckin’ mayhem in the form of unrelenting Black Metal masterfully blasted by those Belgian demons. Moreover, Obitus is on absolute fire behind his drums making the earth tremble, while Tempore Anomalia declaims the song’s infernal words from the bottom of his blackened heart, not to mention how metallic and sulfurous the bass lines by Roach sound and feel. A gargantuan roar by Tempore Anomalia kick off the fulminating aria Disordered Phenomenon, where his own riffs add tons of malignancy to the overall result and also showcasing another brutal performance by Obitus on drums; whereas in Fractured Entity we have one last round of their wicked lyrics (“The saga continues endlessly. / Insanity drifting the emotionless sea. / Absorbed and hexed by apathy. / The cosmic curse of the entity!”), presenting elements from Doom Metal to enhance the song’s obscurity.

The gates of the underworld are wide open, and Provectus are there waiting for you to join them in the name of old school, visceral Black Metal to the sound of their amazing new album, which by the way is available for a full listen on Spotify. Also, don’t forget to follow the band on Facebook and on Instagram, to subscribe to their YouTube channel, and above all that, to purchase the caustic, devilish Postero Mundi from the band’s own BandCamp page, from the Necktwister’s webstore, or from Apple Music. Provectus are among us to spread sheer hatred and obscurity with their newborn beast, putting Belgium in the map of classic Black Metal and, therefore, giving us all a very good reason to darkly smile while listening to their evil creations on our path to the next world.

Best moments of the album: Postero Mundi, Torn Fabric of Time and Disordered Phenomenon.

Worst moments of the album: Fractured Entity.

Released in 2022 Necktwister

Track listing
1. Gloria Dolorem 1:40
2. Postero Mundi 7:16
3. Aetherflow Dimensions 7:49
4. Bane of Existence 6:53
5. Lucid Nightmare 2:28
6. Torn Fabric of Time 10:02
7. Disordered Phenomenon 4:01
8. Fractured Entity 7:05

Band members
Tempore Anomalia – vocals, guitars, synths, keys
Roach – bass
Obitus – drums

Album Review – Cadaveria / Emptiness (2022)

After almost eight years, one of the torchbearers of Italian Dark Metal is back with a fantastic, multi-layered work that seals the artistic and human path of the band.

Almost eight years after the excellent Silence, Black/Gothic Metal entity Cadaveria, the creative alter-ego of Italian-based frontwoman Raffaella “Cadaveria” Rivarolo (one of the first women to hit the Extreme Metal scene in the early 90’s), is back with an exciting new album entitled Emptiness, a fantastic, multi-layered work that seals the artistic and human path of the band currently comprised of the aforementioned Cadaveria together with bassist Peter Dayton and drummer Marçelo Santos, plus guest guitarist Kris Laurent (Cadaveria, The Providence) and additional guitars by Pier Gonella (Athlantis, Necrodeath, Mastercastle). Recorded and mixed at Rrooaarr Sound Studio, mixed and mastered at Shadows Studios, produced by Cadaveria and Pier Gonella, and displaying a stylish artwork by Roberto Toderico, Emptiness represents a rebirth for Cavaderia after a three-year long pause from the scene during which Raffaella had to be treated for cancer, containing four singles digitally released between December 2020 and June 2021 alongside seven previously unreleased songs which combined will smoothly penetrate deep inside your mind in the name of rock and metal.

The band wastes no time and begins their sonic attack in The Great Journey, with Cadaveria’s raspy vocals being accompanied by the classic beast by Marçelo and the rumbling bass by Peter, followed by Shamanic Path, blending their core Gothic Metal with Death and Doom Metal nuances while Cadaveria does an excellent job with both her she-demon screams and anguished clean vocals. Then in the title-track Emptiness our beloved Cadaveria declaims the song’s poetic lyrics in a dark and sinister way while Kris fires traditional riffs that match perfectly with her voice; and Marçelo adds endless fury and heaviness with his drums to The Woman Who Fell to Earth, feeling utterly electrifying from start to finish. Cadaveria sounds truly possessed on vocals supported by her bandmates in Divination, with Marçelo kicking some ass behind his drums, while Matryoshcada is more sluggish and somber than its predecessors, with tons of groove flowing from Peter’s bass while Kris’ riffage sounds inspired by old school Black Sabbath.

In Silver Rain we’re treated to pensive words declaimed by Cadaveria (“The children of my thoughts are running / Away naked up to the hill / Your seeds will sprout inside me to enjoy new Springs together / My mind is clear I carry no weight, no pain on my shoulders / Your seeds will sprout inside me to enjoy new Springs together”) amidst a mesmerizing fusion of Dark and Gothic Metal, whereas Cadaveria and her henchmen continue to explore the realms of Dark Metal in The Cure, with her she-wolf roars walking hand in hand with the piercing guitars by Kris while also presenting the rawness and fury of Black Metal in its core essence. Strident riffs ignite the melancholic, sinister tune Life After, where Cadaveria flawlessly alternates between her raspy gnarls and mesmerizing clean vocals, therefore resulting in a beautiful creation by the band that depicts everything Dark Metal stands for; while in La Casa dell’Anima the fact the lyrics are in Italian is awesome, although the music is not as exciting as the rest of the album. Lastly, the band offers more of their darkened sounds in The Sky That Screams Above Us, a sluggish composition where Marçelo brings forward pure doom through his beats.

You can have a very good time by streaming Emptiness in its entirety on Spotify, and also by following Cadaveria on Facebook and on Instagram for news, tour dates and so on, by subscribing to their YouTube channel for not only more of their music but mainly for their top-notch official videos, and above all that, by purchasing a copy of Emptiness by clicking HERE or HERE. Our beloved diva Raffaella “Cadaveria” Rivarolo didn’t only beat the shit out of cancer, but she did that while at the same time she worked on the awesome music found in Emptiness, proving metal is and will always be the best treatment for any type of disease and also highly recommended for filling that emptiness we all have inside us. Thank you, Cadaveria, and may you keep embellishing the airwaves with your beautiful fusion of Gothic and Black Metal for many decades to come.

Best moments of the album: The Great Journey, Divination and Silver Rain.

Worst moments of the album: La Casa dell’Anima.

Released in 2022 Scarlet Records

Track listing
1. The Great Journey 4:55
2. Shamanic Path 5:10
3. Emptiness 5:00
4. The Woman Who Fell to Earth 5:52
5. Divination 3:07
6. Matryoshcada 5:09
7. Silver Rain 4:24
8. The Cure 4:52
9. Life After 4:35
10. La Casa dell’Anima 4:55
11. The Sky That Screams Above Us 5:33

Vinyl Edition bonus track
12. Return (Deine Lakaien cover) 4:04

Band members
Cadaveria – vocals
Peter Dayton – bass
Marçelo Santos – drums

Guest musicians
Kris Laurent – guitars
Pier Gonella – additional guitars