Category Archives: Album Reviews

Album Review – Axel Rudi Pell / Sign of the Times (2020)

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Time doesn’t seem to be an issue at all for this German guitar virtuoso, as he keeps on rockin’ the nation with another round of his first-class fusion of Heavy Metal and Hard Rock.

It looks like the one and only guitar virtuoso Axel Rudi Pell and his henchmen Johnny Gioeli on vocals, Volker Krawczak on bass, Ferdy Doernberg on keyboards and Bobby Rondinelli on drums will keep on rockin’ the nation for many decades to come based on the electrifying fusion of Heavy Metal and Hard Rock found in Sign of the Times, the 19th studio album in the band’s impressive career, keeping up with their own stream of one studio album every two years and always delivering first-class music like what they did in 2018 with Knights Call, in 2016 with Game of Sins, in 2014 with Into the Storm, and so on. As a matter of fact, you’ll need to go back over 30 years to fully appreciate the entire work of such talented Bochum, Germany-based guitarist, not to mention the over 1.7 million albums sold worldwide as the perfect indicator of how awesome his music is. Hence, his consistency enjoys more and more respect and appreciation within the hard and heavy community as the years go by, with Sign of the Times proving once again why he has (deservedly) become a true legend among guitar players and all types of metalheads from all over the world, even without accepting such honorable title.

As soon as you hit play, get ready to have your senses invaded by The Black Serenade, a cinematic intro that’s always part of their albums, warming us up for the incendiary Gunfire, where Axel begins slashing his strings in great fashion as usual accompanied by Ferdy’s 70’s-inspired keys and the potent beats by Bobby. Needless to say, Johnny is absolutely superb on vocals, yet again showing us all that their best songs always burn such as “Burning Chains”, “Fire”, and now this amazing composition. Then we have Bad Reputation, a lesson in classic Hard Rock led by Axel’s trademark riffs and the always crisp vocals by Johnny, also bringing a very pleasant pace and vibe and a beyond catchy chorus, all spiced up by the sharp and precise guitar solos by Axel; followed by the title-track Sign Of The Times, where an atmospheric intro is gradually boosted by metallic riffs, classic drums and the rumbling bass by Volker. Put differently, simply relax and enjoy over seven minutes of top-of-the-line Hard Rock that’s at the same time slow, steady and always great to listen to.

Speeding things up a bit the quintet fires the solid The End Of The Line, showcasing Bobby’s old school drumming while Axel and Johnny complement each other’s incendiary performances flawlessly, resulting in another amazing choice for their live concerts, whereas in As Blind As A Fool Can Be it’s time for one of their trademark, classy ballads, where we’re all invited to hold our loved ones tight and enjoy their smooth and gentle musicality while Johnny gives a lesson in passion and reach with his unique voice. And Ferdy takes the energy of his magical keys to a whole new level in Wings Of The Storm, a mid-tempo tune where Johnny tells a thrilling story through his soaring vocal lines while his bandmates generate a well-balanced and captivating ambience in the background, maintaining the album at an absurd level of quality, groove and feeling.

How about one more thrilling Rock N’ Roll ride with the boys? That’s what you’re going to get in Waiting For Your Call, utterly loyal to their own traditions and living up to the legacy of bands such as Bon Jovi, Heart and Journey, with Volker, Ferdy and Bobby being spot-on with their fiery instruments, providing Johnny all he needs to shine on vocals. Following such fun tune, a Reggae-inspired intro beautifully spearheaded by Johnny and Axel soon morphs into a 70’s Hard Rock and Heavy Metal extravaganza à la Rainbow titled Living In A Dream, bringing to our avid ears amazing performances by all band members, in special Ferdy with his whimsical keys, and showing a more alternative side of Axel while at the same time keeping his core essence intact. And last but not least, a fusion of epicness and dexterity concludes the album in Into The Fire, where Axel’s riffs sound insanely mesmerizing, therefore showcasing all his talent and skills as the fantastic guitarist that he is. Furthermore, this is such a gorgeous tune that I wish it was even longer and more atmospheric than its final shape and form just to provide us more time to enjoy Axel’s stunning music.

Sign of the Times Vinyl Boxset

I don’t think I need to tell you that if you consider yourself a diehard fan of classic rock and metal, you definitely need to purchase Sign of the Times, right? And you can do so by clicking HERE and selecting your favorite version of the album, with the deluxe vinyl boxset (which comes with a wall clock, a digipak CD version of the album, a double-LP gatefold in different colours, a magnet, a button, an A1 double sided poster, an A5 photo card and a sticker, all strictly limited to 1000 copies) being undoubtedly your go-to version of it. Also, don’t forget to give Mr. Axel Rudi Pell a shout on Facebook showing your respect and admiration for the amazing music he always brings to us fans, with Sign of the Times keeping the flames of such unparalleled guitarist and his loyal bandmates burning bright for the next couple of years until we see more of his stylish metal music. And as you might have already noticed, saying he’ll stun us once again with his captivating creations is not just a simple desire or a dream, but the truth, the whole truth, and nothing but the truth.

Best moments of the album: Gunfire, Bad Reputation, The End Of The Line and Living In A Dream.

Worst moments of the album: None.

Released in 2020 SPV/Steamhammer

Track listing
1. The Black Serenade (Intro) 1:40
2. Gunfire 5:21
3. Bad Reputation 5:41
4. Sign Of The Times 7:10
5. The End Of The Line 5:22
6. As Blind As A Fool Can Be 6:14
7. Wings Of The Storm 5:48
8. Waiting For Your Call 5:34
9. Living In A Dream 5:59
10. Into The Fire 6:01

Band members
Johnny Gioeli – vocals
Axel Rudi Pell – guitar
Volker Krawczak – bass
Ferdy Doernberg – keyboards
Bobby Rondinelli – drums

Album Review – Tøronto / Under Siege EP (2020)

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Weird n’ wild Speed Metal from the 80’s heavily inspired by Hardcore and Punk Rock, condensed into 22 fast and filthy minutes made in Sweden.

Weird n’ wild Speed Metal from the 80’s heavily inspired by Hardcore and Punk Rock. That combustible mixture is exactly what you’re going to get in Under Siege, the striking debut mini-album by a Swedish metal horde that goes by the unique name of Tøronto (why a band from Sweden was named after the biggest Canadian city is beyond my comprehension), following up on their highly-acclaimed 2018 demo Nocturnal High. Comprised of vocalist and guitarist Edvin Aftonfalk and bassist Dag Landin, here under the stage names Eddie Flawless and 79-83, respectively, and also featuring drummer Leo Ekström Sollenmo (from Lethal Steel and Temisto), here under the name Lt. Oxtreme, as well as one Seb Cyborg on lead guitars, this vicious quartet formed in 2017 partly out of the ashes of the sorely missed Swedish Progressive Death Metal squad Morbus Chron is ready to kill armed with their newborn spawn, providing fans of bands such as Razor, Warfare, Inepsy, Discharge and Motörhead, among others, a fast and furious ode to the 80’s free of any artificial elements, sounding “unselfconsciously” minimalist and raw throughout its eight bangers which average only around two or three minutes each, just to give you an idea of how compact and precise Tøronto are in what they do.

And you better get ready to be smashed by the quartet in the dirty and rebellious opening tune Fast and Filthy, a thrilling fusion of Speed and Thrash Metal with classic Punk Rock where Seb and Eddie will cut your skin deep with their razor-edged shredding while Eddie distills his inebriate vocals in great fashion; and their berserk sounds invade our senses mercilessly in Fire in Sight, another old school metallic extravaganza where Lt. Oxtreme pounds and hammers his drums nonstop. Put differently, this is a Thrash Metal hurricane tailored for admirers of the genre who wish they could go back in time to the 80’s (and stay there forever, of course), whereas the rumbling bass jabs by 79-93 ignite the pulverizing ode to all things metal titled Frostbite Bitch, and such beautiful name couldn’t have had a sound that’s more acid and headbanging than what it already does, spearheaded by Lt. Oxtreme and his classic, smashing beats and fills. And inspired by the early days of titans like Slayer, Megadeth and Metallica we have Mud City Maze, with the incendiary riffs blasted by Eddie and Seb being effectively complemented by the band’s heavy-as-hell kitchen, all spiced up by Seb’s traditional and always exciting solos.

Then the band offers us all 23-11-0, and whatever those numbers mean the band translates them into 80’s Speed Metal for our total delight, with Eddie sounding absolutely mental with his raspy vocals while Lt. Oxtreme doesn’t let the level of adrenaline go down not even for a single second. Adding a welcome touch of Rock N’ Roll to their fulminating sonority, they offer our ears the rhythmic Ride the Rails, perfect for hitting the road with your buddies or to enjoy a cold beer while Tøronto kick some ass onstage, whereas  in Bunker (Under Siege) the music leans towards classic Punk Rock but with the band’s core Speed and Punk Metal essence intact, resulting in a song made for uniting all punks and metallers of the world in the name of good heavy music. Moreover, Eddie’s demented growls are nicely supported by his bandmates’ visceral backing vocals, while Seb keeps exhaling sheer electricity through his guitar solos. Finally, Eddie’s and Seb’s Megadeth-inspired riffs are the main ingredient in the closing song Lights Out at Bedlam, quickly morphing into another sonic assault by those Swedish rockers while 79-83 blasts thunder and rage from his bass.

If you want to join the 100% Swedish and (unfortunately) 0% Canadian unity known as Tøronto in their quest for Speed Metal, Punk Rock and lots of booze, go check what they’re up to on Facebook, listen to more of their music on Spotify, and obviously purchase your copy of the short and sweet Under Siege from the Dying Victims Productons’ BandCamp page or webstore in regular black vinyl format or as a special edition on colored vinyl, both containing a poster, a sticker, a post card, a download code and a patch, as well as from Apple Music. In a nutshell, our roten and decaying society is under siege by a fantastic four-piece squad hailing from Sweden, and they only need 22 minutes to decimate us all just the way we like it in uncompromising extreme music.

Best moments of the album: Fast and Filthy, Fire in Sight and Ride the Rails.

Worst moments of the album: None.

Released in 2020 Dying Victims Productions

Track listing
1. Fast and Filthy 3:24
2. Fire in Sight 3:33
3. Frostbite Bitch 2:59
4. Mud City Maze 1:29
5. 23-11-0 2:04
6. Ride the Rails 3:50
7. Bunker (Under Siege) 2:26
8. Lights Out at Bedlam 2:52

Band members
Eddie Flawless – vocals, guitars
Seb Cyborg – lead guitars
79-83 – bass
Lt. Oxtreme – drums

Album Review – Aborted / La Grande Mascarade EP (2020)

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Belgium’s own Death Metal trailblazers return with a three-track EP that will take you on a frantic journey through the realms of brutality and violence.

Forged in the fires of Waereghem, a municipality in the Belgian province of East Flanders, in the distant year of 1995, but currently featuring members from Belgium, the Netherlands and the United States, the unrelenting Brutal Death Metal trailblazers Aborted have just released a pummeling new three-track EP entitled La Grande Mascarade, containing two brand new tracks plus one previously unreleased song from the recording sessions of their 2018 album TerrorVision. Produced, mixed and mastered by Kristian ‘Kohle’ Kohlmannslehner at Kohlekeller Studio and featuring  a cadaverous artwork by Mitchell Nolte, La Grande Mascarade will take you on an 11-minute infernal journey through the realms of Death Metal and Grindcore ruled by Aborted, showcasing all the talent and fury exhaled by frontman Sven De Caluwe and his henchmen Harrison Patuto and Ian Jekelis on the guitars, Stefano Franceschini on bass and Ken Bedene on drums, leaving us all eager for more of their extreme sounds in a not-so-distant future.

And otherworldly voices kick off the brutal and visceral opening tune Gloom and the Art of Tribulation, exploding into a feast of modern-day Death Metal infused with Deathcore and Grindcore elements where Sven roars and barks like a true beast while Harrison and Ian are venomous with their riffs. Needless to say, this will undoubtedly be a fantastic addition to their live performances, not to mention the impact of its psychological lyrics on our minds (“Trauma sets in / Mesmerized by the hell I created / Swallowed whole by the darkness that lives within me / Architect of my spiritual undoing / Lover to misery”). Following such beautiful start they offer more of their trademark progressiveness and rage in another grim and cryptic song titled Serpent of Depravity, with Ken’s intricate and fulminating beats being perfectly complemented by the scorching riffs fired by the band’s guitar duo in a hybrid of Groove and Progressive Death Metal. And lastly, we’re treated to Funereal Malediction, a pure, hellish Death Metal and Grindcore devastation where Stefano and Ken make the foundations of the earth tremble with their respective weapons while Sven sounds absolutely berserk and demented on vocals. This amazing composition couldn’t have sounds more infernal than what it already does, with the complexity of their riffage and drums being beyond amazing and, therefore, resulting in a vile conclusion to the album.

This short but very entertaining (and obviously demolishing) display of Brutal Death Metal can be appreciated in its entirety on YouTube and on Spotify, but of course, as we’re all living through such difficult times, we metalheads must stay together and provide the bands we love our true support by purchasing their music and merch, which in the case of Aborted can be done by clicking HERE or HERE. Also, don’t forget to follow the band on Facebook and on Instagram (in case you don’t do that already), letting them know how much you enjoy their sonic devastation and inspiring them to provide us more and more albums and EP’s like La Grande Mascarade, keeping the fires of extreme music burning and, consequently, keeping us all with a huge smile on our faces (and a lot of pain in our necks due to some brutal headbanging).

Best moments of the album: Funereal Malediction.

Worst moments of the album: None.

Released in 2020 Century Media Records

Track listing
1. Gloom and the Art of Tribulation 4:38
2. Serpent of Depravity 3:21
3. Funereal Malediction 3:50

Band members
Sven De Caluwe – vocals
Harrison Patuto – guitar
Ian Jekelis – guitar
Stefano Franceschini – bass
Ken Bedene – drums

Album Review – Luctus / Užribis (2020)

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Are you ready to dive into the cold waters of the Beyond together with one of the meanest Black Metal hordes of the Lithuanian scene?

Formed in the already distant year of 2001 in Kaunas, the second largest city in Lithuania located in the south-central region of the country, by vocalist and multi-instrumentalist Kommander L. as a one-man band, the incendiary Black Metal act that goes by the somber name of Luctus (a Latin words that means lamentation, mourning or grief) has evolved into one of the most important metal institutions of the Lithuanian scene through the years, becoming a mature and stable creature with a trademark sound that has already toured extensively across their homeland and all over Europe. Currently comprised of Kommander L. on vocals and bass, Šatras and Dovydas on the guitars, and Vytautas on drums, this talented “Nihil Black Metal” brigade is back in action after five long years with their long-awaited fourth album Užribis, or “The Beyond”, conceptually continuing the path taken by their 2015 album Ryšys while musically representing a further step in the search for the purity of sound and an emotional impact. Recorded at Lapės Records Studios in Lithuania, mixed and mastered at Necromorbus Studios in Sweden, and featuring a cryptic artwork by José Gabriel Alegría Sabogal (also known as Hathrul), Užribis is a spiritual journey through the obscure depths of the soul, breaking through any boundaries of social life in search of what the band calls the “Other World”. Having said that, are you ready to dive into the cold waters of the Beyond?

Just hit play and the ethereal and cryptic intro Gilyn (or “into the depth” in English) will embrace your damned soul and set the tone for the devastating and hellish Sušiurpintas Ano Pasaulio Nuostabos (“stunned by the awe-inspiring Other World”), with the entire band providing their welcome card through their infernal blast beats, scorching Black Metal riffs and vicious vociferations, not to mention the song’s disturbing, phantasmagorical vibe. And the slashing guitars by Šatras and Dovydas ignite the sulfurous Kas Tu Esi? (“who are you?”), a demonic display of old school Black Metal with Thrash and Death Metal nuances where Kommander L. rabidly barks the song’s lyrics (always in his mother tongue, by the way); then a disturbing beginning will darken the skies in the title-track Užribis (“the beyond”), before Vytautas begins hammering his drums furiously in a dense fusion of Black and Thrash Metal. Furthermore, Kommander L.’s vile roars get deeper and more demented as the music progresses, resulting in a lesson in Blackened Death Metal the likes of Behemoth and flowing like the fires of the underworld until its fulminating finale.

Už Sapno Ribų (“beyond the limits of the dream”) is another pulverizing blast of extreme sounds by Luctus led by the evil riffs and solos by both Šatras and Dovydas, once again living up to the legacy of crushing Blackened Death Metal, whereas the band’s rumbling bass lines and berserk beats dictate the rhythm in Tikėjimo Paslaptis (“the secret of faith”), filling our ears with sheer obscurity and blasphemy in the form of classic Black Metal, sounding and feeling truly reverberating and dense from start to finish. Then we have Liejasi (“merging”), an absolutely sinister tune showcasing cryptic passages, eerie background sounds and strident guitars, exploding into a demented feast of Black and Death Metal titled Vandens Paviršiumi (“skimming over the water”), one of the most detailed songs of the album, bringing to our ears multiple layers of darkness, hatred and fury piled up by the quartet, with Kommander L. taking the lead with his deep guttural roars and suddenly morphing into the cadaverous outro Fascinatio Mortis, as Stygian and grim as it can be, putting a cinematic ending to such detailed album.

The gates to the “Other World” ruled by Luctus are open thanks to the amazing job done by this sulfurous quartet in their new album Užribis, available for a full listen on YouTube and on Spotify. Hence, don’t forget to show your true support to those Lithuanian metallers by paying them a visit on Facebook and on Instagram, and especially by purchasing Užribis from their own BandCamp page or from the Inferna Profundus Records’ BandCamp page or webstore (in  CD or LP format), as well as from Apple Music or from Discogs. And then, but only then, after putting your hands on Užribis, you’ll be ready to cross the barriers of the Beyond together with one of the most prominent hordes from the Lithuanian scene.

Best moments of the album: Sušiurpintas Ano Pasaulio Nuostabos, Užribis and Vandens Paviršiumi.

Worst moments of the album: None.

Released in 2020 Inferna Profundus Records

Track listing
1. Gilyn 2:07
2. Sušiurpintas Ano Pasaulio Nuostabos 5:09
3. Kas Tu Esi? 7:06
4. Užribis 7:54
5. Už Sapno Ribų 7:40
6. Tikėjimo Paslaptis 6:45
7. Liejasi 2:39
8. Vandens Paviršiumi 7:11
9. Fascinatio Mortis 2:30

Band members
Kommander L. – vocals, bass
Šatras – guitars
Dovydas – guitars
Vytautas – drums

Album Review – Front / Antichrist Militia EP (2020)

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Ravaging and rampaging the wastelands, the most infernal platoon hailing from Finland returns to the battlefront tighter and more caustic than ever with a brand new mini-album.

At long last, almost four years after the release of their fantastic debut album Iron Overkill, the venomous Lahti, Finland-based Black/Death Metal platoon that goes by the name of Front returns to the battlefront with a brand new mini-album titled Antichrist Militia, offering fans of the music by Marduk, Bestial Warlust and Motörhead decisive 23 minutes of brutality, rage, blasphemy and, above all that, war. Now expanded to a quartet formed by lead singer Kaosbringer, guitarist Von Bastard, bassist Meister F. and drummer Revenant, Front present in Antichrist Militia their deadliest Black and Death Metal sonic arsenal to date, with the ass-kicking artwork designed by Indonesian artist Jenglot Hitam (Abigail, Sabbat, Unholy Desecration) saying everything it needs to, that Front are ravaging and rampaging the wastelands, sounding tighter, more finessed and at the same time more caustic than ever, getting in and getting out with militaristic precision, and this time with a booze-reeking smirk across its barbed-wired face.

In the intro Doom Cult Legion, ominous and eerie noises from the pits of hell warm up our senses for the pulverizing title-track Antichrist Militia, where the entire band showcases their heavy artillery led by Revenant’s brutal and pounding drums while Von Bastard extracts sheer dementia form his guitar, all spiced up by Kaosbringer’s demonic roars and gnarls. Furthermore, this venomous tune is simply perfect for raising your horns while screaming the song’s name together with the band, not to mention its frantic, slamming and metallic second half, followed by Iron Front, their personal tribute to the almighty Motörhead, bringing forward a demented mix of Black and Death Metal with badass Rock N’ Roll where Meister F. hammers his bass in a way that would make the iconic Lemmy Kilmister (R.I.P.) truly proud, accompanied by Von Bastard’s hellish guitar riffs and solos. Hence, this ode to ruthless rock and metal will work perfectly during their live performances without a shadow of a doubt.

Leaning towards the current Black Metal sonority blasted by Marduk, Venom & Salt is a warlike tune spearheaded by Kaosbringer and his enraged growls, filling our ears with nonstop violence flowing from all instruments while Revenant shows no mercy at all for his drums, whereas an obscure start with somber voices evolves into a Black and Doom Metal chant titled Mouths of War, a Stygian song that will penetrate deep inside your psyche, disturbing your peace of mind while the quartet blasts evil and hatred form their weapons of mass destruction. Moreover, as the icing on the cake, the song also brings forward Winston Churchill’s renowned speech, the same form Iron Maiden’s hit “Aces High” by the way, just to give the final result an extra military touch. And finally, you’ll find yourself in the middle of a crossfire before Von Bastard puts the pedal to the metal with his sick riffage in Machinegun Blasphemy, with Revenant sounding absolutely infernal on drums from start to finish. This can easily be labeled “War Metal”, or in other words, the utmost depiction of what happens when old school Black and Death Metal unite in the name of war.

In a nutshell, Front bring forth in Antichrist Militia the precise soundtrack to inspire us all right before we head into the battlefield, and despite the album having only 23 minutes of music that’s actually more than enough to cause a nuclear explosion due to its gargantuan amount of heaviness and rage. Having said that, don’t forget to follow this infamous legion of metalheads on Facebook, and keep an eye on the Iron Bonehead Productions’ BandCamp page and webstore where sooner than later you’ll be able to put your dirty hands on such thrilling album of extreme music. Front’s “pocket version” of what can be described as a musical world war is almost upon us all, and based on the current state of our society I can’t think of a better option to bang our heads like true bastards until our inevitable and gruesome end.

Best moments of the album: Iron Front and Machinegun Blasphemy.

Worst moments of the album: None.

Released in 2020 Iron Bonehead Productions

Track listing
1. Doom Cult Legion 0:43
2. Antichrist Militia 5:05
3. Iron Front 4:20
4. Venom & Salt 4:06
5. Mouths of War 3:43
6. Machinegun Blasphemy 4:48

Band members
Kaosbringer – vocals
Von Bastard – guitars, choir vocals
Meister F. – bass
Revenant – drums, choir vocals

Album Review – Klendathu / Ad Nauseam EP (2020)

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Bang your head to the debut EP by an Australian one-man band with a huge focus on artistic expressionism, animal rights, veganism and the inevitability of the planet’s decline.

The name Klendathu, which means means “triangular” in the Zulu language, is the homeworld of the creatures known as the Arachnids from the 1997 cult movie Starship Troopers, while the expression “ad nauseam” is a Latin term for argument or other discussion that has continued to the point of nausea. However, when you put those two together the result is a Melbourne, Australia-based Blackened Death Metal/Dark Metal one-man project entitled Klendathu, formed in the beginning of 2020 by vocalist and multi-instrumentalist Scott Masson, the lead singer for Metalcore/Deathcore act He Who Seeks Vengeance and more recently for Death Metal band Apocalyptian, both already reviewed at The Headbanging Moose. With a huge focus on artistic expressionism and with its lyrical content inspired by our ecological footprint, environmental issues, animal rights, veganism and the inevitability of the planet’s decline, the project’s debut EP Ad Nauseam will surely please fans of the music by Behemoth, Gorgoroth, Cannibal Corpse, Sylosis, Six Feet Under and Sepultura, among many others, while at the same time sending a strong message to everyone who still thinks our decaying world is doing just fine.

Scott, who’s by the way a very proud vegan and animal rights activist and environmentalist, has already hinted at that theme in his previous records with He Who Seeks Vengeance (They Will Speak Of The Ghosts That We Became, released in 2019) and Apocalyptian (Citizens Of The Apocalypse, released earlier this year), but it’s with Klendathu that Scott finally has all the freedom to be himself and express how he feels about the current state of things. In addition, just to give you an idea of how personal the album is, everything in the album was recorded by Scott himself, with the exception of the mixing part which was done by an electronic producer named Kibosh, and the final result is indeed very personal, heavy and dark.

An ominous intro grows in intensity until dark and damned sounds invade our senses in Denying The Birth, where Scott fires Doom Metal-inspired riffs and infernal blast beats while screaming like a rabid beast, reminding me of old school Behemoth with some phantasmagorical background elements to add an extra kick to it. Then once again demolishing everything and everyone with his insane beats and riffage, Scott vociferates and barks nonstop in Anger Awakening, presenting hints of the Thrash and Groove Metal by Sepultura from their Roots-era while keeping Klendathu’s core obscurity intact, followed by Bargaining The New Revelation, the most vicious and devastating of all songs, with Scott doing a great job with his harsh roars and thunderous bass and drums, therefore  generating a reverberating sound that will crush your skull mercilessly, all spiced up by teen activist Greta Thunberg’s famous one-liner “How dare you!” and other parts of her speech during the UN climate summit in New York on September 23, 2019. After such bold and dense tune, Scott adds nuances of devilish Blackened Doom to his already scorching sonority in The Prelude Depression, where you can easily feel all the anguish and hatred flowing from his demented screams while the song’s keys and piano notes give the overall result a touch of finesse. And last but not least, more groovy and enraged sounds permeate the air in Accepting The End, with Scott going full Death Metal on vocals and firing crisp guitar riffs and solos. Moreover, its modern-day Black Metal-like drums are the ultimate proof that this incendiary song couldn’t have sounded more austere than what it already is.

You can follow Scoot and his very interesting Klendathu on Facebook, showing your appreciation not only for his music but also for his fight for animal rights and his efforts against all environmental issues we’ve been facing in the past few decades, and of course purchase his debut opus Ad Nauseam directly from his BandCamp page, as well as from Apple Music and from Amazon, or stream the EP in full on YouTube and on Spotify. In the end, as long as you bang your head to Klendathu’s flammable music while doing your part in trying to make this world a better place, I’m sure guys like Scott will feel utterly inspired to keep crafting meaningful heavy music for many years to come. That, of course, if the world as we know it doesn’t come to an end first.

Best moments of the album: Bargaining The New Revelation and Accepting The End.

Worst moments of the album: None.

Released in 2020 Independent

Track listing
1. Denying The Birth 6:19
2. Anger Awakening 4:52
3. Bargaining The New Revelation 5:27
4. The Prelude Depression 5:52
5. Accepting The End 5:02

Band members
Scott Masson – vocals, all instruments

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)