Category Archives: 2016 New Releases

Album Review – Lordi / Monstereophonic (Theaterror vs. Demonarchy) (2016)

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This Halloween let’s all eat, drink, be scary and listen to another kick-ass Rock N’ Roll party brought forth by the most awesome horde of hair-raising monsters in the universe.

Rating4

lordi-monstereophonicOnce again it’s Halloween, or All Hallows’ Evening as many people prefer, a day dedicated to remembering the dead and to many distinct activities such as trick-or-treating, attending costume parties and carving pumpkins into jack-o’-lanterns, and there’s nothing better to set fire to that amazing celebration than the top-notch Hard Rock and Heavy Metal played by the most awesome horde of scary monsters in the universe, Finnish icons Lordi. With that said, put on your most spine-chilling costume, grab some chocolate (or beer) and head to the nearest Halloween party blowing your speakers to the music by Mr. Lordi and his (were)wolfpack, who are back with another excellent release entitled Monstereophonic (Theaterror vs. Demonarchy), the eighth studio album in their solid career.

And let me tell you that Monstereophonic (Theaterror vs. Demonarchy) is different from everything these guys have done since their inception back in 1992, with the album being divided in two distinct parts. While the first half of the album (Theaterror) showcases their classic Hard Rock and Heavy Metal, the second half of the album (Demonarchy) is conceptual and includes 6 or more minute songs that sound a lot heavier than what we’re used to, talking about the unholy gathering of The Undead Son, The Bloodsucking Count, The She-Wolf and The Witch, and their story with a little girl named Lizzy. The band also announced that their new costumes would be split in half, representing the two sides of the album. The overall production of the album is outstanding as usual, enhancing the experience of listening to our beloved monstrosities transforming the fusion of fear, love and electricity into old school heavy music.

In THEATERROR, we’re treated to one of those wicked intros by Lordi, entitled SCG8: One Message Waiting, this time with a freak named Ruiz threatening a woman from right outside her house, before the band kicks off Let’s Go Slaughter He-Man (I Wanna Be the Beast-Man in the Masters of the Universe), showcasing that great Hard Rock from the 80’s with the crisp keyboards by Hella adding an extra touch of nostalgia to the song. Moreover, as cheesy as the song and its lyrics might sound, it ends up working extremely well, being fun and energetic in its entirety. Besides, who doesn’t want to see He-Man dead, right? Anyway, Hug You Hardcore is another mid-tempo classic composition displaying a fantastic main riff by Mr. Lordi’s right-hand man Amen (just don’t ask me to talk about the lyrics), whereas Down with the Devil can be considered a newborn Hard Rock hymn, from its hellish riffs and keyboards to its spooky lyrics (“They say the devil dressed me / They hear him speak when I speak / They say I’m lost and damned / But I know damn well just where I am”). It’s a mandatory choice for the soundtrack to the most awesome Halloween party you can think of (and the best song of the album in my opinion), with its catchier-than-hell chorus getting even more awesome due to the song’s classy backing vocals.

Slowing down and getting more obscure, Mary Is Dead tells the sad story of how the death of a woman was kept a secret by her lover (who was also her killer, by the way), with Hella kicking ass with her melancholic notes while Mana delivers his precise doomed beats; followed by Sick Flick, another old school Lordi chant offered to the listener.  The band makes a statement that the Rock N’ Roll party is just starting through the song’s upbeat rhythm and the excellent riffs and solos blasted by Amen. Once again we face cheesy lyrics inspired by classic Hard Rock from the 80’s with a horror movie twist, and once again that works perfectly. And the end of Theaterror couldn’t sound more Lordi than None for One, bringing forward all the elements we expect in their music. Furthermore, Lordi’s kitchen architects Ox, Mana and Hella craft such an inspiring ambience with their instruments it’s impossible to stand still to the beat of the song.

lordi-2016An eerie intro named SCG VIII: Opening Scene informs the listener the second part of the album, the conceptual DEMONARCHY, is about to begin, and it’s time for some brutal Heavy Metal with Demonarchy, with Mana pounding his drums while Amen is on fire with his riffs. This is by far the most aggressive composition of the whole album, a sensational display of what Mr. Lordi and his crew can do when they get truly heavy with the creepy keyboards by the sexy doll Hella embellishing the overall result even more. A lot more melodious, the slow-paced The Unholy Gathering continues from where the previous song stopped in the storyline, and when they speed up the musicality it becomes a heavy music extravaganza with highlights to the potent vocals by Mr. Lordi and the spooky notes by Hella. And it looks like the second half of the album is indeed dedicated to much heavier and darker material based on what the band delivers in Heaven Sent Hell on Earth, one of those headbanging badass compositions with a gripping story in the background and a chorus that is yet again a beautiful option to sing along with the band.

The final triumvirate of Hard Rock blasted by Lordi is pure awesomeness, starting with And the Zombie Says, a first-class Heavy Metal tune with brilliant guitar lines and keyboards, not to mention the thunderous drums by Mana and the song’s beautiful chorus. It’s a nonstop action-packed song that transpires adrenaline until its very last second, with Mr. Lordi providing an amazing performance on vocals as usual.  In the neck-breaking chant Break of Dawn, another song to scream the chorus together with Mr. Lordi and a song also played to perfection by all band members, Amen kicks some serious ass with his sharp riffs. And last but not least, The Night the Monsters Died is the perfect climatic ending to the story being told and to the whole album, full of breaks and soulful passages and solos, and having as its main element a more-than-addictive chorus (“It’s the morning after the night / The night the monsters died / Don’t have to be afraid / Cause we’re already dead / It’s the morning after the night / The night the monsters died / We’ll never say goodbye / For the final time”). Put differently, this is a full-bodied composition that will put a smile on the face of everyone that listens to it, no matter how angry or sad that person might be.

There’s that Halloween quote by an unknown author that says we should all “eat, drink and be scary”, but after listening to such an entertaining album of kick-ass melodic old school Hard Rock and Heavy Metal I guess we need to change the saying to something like “eat, drink, be scary and listen to Lordi”. It’s insanely hard for a band to top a once-in-a-lifetime masterpiece like The Arockalypse, but Mr. Lordi and his living-dead crew have been on a roll since their 2013 release To Beast or Not to Beast, constantly producing high-end material for the undead masses. Could it be the charming spell Hella put on Lordi when she joined the band back in 2012? Or has Mr. Lordi found a special full moon that fully recharges his monster power endlessly? Either way, it looks like it will need a lot more than just garlic, silver bullets, sunlight and any other known weapon to kill the music by this iconic herd of rockin’ monsters from Finland.

Best moments of the album: Down with the Devil, Demonarchy, And the Zombie Says and The Night the Monsters Died.

Worst moments of the album: The Unholy Gathering.

Released in 2016 AFM Records

Track listing
1. SCG8: One Message Waiting 1:10
2. Let’s Go Slaughter He-Man (I Wanna Be the Beast-Man in the Masters of the Universe) 4:30
3. Hug You Hardcore 3:40
4. Down with the Devil 4:29
5. Mary Is Dead 4:37
6. Sick Flick 4:00
7. None for One 4:15
8. SCG VIII: Opening Scene 1:22
9. Demonarchy 6:01
10. The Unholy Gathering 5:09
11. Heaven Sent Hell on Earth 5:43
12. And the Zombie Says 6:23
13. Break of Dawn 5:47
14. The Night the Monsters Died 7:13

Band members
Mr. Lordi – vocals
Amen – guitars
OX – bass
Hella – keyboards
Mana – drums

Album Review – Testament / Brotherhood Of The Snake (2016)

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Join the Brotherhood of Thrash Metal spearheaded by one of the heaviest, most technical and most electrifying bands on the entire planet or die.

Rating1

testament_brotherhood-of-the-snakeRight after taking your first listen at Brotherhood Of The Snake, the eleventh studio album by American Thrash Metal servicemen Testament, you’ll realize what you have in your hands is a newborn metal classic. From start to finish, Brotherhood Of The Snake offers fans of both old school and modern Thrash Metal everything we love and crave in this type of music, from deep guttural vocals and supersonic blast beats to intricate and hellish guitar riffs and solos. And after Brotherhood Of The Snake, we can also say Testament brought into being a new first-class trilogy in heavy music, as all albums released after the band’s huge time off from studio in the early 2000’s, those being The Formation Of Damnation (2008), Dark Roots Of Earth (2012) and now Brotherhood Of The Snake, are beyond magnificent.

Featuring a menacing and classy artwork by Israeli artist Eliran Kantor, who has been working with Testament in all their releases since 2008, Brotherhood Of The Snake transpires pure Thrash Metal in all its 45 minutes of duration. Of course there are also their classic mid-tempo and slow, heavy tunes, but more than half of the album is comprised of high-speed thrashy material that will certainly ignite some demented mosh pits during their live concerts. Regarding the main concept of the album, Chuck has stated in one of his interviews that the album draws lyrical inspiration from the ancient astronaut hypothesis, namely through the Ancient Aliens television program. Furthermore, he said the title comes from the name of an ancient secret society (set up thousands of years ago by an alien named Ea or Enki, by the way).

The initial cavernous roar by Chuck in the title-track Brotherhood of the Snake is the epitome of the whole album, being barbaric, intimidating and thrilling at the same time. Moreover, the perfect riffs by both Eric Peterson and Alex Skolnick are mightily enhanced by the thunderous beats blasted by the juggernaut Gene Hoglan, making the lyrics sound even more meaningful in the end (“They’ve taken the tablets and hidden the scrolls / To deceive the ones they protect / The truth of creation, mutation of man / Entombed in the vatican walls”), with the song’s heavier-than-hell ending being just the icing on the cake. And it looks like their Thrash Metal onslaught has no time to end based on the amazing The Pale King, where it’s possible to savor the potent sound emanating from each instrument due to the crystal clear production of the album, in special the rumbling weapon carried by Steve Di Giorgio. In addition, Chuck treats us all with another of his flawless performances on vocals in this rhythmic and raw composition, something only a band like Testament can provide.

testament-2016Stronghold feels like a tribute to themselves and to the golden years of Bay Area Thrash, a fuckin’ kick-ass mosh pit-generator with bestial vocals and even more bestial backing vocals with the guitars by Eric and Alex penetrating our bones and lacerating our spinal cords mercilessly. In other words, this is a sonic orgasm for fans of fast and furious Thrash Metal from the 80’s, and I guess I don’t need to repeat myself and say it will sound absolutely perfect when played live. Following that thrashy storm, we have Seven Seals, showcasing beautiful guitar solos by Eric and Alex as well as intelligent and meaningful lyrics powerfully declaimed by Chuck, all embraced by heaviness to the second power, and it doesn’t matter if Gene is playing at full speed or if the song demands groovier and more rhythmic beats, he always delivers. And Born in a Rut, another groovy composition with fierce drums and a more serene (but also obscure) aura, concludes the first half of the album on a high note, perfect for enjoying a cold a beer while banging your head to another lesson in heavy music by Testament.

Another sensational hymn by Chuck and his unstoppable horde in undoubtedly Centuries of Suffering, where the dynamic duo Eric and Alex are once again on fire with their boisterous guitars, delivering riffs and solos that sound like if they were forged in the fires of the underworld. Not only that, what Gene does with his drum kit at around two minutes is truly impressive, increasing the song’s quality and ferocity to a whole new level. That guy is indeed a human wrecking machine. In Neptune’s Spear (a beautiful name for a first-class song), I can’t decide if the pounding drums by Gene or the blazing guitar riffs and solos by both Eric and Alex are the best elements of it, not to mention the aggressiveness brought forth by Steve and his unique bass sounds; whereas Black Jack is the ultimate soundtrack for an insane cards game “in the city of sin”, with its straightforward lyrics being boosted by its demolishing instrumental.

brotherhood-of-the-snake-boxset

Brotherhood Of The Snake Limited Edition Book Boxset

I’m neither pro nor against the theme explored in Canna-Business as I believe each one of us has the freedom to do whatever we want with our lives, and that’s why I want to focus on the music itself rather than on the discussion if that’s right or wrong. The whole song is evidently overpowering and electrifying, as expected in any composition by Testament, a high-octane chant with Chuck barking like a beast as well as providing some really deep vocals and vociferations. And lastly, The Number Game keeps the fire of Thrash Metal burning high and bright, with the performances by Chuck and Gene trespassing the frontiers of aggressiveness. No words can describe their awesomeness, especially the crazy beats and fills by Gene, therefore I suggest you simply go listen to it nonstop and don’t forget to break your fuckin’ neck headbanging to its brilliant hellish riffs.

There’s a series of videos on Nuclear Blast’s YouTube channel where Testament discuss each song of the album, their inspiration to write Brotherhood Of The Snake and the ancient alien theme, among other topics, like you can see for example HERE. I personally recommend you go watch those videos to get more involved with such an epic album, and of course if you’re planning on buying this instant classic just go for the Limited Edition Book Boxset, which includes the CD, the complete album on five brown 7 inch EP’s, an oversized 7 inch booklet, a 40×60 inch poster flag and a metal pin. Join the Brotherhood of Thrash Metal spearheaded by Testament, one of the heaviest, most technical and most electrifying bands on the entire planet or die. As simple as that.

Best moments of the album: Brotherhood of the Snake, Stronghold, Centuries of Suffering and The Number Game.

Worst moments of the album: Obviously none.

Released in 2016 Nuclear Blast

Track listing
1. Brotherhood of the Snake 4:14
2. The Pale King 4:51
3. Stronghold 4:00
4. Seven Seals 5:38
5. Born in a Rut 4:57
6. Centuries of Suffering 3:34
7. Neptune’s Spear 5:27
8. Black Jack 4:21
9. Canna-Business 3:47
10. The Number Game 4:38

Band members
Chuck Billy – vocals
Eric Peterson – guitar
Alex Skolnick – guitar
Steve Di Giorgio – bass
Gene Hoglan – drums

Album Review – Hostis / Hostis (2016)

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Experience all the destruction caused by the first-class fusion of Death and Thrash Metal by this technical band from Montenegro, blasting their austere message against politics, religion and media manipulation.

Rating4

1-cover-artFans of the demolishing sound bred by extreme music giants such as Kreator, Sepultura, Exodus and Cannibal Corpse have a very good reason to turn their eyes to the cities of Budva, a Montenegrin town on the Adriatic Sea, and Tivat, a coastal town in southwest Montenegro located around 40 minutes from Budva. If you truly enjoy breaking your neck headbanging to traditional Death and Thrash Metal, I recommend you take a shot at the self-titled debut album by Montenegrin act Hostis, a 6-track album containing 6 crushing composition by a band whose name has 6 letters. Hence, the final number is 666, which means no further explanation is required regarding the core essence of Hostis and their purpose in our dying world.

Founded in 2010 by Srđan Mišović (vocals and programming), Miloš Klikovac (guitars) and Aleksandar Dragojević (bass guitar), all members of Montenegrin Atmospheric Death Metal band Abhoth, Hostis base their lyrics on social issues, mostly against political and religious dogma and indoctrination and media manipulation. Their debut album also features special guitar solos by Montenegrin musician Stefan Stanišić, as well as solos by Luka Milošević (Deadly Mosh, Istrulity) and Dušan Mlađenović (Alister), both hailing from Serbia. In addition, the stunning old school artwork drawn and initially coloured by Zvonimir Grabić, with the whole graphic design and editing done by Milena Nićić (Myllen), increases the darkness and impact of the music found in Hostis to a point the whole album feels like a classic Death Metal album from the 90’s and not like the debut release from a brand new band.

Tailored for admirers of the cutting and sharp sound of old school Thrash Metal riffs, the opening track Hostis is an instrumental extravaganza containing all elements we love in extreme music such as technical solos, nonstop drums and endless heaviness. In other words, a great display of modern Thrash and Death Metal flawlessly delivered by all band members, getting the listener more-than-ready for the havoc beautifully entitled Beneath The Machinery Of Demise. When Srđan starts growling the song’s lyrics like a demonic beast (“Throne of megalomania / Upon the ashes of scattered lives / Twisting the fragments of reality / Beneath the machinery of demise”), supported by the piercing guitar lines by Miloš, you’ll definitely feel tempted to bang your head like a maniac or slam into the pit to this brutal and dense Death Metal chant.

hostisThe sensational Mutilation Of Truth kicks off as pure Bay Area Thrash the likes of Exodus and Testament, with the vocals by Srđan leaning towards the deepest guttural found in Death Metal. Moreover, it’s amazing how Hostis sound so polished and crude at the same time, with the potent sounds of all instruments being enhanced by the album’s outstanding production, not to mention all the song’s tempo changes that end up increasing its overall quality and potency. Demigods is another bestial fusion of Death and Thrash Metal led by the scorching riffs by Miloš, with the bass guitar by Aleksandar truly adding the world “metal” to the musicality. It’s another song that sounds like two or three in one, showcasing the band’s versatility and dexterity to keep their music interesting all the time.

There isn’t a single song that doesn’t sound brutal and technical in Hostis, which is also the case in the seven minutes of low-tuned progressive and demonic sounds found in In Shadow Of The Crucified, a rhythmic aria of darkness exhibiting awesome guitar lines and solos and the always cavernous growls by Srđan. And how do you think the album ends? Well, obviously with more devastation brought forth by such talented band, this time named Gods Are Dead. We must admit it’s pretty hard for most human beings to reach such demented level of guttural growls, which makes the work done on vocals by Srđan even more impressive. And after a creepy break halfway through the song, Hostis return in full force and keep delivering first-class Extreme Metal until all is said and done.

Do you want to experience all the destruction caused by the infernal and intense music crafted by this high-skilled band from Montenegro? Simply go check their Facebook page for news, tour dates and future projects, and their YouTube channel to listen to their music at top volume just like any good Death and Thrash Metal band deserves. And if you want to buy this excellent album, you can find it on sale at Discogs by clicking HERE or HERE. The extreme aggression of Death and Thrash Metal, together with an acid message against politics and religion, always results in top-notch music, and with Hostis that magic formula will certainly continue to have an amazing impact on fans of extreme music for many years to come.

Best moments of the album: Mutilation Of Truth and Demigods.

Worst moments of the album: None.

Released in 2016 Miner Recordings

Track listing
1. Hostis 5:44
2. Beneath The Machinery Of Demise 6:35
3. Mutilation Of Truth 6:16
4. Demigods  6:25
5. In Shadow Of The Crucified 7:02
6. Gods Are Dead 7:28

Band members
Srđan Mišović – vocals, programming
Miloš Klikovac – guitars
Aleksandar Dragojević – bass

Guest musicians
Stefan Stanišić – lead guitar
Luka Milošević – lead guitar
Dušan Mlađenović – lead guitar

Album Review – Soulwound / No Peace (2016)

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This berserk quintet from Finland brings forward absolutely no peace with their high-end assault of visceral Death and Thrash Metal.

Rating4

soulwound-cover640Carrying a robust and ominous name taken from a Fear Factory bonus song from the limited edition of their 1998 classic album Obsolete, Finnish Death/Thrash Metal group Soulwound are releasing their second opus entitled No Peace, offering fast, brutal, heavy and aggressive metal music with both old school and more contemporary influences, picking up where their 2013 debut full-length album Seeing Red left off. While listening to No Peace, you’ll find hints of the unique sonority crafted by Sepultura, the sonic havoc brought forth by Testament, the intricate and thunderous beats by Slayer, among other elements from several Thrash Metal giants, all enhanced by the band’s own Death Metal touch. In other words, if you’re looking for soft and romantic music, forget about Soulwound, as they’re among us to crush and destroy.

Forged in the fires of the small village of Myllykoski in Kouvola, Finland (located around 130 kilometers northeast of the capital Helsinki) by brothers Niko (guitar) and Janne Huusari (drums) in 2005, and having released a few demos before Seeing Red became a reality in 2013 with Arto Jauho stepping in as the band’s vocalist, Soulwound’s current lineup took form in 2014 when Mikko, the youngest of the Huusari brothers, joined the band as their second guitarist, resulting in all three brothers playing in the same band. And it’s perhaps that family unity that helped Soulwound achieve such a high level of professionalism in a short span of time, sounding like long-serving defenders of extreme music.

An eerie female voice explaining what impulsive aggression is makes the Fear Factory-inspired metallic Intro: Impulsive Aggression one of those creepy album starts that enfolds the listener before the neck-breaking Hurt Me Plenty kicks off, which despite showcasing lots of modern elements added to its background, in essence it’s old school visceral Death Metal. Moreover, while Arto fires his potent harsh growls, Janne delivers an avalanche of groovy and fierce beats and fills for the delight of lovers of the genre. As violent as the opening track but slightly heavier due to the kick-ass riffs by the guitar brothers Niko and Mikko (as well as the low-tuned sounds by bassist Joni Järvenmäki), Altars of Skin feels like a hybrid of Cavalera Conpiracy and Fear Factory with a Scandinavian twist, translating into pure awesomeness, whereas Alone Against All brings forward high-octane Death Metal highly influenced by the rebellious sound of Bay Area Thrash. Its sick guitar solos and endless amount of electricity turn it into one of the best moments of the album, being strongly recommended as the soundtrack for some insane circle pits.

p7172350-02Wasteland is yet another flawless Thrash Metal tune with elements from Sepultura, Slayer and Testament, in special the boisterous drumming by Janne and the visceral growls by Arto, and if you love darkened music emanating pure hatred you’ll have a complete blast listening to this superb tune. Then it’s time for more of Soulwound’s headbanging music with some menacing voices in the background before Anto comes gnarling like a beast in Crime and Punishment, which albeit slower than the previous songs it showcases some great riffage by both Niko and Mikko; followed by Misery Index with its berserk rhythm powered by huge dosages of anger. This is one of those songs the band wrote with their minds on their live performances due to its “festival potential”, also exhibiting some excellent guitar solos and a demented ending.

Hate Speech sounds very similar to its predecessor, displaying almost the same heaviness, speed and ferocity, which means that if they play these two songs in a row during their concerts I’m quite sure we’ll see some blood spilling from the crowd. And as one final explosion of Death Metal we have Damned, as brutal and well-crafted as the rest of the album, yet again embracing elements from Bay Area Thrash mixed with contemporary Death Metal and with highlights to the deep and desperate guttural by Anto.

As Soulwound is offering us all absolutely no peace with their visceral and modern music, we should all show them our respect and support by visiting their Facebook page, YouTube channel and SoundCloud, and you can take all that peaceless Death Metal craziness home by purchasing their brand new album at the Inverse Records’ webstore (as a regular CD version or a CD + T-shirt bundle), at CDON.COM, or at Record Shop X. As already mentioned, Soulwound are not among us to bring joy or tranquility to our lives, but to provide a demolishing assault of high-end metal music, which is indeed all we ask for when the music in question is Death and Thrash Metal.

Best moments of the album: Altars of Skin, Alone Against All and Wasteland.

Worst moments of the album: Crime and Punishment.

Released in 2016 Inverse Records

Track listing
1. Intro: Impulsive Aggression 1:57
2. Hurt Me Plenty 5:09
3. Altars of Skin 4:29
4. Alone Against All 3:40
5. Wasteland 4:59
6. Crime and Punishment 5:50
7. Misery Index 4:20
8. Hate Speech 4:26
9. Damned 5:55

Band members
Arto Jauho – vocals
Niko Huusari – guitar
Mikko Huusari – guitar
Joni Järvenmäki – bass
Janne Huusari – drums

Album Review – Abigail / The Final Damnation (2016)

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Delivering chaos, sex and blasphemy for over 20 years, one of the most prominent bands from the underground Japanese scene strikes back with more of their libertine and devilish music.

Rating4

abigail-the-final-damnation-coverWhenever the name “Abigail” is enunciated, your mind probably takes you to Denmark, home of one of the most iconic metallers of all time, the one and only King Diamond. However, if you travel further east, more specifically to Japan, the Land of the Rising Sun, you’ll face a high-octane fusion of Black, Thrash and Heavy Metal from the 80’s with a libidinous twist through the music by an uncompromising power trio known as Abigail, who have recently released their fifth studio album, titled The Final Damnation, highly recommended for fans of bands like Venom, Bulldozer and Carnivore who also nurture a profound admiration for topics such as war, alcohol, partying, depravity and bitches.

Abigail, who have dubbed themselves as “The Most Evil Band in Japan”, was formed in 1992 in the city of Tokyo, Japan by Yasuyuki Suzuki, a talented multi-instrumentalist and one of the most important names in the underground extreme music scene in Japan, having played with bands such as Cut Throat, Barbatos, Tiger Junkies and the iconic Sigh, from our beloved metal chick Dr. Mikannibal. Their musicality might have shifted a bit from their earliest raw Black Metal to a more complex degree of Speed Metal mixed with Street Punk (a mixture classified by the band as “Street Metal”), also increasing the level of debauchery and blasphemy in their lyrics. With The Final Damnation, which features an obscure artwork by French artist Christophe Moyen, the band has considerably increased the dosage of Black Metal in their music, going back to their roots without losing their current thrashy attitude and electricity.

abigail-band-promoFrantic guitars and drums with a strong melody supporting them set the tone for the berserk title-track The Final Damnation, before Yasuyuki begins firing his inebriate gnarls. In essence, it’s music to drink and fight, exactly what the band wants you to do, boosted by all old school guitar solos Noboru “Jero” Sakuma delivers throughout the whole song. Blasphemy Night is insanity in the form of music, a bestial marriage between Black and Thrash Metal with nuances of Hardcore and Punk Rock where Yasuyuki sounds truly demonic on vocals while drummer Youhei shows no mercy for mankind, obviously commanding us all to slam into the fuckin’ pit, followed by a massacre titled Whisky Coke and Bitch. I guess nothing needs to be said about the name of the song, right? Anyway, Jero continues delivering his traditional solos in this less obscure chant, strongly inspired by the rebellious Punk Rock played by bands such as The Exploited and Black Flag.

In spite of its slower-than-usual start, the deranged composition Sex & Metal (another song with a “cute” name) is sheer devastation throughout its almost 6 minutes, with Yasuyuki and his henchmen smashing everyone who dares to cross their path, also exhibiting more of their insane high-speed guitar solos. And the gates are opened by Abigail’s infernal composition straightforwardly named Open the Gates of Hell, displaying a sonority highly inspired by Thrash Metal from the 80’s with an eccentric Japanese touch. In addition, the bass guitar by Yasuyuki sounds amazingly brutal in this hurricane of disturbing metal. Blazing guitar lines ignite the thrashy composition No Pain! No Limit!, showcasing backing vocals a la traditional Punk Rock while Youhei delivers precisely what we all want in this type of music by pounding his drums like a wild beast during the entire song.

The pulverizing hymn Sweet Baby Metal Sluts doesn’t only have another gentle name, but the screeching gnarls by Yasuyuki will torment your mind while the band keeps discharging their libidinous music through your ears, with Jero continuing his feast of demented solos. And closing the album, how about 7 minutes of total anarchy? That’s what you’ll get in Holocaust by Evil with its Slayer-like guitars and extreme aggressiveness. Youhei pays his personal tribute to Thrash and Black Metal, and although there’s a melodic break influenced by traditional Heavy Metal after around two minutes, Abigail had to obviously finish off the album like a steamroller from hell with their lunatic musicality. Before all is said and done, Yasuyuki fires some final grasps from the depths of hell to give the whole song a more macabre touch.

As aforementioned, if you truly consider Heavy Metal, sex, alcohol and blasphemy as the most important things in your life (and you should), the music by Abigail will definitely be the perfect soundtrack for your metallic and carnal adventures. And in case you want to show your support for those Japanese metallers, go grab your copy of The Final Damnation at the Nuclear War Now! Productions’ BandCamp or at their webstore as a CD, a regular LP or as a “die hard” LP, or at Abigail’s official webstore. Abigail have been on fire since their inception almost 20 years ago, and The Final Damnation is just another proof this defiant troop from Tokyo is far from calling it a day.

Best moments of the album: Blasphemy Night, Sex & Metal and Open the Gates of Hell.

Worst moments of the album: None.

Released in 2016 Nuclear War Now! Productions

Track listing
1. The Final Damnation 4:32
2. Blasphemy Night 3:55
3. Whisky Coke and Bitch 4:50
4. Sex & Metal 5:50
5. Open the Gates of Hell 3:57
6. No Pain! No Limit! 3:04
7. Sweet Baby Metal Sluts 3:22
8. Holocaust by Evil 7:08

Band members
Yasuyuki Suzuki – vocals, bass
Noboru “Jero” Sakuma – guitars
Youhei – drums

Album Review – Misteyes / Creeping Time (2016)

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Which side will you chose in the never-ending battle between Light and Dark Metal brought forth by this distinct symphonic band from Italy?

Rating4

creeping-time-front-cover-artwork“Opposition brings concord. Out of discord comes the fairest harmony.” – Heraclitus

The never-ending battle between good and evil, day and night, light and dark, heaven and hell, life and death or whatever other philosophical depiction you want to give to the two opposite worlds that guide our thoughts and actions has just been transformed into high-end music by Italian Symphonic Death/Gothic Metal act Misteyes in Creeping Time, the debut full-length album by a band that definitely knows how to put together the best elements from Light and Dark Metal, enhancing their contrast and, consequently, their impact on the listener.

Misteyes started back in 2012 in the city of Turin, Italy as a five-piece group, playing what could be considered Melodic Death/Black Metal before changing their music direction in 2014 to what exists today, including the addition of a female vocalist and a keyboardist to the band. The next couple of years were very fruitful for Misteyes, who not only started working on Creeping Time, but also shared the stage with renowned names in the Gothic scene such as Cadaveria, Opera IX, Lunarsea and Elegy Of Madness. The band’s approach and musicality can already be sensed through the obscure artwork by Italian artist Alessandro Alimonti (Overload Design Studio), but it’s when the music starts that you’ll find yourself in the middle of the fight between light and dark, getting completely mesmerized by the music that flows through your ears.

The melancholic intro The Last Knell, which begins with the sound of a baby crying, grows in intensity until the title-track Creeping Time arises from the depths of hell in a feast of Symphonic Black and Gothic Metal. Denise “Ainwen” Manzi is the beauty on vocals while Edoardo “Irmin” Iacono provides his beastly growls, perfectly depicting what the band wants to say with the “Light and Dark Metal” concept, with keyboardist Gabriele “Hyde” Gilodi being the one responsible for giving the song its operatic vibe. Then it’s time for some heavier riffs by Daniele “Insanus” Poveromo and Riccardo “Decadence” Tremaioni in the dense Brains in a Vat, an amazing composition filled with passion, hate and agony featuring the creepy spoken words by guest musician Mattia Casabona (Aspasia), sounding like a hybrid of the music by the early days of Cradle of Filth with Epica, resulting in a masterpiece of underground Symphonic Metal. Moreover, it’s interesting how Hyde maintains the mystery in Misteyes’ music through his keyboards no matter how fast and heavy the music is, which is the case in Inside the Golden Cage, where the vocals by Ainwen are once again heavily inspired by the diva Simone Simons whereas Irmin leans towards pure Black Metal, not to mention the thrilling beats by Federico “Krieger” Tremaioni.

Lady Loneliness, a beautiful atmospheric power ballad focused on the gentle voice of Ainwen with some pianos notes giving it an extra touch of delicacy, showcases a good story told through its lyrics (“If you are here, I cannot be overtaken by fear / Only this eternal silence is what can soothe my pain / In darkness I can find you, this time will be forever / Come! Come to me, my lady! Lady Loneliness!”); followed by The Prey, with the whole band getting back to a more brutish mode. Irmin effectively enhances the song’s aggressiveness due to his deranged harsh growls, with Insanus, Decadence and Hyde delivering sheer madness while bassist Andrea “Hephaestus” Gammeri brings forward his share of insanity through his low-tuned punches. Their operatic and dark vein becomes evident once again in Destroy Your Past, a song full of progressive passages thanks to the intricate lines delivered through guitars and bass and all tempo changes led by Krieger, as well as in the operatic metal hymn The Demon of Fear, where guest musician Roberto Pasolini (Embryo) complements the menacing keyboards by Hyde with his enraged growling. This excellent song, displaying a Symphonic Black Metal vibe with hints of Gothic Metal and Melodic Metal, is another good example of the fight between good and evil proposed by Misteyes, proving one more time how connected to the concept of opposition all songs are.

misteyes-2016Special guest Mattia Casabona is back in action, this time with clean vocals, in the two-part aria entitled “Awake the Beast”, starting with the operatic A Fragile Balance (Awake the Beast – Part 1), with its eerie piano intro and Ainwen providing her Tarja-inspired vocals. Almost “a capella”, it sounds like a horror flick soundtrack, leading to the furious and blackened Chaos (Awake the Beast – Part 2), a high-octane tune tailored for fans of obscure and harmonious music where Progressive and Symphonic Black Metal are flawlessly united. Krieger and Hyde are yet again the architects of the musicality, generating the perfect ambience for the sick riffs by both Insanus and Decadence to shine.

In the gripping Decapitated Rose, guest vocalist Björn “Speed” Strid (Soilwork) steals the spotlight by blasting his infuriated declamation of the song’s dark lyrics (“When life is withered …There is no water which can bring it back! / Ivy smothers your soul! Petals fall and you are alone! / All beauty is gone! Only the thorn is what remains! / In this garden of madness … Decapitated rose! Decapitated rose!”), with Hephaestus firing some thunderous bass lines that end up increasing the song’s creepiness while the keyboard sounds by Hyde will pierce your head and haunt your soul. And last but not least, the talented Nicole Ansperger (Eluveitie) and the awesome sound of her violin add the word “epic” to the powerful Winter’s Judgement, a Symphonic Gothic Metal feast that blends elements from the music by Dimmu Borgir, Nightwish, Epica, Moonspell and other prominent bands. In addition, the growls by Irmin get deeper than ever, guiding the listener into a journey through the realms of darkness and light until the song’s soulful ending.

In summary, it doesn’t matter which side you choose in the battle between Light and Dark Metal proposed by Misteyes, you’ll certainly win due to the sensational quality of their music. Thus, you can get in touch with these Italian metallers and get to know more about their music through Facebook, YouTube, ReverbNation and SoundCloud, and acquire your copy of Creeping Time at several different places such as their BandCamp page, the Maple Metal Records’ BandCamp page or Big Cartel, on iTunes, Amazon or CD Baby.

Best moments of the album: Creeping Time, Brains in a Vat, The Prey and Decapitated Rose.

Worst moments of the album: Destroy Your Past.

Released in 2016 Maple Metal Records

Track listing
1. The Last Knell (Intro) 1:40
2. Creeping Time 6:29
3. Brains in a Vat 5:39
4. Inside the Golden Cage 5:24
5. Lady Loneliness 4:37
6. The Prey 7:03
7. Destroy Your Past 5:02
8. The Demon of Fear 6:55
9. A Fragile Balance (Awake the Beast – Part 1) 3:41
10. Chaos (Awake the Beast – Part 2) 5:26
11. Decapitated Rose 4:48
12. Winter’s Judgement 8:05

Band members
Edoardo “Irmin” Iacono – growl and scream vocals
Denise “Ainwen” Manzi – clean and operatic vocals
Daniele “Insanus” Poveromo – lead guitars
Riccardo “Decadence” Tremaioni – rhythm guitars
Gabriele “Hyde” Gilodi – piano, synth and orchestrations
Andrea “Hephaestus” Gammeri – bass and fretless bass
Federico “Krieger” Tremaioni – drums

Guest musicians
Björn “Speed” Strid – additional scream and clean vocals on “Decapitated Rose”
Nicole Ansperger – violin on “Winter’s Judgement”
Roberto Pasolini – additional growls and scream vocals on “The Demon of Fear”
Mattia Casabona – spoken words on “Brains in a Vat”, additional clean vocals on “A Fragile Balance (Awake the Beast – Part 1)”, and additional growls and scream vocals on “Chaos (Awake the Beast – Part 2)”

Album Review – Cryptic Shift / Beyond the Celestial Realms EP (2016)

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An action-packed voyage through space and time, led by a Sci-Fi Death Metal Assault Squad from the UK eager to conquer the entire universe with their progressive and technical brutality.

Rating5

btcr-coverAre you ready for a voyage through space and time, a daredevil journey to a parallel universe where you’ll face technology a million light-years beyond our knowledge and where unknown forms of extraterrestrial life coexist, all to the sound of a very progressive and technical fusion of Death and Thrash Metal? This is what you’ll get in Beyond the Celestial Realms, the brand new EP by British Progressive Death/Thrash Metal act Cryptic Shift. If you’re a fan of the hard-hitting and intricate sound of iconic bands such as Death, Obituary and Voivod, lasers will blast from your eyes with excitement while listening to Cryptic Shift.

Formed in 2010 under the name Crÿptic Shift, this Leeds-based group calls itself a “Sci-Fi Death Metal Assault Squad”, a distinct designation that makes total sense as soon as you start listening to their high-quality material. And this blend of extreme music and Sci-Fi led the band to share the stage with renowned acts like Exodus, Hirax and Lost Society, also playing at some up-and-coming festivals in the UK such as Thrashersaurus, Full Thrash Assault and Thrashoholic Fest, all between 2014 and 2015. Beyond the Celestial Realms, which features a “futuristic old school” (if that expression exists) artwork by Nemesis Design, can be considered the “encapsulation” of the band’s short but very active career,  containing revamped versions of some of their original demos mixed with brand new compositions and, of course, a high level of brutality and stamina.

In the cinematic/alien-inspired intro Beyond the Celestial Realms, ominous acoustic lines and a phantom voice inform the listener a dangerous journey is about to begin, entitled Voyage Through Dimensions.  This feast of old school Death and Thrash Metal with a futuristic concept brings forward sheer dexterity and aggressiveness through the guitar riffs by Xander Bradley and Henry Parker, which precisely follow the potent rhythm imposed by drummer Ryan Sheperson. The second half of the song gets groovier thanks to the rumbling sound of the bass guitar by John Riley, adding layers to a song that has all it takes to become the band’s biggest classic in the future.

cryptic-shiftWhen a song is named Deathcrusher, we all know it’s going to be a demonic onrush perfect for breaking your neck headbanging until its apocalyptic ending, with its Slayer-ish riffs being nicely complemented by some traditional Death Metal beats.  In addition to that, Xander and Ryan not only have their kick-ass riffs to provide us, but their solos are also amazing. The following song, Spore, showcases a traditional fast-paced Death Metal rhythm boosted by the piercing guitars by Xander and Ryan, sounding like a fusion of Anthrax and Death, in special the vocal lines by Xander. And after the song’s calm and harmonious break halfway through it, we’re treated to a storm of groovy high-end guitar solos and endless progressiveness. Lastly, the initial peace found in Glacial Reclamation suddenly gives place to an outstanding Thrash Metal extravaganza, with Xander blasting his growls while John keeps delivering his low-tuned punches. All band members display a high level of adroitness with their instruments in this solid and thrilling composition, getting even more progressive than all previous tracks.

The gates to the parallel universe of Death Metal crafted by Cryptic Shift can be found at the band’s Facebook page, YouTube channel, SoundCloud and ReverbNation, and the key to open those gates can be purchased at their official website or BandCamp page, at the Fractured Mind Records’ BandCamp, at the Nightbreaker Productions’ webstore, at the Tictail’s webstore, or at the Blood Harvest’s webstore. Cryptic Shift aim at conquering this universe (and any other existing ones) with their fusion of progressiveness and brutality, and based on the high quality of the music found in Beyond the Celestial Realms, we can say their spaceship of Death Metal is on course without a shadow of a doubt.

Best moments of the album: Voyage Through Dimensions.

Worst moments of the album: None.

Released in 2016 Fractured Mind Records/Nightbreaker Productions

Track listing    
1. Beyond the Celestial Realms 1:12
2. Voyage Through Dimensions 5:29
3. Deathcrusher 6:04
4. Spore 5:40
5. Glacial Reclamation 4:40

Band members
Xander Bradley – vocals, guitars
Henry Parker – guitars
John Riley – bass
Ryan Sheperson – drums

Album Review – Sharked / Generalized Death Drive EP (2016)

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In less than 15 minutes, this enraged quintet from France pulverizes everything and everyone that dares to cross their path with their relentless fusion of Deathcore and Death Metal.

Rating5

coverPutting a label to French quintet Sharked might be a difficult task, but if there’s one thing we can say about the music by this unrelenting cohort is that it’s as pulverizing as an atomic bomb. Bringing together the most aggressive elements from Deathcore, Grindcore, Death, Thrash and even Black Metal, which makes them sound like the evil bastard of Testament, Pantera, Napalm Death and Cannibal Corpse, Sharked are ready to disturb whatever is left of peace in our decaying society with their second EP, titled Generalized Death Drive, and let me tell you they need less than 15 minutes to achieve their malevolent goal.

Formed in October 2010 in the city of Lyon, France by guitarist Tom Roger, and having released their self-titled debut EP that same year, Sharked have suffered a few changes through the years before reaching their current lineup, shaping up their music to the high-octane and belligerent form found in Generalized Death Drive. Featuring a straightforward artwork by Grégory Diot, each song in the EP was baptized with the name of a type of killing (as the suffix -cide means “a killer of”), those being genocide (the deliberate killing of a large group of people, especially those of a particular ethnic group or nation), liberticide (the destruction of freedom), infanticide (the crime of killing a child within a year of birth), tyranicide (the killing of a tyrant), homicide (the deliberate and unlawful killing of one person by another) and suicide (the act of intentionally causing one’s own death), all seasoned with the sheer truculence and wrath by Tom and his crew.

A few beeps warn the listener it’s time for total anarchy in Genocide, a devastating tune led by Tom and his lancinating riffs, while lead singer L’Abbé S.M. growls and barks like a rabid dog. And the massacre goes on until the very end of the song with not a single second of peace, giving no time for the listener to breathe before a hurricane of metal music named Liberticide begins. Faster and leaning towards modern Death Metal, it sounds very clean, professional and metallic due to the album’s amazing production, with drummer Nicolas Ramboz keeping the musicality on fire with his unstoppable blast beats. The next track, Infanticide, also showcases an outstanding level of anger and hatred, where the vocals by L’Abbé S.M. will inspire you for some violent slamming into the circle pit. This is like a Deathcore version of contemporary Cannibal Corpse thanks to the unique sonority generated by Sharked’s heavy artillery, in special by the bestial drumming by Nicolas and the fierce bass lines by Jérémy Conil.

sharkedIn Tyranicide they send a statement saying they’ll never slow down their music, reaching a demented pace enhanced by the sick beats by Nicolas, not to mention the crisp and menacing sound of Tom’s guitar; followed by Homicide, a modernized Deathcore chant where the wicked noises and samples by ArtRose work really well together with the rabid havoc brought forth by the rest of the band. And closing the album we have Suicide, offering more brutality for lovers of extreme music with L’Abbé S.M. sounding like a choleric Max Cavalera at times. In less than two minutes, they triturate whoever is still alive after all the insanity in the form of music found in the EP.

To sum up, Sharked’s killing feast witnessed in Generalized Death Drive might be considerably short, but it’s more than enough to carve their names in the underground of French extreme music and, consequently, to open the doors for the band to record their first full-length album pretty soon. If you want to know more about Sharked, go check their Facebook page and SoundCloud, and you can buy a copy of the EP at the Sepulchral Silence Record’s BandCamp page, on iTunes, on Amazon and tons of other locations. Their songs might be named after types of killings, but if there’s one thing they don’t kill at all is good music. Quite the contrary, it’s bands like Sharked who keep the fire of underground metal burning bright, always putting their passion for extreme music above everything else, maintaining the longevity of this type of music even when society and mainstream record labels and producers go against it.

Best moments of the album: Liberticide and Infanticide.

Worst moments of the album: None.

Released in 2016 Sepulchral Silence Records

Track listing   
1. Genocide 3:12
2. Liberticide 3:09
3. Infanticide 2:54
4. Tyranicide 1:19
5. Homicide 2:11
6. Suicide 1:54

Band members
L’Abbé S.M. – vocals
Tom Roger – guitars
Jérémy Conil – bass
Nicolas Ramboz – drums
ArtRose – samples

https://youtu.be/juKnU0nMhCo

Album Review – The Agonist / Five (2016)

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An average album by a band that has the potential to offer a lot more than this, full of highs and lows and quite confusing at times.

Rating6

the-agonist_fiveI might be absolutely wrong in what I’m about to say and many of you won’t probably agree with me but, after the remarkable success achieved by the fantastic Eye of Providence last year, I believe Canadian Melodic Death Metal/Metalcore band The Agonist rushed things a bit in the release of Five, their fifth installment and by far the album containing some of the weakest tracks ever recorded by this iconic Montreal-based band. That doesn’t mean there aren’t good moments in Five, but the album as a whole lacks more creativity and punch, being full of highs and lows that end up making listening to it quite confusing at times.

Featuring an eccentric artwork by Brazilian artist Gustavo Sazes, and with all song names beginning with “THE” (in case you’re a person obsessed with minor details), Five doesn’t sound as fresh and inspiring as their previous albums, feeling at times as if they were “forced” by some contractual clause to release a new album in 2016, which kind of explains why you’ll find amazing compositions like “The Anchor and the Sail” mixed with forgettable songs such as “The Man Who Fell to Earth”. For instance, the album is unimaginatively called Five, a pedestrian name not even close to the beauty of Lullabies for the Dormant Mind or Eye of Providence. However, if there’s one thing that’s absolutely awesome from start to finish is the performance by the stunning blonde banshee Vicky Psarakis, who saved several parts of the album from being a disaster.

Despite its promising ominous intro, The Moment doesn’t live up to its hype, quickly turning into generic Melodic Metal with lazy guitars and drumming. As aforementioned, although Vicky continues to impress on vocals as she did in Eye of Providence (and she had a lot of fun recording the official video for this song which you can see at the end of this review, by the way), this is certainly one of the most unexciting songs the band has ever written. The Chain is a billion times faster and heavier, just the way it’s supposed to be, with Danny Marino and Pascal “Paco” Jobin doing an awesome job on guitars, and despite its backing vocals sounding a bit out of place the overall result is pretty good, with highlights to its interesting lyrics (“Can I have the attention of the class? / Open up your text / The city of Seven Hills / Another illustration of the autophagy / Put down your fiddle, Lady Liberty / And take a good long look”).

My favorite of all tracks, The Anchor and The Sail, is the good old The Agonist we got used to but with a more contemporary touch, perfectly representing the evolution in music every artist always search for. Its rhythmic and potent riffs and beats, together with Vicky kicking fuckin’ ass on both clean vocals and harsh screams (especially during the song’s enraged chorus), accredit this to become one of their biggest hits in a near future as soon as fans have time to absorb all the music in Five properly, which is not the case in The Game, another song with a promising intro that unfortunately fades into genericism, feeling more like filler than like an honest composition by the band. Then Vicky and drummer Simon McKay lead the musicality in the solid The Ocean through their beautiful vocal lines and harmonious and powerful beats, displaying the right amount of classic The Agonist blended with some interesting experimentations that could easily become a radio hit; followed by The Hunt, which albeit not a masterpiece in terms of creativity, at least it maintains a good flow of energy with Vicky once again stealing the show. And if you say I’m being too picky and that I only enjoy their old classics, let me tell you one of my favorite compositions in Five hands down is the devilish Blues-inspired semi-acoustic ballad The Raven Eyes, completely different from anything the band has ever done before and something I would love to see The Agonist replicating live. The stunning performance by Vicky, declaiming the song’s venomous lyrics embraced by a deliciously dark atmosphere and complemented by smooth piano notes and acoustic guitar lines, is the epitome of awesomeness.

the-agonist_2016I have absolutely no idea why the Nightwish-like instrumental track The Wake was included in Five. It’s not a bad composition, not at all, but it doesn’t add anything remarkable to the album except for almost three minutes to its total duration. I’m not even sure if I can consider this one of the worst songs of the album so out of place it is. Anyway, The Resurrection, one of the heaviest of all songs in Five, brings forward another promising start and excellent lyrics (“Take these coins off my eyes / I’m not ready to be put down / If only you could hear the screaming in my mind / Take these coins off my eyes”), with my only complaint being that it could have kept the same wrath from its first few seconds during the whole song. The Villain follows a similar pattern, losing a little of its punch halfway through it, but nothing that harms its overall electricity. Moreover, the amazing low-tuned sounds by bassist Chris Kells and the furious drumming by Simon provide all the necessary support for Vicky to keep firing her potent growls.

The last part of the album is just downhill in terms of quality and adrenaline, starting with The Pursuit of Emptiness, which is not heavy enough to be Melodic Death Metal nor light enough to be Hard Rock, getting lost in trying to incorporate too many different genres at the same time; whereas the worst of all songs, The Man Who Fell to Earth, would have been a complete disaster if it wasn’t for Vicky’s passionate vocals. Exhibiting the blandest instrumental parts of all tracks, you’ll forget this song exists as soon as it’s over. And the regular version of the album ends with a not-so-bad composition entitled The Trial, nothing truly remarkable but at least it adds some fire to an album below my expectations. And if you grab the limited edition of Five you’ll be treated to their cover version for Hozier’s Take Me to Church, a solid tribute to a contemporary classic, albeit I still prefer Vicky’s old cover songs available on her YouTube channel like her sensational version for “Stricken” by Disturbed.

One day Five might grow on me, but so far after tons of listens at different times and places I still don’t feel this is the best The Agonist could have done as the next step in their amazing career and I don’t believe what I wrote in this review will change much. You can listen to a preview of each track HERE and take your own conclusions (or you can obviously buy the full album), and although I’ll add a few of the songs from Five to my playlist together with all their previous classics, I think it will be hard for me to go and pick Five in its entirety to be part of the soundtrack for my commute, at the gym, at home or anywhere else. I don’t believe the band sold out like I read many people saying in the past week, but the fact that they released a new album when the previous one was still very fresh and vibrant doesn’t make a lot of sense. Well, let’s see what they will offer us next, and as long as it’s not called “Six” it will already be an advancement compared to Five.

Best moments of the album: The Anchor and the Sail, The Ocean and The Raven Eyes.

Worst moments of the album: The Moment, The Pursuit of Emptiness and The Man Who Fell to Earth.

Released in 2016 Napalm Records

Track listing  
1. The Moment 4:14
2. The Chain 3:12
3. The Anchor and the Sail 3:49
4. The Game 2:50
5. The Ocean 4:27
6. The Hunt 3:35
7. The Raven Eyes 5:34
8. The Wake 2:44
9. The Resurrection 5:22
10. The Villain 5:00
11. The Pursuit of Emptiness 4:03
12. The Man Who Fell to Earth 3:53
13. The Trial 4:33

Limited Edition Digipack bonus tracks
14. Take Me to Church (Hozier cover) 5:52
15. The Raven Eyes (acoustic version) 5:36

Band members
Vicky Psarakis – vocals
Danny Marino – guitar
Pascal “Paco” Jobin – guitar
Chris Kells – bass
Simon McKay – drums

Album Review – Front / Iron Overkill (2016)

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Into the battlefield we march to the hellish sound blasted by three unrelenting Finnish soldiers of Black and Death Metal.

Rating3

12 Jacket (3mm Spine) [GDOB-30H3-007}When a band states that their music sounds like “rusty barbed wire moving at the speed of a missile”, you already know a sonic war is about to start, and that obviously means there’s nowhere to run, no place to hide from that brutal devastation. The band in question is Finnish Black/Death Metal squad Front, a power trio of darkness blasting a fulminating sound deeply inspired by iconic Black Metal juggernauts such as Marduk, Infernal War and Bestial Warlust blended with the badass attitude from their Rock N’ Roll heroes Motörhead, resulting in their debut full-length opus, a deadly weapon of mass destruction entitled Iron Overkill.

Founded in 2015 in the city of Lahti, Finland, Front already conquered the deepest pits of the black and death underground in their homeland after the release of their 2015 demo, making all fans of extreme music eager for more of their onslaught of crushing ultra-violence. Despite Front being a brand new name to the scene, the three troopers behind this beast (Kaosbringer on vocals, Von Bastard on guitars and bass, and Revenant on drums) have deep roots in the Finnish underground, having played in bands like Sacrilegious Impalement, Evil Angel and Neutron Hammer, among others, clearly explaining the high level of professionalism and malignancy found in their music.

Transpiring Black Metal with a rebellious attitude, let the raw and noisy drums and riffs by Front kick off the demented opening tune Defiance, a song to break the walls and exterminate everything where the vocals by Kaosbringer remind me of the unstoppable Swedish bulldozer Mortuus (Marduk) with a Death Metal vibe, followed by the insane massacre named Legion Front. This is unrelenting Black Metal displaying cutting guitar lines and infernal beats, while the growls by Kaosbringer reach a new devilish level. In other words, this song is beyond perfect for slamming like a motherfucker into an insane circle pit. And when a song is called I Am Death it definitely has to sound evil, with the bass guitar by Von Bastard and the menacing drums by Revenant setting fire to another feast of darkness that takes Black Metal to a new level of destruction, similarly to what Marduk do today but with Front’s own wicked touch.

front_promopic-2016-aOne single but powerful word pronounced by Kaosbringer (“ATTACK!”) ignite sheer devastation in the excellent Wargods Unbound, with the rumbling bass lines by Von Bastard leading the initial onrush before satanic Black Metal riffs and an enraged Kaosbringer join this chaotic but extremely well-crafted chant. It’s simply impossible not to get thrilled by the band’s performance and by the song’s warlike atmosphere, enhanced by its amazing backing vocals. Front’s sonic assault goes on with the extremely heavy Kypck, with highlights to its metallic guitar lines and bestial drumming, as well as the deeper growls by Kaosbringer which end up adding an extra dosage of ferocity to the overall result; followed by Tribunal of Terror, where a rhythmic start complemented by some devilish vociferations explodes into a full-bodied Extreme Metal hymn. There are absolutely no shenanigans in this solid composition, only brutality fired by a high-skilled band, especially through the dynamic rockin’ riffs by Von Bastard.

And there’s still more combat-inspired extreme music for you flowing from the Hardcore guitars, fiery growls and infinite hatred found in Cold Gravel Grave, a song that will kick you in the guts due to its unparalleled aggression (with its second half being perfect for breaking your neck headbanging), before sheer violence and evil come ripping in Heathen Resistance, where our electrified Black Metal platoon showcases their skills and tell the world they will always fight for extreme music, never giving up or betraying their roots, displaying once again an amazing job done on drums by Revenant and the thunderous bass guitar by Von Bastard. In addition, pay good attention to the song’s rhythm, going from pure Black Metal to beer-drinking Rock N’ Roll the likes of Motörhead and Chrome Division, a fusion Front are capable of doing almost to perfection.

As we march into the battlefield to the aggressive music presented in this excellent album by Front, go check their Facebook page for more info on their music, upcoming tours and plans for the future, and you can also find Iron Overkill on sale at the Iron Bonehead Productions’ BandCamp, at their webshop in two different versions (as a regular jewelcase CD or as a special 12” LP edition including a 350gsm jacket with matt varnish and inside flooded in black, a 140g black vinyl, a 220g printed cardboard innersleeve and an A2 poster on 150gsm art paper), at the Record Shop X or at Discogs. If you purchase a copy of Iron Overkill, then maybe (just maybe) these three unrelenting soldiers of Black and Death Metal will spare your miserable life from total doom.

Best moments of the album: Defiance, I Am Death, Wargods Unbound and Tribunal of Terror.

Worst moments of the album: None.

Released in 2016 Iron Bonehead Productions

Track listing
1. Defiance 4:37
2. Legion Front 3:27
3. I Am Death 3:39
4. Wargods Unbound 4:34
5. Kypck 5:02
6. Tribunal of Terror 4:13
7. Cold Gravel Grave 4:39
8. Heathen Resistance 5:58

Band members
Kaosbringer – vocals
Von Bastard – guitars, bass, choir vocals
Revenant – drums, choir vocals

Guest musician
Lux Tenebris – backing vocals