Category Archives: 2019 New Releases

Album Review – The Promise Of Plague / The Tomb Of Lost Lovers (2019)

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The debut album by this American quartet is an obscure fusion of black, industrial, punk and electronic, and you’ll simply love this style known as “Electro Black”.

Featuring members and ex-members of bands like Abominant, Fatal Step, Astrum Empyrean Asunder, Absence of Faith, Märcoda and Assisting Sorrow, the Louisville, Kentucky-based four-piece Industrial Black Metal entity known as The Promise Of Plague is back in 2019 with their debut full-length opus entitled The Tomb Of Lost Lovers, a huge step forward for the band in terms of creativity, strength and overall sound production compared to their 2016 demo Sleepwalking Into Armageddon. Comprised of Jim Higgins and Ashley Vega on vocals, Jerry Barksdale on guitars, keys and programming, and Chris Dalton on bass, The Promise Of Plague play an obscure and piercing fusion of Black and Industrial Metal infused with Punk Rock and electronic elements, or as some people like to say, they play a fairly new style called “Electro Black”.

And their Electro Black becomes already crystal clear in the opening track You Became My Noose, ignited by cutting guitars and electronic beats intertwined with whimsical keys, with Jim alternating between demonic roars and clean, anguished vocals and also presenting symphonic nuances in the background as a welcome add-on. Tim keeps gnarling in great Black Metal fashion in The Quiet, while Jerry slashes his guitar and Ashley brings some finesse to the music with her vocals in a short and sweet display of modern Industrial Black Metal; followed by These Stones Were Meant To Be Thrown, where its imposing and rockin’ vibe reminds me of the primeval days of the unparalleled Cradle of Filth. Furthermore, Jerry and Chris are ruthless with their stringed weapons, while Jim and Ashley make an amazing duet once again exhaling anger, passion, melancholy and darkness from their vocal lines, sounding at the same time furious and doomed. And what can I say about their cover version for Venom’s Warhead? It’s just as raw and infernal as the original one released in 1984 (check it out HERE), showcasing a great job done by Jerry with his scorching hot riffs and the hints of Doom Metal added to the musicality to make it more demonic.

Then leaning towards the classic Doom Metal played by Black Sabbath and Celtic Frost we have Insolent, sounding and feeling considerably different from the previous songs of the album and presenting another spot-on performance by both Jim and Ashley on vocals. In other words, it’s dark, heavy and damned, ending in the most melancholic and beautiful manner you can think of. Chris’ low-tuned bass lines fill every empty space in the somber Mine Is A Place Called Hell, where Ashley’s clean vocals make a very interesting paradox with Jim’s hellish screeches in what’s perhaps the most electronic of all songs, perfectly depicting what Electro Black is all about. And lastly, the title-track Tomb Of Lost Lovers is a rumbling and dancing hybrid of classic Black Metal with electronic music, with Jerry bringing tons of epicness with his keys. Not only that, it should work really well at a dark electro party, with all band members delivering sheer aggression and electricity form their respective instruments.

I guess after reading this humble review of The Tomb Of Lost Lovers you got really curious about what Electro Black is, right? If your answer is yes, go check what The Promise Of Plague are up to on their official Facebook page, and grab your copy of the album directly from the band’s own BandCamp page. In a nutshell, The Promise Of Plague might not be reinventing the wheel with their fusion of metal and non-metal styles, but they have certainly unleashed an interesting and entertaining beast of heaviness, fury and darkness with their debut album, pointing to a very healthy future for the quartet and, who knows, inspiring more underground musicians who are starting their careers in heavy music to venture through the realms of Electro Black, a subgenre of metal that will never go mainstream without any doubt, and we’ll always love it that way.

Best moments of the album: These Stones Were Meant To Be Thrown and Insolent.

Worst moments of the album: None.

Released in 2019 Independent

Track listing
1. You Became My Noose 3:54
2. The Quiet 1:53
3. These Stones Were Meant To Be Thrown 4:38
4. Warhead (Venom cover) 3:03
5. Insolent 5:44
6. Mine Is A Place Called Hell 3:18
7. Tomb Of Lost Lovers 3:50

Band members
Jim Higgins – vocals
Ashley Vega – vocals
Jerry Barksdale – guitar, keys, electronics
Chris Dalton – bass

Album Review – Inanimate Existence / Clockwork (2019)

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A pulverizing album of Technical and Progressive Death Metal by a ruthless Bay Area triumvirate, dealing with the human tendency to struggle with the acceptance of mortality and our limited time on earth.

Formed in 2011 in the renowned Bay Area, in the state of California, United States, Progressive/Technical Death Metal trio Inanimate Existence returns in 2019 with a brand new opus entitled Clockwork, the follow-up to the group’s highly praised fourth album, Underneath a Melting Sky, released in 2017. Featuring a futuristic and whimsical cover art by by Justin Abraham (who has already worked with bands like Equipoise, Aepoch and Oubliette), with additional artwork by Mark Erskine (from Erskine Designs), recorded by Inanimate Existence and Zack Ohren, and mixed and mastered by Zack Ohren at Shark Bite Studios in Oakland, California, Clockwork delves deeper into cerebral Progressive Death Metal depths, while buoyed by the group’s established penchant for merciless full-throttle brutality and frenetic tech-death driven terrain.

And the band comprised of Cameron Porras on vocals and guitar, Scott Bradley on bass and backing vocals, and Ron Casey (Continuum, Brain Drill) on drums had a few nice words to say about their newborn spawn. “We’re thrilled to finally be able to share our 5th studio album with all of you! This is definitely the most work we have ever put into an album by a long shot. Sound wise I’d say that it’s a continuation of our last album but much more polished and mature,” commented the band, describing Clockwork’s thematic focus as “dealing with the human tendency to struggle with the acceptance of mortality and our limited time on earth. It explores the questions we torment ourselves with during life along with the irony of how small and insignificant we are in the grand scheme of the universe. The title refers to the mechanisms of a clock and how every tick brings you closer to your doom.”

The trio begins firing their fusion of insanity and progression mercilessly in the title-track Clockwork, with Ron dictating the rhythm with his furious beats while Cameron brings a touch of delicacy to the music with his guitar riffs and solos, sounding at the same time devastating and very melodic; whereas in Voyager we’re treated to lyrics that exhale insanity (“Isolated, trapped inside the capsule / I fear that I may now be on my own / My crew have perished, and I am alone / Orbiting beyond the atmosphere / My communications are down and the power is cut / I gaze back to the Earth / Wondering, will I be remembered?”), with the music bringing elements from smoother styles like Jazz while Scott extracts sheer thunder from his intricate bass lines. This talented American triumvirate keeps smashing our senses with their vicious Progressive Death Metal attack in Apophenia, as complex and pulverizing as possible, sounding as if the almighty Krisiun went full progressive at times, offering to the listener several neck-breaking moments led by Ron’s insane drumming; and their metal extravaganza goes on in Desert, with all three member firing wicked and intricate sounds and tones from their respective instruments. Put differently, it’s straightforward Progressive Death Metal with a vibrant atmosphere, not to mention Cameron’s sick solos adding some welcome lunacy to the overall result.

In Solitude the band offers us pensive and modern lyrics (“I return to solitude / Where once again I contemplate / What my purpose is inside this burdensome reality / I return to solitude / Where once again I contemplate / What is my purpose?”), while its instrumental parts are absolutely mental, with both Cameron and Ron crushing their weapons nonstop, followed by Diagnosis, where the band continues to slash our ears with the modernized and very complex version of Death Metal. Moreover, the bass lines by Scott sound insanely heavy and metallic, with the music also bringing interesting eerie passages and breaks (despite going on for a bit too long). Then back to a more demonic and infuriated mode we have Ocean, blending the most violent and thrilling elements from Progressive and Death Metal with Ron sounding infernal on drums, therefore providing Cameron the perfect ambience for gnarling deeply and rabidly, once again presenting spot-on melodic and ethereal passages. Lastly, Liberation closes the album with more of the dynamic, electrifying sounds from the depths of the human psyche by the trio, with Scott and Ron bringing thunder to the musicality while Cameron keeps delivering harmonious riffs and solos while growling like a beast until the song’s visceral ending.

You can have your brain shredded into pieces by listening to Clockwork in its entirety on YouTube and on Spotify, and after being stunned by Inanimate Existence simply go check what they’re up to on their official Facebook page, including their tour dates, and purchase your copy of their brand new opus from their BandCamp page, from The Artisan Era webstore (in several exclusive formats and bundles), from Apple Music or from Amazon. As aforementioned, the band itself said that we all struggle with the concept of mortality and our limited time on this planet, which means we should not waste too much time thinking but enjoying some good, destructive and complex Death Metal while we’re alive, with Clockwork being an excellent choice for that.

Best moments of the album: Voyager, Desert and Ocean.

Worst moments of the album: Diagnosis.

Released in 2019 The Artisan Era Records

Track listing
1. Clockwork 4:34
2. Voyager 5:40
3. Apophenia 4:37
4. Desert 4:06
5. Solitude 4:42
6. Diagnosis 5:34
7. Ocean 4:55
8. Liberation 6:43

Band members
Cameron Porras – vocals, guitar
Scott Bradley – bass, vocals
Ron Casey – drums

Album Review – Centrilia / In The Name Of Nothing (2019)

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An amazing album of modern-day metal music by four unstoppable Scotsmen, focusing on the meditation of modern humanity, morality and our existence in challenging times of uncertainty.

Following the release of their debut EP You Are in Error in 2013 (the same year the band was born) and Memento Mori in 2015, and after a rabid response from fans of heavy music to their live shows while sharing the stage with renowned acts like Rob Zombie, Soulfy, Behemoth and Arch Enemy, among others, Glasgow, Scotland-based Melodic Death Metal/Metalcore unity Centrilia is ready to crush your skull with their debut full-length album entitled In The Name Of Nothing, showcasing eight tracks of unadulterated crushing heaviness, galvanized with intense veracity, courtesy of Gavin Marshall on vocals, David Sandford on the guitar, Gareth Ellis on bass and Andy Brown on drums. Mixed by Terry Date (Pantera, Deftones, Slayer), recorded by Steven Jones (Bleed from Within, From Sorrow to Serenity) and mastered by Pelle Henricsson (Meshuggah, Refused, Cult of Luna), In The Name Of Nothing focuses on the meditation of modern humanity, morality and our existence in challenging times of uncertainty, with the Glaswegian quartet demonstrating a lot of creativity, groove and aggressiveness throughout the album’s 40 minutes of ferocious metal music.

The opening track Symptoms Of Betrayal is modern and piercing from the very first second, with the music growing in intensity until it becomes a headbanging feast led by David’s metallic riffs and Andy’s unstoppable beats, being tailored for fans of Pantera and Lamb of God. Furthermore, Gavin doesn’t stop growling like a maniac not even for a brief moment, getting us all pumped for the following song, named Splitting Hairs / Spitting Teeth, uniting the most thunderous and visceral elements from the music by Gojira and Lamb of God in a hurricane of contemporary metal music where Gareth is bestial with his bass punches. Needless to say, get ready to have your skull completely smashed into the circle pit to this ode to violence. Then dealing with our modern-day society issues (“t’s just a matter of time / Neck deep but you keep digging / Guilty by association / Lost yourself from the beginning / Don’t think, don’t talk, don’t fucking speak / Suspicion haunts you / And you tell yourself”), the excellent Imposters brings forward first-class Groove and Melodic Death Metal spiced up by tons of progressiveness and rage, with once again the bass by Gareth sounding absolutely menacing.

The Fool On The Hill is more melodic than its predecessors but still violent and neck-breaking, being spearheaded by Gavin’s deep, enraged roars and with David and Gareth being in total sync, while Andy can’t stop hammering his drums in the most Metalcore of all songs. The title-track In The Name Of Nothing leans towards classic Metalcore, offering the listener those high-pitched, desperate screams amidst a chaotic but very harmonious atmosphere, and albeit I prefer their more violent side shown in the previous songs, this is still very enjoyable and heavy, of course; whereas once again bringing austere words (“Hail to the parasite / Holding court with the sycophants / Snared by the antagonist / The unified are ripped asunder”) and the rumbling bass lines by Gareth, the band offers us Those Possessed By Devils, a devastating Groove Metal tune more-than-perfect for banging your head like there’s no tomorrow together with this skillful four-piece act from Scotland.

The second to last explosion of their pulverizing metal music comes in the form of Let The Fire Burn, sounding very dense and cohesive and being perfect for jumping up and down with the band at metal festivals. Moreover, the band’s stringed duo boosts Gavin’s screams in great fashion with their incendiary axes, not to mention how brutal Andy sounds on drums. Last but not least, Centrilia offer our avid ears the multi-layered Tamám Shud, a very introspective creation by the quartet which starts in an Alice In Chains-inspired vibe, with Gavin delivering his most anguished vocals of the entire album while David keeps the ambience as eerie as possible with his riffs, turning the mystery and sadness of the Tamám Shud case (also known as the Mystery of the Somerton Man), an unsolved case of an unidentified man found dead at 6:30am on December 1, 1948 on the Somerton Park beach (just south of Adelaide, South Australia), into first-class metal music. By the way, the case is named after the Persian phrase “tamám shud”, meaning “ended” or “finished,” which was written on a scrap of paper found months later in the fob pocket of the man’s trousers. Isn’t this a sensational topic for a dark and melodic metal song?

In The Name Of Nothing, available for a full listen on Spotify, definitely positions Centrilia as one of the most interesting new names not only of the Scottish metal scene, but of the entire Melodic Death Metal and Metalcore universe, sounding intense, violent and thunderous from start to finish, just the way we like it. Hence, in order to show your support to those four talented Scotsmen, go check what they’re up to on Facebook, subscribe to their YouTube channel, and purchase your copy of their excellent new album from their BandCamp page, where you can by the way find several top-of-the-line, exclusive bundles and merch, as well as from your usual Apple Music, Amazon or Google Play. This is an amazing album of straightforward and aggressive music made in the beautiful Scotland, my friends, not in the name of “nothing” as the album name itself states, but in the name of our good old Heavy Metal.

Best moments of the album: Splitting Hairs / Spitting Teeth, Imposters and Those Possessed By Devils.

Worst moments of the album: In The Name Of Nothing.

Released in 2019 233 Records

Track listing
1. Symptoms Of Betrayal 5:27
2. Splitting Hairs / Spitting Teeth 3:23
3. Imposters 4:42
4. The Fool On The Hill 5:02
5. In The Name Of Nothing 6:03
6. Those Possessed By Devils 4:01
7. Let The Fire Burn 4:48
8. Tamám Shud 7:19

Band members
Gavin Marshall – vocals
David Sandford – guitars, backing vocals
Gareth Ellis – bass, backing vocals
Andy Brown – drums

Album Review – NONE / Damp Chill of Life (2019)

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Accept hopelessness and succumb to the brand new opus by this unknown entity from the Pacific Northwest, picking apart your psyche and destroying your seasonal optimism with their oppressively bleak atmosphere.

Since their introduction in the spring of 2017, the enigmatic and anonymous Atmospheric/Depressive Black Metal unity NONE, from Portland, Oregon, in the Pacific Northwest, has crafted disturbing and emotionally devastating music that have garnered the attention of many listeners of the genre. After having released their self-titled debut opus on April 11, 2017, a thick shroud of piercing guitar interwoven with haunting synth and tortured vocals marching in despair towards an empty void, followed by Life Has Gone On Long Enough exactly one year later, on April 11, 2018, developing its tortured personality further, NONE returned this spring like clockwork, once again on April 11, with their brand new effort entitled Damp Chill of Life, weaving visionary soundscapes with first-class Depressive Black Metal, picking apart your psyche and destroying your seasonal optimism with their oppressively bleak atmosphere.

As atmospheric and cold as possible, the intro Fade embraces our souls in darkness and sets the tone for the chilling and piercing sounds from the 10-minute aria The Damp Chill of Life, with its Doom Metal beats, melodic riffs and an ethereal background generating the perfect ambience for NONE’s desperate, raspy gnarls. In other words, this is a lesson in Depressive Black Metal, alternating between serene passages and aggressive and dense riffs and vociferations, and flowing majestically until its melancholic ending. Cease also begins as mournful as a lonely morning in the woods, with the music exploding into the most Stygian form of Atmospheric Black Metal you can think of after four minutes of pure serenity, all enfolded by beautiful piano notes and anguished vocals, once again showcasing a touching finale and building an instant connection with You Did a Good Thing, where the uncanny duo delivers more of their delicate but at the same time crushing music. Furthermore, eerie voices exhale anger, despair and the feeling of loss, matching flawlessly with the music to give the listener a true and deep melancholic taste.

It’s Painless To Let Go brings forward another visceral hybrid of Depressive and Atmospheric Black Metal, this time infused with Doom Metal and Blackened Doom nuances, with the duo delivering somber guitar lines, creepy vocals and endless obscurity for our total delectation; whereas I Yearn to Feel is a semi-acoustic composition by NONE that will penetrate deep inside your mind and take you on a journey through vast, gelid lands, always led by crystalline piano notes and showcasing an enfolding aura. And the music remains bold and inspiring, reverberating into A Chance I’d Never Have, beginning with acoustic guitar lines and growing in intensity and fear until an avalanche of dark and crisp sounds invades our ears. In my humble opinion, this is perhaps NONE’s record with the most introspective vocal lines, and this song is the perfect depiction of that, with its second half offering the listener sheer melancholy and rage in the form of top-of-the-line contemporary Depressive Black Metal.

I’ve already had the utmost pleasure of reviewing all albums released by NONE since the inception of such idiosyncratic and mysterious entity, and I must tell you NONE definitely know how to transform all the solitude, wilderness and bitterly cold winds of the Pacific Northwest into the best Depressive and Atmospheric Black Metal one can ever imagine, showing how connected they are with their homeland. Hence, you should take a good listen at Damp Chill of Life in full on YouTube (especially on your loneliest days), and grab your copy of such bitterly cold album of extreme music from the Hypnotic Dirge Records’ BandCamp or webstore (by the way, you can find all special bundles of the album and all of NONE’s previous releases by clicking HERE), as well as from Apple Music, Amazon, CD Baby or Discogs. Simply succumb to the music by NONE, accept hopelessness, and finally realize you are no one, nowhere, and nothing.

Best moments of the album: The Damp Chill of Life and It’s Painless To Let Go.

Worst moments of the album: None.

Released in 2019 Hypnotic Dirge Records

Track listing
1. Fade 1:58
2. The Damp Chill of Life 10:30
3. Cease 8:50
4. You Did a Good Thing 5:08
5. It’s Painless To Let Go 5:56
6. I Yearn to Feel 3:45
7. A Chance I’d Never Have 7:57

Band members
Anonymous – vocals
Anonymous – all instruments

Album Review – [P.U.T] / We Are [Br]others (2019)

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An amalgamation of sludge, industrial and punk noises at their finest, brought forth by three brothers who have been delivering first-class music for over 20 years.

Blasting our eras with a raw and dirty fusion of Industrial and Sludge Metal since 1998, Brussels, Belgium and Paris, France-based brothers Loïc Beyet (guitar, voice, programming), Lionel Beyet (bass, programming, voice) and Nicolas Beyet (guitar, voice), collectively known as Industrial Sludge Noise beast [P.U.T], are unleashing upon humanity their sixth full-length opus entitled We Are [Br]others, highly recommended for fans of the noisy music by acts like Sonic Youth, Killing Joke, Godflesh and Neurosis, among several others. Self-recorded between Paris and Brussels, mixed by Loïc at garlic.lab between November 2017 and May 2018, mastered by Alexandre Vitrac, an ex-[P.U.T] member, at Studio CBE in June 2018, and featuring a classy and obscure artwork by French artist Alexis Horellou, We Are [Br]others is the first [P.U.T] album to feature the three Beyet Brothers in the lineup, offering the listener the band’s trademark amalgamation of machine sounds, guitars, noise, sludge, industrial and punk at their finest, overflowing madness, heaviness and anger over the span of 50 minutes.

Their first onrush of distorted sounds, titled In Control, is a metallic fusion of the Industrial Metal played by bands like Rammstein and Nine Inch Nails with the sluggish and “polluted” riffs from classic Sludge Metal where the Beyet Brothers vociferate from the depths of the underworld, and with Lionel also delivering some powerful jabs from his bass. Following such eerie start we have Nothing, even more disruptive and grim than the opening track, a perfect option to be part of the soundtrack to a psychological thriller. Moreover, its guitars sound as raw and venomous as they can be, bringing all the heaviness and madness found in the music by the iconic Ministry, for example. Then putting the pedal to the metal [P.U.T] offer a high-octane mix of modern-day Rock N’ Roll with classic Industrial Metal titled In Conflict, where Loïc and Nicolas are in absolute sync with their riffs while all background voices and sound effects add a touch of lunacy to the music; and the roaring bass lines by Lionel ignite the dark and devilish Down, showcasing pugnacious gnarls and steady, fierce beats that live up to the legacy of Sludge and Stoner Metal the likes of Down (and I dare to say this is not a coincidence at all), all embraced and spiced up by additional orchestral elements. Closing the first half of the album, Opressed is perhaps the most electronic and weird of all tracks, presenting elements from contemporary Electronic Pop and Rock à la Daft Punk and Kraftwerk such as robotic voices and a dancing rhythm, all without forgetting the fury of rock music flowing from its guitars.

I Am Here is a cinematic and very experimental track by [P.U.T], with its wicked noises and futuristic atmosphere invading our senses before the disruptive Angry comes crushing, and that’s exactly how they sound, firing crude, unfiltered riffs from their flammable guitars and grunting rabidly nonstop. Furthermore, this is another interesting hybrid of the vicious music by acts like Ministry and Rob Zombie with the band’s own demented twist. And sounding like unstoppable machines from an assembly line, the trio delivers another vicious song entitled Possesed, where once again the guitars by Loïc and  Nicolas exhale rage while the low-tuned bass lines by Lionel bring even more insanity to their music; it just goes on for a little too long, though, but nothing that hurts the overall quality of the album.  In Not Your Dog the brothers are back to a more rockin’ sonority, bringing forward their trademark raspy vocals and visceral riffs and leaning towards old school Sludge Metal with a doom-ish vibe, offering the listener some piercing guitar solos as a “bonus”, whereas their coup de grâce comes in the form of a neck-breaking, eccentric creation titled Pain, with the sound of guitars being boosted by Lionel’s menacing bass in a good balance between mechanized, ethereal sounds and sheer aggression, flowing wickedly until its Stygian ending.

In a nutshell, [P.U.T] (or the Beyet Brothers, if you prefer) worked as hard an united as the family they are in We Are [Br]others, generating a must-have album for admirers of this more eccentric and experimental side of alternative music commonly referred to as Industrial Sludge Noise. Hence, if all their noises and distortions are your cup of tea, don’t forget to give them a shout on Facebook, and buy your copy of the album from their own BandCamp page or from the Cursed Monk Records’ BandCamp page. Much more than just regular brothers, Loïc, Lionel and Nicolas are extremely talented musicians, channeling all their energy and creativity into a very entertaining rock and electronic party, and therefore keeping underground alternative music relevant, vibrant and fresh.

Best moments of the album: Nothing, In Conflict and Angry.

Worst moments of the album: Possesed.

Released in 2019 Cursed Monk Records

Track listing
1. In Control 6:10
2. Nothing 3:15
3. In Conflict 3:15
4. Down 4:27
5. Opressed 5:41
6. I Am Here 2:53
7. Angry 6:04
8. Possesed 7:20
9. Not Your Dog 4:32
10. Pain 6:58

Band members
Loïc Beyet – guitar, voice, programming
Lionel Beyet – bass, programming, voice
Nicolas Beyet – guitar, voice

Album Review – Waldgeflüster / Mondscheinsonaten (2019)

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The perfect soundtrack for those crystalline winter, woodland walks, courtesy of a Bavarian heathen horde armed with their Folk-drenched Black Metal.

There’s nowhere like Germany in winter time. The forests, the castles, the markets and the “gluhwein” (a type of mulled wine from German-speaking countries made from red wine with cinnamon and other herbs and spices), all offer solace for the wandering winter soul, as well as the music as you’ll be able to enjoy in Mondscheinsonaten, the brand new opus by Munich, Bavaria-based Black/Folk Metal horde Waldgeflüster. Both the name of the band (German for “forest whisperings”) and the album name (which translates as “moonlight sonatas”) already give you a very good idea of how powerful their new Folk-drenched Black Metal eyries are, melting the coldest of hearts, but it’s after hitting playing and immersing yourself in their music that you’ll finally understand what Bavarian heathen music is all about.

Formed in 2005 as a one-man project by vocalist and multi-instrumentalist Winterherz (whose full name is Jan van Berlekom), Waldgeflüster evolved into a full-bodied band in 2014 when guitarists Dominik Frank and Markus Frey, bassist Arvagr and drummer Thomas Birkmaier joined Winterherz in his quest for metal music for good, after having played with him either as studio or live musicians in previous albums and concerts. Building strongly on the band’s heathen foundations, melding clean and harsh vocals seamlessly and integrating folk instrumentation sparsely enough to augment (but never over-embellish the exceptional blackened metal grounding), Mondscheinsonaten is perfectly pitched to fuel those crystalline winter, woodland walks with its immensely infectious melodies and haunting refrains, with the entire band sounding extremely crisp, mature and cohesive throughout the album’s over 60 minutes of stylish and enfolding music.

Embraced by the sound of the howling wind, the melancholic, acoustic Einleitung (“introduction”) warms up our hearts for the dense and thrilling Der Steppenwolf (“the steppenwolf”), with Winterherz growling deeply while Domink and Markus extract sheer darkness from their guitars. In other words, this is a journey through the realms of Atmospheric Black Metal and Blackened Folk Metal where the music keeps growing in intensity as time goes by, while Thomas, armed with his classic blast beats, makes sure not a single space is left empty. Then get ready for over twelve minutes of a flawless fusion of folk and extreme music entitled Gripfelstürme (“summit storm”), where the band’s guitar duo once again hypnotizes us with their scorching riffs and with Winterherz being on fire with both his demonic gnarls and his obscure clean vocals, also showcasing ethereal passages and backing vocals that add a touch of finesse to the overall result.  And Waldgeflüster continue to invade our minds and captivate our senses with the atmospheric Rotgoldene Novemberwälder (“red golden November forests”), uniting the most visceral elements from classic Black Metal with the melancholy of Atmospheric Black Metal, with strident guitar lines, intricate beats and pitch black darkness flowing nonstop from this bitterly cold aria.

In Und der Wind… (“and the wind…”), a serene intro explodes into sheer aggression and rage in the form of old school Black Metal with Thomas sounding bestial on drums while Arvagr delivers thunder through his bass lines. Moreover, your soul will certainly get lost throughout the song’s ten detailed and dense minutes; whereas in Von Winterwäldern und Mondscheinsonaten (“from winter forests and moonshine nights”) we’re treated to more flammable sounds flowing from all instruments, in special from Dominik’s and Markus’ guitars, with Winterherz roaring with all his strength while the music brings hints of Progressive Black Metal to make things even more entertaining. Then closing the regular version of the album we have the delicate Staub in der Lunge (“dust in the lungs”), beginning in the most serene way possible with its clean vocals and acoustic guitars dictating the rhythm before the entire band comes ripping one last time with their refined Black Metal sonority. In addition, Dominik and Markus once again steal the spotlight with their piercing guitar lines for our total delight. And if you acquire the black/grey double vinyl version of the album, you’ll also get the acoustic version for Der Steppenwolf as a bonus track, a beautiful and very delicate alternate rendering of one of the best songs of the album.

In case you’re already prepared to get lost in the heathen lands of Bavaria together with Waldgeflüster, you can enjoy Mondscheinsonaten in full  on YouTube and on Spotify, and purchase your copy of the album from the band’s own BandCamp page or from the Nordvis Produktion’s official webstore (as well as from several other locations by clicking HERE). In a nutshell, as aforementioned the “moonlight sonatas” by this talented horde of musicians hailing from the stunning Bavaria are the perfect soundtrack for a cold and pensive winter walk, proving once again Folkened Black Metal is more than just a subgenre of extreme music, but an intrinsic part of the lifestyle and culture of the coldest parts of earth.

Best moments of the album: Der Steppenwolf and Gripfelstürme.

Worst moments of the album: None.

Released in 2019 Nordvis Produktion

Track listing
1. Einleitung 3:08
2. Der Steppenwolf 7:51
3. Gripfelstürme 12:21
4. Rotgoldene Novemberwälder 6:28
5. Und der Wind… 10:52
6. Von Winterwäldern und Mondscheinsonaten 9:51
7. Staub in der Lunge 5:48

Black/Grey Double Vinyl bonus track
8. Der Steppenwolf (Acoustic version) 7:57

Band members
Winterherz – vocals, mandolin, keyboards
Dominik Frank – guitars, backing vocals
Markus Frey – guitars
Arvagr – bass, backing vocals
Thomas Birkmaier – drums

Guest musician
Johannes Schermaul – cello

Album Review – Rammstein / Rammstein (2019)

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A magnificent lecture in Neue Deutsche Härte from the bottom of the flaming hearts of the pioneers of the genre.

Since the band’s inception in 1994 in the stunning German city of Berlin, Neue Deutsche Härte six-man institution Rammstein has been shaking the foundations of the earth with their unparalleled fusion of classic Industrial Metal and contemporary Heavy Metal, all spiced up of course by their controversial lyrics (most of the time in their mother tongue German), their industrial-inspired attire and their incendiary live performances. And it was just like that from their debut album Herzeleid, released in 1995, until their 2009 release Liebe Ist Für Alle Da, before the band went on an unprecedented hiatus that left their fans wondering if the band would ever get back in action to crush our senses with their wicked creations.

Fortunately for all of us, fans of the crazy and electrifying music blasted by lead vocalist Till Lindemann, lead guitarist Richard Z. Kruspe, rhythm guitarist Paul Landers, bassist Oliver Riedel, keyboardist Christian “Flake” Lorenz and drummer Christoph Schneider (a lineup that has remained unchanged throughout the band’s existence, by the way), Rammstein have just returned now in 2019 better than ever with their untitled seventh studio album, also known by many as Rammstein, their first studio album in a decade, bringing to our avid ears everything we’ve learned to love in their music through the years and more. Featuring a minimalist and captivating artwork by Rocket & Wink, the band’s brand new masterpiece offers an amalgamation of their past, present and future, with elements from all of their albums such as Sehnsucht and Mutter, without sounding repetitive or outdated; quite the contrary, the entire album simply rocks.

The album couldn’t have started in a more brilliant way than with their newborn anthem Deutschland (or “Germany” in their mother tongue), bringing forward the perfect fusion of electronic and metal music right from the very first second. Its backing vocals will definitely mesmerize you, while Mr. Lindemann leads his industrial horde in this passionate ode to their homeland. Moreover, Christian is also sensational with his keys and synths, and I’m not even going to talk about the song’s official video, which is in my opinion one of the best videos ever made in the history of music. Radio is another classic and powerful depiction of what Neue Deutsche Härte is all about, with Richard and Paul slashing their strings beautifully and putting us to dance together with the band, also featuring a chorus perfect for singing along with them even if your German is extremely rudimentary. Then it’s time for The Academic Choir and the Symphony Orchestra of the National Television and Radio Company of Belarus, Minsk to add a touch of epicness to the bold and violent Industrial Metal tune Zeig Dich (“show yourself”), where Richard, Paul and Oliver are on fire with their stringed weapons, while Christoph pounds his drums just the way we like it and Mr. Lindemann is once again flawless with his demented vocals.

Ausländer (“foreigner”) is by far the most disco-dancing song of the album, boosted by the band’s trademark riffs and beats and its acid and fun official video (which is another work-of-art). As a matter of fact, Rammstein are so good in what they do they’re capable of making metalheads enjoy dance music, and pay good attention to the song’s lyrics as they’re sung in several languages like French, Italian and English. It’s time to get heavier and more immoral than ever (something those German guys know how to do to perfection) with Sex, with Oliver and Christoph dictating the song’s violent rhythm. In the end, you’ll either crack your neck banging your head or have some wild sex while listening to it, both being highly recommended activities, of course. And the Belarusian orchestra returns for another round of majestic sounds in Puppe (“doll”), the most obscure and vile of all songs, with the vocals by Mr. Lindemann exhaling anger, fear and anguish while Christoph shows no mercy for his drums.

The romantic and enfolding Was Ich Liebe (“what I love”) is another great song showcasing rumbling bass lines, rhythmic beats and the always whimsical keys by Christian, and by far the one with the most melodic guitar lines of the entire album; whereas in the touching Diamant (“diamond”) the music remains utterly ominous while Mr. Lindemann darkly recites its lyrics, feeling as melancholic, beautiful and dense as it can be, or in other words, it’s absolutely awesome. Then Christian takes the lead in the modern Industrial Metal song Weit Weg (“far away”), where a delicate but at the same time potent background provides all Mr. Lindemann needs to thrive on vocals, with the riffs and solos by Richard and Paul bringing even more electricity to the overall result, followed by Tattoo, which kind of sounds taken from one of their previous albums. Put differently, it’s pure Neue Deutsche Härte tailored for the band’s diehard fans, with Christoph hammering our heads violently with his unstoppable, mechanized beats, while the song’s guitar riffs will cut your skin deep. Hence, I would simply love to listen to those Teutonic metallers playing this neck-breaking tune live. And lastly, Oliver makes the earth tremble with his bass punches in Hallomann (“Helloman” / “Announcer”), closing the album on a high note with the music flowing smoothly until its climatic and serene ending.

In a nutshell, anything I say about the brand new opus by the one and only Rammstein won’t be enough to describe its density, depth and energy. We’re facing the best rock and metal album of the year, my friends, there’s no doubt about that, and you can enjoy each and every song from such distinct release directly from the band’s official YouTube channel or on Spotify, and of course buy your copy of this multi-layered feast of top-of-the-line Neue Deutsche Härte from your favorite retailer by clicking HERE. As a matter of fact, I guess the best words that can be used to depict the music found in Rammstein are the ones already sung by Mr. Lindemann & Co. in the opening track of the album. “Deutschland / Mein Herz in Flammen / Will dich lieben und verdammen / Deutschland / Dein Atem kalt / So jung / Und doch so alt / Deutschland!”

Best moments of the album: Deutschland, Radio, Zeig Dich, Puppe and Tattoo.

Worst moments of the album: None.

Released in 2019 Universal Music

Track listing
1. Deutschland 5:23
2. Radio 4:37
3. Zeig Dich 4:15
4. Ausländer 3:51
5. Sex 3:56
6. Puppe 4:33
7. Was Ich Liebe 4:29
8. Diamant 2:34
9. Weit Weg 4:20
10. Tattoo 4:11
11. Hallomann 4:11

Band members
Till Lindemann – lead vocals
Richard Z. Kruspe – lead guitar, backing vocals
Paul Landers – rhythm guitar, backing vocals
Oliver Riedel – bass guitar
Christian “Flake” Lorenz – keyboards, samples, synthesizers
Christoph Schneider – drums, percussion

Guest musicians
The Academic Choir and the Symphony Orchestra of the National Television and Radio Company of Belarus, Minsk – strings, choir on “Zeig Dich” and “Puppe”
Meral Al-Mer – backing vocals on “Deutschland” and “Tattoo”
Carla Bruhn – backing vocals on “Hallomann”

Album Review – Prion / Aberrant Calamity (2019)

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Erupting from the warped heart of chaos, here comes a roaring Argentinian Death Metal horde armed with their brand new and extremely brutal album.

Erupting from the warped heart of chaos, here comes a roaring, screaming and slithering mass of nightmares named Prion, a Death Metal horde formed in the distant year of 1994 in the city of Buenos Aires, the capital of the always vibrant Argentina, tearing down the doors which guard your sanity, and letting loose every childhood fear kept locked away in darkness and drown your dreams in terror. Four years after the release of the excellent album Uncertain Process, from 2015, Prion are back even more enraged and vile than before, unleashing upon our damned souls their brand new, rip-roaring full-length album Aberrant Calamity, a lesson in sheer brutality highly recommended for diehard fans of Immolation, Krisiun, Hate Eternal and Morbid Angel.

Comprised of Gregorio Kochian on vocals and guitar, Walter Barrionuevo on bass and Flavio Coscarella on drums, Prion take no prisoners in their quest for old school Death Metal, adding absolutely zero artificial elements to their crushing sonority. Featuring a phantasmagorical and creepy cover art by Italian artist Marco Hasmann (Comatose Music), Aberrant Calamity is a precise and thunderous album of classic Death Metal where all three band members are in absolute fire and in total sync from start to finish, putting a huge smile on the faces of not only the fans of the band, but also to newcomers to the world of Prion who love when a band transforms their instruments into weapons of total annihilation.

It’s quite impressive how crisp, vibrant and raw the trio sounds from the very first second in the opening track Fictitious Form of Stability, with Flavio beginning his onrush of blast and furious beats à la Krisiun while Gregorio is a beast both with his demented riffs and his infernal growls; and as demolishing and intricate as the opening track, Irreversible Ways brings some Brutal Death Metal for the masses, with poetry and violence walking hand in hand in its lyrics (“So much real the time proceeds / without ask. Everything born and die, / we are not exempt from that. / Accelerating the natural course of the things. / Life disorders! / The malformed system now is out of control, / till our non existence.”). Following such smashing start, the rumbling bass punches by Walter will hammer your head mercilessly in I Remembered to Breathe, a sonic devastation that lives up to the legacy of old school Death Metal (and don’t forget to check their playthrough version HERE).

Apparently Flavio never gets tired of smashing his drums like a maniac, which is the case in Unable to Discern, an imposing Death Metal tune that feels at times like a “Death Metal Opera” (if that exists, of course), where Gregorio keeps vociferating rabidly and deeply in a true lesson in extreme music by this evil triumvirate from Argentina. Then get ready to slam into the circle pit to an avalanche of violent and technical sounds in Over the Asphalt of a New Era, with Gregorio and Walter extracting thunderous lines from their stringed weapons and, therefore, generating some unstoppable action for our avid ears and bodies. As you might have already noticed, there’s no time to breathe in Aberrant Calamity, with the dark, headbanging massacre entitled I’m Jonah, Sacrifice Me, led by Gregorio’s sharp riffs (and who also screeches like a demonic entity, by the way) sounding inspired by the greatest of the genre like Morbid Angel, Death and especially Prion’s neighbors Krisiun; whereas Pathological Self Destruction starts as obscure as possible, suddenly exploding into vile and infernal Death Metal where Flavio is once again precise and berserk on drums, generating a Stygian atmosphere perfect for Gregorio’s deep roars.

Are you tired already? Because there’s still more pulverizing Death Metal sounds made in Argentina for our total delight starting with Observed Relativity, showcasing a demented performance by Flavio on drums supported by Walter’s metallic bass, recommended for crushing your damned skull into the circle pit. The Hesse Paradox is another solid and demented display of extreme music brought forth by the trio, spearheaded by the scorching riffs by Gregorio while Walter and Flavio show no mercy for their instruments, sounding visceral and disturbing just the way we like it. And closing the album on a demolishing note to the detailed and potent beats by Flavio we have Slow Down, a song about our society’s cult of rush (“We live in the age of speed. / We strain to be more efficient, / to cram more into each minute, / each hour, each day of the existence.”) that will leave countless bodies on the floor after all is said and done.

If I were you, and especially if you’re an admirer of the pulverizing sounds of old school Death Metal, I would definitely take a good listen at Aberrant Calamity in full on YouTube or on Spotify, follow the band on Facebook, subscribe to their YouTube channel, and buy a copy of this fantastic album of Argentinian Death Metal from the band’s own BandCamp page or from Comatose Music’s BandCamp or webstore, as well as from Apple Music, Amazon or Discogs. There’s a very good reason why Prion have been proudly carrying the flag of classic Death Metal high for decades already, and that’s simply because those talented and obstinate Argentinian musicians breathe and live Death Metal, with Aberrant Calamity representing their boiling blood flowing through their metal hearts.

Best moments of the album: Irreversible Ways, Unable to Discern and Pathological Self Destruction.

Worst moments of the album: None.

Released in 2019 Comatose Music

Track listing
1. Fictitious Form of Stability 4:33
2. Irreversible Ways 4:33
3. I Remembered to Breathe 5:12
4. Unable to Discern 4:36
5. Over the Asphalt of a New Era 4:09
6. I’m Jonah, Sacrifice Me 4:47
7. Pathological Self Destruction 4:28
8. Observed Relativity 5:10
9. The Hesse Paradox 4:33
10. Slow Down 4:40

Band members
Gregorio Kochian – vocals, guitars
Walter Barrionuevo – bass
Flavio Coscarella – drums

Album Review – Target / Deep Water Flames (2019)

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Let’s all dive into the incendiary deep waters of Technical and Progressive Death Metal ruled by one of the most talented and innovative names of the South American metal scene.

Ladies and gentlemen, get ready to be absolutely stunned by the music crafted by four extremely talented guys hailing from Santiago, the beautiful capital of Chile, who seem to have mastered the art of blending sheer aggression and tons of progressiveness infused with atmospheric and melancholic passages. I’m talking about a Technical/Progressive Death Metal four-piece unity that goes by the name of Target, who released earlier this year their sophomore full-length opus, the amazing Deep Water Flames, one of the best metal albums of 2019 so far without a shadow of a doubt, and I’m sure you’ll agree with that after listening to such imposing and dense album of extreme music.

Formed in the year of 2002, the band now comprised of lead singer Andrés Piña, guitarist Luis Soto, bassist Rodrigo Castro and drummer Rodrigo Arias put on a lot of hard work, passion for heavy music and talent into the making of Deep Water Flames. Recorded and mixed in Santiago by Erick Martínez at Orange Studio, mastered in Sweden by Jens Bogren at Fascination Street Recording Studios, and featuring dark and flammable artwork, design and graphics by Dehn Sora, from Paris, France, Deep Water Flames sounds and feels like a tribute to all things Progressive and Death Metal, captivating all your senses from its first notes until its climatic grand finale, therefore positioning Target as one of the best and most innovative names of the underground scene in South America.

The intro Immerse is absolutely eerie and atmospheric from the very first second, reaching deep inside your soul and warming up your mind for the bold and crushing Inverted Gloaming, featuring Juan Escobar (Aphonic Threnody, AstorVoltaires, Tetractys, Mar de Grises) on vocals. Sounding utterly wicked and experimental, this excellent tune is led by Rodrigo’s insane beats and fills, while Andrés screams in a deranged and visceral way, resulting in a lecture in contemporary Progressive Death Metal. Then once again offering madness in the form of music, the band brings forth No Solace Arises, where Luis is on fire with his razor-edged strings, or in other words, this is a neck-breaking tune where the band’s “Rodrigos” shake the foundations of the earth with their beats and bass punches, making it feel like we’re listening to three or four songs all at once.

As obscure and atmospheric as its predecessors, Oceangrave is a flawless fusion of intricacy and rage, sounding as if Lamb of god went full progressive, showcasing ominous passages blended with Luis’ evil guitar lines and Rodrigo Castro’s damned, thunderous bass roars; followed by Surge Drift Motion, which begins in full force with both Luis and Rodrigo Castro shredding their strings mercilessly. Put differently, it’s a heavier-than-hell version of classic Progressive Metal spiced up by Andrés’ roars, with the piercing guitar solos by the band’s stringed duo being the icing on the cake. Submerged is a futuristic and melancholic instrumental bridge that will mesmerize you and prepare you for the pulverizing Drowned in an Everlasting Mantra, starting in a purely experimental mode before Rodrigo Arias begins exterminating his drums beautifully. Furthermore, sheer violence emanates from every riff and beat, with the deep, bestial growls by Andrés seeming inspired by Deathcore while the instrumental pieces remind me of the gripping music by bands like Gojira and Opeth.

Target Deep Water Flames Digipak

The following song, entitled Blackwaters, couldn’t have started in a more demented way, with its eccentric notes morphing into another brutal feast of progressive sounds where Rodrigo Castro’s bass lines are more imposing than ever. Hence, it’s highly recommended for either slamming into the pit or simply witnessing the band playing it to perfection on stage; and get ready for over nine minutes of the most devastating and intricate form of Progressive Death Metal you can think of in Random Waves, featuring Jeronimo Ruiz (Entrefuego), who brings insanity to the music with his vocals, remaining completely wicked, vile and cinematic until the very end. And lastly, the band offers us the serene outro Emerge, where its piano notes and background elements will embrace you and make you feel comfortable in darkness.

You should definitely take a very good and detailed listen at this magnificent album of Technical and Progressive Death Metal made in Chile on YouTube and on Spotify, and after being hypnotized by Target’s heavy and complex sounds you can purchase Deep Water Flames directly from the band’s BandCamp page, from the Australis Records’ BandCamp page, from Apple Music, from Amazon or from CD Baby. Furthermore, if I were you I would go for the digipak version of the album as it’s simply fantastic. I got it from Australis Records, and let me tell you those guys did a beautiful job producing the physical CD format of such distinct album. Also, don’t forget to follow Target on Facebook and to subscribe to their YouTube channel, and let your body and mind dive into the incendiary deep waters of progressive and heavy music ruled by those extremely talented Chilean musicians.

Best moments of the album: Inverted Gloaming, Oceangrave and Drowned in an Everlasting Mantra.

Worst moments of the album: None.

Released in 2019 Australis Records

Track listing
1. Immerse 2:15
2. Inverted Gloaming 6:11
3. No Solace Arises 5:28
4. Oceangrave 5:21
5. Surge Drift Motion 5:42
6. Submerged 2:14
7. Drowned in an Everlasting Mantra 5:24
8. Blackwaters 6:31
9. Random Waves 9:13
10. Emerge 3:59

Band members
Andrés Piña – vocals
Luis Soto – guitars
Rodrigo Castro – bass
Rodrigo Arias – drums

Guest musicians
Jeronimo Ruiz – vocals on “Random Waves”
Juan Escobar – vocals & instrumental arrangements on “Immerse”, “Inverted Gloaming” and “Emerge”

Album Review – Exuviated / Déliquescence EP (2019)

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Get ready to be smashed by 26 minutes of first-class Death Metal brought forth by a talented five-piece act hailing from “Hellgium”.

Forged in the fires of Marche-en-Famenne, a Walloon municipality located in the Belgian province of Luxembourg, in the year of 2009, when they released their debut EP entitled An Era’s Condemned, the unstoppable Death Metal squad comprised of Jean-Philippe Sonnet on vocals, Cédric Grandhenry and Renaut Van Oeyen on the guitars, Pierre Pish Minet on bass and Ahephaim on drums, collectively known as Exuviated, are ready to smash our heads once again with the ruthless music from their brand new EP Déliquescence. Featuring a beyond obscure artwork by the band’s own vocalist Jean-Philippe Sonnet (Threadbare Artwork), Déliquescence not only cements the name of the band in the underground extreme music scene, showing why they’ve already shared the stage with several renowned acts like Six Feet Under, Dark Tranquility, Suffocation and Cattle Decapitation (not to mention their concert at the always insane Wacken Open Air Festival), but it also paves a promising path for the band in the future, all in the name of our good old Death Metal.

Get ready for a heavy and demonic feast of Death Metal made in Belgium (or “Hellgium” as the band likes to call it) in the opening track Rupture, with Cédric and Renaut initiating the devastation with their flammable guitars while Jean-Philippe growls in a true Unleashed-inspired style before a somber break brings fear to our hearts, exploding once again into visceral extreme music until we’re treated to the instrumental piece Trouble, showcasing atmospheric guitar lines intertwined with heavier riffs and tribal beats. And this grim ambience sets the tone for the berserk Errance, where Jean-Philippe gnarls and shrieks demonically while Ahephaim sounds like a stone crusher on drums. In other words, this is ass-kicking Death Metal with a modern twist, offering over seven minutes of intricate and devilish sounds, ethereal passages and sheer violence and rage.

The next track, entitled Absence, is a more cinematic instrumental tune where the band seems like in a musical trance, and with Cédric and Renaut, together with Pierre, generating a vile atmosphere with their stringed weapons perfect for the absolute destruction that follows in Abîme, a classic Death Metal extravaganza infused with several modern extreme styles such as Deathcore and Grindcore, feeling and sounding dense throughout its entirety, with highlights to the amazing job done by the skillful Ahephaim with his brutality and refined technique on drums. Furthermore, it’s impressive how Exuviated are capable of composing Death Metal songs with over six minutes each and never sound boring or repetitive, proving how talented those Belgian metallers are.

In a nutshell, Déliquescence, which is available in full on Spotify and on YouTube, will certainly please all fans of both classic and contemporary Death Metal, leaving us all eager for more of Exuviated’s music in a not-so-distant future. Hence, let’s show our utmost support to the band by following them on Facebook, by subscribing to their YouTube channel, and mainly by purchasing a copy of their brand new incendiary EP from BandCamp, from Apple Music or from Amazon. And may Exuviated keep turning Belgium into “Hellgium” for many years to come, filling our ears with the visceral and violent sounds of our beloved Death Metal.

Best moments of the album: Errance.

Worst moments of the album: None.

Released in 2019 Independent

Track listing
1. Rupture 7:33
2. Trouble (Instrumental) 2:21
3. Errance 7:09
4. Absence (Instrumental) 2:58
5. Abîme 6:27

Band members
Jean-Philippe Sonnet – vocals
Cédric Grandhenry – guitars
Renaut Van Oeyen – guitars
Pierre Pish Minet – bass
Ahephaim – drums