Category Archives: Album Reviews

Album Review – Moanaa / Torches EP (2019)

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Revolving around a diverse range of styles such as Post-Metal, Post-Rock, Atmospheric, Sludge and Doom Metal, the new EP by this Polish entity overflows sorrow, grief and heaviness.

Founded in the already distant year of 2008 in Bielsko-Biala, a city in southern Poland in the Cieszyn Silesia region, Post-Metal outfit Moanaa has been making a name for themselves in the underground scene with a consistent stream of high-quality albums, revolving around a diverse range of styles such as Post-Metal, Post-Rock, Atmospheric, Sludge and Doom Metal, always with a melancholic and psychedelic approach to obscure topics like personal struggles and depression, leading them to share the stage with renowned acts of the scene such as Blindead, Tides From Nebula, Jarboe, Nachtmystium and At The Soundawn. After the releases of their debut self-titled EP in 2010, followed by the full-length albums Descent, in 2014, and Passage, in 2016, it’s time for lead singer K-vass, guitarists Łukasz ‘cHooDy’ Kursa and Maciej Kosarz, bassist Łukasz Tomiczek and drummer Kamil Gębala to heighten our senses once again with their brand new EP Torches. Mixed and mastered by Haldor Grunberg (Satanic Audio) and featuring a somber artwork by Przemysław Duda (Pastor Graphics), Torches is a short and sweet display of what this Polish band is capable of, leaving you eager for more of their music after its 25 minutes of sorrow and grief are over.

Prepare you neck for a headbanging beast entitled Inflexion, with Kamil blasting sheer adrenaline and intricacy form his beats while K-vass exhales endless anguish and hatred from his raspy roars and the band’s stringed trio brings electricity and groove to their already dense musicality. Put differently, this is a beautiful and melancholic lesson in Post-Metal that will certainly please all fans of the genre. Then it’s time for their cover version for Placebo’s Without You I’m Nothing (take a listen at the original version HERE), featuring guest vocals by Polish singer and keyboardist Jakub Radomski, and let me tell you that Moanaa’s “extended” version of the song (around two minutes longer than the original one) begins in a charming and serene manner before it gradually evolves into a dark, more sinister sound led by the incendiary guitars by Łukasz ‘cHooDy’ Kursa and Maciej. And lastly, a tribal start warms up our senses for over 12 minutes of somber passages and Stygian notes in Red, with K-vass growling and screaming in a truly desperate and obscure way. Moreover, Kamil dictates the song’s lugubrious but fierce rhythm, exhaling progressiveness, obscurity and modernity, all united in sheer harmony, while Łukasz Tomiczek is vicious with his low-tuned bass, with the music flowing into an enfolding finale where K-vass’ clean vocals bring even more melancholy to the overall result.

The guys from Moanaa are eager to know your thoughts about their brand new EP Torches, and in order to do that simply go to their Facebook page and leave them a comment, like their page, check their tour dates and stay up-to-date about all things revolving around such interesting band hailing form Poland. Also, if Post-Metal is your cup of tea and you want to show your utmost support to the band, you can grab your copy of Torches from their BandCamp page or from Apple Music (without their cover for the song by Placebo, for a reason beyond my understanding). Post-Metal might not be among the easiest subgenres of heavy music to be listened to, but in the end that’s the beauty of it, and thanks to talented bands like Moanaa it’s a music style that’s growing and developing year after year, with Torches being indeed a very welcome addition to your collection of obscure and dense albums.

Best moments of the album: Inflexion.

Worst moments of the album: None.

Released in 2019 Independent

Track listing
1. Inflexion 7:00
2. Without You I’m Nothing (Placebo cover) 6:04
3. Red 12:39

Band members
K-vass – vocals
Łukasz ‘cHooDy’ Kursa – guitar
Maciej Kosarz – guitar
Łukasz Tomiczek – bass
Kamil Gębala – drums

Gueat musician
Jakub Radomski – vocals on “Without You I’m Nothing”

Album Review – Shuulak / Citrinitas EP (2019)

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Five skillful Dutch “alchemists” of Heavy Metal continue their pursuit of alchemical enlightenment with their brand new EP.

In 2014 in Breda, a city and municipality in the southern part of the Netherlands, located in the province of North Brabant, a friendship formed during previous musical collaborations laid the foundation for what’s to become Dutch Heavy Metal act Shuulak, whose otherworldly songs, deeply rooted in alchemy and the occult, explore man’s obsession with things that would only  destroy him. Constantly challenging themselves through the years, the band comprised of Bastiën Baron on vocals, Eve Laetitia and Ricardo Kroon on the guitars, Puck Wildschut on bass and Angelo Tower on drums has already released three EP’s since their inception, those being Nigredo, in 2017, a concept signifying the first step in the alchemist’s magnum opus with its songs being a collection of tales telling of humanity’s desire for greatness inevitably ending in madness and depravity, Albedo, in 2018, and finally Citrinitas, now in 2019, where the band continues their pursuit of alchemical enlightenment. Not only that, the band does their own recording, photography, video editing and visual design, with their music standing as a testament to the undying power of our good old Heavy Metal, especially in the underground and independent scene.

And Shuulak don’t waste a single second and start blasting sheer awesomeness to our avid ears in the opening track, entitled The Chosen, where Eve and Ricardo cut our skin deep with their scorching riffs while Puck and Angelo generate a rumbling atmosphere in the background, spearheaded by Bastiën and his soaring vocals. Then blending the epicness of bands like Primal Fear with the Melodic and Progressive Metal of Dream Theater and Mastodon we have Altar of Gods, another solid and captivating tune by Shuulak where Puck’s bass punches will make your head tremble, while Eve spits fire from her excellent riffs and solos. In Chaosborn this talented five-piece act brings thunder and groove to their classic Heavy Metal, with Bastiën sounding truly obstinate and enraged on vocals as if he’s marching into battle, while the band’s guitar duo keeps embellishing the airwaves with their old school riffage and Angelo doesn’t stop pounding his drums in great fashion, before we’re treated to the title-track Citrinitas, an eerie, atmospheric composition where the sound of the organs and delicate female voices will hypnotize your senses, as if the band is warming up our souls for their upcoming release.

Hence, while we wait for Shuulak’s next step in their promising career, we can all enjoy Citrinitas, which by the way is a term given by alchemists to “yellowness” (being one of the four major stages of the alchemical magnum opus, and literally referred to “transmutation of silver into gold” or “yellowing of the lunar consciousness”), in full on YouTube and on Spotify, and purchase it directly from the band’s own BandCamp page or from Apple Music. In addition, don’t forget to follow such distinct band on Facebook, showing all your support to Bastiën, Eve, Ricardo, Puck and Angelo, five Dutch “alchemists” that definitely know how to transform their wicked ideas and thoughts into top-of-the-line Heavy Metal.

Best moments of the album: Chaosborn.

Worst moments of the album: None.

Released in 2019 Independent

Track listing
1. The Chosen 3:52
2. Altar of Gods 4:39
3. Chaosborn 3:58
4. Citrinitas 1:08

Band members
Bastiën Baron – vocals
Eve Laetitia – lead guitar
Ricardo Kroon – rhythm guitar
Puck Wildschut – bass
Angelo Tower – drums

Album Review – Crest of Darkness / The God of Flesh (2019)

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Expanding the feel, variety and depth of their music, this talented Norwegian Black Metal triumvirate returns with the heaviest, darkest and most personal album of their undisputed career.

Conceived in the mid-nineties, more specifically in 1993 in the city of Gjøvik, Norway, by vocalist and bassist Ingar Amlien (when his former band Conception was still at its peak) as a product of his own passion for sheer sonic brutality and devotion to the satanic ideology according to Anton LaVeys’ Church Of Satan and the Satanic Bible, Atmospheric Black Metal horde Crest of Darkness is moving barriers once again with their brand new opus entitled The God of Flesh, expanding the feel, variety and depth of their music, showing to be as much at home with more progressive elements as they are with the aggressive and dark, brutal side for which they are known. In other words, get ready to be dragged into pitch black darkness together with Ingar and his henchmen Rebo on the guitar and Berhard on drums, not to mention guest keyboardist Kristian Wentzel, in what’s the heaviest, darkest and most personal album of their undisputed career.

Arising from the pits of the underworld, Crest of Darkness comes crushing our souls in the opening track The God Of Flesh, where Bernhard slams his drums manically while Ingar fires his Marduk-inspired demonic gnarls in a pulverizing display of old school Norwegian Black Metal. If that wasn’t infernal enough to you, it’s time for The Child With No Head with its psychological, grim lyrics (“Forever it will stay alive / This memory has filled your mind / Forever it will drag you down / Happiness you cannot find / Selfish greed / Religious views / The smell of death / The sound of thunder / No forgiveness / No escape / You know your world is going under”) and absolute madness and evil flowing form all instruments, with Rebo sounding absurdly satanic with his riffs, followed by Endless Night, where a more serene, melancholic atmosphere evolves into a mid-tempo ode to hell, with Ingar vociferating the song’s Stygian words while blasting his bass chords at the same time, supported by the rhythmic drumming by Bernhard.

Enhancing their aggressiveness and rage with hints of classic Death Metal added to their crude sonority, the band offers our avid ears the disturbing The Spawn Of Seth, a full-bodied creation by Crest of Darkness where Rebo is on fire with his razor-edged riffs and solos, also showcasing demonic lyrics as usual (“You are walking the earth as ghosts / You are flying on the wings of death / The human race is your host / As long as it can draw its breath”). And blending obscurity, despair and sadness, the ominous and ethereal bridge Forgotten sets the tone for Euthanasia, a neck-breaking, incendiary tune led by Rebo’s hellish riffage and Ingar’s Mephistophelian roars, perfect for headbanging like a bastard in the name of darkness while Bernhard’s pounding drums bring even more violence to the overall result.

Blood, one of their most ritualistic creations, unites the sulfurous blasphemy of traditional Black Metal with the harmony and intricacy of contemporary Melodic Black Metal, sounding at times as if Danzig went full extreme, and after such fantastic exhibit of extreme music, the trio from the netherworld captivates our senses once again with more of their Stygian sounds in Godless Evil Eyes, again presenting cutting riffs and classic beats, spearheaded by Ingar and his harsh, crude vocals. And last but not least, Salvation In Hell brings forward total devastation in the form of Black Metal to close the album on a high note, with all band members demolishing their instruments mercilessly, in special Bernhard with his complex and vibrant beats and fills.

Featuring a profane, cult-like artwork by Norwegian artist Marius Engli Andersson, and available for a full listen on Spotify, The God of Flesh is another solid and electrifying pillar in the satanic church of Black Metal built by Ingar and his horde, pointing to a bright (or maybe I should say completely dark) future for such amazing traditional act hailing from the beautiful Norway. Hence, don’t forget to follow them on Facebook, to purchase The God of Flesh from their own BandCamp page (or click HERE for all options available in the market), and also to watch Ingar himself commenting about each and every track from the album on YouTube in three special videos (Part 1, Part 2 and Part 3). In a nutshell, darkness is upon us thanks to this bloodthirsty, talented Norwegian triumvirate, proving once and for all evil always results in first-class extreme music.

Best moments of the album: The Child With No Head, The Spawn Of Seth and Blood.

Worst moments of the album: Endless Night.

Released in 2019 My Kingdom Music

Track listing
1. The God Of Flesh 4:08
2. The Child With No Head 3:45
3. Endless Night 5:40
4. The Spawn Of Seth 5:06
5. Forgotten 2:24
6. Euthanasia 5:40
7. Blood 4:13
8. Godless Evil Eyes 3:47
9. Salvation In Hell 4:24

Band members
Ingar Amlien – vocals, bass
Rebo – lead and rhythm guitar
Bernhard – drums

Guest musician
Kristian Wentzel – keyboards

Album Review – Hellsodomy / Morbid Cult (2019)

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Unleashing their most lethal form of sonic detonation, this Turkish squad is ready to crush with their unrelenting new album of Blackened Deathrash.

Formed in 2011 in Kadıköy, a neighborhood on Istanbul’s Asian shore, in Turkey, the unrelenting Death Metal squad known as Hellsodomy can be considered a study in patience and perseverance, having taken around three years after the band’s inception before the release of their first demo, Masochistic Molestation, in 2014. However, after that demo things started to happen for the band, with the release of the EP Sodomy Is Nigh, in 2015, and their debut full-length opus, titled Chaostorm, in 2016, retaining the rawness of their earlier work with a more finessed expression of such and, therefore, positioning the band as one of the most promising names of the Turkish scene. Now three years later it’s time for the horde comprised of Nekro Kasil on the guitar and vocals, Destroyer D also on the guitar, Necrolepsy on bass and A.D.B on drums to explode our ears once again with their sophomore opus, entitled Morbid Cult, unleashing their most lethal sonic detonation yet in the form of what the band likes to call “Blackened Deathrash”.

An onrush of violent and berserk sounds led by Nekro and Destroyer’s demonic riffs in the instrumental intro Into Perversion warms up our senses for Endless Demise, offering the listener total devastation in the form of Death Metal and bringing a Hardcore feeling that makes it even more aggressive, with the infernal blast beast by A.D.B and the harsh vociferations by Nekro turning it into a must-listen for fans of the genre. Then hitting us hard with their riffage and rhythmic beats, the quartet blasts sheer insanity the likes of Krisiun and Deicide in Pestilence of Black Blood, showcasing a beyond visceral name and the always putrid growls by Nekro, followed by Charged to Kill, where they add elements from our good old Thrash Metal to their core sonority, resulting in a wicked circle pit-generator. Furthermore, while the band’s guitarists slash their strings manically, A.D.B brings groove and devastation at the same time with his unstoppable, visceral drums.

And there’s no time to rest or breathe in From the Seed to the Grave, a classic Death Metal extravaganza that will disturb your peace of mind, with Necrolepsy not only providing great backing vocals, but his bass lines are as metallic and evil as they can be; whereas in Hateclan, perhaps the most devastating of all songs, A.D.B sounds absolutely pulverizing on drums, providing Nekro all he needs to darkly shine with his enraged harsh vocals, being therefore highly recommended for slamming into the pit like a beast. And Divided Souls is another crushing creation by Hellsodomy displaying all elements we love in Death Metal, feeling like Nekro is getting more and more rabid as the album progresses while A.D.B adds endless stamina to the music with his thrashing beats.

Continuing their path of gruesome devastation, Mortem in Comfort presents a well-balanced fusion of sheer aggressiveness with more melodic sounds where Nekro, Destroyer and Necrolepsy can’t stop mutilating their stringed weapons in great fashion, and get ready to headbang like there’s no tomorrow to the frantic hybrid of Death and Thrash Metal by Hellsodomy entitled Dazed Victims, inspired by some of the sickest creations by Death Metal titans Cannibal Corpse. Their second to last breath of ruthless aggression, named Furious Chants, reminds me of the demented sound by Croatian act HerezA, with A.D.B blasting sheer rage through his drums while Nekro keeps growling like a demonic entity and shredding his guitar fiercely. In addition, its ending couldn’t have been more violent and ravenous, building an instant connection with the closing tune Souls Devoured, where all band members generate a thunderous and vile atmosphere with their hellish instruments, smashing our heads and cutting our skin deep until the song’s classic finale, all embraced by a sick guitar solo to make things even more tasteful.

The gates to the underworld have just opened in Turkey thanks to the flammable Morbid Cult, the brand new album of old school Death Metal crafted by the talented musicians from Hellsodomy featuring a Stygian cover art by Turkish artist Zezeah (Big Baboli Print House), and in order to join them in their path of pure devastation and rage go check what they’re up to on Facebook, listen to more of their music from their own BandCamp page, and grab your copy of such sulfurous album from the Saturnal Records’ webstore. Nejro Kasil, Destroyer D, Necrolepsy and A.D.B are eager to welcome you to their blasphemous cult of Death and Thrash Metal, with their new opus perfectly representing all the energy and fire coming from the underworld of their homeland.

Best moments of the album: Endless Demise, Charged to Kill and Hateclan.

Worst moments of the album: None.

Released in 2019 Saturnal Records

Track listing
1. Into Perversion 1:26
2. Endless Demise 3:18
3. Pestilence of Black Blood 4:51
4. Charged to Kill 2:58
5. From the Seed to the Grave 3:23
6. Hateclan 3:54
7. Divided Souls 2:57
8. Mortem in Comfort 3:15
9. Dazed Victims 2:49
10. Furious Chants 4:08
11. Souls Devoured 5:41

Band members
Nekro Kasil – guitars, vocals
Destroyer D – guitars
Necrolepsy – bass, backing vocals
A.D.B – drums

Album Review – Eleine / All Shall Burn EP (2019)

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Let us all burn together with this awesome Symphonic Metal unity hailing from Sweden in their brand new EP.

“United we join the fight, against our enemies.”

As Christmas is just around the corner, Landskrona, Sweden-based Symphonic Metal unity Eleine is ready to help you select a nice and exciting gift for your beloved metal friends with the release of a brand new EP entitled All Shall Burn, the follow-up to their 2018 full-length album Until the End. Featuring a dark, demonic and sexy artwork made by Mexican artist Néstor Ávalos in collaboration with the band’s frontwoman Madeleine “Eleine” Liljestam, All Shall Burn mirrors a rough period in time festered with pain and despair, yet also relief and unity. Taking a step into the darker and heavier realms of metal music, the band now comprised of the aforementioned Madeleine, guitarist Rikard Ekberg, and newcomers Ludwig Dante on the guitar, Anton Helgesson on bass and Jesper Sunnhagen on drums managed to maintain their seductive sound with beautiful symphonies and melodies from their previous albums in All Shall Burn, while at the same time giving us fans a taste of what to expect from the band in their future releases.

And let the feast of epicness and melody by Eleine begin with the opening track Enemies, which kicks off in a truly ominous way before exploding into dark and dense Symphonic Metal led by Rikard and Ludwig’s heavy-as-hell riffs, sounding and feeling absolutely majestic from start to finish, all embraced by the poetic lyrics stunningly declaimed by Madeleine (“Blood fills my lungs / A foul taste on my tongue / A shifting of the sands / This madness will not stand / Touch me and you’ll die / Challenge your fate no I don’t mind / I face this with a smile / The truth always survives”). The title-track All Shall Burn is just as exciting and imposing as its predecessor, offering the listener a more neck-breaking rhythm with Jesper smashing his drums beautifully. Furthermore, Madeleine and Rikard have an entertaining duel the likes of “Beauty and the Beast” with their respective operatic vocals and harsh roars, turning it into a mandatory addition to their upcoming live performances.

After two original songs it’s time for Eleine to kick some serious ass with their cover version for Mein Herz Brennt, one of the biggest classics by Neue Deutsche Härte trailblazers Rammstein (take a listen at the original version HERE), and Eleine did a fantastic job by adding their own symphonic twist to it. Not only that, it’s impressive how a Swedish band can sound so German, with the bass punches by Anton making your head tremble while Madeleine brings a delicious feminine touch to the overall musicality. The last two tracks in all Shall Burn are gorgeous symphonic versions for the songs Hell Moon (We Shall Never Die), from their 2018 album (and you can compare it to the original version by clicking HERE), and All Shall Burn, and in both cases Eleine bring to our avid ears a mesmerizing, orchestral atmosphere focusing on the the vocal duet between Madeleine and Rikard. Can you imagine the band playing these songs accompanied by a full-bodied orchestra? That should sound breathtaking, no doubt about that.

As mentioned in the beginning of this review, in case you still don’t know what to give to that metalhead you love so much this Christmas, let Eleine help you with All Shall Burn, a short and (extremely) sweet display of their classic Symphonic Metal with some brilliant add-ons in the form of their Rammstein cover song and two orchestral masterpieces. You can listen to the EP in full on Spotify and purchase it from the band’s own BandCamp page (or simply click HERE for all options where you can find the EP), and don’t forget to follow the band on Facebook for news, tour dates and other nice-to-know information about them. Let us all burn together with Eleine to the sound of the incendiary Symphonic Metal found in their new EP, reminding us all why Madeleine and the boys have been on a constant and awesome rise since the band’s inception, becoming one of the biggest names of the modern Scandinavian scene.

Best moments of the album: Enemies and Mein Herz Brennt.

Worst moments of the album: None.

Released in 2019 Black Lodge Records

Track listing
1. Enemies 5:22
2. All Shall Burn 4:21
3. Mein Herz Brennt (Rammstein cover) 4:41
4. Hell Moon (We Shall Never Die) (Symphonic version) 4:32
5. All Shall Burn (Symphonic version) 4:21

Band members
Madeleine “Eleine” Liljestam – vocals
Rikard Ekberg – guitar, growls, vocals
Ludwig Dante – guitar
Anton Helgesson – bass
Jesper Sunnhagen – drums

Album Review – Goatchrist / Pythagoras (2019)

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Like a phoenix arising from the ashes, one-man project Goatchrist returns with a thrilling melding of Black Metal, Jazz and progressive music, exploring the various metaphysical and occult philosophies of Pythagoras.

After a huge and cryptic hiatus that lasted for three long years, the talented multi-instrumentalist Jacob Guilherme, or J. Guilherme if you prefer, previously known as Dominator Xul’Ahabra, is back in action with his Leeds, UK-based one-man project Goatchrist, now venturing through the realms of Experimental Black Metal instead of the Blackened Death Metal from his early days. If you’re familiar with Goatchrist’s discography, let’s say the more vicious and austere music found in his previous albums, those being She Who Holds the Scrying Mirror, from 2014, The Epic Tragedy of the Cult of Enlil, from 2015, and Discipline and Terror (The Timeless Praxes of the Drakon Covenant), from 2016, gave place to a much more experimental and melodic sonority with a focus on metaphysical philosophies, and that new era of Goatchrist can be fully appreciated in his brand new opus, entitled Pythagoras, a conceptual full-length album about the Greek metaphysical philosopher, father of the Western philosophical tradition and ideological precursor to occultism.

Dedicated to R. R. Givens (also known as Proscriptor McGovern, from American Black/Thrash Metal band Absu), a man of great talent and understanding and a significant inspiration in the creation of the album, Pythagoras features a thrilling melding of Black Metal, Jazz and progressive music, exploring the various metaphysical and occult philosophies of the ancient Greek sage, such as the ontology of all existence, the five three-dimensional solids whose faces are regular polygons and their links to the five pre-scientific “elements” (air, fire, earth, water and aether), and the Pythagorean attitude towards reincarnation. Written, recorded, mixed and mastered between J. Guilherme’s home studio and V. Calin’s home studio, who by the way lends his musical talents to a couple of songs in the album, Pythagoras might be one of the best fusions of extreme music (and other styles) with science and philosophy from the underground and independent scene of the past few years, proving why although Jacob shouldn’t have stopped making music under his project Goatchrist a few years ago, his break was more than healthy and inspiring as we can all enjoy now with Pythagoras.

The Initiation of Pythagoras by Thoth Hermes Tresmegistus is an instrumental, epic intro that sets the stage for Worlds, a lot more melodic and ethereal than Goatchrist’s previous endeavors, where Jacob does a great job on the guitars and drums, generating an enfolding and experimental atmosphere and also presenting an interesting paradox between demonic screeches and clean, anguished vocals. Moreover, right from the beginning you can sense the aforementioned hints of Jazz added to the music, which is also the case in The Tetractys, offering more experimentations and idiosyncratic sounds from Jacob’s (un)usual instruments and, consequently, feeling a lot more Progressive Metal than Black Metal, with its lyrics being some sort of lecture about what the title of the song truly means (“Tetractys of the Decad: / One, two, three and four / in union; musica universalis – / Unity; Dyad; Harmony; Kosmos.”).

Back to a more berserk and violent mode, Jacob slashes his strings while at the same time he blasts delicate and futuristic sounds and tones in Pythagorean Solids, with his harsh gnarls and whimsical keys being in absolute sync form start to finish, whereas in Introduction to Numbers we’re treated to one minute of madness flowing from his keys before all hell breaks loose in Numbers, reminding me of some of his oldest creations in terms of fury and heaviness, blending old school Black Metal with tons of progressiveness and the gentleness of Jazz. In other words, this is a full-bodied creation that lives up to Goatchrist’s own legacy, and undoubtedly one of the best moments of the album.

Then we have Harmony of the Spheres, a somber, atmospheric and minimalist composition that works like an extended bridge to Metempsychosis, bringing forward elements from the Stygian music by Cradle of Filth, Dimmu Borgir and Rotting Christ, with the hellish growls by Jacob matching perfectly with the instrumental pieces and also presenting a lot of groove flowing from his wicked bass lines and intricate piano notes. And lastly, The Death of Pythagoras is a very introspective tune spiced up by deep, dark lyrics (“Then the sun will set over Croton, / The folk tire of his ways – of his ways. / The greatest mind in all of time, / Approaches the end of his days – of his days. / Enemies travelled in the dead of night, / To the meeting house in Milo, setting it alight.”) and nuances of R&B and Indie Rock in the vocal lines, and if you are a patient person simply wait for a while as after a few minutes of silence Jacob offers us all nothing more, nothing less than his own bizarre and fun “cover” version for American singer Billie Eilish’s hit Bad Guy. I bet you’ll be surprised with the final result of this moment of relaxation by Mr. Guilherme.

As already mentioned, I’m quite happy and excited with the return of Jacob Guilherme to the world of extreme music under his one-man army Goatchrist, and let’s hope the feedback he receives from metal fans like us is enough to inspire him to release more and more Goatchrist albums in the future, always dealing with the most diverse and interesting themes like what we see in Pythagoras. Hence, don’t forget to show him your support by following Goatchrist on Facebook, and by purchasing Pythagoras from his own BandCamp page, from Apple Music or from Amazon. Amidst the seriousness of all the metaphysical and occult philosophies by Pythagoras there’s still room for the crushing and experimental sounds of Black Metal, and fortunately we have Mr. Jacob Guilherme to channel that amalgamation of styles and topics through his inner beast Goatchrist, exactly how underground extreme music is supposed to be.

Best moments of the album: Worlds, Pythagorean Solids and Numbers.

Worst moments of the album: Harmony of the Spheres.

Released in 2019 Independent

Track listing
1. The Initiation of Pythagoras by Thoth Hermes Tresmegistus 1:12
2. Worlds 8:44
3. The Tetractys 4:00
4. Pythagorean Solids 4:19
5. Introduction to Numbers 1:01
6. Numbers 5:45
7. Harmony of the Spheres 4:14
8. Metempsychosis 8:28
9. The Death of Pythagoras / Bad Guy (Billie Eilish cover) (Hidden track) 10:50

Band members
J. Guilherme – vocals, all instruments

Guest musicians
V. Calin – lead guitar on “Worlds”, vocals (chorus) on “The Death of Pythagoras”
D. Tann – vocals on “Worlds”

Album Review – Hyperomm / Transcendence (2019)

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Dealing with otherworldly, cultural ideas, thoughts and systematic overviews of postmortem life, the sophomore album by this one-man Russian army will teach you a lesson in Melodic Death Metal.

Founded in 2016 in Moscow, Russia by multi-instrumentalist, sound producer and designer Anton Trubin, Melodic Death Metal one-man project Hyperomm has just unleashed upon humanity his sophomore full-length album entitled Transcendence, a follow-up to his 2017 full-length opus From Nothing to Eternity and his 2016 debut EP …Death, once again highly influenced by iconic names of the scene such as Children Of Bodom, Kalmah, Omnium Gatherum and In Flames, but bringing to our avid ears Anton’s own fresh and more technical twist. Featuring a dark cover art created by Anton himself, and with lyrics written by Demether Grail (from bands like Arcanorum Astrum, Grailight, Skylord and Zmey Gorynich), Transcendence is about otherworldly, cultural ideas, thoughts and systematic overviews of postmortem life, thematically devoted to various forms of life after death and dealing with the eternal existence of the soul.

“Transcendence was recorded in my home studio. The process itself was different from traditional bands because I use MIDI drums. The sound of drums is the foundation of a good metal mix, so sampling drums is one of the most important parts of my work on the overall sound. I start by recording one track and mixing it at once. First I get a sound that suits me, after that, when I compose and record songs, I hear almost the final result at the same time. It helps me with the arrangements,” commented Trubin on his creative process, also adding a few comments about the overall sound of the album.  “I tried to achieve a more aggressive sound than on the first album. The sound of drums is leaning more towards a modern metal sound, but there is still a lot of classic melodic death metal in the guitars and melodies. Many use the drop tuning, but I’m playing in standard tuning. I’m trying to do the hard sound without using any low tuned guitars, but by composing good riffs.”

Portal is in fact an intro that’s not just an intro, but a short and sweet display of modern and melodic metal music by Anton presenting his piercing shredding and roars, setting the stage for Weighing of the Heart, where Anton definitely feels like a full-bodied band right from the start, with his scorching riffs and damned beats living up to the legacy of bands like In Flames and Soilwork, not to mention the whimsical keys in the background bringing more balance to the music. And an epic and symphonic intro explodes into sheer speed, rage and progressiveness in Metempsychosis, an amazing display of Anton’s dexterity as a multi-instrumentalist showcasing poetic lyrics darkly vociferated by our one-man army (“On dying the soul flies off / Into the original world / Into the aerial trough / And then reborn on the mold”).

Sounding closer to what In Flames are doing nowadays, but of course with Anton’s own personal touch, Patala is another feast of classic riffs and pounding beats perfect for breaking your neck headbanging, followed by the excellent Eternal Feast, where it’s interesting to witness how the keys make the whole song sound and feel very futuristic and experimental, while the other instruments bring forward traditional metal elements, resulting in what’s perhaps Anton’s closest creation to classic Progressive Metal. In Charnel Wraith, a shredding extravaganza supported by old school drums and ethereal keys, we face more of Anton’s wicked lyrics (“Without goodness your black life was dwelled / You die in torment, eaten by demons / And thrown into the grave without farewell / Tormented self-gnawing genie”), whereas Illusory State is very vibrant and groovy from start to finish thanks to the amazing job done by Anton on bass and drums, exhaling melody and intricacy and exploding into a sonic havoc at times, all spiced up by a beautiful keys solo by guest Sergey Shulzhenko (from Sunless Rise).

In Vortex of Hell, Anton shreds his stringed axe in great fashion while at the same time hammering his drums mercilessly in a fusion of old school and modern-day Melodic Death Metal that will certainly please all fans of the genre; then after the wicked instrumental bridge Transcendence, Anton returns for one final blast of his hybrid of modernity and rage in The Story, once again presenting a solid balance between heavy riffs and stylish keys, with the music flowing as smoothly and detailed as possible until the very end. In addition, some versions of the album will contain two sick bonus tracks, the first being Living in a Cage, offering the listener over five minutes of Hyperomm’s trademark sound, while in 3000 we’re treated to a pop song by Ukrainian singer and DJ Ivan Dorn, from the 2014 album Randorn (check out the original one HERE), turned into ass-kicking metal music.

It’s truly impressive how only one musician was capable of crafting a multi-layered and thrilling album like Transcendence, which is available for a full listen on YouTube and on Spotify, and on sale from the project’s own BandCamp page or from several other locations by clicking HERE, all by himself, and such humongous amount of hard work, focus, talent and tenacity must be praised by all of us metalheads by following Anton and his Hyperomm on Facebook and on VKontakte. Having already released two outstanding albums and one EP, there’s nothing but a brilliant path ahead of Anton armed with his multiple instruments, positioning him not only as an example of what DIY is really all about, but also as a role model for any musician from the underground metal scene, with Transcendence being the perfect depiction of how powerful the music by lone rangers like Anton can sound.

Best moments of the album: Metempsychosis, Eternal Feast and Vortex of Hell.

Worst moments of the album: The Story.

Released in 2019 Independent

Track listing
1. Portal 1:53
2. Weighing of the Heart 4:30
3. Metempsychosis 3:20
4. Patala 3:53
5. Eternal Feast 4:04
6. Charnel Wraith 3:49
7. Illusory State 5:01
8. Vortex of Hell 5:19
9. Transcendence 1:30
10. The Story 4:15

Bonus tracks
11. Living in a Cage 5:11
12. 3000 (Ivan Dorn cover) 2:56

Band members
Anton Trubin – vocals, guitars, sampling, drums

Guest musician
Sergey Shulzhenko – keys solo on “Illusory State”

Album Review – Anmasker / How Much Is Your Mask? (2019)

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Take off your “Good Samaritan” mask and slam into the circle pit to this high-octane album of old school Thrash Metal made in Ukraine.

Are you ready for some traditional old school Thrash Metal made in Zaporizhia, a city on the Dnieper River in southeastern Ukraine? That’s exactly what an unrelenting trio that goes by the name of Anmasker has to offer our avid ears in their debut full-length opus entitled How Much Is Your Mask?. Comprised of Andrii Kachanov on lead vocals and bass, Serhii Bielikov on the guitar and backing vocals, and Olexandr Hubko on drums and backing vocals, Anmasker were officially formed in 2016 from the ashes of a previous version of the band named Unmasker, which existed from 2012 to 2016, aiming at shaking the moldy looks of the local scene with their high-octane thrashing creations. Recorded at TA Production Recording Studio in Zaporizhia, Ukraine, mixed and mastered by Anton Vorozhtsov, and featuring a beyond classic cover illustration by Indonesian illustrator Shynd Danendrea (Syndromea Illustration), led by the band’s consistent mascot Facemasker, How Much Is Your Mask? is a very cohesive onrush of Thrash Metal, proving those Ukrainian guys were right when they said their main goal is to make some noise in the existing metal scene in their homeland and anywhere where our good old thrash is properly appreciated.

Snap your finger, crack your neck, and get ready to slam together with the boys in World On Skulls Holding, featuring an interesting sample from the Sportpalast speech or total war speech, a speech delivered by German Propaganda Minister Joseph Goebbels at the Berlin Sportpalast to a large, carefully selected audience on 18 February 1943 calling for a total war. Musically speaking, it is pure old school thrash for the masses where Andrii sounds utterly demented no vocals, while Olexandr showcases all his technique and rage on drums. Then the rumbling bass by Andrii and the slashing riffs by Serhii are the main ingredients in the also frantic Look Under Your Feet!, a truly arcane tune reminding me of some of the oldest and most insane creations by Exodus and Toxic Holocaust, whereas in Be Silent And Listen a classic riff-praising intro evolves into a dark and ravenous extravaganza presenting in-your-face lyrics roared by Andrii (“Has / Anyone asked what you need? / Has / Anyone asked what you feel? / We all / Consist of self-love and greed! / We are all / Just waiting for another good deal!”).

The trio jams in ominous fashion before they speed things up and add sheer madness and heaviness to their musicality in Trench Mud, another fun and electrifying display of Bay Area Thrash perfect for headbanging like a maniac with Serhii kicking ass with his riffs and solos, featuring sounds of war taken from the 1969 Soviet war movie On the way to Berlin (original title Na puti v Berlin). After such fantastic display of old school thrash it’s time to put the pedal to the metal and go mental with Anmasker in Effort To Get Out, with Serhii and Oleksandr not only smashing their instruments furiously, but their backing vocals are also amazing. In other words, this is the purest form of Thrash Metal you can think of, followed by Patients Behind, presenting more contemporary guitar lines while Andrii’s berserk vocals are effectively supported by Oleksandr’s rhythmic beats, all spiced up by sick guitar solos and endless electricity.

As the first song from the last batch of thrashing hymns we have the title-track How Much Is Your Mask?, highly recommended for slamming into the pit like a headbanging bastard to the lyrics vociferated by Andrii (“World history is just a change of masks / Be it the twenty-first AD or BC / He who can put on a mask, he survives / Who can’t like this – he quickly dies!”), while his bandmates keep playing at the speed of light. And as the last breath of insanity Anmasker offer us all That’s Enough!, a madhouse of Thrash Metal from start to finish with Andrii and Serhii sounding brutal with their strings, also bringing to our ears unstoppable beats and wicked guitar solos, ending the album in a groovy and exciting way.

The guys from Anmasker are waiting for your comments about their music on Facebook and on VKontakte, also asking you to subscribe to their YouTube channel for more of their razor-edged music and, above all, to put your hands on their debut album by purchasing it from their own BandCamp page, from the Alone Records’ webstore, or from Discogs. Put differently, take off your “Good Samaritan” mask and let’s all hail the pure and classic Thrash Metal played by Anmasker, with no shenanigans, no artificial elements nor any other type of add-ons or modernisms, and if you don’t like such thrilling form of heavy music, well, I feel really sorry for you.

Best moments of the album: World On Skulls Holding, Trench Mud and How Much Is Your Mask?

Worst moments of the album: None.

Released in 2019 Alone Records

Track listing
1. World On Skulls Holding 3:56
2. Look Under Your Feet! 4:35
3. Be Silent And Listen 4:44
4. Trench Mud 5:54
5. Effort To Get Out 4:43
6. Patients Behind 5:24
7. How Much Is Your Mask? 5:33
8. That’s Enough! 3:44

Band members
Andrii Kachanov – lead vocals, bass
Serhii Bielikov – guitar, backing vocals
Olexandr Hubko – drums, backing vocals

Album Review – Mindead / Mindead (2019)

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Playing a gritty kind of Melodic Groove Metal, this German squad is ready to put Stuttgart on the world map of modern metal music with their brand new album.

Hailing from the beautiful city of Stuttgart, capital of southwest Germany’s Baden-Württemberg state, Thrash/Groove Metal five-piece act Mindead plays a gritty kind of modern metal music with lots of passion and a unique flavor, having quickly established themselves in the local scene surrounding Ludwigsburg and Stuttgart since their inception in 2001. After the release of their debut EP Still Empty in 2004, followed by their first full-length album Abandon All Hope in 2008 (re-released in 2016, by the way) and more recently their sophomore opus Controlling The Tides in 2015, it’s time for Mindead to strike once again with their third installment, self-titled Mindead, a solid statement showing the band has become aware of their own self and that they are proud of what they currently stand for.

And the band comprised of frontman Timo Fielker, guitarists Pablo Mateo and Chris Lohrmann, bassist Benedikt Wagner and drummer Benjamin Hölle had a strong and clear idea of what they wanted to do in their new album, translating that into nine solid and vibrant compositions where the quintet never repeats themselves. “Let’s do something different, deeper, more intense, heavier. We’ll still sound like us, no matter what others may say,” commented Mindead about what the listener can expect to find in the album, an amalgamation of heavy and melodic styles highly recommended for fans of bands like Slipknot, Lamb Of God, Killswitch Engage, Tool, Machine Head and Deftones, just to name a few.

An atmospheric intro is gradually “invaded” by the classic beats by Benjamin and the crushing riffs by Pablo and Chris in The Edge, evolving into a modern-day Melodic Groove Metal feast and sounding neck-breaking and very harmonious from start to finish; whereas Killing The Flame is as groovy as it can be thanks to the rumbling bass by Benedikt, while frontman Timo alternates between deranged screams and darker, more serene vocals, also bringing elements from more contemporary styles like Metalcore and Deathcore. The band’s electrifying party goes on in One Last Time, presenting a similar sound as the current American metal scene and feeling a lot more introspective and melodic than its predecessors. Moreover, pay attention to the amazing job done by Benedikt with his metallic bass lines, adding more stamina to the overall result.

And the dark clouds from the previous song keep blocking any sunlight in At The Borderline while the band blasts minimalist sounds and a female voice sends an obscure message, before Timo begins roaring with a lot of anguish and rage. In the even more modern and melodic Every Second, Timo sounds absolutely enraged on vocals while the rest of the band keeps the ambience grim and pensive with their razor-edged riffs and rhythmic beats, generating a catchy musicality full of interesting breaks and variations. Then drinking from the same ravenous fountain as Lamb Of God the quintet fires the excellent The Narcissist King, an ass-kicking Groove Metal tune with Timo stealing the spotlight with his growls while Pablo and Chris continue to slash our ears with their riffage.

All That’s Left is a touching and gripping ballad by Mindead where Benjamin adds some punch to the acoustic guitars with his precise beats, while Timo delivers his most passionate vocal performance of the whole album, and distorted lines permeate the air in To Fight A Demon, igniting the most Slipknot-inspired song of the album and presenting classic and heavy-as-hell riffs by the band’s dynamic guitar duo, which provide Timo all he needs to thrive with his Black Metal-ish vocals. Lastly, closing the alum we have the obscure and groovy Tired, where Pablo, Chris and Benedikt sound at the same time aggressive and gentle with their stringed weapons. In my humble opinion, the only issues with this song is that it goes on for a little too long, albeit still dense and entertaining. Moreover, in most versions of the album you’ll also be treated to an acoustic version of All That’s Left, a beautiful rendition of what’s already a damn good song, enhancing the reach and all  other details of Timo’s vocals considerably.

In summary, the talented Mindead are more than ready to put their hometown Stuttgart and the entire Germany on the map of modern metal music with their new album, breaking free from the confines of local stardom by effectively blending classic and modern-day elements in their inspiring creations and pointing to a bright future ahead of them. Hence, don’t forget to follow the band on Facebook, to subscribe to their YouTube channel, to listen to more of their music on Spotify and, of course, to purchase their self-titled opus from your favorite location by clicking HERE. In case modern and very melodic Groove Metal is your cup of tea, simply give Mindead a chance and you won’t regret at all; quite the contrary, I bet you’ll end up at a concert venue in Stuttgart having a beer and raising your horns to such up-and-coming Teutonic squad.

Best moments of the album: The Edge, The Narcissist King and All That’s Left.

Worst moments of the album: Tired.

Released in 2019 Metalapolis Records

Track listing
1. The Edge 4:30
2. Killing The Flame 3:48
3. One Last Time 5:25
4. At The Borderline 4:37
5. Every Second 3:53
6. The Narcissist King 3:44
7. All That’s Left 3:13
8. To Fight A Demon 5:26
9. Tired 6:07
10. All That’s Left (Acoustic) (Hidden track) 3:06

Band members
Timo Fielker – vocals
Pablo Mateo – guitar
Chris Lohrmann – guitar
Benedikt Wagner – bass
Benjamin Hölle – drums

Album Review – R.U.S.T.X / Center Of The Universe (2019)

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Deeply rooted into 70’s and 80’s rock and metal music, three brothers and one sister from Cyprus are unleashing upon us their sensational third full-length album.

Formed in Agioi Trimithias, a village located in the Nicosia District of Cyprus, in the year of 2003 under the name Flames In Ice, and known as R.U.S.T. from 2004 until 2014, Heavy Metal/Hard Rock four-piece act R.U.S.T.X is ready to take the world of rock and metal by storm once again with their third full-length album entitled Center Of The Universe, bringing to our avid ears truly from-the-heart and no bullshit melodic Heavy Metal with classic rocking passages highly inspired by renowned bands like Judas Priest, Iron Maiden, Warlord, Savatage, Stormwitch and Riot, their absolute passion as one can easily determine with just one listen. Comprised of three brothers and one sister, those being Peter Pan Xanthou on the guitars, George Xanthou on bass, Katerina Xanthou on keyboards and John Xanthou on drums, all four members share the vocal duties in the album, giving it an even more unique taste.

Enthusiastic and passionate about everything they do, their brand new opus will unquestionably convince old school lovers that they do mean serious business, with their outstanding positive energy and originality being accurately reflected by each of the album’s ten magnificent songs deeply rooted into 70’s and 80’s Rock N’ Roll and Heavy Metal. Featuring guest appearances by Paolo Nipa (Dark Quarterer) and Andrea Ramacciotti (Deadly Tide), recorded and mixed at Woodstock Recording Studio in Piombino, Italy by Andrea Ramacciotti, and displaying a magical artwork created by the amazing Chris Achilleos, known for his unique interpretation of stunning amazons, epic dragons and paintings inspired by ancient civilizations and mythology, Center Of The Universe will put you in a trance from start to finish, showing how powerful and gripping the music by R.U.S.T.X can be. “With this album we really pushed ourselves to the limit and the result is like something out of this planet. A comeback to the 70’s and 80’s era of Rock and Metal music that we so much adore,” commented the band, giving you a very good idea of the insane rock n’ roll party that’s about to begin as soon as you hit play.

Uniting the classic rock by AC/DC with the progressiveness of Rush, the Xanthou Brothers and Sister embellish the airwaves with the opening track Defendre Le Rock, showcasing a healthy and beautiful balance between the heavy riffs and piercing solos by Peter and the whimsical keys by Katerina, whereas in Running Man the quartet speeds things up and delivers sheer adrenaline in the form of music, with John taking the lead with his frantic drums while Katerina continues to blast her Deep Purple and Axel Rudi Pell-inspired keys, resulting in a true Cypriot Metal hymn. And in Black Heart the band takes us all to a journey back to the 70’s, blasting high-end Progressive Rock with George shaking the foundations of the earth with his bass. Not only that, it’s definitely very interesting how their vocal lines are always more enraged than the usual Progressive Rock and Metal acts throughout the entire song.

Then an eccentric intro grows in intensity until pure Rock N’ Roll hits us in the head in I Stand To Live, spearheaded by Katerina’s powerful vocals, and again it’s amazing how they can offer so many vocal styles in one album, not to mention their superb job on the guitars and bass (especially the flammable solos by Peter Pan); followed by Endless Skies, an upbeat composition by the band displaying classic Hard Rock infused with 80’s and 90’s elements, as well as numerous breaks and variations, presenting an amazing job done by both George and John with their rumbling instruments. And the sounds of nature and gentle voices ignite the title-track Center Of The Universe, feeling like the overture of a sonic ritual and sounding absolutely unique and experimental. Get ready for over ten minutes of complex guitar lines and classy keys, enfolding vocalizations and all of the band’s other magical sounds and tones until the song’s grand finale, turning it into a must-listen for admirers of the genre.

The electric guitars by Peter Pan dictate the rhythm in the dancing rock tune Widow’s Cry, sounding like a Hybrid between the early days of Nightwish with Doro where Katerina once again steals the spotlight with her gorgeous vocal lines, while Peter Pan’s slashing riffs and solos and George’s Iron Maiden-inspired bass lines are the icing on the cake. In Wake Up, an excellent Progressive Rock extravaganza, they sound like a younger and European version of Rush, bringing forward a fantastic work done by John with his intricate beats, and keys and riffs in total sync that will certainly warm up the listener’s heart and soul. And last but not least, the CD version of the album contains two awesome bonus tracks, starting with the headbanging rock tune Dirty Road, where the entire band breathes fire from their tuneful instruments, and Band On The Run, a sensational cover version of the song by Paul McCartney & Wings released in 1973 (check the original one HERE), where R.U.S.T.X give the song a more progressive and psychedelic vibe.

You can find Center Of The Universe available for a full and detailed listen on Spotify, but of course in order to show your utmost support to this talented family I recommend you purchase your desired version of the album from the band’s own webstore, from the Pitch Black Records’ BandCamp or webstore, and from several other locations such as Saturn.de, Apple Music, Amazon and Discogs. Also, why don’t you give them a shout on their Facebook page and also subscribe to their YouTube channel? Those are excellent ways to keep in touch with what’s certainly one of the best and most exciting bands hailing from Cyprus, and without any doubt the most united and passionate family from the underground Rock N’ Roll scene.

Best moments of the album: Running Man, I Stand To Live, Widow’s Cry and Band On The Run.

Worst moments of the album: Black Heart.

Released in 2019 Pitch Black Records

Track listing
1. Defendre Le Rock 4:51
2. Running Man 3:25
3. Black Heart 4:29
4. I Stand To Live 5:26
5. Endless Skies 4:32
6. Center Of The Universe 9:09
7. Widow’s Cry 5:38
8. Wake Up 4:45

CD bonus tracks
9. Dirty Road 4:17
10. Band On The Run (Paul McCartney & Wings cover) 5:18

Band members
Peter Pan Xanthou – guitars, vocals
George Xanthou – bass, vocals
Katerina Xanthou – keyboards, vocals
John Xanthou – drums, vocals

Guest musicians
Paolo “Nipa” Ninci – drums, percussion
Andrea Ramacciotti – guitars