Author Archives: Gustavo Scuderi

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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..."

Metal Chick of the Month – Sonya Scarlet

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I’m alive, I’m here… I’m coming to get you…

Children of the night who follow The Headbanging Moose, get ready to be bitten by the sexiest and most alluring female vampire of our modern day society on our metal chick of the month session in this month of May. Born on April 2, 1980 in Florence, capital of Italy’s Tuscany region and home to many masterpieces of Renaissance art and architecture, here comes the stunning Sonia Siccardi, better known by her vampiristic name of Sonya Scarlet, lead singer and lyricist for Italian Extreme Gothic Metal band Theatres des Vampires. Are you ready to fall prey to our bloodthirsty temptress?

Before joining Theatres des Vampires, Sonya was already involved with music and performing arts at a very young age, having studied ballet at the Santa Cecilia Academy from the age of 4, later deciding to study opera singing at the academy. It was when she was a teenager that her passion for heavy music started, as at the age of 13 she attended her first ever concert, seeing the iconic Yngwie Malmsteen live. In addition, the first record she’s ever bought was Guns N’ Roses all-time classic Appetite for Destruction, bringing all elements she loves in music, those being sex, alcohol, drugs, and of course, our good old Rock N’ Roll. She didn’t have any real band before joining Theatres des Vampires in 1999, saying she only had an amateur band in high school made of alcohol addicts, and that she was “too fucked up” at that time to engage in anything serious or professional.

Despite having a background in classical music and ballet, Sonya was destined to become the frontwoman for Theatres des Vampires due to her rebelliousness and passion for the darker side of things, as ballet was too delicate for her. “I saw a black endless road in front of me, calling me and I had to follow it. From there I started this life. If I could live my life again, I would do exactly the same things and go back once more to dance. I have spent half of my life doing that’’, said our Italian vampire about her longtime relationship with dancing. It was in 1999 when she finally joined Theatres des Vampires as a backing vocalist together with Justine Consuelo, who left the band in 2002. In late 2004, when the band’s founding member and vocalist Lord Vampyr left the band, Sonya became their lead singer, taking a huge step forward in her already flourishing career as a musician. However, due to a breakdown she suffered in 2008, the band went on a hiatus for a few years, getting back on track in 2011. Sonya said it wasn’t too hard for her to become the lead singer for Theatres des Vampires, with the only issue being the fact that the band’s main voice was a male voice, which made it more difficult for her to adapt and change everything instead of starting something from scratch. She had to work hard to make her voice connect with the band’s old songs, and the very positive reaction of the fans especially during their live concerts showed her she was following the right path, proving once again that that a good looking girl can also have a strong personality and a powerful voice.

As a backing vocalist, Sonya recorded with Theatres des Vampires the EP Iubilaeum Anno Dracula 2001, in 2001, and the full-length albums Bloody Lunatic Asylum, in 2001, Suicide Vampire, in 2002, Vampyrìsme…, in 2003, and Nightbreed of Macabria, in 2004. After taking over the band’s vocal duties, she also recorded the albums Pleasure and Pain, in 2005, Anima Noir, in 2008, Moonlight Waltz, in 2011, and Candyland, in 2016, as well as the EP Cult of Lahmia, in 2012, and the live DVD’s The Addiction Tour 2006 and Moonlight Waltz Tour 2011.  You can spend hours and hours enjoying the lustful vocals by Sonya in songs such as Resurrection Mary, Carmilla, Angel Of Lust (live in Nizhny Novgorod, Russia, in 2010), and several videos from the band’s official DVD The Addiction Tour 2006, such as Dances With Satan, Lilith Mater Inferorum, Pleasure And Pain, La Danse Macabre Du Vampire, and Angel of Lust.

Our sweet and dark vampire has also participated in several interesting bands, albums and projects as a guest vocalist, making the music more vibrant and rousing it doesn’t matter the style played. For instance, she recorded vocals for the 2010 album Existence, by Argentinian Melodic Symphonic Power Metal project Beto Vazquez Infinity; vocals on the song Oblivion from the 2015 album Etoilé, by Industrial/Gothic Metal band J.T.R. Sickert; additional vocals on 100% Hell from the 2006 album 100% Hell, by Italian Black/Death/Thrash Metal squad Necrodeath; vocals on New Life from the 2013 album Untouchable Failure, by Italian Progressive/Doom/Gothic Metal act Resonance Room; and as a guest vocalist on the songs Acid Orgy and Dark Skies, from the EP Clubbers Die Younger, released in 2012 by the electro-industrial duo known as Alien Vampires. Furthermore, Sonya was also involved in a project in 2012 to produce a Gothic horror movie titled The Cult of Lamia, directed by David Bracci, where she would obviously play the part of a vampire. You can check the teaser trailer for the movie HERE and the making of HERE, but it looks like everything was put on hold due to financial issues and no one knows if the movie will ever be released.

When asked about her main influences and biggest idols in music, Sonya provided a list of brilliant musicians and performers I’m sure you’re going to love, despite also saying that her lyrics, her music and her fans are what truly inspire her during her concerts, as well as several other sources such as a sunset, a landscape, literature, poetry, classical music, opera, movies, and life itself. Her list of idols include names like Diamanda Galas, Tarja Turunen, Angela Gossow, Björk, Tori Amos, Siouxsie Sioux, and Nina Hagen, each one being very unique, revolutionary and rebellious in their own way. Furthermore, although Sonya is a declared lover of opera and obviously of Gothic Rock and Metal, she also loves to listen to a lot of distinct styles such as Glam Rock, Thrash Metal, Apocalyptic Folk, Doom Metal, Black Metal, and any other type of music with great atmospheres, with some of her favorite bands of all time being Elend, Katatonia (in special their very first album Dance of The December Souls), Samael, Naglfar, Morbid Angel, Diamanda Galas and Crematory, among others. And guess what song she would like to have played at her funeral? That would be Ludwig van Beethoven’s Symphony no. 9, but played by a real orchestra in a desecrated church under the candlelight. Romantic and inspiring, isn’t it?

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Being the lead singer of a band and being on constant tours is not an easy task to anyone, and if you’re a woman that’s even harder on your body and mind due to all private activities you have to “share” with several men such as the changing room, sleeping and taking a shower. However, it seems that is exactly the type of challenge Sonya always wants, as she loves to take care of herself, always going to the gym to find the right balance to her body and soul. In addition, she considers her bandmates her true blood brothers, making it a lot easier for her to face the hassles of living on a bus for a long period of time. And in regards to her stage performance, she said that as the music by Theatres des Vampires is like the soundtrack to your best nightmare, she likes to create a special atmosphere to the crowd, sliding into the fans’ souls and “taking their blood”. She thinks that the secret for being on stage for over 20 years is to believe deeply in what they do, and to consider the band as a real family that goes through all the problems that can happen in such a long time, sharing all adrenaline on stage and therefore giving their fans the best experience they can get. As a matter of fact, due to that extreme behavior on stage, Sonya has already had a few issues in some of the countries she visited with the band, such as allowing some fans to drink her own blood and unintentionally inciting suicide.

As we’re already talking about drinking someone’s blood, let’s focus now on Sonya’s inner passion for vampirism, which she considers the most fascinating form of seduction. For Sonya, vampirism represents “courtship without touching except to kill and eat the prey, the rebirth of life through life itself that is the blood, immortality, the charm of ancient times, the obscurity, the night that hides its creatures”, saying she has always been interested in Gothic novels, occultism, vampirism and everything from the dark side of the world and from the invisible world since she was a young girl. She complemented by saying that it was fate, not coincidence, that made her join Theatres des Vampires, as she found people who shared the same interest for vampirism and all its related topics. And regarding the style of the band being labeled as “Vampiric Metal”, our bloodlust diva said that she thinks a label like that helps people to find what they like, and that she’s learning how to use that type of tag in social media, albeit it’s not easy to describe the music by a band in one word or tag, especially because behind every band there’s an amalgamation of different ideas, influences, people and years of work.

Regarding Sonya’s dark and hypnotizing looks, she said that although many fans consider her a sex symbol, she doesn’t see herself as one, as she’s only being herself, getting aggressive and rude whenever needed. However, she does think image is something very important, as it’s the first thing people pay attention to or care about any person. Music always comes first, of course, but Sonya also considers her clothes and makeup an important part of her performance and her lifestyle in general. In addition, Sonya even mentioned her stage image is not different from her everyday life, saying she feels free to do what she wants on stage and, as a consequence, to provide her fans a truly unique experience. Still talking about her connection to fashion, some of you might not know this but Sonya studied fashion design for four years in Rome, learning to love the creative and research process behind a fashion show and the making of clothing, with names like John Galliano, Alexander McQueen and Vivienne Westwood being among her favorite stylists. Despite all that, she doesn’t like to follow any trends, as she believes being yourself is the most important thing in this business, but there are a few types of makeup and clothes she has always had with her such as deep black smokey eyes, pale white powder and red, fuchsia or pale pink lipstick, and Gothic and metal clothing, having her own personal stylist, Katja Diktator, to design her stage clothing and clothing she wears for video and photo shoots.

If you think our vampire bombshell is not a socially engaged person and that she only thinks about her music and her image, let me tell you that you’re absolutely wrong, as Sony is involved with two amazing foundations, those being Jay Nepal Foundation and Time4Life International. For instance, with Time4Life International, Sonya has already traveled to very poor areas of countries like Nicaragua, where she was able to help poor children who lived in a garbage dump, with her mission being searching for people that wanted to give them a real hand, to give them the chance to go to school and having a real meal far from the dump. With the action-based humanitarian organization Jay Nepal Foundation, Sonya is part of a volunteer-based, apolitical and non-religious group working on post-earthquake responses, relief and recovery in communities across Nepal. And not only her Jay Nepal Foundation group is apolitical and non-religious, but Sonya doesn’t follow any political party nor any type of religion either. She’s indeed a very curious woman who likes to read and learn about everything that’s part of the “invisible world” as she calls it, but she doesn’t believe in the Christian church, preferring to read more about heathenism and its rituals and celebrations. Needless to say, Theatres des Vampires are not connected to any political party or regime, as they’re musicians and they want to be free and to have their freedom of speech, not making any propaganda to anyone.

When asked about her hobbies and how she enjoys spending her free time, Sonya said that for her there’s no real difference between work and hobbies, as she loves writing, painting, studying art, theatre and music, all part of her life with Theatres des Vampires. Of course, as any regular person (if we can call her “ regular”) she also enjoys spending time with her husband Tiziano Panini (also known as Billy T Cooper, lead singer for J.T.R. Sickert), her family and friends, travelling and having lots of beer with the people she loves, and watching movies (at home, as she hates going to the cinema). In addition, Sonya also loves practicing sports, going to the gym four or five times a week (something very important for her body and mind), and being in the mountains doing trekking, skiing or horse riding, for example.

A few additional nice-to-know facts about Sonya is that she considers herself to be an always-evolving person, always learning with her mistakes, trying to be a more concrete person, and always learning to be more diplomatic for the good of the band (despite trusting people less and less). She also has a very peculiar view of suicide, saying people should be free to do what they want as long as they don’t harm others and they respect other people’s freedom. She said life can be very hurtful, but at the same time it offers us several amazing things, with the most beautiful things in life being the simple ones, saying sometimes we just need to join nature, getting far away from all chaos that surrounds us to properly appreciate everything and to understand what is really important in life. Actually, when she was growing up her dream was to live in an ancient castle hidden by the woods, lost somewhere in the north part of Europe with very few people around her (and that’s still one of her dreams, I guess), showing how much she enjoys being in contact with nature and not with people.

Sonya Scarlet’s Official Facebook page
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Theatres des Vampires’ Official Facebook page
Theatres des Vampires’ Official Twitter
Theatres des Vampires’ Official Instagram

“I think on stage it is very important to be yourself and to express what you really feel and what you want to give to your audience. Therefore I follow my feelings and what inspires me during our show are my lyrics, our music and our fans. I still do not know what I’m going to do on stage before the performance. It’s a surprise, also for me! Anything can happen…” – Sonya Scarlet

Album Review – The Fallen Prodigy / Relive//Regret//Repeat (2018)

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Enjoy 11 stunning metal tracks influenced by a myriad of modern Melodic Death Metal and Metalcore elements, brought forth by a multi-talented female-fronted outfit hailing from New York City.

If you’re a fan of modern-day Melodic Death Metal and Metalcore, I highly recommend you go take a detailed listen at Relive//Regret//Repeat, the brand new album by New York City-based female-fronted outfit The Fallen Prodigy. Featuring a straight-to-the-point artwork by Rob Walden (Rob Walden Design), Relive//Regret//Repeat, the follow-up to the band’s 2015 EP Passengers, consists of 11 stunning metal tracks influenced by a myriad of modern metal elements, being absolutely perfect for fans of the high-octane music by renowned acts such as Trivium, Killswitch Engage, Arch Enemy, As I Lay Dying and All That Remains, among several others.

Comprised of the unstoppable Jay Jimenez on vocals, Andrew Padilla and Daniel Davenel on the guitars, Jonathan Rodriguez on bass, and Joseph Falzone on drums, The Fallen Prodigy solidified their lineup back in 2014 and wasted no time, putting together music that can crush the stereotypes that may surround the metal genre. Through hard work, dedication and great music, The Fallen Prodigy set out to bring something new and unique back to the metal scene, and the music found in Relive//Regret//Repeat will show you exactly what they mean by that, smashing you like an insect with its over 50 minutes of top-of-the-line Melodic Death Metal.

The opening track Extinct is modern, visceral and aggressive form the very first second, with the guitar duo Andrew and Daniel sounding absolutely fantastic. However, it’s Jay who steals the spotlight with both her deranged growls and her potent clean vocals, showcasing all her talented right from the start of the album. Even more violent than the album opener, Boy Who Cried Wolf presents a devilish Jay on vocals, singing and screaming about our vile human nature (“You live life like you deserve more than others / Manipulating everyone and everything to have things your way / You long for acceptance and will seek it at any cost / Consumed by arrogance you’ll always find yourself”), while Joseph doesn’t let the insanely high level of energy go down with his frantic beats; followed by Regret, which starts in an almost electronic vibe before exploding into vibrant Metalcore, with Jay once again providing a fantastic balance between her harsh screams and clean vocals and with the crisp sound of guitars boosting the song’s impact considerably.

Leaning towards more traditional Melodic Death Metal (especially the characteristic Scandinavian sound), the whole band blasts the fresh and gripping Stray, with highlights once again to the amazing sound extracted from the guitars by Andrew and Daniel, whereas Misery is led by the dynamic drumming by Joseph, with Jonathan delivering those rumbling Groove Metal punches from his bass while the music alternates between neck-breaking moments and total devastation. The awesome Eighty-Sixed is a heavier-than-hell, straight-to-the-face high-end Metalcore tune where the extremely talented Jay growls and screams nonstop like a rabid beast, or in other words, it’s that type of song that will ignite some serious circle pits during their live concerts; and featuring guest vocalist Lauren Babic of Canadian Alternative Metal act Red Handed Denial, Composure is a very technical and melodic creation by The Fallen Prodigy, yet still as aggressive as it can be, delivering a modern-day message from the band to our ears (“Disaster awaits those who find a home in a filth called misery / My soul is being held captive / Somewhere it’s screaming just let me go home / Just let me go home”).

Then get ready to bang your head like a maniac to the crushing main riff in Fractured, before a slamming feast begins led by the brutal beats by Joseph in a multi-layered composition where Jay thrives thanks to the amazing support provided by her bandmates. In Repeat, featuring guest vocals by Will Ramos of American Deathcore band A Wake in Providence, we face a band that doesn’t know the meaning of the word “soft”, with the total havoc blasted by the entire band being spiced up by the welcome dosage of progressiveness brought forth by the guitar duo to the musicality; followed by Relive, a good song that feels a bit confusing at times despite the always solid work done by the stringed trio Daniel, Andrew and Jonathan, accompanied by guest guitarist Angel Vivaldi. Last but not least, the final song of the album, titled Endure, is a solid statement by Jay and the guys that they will carry on no matter what, keeping the flame of Melodic Death Metal alive and kicking, enfolded in a classic sound with the band’s own twist, therefore ending the album on a truly high note.

You can listen to the entire Relive//Regret//Repeat on Spotify and get a better sense of how potent and dynamic the music by The Fallen Prodigy is, and also visit their Facebook page for news and tour dates, and their YouTube channel for more of their music. And in case you want to grab a copy of such electrifying album, there are several location where you can find it such as the band’s own BandCamp page and Big Cartel (as a CD + poster bundle or a CD + T-shirt bundle), on iTunes, on Amazon, or on CD Baby. If I were you I would definitely keep an eye on what The Fallen Prodigy are up to, because whenever they take your town by storm you must be there to experience a lesson in Melodic Death Metal and Metalcore, just like what they did in Relive//Regret//Repeat. In other words, do you think you have what it takes to face Jay and the guys?

Best moments of the album: Extinct, Boy Who Cried Wolf, Eighty-Sixed and Fractured.

Worst moments of the album: Relive.

Released in 2018 Independent

Track listing
1. Extinct 4:12
2. Boy Who Cried Wolf 4:32
3. Regret 5:55
4. Stray 4:14
5. Misery 4:22
6. Eighty-Sixed 3:10
7. Composure (feat. Lauren Babic) 5:32
8. Fractured 4:20
9. Repeat (feat. Will Ramos) 3:47
10. Relive (feat. Angel Vivaldi) 4:56
11. Endure 5:04

Band members
Jay Jimenez – vocals
Andrew Padilla – guitar
Daniel Davenel – guitar
Jonathan Rodriguez – bass
Joseph Falzone – drums

Guest musicians
Lauren Babic – vocals on “Composure”
Will Ramos – vocals on “Repeat”
Angel Vivaldi – guitars on “Relive”

Album Review – Kaos Reign / Epiphany (2018)

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This American Groove Metal power trio returns with a brand new album showcasing more of their crushing guitars, gritty vocals and thrash and groove drumming.

Norwalk, Connecticut-based Groove Metal power trio Kaos Reign is here to assault your senses with their unique mix of Death, Doom, Groove And Thrash Metal, drawing influences from early Sepultura, Slayer, Death and Pantera. Formed in 2013 by lead singer and guitarist Bill Klopfer and drummer Chris Anderson, the band has been on a roll since their inception, having already released the full-length albums Embrace the Fire, in 2014, Screaming for Salvation, in 2016, and now in 2018 their brand new opus Epiphany, an album that continues to follow Kaos Reign’s path of crushing guitars, gritty vocals, and thrash and groove drumming, but at the same time showing an evolution in their music.

More refined and dynamic than its predecessors, and featuring a straightforward, dark artwork by the band’s own Bill Klopfer, Epiphany brings a band that’s in absolute sync, with Bill’s vocals sounding versatile while his riffs are memorable and captivating. Bassist Matt Duggan rounds out the sound with the execution of his distinctive bass lines, whereas Chris Anderson’s extreme drumming portrays confidence and style. With its lyrics touching on themes of inner struggle, determination to overcome, and societal issues, encouraging us to proceed with caution and understand the chaos that consumes us, Epiphany will certainly please fans of fast and extreme music who are also searching for gripping background stories that effectively spice up the music being played.

Wicked, dark sounds ignite a belligerent Groove Metal onslaught by Kaos Reign titled Selfish Backstabber, displaying a solid instrumental, endless electricity, and Bill screaming the song’s acid lyrics like there’s no tomorrow (“I watch your actions and learn / You preach your belief, you don’t believe / You taste so sour I yack / The aftertaste, post nasal burning”). Following such sharp start we have a hybrid of Thrash Metal and Hardcore named Dispatch the Threat, where Chris keeps smashing his drums, therefore inspiring us to slam into the pit, with the song’s cleaner vocals sounding like a metal version of Rage Against The Machine’s Zack de la Rocha; and Lethal Injection, bringing more rumbling and groovy sounds blasted by Bill and Matt while Chris continues to add intricacy to the band’s violent music. Put differently, this is an excellent choice for their live concerts and a fantastic addition to the playlist of anyone who loves modern Groove Metal. And the title-track Epiphany presents darker elements in its intro, suddenly morphing into another crushing metal attack and also displaying hints of Southern Metal, with all instruments together generating a hurricane of heavy sounds and tones.

The album loses its grip a little with the not-so-inspired tune The Criminal Inside, despite all aggressiveness showcased by the band and the always rhythmic beats by Chris, but fortunately in Parasite the band gets back on track with their flammable Groove Metal, with highlights to the thrilling guitar lines by Bill and to more of their austere and aggressive words (“Leeching off society / A parasite sucks the blood / Right from / the eye of the storm / The side effects / are visible”). Under the Knife is the most visceral and destructive of all songs, and therefore one of the top moments of the album, with all three band members extracting crushing sounds form their instruments, presenting a great sync between Bill’s riffs and Chris’ drums, not to mention the metallic bass lines by Matt, whereas in Everyone is Offended they slow down their dementia, but still sounding heavier than hell. In a nutshell, this is a mid-tempo, groovy creation by Kaos Reign where Bill keeps sending a not-so-happy message through his demented vocals.

And their slamming party goes on with another melodic and fierce song titled How Do You Sleep at Night?, where Chris doesn’t stop pounding his drums and Bill even brings forth some thrashier riffs the likes of Slayer and Testament. Punish Myself is perfect for headbanging like a maniac, blending the thunderous sounds of Groove Metal with the slashing insanity of Thrash Metal, with Bill smashing his strings mercilessly without forgetting to add harmony to the music; followed by Placebo, a lot less groovy and venturing through Southern Metal grounds, singing about the dangerous market of addictive legal drugs (“I am on a big dose / I feel so comforted and relaxed / Why live life sober? / When you can be prescribed happiness”). However, despite being a relatively good song, it definitely lacks the band’s characteristic speed. And Isolation Chamber, the most somber and wicked of all tracks, closes the album on a high (and obscure) note, even presenting elements from Doom Metal (especially on Chris’ beats and Bill’s vocals).

If you want to show your support to this talented and unrelenting American power trio, you can purchase Epiphany (which by the way is available for a full listen on Spotify) from the band’s own BandCamp page, from CD Baby or from Amazon, but as you already know the world of Kaos Reign is not limited to Epiphany only, which means you can get an overdose of their belligerent music by visiting them on Facebook, on YouTube, on ReverbNation and on SoundCloud. And I believe you might be asking yourself what will be the next step in the evolving path crafted by Kaos Reign, right? Well, let’s hope it doesn’t take too long for us all to have an answer to that and get more of their sharp metal music sooner than expected.

Best moments of the album: Selfish Backstabber, Lethal Injection, Parasite and Under the Knife.

Worst moments of the album: The Criminal Inside and Placebo.

Released in 2018 Independent

Track listing
1. Selfish Backstabber 5:12
2. Dispatch the Threat 4:11
3. Lethal Injection 4:45
4. Epiphany 4:09
5. The Criminal Inside 4:21
6. Parasite 4:54
7. Under the Knife 3:53
8. Everyone is Offended 4:39
9. How Do You Sleep at Night? 4:35
10. Punish Myself 5:26
11. Placebo 4:32
12. Isolation Chamber 4:53

Band members
Bill Klopfer – vocals, guitar
Matt Duggan – bass
Chris Anderson – drums

Album Review – Mad Agony / Mad Patrol (2018)

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Join this mad patrol of Italian metallers where drinking beer, slamming into the pit and showing your passion for heavy music are the only rules you need to follow.

Forged in the distant year of 1991 in the metallic pits of Padua, a city in Northern Italy’s Veneto region, Italian Heavy/Thrash Metal squad Mad Agony went on a huge hiatus starting in 1993 due to the departure of one of its founding members, but their inner passion for true heavy music didn’t die at all, leading the band to rise from the ashes in 2011. After their rebirth to the world of heavy music, the band released in 2013 the full-length album Chernobitch, gaining positive feedback from fans and critics worldwide and, consequently, inspiring them to keep recording heavy music in the following years, culminating now in 2018 with the release of their second full-length installment, titled Mad Patrol.

Comprised of “Mad” Max Zane on vocals, Samael Von Martin on lead guitar, Andrea “Babetz” Babetto on rhythm guitar, Dani D3vine on bass, and Demian De Saba on drums, Mad Agony play a wild and straight-to-the-face fusion of several styles such as Heavy Metal, Trash Metal, Hard N’ Heavy, Hard Rock and even Black Metal, with their songs being characterized by endless amounts of electricity and being highly recommended as the playlist for any fun rock n’ roll party where drinking all the beer you can until you drop is mandatory. Put differently, Mad Agony don’t aim at reinventing the wheel with Mad Patrol, but just to keep partying and carrying the flag of Heavy Metal proudly in honor of the golden years of the music we all love so much.

The headbanging riffs by Samael and Andrea rev up the engines in the opening track Cold Stars, an old school fusion of the classic Thrash Metal played by Anthrax with the more visceral music blasted by Forbidden where Mad Max lives up to his own nickname with his rabid screams, and with the music ending powerfully with a flammable solo by Samael. Then crushing guitar lines kick off an epic and impactful ode to Thrash Metal by Mad Agony, titled Circle Of Fire, also bringing hints of the Power Metal played by bands like Grave Digger and Running Wild and, consequently, being highly recommended for admirers of 80’s traditional metal music; whereas in Let Me Die we’re treated to a mid-tempo sonority showcasing rumbling bass punches by Dani and steady, fierce beast by Demian, with its rhythm reminding me of the classic “Bang Your Head” by Quiet Riot. It gets a bit tiring after a while, though, but nothing to worry about.

More Beer is one of those old school thrashing hymns with a beyond fun theme, with the whole band destroying their instruments during the faster pieces, while the slower parts are spearheaded by the slashing riffs by Samael and Andrea; followed by Party Time (Zombie Version), a Rock N’ Roll party by Mad Agony where Mad Max couldn’t sound more inspired on vocals while Samael fires pure awesomeness through his riffs and solos. And in Warriors Of The Whales, which by the way has an amazing name, the vocals by Mad Max sound somehow inspired by the great Udo Dirkschneider, becoming an awesome option for slamming into the pit during their live performances, with Demian being utterly brutal on drums.

Antiochia – Back To Bare Metal is a classic instrumental Heavy Metal extravaganza showcasing potent drums and electrified guitar riffs and solos, before Mad Agony get back to a more Rock N’ Roll and Hard Rock vibe in the flammable You Bring Me To The Ground. Simply grab your beer, slam into the pit and have fun with this exciting tune, with highlights to its catchy chorus and the exciting pace led by Damien and his solid beats. And lastly, we have Metal Thrashin’ Mad, their cover version for the classic by Anthrax from their 1984 album Fistful Of Metal (check out the original version HERE). Needless to say, Mad Agony’s version is just as incendiary, entertaining and old school, with the demented vocal performance by Mad Max being the icing on the cake.

You can get more details about Mad Agony and their unrelenting metal music through their official Facebook page, and purchase your copy of the well-crafted and upbeat Mad Patrol from the band’s own webstore (where you can buy the way buy the special edition with a bonus live CD) showing your support to such obstinate band and, as a consequence, keeping the flame of underground metal burning brighter than ever. And besides, how not to be tempted to join a “mad patrol” of Heavy Metal? You have to be really mad not to take part in such distinct squad.

Best moments of the album: Circle Of Fire, More Beer and Metal Thrashin’ Mad.

Worst moments of the album: Let Me Die.

Released in 2018 Independent

Track listing      
1. Cold Stars 5:11
2. Circle Of Fire 4:33
3. Let Me Die 5:07
4. More Beer 2:24
5. Party Time (Zombie Version) 2:55
6. Warriors Of The Whales 3:48
7. Antiochia – Back To Bare Metal (instrumental) 6:13
8. You Bring Me To The Ground 3:24
9. Metal Thrashin’ Mad (Anthrax cover) 2:51

Disc 2 – Live Somewhere And Nowhere
10. Chernobitch 4:26
11. Back In Town! 3:04
12. Subconscious Fear 5:41
13. Presence 4:24
14. Boundaries Of Death 6:58
15. Iron Fist (Motörhead Cover) 2:56
16. Mad Agony 3:56
17. Mad Agony (feat. Pietro M Rock) (Video version) 4:20
18. Trick Or Treat (Fastway cover) 4:50

Band members
“Mad” Max Zane – vocals
Samael Von Martin – lead guitar & backing vocals
Andrea “Babetz” Babetto – rhythm guitar & backing vocals
Dani D3vine – bass & backing vocals
Demian De Saba – drums & backing vocals

Album Review – Forte Ruin / Rebuilding the Machinery EP (2018)

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A talented six-piece Melodic Death Metal act from Finland returns with a brand new EP where they step up their game in terms of quality, intricacy and professionalism.

If you’ve been following The Headbanging Moose for a few years already, you might remember a Finnish Melodic Death Metal band from the city of Lahti named Forte Ruin, who released in 2015 their debut self-titled EP comprised of three original compositions filled with memorable melodies, powerful riffs and catchy choruses. Now in 2018 that talented six-piece metal act returns with a brand new EP entitled Rebuilding the Machinery, where not only they step up their game in terms of quality and intricacy, but the band formed by Arttu Ruusunen on lead vocals, Saku and Samu Aaltonen on guitars and backing vocals, Arto Viitanen on bass and backing vocals, Veli-Matti Kyllönen on keyboards, and Jere Aaltonen on drums sounds a lot more professional and ready to spread their music throughout the four corner of the earth.

And the EP kick off in full force with Down in Perdition, a very melodic and pounding creation by the sextet showcasing clean and rumbling sounds, spiced up by the futuristic keys by Veli-Matti while Arttu growls the song’s poetic lyrics rabidly (“All these revelations and present / Are finally align so that we’ll understand / Our time here has come to an end / In perdition we could meet again perchance”). Furthermore, Saku and Samu not only deliver excellent riffs during the whole song, but their solos are also beyond thrilling. Then deeply rooted in classic Scandinavian Melodic Death Metal we have the title-track Rebuilding the Machinery, faster than its predecessor and presenting a great balance between visceral growls and clean vocals, as well as a great job done by all band members with their instruments, in special Jere with his fierce and rhythmic beats.

Displaying hints of American Alternative and Nu Metal (and once again with the keys by Veli-Matti bringing a whimsical aura to the musicality), Colony Collapse Disorder exhales sheer electricity, with Arto delivering thunder through his menacing bass lines while the guitar solos elevate the song’s impact and taste considerably. In Electric Frames, just like what they did in their previous EP, Forte Ruin add nuances of Jazz and electronic music to their Scandinavian Metal, and the the final result couldn’t sound more fantastic, all boosted by the song’s lyrics which seem taken from a song from the 70’s (“Great illusion within’ electric frames / We can see the integration / While we process all the traveling light / Of electric frames”). And Saturation Point, featuring guest vocals by Jules Näveri from Profane Omen, is tailored for banging your head nonstop or playing some ass-kicking air guitar, with the bass lines by Arto bringing tons of groove to the musicality while the keys by Veli-Matti keep adding a touch of delicacy to the overall result.

Featuring a modern and sinister artwork by Finnish artist Marianna Maaninka, Rebuilding the Machinery not only has all the elements we search for in Melodic Death Metal, but it also brings additional layers of intricacy and feeling thanks to all other music styles Forte Ruin incorporate in their music, and in order to show your proper support to this Finnish squad go check their Facebook page, YouTube channel and Spotify for news and more of their music. You can purchase Rebuilding the Machinery from their own BandCamp page, as well as from Record Shop X or CD Baby, and add such distinct collection of Scandinavian Metal songs to your personal playlist, courtesy of a band that might be taking their initial steps in the world of heavy music, but that at the same time already sounds like veterans due to the high quality of their compositions and their utter professionalism.

Best moments of the album: Rebuilding the Machinery and Electric Frames.

Worst moments of the album: None.

Released in 2018 Independent

Track listing  
1. Down in Perdition 4:18
2. Rebuilding the Machinery 3:57
3. Colony Collapse Disorder 4:29
4. Electric Frames 4:24
5. Saturation Point (feat. Jules Näveri) 6:27

Band members
Arttu Ruusunen – lead vocals
Saku Aaltonen – guitars & backing vocals
Samu Aaltonen – guitars & backing vocals
Arto Viitanen – bass & backing vocals
Veli-Matti Kyllönen – keyboards
Jere Aaltonen – drums

Guest musician
Jules Näveri – guest vocals on “Saturation Point”

Album Review – Suum / Buried Into The Grave (2018)

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Enjoy this Stygian and occult album featuring seven tracks of pure gloomy Doom Metal, masterfully delivered by an Italian quartet that has already succumbed to the dark side of music.

Let’s dive deep into the sluggish and obscure realms of old school Doom Metal to the music by a Italian quartet that goes by the name of Summ, formed in 2017 in the Italian capital Rome. Comprised of Mark Wolf on vocals, Painkiller on the guitar, Marcas on bass and Rick on drums, Suum are releasing now in 2018 the full-length album Buried Into The Grave, featuring seven tracks of pure gloomy Doom Metal, bringing to your ears not only a Stygian sound tailored for the doomed, but also cryptic lyrics about darkness, doom and occultism, being highly recommended for fans of Black Sabbath, Danzig, Candlemass, My Dying Bride, Electric Wizard, and all other bands and artists that have beautifully succumbed to the darkest and most lugubrious side of music.

If there’s rain, thunder and wind, you know the music is going to be doomed, which is exactly what happens in the opening track Tower Of Oblivion. Marcas kicks off this damned feast with his low-tuned bass until the rest of the band joins him in darkness, with lead singer Mark Wolf haunting our souls with his Black Sabbath-inspired vocals while Painkiller fires sheer obscurity through his riffs, with all vileness increasing in intensity until its crisp ending. And their Doom Metal mass goes on in Black Mist, led by the steady beats by Rick while the phantasmagoric vocals by Mark and the heavier-than-hell riffs by Painkiller generate a truly somber atmosphere; followed by Buried Into The Grave, which in my humble opinion is the most Stygian of all tracks of the album (hence, it would definitely make Tony Iommi proud). Not only the vocal lines are deep and deranged, but the combined sound of guitar, bass and drums create this gloomy creature that will mercilessly enfold you just like pitch black darkness.

Last Sacrifice is another classic Doom Metal tune spearheaded by the slashing riffage by Painkiller and the slow but intricate beats by Rick, putting you on a trance and inspiring you to crack your neck headbanging, with the music flowing smoothly and darkly until the end. Then bringing the most acid and somber elements from Stoner Metal and Rock we have Seeds Of Decay, an atmospheric and sluggish creation by Suum with highlights to the rumbling sounds extracted by both Painkiller and Marcas from their hellish strings, whereas in the melancholic and introspective instrumental The Woods Are Waiting we face more rain and wind, going on for a bit too long though (albeit nothing that will make you skip it). And finally, rhythmic drums and scorching hot riffs ignite their last breath of old school Doom Metal, the somber extravaganza titled Shadows Haunt The Night, where Painkiller sounds absolutely on fire during the entire song, adding an extra touch of malignancy and obscurity to the final result.

You can succumb to total darkness by listening to Buried Into The Grave in its entirety on YouTube, by visiting Suum’s official Facebook page, and obviously by purchasing such dense and entertaining album from the band’s own BandCamp page, from the Endless Winter webstore, from the Hellas Records webstore, or from Discogs. Those four skillful Italian metallers not only live up to the legacy of traditional Doom Metal, but based on the high-quality of the music found in Buried Into The Grave, they’re also more than ready to carve their names in the history of such distinct music style.

Best moments of the album: Tower Of Oblivion, Buried Into The Grave and Shadows Haunt The Night.

Worst moments of the album: The Woods Are Waiting.

Released in 2018 Endless Winter/Hellas Records

Track listing
1. Tower Of Oblivion 6:25
2. Black Mist 4:40
3. Buried Into The Grave 4:55
4. Last Sacrifice 5:13
5. Seeds Of Decay 5:44
6. The Woods Are Waiting (Instrumental) 3:38
7. Shadows Haunt The Night 4:23

Band members
Mark Wolf – vocals
Painkiller – guitars
Marcas – bass
Rick – drums

Album Review – Axel Rudi Pell / Knights Call (2018)

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And Mr. Axel Rudi Pell strikes once again, delivering another entertaining collection of rock and metal tunes supported by his loyal army of skillful musicians.

If there’s a musician that truly loves what he does, that person has to be the iconic German Heavy Metal/Hard Rock guitarist Axel Rudi Pell. It’s incredible how consistent this accomplished guitar virtuoso is with his amazing solo band, not only by delivering top-tier music since the band’s inception in the far, far away year of 1989, but also by not taking too many years to record a new album. As a matter of fact, if you take a detailed look at the band’s complete discography, you’ll notice that every two years there’s a brand new Axel Rudi Pell full-length album released for our total delight. Furthermore, his creativity and ability to compose high-end music have been flourishing in the past decade, with the releases of the extremely well-crafted albums The Crest (2010),  Circle of the Oath (2012), Into the Storm (2014), Game of Sins (2016), and now in 2018 the excellent Knights Call, the 18th studio album in his undisputed career.

Featuring a traditional artwork by British illustrator Martin McKenna, who by the way has been working with the band since 2010 with the release of the aforementioned The Crest, the secret in Knights Call is not a secret at all, but the result of a lot of hard work, perfect synchronicity among all band members, and above all that, a solid and consistent lineup that has been accompanying Mr. Axel Rudi Pell for a while, comprised of the underrated Johnny Gioeli on vocals, Volker Krawczak on bass, Ferdy Doernberg on keyboards and Bobby Rondinelli on drums. Apart from Mr. Rondinelli, who joined the band in 2013, all others have been with Axel for a very long time, with Volker being a member of the band since the beginning in 1989 (and even before that if you consider his time with Steeler), while Johnny and Ferdy since 1998’s Oceans of Time. Actually, when you hit play and start listening to the flammable rock music blasted by those veterans in Knights Call, you can kind of feel how they know each other extremely well.

The Medieval Overture is  a classic medieval-inspired Axel Rudi Pell intro to the Rock N’ Roll feast titled The Wild And The Young, a song about getting old in style and having good memories of a time that’s never coming back (“Sometimes I’m dreaming of the past / Making love in the summer while it lasts / But life ain’t easy as it seemed / Much tougher and louder than I dreamed / I thought I was living in paradise / And those were the days of my life”), led by the unparalleled riffs by Mr. Axel Rudi Pell and the always flammable vocals by Johnny. Following such strong start we have Wildest Dreams, a keyboard-driven Hard Rock tune where Volker extracts rumbling sounds from his bass while the competent Bobby keeps the music at a very pleasant pace, bringing that characteristic sound from the band’s old releases; and Long Live Rock, their musical representation of our passion for Rock N’ Roll, or in other words, a tribute not only to themselves but to all rock and metal heroes of our lives, showcasing a thunderous kitchen by Volker and Bobby , with Ferdy complementing Axel’s metallic riffs and solos flawlessly.

Then it’s time for The Crusaders Of Doom, one of those imposing, epic creations by Axel and his henchmen, a mid-tempo song full of atmospheric keyboards and classy guitar lines, all embraced by a passionate vocal performance by the talented Johnny. Truth And Lies is another upbeat composition by the band, a 70’s-80’s-inspired instrumental party for lovers of Progressive Rock and Metal presenting gripping keys and the always mesmerizing riffs and solos by Axel, while in Beyond The Light Mr. Gioeli returns after a “break” with what’s most probably his strongest vocal performance of the album, powerfully declaiming the song’s lyrics (“Is there life beyond the light / In the valley of the souls we’d lost long ago / Is there life beyond the light / Only in our dreams or in reality”). Those guys definitely know how to craft beautiful and touching ballads, and this one is no exception to that.

Knights Call Limited Edition Boxset

Getting back to their 80’s Hard Rock sonority, Slaves On The Run is a straightforward tune presenting all elements we love in the music by Axel Rudi Pell, being a more than excellent option for their live concerts. Furthermore, Axel and Ferdy are once again in total sync, while Volker keeps pounding his bass in a very melodious way. The second to last song in Knights Call, Follow The Sun, brings more old school Rock N’ Roll and Heavy Metal for our avid ears, with the album’s crisp production allowing us to feel the beats by Bobby inside our heads while Johnny keeps firing his potent vocal lines, also bringing a chorus tailored for singing along with the band. And closing this very entertaining album we have a 9-minute aria of classic rock and metal with hints of Arabian music titled Tower Of Babylon, something we’ve seen the band doing before. You’ll find yourself wandering through the realms of epicness and intricacy forged by Axel and crew, with his guitar solos sounding absolutely hypnotizing.

After listening to Knights Call (and I’m sure that’s something I’ll be doing for a long time), I’m more than certain it’s quite impossible for Axel Rudi Pell to release a bad album. There are several versions of Knights Call available for purchase HERE, but if I were you I would go for the deluxe boxset which includes a red/black LP in gatefold cover and with printed innersleeve, a digipak CD + poster, a patch, a sticker, a photo card, a doople sided A1 poster, and a skull tin-cup with an engraving of the band logo. And after all is said and done, we can all rest assured that in less than two years we’ll be treated one more time to the captivating rock and metal music crafted by one of the best guitarists hailing from the beautiful Germany.

Best moments of the album: The Wild And The Young, Long Live Rock, Slaves On The Run and Follow The Sun.

Worst moments of the album: Truth And Lies.

Released in 2018 SPV/Steamhammer

Track listing  
1. The Medieval Overture (Intro) 1:43
2. The Wild And The Young 4:20
3. Wildest Dreams 5:43
4. Long Live Rock 5:34
5. The Crusaders Of Doom 8:01
6. Truth And Lies 4:48
7. Beyond The Light 7:45
8. Slaves On The Run 5:13
9. Follow The Sun 5:12
10. Tower Of Babylon 9:50

Band members
Johnny Gioeli – vocals
Axel Rudi Pell – guitar
Volker Krawczak – bass
Ferdy Doernberg – keyboards
Bobby Rondinelli – drums

Album Review – Strangle Wire / The Dark Triad EP (2018)

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Enjoy this short and sweet lesson in Death Metal made in Northern Ireland, taking you into the dark heart of the human condition.

Behind the locked doors that lie in the shadows, at the end of forgotten passageways, in the depths of every human mind, madness waits, scratching at the splintered wood with bleeding fingers. However, sometimes those locks fail, or the keys are purposefully turned, unleashing the monsters from within. The Dark Triad, the brand new EP by Northern Irish Death Metal quartet Strangle Wire, is the sound of the monsters set free, the sound of broken minds and twisted personalities, and the sound of an insidious assault on the light that keeps the night at bay.

Formed in 2017 in Belfast, Northern Ireland’s capital, the band comprised of I (Pete Clarke) on vocals, II (Greg “Daff” Diffin) on bass, III (Ross Duffy) on the guitar, and IV (John Curlett) on drums plays what can be called “Psychological Death Metal”, being highly recommended for fans of Dying Fetus, Cannibal Corpse and Sinister, among several other Death Metal icons. Featuring a classic artwork by British musician and designer Tom Bradfield, The Dark Triad is divided into three sections, entitled Narcissism, Psychopathy and Machiavellianism, taking the listener into the dark heart of the human condition, propelling them ever onward with a musical force of savage intensity, Death Metal possessed of speed, groove and supreme heaviness.

III (or Ross, if you prefer) kicks off the Death Metal hurricane titled The Games They Play with his metallic riffs before pure anarchy and devastation take over the world, with I (Pete) firing his deep, enraged and bestial growls nonstop. Put differently, this is one of those songs tailored for fans of extreme music who simply love to slam into the pit more than they love anything else in life. Then tribal sounds start another heavier-than-hell, putrid Death Metal feast named The Narcissist, a slow and steady tune from the pits of hell led by the rhythmic beats by IV (John), while II (Greg) and III keep slashing our skin with their demonic strings. Then we have Psychopathic Blue, showcasing guitar lines that remind me of the work done by Thrash Metal acts like Slayer and Testament, but still being pulverizing and demonic as good old Death Metal should be. The quartet is on fire and in total sync throughout the entire song, delivering belligerent and rabid sounds for our total delight, with I’s hellish roars getting even deeper and more primeval.

And their metallic demolition goes on with more furious blast beats, infernal vociferations and crushing riffs in The Failure Exhibit, where the band practically demands that we all get into the circle pit and slam to the total havoc they generate by their instruments; whereas if you’re a diehard fan of old school Death Metal the likes of Cannibal Corpse you’ll have a blast with Through a Black Lens, where IV sounds like a machine gun on drums while I is a demonic bulldozer on vocals. Furthermore, there isn’t a single second of peace during the entire song, it’s nonstop action boosted by the excellent riffage by III and a beyond violent atmosphere. And last but not least, as the final onrush of extreme music by Strangle Wire we’re treated to a headbanging, menacing chant titled Den of Iniquity, sounding insanely heavy from the very first second until its neck-breaking end, while I keeps barking like a creature from a deep and dark cave.

The Dark Triad, which is available for purchase from the Grindscene Records’ webstore, from Code 7, or from Amazon, is not only a very promising and vibrant start for Strangle Wire, but also a “mini-lesson” in how to properly unite technique, feeling and rage in Death Metal and in extreme music in general. And if that’s just a mini-lesson as I said, can you imagine how pulverizing Strangle Wire will sound when they come back with their first full-length lecture?

Best moments of the album: The Games They Play and Through a Black Lens.

Worst moments of the album: None.

Released in 2018 Grindscene Records

Track listing  
1. The Games They Play 3:33
2. The Narcissist 4:26
3. Psychopathic Blue 3:21
4. The Failure Exhibit 3:39
5. Through a Black Lens 3:56
6. Den of Iniquity 4:50

Band members
I – vocals
II – bass
III – guitar
IV – drums

Album Review – Lumnos / Ancient Shadows Of Saturn (2018)

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Contemplate an ancient life born from a star longing in Saturn changing and elevating everything around, embraced by the ethereal and delicate sounds of Atmospheric Black Metal.

Atmospheric Black Metal act Lumnos is the solo project of the talented Breno Freire, a Brazilian multi-instrumentalist based in Vitória da Conquista, a city located in the state of Bahia, who’s been working in outer space since 2015 under the nickname Putrefactus. As brutal and austere as his nickname might be, the work by Putrefactus is completely immersed in distant nebulas and quasars lights year away from home, with the sound by Lumnos drawing inspiration from the most recent cosmic currents and bands such as Mesarthim, Lustre and Midnight Odyssey. The contemplative melodies by Lumnos draw pictures of distant planets, ancient celestial bodies, and the endless distances that separate them from us, small creatures scurrying around in haste.

After several digital releases in a span of just two years, Putrefactus took his fascinating work to a complete new level with his brand new album entitled Ancient Shadows Of Saturn, a journey through the deepest universe. Hosting multi-instrumentalists B.M. (from Russian Atmospheric/Post-Black Metal act Skyforest) and Unknown (from Russian Ambient/Atmospheric Black Metal project The Lost Sun) as session members, Ancient Shadows Of Saturn is a landmark album in Lumnos’ career, a mature work which will accompany your astral journeys through this solar system and beyond. The main idea behind this peculiar album is to create a history around Saturn since the very beginning to the fatal end, showcasing an ancient life born from a star longing in Saturn changing and elevating everything around.

Ethereal, atmospheric waves invade our senses from the very first second in the opening track I am Born From a Star, a modern and vibrant Atmospheric Black Metal aria where B.M.’s anguished gnarls match perfectly with the eccentricity of the lyrics (“I’m in a cosmic limbo / There’s no answer, there’s no escape / You won’t rest until you die / I’ll sink through my fade / Where I will go / What will I find / When pain gets too real / You simply can’t hide”). Furthermore, when this multi-layered musical voyage is over, you’ll certainly feel your soul wandering outside your body. Then gentle piano notes and a melancholic background set the stage for another eccentric creation by Lumnos titled Primordial Darkness, evolving into a piercing fusion of Atmospheric and Depressive Black Metal with highlights to the amazing job done by Putrefactus with all instruments, in special his steady, mournful beats and somber guitar lines. And the music remains whimsical, hypnotizing and dark from start to finish, creating a smooth and gripping bridge with the title track Ancient Shadows of Saturn, with its cinematic keys and pensive vibe kicking things off before morphing into an atmospheric and experimental journey that goes on for over four minutes. After that “extended intro” it’s time for B.M. to begin blasting his somber gnarls while the music flows gently and melancholically until its end.

Actually, you can consider all songs as one single entity if you prefer, as No Soul is Near continues from where its predecessor ended, an instrumental extravaganza thoroughly put together by Putrefactus with a strong focus on the balance between his gentle keyboard notes and his Stygian guitar lines, all embraced by slow and steady drums and an aerial vibe. Lastly, we face another instrumental blast of heavenly sounds and unorthodox experimentations entitled Existentialism, flirting with pure ambient music until after five minutes traditional Atmospheric Black Metal riffs invade our ears, giving the song a darker vibe and guiding it to a beautiful grand finale; followed by a bonus track that comes exclusively with the limited edition of the album (which you can by the way listen in its entirety HERE), named Crystal Clouds, Diamond Sun, a 9-minute instrumental tune that continues to showcase Putrefactus’ undeniable ability to craft high-quality ambient music.

The primordial darkness was gone and ancient shadows of Saturn were set free to conquer the entire galaxy, and in order to join Putrefactus in his otherworldly expedition, simply go check what he’s up to on Facebook, listen to his music on Spotify, and buy Ancient Shadows Of Saturn from Lumnos’ own BandCamp page, as well as from the Flowing Downward’s BandCamp page. Ancient Shadows Of Saturn is Ambient Black Metal at its finest, courtesy of a multi-talented Brazilian metaller who doesn’t seem to care about any boundaries when creating his musical universe, and that’s why he more than thrives in his endeavors.

Best moments of the album: I am Born From a Star and Primordial Darkness.

Worst moments of the album: None.

Released in 2018 Flowing Downward

Track listing  
1. I am Born From a Star 12:09
2. Primordial Darkness 10:43
3. Ancient Shadows of Saturn 10:35
4. No Soul is Near 9:08
5. Existentialism 8:59

Flowing Downward Limited Edition bonus track
6. Crystal Clouds, Diamond Sun 9:46

Band members
Putrefactus – all instruments

Guest musicians
B.M. – vocals (session)
Unknown – clean vocals, additional Synths on “I am Born From a Star” (session)

Concert Review – Cradle of Filth (The Opera House, Toronto, ON, 04/11/2018)

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Four American boys, four Ukrainian metallers, a multi-cultural Extreme Metal institution and endless mosh pits. That’s what Toronto got in another memorable night of heavy music.

OPENING ACTS: Uncured and Jinjer

My neck and back still hurt today, and I don’t think it’s (just) because of my age, but because the three bands that hit the stage at the small but flammable The Opera House this Wednesday night in Toronto kicked some serious ass from start to finish, igniting nonstop circle pits during the whole night and, as a consequence, making every single fan at the venue more than happy to have spent a few good bucks on their concert tickets. It might be taking a while for the weather in Toronto to warm up in this beginning of spring, but the temperature inside The Opera House on Wednesday was definitely as hot as the fires from the depths of hell for another night of the CRYPTORIANA WORLD TOUR NORTH AMERICA 2018 with the bands Uncured, Jinjer and, above all, the majestic Cradle of Filth.

Photos by Laura Springall – https://www.instagram.com/lspringallphoto/

After having two slices of pizza in order to properly face the hurricane of metal music that was about to come, I headed to The Opera House (which by the way seemed to be sold out) to enjoy the first band of the night, the technical and heavy American Progressive Death/Groove Metal UNCURED. Formed in 2014 in New York City, the quartet comprised of brothers Rex and Zak Cox sharing the vocals and guitar duties (and before you ask, they’re not twins), Jon Kita on bass, and Liam Manley on drums delivered a very solid performance on stage, still promoting their latest album Medusa, released in 2017 (which you can listen in its entirety HERE). Those boys didn’t stop headbanging and shredding not even for a single second, receiving a very positive feedback from the crowd already jammed in the floor section. This is the second time I saw Uncured live and they’re just getting better and better, pointing to a bright future ahead of them. From their setlist I highly recommend the songs Stygian Valley and Myopic (both from Medusa), and their brand new song Terminal, the best of their concert in my opinion. And lastly, I just want to send a quick message to the guy from the crowd that called them “Backstreet Boys”: they might be boys, but they’re talented metalheads, so shut up and try doing something useful for society like what Uncured are doing with their first-class metal music, right?

Setlist
Stygian Valley
Petrified
Myopic
Dilate
Persia (Spontaneous Regeneration alternative version)
Terminal

Band members
Rex Cox – vocals, guitars
Zak Cox – vocals, guitars
Jon Kita – bass
Liam Manley – drums 

Photos by Laura Springall – https://www.instagram.com/lspringallphoto/

After a short break it was time for an explosion of Metalcore made in Ukraine, courtesy of the sexy frontwoman Tatiana Shmaylyuk and her interesting band JINJER. If you’ve never heard of Jinjer, the band was brought into being in 2009 in the city of Horlivka, having already released a few interesting studio albums, like their 2014 opus Cloud Factory (reissued now in 2018, only a couple of years after its original release for reasons beyond my comprehension). Their concert was energetic and straight to the point, with Tatiana leading her henchmen and having a very good interaction with the fans. The only issue for me was the quality of the sound coming from the drums, which sounded during most of their set like the annoying “frying pan beating” sound from Lars’ drums in Metallica’s hideous St. Anger, but nothing that could stop the band and their fans from having a very good time. As I enjoy Tatiana’s deep, enraged growls a lot more than her clean vocals, my top moments of their concert were for sure Who Is Gonna Be the One (from their 2014 album Cloud Factory) and Captain Clock (from their 2016 album King Of Everything), not only warming up the fans at the venue for the main attraction of the night, but also urging everyone to jump up and down and break their necks just like what we always expect from a good Metalcore band.

Setlist
Prologue
Who Is Gonna Be the One
Words of Wisdom
Sit Stay Roll Over
I Speak Astronomy
Just Another
Pisces
Captain Clock
Outlander
No Hoard of Value
Bad Water
Beggars’ Dance

Band members
Tatiana Shmaylyuk – vocals
Roman Ibramhalilov – guitar
Eugene Kostyuk – bass
Vlad Ulasevich – drums 

CRADLE OF FILTH

Photos by Laura Springall – https://www.instagram.com/lspringallphoto/

One thing that always impresses me at The Opera House is the insane speed and very little amount of time the bands and their crew take to switch the whole equipment from one band to another, which is why we didn’t have to wait for too long for another superb, violent and blackened performance by British Extreme Metal institution CRADLE OF FILTH. Spearheaded by the iconic Dani Filth and promoting their latest opus, the excellent Cryptoriana – The Seductiveness of Decay, released in 2017, the band didn’t show any mercy on our souls, blasting some of their most visceral, complex and beautiful compositions from their unparalleled career that already lasts for impressive 27 years (and please don’t ask me how Dani can still growl and scream flawlessly like a demon after almost three decades). Well, when you open the show with songs like the aggressive Gilded Cunt and one of my favorite songs of all time, the masterpiece Beneath the Howling Stars, you know the whole concert will be brutal.

The rest of the band was also on fire, providing the perfect instrumental for Dani to thrive on vocals, in special the bestial drummer Martin “Marthus” Škaroupka behind his glass cage (not sure if that cage is for sound or security purposes), and Oshawa-own beauty Lindsay Schoolcraft, who once again could not hide her happiness for playing with Cradle of Filth in front of her very own people. She was fantastic throughout the entire concert, and didn’t even know how to thank the fans for such warm reception. Actually, it’s us fans who have to thank her for such awesome performance, embellishing classic tunes like The Death of Love, Nymphetamine and Her Ghost in the Fog with her powerful voice.

One of the highlights of the night was undoubtedly the execution of the 11-minute extravaganza Bathory Aria, a marvelous and intricate song I honestly never thought I would be able to witness them playing live. Dani explained they’re playing it as the start of the celebrations of 20 years of what’s in my opinion the best Cradle of Filth album of all time, their 1998 concept opus Cruelty And The Beast (and get ready, because Dani mentioned already they’re planning to release a very special 20th anniversary edition of the album). The brand new songs from Cryptoriana also worked really well, with Heartbreak and Séance sounding simply astounding live, proving once again that Cradle of Filth are a band that don’t just defy time, they kick it in the ass and keep delivering awesomeness album after album, year after year, for our total delectation.

Photos by Laura Springall – https://www.instagram.com/lspringallphoto/

One thing I really enjoy about Dani is how fun and somehow cryptic he always sounds when interacting with the crowd (and he knows we love that). When he’s in town, he always makes sure he praises his Canadian fans, he shows his respect for his supporting acts (demanding a huge ovation for Uncured and Jinjer for their excellent performances), and always finds time to make a peculiar joke about something very Canadian. I remember a few years ago when he said he loved getting to Canada during winter, as our Canadian winter is truly unique, and this time he mentioned a lot of times his admiration for Canadian professional tennis player Eugenie Bouchard. I have absolutely no idea why he mentioned “Genie” Bouchard and dedicated so many songs to her, as she has pretty much no connection to heavy music as far as I know. Apart from being a bombshell and for having lots of serious issues in her tennis career, I don’t see why Dani loves her so much. Well, maybe those are the two reasons why, right?

Anyway, after the classic From the Cradle to Enslave, and after almost two hours of nonstop, electrifying mosh pits (even during a dark ballad like Nymphetamine there were people crushing their skulls inside the pit like wild beats), the concert was over and fans could head home, have another beer, take pictures with the guys from Uncured and Jinjer, and start thinking how they would be able to work the following day after a true avalanche of high-quality extreme music, courtesy of four American boys, four Ukrainian metallers, and a multi-cultural outfit that knows better than anyone else in the world how to perfectly blend Extreme Metal with a theatrical performance, fantastic lyrics and endless energy and pleasure for being able to be on stage for all of us fans.

Setlist
ACT I
Ave Satani (Intro)
Gilded Cunt
Beneath the Howling Stars
Blackest Magick in Practice
Heartbreak and Séance
Bathory Aria: Benighted Like Usher / A Murder of Ravens in Fugue / Eyes That
Witnessed Madness
Dusk and Her Embrace
The Death of Love
You Will Know the Lion by His Claw
Creatures That Kissed in Cold Mirrors (Interlude)

ACT II
A Bruise Upon the Silent Moon (Intro)
The Promise of Fever
Nymphetamine (Fix)
Her Ghost in the Fog
Born in a Burial Gown
From the Cradle to Enslave
Blooding the Hounds of Hell (Outro)

Band members
Dani Filth – lead vocals
Richard Shaw – guitars
Marek “Ashok” Šmerda – guitars
Daniel Firth – bass
Lindsay Schoolcraft – female vocals, keyboards
Martin “Marthus” Škaroupka – drums

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