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..."

Album Review – Sinatras / Drowned (2017)

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A concentrate of Hardcore, Thrash and Death Metal mixed with an old school Rock N’ Roll attitude, courtesy of five talented and restless Italian musicians eager to bring more fun to the world through their creations.

Rating4

coverFrank Sinatra, born in Hoboken, New Jersey on December 12, 1915, was an American singer, actor and producer who was one of the most popular and influential musical artists of the 20th century. Death N’ Roll quintet Sinatras, born in 2014 in Vicenza, a city in northeastern Italy in the Veneto region, from an idea of Emanuele Zilio (now known as Lele Sinatra), guitar player for 20 years in Italian Metal/Hardcore band Strange Corner, and featuring expert musicians with different musical roots from Rock N’ Roll to Progressive Death Metal, bringing forth a classic but yet personal musicality tailored for fans of Carcass, Entombed, Pantera and Hatebreed, among others. What do these two entities have in common? Well, apart from carrying the same “family name”, let’s say that they can quickly put you to dance to the sound their high-end electrified compositions.

In less than five months after the project’s inception, thanks to the experience both live on stage and during studio sessions, Sinatras were able to write and record their first demo, called Six Sexy Songs, opening several doors for the band and inspiring them to release now in 2017 their debut full-length album, titled Drowned, a concentrate of Hardcore, Thrash and Death Metal mixed with an old school Rock N’ Roll attitude, featuring a simple and effective artwork by Mirko Marchesini (aka Minkio Sinatra) and eleven impactful songs with catchy choruses and immediate appeal. So start spreading the news, as Sinatras are ready to be the “number one, head of the list, cream of the crop at the top of the heap” in the world of heavy music.

In the opening track, Drowned, the band already blasts a frantic fusion of Thrash and Death Metal with the rebellious Rock N’ Roll played by Motörhead, with frontman Fla Sinatra playing really well the part of the demented vocalist with both his sick growls and clean vocals while Lele and Minkio make a great guitar duo with their roaring riffs. Leaning towards modern Thrash Metal, we have 24/7, a song about anger (“The value of our life is decreasing / and the stupidity grows faster / we are angry 24/7. / THEM! who? THEM! convicted in a false heaven”) perfect for their live performances, with highlights to the tempo changes effectively led by drummer Pisto Sinatra; followed by Cockroach, a badass song with Fla sounding extremely vile on vocals, maintaining their musicality at a high level of aggressiveness. Once again we face great guitar lines a la Pantera by Lele and Minkio, including a fiery solo to add more feeling to the overall result.

Something to Hate, one of the heaviest of all tracks, bursts violence through the deep growls by Fla and the song’s cutting guitar riffs and solos, with its drums played frantically as the music demands, whereas Flow, one of the best tracks in Drowned, brings forward an amazing blend of Southern Rock and Thrash Metal, sounding like a hybrid of Pantera, Chrome Division and Volbeat with a thrilling rhythm and catchy-as-hell vocal lines, not to mention the hints of progressiveness that end up enhancing the song’s punch even more. You Spin Me Round (Like a Record), an awesome version to the cult hit from the 80’s by Dead or Alive, delivers harsh growls and fast beats that will certainly please even fans of the original version, and in Los 43, a solid Rock N’ Roll composition with a catchy vibe and a good performance by all band members, Sinatras provide us what’s perhaps the harshest lyrics of the whole album (“Chaos, new world order / Despise, in your disorder / Homicide, deicide, burned gasoline, / Thrown in a pit as an animal / Death, is what you search Tears, are what you get / Genocide, misery, pain and slavery left to rot in their own reality”).

sinatras-2017Miss Anthropy is the closest the band gets to modern American metal music, being fast and furious with Pisto crushing his drums and also less harmonious than the rest of the album with some moments being pure Death Metal. It falls flat after a while, though, but nothing to worry about. On the other hand, Back in Frank is in my opinion the most complete and exciting of all songs, a perfect combination of Thrash Metal and Rock N’ Roll that also brings elements from Death Metal and Southern Rock, with both Lele and Minkio firing sharper-than-a-blade riffs while Fla delivers his strongest vocals overall. If you don’t get pumped up by this insane tune, you should definitely go see a doctor. Anyway, in Blind Fury, the name of the song summarizes its rhythm and approach, being an infuriated, modernized version of Death Metal with technical guitar lines, fast-paced beats and in special the metallic punches by bassist Lispio Sinatra, before Spiral Hell nicely concludes this fun and very cohesive album by Sinatras, with the whole band delivering more deranged music to the listener. Its heavy and melodic lines are boosted by the song’s potent vocals and backing vocals (as well as its excellent guitar solo), turning it into a nonstop tune for slamming into the pit with the band.

Are you ready to “start spreading the news” with this lunatic metal act from Italy? You can do that by visiting their Facebook page, YouTube channel and ReverbNation to know more about the band, and purchase Drowned at their BandCamp page, at the logic(il)logic Records webstore, on Amazon, at CD Baby, at Discogs, and several other locations. In summary, Drowned offers to you the most electrifying elements of old school and modern metal music, courtesy of five talented and restless Italian musicians eager to bring more fun to the world through their creations.

Best moments of the album: Drowned, Flow and Back in Frank.

Worst moments of the album: Miss Anthropy.

Released in 2017 logic(il)logic Records

Track listing
1. Drowned 5:52
2. 24/7 4:34
3. Cockroach 4:16
4. Something to Hate 4:48
5. Flow 3:31
6. You Spin Me Round (Like a Record) (Dear or Alive cover) 3:17
7. Los 43 4:18
8. Miss Anthropy 4:09
9. Back in Frank 4:19
10. Blind Fury 2:25
11. Spiral Hell 4:23

Band members
Fla Sinatra – vocals
Lele Sinatra – guitars
Minkio Sinatra – guitars
Lispio Sinatra – bass
Pisto Sinatra – drums

Album Review – Acranius / Reign of Terror (2017)

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It’s time to crown this talented German unit as the new slamming kings of this putrid reign of terror we live in, and enjoy their demolishing music while we witness the brutal downfall of our society.

Rating5

acranius-album-artFormed in 2009 in Rostock, the largest city in the north German state of Mecklenburg-Vorpommern, Brutal Slamming Death Metal wolf pack Acranius will tear you down with their third full-length installment, the unrelenting Reign of Terror, an album that will certainly leave some serious bruises and scars on your body and mind after you take a listen at each one of its ten rampant compositions. Besides, when you face a Death Metal album that contain songs named “Warpath” and “Return To Violence”, you already know there will be some good blood spilled before even listening to the music inside it, don’t you agree?

After releasing their debut EP The Echo of Her Cracking Chest in 2011, followed by the full-length albums When Mutation Becomes Homicidal, from 2013, and Dishonor, from 2014, and after a few lineup changes through the years, Acranius return with their most complete and professional work to date, featuring a killer artwork by Ukranian musician and illustrator Daemorph, who by the way also worked with the band in their previous album. As any good Death Metal release, get ready for putrid growls, flammable riffs and crushing drums, delivered by four German metallers that are building a beyond solid reputation among fans of the genre not only in their homeland, but also anywhere in the world where good Death Metal is appreciated.

After a short movie-inspired intro, Born A King brings forward a very metallic and aggressive explosion of blast beats and sheer fury, with the deep guttural by Kevin Petersen living up to the legacy of old school Death Metal, while Kingmaker, an amazing composition that will kick you in the face, continues the demolishing path of its predecessor with guitarist Björn Frommberger firing menacing neck-breaking riffs and drummer Robert Arndt smashing his drum set manically. As its name already states, Return To Violence is extreme violence in music where Kevin’s voice sounds more cavernous than before, while Björn keeps slashing his strings as a veteran in Death Metal, and the band doesn’t seem to get tired of being gory and brutal as we can witness in Outlaw, perhaps the most electrifying composition of the entire album. Kevin and Robert sound pulverizing, with Björn and bassist Lars Torlopp punching us in the head ferociously with their flammable strings.

acranius-band-photoBuilt On Tradition is another slamming gruesome tune by this talented quartet, displaying all the main elements from our good old Death Metal with highlights to its rhythmic beats and boisterous guitar lines, followed by The True Reign, where Robert sounds like a stone crusher on drums, blasting his beats and fills powerfully and providing the rest of the band all they need to sound extreme and bloodthirsty. After that bestial chant, we have the fantastic Warpath, a Death Metal hymn for metalheads who want to have a neck injury headbanging, showcasing an infernal rhythm with Kevin barking like a beast, but still melodic and quite progressive. I’m sure you’ll feel your brain moving inside your skull while banging your head to this song, no doubt about that.

Back to their more visceral mode, sounding like a war machine of Brutal Death Metal crushing everything and everyone, Acranius offer the listener Battle Scars, where Björn managed to sound even more menacing than in all previous songs. And the musicality crafted by Acranius will “execute” you ruthlessly in The Executioner, another heavy composition full of bestial drums and hellish growls where devastation never stops. If you can still feel your neck after this song is over, their deathblow comes in the form of more traditional Death Metal titled Died A Liar, bringing another shot of sharp riffs and beats by these German metallers.

You can stream Reign of Terror in its entirety and consequently put an end to all that calm and peace environment in your neighborhood by clicking HERE, follow Acranius on Facebook, check more of their music on YouTube and, as usual, show your passion for slamming Death Metal by purchasing the album at the Rising Nemesis Records’ BandCamp and Big Cartel, on iTunes or on Amazon. As this reign of terror we live in becomes more and more hideous day after day due to all the shit done by mankind, there’s nothing better than crowning Acranius as our new slamming kings of Death Metal and enjoy their demolishing music while we witness our world falling apart.

Best moments of the album: Kingmaker, Outlaw and Warpath.

Worst moments of the album: Died A Liar.

Released in 2017 Rising Nemesis Records

Track listing
1. Born A King 2:10
2. Kingmaker 3:12
3. Return To Violence 3:12
4. Outlaw 3:36
5. Built On Tradition 3:22
6. The True Reign 3:26
7. Warpath 3:09
8. Battle Scars 2:51
9. The Executioner 3:28
10. Died A Liar 3:05

Band members
Kevin Petersen – vocals
Björn Frommberger – guitar
Lars Torlopp – bass
Robert Arndt – drums

Album Review – Kreator / Gods of Violence (2017)

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We shall praise the best Teutonic Thrash Metal institution of all time, as the gods of violence come alive.

Rating1

kreator_gods-of-violence_worldwideFrom the triumvirate of Teutonic Thrash Metal, comprised of Destruction, Kreator and Sodom, the band led by the iconic Miland “Mille” Petrozza has always been my favorite, delivering top-of-the-line, enraged and apocalyptic music since their inception in Essen, a city in North Rhine-Westphalia, Germany in 1982 when the band was still called Tormentor. And it might have taken almost five years for Mr. Mille Petrozza and his loyal bandmates to release new material since their 2012 opus Phantom Antichrist, marking the longest gap between two studio albums in their career, but after listening to the breathtaking Gods of Violence, their fourteenth studio album, you’ll see the wait for the greatest Thrash Metal band in the history of European metal was definitely worth it.

Featuring an ungodly artwork (both the worldwide and the American versions) by German graphic designer and illustrator Jan Meininghaus, who has already worked with bands like Bolt Thrower, Sacred Steel and U.D.O., as well as Kreator themselves in Phantom Antichrist and their 2013 live album Dying Alive, Gods of Violence is a brilliant lesson in Thrash Metal that, at least for the year of 2017, will change the world capital of the genre from the famous San Francisco Bay Area, in California, to the city of Essen. One might ask how Gods of Violence can be so fantastic if it’s not a revolution in music, as it brings the same old Kreator we’re all used to. Well, that’s the beauty of it, as Kreator didn’t try to be different than what they are in essence. Quite the contrary, they sound more old school than ever in the new album, always drinking from the endless fountain of evil named man, and the amount of passion, aggressiveness and energy they put into each and every song is all that’s needed for Gods of Violence to become a contemporary classic.

The epic marching intro Apocalypticon builds up the expectation of the listener for this Thrash Metal masterpiece, and that’s exactly what Kreator bring forth starting with the sensational, belligerent World War Now, a true high-octane thrashing work-of-art that will sound thunderous when played live, with Mille and Sami Yli-Sirniö blasting their infuriated riffs while Jürgen “Ventor” Reil shows how drums should be played in this type of music. Moreover, it also contains their trademark European melody that makes their music so captivating, which can also be seen in Satan Is Real, a headbanging hymn with all the elements that made the band what they are today. Not only that, Mille sounds menacing with his raspy vocals during the song’s devilish chorus, leading us all to believe that Satan is indeed real.

kreator_2017Totalitarian Terror, a song about the fight for freedom and the war against oppression (and the best song of the album in my humble opinion), is a thrilling, bestial composition where the guitars by Mille and Sami will pierce your mind beautifully. Furthermore, this Teutonic Thrash Metal anthem is filled with fiery solos, frantic beats and a powerful, insurgent chorus (“Totalitarian Terror / Welcome the strike / Wielder to strike / Totalitarian Terror / Feeding the oppressor / Resistance must rise when freedom has died”), or in other words, the perfect combination of elements to turn it into a classic. After a  serene acoustic intro, the title-track Gods of Violence brings forward more traditional Kreator, perfect for going absolutely mental during the band’s live concerts, with Ventor having an outstanding performance on drums while Christian “Speesy” Giesler brings thunder to the musicality with his metallic bass lines.

Get ready for a sonic tempest named Army of Storms, another excellent option for their live concerts presenting poetry in the form of Thrash Metal (“For tornados and hurricanes / Will not hold us back / Ultra void as the ultimate deception / Ride the winds broken free / Now revolt and you will see / Nations and empires reborn / Beyond the blood red horizons you’ll hear us”) and sounding very melodic thanks to the brilliant guitars by Mille and Sami; followed by the mid-tempo classy composition Hail to the Hordes, where Kreator pay a kick-ass homage to their loyal fans (“If night will fall black shadows / Are taking our sight / We carry each other through the darkest / Moments of life, stronger than hate / Stronger than fear, stronger than all / We are one / Hail to the hordes”). Simply break your neck to the pounding drums by Ventor, with the epic sound of guitars inspiring us all to raise our fists in the air to this mighty German thrashing horde.

Kreator’s shredding has always been superb, and the metal whirlwind Lion with Eagle Wings is no exception to that rule. Not only it has a sophisticated and potent name, but the band also sticks to their foundations with a pinch of modern metal music, with the result being obviously awesome; whereas Fallen Brother showcases one of the most touching metal videos (and songs) ever made, a tribute to all our deceased heroes including Lemmy, Dio, Jeff Hanneman, David Bowie, Prince, Chuck Schuldiner, Scott Columbus, Bon Scott, H. R. Giger, Leonard Cohen, among many others. In regards to the music itself, it’s beyond powerful, vibrant and cohesive, a lesson in heavy music by Kreator that will stick to your head forever.

kreator_gods-of-violence_north-america

Gods of Violence North America Cover

Then we have Side by Side, where violent riffs and supersonic drums build the perfect atmosphere for Mille to vociferate the song’s lyrics against all types of prejudice and how we should unite to eradicate that from our society (“As we crush homophobia / Side by side / And we’ll never let the shame / Turn our vision to ice / And I’ll remain by your side”). It amazes me how such brutal album can contain so many references to brotherhood, friendship and unity, proving how high-quality metal can make our lives better. Lastly, Death Becomes My Light might be a melancholic and introspective creation by Mille and his horde, but that doesn’t mean it’s not as heavy as hell presenting crushing riffs and drums, while Speesy keeps galloping his bass guitar. And when the song is over, you’ll just realize there’s not a single moment in Gods of Violence that’s below excellent, as simple as that.

You can get a lot of extra details about Gods of Violence, including tour dates and news, at the special microsite created for the album, and grab your desired version of it at the Nuclear Blast webstore, including the amazing special edition with the bonus Blu-ray/DVD “Live at Wacken 2014”. It’s already a great moment for heavy music in general whenever Kreator release new material, but when the album is as splendid as this, we know it’s our duty to listen to it nonstop and  praise the best Teutonic Thrash Metal institution of all time, as the gods of violence come alive.

Best moments of the album: World War Now, Totalitarian Terror, Gods of Violence, Hail to the Hordes and Fallen Brother.

Worst moments of the album: None.

Released in 2017 Nuclear Blast

Track listing
1. Apocalypticon 1:06
2. World War Now 4:28
3. Satan Is Real 4:38
4. Totalitarian Terror 4:45
5. Gods of Violence 5:51
6. Army of Storms 5:09
7. Hail to the Hordes 4:02
8. Lion with Eagle Wings 5:22
9. Fallen Brother 4:37
10. Side by Side 4:19
11. Death Becomes My Light 7:26

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

Guest musician
Boris Peifer – bagpipes on “Hail to the Hordes”

Album Review – Maze Of Sothoth / Soul Demise (2017)

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Inspired by the stunning creations of American writer H. P. Lovecraft, behold the debut hammering opus spawned from one of the newest underground Death Metal acts from Italy.

Rating4

cover-art-2000xThe debut full-length album by Italian Technical Death Metal horde Maze Of Sothoth, titled Soul Demise, is not only the first brutal, hammering opus spawned from one of the newest underground acts from Italy, but also a sensational tribute to the stunning creations of the unparalleled American writer H. P. Lovecraft. For instance, the band’s own name was inspired by Yog-Sothoth, a cosmic entity in the fictional Cthulhu Mythos and Dream Cycle of Mr. H. P. Lovecraft, giving you an idea of how strong the admiration of this up-and-coming band from Bergamo, a city northeast of Milan in the Lombardy region in Italy, is for one of the most influential writers in the history of horror fiction.

Founded by guitarist Fabio Marasco in January 2009, the initial sound fused massive influences from Morbid Angel, Behemoth, Dying Fetus, Nile and Slayer, with the band recording their first demo Guardian of the Gate in 2011. Five years after the demo was brought into being, Maze Of Sothoth are more than ready to storm the world with Soul Demise, an album that transpires brutality and harmony, with the cover art by Italian artist Ivory Crux perfectly translating into a hellish image the band’s obscure music. Furthermore, there isn’t a single song in Soul Demise that sounds soft or gentle, and that in Death Metal is unquestionably a synonym of excellence.

Ominous and devilish, the intro Cthulhu’s Calling opens the gates to the netherworld, setting the tone for drummer Matteo Moioli to begin his sonic demolition in the pulverizing Lies, with the metallic riffs blasted by Fabio and Riccardo Rubini complementing the band’s evil sonority, being highly recommended for fans of old school Cannibal Corpse and Morbid Angel. Their putrid and technical havoc continues with more visceral riffs and demented beats in Seed of Hatred, where I recommend you try to follow the song’s demonic lyrics together with lead singer and bassist Cristiano Marchesi and his guttural growls (“Our union will create a new form of evil / Put in your womb the seed of hatred / Your sacrifice won’t be vain / Errant demons populate the earth”). And smashing every living creature in their path, Maze Of Sothoth fire another bestial composition full of classic Death Metal riffs named Multiple Eyes, with highlights to the unstoppable drums by Matteo and the grisly vociferations by Cristiano, while the guitar solos by Fabio and Riccardo bring more balance to the song’s melody.

mosbandpicEven heavier than its predecessors, The Outsider is pure aggressiveness and darkness in the form of music, with Matteo displaying an outstanding performance on drums by being brutal and progressive at the same time. Put differently, this is top-notch Death Metal for lovers of the genre with a supernatural ending. The Dark Passenger brings forward elements of Progressive and Blackened Death Metal in its beginning, suddenly exploding into an extreme music carnage where Fabio and Riccardo once again pulverize our ears with their riffs and solos, whereas in At the Mountain of Madness the whole band showcases their refined techniques while Cristiano growls the song’s traditional Death Metal lyrics in a hellish way (“The awakening of the ancient ones is arrived / From their everlasting slumber / Cryptic creatures never seen before”). It could have been a bit shorter, though, but nothing that harms the overall quality of the album.

Increasing their heaviness and being as cavernous as usual, the band offers us Blind, a fast-paced infernal hymn perfect for getting completely crushed into the circle pit, with its guitars sounding angry and demented just the way we like in Death Metal. After that hurricane of extreme music we have Azzaihg’nimehc, a dark instrumental bridge to the last song of the album, the berserk Divine Sacrifice, where Matteo blasts his most furious beats and fills while Cristiano sounds like an ogre on vocals. If you survive this diabolical composition, I’m sure you’ll hit play again and go back to the beginning of such excellent album as any old school death metaller would do.

You can get more details on Maze Of Sothoth at their Facebook page, YouTube channel and ReverbNation, as well as purchase Soul Demise (which by the way can be streamed in its entirety HERE) through their BandCamp page, or at the Everlasting Spew Records’ BandCamp page and webstore. Maze Of Sothoth are technical, ruthless and ready to conquer the world of extreme music, and Soul Demise will certainly help them spread their brutality all over the world in the most effective way possible.

Best moments of the album: Lies, The Outsider and The Dark Passenger.

Worst moments of the album: At the Mountain of Madness.

Released in 2017 Everlasting Spew Records

Track listing
1. Cthulhu’s Calling 1:50
2. Lies 5:16
3. Seed of Hatred 3:19
4. Multiple Eyes 4:36
5. The Outsider 5:35
6. The Dark Passenger 4:41
7. At the Mountain of Madness 5:03
8. Blind 3:55
9. Azzaihg’nimehc 1:53
10. Divine Sacrifice 3:45

Band members
Cristiano Marchesi – vocals, bass
Fabio Marasco – guitars, synth
Riccardo Rubini – guitars
Matteo Moioli – drums

Album Review – Avenford / New Beginning (2017)

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A lecture in melodic, progressive and vigorous Power Metal by a band that has all it takes to be one of the greatest names in Power Metal within the next few years.

Rating4

avenford-new-beginningFormed in the summer of 2012 by guitarist Peter Szehoffner and lead singer and guitarist Arpie Gamson in Hungary, inspired by the music by Masterplan, Jorn Lande, Yngwie Malmsteen and Iron Maiden, among others, but currently residing in London, England, Power Metal quartet Avenford has been making a name for themselves in the world of heavy music since their inception, delivering first-class Heavy Metal for fans of melodic guitars, fast and rhythmic drums and epic high-pitched vocal lines. After releasing their debut album in 2014, titled Mortal Price, and after beginning to conquer Europe and the rest of the world with their music, it’s time for Avenford to strike us all again with their fresh new album New Beginning.

The list of guest musicians in New Beginning is quite extensive, each one adding their own share of adrenaline to the final result. We have Apollo Papathanasio (Spiritual Beggars, Firewind), Zoltan Marothy (Kiss Forever Band), Roland Grapow (Masterplan, Helloween), Zoltan Kiss (Iron Maidnem), Bodor Mate (Alestorm) and Piotr Sikora (Exlibis) lending their feeling and refined techniques to Avenford, contributing with Peter, Arpie, bassist Tom Longbottom and drummer Jivodar Dimitrov in crafting beautiful and exciting Heavy Metal perfect for hitting the road, for having a good time with your friends, or for simply relaxing and enjoying it by yourself.

The opening track Dead or Alive doesn’t waste a single second and comes ripping in a heavy and melodic way led by the guitars by Arpie and Peter, suddenly turning into a fast-paced metal feast with guest singer Apollo Papathanasio kicking some serious ass on vocals, resulting in Power Metal at its finest; whereas Back in Time is a Symphonic Power Metal composition with a strong focus on its electrified atmosphere and the fierce drumming by Jivodar, also featuring an amazing solo by guest guitarist Zoltán Maróthy. And progressiveness, intricacy and tons of feeling are the main ingredients in the fast-paced chant Assassin, where not only both guitarists are on fire, blasting beautiful riffs and solos, but the rumbling bass lines by Tom are also very effective and add a lot of groove to the music.

avenfordAlbeit slightly slower, Fury Road is still very progressive and heavy, with the one and only Roland Grapow doing what he does best, which is of course delivering awesomeness though his guitar solo, before the short and pleasant instrumental bridge Maze of Visions builds the ambience for the title-track New Beginning, a heavy power-ballad where Arpie has an amazing performance on vocals while the rest of the band sounds extremely cohesive and focused on delivering top-tier Power Metal to the masses. And in Overlord, a futuristic warlike intro explodes into Progressive Power Metal due to the accelerated beats by Jivodar, with both Arpie and Peter making the perfect dynamic duo on guitars. In other words, if you love high-octane Melodic Heavy Metal, this thrilling tune will definitely please your metallic ears.

With guest singer Zoltán Kiss giving a lesson in melodic vocals, Dark Angel presents the perfect combination of guitars and keyboards the likes of Stratovarius and Sonata Arctica, having all it takes to become a classic among fans of the genre. Besides, how not to get excited with the song’s amazing chorus? In Mask, we’re treated to more electricity and passion for heavy music from Avenford, a very traditional sonority led by the potent vocals by Arpie and the unstoppable drums by Jivodar, and featuring a great guitar solo by another guest Máté Bodor; while Return from the Land of Emeralds is the dream of every musician that loves complex and metallic Power Metal. All band members are in perfect sync in this instrumental feast, with Tom and Jivodar crafting the perfect atmosphere for all the song’s inspiring guitar solos. And my favorite track of the album, Unholy Game, featuring the sharp keyboards by guest musician Piotr Sikora, brings elements from old school Rock N’ Roll and Hard Rock that truly elevate the song’s electricity to a whole new level. No one can stand still to such amazing tune, with Arpie being absolutely fantastic on vocals.

In a nutshell, New Beginning is a lecture in melodic, progressive and vigorous Power Metal by a band that sounds like veterans of the genre, despite being on the road for less than a decade, and if you’re fond of this always galvanized genre of heavy music I highly recommend you go visit Avenford’s Facebook page and YouTube channel to get more details on this excellent band and their inspiring music. And of course if you want to add New Beginning to your distinct collection of Power Metal albums, you can find it at the Pride & Joy webshop, at Record Shop X, on iTunes or on Amazon. The name of the album might be New Beginning, but what we have is actually a solid continuation to the career of a band that has an immeasurable potential to become one of the greatest names in Power Metal within the next few years.

Best moments of the album: Dead or Alive, New Beginning, Dark Angel and Unholy Game.

Worst moments of the album: Back in Time.

Released in 2017 Pride & Joy Music

Track listing
1. Dead or Alive 4:22
2. Back in Time 3:50
3. Assassin 4:30
4. Fury Road 4:32
5. Maze of Visions 1:21
6. New Beginning 7:13
7. Overlord 5:41
8. Dark Angel 3:43
9. Mask 3:56
10. Return from the Land of Emeralds 5:49
11. Unholy Game 3:48

Band members
Arpie Gamson – vocals, guitar
Peter Szehoffner – guitar, backing vocals
Tom Longbottom – bass
Jivodar Dimitrov – drums

Guest musicians
Apollo Papathanasio – vocals on “Dead or Alive”
Zoltán Maróthy – lead guitars on “Back in Time”
Roland Grapow – lead guitars on “Fury Road”
Zoltán Kiss – vocals on “Dark Angel”
Máté Bodor – lead guitars on “Mask”
Piotr Sikora – keyboards on “Unholy Game”

Metal Chick of the Month – Elena Vladi

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elena01

I’m coming down to feel you, to touch you, to be you, to kill…

Ladies and gentlemen, the heavy music scene in Hollywood, one of the most famous neighborhoods in the world located in the central region of Los Angeles, California in the United States, has recently crowned a new queen, and we all shall bow to her beauty, to her loveliness, and in special to her kick-ass music. Hailing from Mother Russia, here comes the multi-talented artist Elena Vladimirova, better known as Elena Vladi, the lead singer of Nu-Metal act Red Queen and a woman that knows better than anyone else how to provide a fiery fusion of stunning looks and electrifying music, making the work from such distinguished woman even more delectable. The Russian Red Queen is among us, and your life will never be the same again after being infected by her scrumptious venom.

Like any true queen of darkness and lust, there’s little to none information available online about the personal life of Elena, which makes perfect sense for a woman that wants to keep mystery as one of the main ingredients in her promising career. All we know is that she relocated from Russia to the United States in a not-so-distant past and joined her partner in crime Patrick Crisci in order to form what used to be known as Experimental Hybrid Black Metal project Demona Mortiss, but that gradually morphed to Nu-Metal band Red Queen. Let’s say that the band, which used to play a dark fusion containing elements from Gothic, Doom and Death Metal the likes of Tristania and Dimmu Borgir, is now highly recommended for fans of Slipknot, Korn, Deftones and Lacuna Coil, just to give you a better idea of the remarkable change in their sonority through time.

Before we talk about Elena Vladi in more detail, let’s take a quick look at the history of Red Queen. Previously known as Demona Mortiss, the project was created by Elena in 2009 as an Experimental Hybrid Black Metal project as already mentioned, obtaining a significant amount of followers in a short span of time, especially in Europe, before officially changing the name in 2013 to Red Queen. Demona Mortiis were Elena on vocals and synths, Patrick on guitars and Trent Gouveia on drums, and although there are no official albums under the name Demona Mortiis you can still enjoy some of their blackened compositions on YouTube like Lost, Inverted Heaven and Phasmophobia, this one live at the Viper Room in Los Angeles in January 2013.

Not only the name of the project and music direction changed in Red Queen, but the lineup also suffered a few changes. Red Queen are now only Elena on vocals synths and lyrics, and Patrick on guitars, synths, bass and drums, also being responsible for the overall production of the band, with guest musician Grey Soto playing some guitar parts in a couple of songs. This dynamic duo released back in April 2016 their debut EP entitled Star Blood, containing five classy and sexy songs (Asyphyx, Naked, Star Ruby, Insidious and Alchemy), as well as an amazing cover version for Hold Me, Thrill Me, Kiss Me, Kill Me, the classic 1995 single by Irish Rock icons U2 from the Batman Forever soundtrack album. If you want to take a better listen to Star Blood and purchase it, you can go to Red Queen’s official webstore or BandCamp page, and also find it on iTunes. When asked about what inspired her to write the music found in Star Blood, Elena said she gets her inspiration from movies and books, from the cosmos and a variety of “conspiracy theories”, and from her own emotions, always aiming at intriguing people. Well, let’s say she succeeded in that hands down, and if you want to know more details about Red Queen you can check this short and sweet 2015 Q&A interview with Elena Vladi and Patrick Crisci, and also listen to their music at their YouTube channel and ReverbNation page.

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Apart from her career with Demona Mortiis and Red Queen, our Russian bombshell can be seen as a guest musician in distinct projects that have almost nothing to do with the musicality bred by Red Queen, showcasing her versatility as an artist and her will to go beyond any boundaries that she might face in terms of creativity and experimentation. For instance, her stunning voice embellishes the chaos found in the song You Can’t Save Me, So Stop Fucking Trying, from the 2012 album Vanitas by British Industrial Black Metal/Grindcore band Anaal Nathrakh, as well as in two composition from the 2012 albums Evolution and (R)Evolution, by American Electronic duo Blood on the Dance Floor, those being Love Conquers All and La Petite Morte (The Little Death), respectively.

Albeit music might be the primary focus in her life, our Gothic diva also extends all her talent to fashion modeling and graphic and web designing for living, also being proficient at tarot, rune and aura reading, as well as other forms of divination, chakra balancing and necromancy. In addition to all that, Elena lets her geek side flourish through her admiration for Astronomy, String Theory and Quantum Physics, not to mention she also excels in guidance to Spiritual Ascension. And as many other female metallers such as Angela Gossow and Alissa White-Gluz, our voluptuous queen doesn’t eat meat and considers veganism a part of human evolution. In case you’re curious to see Elena modeling instead of singing, click HERE to watch a short clip of when Elena was invited to participate in a cover shoot for volume 34, issue #33 of LA Weekly (released on July 5, 2012), for a special article entitled “Everything You Wanted to Know About Metal” (which is obviously not true, but as that’s not our main goal in this essay let’s simply ignore that). Pay attention to the music in this video, as it’s Elena and her Demona Mortiis playing a beautiful cover version for Confide in Me, by Australian singer Kylie Minogue. The great success achieved by the cover with Elena translated into this specific issue being the best-selling one of 2012. You can enjoy the read by clicking HERE and going directly to page 55, titled ALL HAIL “Metal subgenres explained, from thrash to pornogrind”.

Her passion for modeling can also be seen in the underground publication Gothic Beauty, as for example in their issue #42 when Elena was the cover girl of the magazine, and in tons of pictures modeling for Heavy Red, a Los Angeles-based fashion company established in 1999 by lead designer Tyler Ondine specialized in Gothic fashion and sexually sophisticated clothing, always aiming at being the cutting edge of Gothic clothing including corsets, dresses, gowns, shirts, skirts, coats, hoodies, club wear, lingerie and jewelry. Elena has been one of the faces of the company since relocating to the United States, helping Heavy Red achieve a new level of elegance and darkness in line with the company’s vision of Couture Noir.

The “Russian Queen of Nu-Metal” also focuses her efforts in improving the merch store at the official Red Queen website, working on getting more skirt and other clothing designs for the fans of the band. Furthermore, Elena is also planning on opening her own jewelry shop, named Vladi Fashion Jewelry, where she’ll sell her trial collection of royal necklaces and will expand into rings and more jewelry options later. She thinks every woman (including herself) loves jewelry, and therefore she wants to share her vision of beautiful designs with other women through her new store. And if you think that’s already a lot coming from only one woman, let me tell you that she is also trying to find time for her side project under her name, which according to Elena would be quite mellow and electronic, and fully written and produced by herself. I guess we can never get enough of our stunning queen, don’t you agree? And sorry to say that, Elena, but it looks like the less free time you have for yourself, the better it is for us fans.

Elena Vladi’s Official Facebook page
Elena Vladi’s Official Twitter
Elena Vladi’s Official Instagram
Red Queen’s Official Facebook page
Red Queen’s Official Twitter
Red Queen’s Official VKontakte page

“I am a full blooded Russian… Russians are crazy, we all know that, I expect respect and you shall receive the same in return…” – Elena Vladi

Album Review – Gothic / Demons (2017)

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One of the most respected bands in the history of Romanian metal powerfully unleashes their “demons” upon mankind with their heavy and melodic new album.

Rating4

gothic-demonsEstablished back in 1992 by guitarist and singer Alin Petrut in the heart of the Carpathian Mountains of Transylvania, Romania, Melodic Death Metal band Gothic has quickly become one of the most respected metal bands in the country, having played alongside giants like Manowar, Dimmu Borgir, Europe, Korpiklaani, Gojira and Napalm Death, among many others. Even after changing the band’s name to Ali(e)n and then to Innerfire in 2003 when Alin re-located the band to Belgium, the band kept building a strong reputation among metalheads all over Europe, returning to their hometown Petrosani in 2005 again under the name Gothic (as a separate entity from the still-active Innerfire) and culminating with their participation in the 2012 edition of Wacken Open Air after winning the Romanian finals of Wacken Metal Battle that year.

Exactly 25 years after the band’s inception, Alin and his Gothic are back with Demons, their first full-length album since their 2013 release Expect the Worst. Displaying a darkly beautiful artwork by the band’s own bassist Csaba “Taly” Talpai, and featuring for the first time George Lazar on harsh vocals and Vlad Golgotiu on drums, Demons is definitely Gothic’s most professional and multilayered album to date, blending the classic sonority from the band’s extensive career together with fresh new elements from modern metal music. After listening to this cohesive and melodic album, it won’t be hard for you to understand why Gothic play such an important part in the history of Romanian metal.

In the opening track Shadow Man you’ll quickly notice their musicality is not really “Gothic” as the band’s name states, but fast, melodic and aggressive music, a great mix of traditional Death Metal with contemporary Melodic Death Metal where Alin delivers some sick, heavy riffs while George blasts pure fury through his guttural growls; followed by the excellent Disillusion, also exhibiting a similar Heavy/Death Metal hybrid vibe. This song presents a good headbanging pace with neck-breaking riffs by Alin, getting symphonic and futuristic at times due to the spot-on keyboards by Florian Lysy, not to mention its vengeful lyrics (“We grew apart / Betrayed our hearts / Our souls are black / Our minds are flack / You wanted that / Now take it back in your face”).

gothicIn the first single of the album, the title-track Demons, Alin, Taly and Vlad add a lot of groove and heaviness to the musicality, setting the stage for George to growl even deeper, feeling like a mix of Hard Rock with Gothic, Doom and Melodic Death Metal ideal for the song’s lyrics (“I feel their breath inside my dream / The darkness stains around me / A web of black, surrounding scent / The night is growing senseless.”). In Catacombs, which starts in a pleasant, harmonious and exciting way with Taly blasting a thunderous sound from his bass guitar, we face a magnificent balance between the havoc generated by all band members and the extremely melodic guitar solos and keyboards, whereas in Time, an upbeat composition by Alin and his henchmen, Vlad delivers precision and anger through his beats, and despite losing a bit of its electricity in the end it’s still a very enjoyable song.

Destroying the Masses, a powerful chant where Gothic displays their darkest side, brings forward a menacing atmosphere and deep guttural vocals closer to old school Death Metal, while modernity comes from the metallic riffs by Alin. And it seems the band really wants to crush our necks with their sick riffs and beats in From Within, with elements from traditional Heavy Metal added to its Melodic Death Metal sonority to make it even more harmonious. Last but not least we have A New End, a melancholic and passionate composition sung entirely in Romanian (which in my opinion is an interesting variation from the rest of the album) and featuring guest vocalist Klaus Pardos, offering the listener the heaviest version of modern Hard Rock you can think of.

Are you ready to face the heavy music engendered by these talented Romanian demons? If your answer is yes, you can follow all things Gothic at their official Facebook page and check their latest videos (including some fun tour diaries) at their YouTube channel, as well as purchase Demons at Loud Rage Music’s BandCamp or webstore. Gothic are unleashing their high-end Melodic Death Metal upon mankind with their brand new album, and if I were you I wouldn’t miss this great opportunity to get in touch with the music by such respected underground band.

Best moments of the album: Disillusion, Catacombs and Destroying the Masses.

Worst moments of the album: Time.

Released in 2017 Loud Rage Music

Track listing
1. Shadow Man 5:01
2. Disillusion 5:42
3. Demons 3:53
4. Catacombs 6:04
5. Time 4:55
6. Destroying the Masses 4:34
7. From Within 4:04
8. A New End (feat. Klaus Pardos) 5:13

Band members
Alin Petrut – guitar, clean vocals
George Lazar – harsh vocals
Csaba “Taly” Talpai – bass
Vlad Golgotiu – drums

Guest musician
Florian Lysy – keyboards
Klaus Pardos – vocals on “A New End”

Album Review – Sunterra / Reborn EP (2017)

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Under the sign of the ancient Egypt goddess Isis, one of the most important Industrial Metal bands from the underground Austrian scene is reborn with a new lineup and a reinvigorated attitude.

Rating5

coverUnder the sign of the ancient Egypt goddess Isis, Austrian Gothic/Industrial Metal act Sunterra are celebrating their reunion after a 10-year hiatus from the music scene with their brand new EP titled Reborn, which as you can imagine by its name marks the resurrection of the band, presenting a musical progression without forgetting their own roots. Combining Industrial and Gothic Metal with hints of Electro and Dubstep, Sunterra aim at creating their own, distinctive sound, oferring the listener fresh and thrilling music that will put you on a trance and certainly sharpen your senses while listening to it.

Formed in 1998 in the charming city of Vienna, Austria after the split of a band named Virgin Seed, and having chosen their new name Sunterra as a game of words standing for the gathering of fire and earth, the band led by bassist and lyricist Chris enjoyed almost a decade of considerable success in the independent Austrian scene, releasing the demo In Diebus Illis in 1999 and the full-length albums Lost Time, in 2002, and Graceful Tunes, in 2005, before calling it a day in 2006. In 2015, with a brand new lineup and a reinvigorated attitude, Sunterra were reborn from the ashes like a phoenix and are more than ready to rock again, with their brand new EP being the first and exciting installment in this second incarnation of the band.

Electronic and futuristic elements set the tone in the solid Industrial Metal composition Reign Supreme, with the harsh growls by Carlos and the clean, gentle voice of Slovakian singer Lilly reaching a great balance, complementing each other’s lines effectively. In addition, the song’s chorus is quite catchy and should work really well live. In Shadow in the Dark, the band “abandons” their heavy industrialized musicality a bit, focusing on their Gothic Metal vein, with gentle piano notes and the delicate vocals by Lilly guiding the listener in this eccentric voyage. This is a melancholic, alternative ballad that ends with Carlos and Ivan delivering some heavy gnarls and riffs respectively, generating an interesting contrast with the song’s initial smoothness. Then in Lord of Lies we face some obscure guitar and bass lines by Ivan and Chris, which together with the potent programmed beats will break your neck while Lilly keeps delivering her angelical vocals. Put differently, this is a high-end professional fusion of Industrial and Gothic Metal, with its background effects helping make the overall sonority truly menacing.

sunterra-1This is W.A.R. brings forward an eerie futuristic ambience with elements from electronic music, feeling like a dance hit from the 80’s or 90’s with a metallic approach and gentle breaks being thoroughly inserted amidst the fury emanating from Carlos’ guttural growls; whereas Ministry of Thoughts presents a strong Marilyn Manson-inspired atmosphere, sounding extremely alternative and mechanized. In this song highly recommended for lovers of the darkest side of Industrial Metal, Ivan showcases an excellent performance on both guitar and all programmed elements, turning it into one of the best tracks of the album. And concluding the EP, Shut Up!!! begins in an ominous way with a whimsical dialogue between Carlos and Lilly before becoming a feast of electronic Industrial Metal perfect for hitting the dance floor, a creepy track by Sunterra to end Reborn on a high note.

As one of the most important Industrial Metal bands from the underground Austrian scene is finally back in action, why not feed their newly reborn fire  with your passion for heavy music? You can watch a preview of the entire EP on YouTube to get a better sense of what the music by Sunterra is all about, or stream it in its entirety to be enchanted by their modern metal music, as well as follow them on Facebook to know more about the band and their future projects and live concerts. And if you want to show your true support for these Austrian industrialists of darkness, you can get your copy of Reborn at their BandCamp page, on iTunes, on Amazon, at Discogs and several other online retailers.

Best moments of the album: Lord of Lies and Ministry of Thoughts.

Worst moments of the album: None.

Released in 2017 NRT-Records

Track listing
1. Reign Supreme 4:28
2. Shadow in the Dark 5:15
3. Lord of Lies 5:05
4. This is W.A.R. 4:49
5. Ministry of Thoughts 4:47
6. Shut Up!!! 3:51

Band members
Carlos – male lead vocals
Lilly – female lead vocals
Ivan – lead guitars, programming
Chris – bass

Album Review – Sepultura / Machine Messiah (2017)

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“Sepultura do Brasil” are back with an exciting, multilayered journey through countless music genres and styles, proving there’s still room for innovation in heavy music.

Rating4

sepultura_machine_messiahIf you’re one of those diehard fans of Brazilian Thrash/Groove Metal icons Sepultura that doesn’t accept anything the band has done after the departure of Max Cavalera, you can stop reading this review right now as that version of Sepultura is long gone. Machine Messiah, the fourteenth studio album by the most important band in the history of Brazilian Metal, is not only their best release since their 1998 album Against, but also (and more important than that) their most experimental album since their 1996 classic Roots, completely different from that basic Thrash Metal formula from their early days, therefore offering admirers of innovative music an exciting, multilayered journey through countless music genres and styles.

Machine Messiah, which features a stylish artwork designed by visual artist Camille Della Rosa that feels like a play with the cover art from their 1991 cult album Arise, is also the band’s first studio album in over three years since The Mediator Between Head and Hands Must Be the Heart, from 2013, marking the longest gap between two studio albums in their career. In addition, this is the second album with Eloy Casagrande on drums, who’s definitely a lot more comfortable now with the band and, consequently, he ends up adding a lot more intricacy, electricity and groove to the music by Sepultura. And regarding Mr. Andreas Kisser, well, nothing I write in this review will be enough to describe what he did in Machine Messiah with his superb technique.

Venturing on new lands never before explored by Sepultura, the title-track Machine Messiah is a dark, slow and atmospheric tune where we have Derrick’s clean and somber vocals complemented by Andreas’ unique riffs and soulful solos, showcasing elements from Doom and Stoner Metal that increase the song’s obscurity; whereas I Am the Enemy, with its rebellious lyrics (“Powered by thoughts of revolution / Building all bridges of error / Search and destroy my sick innerself / To realize I’m not a fraud”), gets closer to the brutal Hardcore found in albums like Against, with Eloy smashing his drums while Andreas and Derrick emanate sheer violence in this excellent high-octane hymn. And in Phantom Self, an experimental Groove Metal composition with hints of Alternative Metal, regional elements from the Brazilian and Middle-Eastern cultures are nicely added to the musicality, enhanced by the song’s thoughtful lyrics (“The crash. Flash backs. Carnage the blood keeps on flowing / Killing me. Trapped inside this tragedy / Can’t see the road in front of me / Replay this nightmare over and over”).

Alethea is another distinct composition in such diverse album, albeit not as crisp and exciting as the previous songs despite its progressiveness and experimentations. Once again, it’s Andreas who delivers the best pieces of the song with his flammable guitar, which also happens in Iceberg Dances, a kick-ass instrumental extravaganza where Andreas, Paulo and Eloy are in perfect sync, firing powerful riffs, thunderous bass lines and groovy beats. It reminds me a lot of the music by Mastodon, which means it’s at the same time insane and harmonious, with its Deep Purple-inspired keyboards and Flamenco acoustic guitar lines bringing even more awesomeness to the overall result. The symphonic and sometimes epic Sworn Oath, the longest of all songs, is not just another good surprise in Machine Messiah, but also in my humble opinion the best sonority for Derrick’s voice when he’s not singing fast-paced Hardcore. Moreover, if played live with a proper orchestra, it should sound simply astounding.

sepultura_2017In the dark Resistant Parasites, Paulo delivers sheer heaviness with his bass lines, taking the song’s modern Groove Metal to the extreme, exhibiting a powerful and innovative vibe without losing the band’s characteristic aggressiveness, followed by Silent Violence, another track that reminds me of the craziness blasted by Mastodon. It’s fuckin’ heavy and complex at the same time, a tune to break your neck where Derrick fires madness and anger with his growls while Andreas continues to deliver pure creativity and feeling through his riffs and solos. Eloy and Andreas speed things up in the thrilling mosh pit-generator hymn Vandals Nest, bringing forward tons of creativity, complexity and groove (needless to say, I can’t wait to feel this song played live), before Cyber God gets back to the doomed sonority found in many parts of the album. This is a beautiful, somber ending to the regular version of the album, displaying low-tuned bass punches and piercing guitars, and blending elements from several styles such as Industrial, Groove, Gothic and Doom Metal, among many others, being extremely hard to define its style. And of course, if you go for the special edition of Machine Messiah, you’ll be treated to two top-notch bonus tracks, in special their cover version for Ultraseven no Uta from the cult tokusatsu science fiction TV series Ultra Seven, originally recorded by The Echoes & Misuzu Children’s Choral Group, not to mention the version that comes with a DVD with the making of Machine Messiah available at the Nuclear Blast webstore.

After Machine Messiah, I wonder where Andreas, Paulo, Derrick and Eloy will go next with their music. It’s such an experimental, intense and elaborate album it’s hard to imagine those four guys will be able to top it in terms of complexity with their future releases. But who am I to doubt what the iconic Sepultura will offer the world in the future? Andreas keeps getting better and better in what he does, putting his heart and soul into his music and uniting with his guitar in the most perfect way imaginable, with the other band members supporting him with precision and stamina. Sepultura are and will always be Brazil’s most prominent metal band no matter what, and with Machine Messiah they’re sending a solid message to the world there’s still room for innovation in heavy music, always keeping their core essence heavy and electrifying.

Best moments of the album: I Am the Enemy, Iceberg Dances and Vandals Nest.

Worst moments of the album: Alethea.

Released in 2017 Nuclear Blast

Track listing
1. Machine Messiah 5:54
2. I Am the Enemy 2:27
3. Phantom Self 5:30
4. Alethea 4:31
5. Iceberg Dances 4:41
6. Sworn Oath 6:09
7. Resistant Parasites 4:58
8. Silent Violence 3:46
9. Vandals Nest 2:47
10. Cyber God 5:22

Special Edition bonus tracks
11. Chosen Skin 3:17
12. Ultraseven no Uta (The Echoes & Misuzu Children’s Choral Group cover) 1:18

Band members
Derrick Green – lead vocals
Andreas Kisser – guitars
Paulo Jr. – bass
Eloy Casagrande – drums, percussion

Album Review – Dead Witches / Ouija (2017)

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Beware as the witches are coming to take your soul with their occult, stoned-out Doom Metal.

Rating4

hps048_deadwitches_300dpi_cmykBritish drummer Mark Greening (Electric Wizard, Ramesses, With The Dead) and Italian singer Virginia Monti (Psychedelic Witchcraft) have joined forces to establish the heaviest occult, psych superbeast to see the light in 2017, taking the shape of Occult Stoner/Doom Metal act Dead Witches and unleashing upon us mere mortals their debut album obscurely entitled Ouija, a must-have for followers of bands like Electric Wizard, Sleep and Pentagram, among others, who love the combination of dark and strong melodies, heavy guitar riffs and a truly supernatural vibe.

Ouija is comprised of six distinct songs that will mesmerize you during the album’s 33 minutes of somber passages, classic Doom Metal beats and a stunning performance by Virginia on vocals, all perfectly depicted by the bewitching artwork designed by Goatess Doomwych. In addition, Ouija also ended up being the last release in the career of guitarist Greg Elk, who sadly passed away late 2016, giving the album an extra mystical touch. In other words, while listening to Ouija, let the awesome sound of Greg’s guitar penetrate your mind and soul, taking you to the other side for a quick visit where he’s definitely having a good time with his deceased guitar heroes right now. I’m pretty sure that’s what Greg and the rest of the band want you to feel with their music.

The album’s two-and-a-half-minute long Intro informs a dark, misty storm is upon us, with the menacing bass by Carl Geary sending a clear message that there will be no sign of happiness from now on, beginning with the excellent Dead, where Greg and Mark generate the most damned atmosphere you can think of with their fetching guitar riffs and Doom Metal beats, respectively, before the classy Virginia begins firing her sexy devilish vocals, leading us all to burn into the fire as the music progresses. And as the icing on the cake, Greg delivers an outstanding solo to make the whole song even more captivating.

deadwitches_02Then it’s Greg and Carl who build the wicked atmosphere in the sensational Drawing Down The Moon, my favorite song of the album where Virginia sounds even more rapturous on vocals. Moreover, when Mark speeds his beats up we’re treated to a potent sonority full of electricity, passion and the delicious obscurity of Doom Metal. The title-track Ouija is a lot more melancholic, highly recommended for savoring a full bottle of a high-quality, traditional red wine. Greg keeps blasting pure awesomeness through his riffs and solos, while at the same time we get hypnotized by the song’s vocal lines and beats inspired by ritualistic Doom Metal.

In Mind Funeral, get ready to play with the words “self”, “mind”, “control” and “funeral” together with Virginia throughout the whole song in a gripping way, while the rest of the band delivers their low-tuned, obscure lines flawlessly. Although this amazing chant might darken your heart a bit, I’m pretty sure you won’t regret feeling that darkness growing inside you thanks to the electrifying sonority brought forth by this England-based group. And A World Of Darkness, the last tune of this darkly alluring album, showcases powerful performances by Mark and Carl in over seven minutes of raw, straightforward old school Doom Metal that smoothly flow into a Stygian ending. Needless to say, the guitar sounds by Greg feel really touching the whole song, an amazing job done by a talented guitarist that will surely be missed by his family, friends and fans.

You can join the entrancing coven by this excellent UK band through their Facebook page or YouTube channel, and you’ll soon be able to buy your copy of Ouija at the Heavy Psych Sounds Records website, at the All That Is Heavy webstore, on Amazon and other locations. So beware, my dear headbanging friend, as the witches are coming to take your soul with the occult, stoned-out music found in Ouija, an album that has all it takes to become a fan-favorite among admirers of underground Doom Metal without a shadow of a doubt.

Best moments of the album: Drawing Down The Moon and Mind Funeral.

Worst moments of the album: None.

Released in 2017 Heavy Psych Sounds Records

Track listing
1. Intro 2:27
2. Dead 6:05
3. Drawing Down The Moon 5:54
4. Ouija 5:04
5. Mind Funeral 5:00
6. A World Of Darkness 7:35

Band members
Virginia Monti – vocals
Greg Elk (R.I.P.) – guitar
Carl Geary – bass
Mark Greening – drums