Category Archives: 2018 New Releases

Album Review – Ritual Aesthetic / Wound Garden (2018)

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One of Denver’s most promising metal outfits returns with a hard-hitting album of terrifying digital aggression, blending melodic dance rhythms, harsh metal guitars and dark experimental noise atmospheres.

Formed in 2013 in Denver, Colorado, in the United States by Sean Ragan (also known as Sean Von Helvete), who was drumming for Los Angeles-based Industrial/Melodic Black Metal band Dawn of Ashes at that time, Industrial Metal outfit Ritual Aesthetic returns in 2018 with their second full-length installment titled Wound Garden, not only a follow-up to their 2014 debut release Decollect, but more important than that, a highly recommended album of terrifying digital aggression for fans of the most demented form of industrial music, blending melodic dance rhythms, harsh metal guitars, aggressive EBM styled vocals and dark experimental noise atmospheres.

What was born as a solo project by Sean quickly evolved into a full-bodied mechanized beast, now featuring the aforementioned Sean on vocals, Grant Nachbur on the guitar, Daniel Combs on bass and Jeremy Portz on drums, delivering high-quality, berserk Industrial Metal through their sharp instruments. Written by Sean and Jeremy together with Alex Crescioni and Ron Hutchinson, engineered by Sean in Denver, and mixed and mastered by Alex Crescioni at Stygian Sound in Los Angeles, Wound Garden is a step forward in the career of Ritual Aesthetic, showcasing a focused and talented band that definitely knows how to effectively travel between the worlds of electronic and metal music, always sounding fresh, vibrant and insane for our total delectation.

An ominous and mechanized intro named Stasis kicks off the album by setting the stage for the sonic onrush entitled Life Amnesia, where the quartet gives a lesson in lunacy, blasting piercing, industrialized sounds spearheaded by Sean and his eccentric roars. Furthermore, the song’s background electronic effects help boost its impact even more, not to mention Jeremy’s assembly line-like pounding beats. And The Analog Flesh feels almost like an ode to the thunderous music by giants like Ministry, Nine Inch Nails and Fear Factory, blending the most powerful elements from Industrial Metal and Neue Deutsche Härte, with the guitar lines by Grant being at the same time very subtle but as venomous as hell.

And it looks like their wicked party has no time to end, as they blast another dense and disruptive Industrial Metal tune titled Divided, where the guitars and background keys create an interesting paradox of sounds while Sean continues his ode to madness through his raspy growls; followed by the slower, darker and more demonic Dread, showcasing creepy guitar lines and vocalizations, as well as a heavy as hell atmosphere, cutting our skin deep from the very first second just like what happens in Malefaktor, a modernized wall of industrial and robotic sounds and noises. Throughout this insane tune, Daniel and Jeremy beautifully generate a rumbling and Stygian base for Sean and his demented vocals.

If you think their regular music is not weird enough for your twisted mind, you’ll have a sonic orgasm with the rest of the album, where Ritual Aesthetic offer the best of the metal and electronic worlds combined. The first remixed tune of this wicked combo is called Mechanism Of Desire (Electronic Substance Abuse Remix), being highly recommended for lovers of pure industrial and electronic music, sounding as crazy and eccentric as it can be with the help of their friends from British Industrial Noise project Electronic Substance Abuse. Then it’s time for American Industrial Metal act Seraphim System to experiment with Ritual Aesthetic’s music in Chemical Weapons (Seraphim System Remix), also bringing forth a metallic, industrialized extravaganza of sounds, almost like the soundtrack to a horror movie. And last but not least, it’s American Dark Electro entity Xentrifuge who adds huge dosages of electricity to the song Amnesiac (Xentrifuge Remix), with Sean’s vocals matching perfectly the music proposed.

In a nutshell, if you’re searching for a crisp and heavy alternative in the world of Industrial Metal, Ritual Aesthetic are among us to offer you exactly what you’re craving in the form of Wound Garden, which by the way is available for a full listen on YouTube. Hence, don’t forget to show your support to such distinct entity from the always fruitful underground Industrial Metal scene by paying a visit to their official Facebook page, and grab your copy of the album from the band’s own BandCamp page, from the Cleopatra Records webstore, from iTunes or from Amazon. And then, as soon as you have Wound Garden on your hands, let your soul be embraced by its hard-hitting mechanized sounds. You won’t regret having that wicked experience at all.

Best moments of the album: The Analog Flesh and Divided.

Worst moments of the album: Dread.

Released in 2018 Cleopatra Records

Track listing 
1. Stasis 1:29
2. Life Amnesia 4:27
3. The Analog Flesh 3:32
4. Divided 4:33
5. Dread 3:12
6. Malefaktor 4:33
7. Mechanism Of Desire (Electronic Substance Abuse Remix) 6:58
8. Chemical Weapons (Seraphim System Remix) 3:23
9. Amnesiac (Xentrifuge Remix) 5:11

Band members
Sean Ragan – vocals
Grant Nachbur – guitar
Daniel Combs – bass
Jeremy Portz – drums

Album Review – Striker / Play To Win (2018)

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Blending classic Heavy Metal, Hard Rock, Power Metal and 80’s Hair Metal, one of the biggest exponents of contemporary Canadian metal music strikes once again with a brand new album, always playing to win.

Champions in blending classic Heavy Metal, Hard Rock, Power Metal and 80’s Hair Metal, Canadian shredders Striker are back with another good album titled Play To Win, the sixth in their undisputed career and a follow-up to their two previous award nominated winning albums, their 2017 breathtaking self-titled opus Striker (nominated for a JUNO award, winner of an Edmonton Music Award and Western Canadian Award) and the WCMA + EMA award winning album Stand In The Fire, released in 2016. That means this Edmonton-based squad comprised of frontman Dan Cleary, guitarists Tim Brown and Chris Segger, bassist William Wallace and drummer Adam Brown has been on an absolute roll in the past few years, not only delivering first-class metal for our total delight, but also spreading their music live across Europe and North America with bands like Sonata Arctica, Dark Tranquility and Warbringer, along with festival appearances at 70,000 Tons of Metal and Bang Your Head Festival, proving why they’re already considered one of the biggest exponents in contemporary Canadian Heavy Metal.

Mixed and Mastered by Hendrik Udd at Hendrik Udd Recording Studios, and featuring not only an old school artwork by Elvis Amaral (HipnoFX Audiovisual), but also the fantastic Randy Black (Annihilator, Primal Fear, Destruction) as a session drummer, who by the way also recorded the album Stand in the Fire with the band, Play To Win will please all fans of traditional metal and rock, keeping the name of Striker relevant and strong in the scene. “Play to Win: if you want to win you have to play the game. Find the rules and break them. This is our 6th album and 3rd independent release. If we followed the rules and listened to the industry people we’d have gone absolutely nowhere. Play To Win is about listening to yourself, following your own path, and playing that 5th ace hidden in your sleeve. This album is designed to light a fire under your ass and get you moving, and we made sure to get the most modern, ear melting sounds possible. It’s all about where metal is going, not where it has been, and this is our soundtrack to success,” commented Tim about the album.

And Tim and Chris begin slashing and shredding their strings from the very first second in the opening tune Heart of Lies, where the band delivers their usual ass-kicking fusion of Heavy Metal and Hard Rock, with Dan declaiming the song’s chorus beautifully (“Another victim to a heart of lies / Can’t see the truth behind those venom eyes / Another victim to a heart of lies / On deaf ears will fall the eagle’s cry”). Then leaning towards pure 80’s Hard Rock and Glam Metal, in special the crisp and passionate vocal lines by Dan, we have Position of Power, with William and Randy maintaining a solid and rumbling background throughout the entire song; followed by Head First, a good song that gets a bit too commercial at times, but that obviously brings Striker’s old school punch, sounding very rhythmic, groovy and melodic. In addition, Tim and Chris are once again on fire with their riffs and solos, making it a highly recommended addition to your road trip playlist.

Blending the music by Iron Maiden with Motley Crüe, Stratovarius and Van Halen, which in the end resulted in sheer awesomeness, Striker offer us the thrilling On The Run, showcasing a brilliant vocal performance by Dan while William keeps extracting that metallic sound we all love form his bass, whereas The Front is another classic song by Striker, also feeling as it was taken from an 80’s Hair Metal album. It’s a bit too smooth compared to the sonic massacre from their previous albums, but the crisp sound of the guitars and the precise beats by Randy make it very enjoyable and fun. The title-track Play To Win, a mid-tempo feast of rockin’ sounds, sounds even more inspired by the golden years of Hard Rock than ever, with the guitar riffs and solos by both Tim and Chris getting sharper and groovier, and albeit its lyrics are extremely cheesy, the message the band wanted to send is there (and that’s what really matters in the end). Then despite the excellent vocals by Dan, its tuneful guitar solos and a pleasant vibe, the power ballad Standing Alone never really takes off, getting way too mellow compared to what Striker are capable of doing.

Back to a heavier and more epic sonority, those talented Canadian metallers fire an electrified Heavy Metal and Hard Rock tune entitled Summoner, inspired by many classics by Iron Maiden, Judas Priest and other behemoths from the NWOBHM, also presenting the best guitar work of the entire album in my opinion. In Heavy Is The Heart the band shows how to do a proper power ballad, bringing passion to the musicality without forgetting the always needed dosages of electricity and rage, again presenting an inspired Dan leading his bandmates from start to finish. However, the closing tune Hands Of Time is another generic song that sounds and feels extremely soft if you’re a longtime fan of Striker, lacking the same potency and kick from their already classic tunes. Put differently, it’s far from being a bad song, but as we all got used to a lot heavier riffs and faster beats by Striker it’s hard to truly relish it.

As a huge fan of their self-titled album released last year, which I personally considered one of the best metal albums of 2017, I felt slightly disappointed with the final result in Play To Win. Nothing to worry about, though, as I guess I’m being too harsh on the guys from Striker, almost “demanding” that they had released another Heavy Metal masterpiece instead of actually enjoying their new album. There’s still a lot of top-of-the-line music to savor in Play To Win, available from their official website as a digital download or as a special edition CD, as well as from iTunes and Amazon, and you can also follow the band on Facebook, subscribe to their YouTube channel and listen to more of their music on Spotify (if you don’t do all that already). Striker are a band that keeps winning no matter what with each and every release (despite singing in their previous album that they were “born to lose”), and the flame of Canadian metal will remain alive and vibrant while we have those skillful metalheads from Edmonton among us, always playing to win.

Best moments of the album: Heart of Lies, On The Run and Summoner.

Worst moments of the album: Standing Alone and Hands Of Time.

Released in 2018 Record Breaking Records

Track listing
1. Heart of Lies 4:04
2. Position of Power 3:41
3. Head First 4:02
4. On The Run 3:52
5. The Front 4:02
6. Play To Win 3:49
7. Standing Alone 4:56
8. Summoner 4:04
9. Heavy Is The Heart 4:54
10. Hands Of Time 3:47

Band members
Dan Cleary – lead vocals
Tim Brown – lead and rhythm guitar
Chris Segger – lead and rhythm guitar
William Wallace – bass
Adam Brown – drums

Guest musician
Randy Black – drums (session)
Lindsay Robinson, John Kennedy and Nathan Schadeck – gang vocals

Album Review – Violent Life Violent Death / Come, Heavy Breath EP (2018)

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Take a deep breath and enjoy a vicious and nostalgic feast of heavy sounds made in the United States, proving modern-day Metalcore can be just as pulverizing as old school extreme music.

Hailing from Charlotte, the most populous city in the U.S. state of North Carolina, the incendiary Metalcore unity known as Violent Life Violent Death made their mark in late 2016 with the release of their first studio offering, V-EP, a five-track vicious, nostalgic effort blending the most visceral elements of Metalcore with hints of heavier-than-hell genres such as Thrash and Death Metal. Now in 2018 the band formed by vocalist Scott Cowan, guitarists Joseph Benham and Joey Park, bassist Justin Campbell and drummer David Holquin returns with a refreshed and even more ruthless contribution in the form of their second release, a brand new EP entitled Come, Heavy Breath, proving modern-day Metalcore can be just as pulverizing as old school extreme music.

“Our goal was to create a piece of music that had nostalgic qualities to it but with a new-school edge. Having spent some time in other bands has definitely helped create the sound we have adapted with this band, as we took a good look into what we feel has worked and not worked for us in the past and narrowed it down,” said Violent Life Violent Death, also explaining a little more the concept behind their new EP. “With Come, Heavy Breath, we really wanted to illustrate moments of fervor that draw a gasp, or, a heavy breath, as the title depicts. These are the moments of awe that we each experience in life, whether they be conjured through excitement, joy, sadness, loss, lust, love, wonder, etc., while bringing them each to life through our music in as straight forward of a manner possible, demanding the attention of the listener.”

The title-track Come, Heavy Breath, an austere and dynamic Metalcore tune tailored for disturbing the peace of your neighborhood, couldn’t have started in a more distorted and violent way, with Scott beginning his growling attack while Justin and David generate a brutal neck-breaking ambience with their metallic weapons, whereas in Backbiter the band puts pedal to the metal in a sonic onslaught of contemporary Metalcore infused with Melodic Death Metal and traditional Death Metal elements, with the guitar duo Joseph and Joey being on absolute fire with their crushing riffs while Scott screams almost like if he was not human. Put differently, this magnificent song lives up not only to the band’s own name, but also to the legacy of the most violent forms of Metalcore and Hardcore. And in Rot they keep the level of aggressiveness and destruction extremely high, with the razor-edged sound of the guitars inspiring us all to slam into the pit while David also adds his touch of adrenaline to the music through his fierce and straightforward beats.

Mourn is another tune perfect for cracking your spine in half headbanging and for jumping up and down with the band, with the vocals by Scott sounding even more deranged and furious, making it quite impossible to stand still to such demonic display of modern metal music, and there’s no sign of the band slowing down as we face the next song in the EP, entitled Lovers/Deceivers. Quite the contrary, Violent Life Violent Death blast sheer aggression from their instruments, with highlights to the amazing synchronicity between David’s beats and Joseph and Joey’s infernal riffs. And as the last act in Come, Heavy Breath it’s time to roar and gnarl together with Scott during the six minutes of classy Metalcore featured in the song Narcissist, bringing some welcome elements and nuances from Thrash Metal, which in the end translates into an accelerated pace, groovier bass lines, and obviously not a single second of peace, with Joseph and Joey sounding crisp, raw and very melodic at the same time until the music fades into a somber and menacing finale.

After all is said and done, the excellent Come, Heavy Breath, which is by the way available for a full listen on YouTube, will certainly help Violent Life Violent Death cement their name as one of the most promising (and one of the heaviest) Metalcore acts of the past few years, leaving us eager for more of their flammable music. And in order to show your support to those five metallers from Charlotte, you can go check what they’re up to on Facebook, subscribe to their YouTube channel, and purchase Come, Heavy Breath from their own BandCamp page or Big Cartel, as well as from iTunes or Amazon. And when you have the album on your hands, simply take a deep, heavy breath and enjoy Violent Life Violent Death’s chaotic onrush of sounds just the way the band itself expects you to do.

Best moments of the album: Backbiter and Mourn.

Worst moments of the album: None.

Released in 2018 Independent

Track listing 
1. Come, Heavy Breath 3:51
2. Backbiter 3:39
3. Rot 2:50
4. Mourn 3:41
5. Lovers/Deceivers 2:10
6. Narcissist 6:05

Band members
Scott Cowan – vocals
Joseph Benham – guitar
Joey Park – guitar
Justin Campbell – bass
David Holquin – drums

Album Review – Soul Attrition / Vashon Rain (2018)

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A vibrant and very professional exhibit of pummeling riffs and haunting melodies by a one-man band from Chicago, integrating components of Sludge and Post-Metal with nuances from several other rock and metal styles.

If you only know one-man bands that play the most visceral and aggressive form of Black Metal, the fusion of Sludge Metal and Post-Metal blasted by American multi-instrumentalist Josh Parlette (bass player for Chicago-based Sludge/Noise trio Escape is not Freedom) under his brand new solo project Soul Attrition might change the way you see the work of those lone rangers of heavy music. Highly influenced by renowned acts such as Alice in Chains, Nirvana, Tool, Deftones and Soundgarden, among others, Josh spent the winter of 2017/2018 recording songs for what would become his debut album under the name Soul Attrition, titled Vashon Rain, integrating components of Post-Metal, Grunge, Doom, Sludge and Alternative Metal and Rock with a focus on pummeling riffs and haunting melodies in order to create both an emotive and driving sound.

All guitars, bass, percussion programming and vocals in Vashon Rain were performed by Josh himself, with the production of the album being  performed by Shane Hochstetler at Howl Street Recordings, in  Milwaukee, while the mastering was performed by Carl Saff at Saff Mastering, in Chicago. And all the hard work and dedication Josh put into creating Vashon Rain paid off, with the final result sounding not only very professional and crisp, but you can easily savor every single note extracted from each instrument, making the experience of listening to his debut solo album a lot more entertaining and pleasant.

As soon as you hit play, distorted guitar lines set the tone in the opening track Sinking, being gradually joined by low-tuned bass lines, sluggish beats and anguished vocals, resulting in an embracing fusion of the music by Nirvana, Tool and Deftones and sounding as dark and melancholic as it can be. The following track, titled Thirteen, is just as dense as its predecessor, being the perfect soundtrack for an obscure B-side thriller with Josh once again delivering razor-edged riffs and demented vocal lines in over five minutes of top-tier modern-day Sludge Metal. Moreover, it’s just impressive how organic the programmed drums feel, showcasing the amazing job done by Josh in this field. And melancholy flows from his strings in another somber tune titled Remission, an underground and raw version of the music played by Nirvana with hints of Doom Metal and Post-Metal. Furthermore, it has a truly mesmerizing vibe thanks to the interesting mix of clean, melodic vocals and slow and steady beats, ending in an absolutely serene and gloomy way.

Then we have metallic bass lines, fierce beats and endless melancholy flowing from the guitar riffs in another Post-Metal exhibit by Josh and his Soul Attrition entitled Fatal Flaw, with the music growing in intensity until it reaches a more aggressive stage than all previous songs, flowing back and forth in a sea of tranquility and rage. Acoustic guitar lines dictate the rhythm in the instrumental title-track Vashon Rain, before Unexpected Affront comes crushing our souls with its cryptic words, eerie atmosphere and delicate pace, once again evolving into a wicked feast of Sludge and Post-Metal sounds and tones with its breaks and variations making it feel like two or three songs in one. And the last blast of melancholy and pain by Soul Attrition comes in the form of a contemporary fusion of rock and metal titled Euclid, with its sluggish rhythm being led by the steady sound of drums blended with Josh’s introspective vocals, generating an enfolding ambience and, therefore, closing the album in a serene manner.

You can get more details about the work by this lone wolf of Sludge and Post-Metal by visiting Soul Attrition’s Facebook page, and if the music played by Josh is your cup of tea you can grab your copy of Vashon Rain directly from the project’s BandCamp page, from CD Baby or from Amazon. Soul Attrition might just be Josh’s newborn baby at the moment,  but based on the high quality of the music and the utmost professionalism found in Vashon Rain, we can rest assured the project will keep growing and evolving, perhaps even becoming a full-bodied band in the future. And at least for now we can sit down, relax and enjoy this excellent album of rock and metal music from the always vibrant Chicago independent scene.

Best moments of the album: Thirteen and Fatal Flaw.

Worst moments of the album: None.

Released in 2018 Independent

Track listing    
1. Sinking 4:56
2. Thirteen 5:20
3. Remission 7:52
4. Fatal Flaw 5:12
5. Vashon Rain 2:11
6. Unexpected Affront 7:02
7. Euclid 6:39

Band members
Josh Parlette – vocals, guitars, bass, percussion programming

Album Review – Nachtlieder / Lynx (2018)

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Witness the lynx, the antagonist of the antagonists and a symbol for knowledge and clairvoyance, in the form of the beastly Black Metal by Dagny Suzanne’s alter-ego, sticking its claws deep inside your flesh.

Our beloved Swedish Valkyrie of Black Metal, the talented multi-instrumentalist Dagny Suzanne, is finally back with her incendiary alter-ego Nachtlieder three years after the release of the excellent The Female Of The Species, showcasing another evolutionary step in her interesting and fruitful career with her third full-length album, simply titled Lynx. Once again accompanied by Martrum on drums, and with the fantastic support of the skillful Déhà (Musical Excrements), who not only provided some additional vocals and noises on the album but who also produced, mixed and mastered it, Nachtlieder will stick her claws deep inside your flesh with Lynx, proving her creativity and energy are soaring at this stage of her life.

Featuring a beautiful cover art based on a painting named Guldnyckeln by John Bauer, from 1915, and a digipack booklet portrait of Dagny by I Breathe Needles, the title of the album refers to the lynx as the antagonist of the antagonists (the wolves) and also as a symbol for knowledge and clairvoyance. The theme of the album is largely death and solitude, with many references to the lynx in cultural history, as well as to science in general. In other words, our Gothenburg-based she-wolf doesn’t just deliver high-quality music for our avid ears, but there’s also a lot to savor and learn in Lynx, one of those albums that you’ll get addicted to from the very first second without even noticing.

Distorted, wicked noises ignite a Black Metal feast entitled Claws and Bone, feeling more melodic and dissonant than the project’s previous albums, with Dagny sounding beautifully hellish and somewhat cryptic on vocals and on the guitar while Martrum adds a welcome dosage of intricacy to the music with his beats. Then we have the furious title-track Lynx, a song that grows in intensity until it reaches a pulverizing and mesmerizing tone, with the strident guitars by Dagny being flawlessly complemented by Martrum’s classic Black Metal beats and fills, resulting in a full-bodied sonority tailored for fans of modern-day Extreme Metal; followed by Song of Nova, an explosion of dark, crisp and low-tuned tones embellished by harmonious background elements, also presenting some welcome neck-breaking passages and Dagny’s usual poetic lyrics, giving even more depth to her already exhilarating music (“Dark frequencies, succumb to by every beast / As nova has swallowed the last light / And resigns / Their limbs tremble as the chords are strung / Fragile glass that shatter / Shards that dissolve into dust”).

The next tune, titled Nameless, Faceless, presents a creepy intro showcasing dark vociferations by Dagny, evolving into classy Scandinavian Black Metal with a superb job done by Dagny with both her slashing guitar lines and rumbling bass lines, flowing smoothly and powerfully from start to finish, whereas Law of Decay is a first-class, infuriated display of flammable and straightforward Black Metal, offering the listener a massive wave of classic riffs, unstoppable beats and those demonic, Stygian growls we all love so much in this type of music. And Dark Matter sounds closer to the music found in her two previous albums, especially the sound of the guitars and the hypnotizing music structure and pattern, with all instruments emanating metallic sounds that end up creating an enfolding atmosphere that will certainly captivate all your senses.

Eyes Ablaze, which brings forward what’s perhaps the most carnivore lyrics of the whole album (“Eyes, eyes staring in the dark in the misty night, eyes ablaze / Only star and spectre / Dare to meet my gaze / Claw, clawing round the walls round the bodies of the game / For carnage and grim sight / I will be to blame / Teeth, teeth sunken into meat into warm flesh, then like a flood / Fallen sheep and hound / Lapping blood”), is a rip-roaring Black Metal onrush that will leave you absolutely disoriented, showcasing an amazing performance by Martrum on drums while Dagny’s scorching riffs and visceral gnarls will crush your soul. And last but not least we have Moksha (a term in Hinduism, Buddhism and Jainism which refers to various forms of emancipation, liberation and release), bringing more of Dagny’s unparalleled music combined with the precision and complexity of Martrum’s drumming, therefore offering the listener over six minutes of classic Black Metal with a fresh twist, with all instruments getting heavier, darker and more piercing as the music progresses before all devastation gives place to a somber and atmospheric ending.

In summary, like what happened with Nachtlieder’s self-titled debut album in 2013 and The Female of the Species in 2015, Lynx is more than just a detailed and thrilling album of classic Black Metal, becoming Dagny’s outlet to the outside (and always dangerous) world we live in, and due to those additional layers the album ends up growing on you with each and every listen, revealing to your ears and mind previously unexplored grounds and nuances. Hence, if you want to venture through the realms of Natchlieder and Lynx deeper and deeper, you can enjoy the full album on YouTube and on Spotify, but of course the most recommended way to do so is by purchasing the album from Nachtlider’s BandCamp page, as well as from iTunes, Amazon and Discogs, always keeping an eye on the project’s official Facebook page for news and other nice-to-know details. As the beast called Lynx has just been unleashed upon humanity, the only thing that’s left for us to do is succumb to its music and energy, all in the name of meaningful extreme music.

Best moments of the album: Song of Nova, Law of Decay and Eyes Ablaze.

Worst moments of the album: None.

Released in 2018 Nigredo Records

Track listing 
1. Claws and Bone 4:31
2. Lynx 3:52
3. Song of Nova 5:22
4. Nameless, Faceless 5:04
5. Law of Decay 4:25
6. Dark Matter 4:47
7. Eyes Ablaze 3:56
8. Moksha 6:19

Band members
Dagny Susanne – vocals, all instruments

Guest musicians
Martrum – drums
Déhà – additional vocals, noise

Album Review – Beyond Carnage / Profane Sounds Of The Flesh EP (2018)

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Aiming at creating a heavy and apocalyptic noise, with their old school Death Metal inspirations generating a filthy and powerful landscape, here comes a promising Portuguese horde crushing us all with their pulverizing debut opus.

Founded in the year of 2015 in the Portuguese capital Lisbon under the name Extreme Carnage, the pulverizing Death Metal five-piece horde known as Beyond Carnage has just released their debut opus, a five-track EP entitled Profane Sounds Of The Flesh, conceived with the aim to create a heavy and apocalyptic noise, with their old school Death Metal inspirations generating a filthy and powerful landscape. Having two of its tracks strongly inspired by the works of H.P. Lovecraft as well as European pagan legends, while the rest of the EP relies on an apocalyptic vision with a blackened atmosphere trapped in a paradox of organized chaos, Profane Sounds Of The Flesh is an amazingly aggressive welcome card by Beyond Carnage, accrediting the band as one of the most interesting new names of the Portuguese extreme music scene.

And the band comprised of vocalist João Colosso, guitarists Luís Correia and João Amado, bassist Inês Coelho and drummer Luis Abreu waste no time in their quest for Death Metal, as it’s time for total devastation with this talented Portuguese act to the sound of the opening track Infectious Parasitic Fungal God, with João Colosso almost vomiting the lyrics with his cavernous growls, while the band’s guitar duo will crush your spine with their demented riffs, bringing pure old school Death Metal for your avid ears. Then in the mid-tempo, demonic tune titled Necro Wizard, simply break your goddamn neck to the sluggish beats by Luis and the heavy and scorching guitar riffs, with Inês adding her personal dosage of obscurity to the music with her low-tuned bass.

And the band offers more of their straightforward Death Metal in Curse Of The Burning Rain, pounding their instruments like creatures of the dark, with the deep growls by João Colosso becoming as devilish as they can be, urging us all to slam into the pit to the sonic havoc blasted by the entire band. After such demented level of destruction, we have the even more disturbing Prophecy From A World Beyond, inspired by classic Death Metal the likes of Unleashed and Six Feet Under, with the band’s stringed trio Luis, João Amado and Inês giving a lesson in violence and gore, sounding raw and aggressive just the way we like it (not to mention João Colosso’s vile and putrid roars). And closing the album we have more of the band’s reverberating Death Metal with the song R´lyeh, Mother Of All Abominations, another killer metal feast where Luis showcases an amazing performance on drums, alternating between more rhythmic, potent beats and faster passages.

As previously mentioned, Profane Sounds Of The Flesh, available for a full listen on YouTube or on Spotify, has all the elements needed to turn it into a mandatory listen for fans of underground Death Metal, being an exciting sample of what we can expect from Bayond Carnage in the near future. In order to show those Portuguese metallers your support, go check what they’re up to on Facebook, subscribe to their YouTube channel, and obviously purchase Profane Sounds Of The Flesh directly from their BandCamp page, as well as from the Firecum Records’ webshop or from Discogs. In the end, you’ll feel disoriented and completely smashed after listening to the 25 minutes of brutality blasted by Beyond Carnage throughout the album, exactly what your metal soul was craving, as that’s what good Death Metal is all about.

Best moments of the album: Curse Of The Burning Rain and Prophecy From A World Beyond.

Worst moments of the album: None.

Released in 2018 Firecum Records

Track listing 
1. Infectious Parasitic Fungal God 5:18
2. Necro Wizard 4:40
3. Curse Of The Burning Rain 5:07
4. Prophecy From A World Beyond 3:41
5. R´lyeh, Mother Of All Abominations 7:02

Band members
João Colosso – vocals
Luís Correia – guitars
João Amado – guitars
Inês Coelho – bass
Luis Abreu – drums

Album Review – Paths / In Lands Thought Lost (2018)

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An impending opus of Scandinavian-inspired Black Metal infused with the bitterly cold and somber sounds of the Pacific Northwest, generating a stunning and vicious atmosphere that will beautifully embrace your soul.

Formed in 2013 in the city of Victoria, in the Canadian province of British Columbia, by vocalist and multi-instrumentalist Michael Taylor, Atmospheric Black Metal project Paths has evolved from its psychedelic-laced Black Metal beginnings to embrace more of a grand in scope atmosphere, more properly upholding and defining the beauty of their surroundings through the dense music they create. Hence, that evolution in the music by Paths is beyond clear with their impending third full-length album, entitled In Lands Thought Lost, a powerful and dense fusion of Scandinavian-inspired Black Metal with the bitterly cold and somber sounds of the Pacific Northwest, generating a stunning and vicious atmosphere that will beautifully embrace your soul.

Featuring an austere artwork by Sólfjall Design, as well as Austin Lunn from Panopticon as a sessions drummer (who by the way volunteered to re-record drums for the album to replace Michael’s carefully constructed synthetic drums for a more organic result), In Lands Thought Lost can be considered the most stylistically developed full-length from this crushing musical entity known as Paths, uniting melody and atmosphere in a puissant Black Metal vibe that summons your spirit back to the 90’s in each of its five distinct but thoroughly connected songs, showcasing how focused Michael was when writing this amazing album of extreme music.

In the opening track, a multi-layered and visceral creation titled Nights Tomb, a short intro explodes into brutal and atmospheric extreme music, with Michael becoming a beast with his demonic gnarls and crushing riffage while Austin makes sure the music flows demonically with his blast beats, invading your mind like a giant dark wave of sounds. Then we have To Brave The Storm, another classic and vibrant Atmospheric Black Metal extravaganza sounding and feeling more melodic and anguished than its predecessor, with Michael being flawlessly supported by the unstoppable Austin and his rhythmic beats and fills, with the song’s visceral guitar lines emanating a mesmerizing and creepy vibe from start to finish. And the song’s abrupt finish sets the stage for the melancholic Creaking Boughs, also traveling through the realms of modern Atmospheric Black Metal, with the intensity of the beats growing together with the lancinating growls by Michael, who also fires some delicate guitar solos embraced by the song’s furious ambience. Furthermore, a gentle break provides the listener some time to breathe, before the music once again bursts into blackened sounds and tones.

The following tune, entitled The Everbright Land, kicks off in full force with Austin taking the lead with his demolishing beats, while Michael makes sure his growls and gnarls are in total sync with his obscure guitar lines and background phantasmagorical keys. Moreover, his bass lines also bring thunder to the musicality in the most Black Metal of all songs, with the music remaining disturbing, harmonious and electrifying in its entirety for our total delight. And finally, ethereal sounds ignite the longest and most intricate of all songs, South Ever South, blending the introspection of Doom Metal with the band’s characteristic Atmospheric Black Metal, with its bass lines presenting a mournful tone in contrast with the enfolding sound of the keyboards. Sometimes their most Black Metal side dictates the rhythm, sometimes it’s their doom-ish and atmospheric vein that takes the lead, until desolate and Stygian sounds put a climatic end to Paths’ obscure journey.

In summary, In Lands Thought Lost is not only a top-of-the-line album of Atmospheric Black Metal highly recommended for fans of the genre, but the precision and dedication the mastermind behind Paths, the aforementioned Michael Taylor, put in the development of the album is so compelling to the point all of us fans of extreme music should start beginning him to turn Paths into a full-bodied group or at least into a live band, allowing us to admire his music in the most organic way possible, which is on stage. I have no idea if that’s ever going to happen, but we can all go “bother” Michael on the project’s official Facebook page, and of course inspire him to write more music by purchasing In Lands Thought Lost as soon as the album becomes available on the Bindrune Recordings’ BandCamp and webstore in digital format or as a red vinyl (limited to 500 copies). As a matter of fact, if you’re an admirer of Atmospheric Black Metal, I’m pretty sure you’re already well aware of that, eager to have such inspiring album on your metallic hands.

Best moments of the album: Nights Tomb and The Everbright Land.

Worst moments of the album: None.

Released in 2018 Bindrune Recordings

Track listing    
1. Nights Tomb 7:32
2. To Brave The Storm 8:40
3. Creaking Boughs 8:43
4. The Everbright Land 9:11
5. South Ever South 12:33

Band members
Michael Taylor – vocals, all instruments

Guest musician
Austin Lunn – drums (session)

Album Review – Stormzone / Lucifer’s Factory (2018)

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Featuring mysterious places and characters from the Northern Ireland folklore, the new album by this Belfast-based band will take you on a journey back to the golden years of Heavy Metal and Hard Rock.

What was born as a studio project in 2004 in Belfast, Northern Ireland’s capital, by vocalist John “Harv” Harbinson (No Sweat, Fastway, Sweet Savage, Den of Thieves), who was itching for a new creative outlet after a brief break from the rock industry, quickly evolved into a full-bodied band known as Stormzone, an unstoppable machine of Heavy Metal and Hard Rock anthems that has been embellishing the airwaves with their first-class music since the release of their debut album Caught in the Act, in 2007. Now in 2018, after five awesome full-length albums and countless live concerts, the band comprised of  the aforementioned frontman Harv on vocals, Steve Moore and Junior Afrifa on the guitars, Graham McNulty on bass and backing vocals, and Gordy Gray on drums is ready to stun us all once again with their classic metal music in Lucifer’s Factory, the sixth studio album in their short but already brilliant career.

Furthermore, not only the music kicks ass, but Stormzone have also stepped up their songwriting and lyrics, with the theme throughout Lucifer’s Factory concentrating on famous Irish myths and legends on each one of the 13 tracks of the album, featuring mysterious places or characters and their stories which have become embedded in Northern Ireland folklore. For instance, we have “Cushy Glen”, the notorious cut-throat highwayman, “Albhartach”, the original Irish vampire known to have inspired Bram Stoker’s Dracula, “Dark Hedges”, the Northern Irish landmark now immortalized in the famous TV series Game of Thrones, and “Hallows’ Eve”, confirming that Halloween did actually originate in Northern Ireland, plus the album’s compelling title track “Lucifer’s Factory”, the origin of which is destined to surprise all, among many other compelling stories. With that said, are you ready to party like there’s no tomorrow to the incendiary Heavy Metal blasted by Stormzone, setting the tone for this upcoming Halloween?

In the opening track Dark Hedges, which by the way legend has it that one June night each year a beautiful ghostly lady appears under the extensive branches of the Dark Hedges trees for an evening of dancing and interaction with the spirits she has previously invited from the graveyard nearby, we’re treated to ass-kicking Heavy Metal from the very first second with an epic vibe in the background. The album couldn’t have started in a better way, bringing beautiful guitar solos, powerful vocals and exciting lyrics  (“Each new day, you’ll hide away / In strength you’ll sway / You’re growing through these centuries / Across entwined, to each you’ll bind / The strength you’ll find / A place in others fantasies”). Then the title-track Lucifer’s Factory keeps blowing our speakers mercilessly, with the guitars by Steve and Junior sounding as sharp as a razor blade, bringing the most thrilling elements from old school Hard Rock blended with contemporary metal music; followed by Cushy Glen, the story of the outlaw and highwayman who terrorized residents and travelers around the Coleraine area of Northern Ireland for many years just over two centuries ago, with Gordy dictating the rhythm in this mid-tempo feast of Heavy Metal and Hard Rock perfect for having a cold beer while singing the lyrics along with the band (“From the brave young men, to the brave old men /They’ll drink to the capture of the Cushy Glen / Flags will fly, and they’ll hang him high / Never no more shall we see him again”). And in Last Night in Hell the talented Harv fires his tuneful, classic vocal lines while the guitar duo continues to deliver their usual heavier-than-hell riffs, not to mention Graham and his thunderous bass lines.

The following tune, titled Albhartach, is just as fast and crisp as good old metal music should always be, and you’ll probably go over the speed limit while listening to it on the road, with its headbanging beats and fantastic backing vocals providing all the support Harv needs to kick ass once again on vocals. Then we have We Are Strong, another flammable tune drinking from the fountain of 80’s Heavy Metal and Hard Rock, and therefore keeping the album at a high level of stamina and fun, with highlights to the excellent job done by Gordy on drums and the once again beautiful solos by Steve and Junior; and Broken Window, a darker tune by Stomrzone also inspired by the golden years of Hard Rock, with Harv taking the lead with his sharp vocals while the sound of the guitars keeps cutting our skin beautifully. And blending the music by Helloween and Motörhead (which obviously means awesomeness), the band fires crushing, fast and melodic metal music from their instruments in The Heaven You Despise, with Gordy spearheading this thrilling extravaganza with his unstoppable drums while the band’s stringed trio is astounding with their axes.

Although Hallows’ Eve can be considered a good song showcasing slashing guitar riffs and another potent performance by Harv on vocals, feeling like a song by Merciful Fate without King Diamond on vocals, it unfortunately loses its grip after a while (nothing that harms the album, though), whereas Your Hell Falls Down takes us back to the 80’s, with pure Rock N’ Roll flowing from the band’s stunning riffs and beats while the bass by Graham shakes the foundations of the earth, bringing even more electricity to the music. In the exciting In for the Kill, an epic intro with an imposing Harv on vocals evolves into a galloping old school Heavy Metal anthem, presenting elements found in the music by metal warriors like Manowar, Gamma Ray and Hammerfall, and the party has no time to end based on the level of energy and fun blasted in The Last Goodbye, perfect for playing some air guitar together with the band, raising your fists while singing it along with Harv, or simply banging your head nonstop to the ass-kicking drums by Gordy. And last but not least Stomrzone offer us Time to Go, a semi-acoustic ballad that slows things down a bit, providing a smooth and passionate ending to such incredible album of Hard Rock, with Harv showcasing one last time all his skills as the excellent singer he is.

You might be asking yourself where you can find Lucifer’s Factory for purchase, and the the answer to that is quite simple, as all you need to do is go to eBay, iTunes, Amazon or Discogs to put your hands on this precious gem of Heavy Metal and Hard Rock made in Northern Ireland, also available for a full listen on Spotify. Hence, don’t forget to pay Stormzone a visit on Facebook for new and tour dates, and to subscribe to their YouTube channel for more of their breathtaking music. As you might have already noticed, Stormzone do not just play Heavy Metal, they live and breathe it, and Lucifer’s Factory represents all their dedication to the music we all love and their respect and admiration for their homeland’s folklore, important ingredients that make the entire album even better than we could have expected and a must-have in the collection of any true metal fan.

Best moments of the album: Dark Hedges, Cushy Glen, The Heaven You Despise and Your Hell Falls Down.

Worst moments of the album: Hallows’ Eve.

Released in 2018 Metal Nation Records

Track listing  
1. Dark Hedges 4:39
2. Lucifer’s Factory 5:08
3. Cushy Glen 4:47
4. Last Night in Hell 5:35
5. Albhartach 3:40
6. We Are Strong 4:20
7. Broken Window 5:49
8. The Heaven You Despise 5:24
9. Hallows’ Eve 5:51
10. Your Hell Falls Down 4:55
11. In for the Kill 5:23
12. The Last Goodbye 4:41
13. Time to Go 4:58

Band members
John “Harv” Harbinson – vocals
Steve Moore – guitars
Junior Afrifa – guitars
Graham McNulty – bass, backing vocals
Gordy Gray – drums

Album Review – Progenie Terrestre Pura / starCross EP (2018)

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Embark on an exciting journey across the stars with the new concept album by this Italian Atmospheric Black Metal act, representing a further evolutionary step in their distinct career.

Initially announced as a complementary EP to last year’s album oltreLuna, the new album by Italian Atmospheric Black Metal act Progenie Terrestre Pura (which translates as “Pure Terrestrial Progeny”), entitled starCross, turned out to be an even more powerful and impressive opus than this Veneto-based band comprised of Emanuele Prandoni on vocals, Davide Colladon on guitars, drum programming and synths, and Fabrizio Sanna on bass could have imagined. Featuring a classy artwork by visual artist Kuldar Leement, starCross uses its 30 minutes to tell a precise story, as the EP is an all-round concept release based on a tale written by the band’s mastermind Davide Colladon.

In order to make the release fully understandable beyond the Italian borders, the band decided to use English for the first time in their career. The music, either, is very different from what could be heard on everything Progenie Terrestre Pura (also known as “q[T]p”) ever released since their inception in 2009. “starCross represents a further evolutionary step for qTp”, says Colladon, “its sound is extremely connected to the story it tells, which is pretty dark. My intention was to recall thrilling sci-fi masterworks such as Ridley Scott’s Alien, Grant Morrison’s Nameless and the Dead Space videogame saga.” In other words, get ready to embrace fear, madness and despair in the darkest Progenie Terrestre Pura release to date, and prepare yourself for what might be your last trip across the stars.

The band wastes no time in starCross by offering us Chant of Rosha, an atmospheric, futuristic intro from outer space, enfolding us and taking us to the whimsical world of Progenie Terrestre Pura, warming up our senses to the breathtaking Toward a Distant Moon, an explosion of the most disruptive elements from Black Metal led by the razor-edged guitar lines by Davide, with Emanuele’s enraged growls creating an electrifying paradox with the excellent background choir, remaining vibrant, ethereal and aggressive from start to finish for our total delight. And that electricity keeps permeating the air, as the music builds a cinematic connection with the also impactful Twisted Silhouette, starting in an eerie manner with a dark narration before all hell breaks loose, with the song’s demolishing beats together with Davide’s crisp riffs and Fabrizio’s thunderous bass building the perfect stage for Emanuele to fire his harsh growls, also adding tons of progressiveness to its core. In the end, you’ll get deliciously lost in all the madness, wicked noises and flammable sounds blasted by the band throughout the entire song.

Progenie Terrestre Pura starCross A5 Digipack Edition

The Greatest Loss also showcases a modern and creepy intro that morphs into a blend of Atmospheric Black Metal with Industrial Metal, with all mechanized elements and nuances bringing an extra touch of lunacy to the overall result. Furthermore, Davide does a superb job with his guitar and synths by generating a menacing ambience perfect for Emanuele’s growls, with the last part of the song being a heavier version of the industrial music played by bands like Ministry and KMFDM. And finally, q[T]p’s last blast of obscure, futuristic movie-inspired music comes in the form of a bizarre outro named Invocat, where future meets past with electrified and cold, mechanic sounds being complemented by a background Gregorian chant.

Do you have what it takes to join q[T]p in their metallic space odyssey? If the answer is yes, you can get to know more about the band, their tour dates and future plans on their official Facebook page, and purchase starCross (available for a full and detailed listen on YouTube and on Spotify) from their own BandCamp page, as well as from the Avantgarde Music’s BandCamp page or Big Cartel as a very, very special A5 Digipack CD, showcasing a brand new  artwork (courtesy of Italian artist Ballak., who gave a face and a spaceship to the main character of the starCross concept, Robert I.C. Cross) and including the storyline of the EP in its entirety. You can also buy it from other regular retail places such as iTunes, Amazon and discogs (in vinyl or CD format), but if I were you I would certainly go for the A5 Digipack edition of the album, because if you’re going on a musical voyage through the stars, you better be armed with the best weapon and soundtrack available at the same time, right?

Best moments of the album: Toward a Distant Moon and The Greatest Loss.

Worst moments of the album: None.

Released in 2018 Avantgarde Music

Track listing 
1. Chant of Rosha 2:22
2. Toward a Distant Moon 6:41
3. Twisted Silhouette 8:02
4. The Greatest Loss 7:50
5. Invocat 4:31

Band members
Emanuele Prandoni – vocals
Davide Colladon – guitars, drum programming, synths
Fabrizio Sanna – bass

Album Review – Unflesh / Savior (2018)

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A dark, aggressive and extremely technical opus of Blackened and Melodic Death Metal by a four-headed American beast, sounding as pulverizing as extreme music can be.

Forged in 2014 in the fires of Portsmouth, New Hampshire, in the United States as a solo project of vocalist and multi-instrumentalist Ryan Beevers (Solium Fatalis), who’s by the way a student at the highly prestigious Berklee College Of Music, but currently located in Boston, Massachusetts, Blackened Melodic Death Metal four-piece squad Unflesh has been on a roll since their inception, having already released an excellent EP in 2016 titled Transcendence to Eternal Obscurity (which featured the astounding German drummer Hannes Grossmann as a session musician), followed by their new and insanely heavy and entertaining album Savior. Featuring a beautiful and menacing artwork by Brazilian artist Junki Sakuraba, Savior will strongly appeal to fans of the unparalleled music by bands such as Dissection, Necrophagist, Emperor, Fleshgod Apocalypse and Dimmu Borgir, among others, placing the band comprised of the aforementioned Ryan Beevers on vocals and guitar,  Chris Gardino (Pathogenic, Wolfsmyth) on the guitar, Peter De Reyna (Seven Spires) on bass and Chris Dovas (Seven Spires) on drums as one of the most promising names of the current underground scene.

Ryan Beevers himself had a few words to say regarding Savior, giving more details on the direction he wanted to follow with his brainchild.  “I’ve always thought of the band as having a kind of mixed sound of 90’s black metal and more technical death metal bands. Since the band started I just called us “Extreme Metal” because it’s a broader label. I never thought the sound of the band would be described as just black metal or death metal. When the first EP “Transcendence to Eternal Obscurity” came out, most people seemed to identify the sound as technical death metal. This album is one more step forward in molding the sound of Unflesh, musically and lyrically the ‘Savior’ album is a lot darker and more aggressive than our previous EP,” said Ryan about his new opus, one that he definitely should be proud of, and one we should all thank him for providing to us, avid metalheads.

An eerie piano intro grows in intensity until progressiveness and sheer devastation invade our senses in the opening track Savior, thanks to the fulminating riffs by Ryan and Chris Gardino as well as the bestial drumming by Chris Dovas. In other words, it’s a dense and intricate depiction of modern-day Progressive and Melodic Death Metal, and a fantastic welcome card by the entire band. Following such breathtaking beginning we have Bestowal of Decay, bringing an avalanche of groove and complexity, being even more demonic than the opening tune with Ryan sounding hellish and demented on vocals, all complemented by some sick guitar solos and some ass-kicking, classic Death Metal lyrics (“The great fade of all life in the dawn / A blissful perception of the fathomless darkness obtained / Primeval scriptures deciphered before the mortal eyes / By forsaken powers of Unanimation / Unveiled”); and their destructive but very harmonious onrush of Black and Death Metal goes on in Final Writhe, an incendiary tune led by the mesmerizing riffs and solos by both Ryan and Chris Gardino, with Chris Dovas showing no mercy for his drum set while Peter brings density and darkness to the music with his unstoppable punches.

More rhythmic and presenting what’s perhaps the most intricate and thrilling beats of the entire album, always supported by Peter’s thunderous bass, Erosive Devotees presents an enraged Ryan growling and screaming nonstop, turning it into one of the top moments of the album, whereas in The Eradication Commenced the band fires more of their electrifying Blackened and Melodic Death Metal with no sign of slowing down at all. Quite the contrary, the band’s stringed trio is on fire from start to finish, slashing our ears beautifully while Chris Dovas adds hints of Doom and Black Metal to his beats and fills. And Caliginous is an even more progressive and melodic tune by Unflesh, with Ryan gnarling in perfect sync with the guitar lines and beats blasted by the rest of the band. Put differently, you can break your neck headbanging or simply close your eyes and enjoy the complex music waves of this multi-layered extravaganza. Either way, you’re going to have an awesome time.

Then a pulverizing display of dexterity and rage waits for us in Desecration of Light, a circle pit-catalyst with all ingredients we love in contemporary Extreme Metal where Chris Dovas will crush your skull with his demonic beats, while Ryan and Chris Gardino have an exciting guitar duel with their wicked riffs and solos, before a superb guitar solo introduces us to another scorching hot voyage through the realms of violence and progressiveness in Disintegration God, ending with another gorgeous guitar solo until everything fades into ethereal sounds, with its classic lyrics being the icing on the cake (“And the somber thrives as animation subsides / When all designed under a star descends into infinity / Predestined fall, all-encompassing fade of life / It corrodes away before the throne of Death / And into its sacred lore”).

In order to let Unflesh penetrate deep inside your mortal flesh with the top-tier metal music found in Savior, simply pay them a visit at their Facebook page and YouTube channel, and buy your copy of the album form their own BandCamp page or webstore, as well as from iTunes, Amazon and CD Baby. The monstrous beast known as Unflesh is more menacing, violent and cohesive than ever, and I’m sure not only the band’s talented originator is happy with the devastating potential of his infernal spawn, but also anyone else who loves the perfect fusion of aggressiveness, feeling and technique in extreme music.

Best moments of the album: Bestowal of Decay, Erosive Devotees and Desecration of Light.

Worst moments of the album: None.

Released in 2018 Independent

Track listing
1. Savior 5:04
2. Bestowal of Decay 5:23
3. Final Writhe 5:13
4. Erosive Devotees 5:22
5. The Eradication Commenced 5:13
6. Caliginous 5:17
7. Desecration of Light 4:26
8. Disintegration God 5:35

Band members
Ryan Beevers – vocals, guitars
Chris Gardino – guitars
Peter De Reyna – bass
Chris Dovas – drums

Guest musician
Anthony Lusk-Simone – additional orchestral elements