Category Archives: 2018 New Releases

Album Review – Sata Kaskelottia / Sydän On Vuori (2018)

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The most unconventional gam of sperm whales hailing from Finland strikes back with more of their flammable fusion of Stoner and Progressive Metal.

After three long years of writing and recording, the most unconventional gam of sperm whales hailing from the Finnish capital Helsinki is back with a brand new album, ready to show us all that the human heart is a mountain. If that doesn’t make any sense to you, then you should definitely take a listen at Sydän On Vuori (Finnish for “heart is a mountain”), the brand new album by Stoner/Progressive Metal act Sata Kaskelottia, following the success of the band’s 2015 debut self-titled release while experimenting with new sounds and nuances and exploring the breaking points of life, points in which difficult choices have to be made.

Sata Kaskelottia’s combination of progressive, darker tones and often catchy, lighter and strangely triumphant mood produces a unique musical blend that walks its own path, with Sydän On Vuori introducing the band’s evolved sound and songwriting. Comprised of Eetu Kauppinen on vocals and guitar, Matti Kangaskoski on the guitar, Markku Suoniemi on bass, and Ville Salonen on drums and percussion, Sata Kaskelottia, which means “one hundred sperm whales” (if you don’t know that already), are beyond sharp and electrified in Sydän On Vuori, and if you’re a fan of the music by bands such as Mastodon and Baroness I’m sure you’ll have a good time listening to the nine tracks of unrelenting rock and metal found throughout the album.

We need only a few seconds in the opening track Aamumandaatti (“the morning mandate” from Finnish) to know we’re dealing with the “Finnish Mastodon”, with the guitars by Eetu and Matti sounding as sharp as a sword, not to mention you’ll certainly feel compelled to sing along with the band even knowing nothing in Finnish. Just as psychedelic and heavy as its predecessor, Leskentekijä (“widow’s origins”) is a well-balance hybrid between Stoner and Progressive Metal, with Ville bringing an extra dosage of electricity with his intricate beats while Eetu keeps firing his wicked vocals nonstop; followed by Parantaja (“the healer”), where the whole band speeds things up a bit sounding more aggressive, rawer and denser, with the music being led by the crushing riffs by both Eetu and Matti. In addition, the bass guitar by Markku sounds thunderous and metallic, adding an extra dosage of heaviness to what’s by far one of my favorite songs of the album.

Samarkand might be known as a city in modern-day Uzbekistan and one of the oldest continuously inhabited cities in Central Asia, but from now on it should also be recognized as a lesson in Progressive and Sludge Metal, with its guitar lines and rhythmic beats inspiring you to bang your head together with the band, whereas the title-track Sydän On Vuori begins in an atmospheric, almost psychedelic way, evolving into a dark and deep Stoner Metal feast with Markku and Ville smashing their respective instruments, therefore creating a beyond obscure background of sounds. And in Ennen Kuin Sateet Alkavat (“before the rain begins”), Sata Kaskelottia deliver sheer electricity through their music weapons in a top-of-the-line fusion of Stoner Metal with old school Rock N’ Roll and modern Hard Rock, with highlights to the fantastic job done by Eetu with his demented vocal lines.

Bringing elements from traditional Heavy Metal to their musicality (which ends up giving it an epic vibe), the band offers the listener the vibrant Musta Tähti (“black star”), once again showcasing Eetu and Makki in absolute sync with their riffs; while Lumimies (“abominable snowman”) lacks the same punch and energy from the rest of the album, despite presenting melodious guitar lines and a solid performance by Markku on drums. And lastly, instead of another hard and heavy tune, Sata Kaskelottia surprise us all with a pensive ballad titled Ovet (“doors”), closing the album in a unique and very interesting manner, with Eetu leading the sonority with his introspective vocals until the song’s somber finale.

What are you waiting for to dive into the sea of Progressive and Stoner Metal ruled by Sata Kaskelottia? You can listen to their new album in full on Spotify, follow them on Facebook for new and tour dates, listen to more of their music on YouTube and on SoundCloud, and buy a copy of Sydän On Vuori from their BandCamp page, from Record Shop X, on iTunes or on Amazon. As you might already know, there’s nothing better than listening to the potent nad harmonious metal music blasted by one hundred sperm whales, and the new album by Sata Kaskelottia is here to show us that.

Best moments of the album: Aamumandaatti, Parantaja and Ennen Kuin Sateet Alkavat.

Worst moments of the album: Lumimies.

Released in 2018 Rhoska Records

Track listing
1. Aamumandaatti 5:03
2. Leskentekijä 4:54
3. Parantaja 3:30
4. Samarkand 5:19
5. Sydän On Vuori 5:16
6. Ennen Kuin Sateet Alkavat 4:01
7. Musta Tähti 5:39
8. Lumimies 5:14
9. Ovet 4:56

Band members
Eetu Kauppinen – vocals, guitar
Matti Kangaskoski – guitar, vocals
Markku Suoniemi – bass, vocals
Ville Salonen – drums, percussion

Album Review – Skognatt / Ancient Wisdom (2018)

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An onrush of Atmospheric Black Metal as raw, aggressive, melodic and obscure as it can be, from the undergrounds of Bavaria directly into your mind.

Hailing from Augsburg, one of Germany’s oldest cities and the third-largest city in Bavaria (after Munich and Nuremberg), here comes a very sinister and interesting Atmospheric Black Metal/Dark Ambient one-man project named Skognatt, who have just unleashed darkness upon humanity with its first full-length album Ancient Wisdom. After its inception in 2016 by vocalist and multi-instrumentalist Danijel Zambo, Skognatt released the demo Landscape of Ice in 2016, followed by the EP Stargazer that same year, and another EP in 2017 titled Ancient Wisdom (with the same name as the new album, but only featuring two songs that would be part of it). With the help of guest multi-instrumentalist Gerileme (Asche der Welten, Osteon) on drums and drum engineering, Skognatt brings forth six otherworldly compositions in Ancient Wisdom, living up to the legacy of old school Black Metal but with an atmospheric and eccentric twist added to its already somber musicality.

Macabre and phantasmagoric from the very beginning, the title-track Ancient Wisdom brings forward acoustic guitars intertwined with the sinister, demonic gnarls by Danijel, flowing smoothly and darkly until its ending, all boosted by creepy keyboard notes. Then the steady drumming by Gerileme and the lugubrious guitars by Danijel set the pace in Xibalbá, an Atmospheric Black Metal tune with hints of Symphonic Black Metal and Middle-Eastern nuances, with the vocals by Danijel sounding more devilish and anguished than before; followed by World Apart, showcasing blast beats and flammable guitar riffs (and therefore leaning towards traditional Black Metal), but also bringing a touch of delicacy and melancholy to the overall musicality through its very melodic and sometimes acoustic background sounds and tones.

More obscure than its predecessors, Thanatos alternates between melancholic, serene passages and more aggressive moments led by the piercing growls by Danijel, resulting in a Stygian hymn that can be used as the soundtrack to your deepest nightmares. As a matter of fact, Thanatos was the personification of death in Greek mythology, just to give you a sense of how dark this song is. Moving on with the album, Dark Star presents a movie-inspired intro before an explosion of demonic sounds fills the air, with Gerileme sounding even more infernal on drums in a hybrid of contemporary Ambient and Experimental Black Metal. Put differently, it can’t get any more underground, visceral and crude than this, being definitely not recommended for the lighthearted. And closing this somber and eccentric album we have another blast of Atmospheric Black Metal titled Fallen, spiced up by peculiar and whimsical sounds and featuring spoken words taken from the work of English nobleman and poet Lord Byron (1788 – 1824). Furthermore, Danijel does a great job both on keyboards and on vocals, enhancing the song’s already distinct taste until the music fades into a mesmerizing semi-acoustic outro.

In summary, Ancient Wisdom (which by the way is available for a full listen on YouTube) is one of those albums of extreme music that perfectly represent what underground metal is all about, being raw, aggressive, melodic and obscure, all at the same time. And in order to show your true support to an independent act like Skognatt, you can pay a visit to the band’s official Facebook page, and of course buy your copy of Ancient Wisdom from its BandCamp page, keeping the fires of Black Metal burning inside the dark soul of Mr. Danijel Zambo and his devilish alter ego Skognatt for years and years to come.

Best moments of the album: Xibalbá and Thanatos.

Worst moments of the album: None.

Released in 2018 Independent

Track listing
1. Ancient Wisdom 5:17
2. Xibalbá 5:09
3. World Apart 5:19
4. Thanatos 4:06
5. Dark Star 4:50
6. Fallen + Outro 6:44

Band members
Danijel Zambo – vocals, all instruments

Guest musician
Gerileme – drums

Album Review – NONE / Life Has Gone On Long Enough (2018)

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Lose yourself on a journey through eight organic tracks of foggy mountainous atmosphere and bleak music by this unknown Atmospheric Black Metal entity, devouring and nourishing a hopeless life.

Written and recorded throughout the latter half of 2017, Life Has Gone On Long Enough, the brand new album by American Atmospheric/Depressive Black Metal entity NONE, takes its haunting shape through eight organic tracks of foggy mountainous atmosphere and bleak music. On this new chapter, NONE delves deeper into the blackest woods to find abandonment, and developing its tortured personality further. Moving in and out like the long shadows of an ancient forest, the harsh musical passages of Life Has Gone On Long Enough intertwine and die through forlorn atmospheres, devouring and nourishing a hopeless life.

Presented in a six-panel digipack with gorgeous panoramic photography, Life Has Gone On Long Enough represents a huge step forward in the career of this unknown, almost nameless creature, bringing all elements that made their 2017 debut self-titled EP so compelling and mesmerizing, but also showcasing new details and nuances that only make their music even more engaging than you can imagine, being highly recommended for admirers of the atmospheric creations by bands like Woods of Desolation, Coldworld, Shining, Gris and Sombres Forêts.

Ethereal sounds penetrate deep inside our minds in the intro Bleak, Damp, and Dead, transporting us to a different dimension and time titled A World, Dead and Gray, where the band’s melancholic and dark sonority fills every single empty space, with the song’s Doom Metal-inspired beats together with its lancinating riffs setting the perfect stage for the song’s uncanny gnarls coming from the unknown. In short, this is a superb exhibit of modern-day Atmospheric Black Metal, which can also be said about Bed the Cold Earth, where hopelessness and grief are the only two emotions crafted by NONE from start to finish, with their slow and steady beats and delicate guitar lines building a disquieting wall of Stygian sounds, flowing majestically until its somber finale. And in Hypoxic we face a gentle and introspective intro to another Depressive Black Metal feast, with the music remaining as lugubrious as possible with the deep, harsh laments complementing the overall obscurity. Put differently, this is one of those songs recommended for getting lost with your own deviant thoughts.

The somber Corroded creates an instant connection with the previous tune, where its mournful and gray background noises are thoroughly blended with the bitterly cold and melancholic sounds of guitars and keyboards, suddenly exploding into flammable Atmospheric Black Metal in Desiderate, with its crisp guitar melodies creating an interesting paradox with the song’s angelic keyboards. Moreover, also presenting a beyond obscure ambiance that will certainly blacken your heart and mind, the music flows into a desperate ending that lives up to the legacy of contemporary Ambient and Depressive Black Metal. Sluggish, creepy and macabre, Life is Long Enough showcases mysterious laughs intertwined with a pensive and heavy atmosphere, in a beautiful and captivating exhibit of the most outlandish and gloomy sounds you can think of, therefore dragging you to the palest and most ominous corner of life, and with its delicate, ethereal ending being the icing on the cake. And as a “bonus” to the listener we have a cover for Burzum’s Illa Tiðandi, an instrumental work-of-art by NONE presenting the cold winds of winter accompanied by a gentle piano just like the original by Mr. Varg Vikernes, which you can check HERE.

You can travel through the realms of Depressive and Atmospheric Black Metal ruled by NONE by taking a full listen at Life Has Gone On Long Enough on YouTube and on Spotify, and by purchasing the album from several locations such as the Hypnotic Dirge Record’s BandCamp or webstore in distinct formats (as a regular CD, as a Life Has Gone On Long Enough + their self-titled debut EP bundle, as a CD + shirt + sticker bundle, or as a Life Has Gone On Long Enough + self-titled EP + shirt + sticker mega bundle), as well as from CD Baby or from Discogs. Life might be long enough as masterfully depicted by NONE in their new album, but we can never get enough of their multi-layered, somber creations, proving Atmospheric Black Metal can be just as (if not more) exciting and vibrant than any of your regular metal genres.

Best moments of the album: A World, Dead and Gray, Desiderate and Life is Long Enough.

Worst moments of the album: Corroded.

Released in 2018 Hypnotic Dirge Records

Track listing
1. Bleak, Damp, and Dead 2:51
2. A World, Dead and Gray 7:46
3. Bed the Cold Earth 7:44
4. Hypoxic 6:59
5. Corroded 5:17
6. Desiderate 7:52
7. Life is Long Enough 7:56
8. Illa Tiðandi (Burzum cover) 6:03

Band members
*Information not available*

Album Review – Ophe / Litteras Ad Tristia Maestrum Solitude (2018)

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An avantgarde and experimental album of Black Metal infused with dark atmospheres and nuances, meticulously put together by a one-man army hailing from France.

Litteras Ad Tristia Maestrum Solitude, or “letter to the sad comfort of solitude” from Latin, is not only the brand new album by French Avantgarde Black Metal one-man army Ophe, but also a very avantgardish and experimental piece of Black Metal fixing without any doubt a new limit to the borders of a sound that is a personal mix of Extreme Metal, avantgarde music and dark atmospheres. Recorded and mixed by Edgard Chevallier at Lower Tones Place Studio, and featuring a glamorous artwork painted by the talented French artist Jeff Grimal, Litteras Ad Tristia Maestrum Solitude will bring an obscure joy to the hearts of fans of the music by bands such as Fleurety, Blut Aus Nord, Manes, Anorexia Nervosa and Aevangelist.

Formed in 2015 in Châtillon, a commune in the southwestern suburbs of Paris, by multi-instrumentalist Bargnatt XIX, better known for being the voice and guitar for French Avantgarde project Område, Ophe will certainly crush your senses throughout the 36 minutes of distorted passages, wicked noises and eerie gnarls in Litteras Ad Tristia Maestrum Solitude, with the sonic extravaganza crafted by Bargnatt XIX being beautifully complemented by the saxophone schizophrenia delivered by guest musician Val Dorr (of Aevangelist). In other words, open your mind, let the music by Ophe penetrate deep inside your soul, and the way you view extreme music will never be the same again.

In the opening track, titled Somnum Sempiternum (which means “everlasting sleep” or ‘eternal sleep” from Latin), Bargnatt XIX begins firing Stygian riffs and blast beats together with his hellish gnarls in a vibrant and classy display of Atmospheric Black Metal, with the music getting darker, more fiendish and more demented as time goes by. Furthermore, the wicked saxophone sounds by Val Dorr add a touch of lunacy to the overall result, making the whole song even more delightful. Then we have Decem Vicibus (or “ten times” from Latin), a very obscure composition with the spoken words by Bargnatt XIX sounding smooth but perturbing at the same time, not evolving to any regular type of music you might be accustomed to. Well, that’s the beauty of Ambient Black Metal, as the creepiest sounds can become high-quality music just like that. And medieval, somber background noises set fire to an uncanny creation by Ophe named in XVIIII, with the sax by Val Dorr sounding even more disturbing than before, while Bargnatt XIX’s deep, enraged roars match perfectly with the hypnotizing heavy sounds emanating from all other instruments, in special the delicate and electrified guitar riffs and solos.

Missive Amphibologique D’Une Adynamie A La Solitude, a long and stylish song name that means “amphibological missive of an adynamy to loneliness” from French, is an 11-minute phantasmagoric aria that can easily be used as the soundtrack to your darkest nights, with its blast beats and ferocious growls bringing total chaos to our souls. And the song’s intense insanity goes on and on, with no sign of happiness or joy, courtesy of Bargnatt XIX and Val Dorr who generate a wall of strained, striking and grim sounds and tones in what can be considered a “controlled chaos”. Lastly, after such grandiose havoc it’s time to slow things down in Cadent, where Bargnatt XIX soothes our souls with his semi-acoustic lines embraced by an apocalyptic background to give it a beyond atmospheric vibe, closing the experimental journey by our skillful one-man army in a beautiful way.

In case you want to join the eccentric world of Bargnatt XIX and his Ophe, you can visit the project’s Facebook page for more details about such distinct endeavor, listen to Litteras Ad Tristia Maestrum Solitude on Spotify, and purchase the album from Ophe’s own BandCamp page, from My Kingdom Music’s Big Cartel page, from the Season of Mist webstore, and from the JPC webstore, as well as from your regular retailers iTunes, Amazon and Discogs. And if this enticing album is Bargnatt XIX’s personal letter to the sad comfort of solitude, I can’t wait to see who or what he’s going to write a letter to next.

Best moments of the album: Somnum Sempiternum and XVIIII.

Worst moments of the album: None.

Released in 2018 My Kingdom Music

Track listing
1. Somnum Sempiternum 8:38
2. Decem Vicibus 4:33
3. XVIIII 5:45
4. Missive Amphibologique D’Une Adynamie A La Solitude 10:40
5. Cadent 5:16

Band members
Bargnatt XIX – vocals, all instruments, programming

Guest musician
Val Dorr – saxophone

Album Review – Spiral Skies / Blues For A Dying Planet (2018)

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Get ready to be put in a trance and to be taken on a unique musical journey by a psychedelic Swedish band and their “rock from another planet”.

With influences ranging over decades, Swedish Occult Rock band Spiral Skies has created a sound that can most easily be described as “rock from another planet”, a unique blend of folk, doom and 70’s-inspired rock music the likes of Jefferson Airplane, Curved Air and The Devil’s Blood, all embraced by a unique visual performance at their intense and enchanting live shows. After their debut EP A Queendom to Come, released in 2015, it’s time for Spiral Skies to further spread their sorcery with their brand new album beautifully titled Blues For A Dying Planet, an ode to the past that’s at the same time always looking into the future.

Formed in 2014 in the Swedish capital Stockholm, Spiral Skies are the talented Frida on vocals, Jonas and Dan on the guitars, Eric on bass and Daniel on drums, each one with a different musical background and distinct influences, but all sharing the same passion for 70´s genuine rock and metal music. In Blues For A Dying Planet, which features a classy cover illustration by Vadim Karasyov, cover and booklet design by Atmanoid, and cover photo by Björn Pettersson, the band brings forth an amalgamation of styles with a strong Psychedelic Doom Metal and Rock core essence, putting you in a trance and taking you to the golden years of rock, always spearheaded by the mesmerizing vocals by Frida.

An organ and the sound of the wind in the intro Black Hole Waltz ignite the feast of Rock N’ Roll and Heavy Metal named Awakening, with Jonas and Dan dictating the rhythm with their Iron Madein-ish riffs while Frida gives a lesson in passion and energy with her flamboyant vocals. Put differently, this rockin’ hymn has an old school Heavy Metal vibe that, when blended with its core Doom Metal essence, makes things even more captivating. Following such powerful start we have Dark Side of the Cross, a very good song to dance under the stars that leans towards the classic Doom Metal by Black Sabbath with a more whimsical Rock N’ Roll aura, also showcasing a great job done by Daniel with his intricate beats; and The Wizard’s Ball, where Frida keeps delivering sheer awesomeness through her charming and potent vocals, with the rest of the band keeping the music at a very pleasant and gripping pace, flowing smoothly until its climatic ending. Then it’s time to dance with Frida and the boys in Danse Macabre, a classic Hard Rock song with tons of psychedelic elements from Doom Metal added to its beautiful sonority, with Jonas and Dan blasting straightforward, old school guitar riffs that effectively help embellish the ambience.

Labyrinth of the Mind is perhaps the most Black Sabbath of all tracks, with a great balance between the heaviness of the guitar riffs and the gentle voice by Frida, resulting in a hypnotizing musicality perfect for closing your eyes and letting the band take you on a one-of-a-kind musical journey. In Shattered Hopes we’re treated to a hybrid between pure Psychedelic Rock and more contemporary Doom Metal and Hard Rock, uniting past and present through the riffs by the band’s guitar duo and the always fiery vocals by Frida; whereas the poetically-titled tune Left Is Right and Right Is Left Behind has its name translated into classic Rock N’ Roll with tons of psychedelia added to its mesmerizing waves. Furthermore, Eric with his solid bass lines and Daniel with his fierce beats create the perfect background for Frida to shine once again on vocals. And lastly, their feast of classy and gripping sounds is majestically concluded with the lesson in Psychedelic Rock and Metal named The Prisoner, a full-bodied voyage led by the heavy and very melodic guitars by both Jonas and Dan.

The enchanting voice by Frida and her Spiral Skies can be better appreciated through the band’s Facebook page and Spotify, and if you want to buy a copy of Blues For A Dying Planet and consequently have all that’s needed to prance around the fire pit under a moonlit sky, you can find the album on sale at the AOP Records’ BandCamp page or webstore, at the Nuclear Blast webstore, on iTunes or on Amazon. Although the 70’s might be long gone and everything is now just a distant memory, the music by bands like Spiral Skies is what keeps the spirit and passion of that golden decade burning bright inside our souls.

Best moments of the album: Awakening, Danse Macabre and The Prisoner.

Worst moments of the album: None.

Released in 2018 AOP Records

Track listing
1. Black Hole Waltz 1:25
2. Awakening 3:31
3. Dark Side of the Cross 4:04
4. The Wizard’s Ball 5:36
5. Danse Macabre 4:18
6. Labyrinth of the Mind 5:42
7. Shattered Hopes 3:18
8. Left Is Right and Right Is Left Behind 4:38
9. The Prisoner 6:02

Band members
Frida – vocals
Jonas – guitars
Dan – guitars
Eric – bass
Daniel – drums

Album Review – Xenoblight / Procreation (2018)

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A precious gem of Progressive Thrash and Death Metal made in Denmark, courtesy of an up-and-coming horde that’s more than ready to take the entire world of heavy music by storm.

Hailing from Silkeborg, a small city located in the middle of the Jutlandic peninsula in Denmark, here comes a new Extreme Metal horde that goes by the powerful name of Xenoblight, playing a multi-layered fusion of Progressive Thrash and Death Metal characterized by an intense and blistering atmosphere, while at the same time maintaining an apathetic and melancholic lyrical universe. Although the band is relatively new to the scene, being founded in the beginning of 2017, Xenoblight spent the following year carefully crafting their first record while playing only a limited number of shows before entering the studio, unleashing now in 2018 their debut opus Procreation.

Featuring an obscure and stylish artwork by Fendie Art, Procreation not only brings forward in its ten unrelenting and totally demolishing tracks what the band comprised of the she-demon Marika Hyldmar on vocals, Rasmus Tobias Clemmensen and Mikkel Jepsen on the guitars, Steffen Hagelskjær on bass and Thomas Halborg Madsen on drums is capable of, but it’s also a lesson in how to blend the best elements from old school and modern extreme music with tons of progressiveness and feeling, turning it into a must-have for any diehard fan of the music by renowned bands such as Behemoth, Cattle Decapitation, Gojira, Kreator, Skeletonwitch and Fleshgod Apocalypse, among several others.

In the intro Procreation the band offers the usual “calm before the storm” until they come crushing like a bulldozer in Descension, a crisp and modern display of Progressive Death Metal with a lot of punch where Marika begins gnarling the song’s lyrics in a beyond devilish way (“Behold our entitled savior / Spreading knowledgeable fumes / Binding hands with a single glance / Beredied for a stance… / …Entering the mortal realm / With stricts holds of selfproclaimed victories free from shame”), also showcasing a fantastic job done by Thomas with his piercing beats and fills. And Steffen Hagelskjær kicks off the dark tune Shapeshifter with his menacing bass, with the music morphing into a flammable hybrid of Thrash and Death Metal where Rasmus and Mikkel slash our ears with their heavy and metallic riffs.

Obsidian Chromatism is a traditional Progressive Death Metal creation where the entire band fires sheer aggressiveness, building the perfect stage for Marika and her demonic growls; whereas in the song that carries the band’s name, Xenoblight, we’re treated to three minutes of piercing sounds and nonstop beats and fills in a demolishing instrumental voyage, with highlights to the scorching guitar riffs by Rasmus and Mikkel. Then without giving us a single second to breathe Xenoblight keep blasting pure evil through their instruments in Nocturnal Manifestations, a frantic, furious and superb display of modern-day Thrash and Death Metal led by the enraged screams by Marika, with Thomas once again sounding brutally amazing on drums while Rasmus and Mikkel are bestial with their solos, followed by Transcendence, where a whimsical start morphs into another explosion of contemporary and vibrant Thrash and Death Metal, sounding like a hybrid between Exodus and Death. Moreover, Marika takes her insanity to a whole new level, making it the perfect opportunity for cracking your spine in half into the circle pit.

Kill Yourself. brings less than a minute of pulverizing Blackened Thrash Metal by the band, and even with such restricted amount of time in their hands they were capable of delivering a fun and electrifying tune, setting the stage for the full-bodied Predominance, led by the classic shredding by the band’s guitar duo. Furthermore, in this bold and thrilling 6-minute ode to devastation, Thomas not only is a beast on drums but the complexity of his beats is outstanding and, needless to say, Marika once again kicks us in the head with her hellish roars. And an instrumental start warms up the listener for the rabid harsh growls by Marika in the closing song Virus, perhaps the most progressive of all tracks, showcasing thrashier-than-hell, austere lyrics (“Delusional pesticides / Stand asunder / Tributing their gods / Keepers of the luminescent humanoid pollution”) in a display of first-class European Extreme Metal, also bringing gripping guitar lines and an extremely crisp drumming.

You can take a very good and detailed listen at this precious gem of Danish extreme music on Spotify, and follow the band on Facebook and on YouTube to keep up to date with all things Xenoblight. And in order to show your proper support not only to the band but to underground metal in general, you can purchase Procreation directly from the band’s BandCamp page or Big Cartel (as a regular CD version or as a CD + shirt bundle), as well as from iTunes or from Amazon. Xenoblight are set to take the world by storm with their incendiary debut opus, and if you consider yourself a true fan of extreme music you must have such incredible album on your hands. Because in the end, if you don’t buy it, I guess Marika and her henchmen will have to pay you a not-very-pleasant visit, if you know what I’m saying.

Best moments of the album: Shapeshifter, Nocturnal Manifestations, Transcendence and Predominance.

Worst moments of the album: None.

Released in 2018 Independent

Track listing
1. Procreation (Instrumental) 1:01
2. Descension 4:37
3. Shapeshifter 5:35
4. Obsidian Chromatism 4:46
5. Xenoblight (Instrumental) 2:57
6. Nocturnal Manifestations 6:58
7. Transcendence 5:16
8. Kill Yourself. 0:52
9. Predominance 6:22
10. Virus 5:31

Band members
Marika Hyldmar – vocals
Rasmus Tobias Clemmensen – guitar
Mikkel Jepsen – guitar
Steffen Hagelskjær – bass
Thomas Halborg Madsen – drums

Album Review – Preludio Ancestral / Oblivion (2018)

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A magnificent opus of epic-painted Power Metal with symphonic arrangements and amazing guitar work, where various guest musicians help give form to an album that will be a delight for any lover of the genre.

Formed back in 2005 by guitarist Leonardo Gatti in San Miguel, a city in the northwest region of Greater Buenos Aires located around 30km from the City of Buenos Aires, Argentina, Symphonic Power Metal band Preludio Ancestral has been making a name for themselves since their inception with a steady flow of high-quality releases, starting with the EP Silencio and the full-length album Hacia lo Inmortal, both in 2012, followed by the 2013 EP Putrefaction, the 2015 album Kybalion, and the 2016 album El Misterio de la Pasión Divina, gaining strong recognition not only in their native country, where they even opened for acts like Rhapsody of Fire and Stratovarius, but also everywhere where the epicness and electricity of Power Metal are admired.

Now in 2018 the band comprised of the aforementioned Leo Gatti on the guitars and keyboards, Ari Katajamäki on bass and Diego Camaño on drums are set to release a brand new album titled Oblivion, a magnificent opus of epic-painted Power Metal with symphonic arrangements and an awesome guitar work, where various guest musicians hailing from different parts of Argentina and Europe give form to an album that will be a delight for any lover of the genre. As a matter of fact, due to the fact that almost every song of the album has a different lead singer, Oblivion feels like three or four album in one, with the music always remaining fresh and captivating throughout its 10 distinct songs (or 12 if you purchase the special Japanese edition of the album).

Presagio is a cinematic intro that takes you to the world of Preludio Ancestral, where the flammable sound of the guitar by Leo and the unstoppable beats by Diego are joined by Alessio Perardi on vocals in King of Silence, a classic Melodic Power Metal tune the likes of Dragonforce and Stratovarius; followed by Storm, a Power Metal extravaganza led by the intricate drums by Diego with Enzo Donnarumma taking the vocal duties, while Leo and Ari bring tons of melody and feeling to the musicality. And Alessio is back on vocals for a fast and harmonious exhibit of modern-day Melodic Metal named Fear of Falling, showcasing all elements we love in this type of music. Furthermore, Ari is simply fantastic with his bass, smashing his strings mercilessly while guest keyboardist Gabliel Crisafulli embellishes the overall sound with his kick-ass solo.

With Fran Vázquez on vocals, Preludio Ancestral offer a mid-tempo, melodic tune titled Ready to Rock, leaning towards the darker and deeper metal crafted by icons such as Dio and Saxon. Moreover, can you feel those beats pounding inside your mind? Moving on with the album, the title-track Oblivion, featuring Juan Pablo Kilberg on vocals, could be part of a concept album due to its initial narration and pace, morphing into straightforward Power Metal the likes of Helloween and the early days of Sonata Arctica, with Juan Pablo also delivering a crisp guitar solo to make things even more epic. Then it’s time to slow things down a bit with a power ballad titled Universal Love, presenting more of the voice of Alessio Perardi, passionate solos by Leo and a dense background, but unfortunately with the overall result falling flat after a while.

In Reflection in the Wind they get back to a faster and more slashing musicality, presenting a solid instrumental base by Leo, Ari and Diego that sets the perfect stage for Kimmo Perämäki to thrive on vocals. This is one of those songs to sing along with the band wherever you are, not to mention another spectacular keyboard solo by Gabliel Crisafulli. In Dust World, a classic mid-tempo tune led by the powerful riffs by Leo, Alessio Perardi returns for one last breath of his potent vocals, while Ari and Diego keep the atmosphere as thunderous as it can be, before the closing act in Oblivion, titled Metal Walls, brings Daniel García on vocals in what can be considered the most modernized of all tracks, displaying elements from distinguished styles such as Alternative, Industrial, Dark Metal and Hard Rock, and let me tall you that the final result is above all expectations, in special due to the amazing job done by Leo on keyboards.

In summary, Oblivion (available for a full listen on Spotify) will not only cement the name of Preludio Ancestral as one of the best and most professional bands from this new wave of Symphonic and Power Metal in their homeland, but it will also help the band spread their wings and reach higher grounds in the world of heavy music. And if you wan to show your honest support to such up-and-coming act, simply go check their Facebook page and YouTube channel for news and other shenanigans, and purchase Oblivion through the band’s own BandCamp page, through the Xtreem Music webstore, through the Spiritual Beast webstore, or on Amazon. May the power of Heavy Metal be with Preludio Ancestral anywhere they go, and may other bands from Argentina and South America follow their steps and deliver more metal music to fans tired of having bad and fake music shoveled down their throats by their local TV shows, radio stations, and websites.

Best moments of the album: King of Silence, Fear of Falling and Reflection in the Wind.

Worst moments of the album: Universal Love.

Released in 2018 Fighter Records/Spiritual Beast

Track listing
1. Presagio 1:04
2. King of Silence 3:49
3. Storm 4:02
4. Fear of Falling 4:30
5. Ready to Rock 3:45
6. Oblivion 5:07
7. Universal Love 4:24
8. Reflection in the Wind 3:31
9. Dust World 4:49
10. Metal Walls 5:35 

Japanese Edition bonus tracks
11. Like A Star (New Version) 3:31
12. No Man’s Land 3:27

Band members
Leonardo Gatti – guitars, keyboards
Ari Katajamäki – bass
Diego Camaño – drums

Guest musicians
Alessio Perardi – vocals on “King of Silence”, “Dust World”, “Fear of Falling” and “Universal Love”
Fran Vázquez – vocals on “Ready to Rock”
Daniel García – vocals on “Metal Walls”
Juan Pablo Kilberg – vocals on “Oblivion”
Raffaele Raffo Albanese – vocals on “No Man’s Land”
Kimmo Perämäki – vocals on “Reflection in the Wind”
Enzo Donnarumma – vocals on “Storm”
Gabliel Crisafulli – keyboards solos on “Oblivion”, “Reflection in the Wind” and “Fear of Falling”
Juan Pablo Kilberg – guitar solos on “Oblivion”
José Paz – keyboards on “Presagio”

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

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

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

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

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

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

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

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

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

Worst moments of the album: Relive.

Released in 2018 Independent

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

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

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

Album Review – Kaos Reign / Epiphany (2018)

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

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

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

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

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

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

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

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

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

Released in 2018 Independent

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

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

Album Review – Mad Agony / Mad Patrol (2018)

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

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

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

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

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

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

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

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

Worst moments of the album: Let Me Die.

Released in 2018 Independent

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

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

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