"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..."
This uncanny Greek Black Metal duo is ready to unleash their sophomore opus, assaulting the listener by raging riffs and eerie screams while at times engrossed in seductive vocals travelling with dreamy melodies.
“A new dimension… Great new meaning.”
Consisting of eight songs that create a unique atmosphere, assaulting the listener by raging riffs and eerie screams while at times engrossed in seductive vocals travelling with dreamy melodies, Zephyrean Hymns is the sophomore opus by Trikala, Greece-based Black Metal duo Melan Selas, the follow-up to their 2019 debut effort Φάος. Formed in 2015 by D.K. (Riffobia, Katavasia), who handles all instruments, and Astraea (Oletir), responsible for all vocals and lyrics, the duo aims at breathing new life into the Black Metal scene with their new album, all embraced by the first-class recording and mixing by D.K. and Astraea themselves, the crisp mastering by Achilleas Kalantzis at Suncord Audiolab, and the stylish logo and layout by Nikos Tsiolis.
D.K. generates a dense and grim atmosphere from the very first second in Mountain Tops while Astraea showcases all her versality going from Stygian clean vocals to demonic gnarls, resulting in an excellent display of modern-day Melodic Black Metal, followed by Frozen Lake, more imposing and detailed than the opening tune where D.K. does a great job with his classic Black Metal riffs and beats, providing Astraea with all she needs to darkly shine on vocals. Let’s keep banging our heads and raising our horns to the visceral Black Metal by Melan Selas in Humble Soil, where the piercing riffs by D.K. and the obscure growling by Astraea will darken your soul for all eternity, whereas a lot more vicious and infernal, the duo will hammer our heads with all of their strength in Trumpets of War, offering our ears a perfect hybrid of classic Black Metal with modern-day Atmospheric Black Metal and nuances of other styles such as Death and Thrash Metal.
In Dreadful Dome, D.K. builds a stunning background with his rumbling bass, pounding drums and hellish riffs while Astraea continues to vociferate like a true she-demon. Put differently, there’s not a single second of peace, it’s total fuckin’ darkness for our absolute delight; and get ready for almost seven minutes of darkness, melancholy and insanity in Darkened Cliff, starting with the Stygian clean vocals by Astraea and getting more and more anguished as the music progresses, while the sound crafted by D.K. lives up to the legacy of old school Black Metal. In the shortest of all tracks, titled Wanderer, Astraea will hypnotize you and drag you to her sinister lair forever, an obscure tune that will set the stage for the duo to kill one last time in Ancient Scrolls, bringing to our avid ears the slashing riffage by D.K. and the beautiful, evil gnarls by Astraea, closing the album on a high and devilish note.
“A quest through space and time, an ascension to something greater… Zephyrean Hymns lead our cause.” This is what the duo had to say about their new album, and if you want to show them your utmost support you can start following them on Facebook for all things Melan Selas, and purchase a copy of the awesome Zephyrean Hymns from The Circle Music’s webstore as a luxurious box embossed in silver (limited to 100 copies), a beautiful LP (limited to 500 copies), or an A5 digipak CD (also limited to 500 copies), or you can also click HERE to grab your favorite version of the album, plus several other retailers including Fantotal.de and Juno. A gentle breeze is flowing from the stunning Athens; however, you better be prepared because it’s not just any breeze, but a Black Metal one, courtesy of the multi-talented D.K. and Astraea, who together are proudly carrying the torch of Greek extreme music anywhere they go armed with their stylish and captivating new album and ,consequently, embracing our damned souls without a single drop of mercy.
Best moments of the album:Frozen Lake, Trumpets of War and Darkened Cliff.
Worst moments of the album: None.
Released in 2023 The Circle Music
Track listing 1. Mountain Tops 5:31
2. Frozen Lake 5:42
3. Humble Soil 5:45
4. Trumpets of War 5:04
5. Dreadful Dome 5:02
6. Darkened Cliff 6:46
7. Wanderer 2:44
8. Ancient Scrolls 6:50
Band members
Astraea – vocals
D.K. – all instruments
Zimbabwe-based Gary Stautmeister and his outer-ego Nuclear Winter attack again with their fourth full-length effort, dripping in symphonic atmospheres, powerful distorted guitar riffage and deep melancholic undertones.
Fusing thundering heavy rhythms with haunting choirs and dynamic electronic textures, the breathtaking Seagrave, the fourth full-length offering by Harare, Zimbabwe-based Melodic/Industrial Death Metal one-man army Nuclear Winter, unleashes a powerful wall of sound highly recommended for fans of Fleshgod Apocalypse, Wintersun, Rammstein and Lorna Shore, to name a few. Dripping in symphonic atmospheres, powerful distorted guitar riffage and deep melancholic undertones, while still maintaining the signature Progressive Metal elements by the project’s mastermind, vocalist and multi-instrumentalist Gary Stautmeister, Seagrave is the perfect follow-up to Nuclear Winter’s 2020 EP Stormscapes and the 2021 full-length opus Greystone, taking the listener on a voyage through darkening and cinematic realms.
Gary wastes no time and distills his fusion of the music by Fear Factory, Soilwork and Rammstein in the opening tune The Glimmering Landscape, where his harsh roars walk hand in hand with all background epic elements and his infernal riffs. Then we have Starward Longing, heavy but at the same time very melodic and orchestral, with Gary once again doing a great job with his galloping bass and drums, therefore generating a grandiose atmosphere for admirers of the genre; and there’s no time to breathe as Gary’s hybrid of Industrial, Symphonic and Death Metal comes crushing our souls once again in Fates Mysteries, showcasing his trademark roars and clean vocals, followed by Thy Shadows Fall, even more phantasmagorical, groovy and sinister than its predecessors with Gary adding nuances of Black Metal to the music through his devilish gnarls, sounding solid and electrifying from start to finish. After that we face The Grave is Wide, a lot more industrial and mechanized than its predecessors, feeling like some of the latest creations by Fear Factory but with more demonic vocals.
The Dusk and the Song is perfect for banging your head nonstop while enjoying the sinister ambience crafted by Gary through his whimsical vocals, classic riffs and pounding, industrialized beats, spiced up by all background elements; whereas blending the most electrifying elements of Industrial, Groove and Death Metal, Gary once again barks and roars in great fashion until the very last second in Pale Memories, a great song to be added to your workout playlist. Gary’s second to last breath of industrial and orchestral sounds is offered to us all in Black Waters, with his hammering drums and low-tuned bass bringing tons of groove to the overall result, before such electrifying metal party reaches its epic finale with his cover version for German pop group Bad Boys Blue’s hit House of Silence, from their 1991 album House of Silence (check the original version HERE), the perfect depiction of “Pop Metal” by Gary and his Nuclear Winter, adding his own metallic twist to the original song.
“Get ready for my latest Nuclear Winter album – Seagrave. With a deliberate focus on heavier sounds and a simpler approach to songwriting, Seagrave isn’t just about pure aggression. This album also showcases a bigger incorporation of choir elements that help add an epic dimension to the sound. The result I feel is a step forward from my previous work,” commented Gary about his newborn spawn, and you can show him your support and admiration by following Nuclear Winter on Facebook, by subscribing to the project’s YouTube channel, by streaming his multi-layered creations on Spotify, and of course by purchasing a copy of Seagrave from the MDD Records’ BandCamp page. The music by Nuclear Winter is always in constant evolution thanks to the creative mind of Gary, with Seagrave representing another step forward in his career and, therefore, fueling our multi-talented Zimbabwean musician for a lot more of Nuclear Winter in the coming years.
Best moments of the album:The Glimmering, Thy Shadows Fall and Pale Memories.
Worst moments of the album:The Grave is Wide.
Released in 2023 MDD Records
Track listing 1. The Glimmering Landscape 4:26
2. Starward Longing 4:23
3. Fates Mysteries 4:00
4. Thy Shadows Fall 4:11
5. The Grave is Wide 4:19
6. The Dusk and the Song 4:25
7. Pale Memories 4:29
8. Black Waters 4:10
9. House of Silence (Bad Boys Blue cover) 4:19
Band members Gary Stautmeister – vocals, all instruments
All hell is breaking loose to the sound of the fifteenth studio album by one of the most iconic bands from the UK scene, offering ten crisp, visceral metal classics fused with riffs, twists, turns and chaos.
Prepare yourself for a metal rampage the likes of which you haven’t enjoyed in many a year, as New Wave of British Heavy Metal stalwarts Raven have just delivered the electric mayhem of All Hell’s Breaking Loose, their fifteenth studio album offering ten crisp, visceral metal classics, each fused with riffs, twists, turns, chaos and more hooks than all the Hellraiser movies combined. Formed of the Newscatle, England iconic brothers John Gallagher on lead vocals and bass and Mark Gallagher on the guitars, alongside American drummer extraordinaire Mike Heller, Raven are giving permission for everyone to remember exactly what it’s like to lose yourself in the healing aural waters of supreme metal music in their new album, resplendent in sweat-soaked denim and leather.
Medieval is an uncompromised, in-your-face metal attack by the trio where Mike proves why he’s been the perfect drummer for Raven since joining the band in 2018, resulting in a classic and ass-kicking fusion of Heavy and Speed Metal to properly kick things off, whereas Mike dictates the pace in Surf the Tsunami, with Mark delivering sheer electricity through his riffs and, therefore, providing John with everything he needs to distill his trademark vocals. Turn of the Screw is a lot groovier than its predecessors thanks to the great job done by John on bass, while Mark keeps blasting his fiery riffs nonstop, and it’s old school Raven for the masses in the title-track All Hell’s Breaking Loose, with John and Mark being in total sync armed with their stringed weapons, resulting in a fantastic option for igniting some fun mosh pits during their live performances. And those veterans show no sign of slowing down in The Far Side, another fast and thrilling creation with Mike stealing the spotlight with his intricate drumming.
They keep pressing the gas pedal hard in Desperate Measures, another one that should sound amazing if played live, showcasing their signature riffs and raspy vocals, whereas one more round of their frantic Speed Metal comes in the form of Victory’s Call, with the trio blasting first-class heavy music spearheaded by the razor-edged riffs by Mark while also showcasing spot-on beats and backing vocals. Edge of a Nightmare is a fun and vibrant Rock N’ Roll party by those veterans where we’re all invited to simply enjoy the wicked vocals by John and slam into the circle pit like true metalheads, followed by Invasion, the second to last song of the album, offering more of their solid Heavy Metal albeit not as electrifying as the rest of the album. Finally, one final explosion of Heavy and Speed Metal will hit you hard in the head in Go for the Gold, where Mike takes the lead with his furious drums accompanied by the rumbling bass by John.
“You got three guys with very strong, passionate, opinions, and when those are brought together, it’s a case of ‘iron sharpens iron’,” commented Mark about the energy around the band and how that impacts their creative process, with John adding “we’re very hard on ourselves, it had to be ‘all killer, no filler’. Absolutely every single part of every song had to make sense, had to mean something, and had to be there for a purpose.” Hence, if you want to experience the undisputed energy and heaviness blasted by Raven in All Hell’s Breaking Loose, you can stream the album in full on YouTube and on Spotify, and of course purchase a copy of the album by clicking HERE or HERE, and don’t forget to also follow the band on Facebook, Instagram and YouTube, for news, tour dates, and more of their breathtaking Heavy Metal. Having said all that, what are you waiting for to hit play and let all hell break loose together with one of the most iconic metal bands from the UK scene?
Best moments of the album:Medieval, All Hell’s Breaking Loose and Victory’s Call.
Worst moments of the album:Invasion.
Released in 2023 Silver Lining Music
Track listing 1. Medieval 4:24
2. Surf the Tsunami 3:27
3. Turn of the Screw 3:21
4. All Hell’s Breaking Loose 3:48
5. The Far Side 4:13
6. Desperate Measures 3:13
7. Victory’s Call 3:15
8. Edge of a Nightmare 3:16
9. Invasion 4:52
10. Go for the Gold 3:32
Japanese Edition bonus tracks 11. Gimme A Lie 3:00
12. Rotten 3:03
Band members
John Gallagher – lead vocals, bass, 12-string bass
Mark Gallagher – guitars, backing vocals
Mike Heller – drums
A perfect summer night in Toronto always demands a good dosage of first-class Rock N’ Roll, and Volbeat provided their fans in the city with exactly what they needed to enjoy it to the fullest.
I’ll start this review by saying that the city of Toronto definitely needs more open air concerts and festivals during the summer. It’s such a great vibe and feeling, and everyone always has an amazing time. It’s hard to understand why there are very few rock and metal concerts like that in the city. Well, last night at the RBC Echo Beach that great atmosphere happened once again when HALESTORM and VOLBEAT kicked some serious ass with the first concert of their brand new Servant of the Road World Tour 2023, and all the action going on and off stage turned it into a memorable night for everyone who were desperate for some good old Rock N’ Roll and Heavy Metal (as most bands seem to be playing at the famous European festivals at the moment, completely ignoring Toronto and the rest of Canada right now).
The weather was beyond perfect, we all had a nice view of the CN Tower in the background, and shortly after 7pm Lzzy Hale and her henchmen, collectively known as Red Lion, Pennsylvania, United States-based Hard Rock/Rock N’ Roll outfit HALESTORM, hit the stage for a very energetic and fun performance, beautifully warming up the crowd for the main attraction of the night, Volbeat. Currently promoting their 2022 album Back from the Dead, the quartet put on a flawless show playing songs from their entire career, with songs like I Miss the Misery and the closing one The Steeple inspiring everyone at the RBC Echo Beach to raise their horns together with the band. Lzzy has some respectful pipes, we all must admit that, as the girl can powerfully sing and scream without any effort, but let’s say it was her brother Arejay who stole the show with a spot-on drum solo, even using some giant drumsticks that looked like baseball bats. In other words, when Halestorm take your city by storm, you better be there to witness one of the best bands of the current Rock N’ Roll scene.
Setlist I Miss the Misery
Love Bites (So Do I)
I Get Off
Wicked Ways
Freak Like Me
Familiar Taste of Poison
Takes My Life
Drum Solo
Back From the Dead
Mayhem
The Steeple
Band members Lzzy Hale – lead vocals, rhythm guitar, acoustic guitar, keyboards, piano
Joe Hottinger – lead guitar, acoustic guitar, backing vocals
Josh Smith – bass, keyboards, piano, backing vocals
Arejay Hale – drums, backing vocals
It was around 9pm when Copenhagen, Denmark’s own Heavy Metal/Rock N’ Roll institution VOLBEAT kicked off their Servant of the Road World Tour 2023 in North America with a beyond fun and thrilling performance. By the way, it was their first performance in the city since 2019 when they played alongside Behemoth, Gojira and Slipknot, and it was more than clear how eagerly all fans had been waiting to see Volbeat live again. In addition, if you follow the band you probably know that with the departure of longtime guitarist Rob Caggiano in the beginning of June the whole tour almost had to be cancelled, but thanks to the talented Danish guitarist Flemming C. Lund (of bands like Temple of Scorn and The Arcane Order), who stepped in and learned all songs in just a few weeks, the band will be able to follow their schedule without any issues. Kudos to Flemming for being so professional, skillful, charismatic, and also for sporting a nice The Number of the Beast shirt on his first-ever concert with Volbeat! UP THE IRONS, FLEMMING!
Back to the concert itself, Volbeat ignited their breathtaking performance with the classic The Devil’s Bleeding Crown, winning the hearts of the fans right away and making it extremely easy for them to keep the energy level truly high until the very end, blending classics the likes of Seal the Deal and Lola Montez with the new songs from their 2021 album Servant of the Mind, those being Temple of Ekur, Shotgun Blues, The Devil Rages On, Becoming and Wait a Minute My Girl, and by the way all sounded amazing live and inspired the crowd to start some sick and frantic circle pits. As I always say, all metalheads in Toronto love circle pits, period. The song Black Rose, featuring the one and only Danko Jones as a guest vocalist, and Hallelujah Goat, one of my favorite Volbeat songs of all time, also helped to elevate the level of adrenaline on and off stage, proving Volbeat are a band who was born to play live.
I must admit the circle pit action was a little scary due to the type of floor at the RBC Echo Beach, which is not sand in case you’re curious to know, but pure, hard and rough cement, and every single time someone fell to the floor the word “merthiolate” would come to my mind. Fortunately, nothing truly serious happened, and all the kids and veterans who bravely entered the pit had some memorable moments inside of it. Well, not everyone, as Kevin, brother of my buddy Keith Ibbitson of Lower Eastside Photography, was hit by surprise and had his nose broken and swollen, requiring first-aid attention from the Live Nation medical staff. We can’t say it wasn’t a memorable moment for him, right? Jokes aside, I’m sure he’ll recover quickly and get back in action inside the pit at any future concert in the city.
The encore by Michael Poulsen and his henchmen was awesome as expected, starting with the classic Fallen, which he always dedicates to his deceased father Jørn Poulsen, followed by the aforementioned Wait a Minute My Girl, For Evigt (which Michael mentioned is about enjoying our lives), and of course ending with Still Counting, where Michael asked everyone at the RBC Echo Beach to sing its lyrics along with him. After all was said and done, everyone had a big smile on their faces due to the stunning performance by Volbeat, but due to the preparations for the Honda Indy in Toronto this weekend most fans had to find some extra inner fuel for a very long walk to the parking lots as we couldn’t simply cross through the BMO Field like countless times before. That wasn’t entirely bad or boring because the view of the city and the lake were fantastic, and of course I guess everyone was still singing one of the songs from Volbeat inside their heads to conclude another excellent Wednesday of summer in Toronto.
Setlist The Devil’s Bleeding Crown
Temple of Ekur
Seal the Deal
Lola Montez
Die to Live
Ring of Fire
Sad Man’s Tongue
Shotgun Blues
Mary Ann’s Place
Black Rose
Hallelujah Goat
The Devil Rages On
Becoming
Encore: Fallen
Wait a Minute My Girl
For Evigt
Still Counting
Band members Michael Poulsen – lead vocals, rhythm guitar
Flemming C. Lund – lead guitar, backing vocals
Kaspar Boye Larsen – bass, backing vocals
Jon Larsen – drums
An introspective journey into the deepest fears and disbelief that keeps humanity on the religious and irreligious leash of doubt, brought into being by an unrelenting Italian Death and Thrash Metal squad.
Having their name inspired by the 1987 thriller/horror movie Deliria, by Michele Soavi, Grosseto, Italy-based Death/Thrash Metal squad Delyria was founded back in 2005 and coils in the Lovecraftian concept of some kind of unnamable horrors from beyond the known boundaries of the universe. Now in 2023 the band formed of Synder (Eyeconoclast, Promaetheus Unbound, Hideous Divinity) on vocals, Fabio Barbetti and Franco Piras on the guitars, Dario Capitani on bass and Kyle Mencucci on drums returns in full force with III; Oracles And Tentacles, the third full-length album in their career. Recorded at Fugu Studios, mixed and mastered at Tide Studios, and with the participation of Giuseppe “Tat0” Tatangelo (Zora, Defechate, Glacial Fear, Spiral Wounds, Throne Of Flesh, Unscriptural) and artwork by Francesco “Basthard” Moretti (Southern Drinkstruction, Corpsefucking Art), the album is an introspective journey into the deepest fears and disbelief that keeps humanity on the religious and irreligious leash of doubt, blindly reading an hypothetical anti-book of Doom – The Book Of Nihil.
A humongous amount of heaviness will smash your cranial skull in the opening tune The Glyph, with Kyle dictating the song’s demented pace and, therefore, offering Synder all he needs to roar manically; and their Thrash Metal vein arises stronger than ever in Irreligious Fallout, while also presenting their more violent Death Metal side and an amazing guitar job done by Fabio and Franco with their guitars, exhaling pure electricity. The band keeps the momentum going with another circle pit feast titled Serpents In Your Churches, again showcasing the heavy and groovy kitchen by Dario and Kyle, and the always demonic roars by Synder; followed by From Outer Spheres, another solid and aggressive creation by the quintet bringing to our ears a well-balanced fusion of modern-day Thrash and Death Metal. After such vibrant tune we have Book Of Nihil, one of the most exciting and caustic of all songs, where Synder sounds infernal on vocals while Fabio and Franco add their share of intricacy and darkness to the music with their classy riffage.
Then investing in a more detailed sound by bringing elements from Progressive Death Metal to their music the band offers us all Republic Of The Obscene, which is not a bad song but it sounds confusing at times as it doesn’t decide if it’s a straightforward heavy tune or a more progressive one. Putrid Monarch Crowned is utterly sinister and evil thanks to the deep growls by Synder, while Dario makes the earth tremble with his bass, again blending the most visceral elements from Thrash and Death Metal, and it’s pedal to the metal as those Italian metallers are on absolute fire in Scourges Of The Sybilline, with Fabio and Franco distilling their metallic venom through their stringed axes supported by the massive beats by Kyle in a great display of contemporary extreme music. Last but not least, the band will hammer our heads one final time with the pulverizing Gazmasked Reaper, ending the album on a high and venomous note with Synder once again stealing the spotlight with his sick roars.
The dark and furious III; Oracles And Tentacles is available in full on YouTube and on Spotify, but of course in order to show those Italian metallers your utmost support you should purchase a copy of the album from the Great Dane Records’ BandCamp page or webstore, as well as from Season of Mist or from Apple Music. Don’t forget to also start following the band on Facebook to stay updated with all things Delyria, letting your inner demons and deepest fears arise to the sound of the band’s devilish new album of contemporary Death and Thrash Metal.
Best moments of the album:Irreligious Fallout, Book Of Nihil and Scourges Of The Sybilline.
Worst moments of the album:Republic Of The Obscene.
Released in 2023 Great Dane Records
Track listing 1. The Glyph 4:01
2. Irreligious Fallout 3:18
3. Serpents In Your Churches 3:00
4. From Outer Spheres 4:23
5. Book Of Nihil 3:06
6. Republic Of The Obscene 3:46
7. Putrid Monarch Crowned 4:50
8. Scourges Of The Sybilline 2:45
9. Gazmasked Reaper 3:39
Fear the devourer of earth in the form of the brand new and absolutely majestic album by California’s own Progressive Death Metal and Grindcore masters.
Dedicated to the memory of Gabe Serbian (RIP), former guitarist and drummer of the band from 1996 until 2000 and also known for his work with The Locust, Holy Molar and Zu, the acid and infernal Terrasite, the brand new album by San Diego, California’s own Progressive Death Metal/Grindcore masters Cattle Decapitation, is a work-of-art by one of the most important extreme music bands of all time. Produced, mixed and mastered by Dave Otero at Flatline Audio, and displaying a phenomenal artwork by American illustrator Wes Benscoter, who has been working with the band since their 2002 album To Serve Man and with countless other metal giants the likes of Bloodbath, Slayer and Hipocrisy, Terrasite (which is the portmanteau of the words “terra”, or “earth” in Latin, and “sitos”, or “food” in Greek, and a paronomasia with the word “parasite”, meaning a devourer or destroyer of land or earth or a post-Anthropocene “humanity”) offers our avid ears everything we love and more in the music by frontman Travis Ryan, guitarists Josh Elmore and Belisario Dimuzio, bassist Olivier Pinard and drummer David McGraw, positioning it as one of the beast albums in their career and, consequently, as one of the top metal releases of 2023.
Featuring keys and drums by Dis Pater (of Midnight Odyssey), Terrasitic Adaptation is a sinister opener that already blasts our minds with their caustic lyrics (“Life finds a way / The fauna from the trauma / Culled from the pages of this human drama / Our petrified tombs / Now crumbling oothecas / From which a new species of human arises”) and an infernal but extremely technical sound; followed by We Eat Our Young, a bestial creation by Cattle Decapitation with Travis sounding inhumane on vocals accompanied by the demented drums by David and the always scorching riffs by Josh and Belisario, or in other words, it’s a newborn classic by those unrelenting metallers. Dis Pater returns in the ruthless Scourge of the Offspring, a song that keeps the album at an insane level of aggressiveness with Travis once again barking and roaring nonstop amidst a stunning Progressive Death Metal hurricane. There’s no sign of slowing down as The Insignificants is another breathtaking aria by the quintet where the drums by David and the rumbling bass by Olivier generate a massive sonic earthquake, whereas The Storm Upstairs sounds chaotic, grim and austere from the very first second, with the razor-edged riffage by Josh and Belisario piercing our minds mercilessly.
Get ready to be smashed like a putrid corpse in …And the World Will Go on Without You, spearheaded by the infernal blast beats by David and the inhumane growls by Travis, resulting in one of the heaviest moments of the album hands down. There’s no hope for mankind and Cattle Decapitation make sure we understand that in A Photic Doom, with the band’s stringed trio bringing endless heaviness and electricity to their music; followed by Dead End Residents, a headbanging composition by the band showcasing their trademark violence and dexterity, also presenting somber background elements which enhance Travis’ vocal performance considerably. Solastalgia is ruthless and extremely intricate from start to finish, with the entire band being on fire delivering first-class Progressive Death Metal with Grindcore nuances for our vulgar delectation; and lastly we have the grim aria Just Another Body, again featuring keys and drums by Dis Pater and more of their darkly poetic words (“Existence… the poetry of the flesh which we will trust from conception to dust / Just another body – a temple of shit / Filled with the trash that we dump in it”), offering us all over ten minutes of sonic perfection, with the combination of phantasmagorical keys with sheer Death Metal devastation turning the song into a must-listen for any fan of heavy music.
“We are one of the few bands that have never rested on our laurels and keep pushing ourselves to improve. At this stage of our careers we could easily be trying to rewrite Monolith Of Inhumanity (2012) over and over, but since we did not and have never settled that way, the end results were The Anthropocene Extinction (2015), Death Atlas (2019) and now Terrasite, which have pushed us further into more mature and experimental territory,” commented Josh about their new album, while Travis said that “I just feel with the way things change so drastically nowadays, especially the last three or four years, that it’s surprising an extreme metal band can not only be around for so damn long but still stay anchored in this constantly changing scene that’s dictated where it’s going to go by younger generations – and still maintain relevance. Our band truly is an anomaly. I’d prefer to keep it that way.” If they’re an anomaly, they’re an ass-kicking one, and Terrasite, which is available for a full listen on YouTube and on Spotify, will always feature among their best albums due to its heaviness, intricacy and impact. Hence, don’t forget to follow Cattle Decapitation on Facebook and on Instagram, to subscribe to their YouTube channel, and to purchase a copy of the stunning Terrasite by clicking HERE, adding such hymns to the downfall of mankind to your bestial collection and, therefore, having the perfect soundtrack to our extinction on your dirty hands.
Best moments of the album:We Eat Our Young, Scourge of the Offspring, …And the World Will Go on Without You, Solastalgia and Just Another Body.
Worst moments of the album: None.
Released in 2023 Metal Blade Records
Track listing 1. Terrasitic Adaptation 5:01
2. We Eat Our Young 3:55
3. Scourge of the Offspring 4:28
4. The Insignificants 4:43
5. The Storm Upstairs 5:27
6. …And the World Will Go on Without You 4:14
7. A Photic Doom 4:26
8. Dead End Residents 5:09
9. Solastalgia 4:56
10. Just Another Body 10:15
Band members Travis Ryan – vocals
Josh Elmore – lead guitars
Belisario Dimuzio – rhythm guitars
Olivier Pinard – bass
David McGraw – drums
Guest musicians
Dis Pater – keyboards and drums on “Terrasitic Adaptation”, “Scourge of the Offspring” and “Just Another Body”
Dave Otero – additional keyboards on “Just Another Body”
This legendary horde is finally back with a new opus, a must-listen for admirers of old school Norwegian extreme music and a serious contender for Black Metal album of the year.
The path to the underworld is open once again as Oslo, Norway’s own Black Metal legends Tsjuder are back in action with a sulfurous new opus, titled Helvegr, which by the way means “Path to the Underworld” or “Road To Hel”, their sixth studio album and the perfect follow-up to their 2015 effort Antiliv. Known best for their relentless, aggressive approach to Black Metal, Tsjuder have been responsible for some of the most hate-filled ferocity perpetrated under the banner of True Norwegian Black Metal since their inception in 1993, with the iconic Nag on vocals and bass, and Draugluin on the guitars, supported by drummer Jon “The Charn” Rice, taking their darkness to a whole new level in Helvegr. Not only that, the mixing and mastering by Pål Emanuelsen at North Waves Studios, plus the wicked artwork by Jonas Svensson and Laura Nardelli, turn it into a must-listen for admirers of old school Norwegian extreme music, and into a serious contender for Black Metal album of the year.
The opener Iron Beast brings forward absolute madness and hatred from the very first second, while Nag screams the song’s infernal lyrics manically (“Black metal razor blades / Fifty cal hellraiser / Barbed wire wrapped / Diesel monster unleashed / Aw, come on! Raise Hell!”) in a lecture in Norwegian Black Metal; whereas the caustic riffage by Draugluin and the brutal drums by Jon will crush your damned body to pieces in Prestehammeren (or “the priest’s hammer” from Norwegian), a fast and demented display of Black Metal by Tsjuder that will please all fans of the genre. Then a melodic, sinister start evolves into another sonic beast entitled Surtr, with the blast beats by Jon bringing sheer aggressiveness to their sound while Nag continues to vociferate like a demonic entity. There isn’t a single second of peace in Gamle-Erik (or “Old Erik”), featuring a guest guitar solo by Pål Emanuelsen, with Nag once again sounding inhumane on vocals as well as armed with his thunderous bass lines while Draugluin slashes his guitar in the name of Black Metal; and Chaos Fiend is as chaotic as its name states, with Jon hammering your skull with his vile drumming, offering Nag everything he needs to darkly growl and snarl in another fantastic depiction of first-class Norwegian Black Metal.
Tsjuder Tribute to Bathory Scandinavian Black Metal Attack
Featuring guest vocals by Seidemann (of 1349 and Mortem), Gods of Black Blood offers another round of Tsjuder’s hellish words (“We stride triumphant, Hellspawned Demon Lords / Trampling the fallen, Violated agonized wailing / Worldgrinders, necrotic sovereigns”) while the music once again exhales Black Metal; and after such intense, darkened feast, it’s time for the grim and phantasmagorical title-track Helvegr, leaning towards Doom Metal and even Blackened Doom, sounding, sluggish, evil and melodic from start to finish. Then back to their more ferocious and satanic mode we have Faenskap og Død (“hell and death”), a hurricane of Black Metal masterfully crafted by Tsjuder where the razor-edged riffs by Draugluin will pierce your mind and soul mercilessly. Lastly, the doomed Hvit Død (“white death”) is not a bad outro, but it takes away some of the fire and electricity from the album. In other words, it could have been placed before the previous song as an intro to give it a stronger meaning. Furthermore, if you go for one of the special or deluxe editions of the album you’ll be treated to the bonus disc Tsjuder Tribute to Bathory Scandinavian Black Metal Attack, a killer EP that is definitely worth the extra money, beautifully representing Tsjuder’s respect and admiration for one of the pillars of Norwegian Black Metal, with their cover version for Satan my Master being absurdly awesome.
In case you want to give Helvegr a try before purchasing it, you can stream the album in full on YouTube and on Spotify, but I bet you’ll get addicted to their music and grab your favorite version of the album from the band’s own BandCamp page, from Season of Mist in Europe or in the US (and if I were you I would go for the LP box + digital or for the digibox + digital as both come with some fantastic items including the aforementioned EP), or by clicking HERE or HERE. Don’t forget to also follow such imposing Norwegian horde on Facebook and on Instagram for news, tour dates and so on, and to stream their entire catalogue on Spotify. We’ll undoubtedly see Helvegr as part of most “top metal albums of the year” lists this year, and of course in almost all “top Black Metal albums of the year” lists, reinforcing the power, impact and importance of Tsjuder to the entire metal scene, and leaving us all eager for their next blast of Black Metal magic in a not-so-distant future.
Best moments of the album:Iron Beast, Prestehammeren, Chaos Fiend and Gods of Black Blood.
Worst moments of the album:Hvit Død.
Released in 2023 Season of Mist
Track listing 1. Iron Beast 3:37
2. Prestehammeren 4:01
3. Surtr 6:59
4. Gamle-Erik 3:46
5. Chaos Fiend 4:02
6. Gods of Black Blood 5:19
7. Helvegr 7:36
8. Faenskap og Død 3:08
9. Hvit Død 2:52
Tsjuder Tribute to Bathory Scandinavian Black Metal Attack bonus disc 1. The Return of Darkness and Evil 4:53
2. Satan my Master 2:02
3. Born for Burning 5:11
4. Reaper 2:33
5. Raise the Dead 3:53
Band members Nag – vocals, bass
Draugluin – guitars, backing vocals
Jon “The Charn” Rice – drums
Guest musicians Pål Emanuelsen – guitars solo on “Gamle-Erik”
Seidemann – additional vocals on “Gods of Black Blood”
This amazing Orchestral Death Metal act from Quebec will crush your senses with their new concept album, overflowing aggressiveness, intensity and emotion.
A recent finalist at the Wacken Metal Battle Canada 2023 Eastern Final, Rimouski, Quebec-based Melodic/Symphonic Death Metal/Metalcore act Vortex is back with their third full-length opus, a concept album titled The Future Remains In Oblivion, the follow-up to their 2016 debut album The Asylum and their 2018 sophomore effort Lighthouse, both also concept albums, building on their sound with added Black Metal influence, a heavy dose of aggressiveness and a buildup of intensity and emotion as the storyline progresses. Produced by Pierre Luc Demers and Dany Lévesque, engineered, mixed and mastered by Pierre Luc Demers at Studio Ondechoc, and displaying a futuristic artwork by Rudi Gorging Suicide, The Future Remains In Oblivion is an Orchestral Death Metal album with plenty of heavy riffing and melodies, technical vocals, and epic soloing, all masterfully brought into being by vocalist Alexandre Labrie, guitarists Dany Levesque and Mathieu Duguay, bassist Simon Desjardins, and drummer and pianist Justin L’Italien Dubé.
A cinematic and ethereal intro gradually evolves into the Melodic and Symphonic Death Metal feast From The Sun, with the piano by Justin bringing a touch of delicacy to the music in paradox to the deep guttural by Alexandre, whereas the piercing riffs by Dany and Mathieu together with the pounding drums by Justin will hit you hard in Downfall, offering more of their Death Metal sonority infused with Metalcore elements. Moreover, it will surely inspire you to bang your head nonstop while also presenting a grandiose, epic background, followed by The Fool, even more symphonic and imposing than its predecessors, where Simon’s metallic bass and Justin’s crushing beats will shake the foundations of the earth, not to mention how evil the roars by Alexandre sound and feel. Then the orchestrations by Mathieu will transport you to a whimsical world of Symphonic Death Metal in The Walls, before Alexandre comes ripping with his harsh screams accompanied by the always venomous drums by Justin.
Our Possible End is the perfect depiction of how they’re capable of uniting sheer violence with classy orchestrations in great fashion, with the guitars by Dany and Mathieu enhancing the song’s punch considerably; and their epic and somber journey goes on in First Blood, another massive creation by the band where all background elements make the song absurdly heavy and impactful, once again spearheaded by the enraged roars and gnarls by Alexandre. After that we have the title-track The Future Remains In Oblivion, a song that will blow your mind with its insane wall of sounds, background orchestrations, epic passages, striking riffs and solos, and visceral yet intricate drums, resulting in one of the most breathtaking moments of the entire album. And lastly, When No More Words Will Be Heard represents a melancholic, grim finale to the album, and you can sense the journey is coming to its inevitable and dark end thanks to the energy flowing form Alexandre’s vocals and all climatic orchestrations.
The talented and relentless guys from Vortex are waiting for you on Facebook and on Instagram with news, tour dates and more of their music, and don’t forget to also subscribe to their YouTube channel for more of their top-notch Orchestral Death Metal. In a nutshell, if you love extreme music with orchestral elements and a captivating storyline, then the incendiary The Future Remains In Oblivion, which is available for a full listen on YouTube and on Spotify, and on sale from the band’s own BandCamp page (or by clicking HERE), has everything you need to satisfy your craving and more, proving why they made it to the Wacken Metal Battle Canada 2023 Eastern Final, and why they’re becoming one of the most respected bands of the Quebec metal scene.
Best moments of the album:Downfall, The Walls and The Future Remains In Oblivion.
Worst moments of the album: None.
Released in 2023 Independent
Track listing 1. From The Sun 5:24
2. Downfall 4:11
3. The Fool 3:13
4. The Walls 4:32
5. Our Possible End 4:23
6. First Blood 4:29
7. The Future Remains In Oblivion 4:50
8. When No More Words Will Be Heard 5:22
Band members
Alexandre Labrie – vocals Dany Levesque – guitars Mathieu Duguay – guitars, orchestrations
Simon Desjardins – bass
Justin L’Italien Dubé – drums, piano
A ruthless UK Death and Thrash Metal squad attacks with their third full-length album, a blitzkrieg-like listening experience with a full frontal assault that pulls no punches and will leave your head spinning in delight.
After forming in the city of London, England in 2010, the infernal Death/Thrash Metal squad The Bleeding has been on a demolishing roll with the release of an array of EP’s and albums offering their fans top-of-the-line extreme music made in the UK. Now in 2023 the band formed of Jamie Stungo on vocals, Tasos Tzimorotas on the guitars, Jordan Muscatello on bass, and James Loh on drums attacks again with the pulverizing Monokrator, the third full-length opus in their career. Produced by Ronnie Björnström and Tasos Tzimorotas, mixed and mastered by Ronnie Björnström at Björnström Sound & Production, and displaying an old school artwork by Juanjo Castellano, Monokrator combines thrash elements comparable to latter day Exodus, Kreator and Destruction with the ferocity of Demolition Hammer, and a vocal attack akin to Jeff Walker and Chuck Schuldiner, to create a blitzkrieg-like listening experience with a full frontal assault that pulls no punches and will leave your head spinning in delight.
Pedal to the metal as it’s time to slam your dammed body into the pit to the sound of Chemical Lobotomy, a fantastic display of Death Metal spearheaded by the venomous blast beats by James while Jamie vociferates rabidly nonstop, followed by Chainsaw Deathcult, absolutely incendiary from the very first second, where the riffs by Tasos will penetrate deep inside your skin while Jordan makes the earth tremble with his sick bass lines. Put differently, if the album had ended here it would have already been a phenomenal release by The Bleeding. After such demented display of extreme music we have Mutation Chamber, slightly slower but still brutal and vile, showcasing another superb job done by Tasos with his demonic riffage, whereas Union of Horror is just as bestial as its predecessors, a beyond electrifying Death Metal onrush once again presenting an insane James on drums supported by the metallic bass punches by Jordan.
Get ready to be smashed like an insect by The Bleeding in Screams of Torment, bringing forward all their dexterity and fury, being therefore tailored for lovers of classic Death Metal; and Tasos will cut your ears with his strident axe in On Wings of Tribulation, another bestial display of Death Metal sounding very technical while Jamie screams mercilessly. The title-track Monokrator is a lecture in Death and Thrash Metal, with Jamie’s devilish roars walking hand in hand with the thunderous instrumental parts crafted by his bandmates, resulting in the perfect soundtrack for some frantic action inside the circle pit. And lastly, the band invites us all to kill inside the pit in Throes of Repulsion, sounding and feeling absolutely fast, furious and insane from start to finish, with the caustic riffs by Tasos and the unstoppable beats by James leaving you totally disoriented after all is said and done.
This beast of an album can be appreciated in full on YouTube and on Spotify, but of course if you think you have what it takes to get into the pit together with The Bleeding, you should purchase a copy of the album from their own BandCamp page, as well as from the Redefining Darkness Records’ webstore in the United States (CD or LP) or in Europe (CD or LP), from Apple Music or from Amazon, and don’t forget to also follow the band on Facebook and on Instagram. The Bleeding are not just aiming at putting the UK back on the Thrash and Death Metal map with Monokrator, but they also want to put a huge smile on your face while you listen to the album, keeping their evil motor running for many years to come in the name of good extreme music.
Best moments of the album:Chemical Lobotomy, Chainsaw Deathcult and Monokrator.
Worst moments of the album: None.
Released in 2023 Redefining Darkness Records
Track listing 1. Chemical Lobotomy 3:16
2. Chainsaw Deathcult 3:50
3. Mutation Chamber 4:22
4. Union of Horror 3:50
5. Screams of Torment 4:09
6. On Wings of Tribulation 3:47
7. Monokrator 3:59
8. Throes of Repulsion 3:07
Band members
Jamie Stungo – vocals
Tasos Tzimorotas – guitars
Jordan Muscatello – bass
James Loh – drums
Get ready for double the awesomeness here at The Headbanging Moose with our talented, charismatic and stunning rock and metal ladies of the month of July, turning up the heat even more this summer. Hailing from London, England, this amazing UK duo will rock your world with their fusion of Rock N’ Roll, Punk Rock and Heavy Metal with several other styles, always sounding vibrant, fresh and dynamic and, consequently, getting a bigger and bigger fanbase with each one of their releases. I’m talking about the electrifying English Hard Rock duo Nova Twins, formed of vocalist and guitarist Amy Love, and bassist, keyboardist and backing vocalist Georgia South, two unrelenting women who will kick your ass with their first-class music, wicked videos and incendiary live performances, and I’m sure you’ll become addicted to them after knowing more about their career.
Formed in 2014 in “The Big Smoke” (under the name BRAATS, when they released a song named Bad Bitches that can be seen being performed live HERE), Nova Twins are chaotic and hyperactive, charming and insane, describing their music as “Urban Punk”, and their perfect sync comes from years and years of friendship. Having been close friends since childhood, and having played in bands that were often booked on the same bill, the duo is the perfect example of how a DIY attitude can be extremely beneficial if you love what you do and if you keep working hard to achieve your goals. Sewing their stage outfits from scratch, and filming their music videos using smartphones with the help of Georgia South’s mother, the then teenagers Amy and Georgia quickly gained considerable recognition in the local Southeast London open-mic scene, playing at renowned venues including The Fox & Firkin and Ravensbourne Arms, and releasing their debut single titled Bassline Bitch online back in 2015, leading to the release of their self-titled debut EP in 2016.
Of Iranian and Nigerian descent, vocalist and guitarist Amy Love has always had a love for the electric guitar despite not being able to play it when she first started to make music, always finding guitarists to accompany her on songs, considering very frustrating the fact she couldn’t play the guitar herself, which could cause some hurdles in her creative process; whereas Georgia South, who’s of Jamaican and Australian descent, and whose father is also a musician named William South, first started learning the bass guitar when she went to band school over a summer holiday at 13 years old. They met as teenagers through Georgia’s brother and felt a connection right away “I was introduced to Georgia’s family and we just got on like a house on fire,” said Amy in one of her interviews. “I went to her house one day and we clicked immediately.” They didn’t think about forming a band right away, though, due to Amy’s solo project and Georgia being involved in a local band, but of course, as you already know, it didn’t take long for the duo to get united in the name of Rock N’ Roll.
The duo has already released two full-length albums, those being Who Are the Girls? in 2020 and Supernova in 2022, plus their aforementioned self-titled EP in 2016, the EP Thelma and Louise in 2017, and another EP in 2017 titled Mood Swings, as well as several singles. All their wicked creations can be found on YouTube and on Spotify, including the official videos for Cleopatra, Taxi, Play Fair, K.M.B., and Wave, among others, not to mention all official and unofficial live footage such as Cleopatra live at Rock im Park in 2023, and Bassline Bitch live at Hellfest in 2019, and you can also click HERE for all things Nova Twins.
Having already toured with several amazing bands the likes of Prophets of Rage, Wolf Alice, Skunk Anansie, Bring Me The Horizon and Enter Shikari, Amy and Georgia have also collaborated with Bring Me The Horizon on the song 1×1, from their 2020 album Post Human: Survival Horror, with Koder on the song Vibrations – Remix, from the 2017 EP Vibrations, and with Tsar B on the song Flitch, found in the 2020 EP’s Unpaintable and Flitch. They’ve also performed with Fever 333 during their BBC Radio 1 Maida Vale session, won Best UK Breakthrough Band at the Heavy Music Awards, ranked in NME’s 20 best debut albums of 2020, became the face of Dr. Martens Alternative A/W campaign, and started their own custom clothing line called Bad Stitches.
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Highly vocal about the rock and metal scene, and about the musical roots that helped them craft their path to stardom, the duo is influenced by an array of artists and musicians it’s actually hard to list all or even to label them, showing how diverse their taste can be. “We’re influenced by so many different things that I don’t think we’d feel comfortable being stuck to one thing. We enjoy experiencing and being inspired by different genres, whether it’s hip-hop or jazz. Music’s music and it comes in different forms, but makes you feel different things at the right time,” commented the duo. Having Skin (of Skunk Anansie) and Tom Morello (of Rage Against The Machine) as their friends and mentors, Nova Twins strongly believe that having those mentors has been crucial for their growth as musicians, always receiving constructive feedback and technical advice from those seasoned musicians. In addition, the duo also loves to support new bands, mentioning Gully Boys, Pinkshift, Zaria, The OBGMs and HO99O9 as some of the artists they enjoy listening to and seeing live.
Regarding their live performances, Georgia mentioned in one of their interviews that she wants fans to leave their shows feeling “like they’ve released everything, and like they feel seen in the room.” They’ve been touring everywhere, taking their electrifying music to the stages in the UK, Europe and the United States, being the headliners in cities like Toronto, New York and Los Angeles, and even playing at famous European summer festivals the likes of Hellfest and Rock im Park, always taking good care of themselves to be able to perform in full force. “We’re quite disciplined. Drink fucks my vocals and if Georgia was drunk on stage there’s no way she’d be able to tap dance on her pedalboard. You have to go that step further to make sure you’re keeping alright. When we were first on tour we’d have sweets and crisps and shit on our rider, and always be hungry but forever eating and sitting in a van for eight hours all day. Now we’ve taken all the crap off, and on our day off our tour manager will try and find a cool, scenic place or a hot tub where you get a discount cos it’s winter.”
Always serious about representing their communities in the rock and punk scene, the duo believes visibility is a key part of opening the door for other black punk acts. However, in the beginning they felt alienated form the scene due to the fact that punk aesthetics are at the same time innovative but extremely strict, and despite the fact the movement is linked to anti-racism and leftist political ideologies, it’s still a white male-dominated scene. “People didn’t know where to put you on the playlist, or people wouldn’t have you play here because you didn’t ‘look rock’.” That’s one of the main reasons that led Amy and Georgia to start the Voices for the Unheard Instagram series in June 2020, as part of their efforts to further conversations around the Black Lives Matter movement, interviewing renowned artists including Big Joanie, Connie Constance and Oxymorrons, among others, about liberation, anti-racism, personal style and more, plus an exclusive Spotify playlist. Furthermore, the project culminated in a vinyl compilation and a live show on Dr. Martens’ Instagram. “We thought we were in a band just like any other band, but, as we went along, we slowly realized that when we were playing these festivals, we were looking at people that didn’t look like us backstage, and the people playing on stage didn’t look like us either. We would see people in the audience that looked like how we felt growing up, coming to shows like this. So then we were like, ‘We have to do it for them’. We are representing so much more that isn’t supported in the industry, in the mainstream, or anywhere at this point,” commented the duo.
They’ve also started seeing a lot more inclusivity in the alternative music scene, with lots of women, non-binary people and people of color being part of a new wave of rising talent, and having faced several hurdles as black women in rock music they’re more than fine as being role models to those up-and-coming artists. “We don’t shy away from being role models because, whether you like it or not, you are a role model if you have lots of people going to your Instagram every day and checking what you’re saying. We had so much difficulty at the beginning, and we don’t want that to be the case for new bands starting out now so we just like to boost people and make them feel confident and that they can strive to do anything.” And that’s why Amy and Georgia are so awesome, using their music not only to entertain us all, but also to make the whole world a more inclusive and, therefore, much better place to live.
“Own your power. Whether it’s owning who you are, where you’re from. Your power could be your culture, where you’ve come from, what you’ve been through. Own it.” – Amy Love
“The world is limitless to you. There are no limits or ceilings to what you can do. The world is Supernova – you can break through.” – Georgia South
“A new dimension… Great new meaning.”
“A quest through space and time, an ascension to something greater… Zephyrean Hymns lead our cause.” This is what the duo had to say about their new album, and if you want to show them your utmost support you can start following them on Facebook for all things Melan Selas, and purchase a copy of the awesome Zephyrean Hymns from The Circle Music’s webstore as a luxurious box embossed in silver (limited to 100 copies), a beautiful LP (limited to 500 copies), or an A5 digipak CD (also limited to 500 copies), or you can also click HERE to grab your favorite version of the album, plus several other retailers including Fantotal.de and Juno. A gentle breeze is flowing from the stunning Athens; however, you better be prepared because it’s not just any breeze, but a Black Metal one, courtesy of the multi-talented D.K. and Astraea, who together are proudly carrying the torch of Greek extreme music anywhere they go armed with their stylish and captivating new album and ,consequently, embracing our damned souls without a single drop of mercy.
THE HEADBANGING MOOSE 