Category Archives: 2020 New Releases

Album Review – Trivium / What The Dead Men Say (2020)

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It’s time to listen to what these four (un)dead men from Orlando, Florida have to say in their thrilling new opus.

Three years after the release of the excellent The Sin and the Sentence, the unrelenting Matt Heafy on lead vocals and guitar, Corey Beaulieu on guitar and backing vocals, Paolo Gregoletto on bass guitar and backing vocals, and Alex Bent on drums and percussion, collectively known as Orlando, Florida-based Heavy Metal unity Trivium, return with another round of their always cohesive and breathtaking heavy music in What The Dead Men Say, the ninth studio album and another awesome addition to their undisputed career. Recorded at Studio 606 West in Northridge, Los Angeles, California, engineered, mixed and produced by Josh Wilbur, and mastered by Ted Jensen, What The Dead Men Say brings forward a myriad of styles and sounds that will please fans of all phases of the band, from Melodic Death Metal to Progressive Metal, Black Metal, Thrash Metal and Deathcore. “We’ve found a really great place to exist in this world. We love Melodic Death Metal, we love Death and Black Metal, and we love Hardcore. What the Dead Men Say is everything we do on one record,” commented Matt about their newborn spawn.

Furthermore, like The Sin and the Sentence, the lyrical content on What The Dead Men Say was inspired by modern aspects of life, with the album’s title being taken from a science fiction novella of the same name written by American writer Philip K. Dick, first published in Worlds of Tomorrow magazine in June 1964. For instance, “Catastrophist” deals with the theme of humanity in a crisis, “Amongst the Shadows & the Stones” is about the horrors of war, “The Defiant” was inspired by R. Kelly’s documentary and abuse-enabling, “Bending the Arc to Fear” talks about the surveillance aspect of modern society, and so on, with the closing song “The Ones We Leave Behind” being about “running over” people to succeed in life, delivering a powerful message and portraying a whole new meaning in the wake of the 2019–2020 COVID-19 pandemic. With that said, it was more than obvious that the fusion of a precise and powerful music with meaningful lyrics would result in another future classic by Trivium, leaving us eager for more of their always-evolving and never-repetitive music in the years yet to come.

As soon as you hit play, the cinematic instrumental intro IX (a clear reference to the fact that What The Dead Men Say is their ninth full-length album) sets the stage for Matt & Co. to kick some ass with the title-track What the Dead Men Say, where Alex begins crushing his drums with tons of precision and fury accompanied by the scorching riffs by Matt and Corey. Bringing elements from the Progressive and Groove Metal by bands like Lamb Of God added to their core musicality, this is indeed an excellent way to start their new opus, followed by Catastrophist, one of the previously released singles of the album, keeping the groove and electricity flowing from start to finish. Moreover, its razor-edged riffs remind me of some of their compositions from their 2013 album Vengeance Falls, while Paolo makes the earth tremble with his sick bass jabs.

Then it’s time to go absolutely mental to the sound of Amongst the Shadows & the Stones, by far my favorite of all songs, presenting their trademark riffage and solos, intricate beats, tons of breaks and variations and an endless amount of violence in a hybrid of Groove, Heavy and Thrash Metal, with Matt rabidly roaring the song’s lyrics (“Bloodied corpses, broken bones reveal / A throng of clashes crushed, our nightmare sealed / Amongst the shadows and the stones”), whereas the semi-ballad Bleed Into Me, despite the solidness of the instrumental pieces (in special Paolo’s somber bass lines), doesn’t really click and falls flat after a while, but there’s nothing to worry about as this is the only low (or maybe I should say less intense) point of the entire album. And back to their usual high-octane mode the quartet fires the also amazing The Defiant, showcasing Iron Maiden-inspired guitars walking hand in hand with the vicious beats by Alex while at the same time presenting a great balance between Matt’s clean vocals and harsh screams. As a matter of fact, could this be an “alternate” version or a sequel to their classic “The Deceived” due to the sonic similarity between both songs? That’s a question only Matt, Corey, Paolo and Alex can answer, of course.

In the top-of-the-line Sickness Unto You a mellow and melancholic start gradually morphs into a violent metal feast by Trivium, with sheer rage flowing form Matt’s vocals while he and Corey demolish our ears with their razor-edged riffs, both supported by the always thunderous bass by Paolo, whereas Scattering the Ashes can be considered a good example of how diverse their new album is by blending the music from Silence In The Snow with In Waves, once again presenting a solid instrumental and spot-on backing vocals overflowing pure anguish. Then we’re treated to more of their always cryptic lyrics (“A strain of vigilance / Deep roots that all connect / We wait so diligent / Watching you / Watching you”) in Bending the Arc to Fear, starting in a Black and Thrash Metal-ish vibe and sounding perfect for slamming into the pit to the sound of the bestial drums by Alex. On a side note, I personally love the strident and metallic sound of their stringed axes throughout the entire album, enhanced by its crisp and polished overall production. Lastly, closing the album the quartet offers us all the melodic and vibrant The Ones We Left Behind, featuring the rumbling bass by Paolo accompanied by the stunning beats and fills by Alex while Matt and Corey give a lesson in riffs and feeling, concluding the album in a powerful and effective manner.

After listening to What The Dead Men Say in its entirety for a few times, you’ll quickly notice how not only the band’s technique and professionalism, but also their synchronicity, have been growing stronger and stronger through the years, pointing to an even brighter future for Matt and his bandmates in a near future and, therefore, positioning Trivium as one of the driving forces of modern-day metal music, never sounding tiresome nor predictable at all with each one of their releases. Hence, go check what the boys are up to on Facebook and on Instagram (especially because they’re all very active users of most social media platforms), subscribe to their YouTube channel, and above all that, grab your copy of such entertaining album from the Warner Music webstore or click HERE for all locations where you can buy or stream the album (and if you have some extra money go for the Japanese Edition of the album, as it contains two very special acoustic versions for the songs “Bleed Into Me” and “Scattering the Ashes”), raising your horns, banging your head and listening to what the (un)dead men from Trivium have to say through their unparalleled music.

Best moments of the album: Amongst the Shadows & the Stones, The Defiant, Sickness Unto You and The Ones We Left Behind.

Worst moments of the album: Bleed Into Me.

Released in 2020 Roadrunner Records

Track listing
1. IX 1:59
2. What the Dead Men Say 4:45
3. Catastrophist 6:28
4. Amongst the Shadows & the Stones 5:40
5. Bleed Into Me 3:49
6. The Defiant 4:29
7. Sickness Unto You 6:14
8. Scattering the Ashes 3:25
9. Bending the Arc to Fear 4:46
10. The Ones We Left Behind 4:57

Japanese Edition bonus tracks
11. Bleed Into Me (Acoustic version) 3:45
12. Scattering the Ashes (Acoustic version) 3:04

Band members
Matt Heafy – lead vocals, guitar
Corey Beaulieu – guitar, backing vocals
Paolo Gregoletto – bass guitar, backing vocals
Alex Bent – drums, percussion

Album Review – Voorhees / Chapter Two (2020)

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A Death Metal quartet from France arises from their graves once again with more of their demolishing music inspired by old school horror movies.

If you’re a true metalhead and at the same time a fan of old school horror movies from the 70’s to the 90’s, you’ll have an absolute blast with the music found in Chapter Two, the first full-length opus by a French Death Metal unity that goes by the name of Voorhees. Formed in 2017 in Metz, a city in France’s northeastern Grand Est region, the band comprised of Chris on vocals and guitars, Sébastien “Seb” Valbrecq on lead guitars, Fred on bass and Will on drums obviously had their name, logo and everything else inspired by the one and only Jason Voorhees, the main character from the Friday the 13th franchise, with their old school Death Metal being highly recommended for admirers of the sonic devastation blasted by renowned acts such as Death, Cannibal Corpse, Massacre and Obituary. Having released their debut EP entitled Chapter One on Friday the 13th, October 2017, this talented slasher squad once again chose the iconic date to release Chapter Two, on Friday the 13th, March 2020, dedicating pretty much each one of the eight songs of the album to a specific movie. Recorded by the band’s own drummer Will (known for his work as Willy Lang with French Doom/Death Metal one-man act Nosphares), mixed by Dan Swanö at Unisound, and featuring a classic and visceral artwork by Fabrice Romo (Kaos Obscure Art), Chapter Two is the perfect soundtrack for your horror flick night.

Inspired by the Wes Craven movies The Hills Have Eyes (one of my favorite slasher flicks of all time), the opening track The Lucky Ones Die First exhales pure, undisputed Death Metal form the very beginning, with Chris and Seb doing a great job with their unstoppable riffage while Will smashes his drums in great fashion, followed by My Horror Event, drawing inspiration from the movie Creepshow, directed by George A. Romero in 1982 and with script by Stephen King. Putting the pedal to the metal, the band adds hints of Thrash Metal to their insane riffs in this wicked tune while Chris keeps barking like a true beast, not to mention Fred’s rumbling bass punches, whereas in Evil To Come, largely inspired by the movie The Day of the Beast (or “El Día de la Bestia” in Spanish), directed by Alex de la Iglesia in 1995, we’re treated to more classic Death Metal the likes of Unleashed and Obituary, resulting in the perfect choice for cracking your skull headbanging or for slamming into the circle pit. And in The Will To Kill, their musical representation of the movie Henry, Portrait of a Serial Killer, directed by John McNaughton in 1986, a somber start evolves into a mid-tempo, dark sonority led by Fred and Will with their thunderous weapons, while Chris vociferates the songs words deeply and rabidly.

The cryptic voice by Charles Manson kicks off I’m The Man Who Became God, a gruesome, headbanging Death Metal extravaganza re-recorded from their first EP where Chris and Seb sound truly infernal on the guitars, accompanied by Will’s putrid and classic beast and fills, setting the tone for Voorhees II, obviously inspired by the second chapter of the Friday the 13th franchise, directed by Steve Miner in 1981. It’s time to brutally slam into the pit to the sound of this frantic and berserk composition, may favorite of the album by the way, where Will is at the same time groovy and demented on drums and with the band’s stringed trio slashing our minds and ears with their razor-edged riffs and sick bass lines. Then we have Reanimated, originally supposed to be a song inspired by the movie Re-Animator and finally turned into an almost instrumental “tribute” to the evil characters that are Jason, Leatherface, Michael Myers and Freddy Krueger, who always resurrect at the end. Will and Fred generate a menacing atmosphere perfect for Chris to growl and bark like a horror movie monster, all spiced up by Seb’s classic guitar solos, and closing the album it’s time for more obscurity and aggressiveness in the form of Death Metal with the climatic Into Darkness, a crushing, mid-tempo tune led by Will’s fierce beats while Chris keeps vociferating and roaring nonstop, and after all is said and done you’ll feel absolutely disoriented without a shadow of a doubt.

Voorhees’ horror movie-inspired Old School Death Metal feast can be appreciated in full on YouTube and on Spotify, but of course if you want to show your true support to the band (and avoid a visit of Jason Voorhees himself to your home) you should purchase the album from several locations such as the band’s own BandCamp page, the Great Dane Records’ BandCamp page or webstore, Apple Music or Discogs. In addition, don’t forget to follow them on Facebook and to subscribe to their YouTube channel, filling your ears with that traditional Death Metal sonority we all love so much with no shenanigans nor any artificial elements added to it. Will they continue their path of violence and bloodshed with several more chapters in the form of metal albums inspired by each one of the Friday the 13th movies? Only time will tell, but based on the high quality of the music found in Chapter Two I’m sure it won’t take long for the quartet to arise from their graves once again to haunt our damned souls.

Best moments of the album: My Horror Event, Voorhees II and Reanimated.

Worst moments of the album: None.

Released in 2020 Great Dane Records

Track listing
1. The Lucky Ones Die First 4:34
2. My Horror Event 3:44
3. Evil To Come 5:12
4. The Will To Kill 5:09
5. I’m The Man Who Became God 6:39
6. Voorhees II 3:31
7. Reanimated 5:14
8. Into Darkness 5:11

Band members
Chris – vocals, guitars
Sébastien “Seb” Valbrecq – lead guitars
Fred – bass
Will – drums

Album Review – Katatonia / City Burials (2020)

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The most free-spirited of modern metal bands returns with absorbing 58 minutes of meticulously crafted melodies and inspired, idiosyncratic arrangements.

“In days and nights of black and silver, the dead end king will come. From pieces of broken mirrors there will be a crown bestowed upon his head. In reflections of shattered glass not only the seasons will turn, but also the change disguised by the lapse of time. His mind will have to come to bear the weight of everything that was left behind and forgotten. Archiving the inaccessible. Celebrating the abandoned and mourning the destroyed. The city burials.” – Anders Nyström

Revered masters of melancholy for nearly 30 years, Swedish Progressive/Alternative Rock/Metal icons Katatonia have always pursued a profound emotional connection with their music and those who listen to it. Formed in Stockholm, Sweden in 1991 by now vocalist Jonas Renkse and guitarist Anders Nyström, the most free-spirited of modern metal bands has taken a slow and steady but at the same time endless fascinating journey from primitive beginnings in the extreme music underground to their current status as darlings of both the metal world and the Progressive Rock scene. Now in 2020, after a well-deserved break taken by Jonas and Anders together with their henchmen Roger Öjersson on the guitars, Niklas Sandin on bass and Daniel Moilanen on drums since the release of their last album The Fall Of Hearts in 2016, Katatonia return in full force with City Burials, the eleventh studio album in their unique career. From its grim album art by Beech (The Pineapple Thief, Godsticks, Jen Cloher) to the very last second of the closing song, City Burials is the ultimate proof of Jonas and Anders’ enduring artistic bond throughout the album’s absorbing 58 minutes of meticulously crafted melodies and inspired, idiosyncratic arrangements, perfectly representing the band’s ever-evolving sound.

And a beyond whimsical start led by Jonas’ serene clean vocals kicks off the opening track Heart Set to Divide before his bandmates come crushing with a harmonious fusion of Progressive Metal and Alternative Rock, with the bass by Niklas bringing sheer groove to their music, whereas in Behind the Blood the flammable guitars by Anders and Roger embellish the airwaves in a lesson in modern rock and metal music that lives up to the band’s own legacy, not to mention the song’s poetic lyrics (“Rivers rush, behind the blood / The cinder skies come alive with this drop of sunset / How far can we go? Along the elusive flood / I’ve been waiting all of my life to be with you”). Then slowing things down and adding a good amount of melancholy and grief to their musicality Katatonia offer us all Lacquer, with all instruments, including the programmed drums by guest Joakim Karlsson (from Swedish Black Metal act Craft), providing all Jonas needs to shine on vocals.

A futuristic and cinematic feel permeates the air in Rein, where the minimalist guitar sounds blasted by Anders and Roger walk hand in hand with Daniel’s intricate beats, culminating in a delicate sound that will certainly please all fans of this more contemporary version of the band, followed by The Winter of Our Passing, a HIM-inspired composition showcasing beautiful passages and an ethereal vibe led by the band’s sharp guitar duo and the always groovy bass by Niklas, leaning at time towards pure Progressive Rock. After such embracing song it’s time for Vanishers, an utterly experimental and atmospheric tune by Katatonia featuring the angelic vocals by Anni Bernhard (from Swedish rock band Full Of Keys) where we’re all inspired to close our eyes and savor each note while witnessing a beautiful sunrise. And displaying nuances from the music played by rock acts like Alice In Chains and Pearl Jam without forgetting their melancholic core essence, the band offers our avid ears the also progressive and gentle City Glaciers, presenting another great job done by Anders and Roger with their crisp riffs and solos.

The last batch of songs in City Burials couldn’t have sounded more experimental and ethereal, with gentle piano notes intertwined with rumbling bass punches igniting the cryptic Flicker, where Jonas beautifully declaims the song’s words (“So cruel your desire / It pulled me under / But the drapery of my eye won’t fall / I lie in wait for the night to find you / Sephia teeth and claw”) while its modernized and atmospheric vibe penetrates deep inside your soul. Once again investing in serene and somber sounds and tones instead of the heaviness of their early days, Jonas takes the lead with his enfolding vocals in Lachesis, a too-short song that could have been a lot more detailed than its final shape and form, while in Neon Epitaph they get back to a heavier and groovier sound, with the tribal, fierce beats by Daniel and the mesmerizing riffs by Anders and Roger resulting in a lesson in modern-day Progressive Rock and Metal. Finally, intricate and progressive sounds conclude the album in Untrodden, never getting too heavy nor too mellow, but reaching a very pleasant balance exhibiting the absolute synchronicity between Jonas’ vocals and Anders’ precise riffs and solos.

In summary, the experimental and multi-layered City Burials, which you can stream in its entirety on YouTube or on Spotify, continues to pave Katatonia’s path through the more serene and melancholic lands of Progressive Rock and Metal while also presenting to the band’s longtime fans an even more alternative side of Jonas, Anders & Co., positioning them as one of the most important bands of the genre (apart from their already important role in more extreme styles decades ago). Hence, go check what they’re up to on Facebook, on Instagram and on YouTube to know more about them and of course about their music, and grab your copy of City Burials from several distinct locations by clicking HERE. I’ve recently read somewhere that City Burials is the perfect album to listen to at dawn, and after taken a few good listens at it I must agree with such beautiful comment about it. Well, I’m sure you’ll also have the same feeling while listening to it, no doubt about that.

Best moments of the album: Behind the Blood, City Glaciers and Neon Epitaph.

Worst moments of the album: Lachesis.

Released in 2020 Peaceville Records

Track listing
1. Heart Set to Divide 5:29
2. Behind the Blood 4:37
3. Lacquer 4:42
4. Rein 4:28
5. The Winter of Our Passing 3:18
6. Vanishers 5:07
7. City Glaciers 5:42
8. Flicker 4:45
9. Lachesis 1:54
10. Neon Epitaph 4:32
11. Untrodden 4:29

Limited Edition bonus tracks
12. Closing of the Sky 5:24
13. Fighters (Enter The Hunt cover) 3:38

Band members
Jonas Renkse – vocals
Anders Nyström – guitars
Roger Öjersson – guitars
Niklas Sandin – bass
Daniel Moilanen – drums

Guest musicians
Anni Bernhard – vocals on “Vanishers”
Anders Eriksson – programming
Joakim Karlsson – drum programming on “Lacquer”

Album Review – Witches Of Doom / Funeral Radio (2020)

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Turn up the volume to 666 on your (funeral) radio and let one of the best Italian covens of all time embrace your soul with their undisputed rock and metal music.

It has been truly exciting to witness the rise and evolution of Rome, Italy-based Goth-Stoner-Doom Metal outfit Witches Of Doom since their inception in 2013, starting with their 2014 debut album Obey, followed by their 2016 sophomore installment Deadlights, and now with their third full-length opus titled Funeral Radio, by far their most cohesive and strong album to date. Currently comprised of frontman Danilo “Groova” Piludu, guitarist Federico “Fed” Venditti, and newcomers Saiax on bass and Francesco Ciacciarelli on drums (although the bass and drums in the album were recorded by Jacopo Cartelli and Luca Iovieno, respectively), the band offers in Funeral Radio everything a fan of the music by renowned acts like Danzig, Type O Negative, Black Sabbath, Joy Division and Moonspell can ask for. Recorded and mixed at Hombre Lobo and DaBox Studios in Rome, featuring a stylish artwork by Italian artist Carlo Muselli and keyboards by guest Fabio Reeks Recchia, Funeral Radio will paint new dark scenarios standing at the deep heart of each listener, showcasing all the passion this Italian institution nurtures for somber and heavy music.

Jacopo ignites the band’s doomed party with his rumbling bass in Master Of Depression, accompanied by the piercing riffs by Federico and the always mesmerizing and groovy-as-hell vocals by Danilo, exhaling the essence of everything the Witches Of Doom stand for, whereas the sluggish Doom Metal beats by Luca dictate the rhythm in the sexy and inebriate Coma Moonlight, spiced up by the stunning keys by Fabio and, consequently, living up to the legacy of amazing bands like Type O Negative and HIM, not to mention Fed’s awesome guitar solo as the icing on the cake. Then venturing through the realms of Gothic and Stoner Metal we have Queen Of Suburbia, where Fed leads his bandmates with his heavy and precise riffage while Danilo showcases another deep and vibrant vocal performance, with the keys by Fabio taking you back to the glory of the 90’s. And a Tarantino-inspired intro evolves into a damned and dark feast in the title-track Funeral Radio, where Danilo’s cryptic vocals match perfectly with the scorching riffs by Fed and the thunderous bass punches by Jacopo.

Enhancing their heaviness and leaning towards 90’s Gothic Rock and Metal, the band blasts the insanely catchy and fun Sister Fire, where Danilo and Fed are in absolute sync with their respective vocals and riffs, resulting in the perfect choice for an incendiary Rock N’ Roll party; and sounding like the soundtrack to an underground cult movie, mellow vocal lines and classy guitars dictate the rhythm in Ghost Train while Fabio keeps embellishing the airwaves with his keys, bringing an extra touch of melancholy to such dark and hypnotizing tune. November Flames offers the listener another blast of obscure and grim sounds inspired by the golden years of Gothic Rock, with Luca delivering a mix of Heavy Metal and Rock N’ Roll through his beats accompanied by the slashing riffs by Fed, sounding fast and melodic just the way we like it. Lastly, an atmospheric start led by Jacopo’s metallic bass gradually morphs into another hybrid of Gothic and Doom Metal titled Hotel Paranoia, putting a climatic and thrilling end to the album and flowing darkly and powerfully until its Stygian finale.

As already mentioned, Funeral Radio, which is available for a full listen on YouTube and on Spotify, is undoubtedly the strongest and most diverse album to date by the Witches Of Doom, and in order to show your appreciation for such talented and obscure Italian coven don’t forget to follow them on Facebook and on Instagram, and of course to add the album to your goth-rock collection by purchasing it from their official BandCamp page (or simply click HERE for all locations where you can buy and/or stream the album). In other words, put on some Witches Of Doom on your (funeral) radio, turn up the volume to 666, and let their delicious and dark music embrace you like there’s no tomorrow.

Best moments of the album: Coma Moonlight, Queen Of Suburbia and Sister Fire.

Worst moments of the album: None.

Released in 2020 My Kingdom Music

Track listing
1. Master Of Depression 4:42
2. Coma Moonlight 4:45
3. Queen Of Suburbia 4:45
4. Funeral Radio 6:54
5. Sister Fire 4:55
6. Ghost Train 4:16
7. November Flames 5:59
8. Hotel Paranoia 7:29

Band members
Danilo “Groova” Piludu – vocals
Federico “Fed” Venditti – guitars
Saiax – bass
Francesco Ciacciarelli – drums

Guest musicians
Fabio Reeks Recchia – keyboards
Jacopo Cartelli – bass (session)
Luca Iovieno – drums (session)

Album Review – Prismeria / Requiem (2020)

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Behold the rise of one of the most promising acts of the current French underground scene armed with their new album of undisputed Deathcore.

Forged in the fires of Lyon, France in 2017, Thrash/Deathcore outfit Prismeria is back in action with their first full-length album Requiem, following up on the very positive feedback received for their debut effort, the 2018 EP Lost Individual Thoughts. Bringing forth a fusion of the different influences of each one of its five members, ranging from Thrash and Death Metal to more modern sounds such as Deathcore, the band comprised of frontman Cyril Weinbrenner, guitarists Benjamin Lamy and Leny Garcia, bassist Alexandre Gros and drummer Nicolas Voydeville put a lot of effort and heart into the creation of Requiem, resulting in nine original and electrifying songs that perfectly represent all the modernity and rage proposed by the band. Produced by Convulsound Productions, Requiem also showcases a crystal clear sound quality which enhances the band’s punch considerably, again proving why they’ve been recruited for so many gigs throughout France since their inception, including opening for renowned acts like Nervosa and Nervecell.

The opening track North is frantic and furious form the very first second, or in other words, a thrashing Deathcore tune where Cyril begins his growling attack accompanied by the bestial beats by Nicolas, resulting in an amazing welcome card by the quintet to newcomers to their metal realm. Then we have Native Spirit and its rebellious lyrics (“Bang your fucking head / The battalion of mad / Crossing the swamp of the fetish / Bringing the cornerstone from the underground / The shrine of their incarnate God, was set… to become”), while Benjamin and Leny bring forward a mix of insanity, melody and industrialized sound through their wicked guitars, followed by The Ceremony, a headbanging, galloping tune by Prismeria where Alexandre adds thunder and groove to the musicality with his metallic bass while Cyril keeps barking and growling like a beast.

Blending their Deathcore essence with Progressive and Groove Metal the band fires the high-octane and violent Irkalla, with its razor-edged guitar riffs walking hand in hand with Nicolas’ blast beats and fills in a lesson in modern metal music; whereas Life is an instrumental extravaganza where the band accelerates the speed and invites us all to slam into the pit together with them, showcasing classic, incendiary riffs that live up to the legacy of Metalcore and also reminding me of the sonority blasted by Danish act Xenoblight. And Nicolas kicks things off in the high-speed Passenger with his insane drums before Benjamin and Leny come crushing our heads with their sick guitars, also presenting groovy passage where we have the pleasure of listening to the band uncompromisingly jamming, while Cyril darkly vociferates the song’s cryptic words (“Born in the nuclear explosion / Raised as nothing from the nothing / Your time here is just a perception / Stand up right now and act like a king”).

Deep Into Dementia sounds and feels like a ritualistic call to arms by Prismeria, displaying a scorching riffage by the band’s guitar duo and of course endless aggressiveness flowing from Cyril’s demented roars in an awesome feast of Metalcore infused with Thrash Metal nuances. After such demolishing song it’s time for Low Hopes of Men, a serene instrumental bridge featuring crisp acoustic guitars setting the stage for The Groovy Snake, even more progressive than its predecessors with both Benjamin and Leny firing sheer dementia through their riffs while Nicolas’ beats bring forward a huge amount of intricacy, ending the album on a dense and visceral way just the way we like it in Thrash, Death and Metalcore.

You can take a full and very detailed listen at Requiem on Spotify, but of course in order to show your support to those French metallers and to properly bang your head to their modern and vibrant Deathcore you should definitely purchase the album from their own BandCamp or Big Cartel, as well as from Amazon. In addition, keep up to date with all things Prismeria by following them on Facebook and on Instagram, and by subscribing to their official YouTube channel, witnessing the rise of one of the most promising acts of the current French underground scene, and with Requiem being another solid step forward in their musical journey.

Best moments of the album: North, Irkalla and Passenger.

Worst moments of the album: None.

Released in 2020 Independent

Track listing
1. North 4:58
2. Native Spirit 3:19
3. The Ceremony 3:13
4. Irkalla 3:09
5. Life (Instrumental) 3:46
6. Passenger 4:38
7. Deep Into Dementia 3:32
8. Low Hopes of Men (Instrumental) 4:16
9. The Groovy Snake 4:12

Band members
Cyril Weinbrenner – vocals
Benjamin Lamy – guitars
Leny Garcia – guitars
Alexandre Gros – bass
Nicolas Voydeville – drums

Album Review – Bakken / This Means War (2020)

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Are you ready for a fast and epic fusion of Thrash and Power Metal? That’s exactly what those UK-based headbangers have to offer us all in their brand new album.

Formed in 2011 in the city of Belfast, Northern Ireland, the unstoppable Thrash/Power Metal quintet known as Bakken has quickly amassed a loyal following thanks to the incredibly positive press attention gained worldwide since the release of their 2012 debut album Death Of A Hero, describing their sound as “combining the visceral edge, gruff vocals and choppy riffing of early Thrash Metal with melodic sensibilities and complex song structures of German Power Metal and NWOBHM”, being therefore highly recommended for fans of the incendiary music by renowned acts like Iron Maiden, Judas Priest, Megadeth, Dio, Helloween, Gamma Ray and so on. Now in 2020 the band comprised of Frank Levi on lead vocals, Simon Pickett and Shaun Nelson on the guitars, Thomas Alford on bass and Niall McGrotty on drums returns with the follow-up to Death Of A Hero and to their 2014 EP Worldwide Genocide, the full-length metal extravaganza titled This Means War, featuring eight powerful original tracks enfolded by an old school artwork by UK artist Isaac Levi, aiming at cementing Bakken as one of the driving forces of the new Northern Irish metal scene.

Imposing, cinematic sounds kick off the opening track This Means War, exploding into first-class classic Power Metal led by Niall’s crushing beats while Frank delivers his trademark high-pitched screams supported by his bandmates’ spot-on backing vocals, resulting in the best possible start to such fun album. Then drinking from the same metallic fountain as classic German acts such as Helloween, Primal Fear and Gamma Ray the band offers us all Cold Blooded Murder, where Simon and Shaun are on fire with their pure Heavy Metal riffs and solos; whereas Star Machine brings to our ears a galloping rhythm spearheaded by Niall and Thomas with their rumbling beats and bass jabs, respectively. It’s indeed a great option for banging your head nonstop, also presenting a high dosage of Thrash Metal in its flammable riffs, and putting the pedal to the metal it’s time for a high-octane Power and Thrash Metal attack titled Evil Walks This Way, a groovy and vibrant composition where Thomas is ruthless with his thunderous bass, providing Frank a strong base for his piercing vocal lines.

Sinister sounds and notes ignite the Dio/Queensrÿche-inspired semi-ballad In Requiem, where Frank displays a potent vocal performance while Simon and Shaun keep the atmosphere utterly dark with their classic riffs, despite the fact that the song goes on for a little too long, though. Back to a more aggressive and thrilling sonority the band blasts the epic Two-Edged Blade, another tune showcasing pounding and rhythmic beats, incendiary guitars and the always soaring vocal lines by Frank, all spiced up by their razor-edged guitar solos, making it impossible to stand still to their personal “tribute” to all things NWOBHM. After such breathtaking tune it’s time for We Fight, a rebellious anthem by Bakken exhaling pure Melodic Metal, as fast and electrifying as it can be with Niall obviously sounding like a machine gun on drums accompanied by the band’s inspired stringed trio. It will surely put you to heabang like a maniac and raise your horns in the name of metal, before an 80’s Hard Rock-inspired intro ignites the closing tune Storm Angels, with its smashing drums and crisp riffs generating a captivating ambience during its almost six minutes of potent and dense sounds masterfully delivered by the quintet, flowing smoothly until its climatic finale.

In a nutshell, if fast and classic Heavy Metal is your cup of tea, don’t waste a single second and go take a good and detailed listen at This Means War in its entirety on Spotify, and of course grab your copy of the album from the band’s own BandCamp page or from Apple Music. Also, don’t forget to follow those Northern Irish metallers on Facebook to keep informed about their news, releases and tour dates, and to subscribe to their YouTube channel for more of their traditional metal music. Bakken might not be reinventing Heavy Metal with This Means War, and that has never been their goal anyway, but they’re indeed providing us metalheads a very enjoyable option for hitting the road with your loved ones, working out at the gym or simply for staying home and savoring our beloved Heavy Metal, showing all your admiration and respect for one of the most important (and most captivating) genres in the history of music.

Best moments of the album: Cold Blooded Murder, Two-Edged Blade and We Fight.

Worst moments of the album: In Requiem.

Released in 2020 Independent

Track listing
1. This Means War 5:09
2. Cold Blooded Murder 5:10
3. Star Machine 3:34
4. Evil Walks This Way 4:10
5. In Requiem 6:09
6. Two-Edged Blade 5:54
7. We Fight 5:30
8. Storm Angels 5:57

Band members
Frank Levi – lead vocals
Simon Pickett – guitar, vocals
Shaun Nelson – guitar
Thomas Alford – bass
Niall McGrotty – drums

Album Review – Zifir / Demoniac Ethics (2020)

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An unrelenting Turkish horde continues to pave their path of anti-religiousness and nihilism in their brand new and sulfurous album.

“Zifir is a confession about who we are, and who you are.”

Arising from the pits of Istanbul, Turkey (and also hailing from Brno, Czech Republic) with an infernal explosion of putrid Black Metal spiced up with Doom Metal and Blackened Doom nuances, an unrelenting horde that goes by the name of Zifir, which by the way is the Persian-originated Turkish word for “tar” (finding its use in “zifiri karanlık”, an idiom corresponding to “utter darkness”), returns with another blasphemous album titled Demoniac Ethics, the fourth full-length opus since the band’s inception in 2006 in the Turkish city of İzmir. Formed by Onur Önok on vocals and guitars, Ilgar on bass and Nursuz on drums, Zifir continue to pave their path of anti-religiousness and nihilism in Demoniac Ethics, showing religion through a twisted kaleidoscope, exposing the imprisoning religious dogma and tyranny that have occurred throughout history, and taking you right into the innermost sanctum of their anti-religious agenda while delivering one of the strongest and most forward-thinking Black Metal releases of late. Add to all that the disturbing artwork by Ukrainian artist Vergvoktre and there you have a full-bodied ode to darkness made in Turkey.

And cryptic, somber sounds permeate the air in the intro Sûr before Onur begins his primeval sonic attack in Chants For Execution, growling and slashing his guitar strings manically while his bandmates fire sheer obscurity from their rumbling bass and drums, also presenting background ritualistic elements to make the whole experience even more impactful to the listener. Then in Still Reigning austere lyrics are darkly vociferated by Onur (“We are in despair, now and forever / The only truth is just dystopia / Behold the portrait of hell, in the realm of hysteria”) while Ilgar and Nursuz bring a grim Doom Metal touch to the overall sonority, feeling at times like pure Blackened Doom; followed by Empire of Worms, again venturing through the Stygian lands of crushing doom with Nursuz delivering both old school Black Metal beats and ominous, sluggish sounds, while Onur continues his descent into pitch black darkness with his inhumane vocalizations.

Gökyüzü Karanlık (or “the sky is dark” from Turkish), a pure, unfiltered Blackened Doom extravaganza led by the slow and fierce beats by Nursuz, is not recommended for the lighthearted, while Onur and Ilgar extract minimalist and extremely venomous sounds form their stringed axes, whereas the beyond vile bridge An Eerie Moment prepares our senses for Chaos Clouds, a vile and imposing Black Metal feast where Onur sounds more demonic than ever, sounding very atmospheric from start to finish and bringing forward tribal drums and razor-edge, crushing riffs intertwined with the vicious gnarls by Onur. And strident guitars and endless obscurity are the main ingredients in Spirit of Goats, all boosted by its anti-religious, sulfurous words (“Life they pledge / Death of else / Tons of faith / Drowned beneath lies / All shall rot / Tons of faith / Heresy saves / I am the spirit of goats”). Put differently, it couldn’t have sounded more old school and otherworldly that this.

Never tired of spreading blasphemy, rage and darkness, the trio fires the absolutely gruesome A Bleak Portrait, a hybrid between classic Black Metal and contemporary Blackened Doom spearheaded by Onur with his hellish growls and riffs, while Ephemeral Idols leans towards a more classic version of extreme music infused with Black N’ Roll elements. Moreover, Ilgar and his menacing bass lines are effectively complemented by the headbanging beats by Nursuz, resulting in an amazing performance by the trio and ending in the most Mephistophelian way possible. Lastly, closing the album we have the also somber and cryptic Insects as Messengers, a lesson in Black and Doom Metal led by the vicious roars by Onur and the slow and poisonous drums by Nursuz, with the sound of Onur’s guitars cutting your skin deep without a single drop of mercy.

There are several locations where you can purchase your copy of Demoniac Ethics (which is also available for a full listen on YouTube), including the band’s own BandCamp page, the Duplicate Records’ BandCamp page and webstore (in CD and LP formats), Apple Music and Amazon, and of course don’t forget to support the band by following them on Facebook and on Instagram and by subscribing to their YouTube channel, keeping the fires of underground, anti-religious Black Metal burning bright and spreading the blasphemous and utterly incendiary sounds and words of such demented Turkish horde to the four corners of our decaying, condemned world.

Best moments of the album: Chants For Execution, Spirit of Goats and Ephemeral Idols.

Worst moments of the album: Still Reigning.

Released in 2020 Duplicate Records

Track listing
1. Sûr 1:33
2. Chants For Execution 4:20
3. Still Reigning 5:38
4. Empire of Worms 5:04
5. Gökyüzü Karanlık 2:36
6. An Eerie Moment 2:04
7. Chaos Clouds 4:27
8. Spirit of Goats 3:39
9. A Bleak Portrait 3:55
10. Ephemeral Idols 3:53
11. Insects as Messengers 4:32

Band members
Onur Önok – vocals, guitars
Ilgar – bass
Nursuz – drums

Album Review – Skognatt / Autumn Skies EP (2020)

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Let your soul be embraced by 17 minutes of classy and piercing Atmospheric Black Metal made in Germany, perfectly representing what DIY is all about.

Two years after the release of his debut full-length opus Ancient Wisdom, Augsburg, Germany-based Atmospheric Black Metal/Dark Ambient one-man army Skognatt returns in full force with another solid EP entitled Autumn Skies, the third EP in the up-and-coming career of vocalist and multi-instrumentalist Danijel Zambo after Stargazer and Ancient Wisdom, released in 2016 and 2017, respectively. Once again featuring guest musician Gerileme, from renowned underground acts such as Asche der Welten, Burial in the Woods and Osteon, who played and engineered all drums in the EP, Autumn Skies is an entertaining and detailed lesson in DIY, as Danijel not only wrote all music and lyrics in the album, but he was also responsible for all recording, mixing, mastering and layout aspects of it, showcasing all his talent as the Teutonic metaller he is.

Sounding as atmospheric as all of his previous creations, a sense of hopelessness and solitude permeates the air in Shadowlands, quickly exploding into modern-day Atmospheric Black Metal were Danijel slashes his guitar strings in great fashion while at the same time roaring and gnarling like a beast, accompanied by the classic Black Metal blast beats by Gerileme and also presenting acoustic, cryptic passages that will crawl deep inside your skin. Then we have Black Rain, even more atmospheric and melancholic with Danijel’s acoustic guitars bringing a touch of finesse to his scorching musicality, living up to the legacy of such distinct genre while our one-man army fires sheer rage and despair through his growls. And last but not least, the title-track Autumn Skies begins in a truly obscure and melodic manner, evolving into a multi-layered Atmospheric Black Metal feast where Danijel’s roars get deeper and darker than usual while Gerileme dictates the rhythm with his Doom Metal-inspired riffs, not to mention how darkly Danijel declaims the spoken words taken from a poem by John Keats, an English Romantic poet who was one of the main figures of the second generation of Romantic poets along with Lord Byron and Percy Bysshe Shelley. Moreover, the way the song ends is absolutely phantasmagorical, putting an enfolding finale to Autumn Skies.

You can take a full and detailed listen to Autumn Skies on YouTube and also follow Danijel Zambo and his Skognatt on Facebook and on Instagram, but of course in order to truly support underground musicians like Danijel you should definitely purchase your copy of the EP directly from his official BandCamp page. In summary, Autumn Skies is not only a 17-minute album of Atmospheric Black Metal made in Germany, but a fresh and vibrant statement by Danijel to the entire world reminding everyone that Skognatt is alive and kicking, ready to represent true independent metal under any circumstances and showing us all Atmospheric Black Metal is still a driving force of the underground with a lot of fuel to burn. In addition to that, it’s beyond clear how the music by Danijel is evolving album after album, and I personally can’t wait to see what’s next in his promising career.

Best moments of the album: Shadowlands.

Worst moments of the album: None.

Released in 2020 Independent

Track listing
1. Shadowlands 7:31
2. Black Rain 3:51
3. Autumn Skies 5:51

Band members
Danijel Zambo – vocals, all instruments

Guest musician
Gerileme – drums

Album Review – Daelkyr / Eternal Decay EP (2020)

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An infernal duo hailing from Turkey is ready to take the underworld of heavy music by storm with their debut EP of raw and undisputed Black Metal.

Forged in 2018 in the fires of Antalya, a gateway to Turkey’s southern Mediterranean region known as the Turquoise Coast for its blue waters, an infernal Black Metal duo that goes by the stylish name of Daelkyr is ready to take the underworld of heavy music by storm with their debut EP titled Eternal Decay, blasting our ears with their raw and undisputed Black Metal. By the way, the name of the band was taken from “The World of Eberron”, a number of features for the Eberron campaign setting for the Dungeons & Dragons fantasy role-playing game, meaning the evil embodiments of madness itself because they were Outsiders from Xoriat, the Plane of Madness, just to give you an idea of how dark and vile their music sounds. Featuring a devilish artwork by Turkish artist Reza Putra and a classic logo by Croatian artist Neon Cacti, Eternal Decay will certainly please all fans of the most primeval form of Black Metal, showcasing all the talent of vocalist and bassist Serpent (from Turkish Melodic Groove/Death Metal act Axxen Conners) and guitarist Kaulfel, supported by the unstoppable session drummer Krzysztof Klingbein (from bands like Aggressor, Akral Necrosis and Thunderwar).

The opening track As The Fog Rises exhales pure, unfiltered Black Metal from the very first second, demolishing everything and everyone that crosses Daelkyr’s path, with Krzysztof sounding utterly demented on drums while Kaulfel extracts sheer rage and obscurity form his guitar riffs, generating the perfect ambience for Serpent to vomit his demonic gnarls. And the band continues to smash our senses with their raw sounds in the more melodic and somber title-track Eternal Decay, where Kaulfel does a superb job with his crisp riffs living up to the legacy of classic Norwegian Black Metal, also sounding extremely sulfurous from start to finish; followed by Grey Inferno, another bestial and hellish creation by Daelkyr spearheaded by Serpet’s venomous Black Metal-growls, while Krzysztof puts the pedal to the metal with his blast beats, resulting in a full-bodied aria of underground extreme music. And closing the EP this talented Turkish horde offers the fulminating The Ritual of Existence, bringing to our ears a fusion of classic Black Metal with more harmonious and epic sounds, with the scorching riffs by Kaulfel walking hand in hand with the vicious beats and fills by Krzysztof.

If you want to dive deep into the obscure realm ruled by Daelkyr, you can take a full listen at Eternal Decay on YouTube and on Spotify, but of course in order to show your true support to this ruthless Turkish duo you can purchase the EP directly from their BandCamp page or from the Dark East Productions’ BandCamp page. Also, don’t forget to follow them on Facebook and on Instagram and to subscribe to their YouTube channel, staying updated of all things Daelkyr from now on. The dark and evil clouds of Turkish Black Metal are upon us all once again thanks to Daelkyr, with Eternal Decay being only the first step in their promising (and devilish) career.

Best moments of the album: Grey Inferno.

Worst moments of the album: None.

Released in 2020 Independent

Track listing
1. As The Fog Rises 4:57
2. Eternal Decay 4:49
3. Grey Inferno 4:16
4. The Ritual of Existence 4:40

Band members
Serpent – vocals, bass
Kaulfel – guitars

Guest musician
Krzysztof Klingbein – drums (session)

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

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The sounds of the angels of Progressive Rock and Metal in the form of an exciting six-track EP brought into being by five talented musicians from Italy.

Formed in 2018 in Palermo, the capital of the Italian island of Sicily, by bassist Gabriele Esposito, drummer Alessio Maddaloni and keyboardist Gabriele Taormina, Progressive Rock/Metal band Silver Nightmares went through several lineup changes until reaching their current shape and form with Mimmo Garofalo on the guitars, and as the band solidified their lineup it was just a matter of time until they released their debut opus, a very entertaining 26-minute EP entitled The Wandering Angel. Featuring guest appearances by vocalists Simone Bonomo and Michele Vitrano, guitarist Tody Nuzzo, flutist Giulio Maddaloni and trumpeter Davide Severino, The Wandering Angel brings an array of styles such as Progressive Rock, AOR, Heavy Metal and Classical Music, highly influenced by iconic names such as Asia, Genesis, Savatage, Trans-Siberian Orchestra, Styx, Kansas, Toto, Iron Maiden, Jethro Tull, Foreigner, Dream Theater, Opeth, Ghost, Marillion, Anathema, Katatonia, Judas Priest and Ten, just to name a few.

And to properly kick things off in The Wandering Angel, an angelical intro morphs into a feast of progressiveness in the title-track The Wandering Angel, where the keys by Gabriele Taormina match perfectly with Simone’s HIM-like vocals, not to mention all the electricity flowing from their guitars and the song’s beautiful, poetic lyrics (“Falling down from the sky / I’m a body without colour / In a world without love / I’ve lost my broken wings / Looking up at earth and sea  / Plotting very distant sighs / The colour of the human skin / Is still an enigma”). Following such powerful start we’re treated to D.D. (Dick Dastardly), a tribute to one of the coolest villains in the history of cartoons (even bringing his trademark scream “Mutley, do something!”), where the band blends heavy and progressive elements with the ass-kicking trumpet and flute by guests Davide and Giulio, respectively, resulting in a fun and vibrant instrumental extravaganza; whereas futuristic elements permeate the air in Light Years Away, with Alessio being in total sync with the band’s guitars, therefore generating a dense ambience perfect for Michele and his Helloween-inspired vocals in a pure Progressive Metal feast with heavy and melodic nuances.

Simone returns in full force with his deeper vocals in David The King, narrating the epic story of a dauntless king while his bandmates keep embellishing the airwaves with their refined skills, with the guitar solos blasted by Mimmo being absolutely outstanding as well as the groovy and classy bass punches by Gabriele Esposito; followed by another epic musical journey titled Dame Nature, led by Mimmo’s electrified riffs and Gabriele Taormina’s whimsical keys while Alessio keeps pounding his drums nonstop, resulting in what’s by far the most progressive and melodic of all songs, full of breaks and variations and spiced up by crisp guitar solos and delicate key notes. And closing the EP we have The Wandering Angel (Radio Edit), a slightly different version of what’s in my opinion the most enfolding and captivating of all tracks, being shorter in duration (mainly due to the removal of its intro) but still presenting all of the amazing details of the original version.

The Wandering Angel is available for a full and deep listen on Spotify, but of course if you love underground metal with a huge focus on the progressive and storytelling side of the business you should definitely purchase the EP from Apple Music, or go to the ARTEWIVA website for all details about the band and where to buy and stream the album. Also, don’t forget to follow the band on Facebook and to subscribe to their YouTube channel, providing Silver Nightmares the fuel they need to keep on rockin’ and invading our senses with their stylish music for many years to come, bringing the sounds of the angels of rock music to our hearts and souls.

Best moments of the album: The Wandering Angel and Light Years Away.

Worst moments of the album: None.

Released in 2020 Independent

Track listing
1. The Wandering Angel 4:33
2. D.D. (Dick Dastardly) 3:23
3. Light Years Away 4:00
4. David The King 3:54
5. Dame Nature 6:40
6. The Wandering Angel (Radio Edit) 3:38

Band members
Mimmo Garofalo – lead and rhythm guitars
Gabriele Esposito – bass
Gabriele Taormina – keyboards
Alessio Maddaloni – drums, percussion

Guest musicians
Simone Bonomo – lead and backing vocals
Michele Vitrano – lead and backing vocals
Tody Nuzzo – guitars
Giulio Maddaloni – flute
Davide Severino – trumpet