Category Archives: 2020 New Releases

Album Review – Creptum / VAMA (2020)

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An unrelenting horde hailing from Brazil is ready to distill their raw, unfiltered Black Metal armed with their sulfurous new opus.

Formed in the already distant year of 2001 in the city of São Paulo, Brazil under the name Nekros with the sole objective of distilling Black Metal in its rawest aspect, an obscure Black Metal entity currently known as Creptum has just unleashed upon humanity their sophomore effort entitled VAMA, the follow-up to their 2016 debut opus Of Lies, Curses and Blood and their 2017 EP Reborn in Flames. Produced by Marcos Cerutti and featuring a blood-red artwork by Brazilian designer Raphael Grizilli, VAMA will certainly please all diehard fans of the old school Black Metal blasted by renowned acts such as Marduk, Gorgoroth, Sarcófago and Dark Funeral, among others, showcasing all the talent and obscurity by the band’s renewed lineup featuring vocalist and guitarist Nebro, guitarist T. Aversvs, bassist Corvo and drummer Animus Atra, positioning such distinct horde as one of the most interesting names of the underground Brazilian scene.

Animus Atra begins hammering his drums vigorously accompanied by the Black Metal riffage by Nebro and T. Aversvs in the opening aria Earth, while Nebro barks like a rabid beast nonstop, also bringing an ominous aura from Atmospheric Black Metal, whereas sounding more enraged, heavier and more demonic, the band goes full Black Metal in Reborn in Darkness, tailored for fans of the scorching music by Marduk and Darkthrone, with Nebro and T. Aversvs once again slashing our ears with their blasphemous riffs supported by the low-tuned, menacing bass by Corvus. Then strident guitar lines permeate the air in the also venomous 156, a hard-hitting, metallic extravaganza led by the band’s infernal kitchen of Corvus and Animus Atra, living up to the legacy of classic Black Metal infused with melodic nuances, followed by The Moon Above, bringing forward cryptic words vociferated by Nebro (“I hear the pounding of drums / My bones shiver with their sound / And I feel my heart, I feel my heart racing / I feel the dirt beneath my feet, / The transmutation of black moon above me / I feel the heat of the battles / That are now happening within”) while his bandmates keep the ambience as dense, ominous and electrifying as possible.

The title-track VAMA is another Stygian composition where the entire band adds hints of Doom Metal to their already sulfurous Black Metal, with Animus Atra alternating between vicious blast beats and sluggish, phantasmagorical passages, sounding utterly detailed and captivating from start to finish; and the acoustic instrumental tune Kundaliní gives us a few moments of introspection and peace before all hell breaks loose in Revolution Within, a disruptive onrush of Black Metal sounds spearheaded by Animus Atra and his demented drums, with Nebro growling deeply and rabidly while Corvo is unstoppable with her wicked bass punches. Creptum don’t stop darkening the skies and our souls with their imposing and epic Black Metal sonority in Devouring Mother, sounding as if Immortal and Mayhem had a bastard son while the gruesome gnarls by Nebro penetrate deep inside your psyche, until the closing tune On My Skin brings to our ears a few brief moments of serenity before the quartet crushes our skulls one last time with their heavy-as-hell sound, presenting a neck-breaking rhythm led by Animus Atra’s classic beats.

This fantastic display of South American Black Metal can be appreciated in full on Spotify, but of course if you want to show your true support and admiration for this Brazilian horde you should definitely purchase VAMA from their own BandCamp page, from the Drakker Productions’ BandCamp page or webstore, from Apple Music or from Amazon. In addition, don’t forget to follow Creptum on Facebook, Instagram and YouTube for news, tour dates and more of their incendiary music, consequently proving you’re a true disciple of the underworld. VAMA is not just another album of Black Metal, but a bold statement by a band that is fully dedicated to such obscure subgenre of heavy music, and above that, to show Brazil can also be an excellent source of the most extreme type of music you can think of.

Best moments of the album: Reborn in Darkness, VAMA and Devouring Mother.

Worst moments of the album: Earth.

Released in 2020 Drakkar Productions

Track listing
1. Earth 4:48
2. Reborn in Darkness 5:00
3. 156 4:52
4. The Moon Above 3:35
5. VAMA 5:59
6. Kundaliní 3:39
7. Revolution Within 3:35
8. Devouring Mother 4:48
9. On My Skin 4:31

Band members
Nebro – vocals, guitar
T. Aversvs – guitar, bass
Corvo – bass
Animus Atra – drums

Guest musician
Tanatos – additional vocals
Deimous Nefus – guitar

Album Review – Lamb of God / Lamb of God (2020)

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Re-energized and unrelenting, Richmond, Virginia’s own Groove Metal titans are finally back after five years with their pulverizing eighth studio album.

At long last, five years after the release of the excellent VII: Sturm und Drang, Richmond, Virginia-based Groove Metal titans Lamb of God are finally back with a brand new album self-titled Lamb of God, the band’s eighth studio effort, for our vulgar delectation. Produced by Josh Wilbur (Korn, Megadeth, Gojira, Trivium), the fact that their new effort is self-titled is a testament to the band’s pride and satisfaction with these songs and this period in their creativity, showcasing a true and healthy collaboration between frontman Randy Blythe, guitarists Willie Adler and Mark Morton, bassist John Campbell and newcomer Art Cruz on drums, a re-energized and unrelenting lineup that’s more than ready to lay claim to the metal throne. “Putting only our name on it is a statement,” Mr. Randy Blythe said. “This is Lamb of God. Here and now,” expressing in words all the rage, groove and darkness found in each of the album’s ten original and extremely acid songs.

An eerie start evolves into a pounding Groove Metal feast in the opening track Memento Mori, where Willie and Mark and infernal with their riffs, inspiring us all to slam into the pit like true metal maniacs while Randy darkly vociferates the song’s psychological lyrics (“The hardest hour, the cruelest sign / I’m waking up from this wretched lie / I fight it the same, don’t waste this day / Wake up, wake up, wake up / Memento mori”), whereas in Checkmate we’re treated to more of their modern-day, austere words (“Watch the gears grind off their teeth / The screeching halt machine digging heels in disbelief / Two reactional identities, opposing policies / A bait and switch routine”), while Art brings forward all his fury and dexterity on drums, proving why he was chosen to take the band’s drumming duties. And in Gears, my favorite song of the entire album, Randy sounds inhumane with his enraged roars accompanied by Art’s pounding beats and the groovy and thunderous bass by John, resulting in a very intricate, multi-layered and thrilling aria from start to finish.

Speeding things up a notch, the quintet fires the neck-breaking, pulverizing tune Reality Bath, bringing an amazing shredding blasted by the band’s guitar duo while Randy alternates between his trademark growls and dark, eerie clean vocals, followed by New Colossal Hate, keeping the album at an insane level of wrath and violence. In other words, it’s another song perfect for jumping up and down with the band, with John and Art making the foundations of the earth tremble with their hellish kitchen, and they continue to crush our heads with the wicked and visceral Resurrection Man, one of the heaviest and most obscure of all tracks, with Art hammering his drums fiercely while Rady fires deep, vicious roars nonstop. Then featuring guest vocalist Jamey Jasta (Hatebreed), the band delivers more of their hybrid of Groove and Thrash Metal in Poison Dream, with the sick riffage by Willie and Mark adding an extra kick to the overall result, not to mention the song’s vibrant and aggressive vibe.

The one and only Mr. Chuck Billy (Testament) lends his thunderous vocals to the high-octane Groove and Thrash Metal hurricane entitled Routes, sounding very melodic and at the same time as vile and caustic as possible, offering our avid ears their usual frantic beats, rabid screams and strident guitar solos, and you better get ready for another round of insanity and heaviness spearheaded by Randy and his demented screams in Bloodshot Eyes, also bringing some introspective moments while John and Art deliver endless groove through their unstoppable weapons. And last but not least, Lamb of God fire one last breath of first-class, demolishing metal music entitled On the Hook, with all of its crisp and thunderous riffs and bass jabs being nicely spiced up by Art’s rhythmic beats, uniting the heaviest elements from Thrash and Death Metal to the band’s core essence and, therefore, putting an amazingly heavy and explosive end to the album.

You can follow Lamb of God on Facebook and on Instagram (if you haven’t done so yet, of course) to stay up to date with everything that surrounds the band, including their tour dates, new songs and videos, news and other nice-to-know details, but I highly recommend you invest a small amount of your hard-earned money into their brand new album by clicking HERE and selecting your favorite version of it, as this is among the best metal albums of the year hands down. It might have taken a little longer than expected for Mr. Randy Blythe and his henchmen to released their new album due to all this horrifying and tedious COVID-19 pandemic, but at least the wait is over and, if you look on the bright side of life, all the wait was relatively worth it, making us insanely eager to see what Lamb of God had to offer us all in such obscure times. Needless to say, they didn’t disappoint at all, with their self-titled installment certainly fueling their inner selves to keep composing and delivering more of their unique Groove Metal for many years to come. Now it’s just a matter of waiting for metal concerts to be back on, buy your tickets to see Lamb of God live, and witness them kicking some serious ass with both their classics and the new fulminating songs from their new album, just the way we like it.

Best moments of the album: Memento Mori, Gears, Reality Bath and Routes.

Worst moments of the album: None.

Released in 2020 Epic Records/Nuclear Blast

Track listing
1. Memento Mori 5:48
2. Checkmate 4:30
3. Gears 3:55
4. Reality Bath 4:32
5. New Colossal Hate 4:30
6. Resurrection Man 4:59
7. Poison Dream 4:57
8. Routes 3:04
9. Bloodshot Eyes 3:57
10. On the Hook 4:30

Band members
Randy Blythe – vocals
Willie Adler – guitar
Mark Morton – guitar
John Campbell – bass
Art Cruz – drums

Guest musicians
Jamey Jasta – vocals on “Poison Dream”
Chuck Billy – vocals on “Routes”

Album Review – Kult Mogił / Torn Away the Remains of Dasein (2020)

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An unrelenting Polish entity returns with their sophomore full-length opus, presenting a new sound directed towards classic Death Metal from the 90’s.

Almost three years after the release of the EP Portentaque, Tarnów, Lesser Poland-based Blackened Death Metal entity Kult Mogił is back from the pits of the underworld with a brand new full-length album entitled Torn Away the Remains of Dasein, presenting to the listener a new line-up and, more important than that, a new energy and sound directed towards a more classic Death Metal style from the 90’s when compared to their debut full-length opus Anxiety Never Descending. Mixed and mastered at Satanic Audio by Haldor Grunberg and featuring a stylish cover artwork by Polish artist Sars (Gruzja, Odraza), Torn Away the Remains of Dasein reeks of pure violence from start to finish, showcasing all the talent and passion for extreme music by lead singer and bassist Deimos, guitarists Rzulty and Thisworld Outof, and drummer The Rays. “Instead of following trends of fashionable playing, we’re heading in the opposite direction, going back to the roots of death metal even more than before. This is our most essential recording, devoid of layers of sludge and other popular additions from previous releases. We want the new songs, stripped of these ornaments, to defend themselves with strong, load-bearing riffs. This album is 100% devoid of the desire to be avant-garde or experimental. We are destroying the previously developed formula so that we can on its ruins pay homage to the classics of the genre,” commented the band about their vicious new album.

And the opening track Hunger of Pride is the perfect depiction of this new version of Kult Mogił, sounding and feeling absolutely ominous, disruptive and violent from the very first second, with Rzulty and Thisworld Outof showing no mercy for our souls with their infernal riffage while Deimos roars and growls rabidly, resulting in a putrid Death Metal feast infused with Black Metal nuances. Then wicked sounds ignite another awesome display of brutality titled White.Death.Implosion, where The Rays sounds vile and demented on drums by blasting sheer havoc through his beats, therefore providing his bandmates all they need to shine with their venomous growls and sick riffs and solos, and not giving us a single second to breathe, the quartet fires the also hellish Blackened Death Metal tune Torment of Dasein, bringing to our ears pure savagery flowing from all instruments, with Deimos doing a fantastic job with both his guttural vocals and his menacing bass punches. In Idols in Blood we’re treated to an austere onrush of Black and Death Metal sounds spearheaded by the rhythmic and groovy beats by The Rays, while Rzulty and Thisworld Outof don’t stop extracting razor-edged riffs from their axes, reminding me of the total darkness of the early days of their countrymen Behemoth, whereas in A Wax Reverie the band adds hints of Doom Metal to their already otherworldly sonority, smashing our skulls once again and blending the gore of bands like Cannibal Corpse and Six Feet Under with their own share of dementia. And lastly, the rumbling bass by Deimos ignites the closing tune Fountain of Affliction, where the band’s guitar duo fires an endless amount of sulfur and rage from their stringed weapons while The Rays sounds like a bulldozer on drums, ending the album on an utterly obscure and aggressive note.

In case you’re not familiar with the music by Kult Mogił, I highly recommended you go take a good listen at their previous releases before listening to Torn Away the Remains of Dasein in full on YouTube to have a clear understanding of the musical evolution explained by the band until reaching their current shape and form, showing that the adjustments they made to their sound were more than welcome and spot-on, therefore pointing to a bright future to such obscure unity hailing from Poland. In addition, don’t forget to give the guys from Kult Mogił a shout on Facebook, and to grab your copy of Torn Away the Remains of Dasein from the Pagan Records’ BandCamp page or from their webstore in CD, black LP or red LP formats. After such pulverizing album, I wonder if Kult Mogił will continue to venture through even more classic Death Metal lands, if they’ll succumb to the darker side of Black and Doom Metal, or if they’ll simply merge all of their influences and all those styles into something new and fresh. As a matter of fact, it doesn’t matter what the final result is, as long as they keep bringing forth amazing records like Torn Away the Remains of Dasein we can rest assured the underground Polish scene will remain alive, vibrant and as brutal as it can be.

Best moments of the album: White.Death.Implosion and Idols in Blood.

Worst moments of the album: None.

Released in 2020 Pagan Records

Track listing
1. Hunger of Pride 5:43
2. White.Death.Implosion 4:57
3. Torment of Dasein 6:33
4. Idols in Blood 4:38
5. A Wax Reverie 6:24
6. Fountain of Affliction 5:37

Band members
Deimos – vocals, bass
Rzulty – guitars
Thisworld Outof – guitars
The Rays – drums

Album Review – Häxan / White Noise (2020)

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Three Welsh girls are ready to bring the noise armed with their first full-length album, always in the name of our good old Rock N’ Roll.

With an impressive array of live shows and festivals under their belt, including Download Festival, Monsters Of Rock Cruise, Rock The Boat Cruise and Hard Rock Hell, Cardiff, Wales-based all-female Hard Rock trio Häxan is ready to take the world of rock and metal by storm with their brand new album White Noise, a lecture in classic rock tailored for fans of the music by Led Zeppelin, Suzi Quatro, AC/DC and Black Sabbath. Recorded at Stompbox Studios in Wales, the album was produced, mixed and mastered by Todd Campbell (Phil Campbell and the Bastard Sons), who’s helped lead singer and guitarist Sam Bolderson, bassist Harriet Wadeson and drummer Jess Hartley reach a higher level with their music, all embraced by a straightforward and strong artwork by Matt Riste Illustration, and if you think the COVID-19 pandemic would stop the girls from embellishing the airwaves with their music you’re absolutely wrong. “We debated postponing the album launch until there was more certainty in our (and your) lives. We ultimately decided that so many of our fans and friends had been asking for this album for so long, that it was only right to continue with its launch and hopefully help to give everyone a little something to look forward to. We want White Noise to be able to mask the sounds of the uncertain outside world that’s around all of us currently, to allow people to escape it. It’s an opportunity to shut everything else out and enjoy the incredible potency of music.”

Let’s cut to the chase as it’s time to rock together with the girls from Häxan in the opening tune Damned If You Do, presenting elements from classic rock with the electrifying punk-ish sound blasted by bands like Volbeat, with Jess sounding fantastic on drums while Sam delivers sheer adrenaline with her spot-on riffs, followed by Killing Time, a mid-tempo headbanging tune led by the pounding drums by Jess accompanied by the crushing bass punches by Harriet, bringing a Survivor’s “Eye of the Tiger” vibe and, therefore, resulting in a lesson in 80’s Rock N’ Roll for admirers of the genre. After such great start the band offers us all Nine Lives, a Volbeat/Misfits-inspired composition by the trio where Sam and Harriet slash their strings beautifully while Sam blasts her delicate but potent vocals for our total delight. Needless to say, this is an amazing option for their live performances, which is also the case with Grave Digger, where the band ventures through more Blues-ish, Southern Rock lands. Furthermore, Sam poetically declaims the song’s lyrics while Jess keeps the song’s pace smooth and vibrant at the same time, not to mention the thrilling guitar solo blasted by Sam. And they keep smashing their instruments powerfully in the Hard Rock extravaganza Louder Than Words, with Harriet and Jess making the earth tremble with their thunderous bass and drums, also bringing to our avid ears soulful guitar riffs and solos and endless stamina.

In Black Sheep the trio gets back to a darker and groovier sonority, with Harriet hammering our heads with her fiery bass while Sam brings forward more of her charming vocals, sounding almost like a grim, badass rock ballad, whereas uniting the groove of Southern Rock with the old school Hard Rock by AC/DC Häxan offer us all the dancing Crash and Burn, with Sam’s vocals being nicely complemented by some crisp backing vocals, rockin’ guitar riffs and incendiary solos. In the flammable Skeletons, we’re treated to a high-speed, dirty pounding Rock N’ Roll party by the girls where Jess is unstoppable on drums, providing Sam all she needs to scream the song’s catchy chorus flawlessly (“Your skeletons are out to play, you thought you’d take them to your grave / You’ll always be the second best to demons that you’d laid to rest / Your skeletons are running wild, haunting you til the day you die / You believe what’s done is done, but you won’t ever run / From all your skeletons, skeletons”), before Living Dead closes the album in great fashion, albeit not as inspiring as the rest of the album, but still showcasing all the dexterity of the girls with Jess once again kicking ass with her beats together with Harriet’s rumbling bass jabs.

The talented and hardworking girls from Häxan are waiting for you on Facebook, on Instagram and on Spotify to rock your world like there’s no tomorrow, bu of course in order to show them your true support and to prove you deserve a place in the Rock N’ Roll heaven, go grab your copy of White Noise from their own BandCamp page, from Apple Music or from Amazon. In a nutshell, White Noise might not be a revolution in rock music, but that has never been the band’s intention anyway. Sam, Harriet and Jess just want to play pure, unfiltered rock music and give us all a very good reason for smiling, banging our heads and dancing the night away. After two astounding releases, those being their 2017 debut EP Breaking Down the Walls and now the top-of-the-line White Noise, what’s next for the girls from Häxan? Well, only time will tell, but we can all rest assured they will never sell out and will keep bringing the noise to our avid ears for many years to come, always in the name of our good old Rock N’ Roll.

Best moments of the album: Damned If You Do, Nine Lives and Skeletons.

Worst moments of the album: Living Dead.

Released in 2020 Independent

Track listing
1. Damned If You Do 4:50
2. Killing Time 4:07
3. Nine Lives 4:45
4. Grave Digger 5:03
5. Louder Than Words 4:07
6. Black Sheep 5:35
7. Crash and Burn 4:07
8. Skeletons 5:34
9. Living Dead 4:27

Band members
Sam Bolderson – vocals, guitar
Harriet Wadeson – bass
Jess Hartley – drums

Album Review – Zebadiah Crowe / Host Rider (2020)

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An infernal British duo returns after almost eight excruciating years of silence with the utmost sound of violence, horror, darkness, filth and savagery in their brand new opus.

Almost eight years after the release of their sophomore album Omak K’aah, a beyond infernal British duo that goes by the curious name of Zebadiah Crowe returns from the pits of the underworld with more of their incendiary hybrid of Black, Thrash and Industrial Metal with Grindcore nuances in their brand new opus entitled Host Rider, a new tome of foulness and fractured sanity featuring seven new psalms of wild abandon and dangerous delirium. Formed in 2006 in London, UK, the duo comprised of The Horrid on vocals, bass and drum programming and Forrrthen on the guitars sounds sharper and more caustic than ever in their newborn spawn, bringing forth the sound of violent punk attitude, suffocating black horror, gothic darkness, mechanistic filth and the savagery of the most vicious outliers of thrash, being highly recommended for admirers of the distinguished terror blasted by renowned acts such as Venom, Ministry, Mantar and Babylon Whores, leaving you broken and destroying your senses without a single drop of mercy.

Imposing, epic sounds explode into a venomous fusion of Black and Industrial Metal in the amazing opening track Knucklebones, where the dirty, scorching riffs by Forrrthen provide The Horrid exactly what he needs to thrive with his wicked gnarls, whereas the thunderous and metallic bass by The Horrid takes the lead in the pulverizing A Tincture of Malic, a song that will undoubtedly inspire you to slam into the circle pit together with this talented unity from hell. Moreover, although the drums might be programmed, they actually sound very organic and evil, giving the whole album an extra touch of rawness. And there’s no time to breathe at all as they keep hammering our heads with their frantic and industrialized sounds in Mantel of Nails and Orphan Skin, reminding me of some of the most vicious creations by Ministry, with The Horrid going full Black Metal with his vile screams while Forrrthen keeps slashing his stringed ax manically.

In The Neon Goat of Crimson Grief we’re treated to more of their blackened music, with the programmed drums working really well once again while the duo smashes their guitar and bass mercilessly, even bringing hints of Punk Rock to its core mechanized essence. Slightly groovier and more visceral than its predecessors, A Horror to the Eyes of Saintly Men is an underground lesson in savagery and dementia where Forrrthen’s riffage sounds bestial from start to finish, not to mention the trademark enraged roars by The Horrid, while in Godblind and Destitute they once again blend the heaviness of Black Metal with the violence of Thrash Metal and the metallic noises of industrial music, keeping the album’s electricity flowing at an insane speed. Lastly, closing such short but utterly extreme and malignant album we have Wormhavens Dance, where Zebadiah Crowe fire tons of rage and darkness through their razor-edged instruments, all spearheaded by The Horrid’s demonic screams and at the same time spiced up by futuristic background elements.

If you think you have what it takes to face Zebadiah Crowe and the anthems of horror and perversion found in their new album Host Rider, you should definitely follow them on Facebook to know more about this distinct entity hailing from the UK, including their tour dates and upcoming releases, but of course in order to show them you’re a creature of the dark just like The Horrid and Forrrthen themselves, you should purchase your copy of Host Rider from their own BandCamp page. No one knows if Zebadiah Crowe will take another long and excruciating eight years to bring to our ears a new sonic beast the likes of Host Rider, but for now let’s not worry about that, as we do have their new album to enjoy, letting their piercing, austere sounds penetrate deep inside our psyche, therefore dragging us to the world of horrors and dementia ruled by one of the most talented duos of the underground British scene.

Best moments of the album: Knucklebones, Mantel of Nails and Orphan Skin and A Horror to the Eyes of Saintly Men.

Worst moments of the album: A Tincture of Malic.

Released in 2020 Lore Breaker Records

Track listing
1. Knucklebones 4:17
2. A Tincture of Malic 2:58
3. Mantel of Nails and Orphan Skin 3:13
4. The Neon Goat of Crimson Grief 3:44
5. A Horror to the Eyes of Saintly Men 3:40
6. Godblind and Destitute 3:50
7. Wormhavens Dance 3:45

Band members
The Horrid – vocals, bass, drum programming
Forrrthen – guitars

Album Review – Mazikeen / The Solace of Death (2020)

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A beastly album of Symphonic Death and Black Metal from Australia that proves death can be comforting when enfolded by first-class extreme music.

What started in 2013 in Melbourne, Australia as a solo project by guitarist Andrew Shiells with the help from Chris Meyer (from Australian Black Metal act Aberration Nexus), who recorded some drums and synths for the project’s first demo tracks, has evolved to a much bolder and multi-layered beast in recent years, blasting a crushing hybrid of Symphonic Death and Black Metal with other extreme styles such as Melodic Death Metal and old school Black Metal. I’m talking about Mazikeen (based on the Hebrew word “mazzikim”, meaning “harmful spirits”), an infernal horde comprised of the aforementioned Andrew Shiells and his henchmen James Edmeades (Claret Ash) on vocals, Kris Marchant on the guitars, Aretstikapha (Plasmodium, Klavierkrieger) on piano and synths, and Marco Pitrruzzella (Six Feet Under, Sleep Terror) on drums, who are unleashing upon us their first full-length opus titled The Solace of Death, featuring eight original songs and four insane cover tracks throughout impressive 67 minutes of music, all embraced by the stylish and sinister artwork by Australian artist Jamie Ludbrooke.

An eerie, phantasmagorical intro evolves into a feast of symphonic and dark sounds in the opening track The Solace Of Death, where Marco is absolutely infernal with his blast beats while James delivers his Dani Filth/Shagrath-inspired roars and gnarls, supported by the imposing synths by Andrew and Aretstikapha, whereas in Apostate it’s time for ten minutes of Symphonic Black Metal infused with Doom and Melodic Death Metal nuances where the guitars by Kris and Andrew sound sharp and very harmonious just the way we like it in extreme music. Brutal and enthralling form start to finish, this great composition lives up to the legacy of bands like Emperor, Dimmu Borgir and Carpathian Forest, which can also be said about Vexation Through The Golden Sun, even more obscure, violent and epic than its predecessors, spearheaded by the insane drums by Marco while his bandmates make sure every empty space in the air is filled with darkness and evil, resulting in a lecture in modern-day Symphonic Black Metal full of breaks and variations, Stygian passages and even some serene, acoustic moments for our total delight. And featuring guest vocals by Josh Young (Astral Winter, Atra Vetosus), Mazikeen go full Scandinavian Black Metal in Fractricide, inspired by the trailblazers of the genre such as Mayhem and Emperor, blasting a demolishing sonority that will make your head tremble nonstop.

Josh returns with his wicked gnarls in the melancholic and somber Psychotic Reign, starting in a Gothic Metal-ish vibe while also presenting elements from Atmospheric Black Metal in its core essence. Moreover, I personally love the paradox created between Marco’s stone crushing beats and all background keys and symphonic elements, giving the whole song and extra touch of eccentricity, flowing into the cryptic and atmospheric instrumental bridge Harrowing Cessation, which also develops into a romantic instrumental ballad entitled MORS VINCIT OMNIA, or “death conquers all” from Latin, where the strength and depth of the piano notes take the lead and guide the music until its inevitable and grim ending. And in the last original song from the album, Cerulean Last Night, Mazikeen get back to a more ferocious and visceral mode, uniting the most piercing elements from old school Black Metal and contemporary Symphonic Black Metal spiced up by the visceral guest vocals by Ian McLean (The Maledict).

The last batch of songs in The Solace of Death is the band’s own tribute to their biggest idols and influences, starting with Mayhem’s Freezing Moon, originally released in the 1994 cult album De Mysteriis Dom Sathanas (check the original version HERE), with Mazikeen’s version featuring the vicious vocals by guest Ashahalasin (Inhuman Remnants, Somnium Nox) infernally complemented by the pulverizing drums by Marco, followed by Disection’s Night’s Blood, from the 1995 album Storm of the Light’s Bane, as bestial as the original song with Kris and Andrew delivering sheer electricity and rage through their scorching riffs. Then we have a cover for Dimmu Borgir’s Mourning Palace, from the 1997 album Enthrone Darkness Triumphant (you can listen to the original one HERE), where James does a fantastic job on vocals accompanied by the whimsical keys and synths by Andrew and Aretstikapha. And finally, Ashahalasin returns for their cover song for Darkthrone’s Transilvanian Hunger, from the 1994 album Transilvanian Hunger, as raw and malevolent as the original tune, with Marco once again taking the lead firing endless dementia and wrath from his blast beats.

You can enjoy this precious gem of Australian Black Metal in its entirety on YouTube and on Spotify, and also grab your copy of the album from the Satanath Records’ BandCamp page, from the Iron, Blood & Death Corporation’s BandCamp page, from Apple Music, or click HERE for all options where you can buy or stream the album. Mazikeen can also be found on Facebook, where you can know more about the band, their tour dates, their music and plans for the future, proudly carrying the flag of Black Metal wherever they go. In a nutshell, Andrew and his horde from Mazikeen nailed it in The Solace of Death, showing us all that death can be indeed comforting, especially if enfolded by a good amount of first-class Black Metal like the sonic devastation blasted by such distinct band hailing from the always inspiring Australia.

Best moments of the album: Vexation Through The Golden Sun, Fractricide and Night’s Blood.

Worst moments of the album: Harrowing Cessation.

Released in 2020 Satanath Records/Iron, Blood & Death Corporation

Track listing
1. The Solace Of Death 6:57
2. Apostate 10:05
3. Vexation Through The Golden Sun 10:46
4. Fractricide 4:54
5. Psychotic Reign 7:00
6. Harrowing Cessation 2:30
7. MORS VINCIT OMNIA 2:59
8. Cerulean Last Night 7:34
9. Freezing Moon (Mayhem cover) 6:36
10. Night’s Blood (Dissection cover) 7:10
11. Mourning Palace (Dimmu Borgir cover) 5:36
12. Transilvanian Hunger (Darkthrone cover) 5:36

Band members
James Edmeades – vocals
Kris Marchant – guitars
Andrew Shiells – guitars, synths
Aretstikapha – piano, synths
Marco Pitrruzzella – drums

Guest musicians
Josh Young – vocals on “Fractricide” and “Psychotic Reign”
Ian McLean – vocals on “Cerulean Last Night”
Ashahalasin – vocals on “Freezing Moon” and “Transilvanian Hunger”

Album Review – From Hell / Rats & Ravens (2020)

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Are you ready for an excellent album of Horror Metal set in mid-13th Century Eastern Europe that weaves an eerie and epic tale of witchery?

Labeling themselves as a Horror Metal concept band in which each recording is intended to be its own horror story, San Francisco, California-based Thrash/Death Metal act From Hell are unleashing upon humanity the second chapter in their horror anthology since their inception in 2010, the dark and sinister Rats & Ravens, an album set in mid-13th Century Eastern Europe that weaves an eerie and epic tale of witchery throughout its ten original tracks. Produced by Greg Wilkinson (High on Fire, Necrot, Autopsy) and mastered by Maor Appelbaum (Faith No More, Annihilator, Cynic), Rats & Ravens is not only the natural follow-up to their 2014 effort Ascent From Hell, but an evolutionary step in the career of the quartet currently comprised of the band’s mastermind and founder Aleister Sinn (also known as George Anderson) on vocals and guitar, Steve Smyth also on the guitar, Stephen Paul Goodwin on bass and Wes Anderson on drums. “The story is about a witch who desires children of her own and steals them from the villages nearby,” Aleister explains. “When she kills them, she traps the ravens who come for their souls. She keeps the children on this earth, reanimates their corpses with rats and calls them ‘Lilium.’”

Right after a short and sinister intro entitled Dark Heart, From Hell come crushing in the modern-day Thrash Metal tune They Come At Night, with its dark lyrics being manically vociferated by Aleister (“Running through the forest as daylight starts to dim / Following close behind I hear them closing in / Demons of the forest. Spirits in the wind. / Whispering in the darkness. Whispering, ‘She comes again!’”) while Stephen brings the groove with his wicked bass, followed by Lilium, a song about the proclamations from the witch as to what she has done, where the band blasts a thunderous fusion of Thrash and Groove Metal the likes of Lamb of God and Overkill, and with Aleister and Steve being merciless with their venomous riffs. And after a brilliant drum intro by Wes it’s time to slam into the pit together with From Hell in the infernal The Witch, an old school thrashing extravaganza showcasing fulminating riffs and rumbling bass punches, or in other words, the whole package diehard fans of the genre are always searching for.

Venturing through darker and more demonic lands, From Hell brings to our ears a mid-tempo, spine-chilling tune titled Don’t Cry For Help, led by the rhythmic beats by Wes while the band’s guitar duo kicks some serious ass with their riffs and solos; whereas Three And Nine is a ritualistic Thrash and Groove Metal chant where the entire band makes the skies darker and the fires form the netherworld stronger and brighter with their refined techniques, therefore keeping the level of horror in the album extremely high, and with Wes once again smashing his drums in great fashion from start to finish. Then in Forest Of The Screaming Trees a sinister, uncanny background is gradually accompanied by acoustic guitars before all hell breaks loose, morphing into a movie score-inspired Thrash Metal beast where Aleister, Steve and Stephen are in absolute sync with their hellish strings.

In the excellent Room For One those four metallers deliver a classic thrashing riffage together with vicious, pounding beats, generating the perfect ambience for Aleister and his high-pitched, devilish roars and, as a result, living up to the legacy of bands like Exodus and Testament. It’s a true headbanger, I might say, and it’s time to put the pedal to the metal and blast our ears and skulls with the frantic Body Rats, a classic Thrash Metal composition for the masses where Aleister leads his horde with his inhumane screeches while Stephen and Wes keep the earth trembling with their respective weapons. Lastly, there’s nothing better than a straightforward, in-your-face thrashing tune with some good amount of shredding, soaring screams and intricate beats like Am I Dead to properly close the album, with Wes being once again insane on drums, providing his bandmates all they need to darken our hearts and souls in the album’s climatic finale.

If you’re a fan of horror movies and at the same time a longtime admirer of Thrash and Death Metal, I highly recommend you go grab a copy of Rats & Ravens either by clicking HERE (where you can also stream it in full on Spotify) or by visiting the Scourge Records webstore, and don’t forget to follow the band on Facebook and on Instagram for an additional share of horror, blood and mystery by keeping up to date with their news, releases and tour dates. From Hell did a fantastic job uniting their scorching metal music with witchcraft in Rats & Ravens, an album that doesn’t get tiresome nor bland at any given moment; quite the contrary, this is how heavy music should always sound. Heavy, dark, intricate and, above all that, absolutely evil.

Best moments of the album: Lilium, The Witch and Room For One.

Worst moments of the album: None.

Released in 2020 Scourge Records

Track listing
1. Dark Heart 0:54
2. They Come At Night 5:49
3. Lilium 4:16
4. The Witch 5:50
5. Don’t Cry For Help 5:43
6. Three And Nine 5:29
7. Forest Of The Screaming Trees 5:49
8. Room For One 5:38
9. Body Rats 8:42
10. Am I Dead 6:56

Band members
Aleister Sinn – vocals, lead guitar
Steve Smyth – lead guitar
Stephen Paul Goodwin – bass guitar
Wes Anderson – drums

Album Review – Grave Digger / Fields of Blood (2020)

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One of the most influential and pioneering bands of the German scene celebrates 40 years of their undisputed Heavy Metal on a journey back to the vastness of the Scottish Highlands.

Standing tall as one of the most influential and pioneering bands of the German Heavy Metal scene since their inception in the early 80’s, Gladbeck’s own Power Metal institution Grave Digger is celebrating their 40th anniversary in great fashion with the release of their 20th studio album, entitled Fields of Blood, the logic consequence of a legendary trilogy which started in 1996 with the breathtaking Tunes of War and an auditory battle of unique traditional metal, continuing their epic Highlands story. One thing I must say is that although most fans of the band had a very good time with their latest albums Return of the Reaper, Healed by Metal and The Living Dead, it’s when the band comprised of the iconic frontman Chris Boltendahl and his henchmen Axel Ritt on the guitars, Jens Becker on bass and Marcus Kniep on drums takes us into the vastness of Scotland on a journey through explosive sound landscapes that they truly thrive. Featuring a classy, old school artwork by Russian artist Alexander Tartsus, Fields of Blood even had some of its parts recorded in the Scottish Highlands, giving an extra touch of epicness to their no-frills, traditional brand of metal with unwavering pure steel, which nevertheless offers surprises, celebrating such a special anniversary of one of the most successful German Heavy Metal acts in the most glorious style.

Featuring very special guests Les Tambours du Bronx, the intro The Clansman’s Journey showcases a stunning combination of their tribal beats with the strident sound of the bagpipes, resulting in one of the most inspiring intros I’ve ever heard in my life, therefore warming up our senses for a feast of classic, warlike Grave Digger tunes starting with All for the Kingdom, where Marcus dictates the rhythm with his fierce beats while Axel and Jens slash their strings majestically, all of course spearheaded by Chris and his trademark raspy vocals. Then we’re treated to Lions of the Sea, the battle of the Scots against the Vikings translated into fist-raising Power Metal made in Germany, a song that should sound amazing when played live especially due to its catchy, rebellious chorus, not to mention the crisp riffage by Alex, who also kicks some serious ass in the inspiring tune Freedom, an ode to William Wallace’s famous speech where the whole bands speeds things up providing us all we need to head into the battlefield, with Chris delivering a superb vocal performance supported by the song’s spot-on backing vocals.

And Les Tambours du Bronx are back to add an extra kick to the already piercing sound of the bagpipes in The Heart of Scotland, where Chris declaims the song’s words with tons of feeling (“Raise your voices – raise your fists / For the king – the pride of our nation / Praise him and kneel – a will strong as steel / He carries the heart of Scotland / Praise him and kneel – a will strong as steel / He carries the heart of Scotland”) while the music remains slow, steady and dark from start to finish. After such imposing composition, the band brings forward Thousand Tears, a gentle and melancholic ballad that only Grave Digger can offer us featuring the unrelenting Finnish she-wolf Noora Louhimo, and as Chris and Noora have a sensational vocal duet I personally hope she can join the band on stage for a few concerts in the near future. In Union of the Crown they get back to their traditional (and I would even say their most traditional) sonority, with Chris singing with a lot of rage and power while Markus continues to pound his drums mercilessly, accompanied by the rumbling bass by Jens, whereas it’s impossible to stand still to the beer-drinking battle hymn entitled My Final Fight, where Chris screams and shouts the song’s lyrics flawlessly (“The battle began in the morning light / Five thousand gathered for the fight / Tired, exhausted we stood side by side / Welcomed the English with brave and pride”). Put differently, it’s time to prance around the fire, raise your swords and praise our beloved Heavy Metal together with those Teutonic metallers.

Grave Digger Fields of Blood Wooden Box

Then more of their trademark metal music comes in Gathering of the Clans, a song about the unity of the Highland clans and their will to fight for their freedom until the very end, with Alex sounding infernal with his razor-edged riffs and solos while the atmosphere is spiced up by the rebellious bagpipes by guests Hans Grothusen, Paul Grothe and Florian Bohm. After that, be prepared to bang your heads like dauntless highlanders in the rockin’ extravaganza titled Barbarian, where Alex’s riffs are beautifully complemented by the thunderous kitchen by Jens and Marcus, sounding as if the whole song was taken from one of their epic albums from the 90’s, followed by the title-track Fields of Blood, where a sensational bagpipe-infused intro evolves into ten minutes of pure Grave Digger with Chris, Alex, Jens and Marcus being on fire with their respective sonic weapons, guiding the music smoothly and with an endless amount of epicness and fire until the very end. By the way, the song’s closing moments are not only climatic, but also somber, captivating and as metallic as they can be, putting a pensive ending to the battle before the symphonic and cinematic outro Requiem for the Fallen embraces us all and provides us moments of peace in the aftermath, allowing us to grieve for the countless fallen bodies of all brave Scotsmen who died fighting for their freedom.

If you have what it takes to join Grave Digger in their quest for freedom in the Highlands, you can enjoy Fields of Blood in it entirety on YouTube and on Spotify, watch Chris and his loyal bandmates talking about each and every track from the album on a special series on YouTube by clicking HERE, HERE and HERE, and of course purchase your desired version of this grandiose album of metal music by clicking HERE, such as the insanely awesome Wooden Box strictly limited to 300 units including the digipak CD version of the album, a bonus live DVD titled “Live in Japan”, a special Highland flask and a black 7″ single. Also, don’t forget to follow Grave Digger on Facebook and on Instagram, staying up to date with everything that surrounds the band such as their new releases, live concerts and other nice-to-know details. I’m absolutely thrilled this unstoppable Teutonic army decided to return to the Highlands once again in celebration of their 40th anniversary, filling our hearts and souls with their inspiring tunes of war and freedom, and I can’t wait to see what Chris Boltendahl & Co. will offer us in their future albums if they decide to stay in Scotland for a little longer, hopefully bringing to our avid ears more of their undisputed Heavy Metal for many years (and decades) to come.

Best moments of the album: All for the Kingdom, Freedom, My Final Fight and Barbarian.

Worst moments of the album: None.

Released in 2020 Napalm Records

Track listing
1. The Clansman’s Journey 1:27
2. All for the Kingdom 4:10
3. Lions of the Sea 3:58
4. Freedom 4:53
5. The Heart of Scotland 5:19
6. Thousand Tears 4:57
7. Union of the Crown 3:58
8. My Final Fight 4:09
9. Gathering of the Clans 3:57
10. Barbarian 3:43
11. Fields of Blood 10:10
12. Requiem for the Fallen 3:00

Band members
Chris Boltendahl – vocals
Axel Ritt – guitars
Jens Becker – bass
Marcus Kniep – drums

Guest musicians
Noora Louhimo – female vocals on “Thousand Tears”
John Jaycee Cujpers, Olaf Senkbeil, Andreas von Lippinski & Hacky Hackmann – backing vocals
Les Tambours du Bronx – percussion on “The Clansman’s Journey” and “The Heart of Scotland”
H.P. Katzenburg – keyboards on “Thousand Tears”
Hans Grothusen, Paul Grothe & Florian Bohm – bagpipes, uilleann pipes

Album Review – Re-Armed / Ignis Aeternum (2020)

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A modern, melodic and entertaining album of heavy music about positivity, about constant change and seeing life as it is in every level, directly from Finland into your heart and soul.

Mixing their trademark Melodic Death Metal with classic Death and Thrash Metal and symphonic influences in order to bring to the scene a more vibrant and modern sound, Kerava, Finland-based unity Re-Armed has been on a constant evolution since their inception in 2001, moving from what’s usually known as the Gothenburg sound to their current shape and form, culminating with the release of their brand new album Ignis Aeternum, the fourth full-length opus in their solid career. Produced and recorded at Studio UG and mixed at ShedStudios in Kerava,  mastered at Audiamond in Niinikoski, Finland, and featuring a caustic and grim artwork by Brazilian artist Romulo Dias, Ignis Aeternum is about positivity, about constant change and seeing life as it is in every level. It is a trip, a breathtaking view about life’s diversity, and an ode to life, all embraced by the slashing metal music blasted by frontman Jouni Matilainen, guitarists Allan Välimaa and Oskari Niekka, bassist Juhana Heinonen and drummer Iiro Karjalainen with tons of precision, dexterity and feeling, just the way we like it in Melodic Death Metal.

It’s time to put the pedal to the metal together with the guys from Re-Armed in the epic and insurgent Dive Within, with Iiro sounding absolutely bestial on drums, providing his bandmates all they need to kick some serious ass with their respective sonic weapons, spiced up by a beautiful ending featuring a stanza taken from Eino Leino’s poem “Hymni Tulelle”. Then we’re treated to more of the melodic and electrifying sounds crafted by the quintet in Beyond the Horizon, sounding futuristic and extremely sharp while Allan and Oskari fire some Arch Enemy-inspired riffs accompanied by the whimsical keys by guest Sami Tiittanen; and the rumbling bass jabs by Juhana kick off the vibrant Melodic Death Metal extravaganza titled Ode to Life, featuring guest guitarist Euge Valovirta (CyHra, Godsplague), a song perfect for breaking your neck headbanging where their razor-edged guitars are nicely complemented by all epic background elements.

Gentle piano notes quickly explode into violent and atmospheric Melodic Metal in Eager to Collapse, with Iiro and Juhana bringing thunder and groove to the music while Jouni keeps vociferating rabidly, whereas Resistance is even darker and more epic than its predecessors, led by the vile riffage by Allan and Oskari while their bandmates add an extra touch of progressiveness, rage and heaviness to the overall result, inspiring us all to slam into the circle pit. Spiced up by futuristic background keys and tones, the band offers the thrilling The Hollow Lights, blending their trademark Melodic Death Metal with the most venomous elements from Death and Thrash Metal, flowing majestically until its climatic ending, while in Remain Unbounded the band’s guitar duo shreds their strings mercilessly until Iiro comes crushing with his Black Metal-inspired beats, keeping the song at a high level of violence and alternating between vicious, high-speed moments and more intricate, mid-tempo passages.

Get ready to bang your heads like there’s no tomorrow with Re-Armed in Words Left Unsaid, where the bass punches by Juhana will make your skull tremble while Jouni’s growls and roars sound as heavy as hell from start to finish. Following this vicious onrush of sounds the band brings forward Voyager, another solid composition showcasing all their talent and passion for Scandinavian metal, with Jouni and guest vocalist Micko Hell (Denigrate, Gloomy Grim) making a thrilling metallic duet on vocals while Iiro once again shines with his spot-on drumming. Lastly, Re-Armed conclude such great album of heavy music with another sample of their endless energy and firepower in the form of Built to Last, where Allan and Oskari are in absolute sync with Sami’s keys, therefore building the perfect setting for Jouni to thrive with his wicked gnarls until the song end’s in sheer melancholy.

In order to show your utmost support to those talented metallers from the land of ice and snow, simply follow them on Facebook and on Instagram, subscribe to their YouTube channel and search for them on Spotify for more of their music, and above all that, purchase your favorite version of Ignis Aeternum from several locations such as the Black Lion Records’ BandCamp page and Big Cartel, from Record Shop X, from the EMP store, from IndieMerchstore or from Apple Music. The title of the album translates from Latin as “eternal fire”, and there’s nothing better to represent life as a fire that never ceases to exist no matter what, giving the entire album an even stronger meaning and purpose and, consequently, keeping Re-Armed’s inner fire also burning for many years to come in their homeland and anywhere else where modern and captivating metal music is truly appreciated.

Best moments of the album: Dive Within, Ode to Life and The Hollow Lights.

Worst moments of the album: Eager to Collapse.

Released in 2020 Black Lion Productions

Track listing
1. Dive Within 4:31
2. Beyond the Horizon 5:12
3. Ode to Life 4:10
4. Eager to Collapse 3:47
5. Resistance 4:34
6. The Hollow Lights 4:27
7. Remain Unbounded 5:17
8. Words Left Unsaid 4:37
9. Voyager 5:22
10. Built to Last 4:57

Band members
Jouni Matilainen – lead vocals
Allan Välimaa – guitars
Oskari Niekka – guitars, backing vocals
Juhana Heinonen – bass, backing vocals
Iiro Karjalainen – drums

Guest musicians
Euge Valovirta – guitars on “Ode to Life”
Micko Hell – additional vocals on “Voyager”
Sami Tiittanen – keyboards
Aapo Salo – orchestra, symphonic arrangements

Interview – Silver Nightmares

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It’s time to dive into the progressive dreams of Italian rockers Silver Nightmares in this exclusive interview where they talk about their debut EP The Wandering Angel, their biggest challenges as a band and their main influences in music.

Alessio Maddaloni and Gabriele Esposito (Silver Nightmares)

The Headbanging Moose: First of all, thank you guys for the interview. Let’s start with a very simple question, which is who is Silver Nightmares? Could you please talk a little about the band, your origins and your mission?

Alessio Maddaloni: It’s a real pleasure for us! Thank you for the interview and for your support!  The band was formed in Palermo in 2018 by bassist Gabriele Esposito, keyboardist Gabriele Taormina and me on drums. It was a “strange meeting” ’cause we were involved in another band! We had “different views” with the leader of the band, we were quite unsatisfied, so we decided to split and to create a new band. We know it’s impossible to make something “unique” in music but we wanted to mix our various influences to create a “recognizable trademarked sound”. This is our mission 😉

THM: Why has the band gone through so many lineup changes in such a short period of time, as Silver nightmares was just formed a couple of years ago? I mean, what was the main reason for having an unstable lineup until now?

AM: Here in Palermo there are a lot of great musicians but it’s difficult to meet someone interested in creating unreleased music. We, the founders, coexist harmoniously but we were searching for motivated and “enthusiastic people” to play with. We went through several configurations (that’s why we turned our first moniker from “Silver Dreams” to the new one “Silver Nightmares”) until arriving at our current line-up with Mimmo Garofalo (guitars), who some years ago played with Gabriele Taormina in a prog band called Bright Horizon, and Michele Vitrano (vocals) and Tody Nuzzo (guitars), who played with me and Gabriele Esposito in a heavy metal cover band (HM80).

THM: You’ve just released your debut album, entitled The Wandering Angel. Can you give us more details about the album? What’s the main idea or theme behind it, and how happy is the band with the final result?

Gabriele Esposito: Our concept album is about the loss of the human spirituality. Being spiritual to us is more than being religious. Whereas the word “religion” generally refers to organized forms of worship and a wider faith community, “spiritual” often describes people’s private individual beliefs. “Our wandering angel” is coming from a distant star, the star of life. He falls down from heaven and begins its path on earthly contamination. Between heroes of the past and shrewd characters nowadays the real meter of his research will be the journey into the universe. We’re really happy of the result we achieved! We would like to thank all the magazines, fanzines, radio broadcasting for their support.

THM: As a fully independent band, what were the main issues you faced during the recording of The Wandering Angel, and what went better than expected? I’m sure you have a ton of “lessons learned” to share with us.

GE: Well said! It’s not easy for fully independent artists to make the most of every recording session and it is very important to make the right choices. For the pre-production of the EP, we worked out as much as we could before stepping into the studio. Fortunately, we contacted some professionals for the recording, mixing and for the mastering of our work. We didn’t want a “prefabricated sound” (I mean no drum triggers). Of course, there were some mistakes too but as a first studio experience, we think our final result was pretty good.

THM: The entire album carries a very pleasant and cohesive vibe, with each song maintaining pretty much the same level of electricity and a polished yet raw sonority. How did you guys manage to reach such high level of quality and professionalism in your debut album?

Album Review – Silver Nightmares / The Wandering Angel EP (2020)

GE: Thanks indeed for your compliments! We tried to do our best. Well, as I said before, our EP is a concept album so all the songs are interconnected. For us this was achieved through our central lyrical theme. It was very natural to keep a cohesive vibe and quite the same level of electricity. I mean it was not a deliberate choice… Music guided our journey 🙂 I think this could be our trademark in the future: Let the music guide you and everything will be fine!

THM: One of the songs of the album, D.D. (Dick Dastardly), is obviously your personal tribute to one of the greatest villains in the history of cartoons. How did you come up with the idea of paying a tribute to such unique character, and when and how did you decide it was going to be an instrumental track?

AM: Such is my passion for this cartoon!! 🙂 As you said, Dick is one of the greatest villains in the history of cartoons. He is dishonest, selfish and unsportsmanlike. He definitely wants to win! In life there are a lot of people like him… who fail from the start… About the track… we decided it was going to be an instrument track following the advice of Mimmo Garofalo. We had already written the lyrics but we liked his suggestion and we changed our minds.

THM: How’s the current rock and metal scene in your hometown Palermo and in the entire Sicily? I’m pretty sure that now with all this COVID-19 situation not only the bands but also the venues all over Italy might be struggling to survive. Are you guys experiencing the same issues right now, and how are you dealing with that?

GE: Yep 😦 Fortunately the curve has started to descend and the death toll is also starting to drop. Here in Italy all the venues were closed and there was no chance to rehearse. We stand waiting for better times. During this period of lockdown we began writing new stuff for a full length album and we tried to promote our EP the best we could.

THM: What your main inspirations in music and in life in general? Also, which bands do you dream of sharing the stage one day in Italy, or which rock and metal festivals do you dream of playing anywhere in the world?

Gabriele Taormina: We are music addicted! We have a lot of different influences and tastes. Alessio likes a lot bands like Testament, Judas Priest, Savatage, Annihilator, Marillion, Transiberian Orchestra, Anvil, Jethro Tull. Gabriele Esposito loves fusion but also bands like Supertramp, Toto, Beatles, Iron Maiden, King Crimson, Triumph, Peter Gabriel. I’m mostly into the Prog/A.O.R scene I love Kansas, Queensryche, Ten, Asia, Anathema, Dream Theater, Katatonia, Rush, the Swedish prog etc… I think it could be interesting to share the stage with some of the Italian prog bands. As you know, there is a great “progressive rock” tradition here in Italy. It would be awesome too to play our music in ENGLAND. The homeland of progressive rock 😉 Well, about metal festivals…Progfest, Wacken, Hellfest? 🙂 Why not? 🙂 I have many things to say and write but I’ll stop here, even because dreaming doesn’t cost anything! 🙂

Gabriele Taormina (Silver Nightmares)

THM: How was your agenda before the lockdown began due to COVID-19? Was the band being scheduled to play all over Sicily, Italy and anywhere else? And what are your plans for after this crisis is over?

GT: We were starting to rehearse with a stable line-up in view of some dates/festivals here to play all over Sicily. We hope this crisis will be over soon! As Gabriele Esposito said, during the lockdown we also began writing songs for the new Cd. We already have some interesting stuff 🙂 We hope to rehearse soon. Time will tell 🙂

THM: Once again, thank you very much for spending some time with us. Please feel free to share anything you want with our readers, including where they can buy your music, and I hope to hear more from Silver Nightmares in a not-so-distant future!

GT: Thank you for the opportunity you have given us today to discuss and to introduce Silver Nightmares! Our EP is available on all the digital stores and CD format (but it’s a special limited edition, 300 copies). We’re also on Bandcamp. If some of your readers is interested in our EP. It’s quite simple to order it! You just need to contact us on Facebook/Twitter/Instagram/Bandcamp or to check the site of the italian label Artewiva. Prog on! 😉

Links
Silver Nightmares Facebook | Instagram | Twitter | YouTube | Spotify | Apple Music | BandCamp