Showcasing a multitude of influences and musical variations, this Hard Rock three-piece unity from Wales is ready to rock with their brand new EP.
Remember (that you have) to die. This is the meaning of the famous phrase Memento Mori, the title of the brand new EP by Welsh Hard Rock three-piece act Eulogy and the follow-up to their wildly popular EP Back To Life, released in 2017. Performing original music with a dark lyrical twist, Eulogy were formed back in 2017 in Cardiff, Wales by lead singer and bassist Neil Thomas, guitarist Mike Williams and drummer Darran Goodwin, aiming at showcasing a multitude of influences and musical variations, with the four track from their brand new EP being written and refined over a period of five months before being recorded, mixed and mastered at Coda Recordings by Neil Garland. “We wanted to create something heavier and darker while maintaining our melodic sound,” stated Neil Thomas about Memento Mori, featuring the band’s most dynamic writing to date throughout its 18 minutes of classic Hard Rock.
And the band kicks things of with Cross To Bare, a song about losing someone close and dealing with loss, presenting a flammable fusion of the music by classic hard rockers like Motley Crüe with the heaviness of Judas Priest and the Rock N’ Roll by Volbeat. Moreover, Darran dictates the pace with his spot-on beats while Neil fires rage and electricity through his vocals and bass, sounding and feeling like a rockin’ hit from the 80’s, whereas You’ll Die Alone, a song that focuses on the consequences of treating someone badly, is a mid-tempo Hard Rock feast of slashing riffs and tons of melody flowing from Mike’s guitar, while Neil and Darran keep the atmosphere dense and sinister with their respective weapons. Then its time to get faster, heavier and more aggressive in Corvid, dealing with the moment before death when your soul is taken. Led by Mike’s razor-edged riffs and Darran’s trademark beats, this is an awesome option to bang your head nonstop or dance with yourself (especially now while quarantined in your place during the coronavirus pandemic). And closing the EP the power trio fills every single space in the air with their melodious and classic rock music in Blood Red Skies, a song of hope presenting the trademark riffs and soulful solos by Mike while Neil passionately declaims its inspiring lyrics.
In summary, Memento Mori, available for a full listen on Spotify, not only points to a bright future for those Welsh hard rockers, but it also positions Wales as a very interesting source of old school Hard Rock for admirers of the genre. Hence, don’t forget to show your support to Neil, Mike and Darran by following them on Facebook and on Instagram, by subscribing to their YouTube channel, and above all that, by purchasing your copy of Memento Mori from their official BandCamp page, from CD Baby or from Google Play, helping Eulogy to proudly carry the flag of British Hard Rock wherever they go.
Best moments of the album: Corvid.
Worst moments of the album: None.
Released in 2020 One Eyed Toad Records
Track listing 1. Cross To Bare 3:44
2. You’ll Die Alone 4:18
3. Corvid 5:48
4. Blood Red Skies 4:08
Band members
Neil Thomas – vocals, bass
Mike Williams – guitars
Darran Goodwin – drums
Succumb to the anti-social fusion of Black Metal and Black N’ Roll blasted by this infernal horde from Switzerland.
Formed as a side-project in 2011 in the city of Bern, on the German-speaking side of Switzerland, with the aim to create anti-social Black Metal and Black N’ Roll, the unstoppable and blasphemous unity known as Chotzä (which means “to vomit” in Swiss-German) is ready to take the world of heavy music by storm once again with their third full-length opus, entitled Tüüfuswärk, the follow-up to their previous installments Plump u Primitiv, released in 2014, and Bärner Bläck Metal Terror, released in 2017. Apart from their frantic and aggressive sonority, perhaps one of the main ingredients in the music by Chotzä is the fact that all of their songs are sung in “Bärndütsch”, which is one of many existing Swiss-German dialects, allowing the wicked music crafted by lead singer Szivilzs, guitarists Gruäbähung and Raven Dust, bassist Näbugring, pianist Leopold and drummer Cpt. Cunt to sound even more organic, visceral and austere than what they would ever sound in English, and as a fan of extreme music I must say their dialect blends extremely well with their vicious Black Metal.
Featuring guest vocalist Herr Morbid (also known as Ferdinando Marchisio) of Italian Black Metal band Forgotten Tomb, the opening track Dräck am Schtäckä (Vatikan Version) presents a wicked intro that quickly explodes into berserk, blasphemous extreme music led by the devilish roars by Szivilzs while Raven Dust and Gruäbähung cut our skin deep with their infernal riffage, followed by Schtächzähni, as fast and demonic as its predecessor, with Cpt. Cunt dictating the rhythm with his Punk Rock/Hardcore-infused beats while the guitars bring a welcome Thrash Metal twist to the overall result, not to mention how Näbugring keeps the atmosphere dense with his wicked bass lines. And blending old school Black Metal with the Rock N’ Roll blasted by bands like Motörhead, Misfits and Danzig we have Horrorotika, where the sound of guitars will pierce your mind mercilessly and the backing vocals provide an amazing support to Szivilzs in this ode to blasphemy, sex and horror.
In Sex, Suff & Satan, what starts in a sinister, introspective way morphs into a mid-tempo Symphonic Black Metal aria led by Leopold and his Stygian piano notes, also presenting slashing guitar solos and bringing some welcome elements from Gothic Rock and Doom Metal, whereas our beloved Swiss horde speeds things up and enhance their already insane level of rage in Fiesä, Fulä Fettsack, where Szivilizs barks the song’s cryptic lyrics manically while Cpt. Cunt keeps smashing his drums like a beast, resulting in another sensational fusion of the band’s core Black Metal with the most vicious form of Rock N’ Roll. And leaning towards a more classic version of Black Metal, especially due to Cpt. Cunt’s blast bats and fills, Süüchägott showcases the band’s dynamic guitar duo firing lancinating, hellish riffs for our total delight while Szivilzs continues with his demonic vociferations.
Abfau brings forward an onrush of darkened sounds, infernal screams and endless wrath, or in other words, it’s ruthless Black Metal infused with Doom Metal nuances, with Gruäbähung and Raven Dust once again crafting pulverizing riffs and solos; and Leopold comes ripping with his phantasmagorical keys in Ds Tanzgebei, a fun (and somewhat dancing) Black Metal extravaganza where all band members sound bestial and electrifying form start to finish, keeping the album at a high level of dementia. Then get ready for battle to the sound of Fotzä, smashing our heads with an avalanche of blackened sounds and sulfurous growls, while Cpt. Cunt gives a lesson in Black Metal drumming. And last but not least, we’re treated to the rebellious and dense title-track Tüüfuswärk with its eight minutes of extreme and vile sounds, where the band’s stringed trio keeps hammering their axes with tons of precision and violence, all spearheaded by Szivilzs and his trademark gnarls.
The gates to the underworld are open in Switzerland thanks to the incendiary music blasted by Chotzä in their newborn spawn Tüüfuswärk, and if you want to show your support to such demented Black Metal horde you can follow them on Facebook to know more about their music, their concerts and other nice-to-know details about the band, and purchase your copy of the album from Northern Fog Records (CD), Sturmglanz (vinyl) or Worship Tapes (cassette). It’s truly impressive how those Swiss metallers are capable of blending the most hellish elements form a myriad of styles like Black Metal, Rock N’ Roll and Hardcore without sounding confusing or disorganized; quite the contrary, the music by Chotzä is absolutely furious, cohesive and thrilling, just like what we can see in Tüüfuswärk, showing us all this six-piece horde of darkness will still haunt our soul for years to come with their dark-as-the-night creations.
Best moments of the album: Dräck am Schtäckä (Vatikan Version), Horrorotika and Fiesä, Fulä Fettsack.
Worst moments of the album:Sex, Suff & Satan.
Released in 2020 Northern Fog Records/Sturmglanz/Worship Tapes
Dance like there’s no tomorrow to the sound of eleven mind-blowing Alternative Metal anthems carefully crafted by one of the fastest-rising modern rock bands in the United Kingdom.
If you’re a fan of the radio-friendly but still heavy and incendiary Rock N’ Roll played by renowned heavyweights such as Halestorm, Evanescence and Paramore, you should take a shot at Therapy, the first full-length album by Newcastle Upon Tyne, England-based Rock N’ Roll/Alternative Metal band Tomorrow Is Lost and the follow-up to their highly acclaimed debut EP Shadowman, released in 2018. Produced by Dave Boothroyd (Phil Campbell, Don Broco, The Bastard Sons) at 6db Studios and mastered by Jon Astley (Judas Priest, The Who, The Rolling Stones) at Close To The Edge, Therapy features eleven mind-blowing Alternative Metal anthems carefully crafted by one of the fastest-rising modern rock bands in the United Kingdom, showcasing all the hard work and passion for rock music by frontwoman Cass King, guitarists Joe Mac and Ryan O’Hara, bassist Josh Fodden and drummer Marc Rush and, above all, positioning the band as one of the most promising names in a new era of British metal and rock that will undoubtedly endure the test of time for years to come.
A modern, eerie Intro sets the stage for Cass and the boys to kick some serious ass in Wildchild, a groovy and electrifying tune led by the crushing bass punches by Josh while Cass delivers a blend of delicate, dark vocals and rebellious screams, resulting in a great Rock N’ Roll dancing tune full of headbanging moments and infinite stamina. And more modernized sounds invade our ears in Smile, a song ready to be played on any rock station anywhere in the world with Ryan and Joe blasting sheer adrenaline from their strings, while Marc dictates the pace with his spot-on beats, whereas in White Noise we’re treated to more of their contemporary Rock N’ Roll showcasing metallic bass lines, classic riffs and the always stunning vocals by Cass, also bringing a welcome dosage of pop music to make the final result even more entertaining.
What starts in a gentle manner evolves into a feast of heavy sounds in Self Destruct, spearheaded by Joe and Ryan’s melodic guitar lines and alternating between more serene moments and electronic passages, with its heavier parts exhaling pure Alternative Metal. Then it’s time for Cass to mesmerize us all with her stunning voice in the semi-ballad Black and Blue, where a sexy sonority boosts her vocal reach even more, being perfect for enjoying it together with your significant other; while we face more of the metallic bass jabs by Josh in the incendiary and groovy Hideaway, where they let their alternative side dominate the atmosphere, presenting another beautiful performance by Cass on vocals in a very classy and powerful manner.
In Too Young to Know the quintet brings forth another soulful ballad showcasing an ethereal vibe and the always enfolding vocals by Cass, not to mention it’s a song about the issues we all face in our relationships, which in the end is always a great topic in rock music. Moreover, the band’s guitar duo takes the lead in the song’s second (and heavier) part with their riffs and solos for our total delectation. In Electric the name of the song says it all, or in other words, it’s a feast of slashing riffs and thunderous bass lines spiced up by Marc’s classic beats and another sensational vocal performance by Cass, while Pause Rewind presents elements of the Nu Metal played by Limp Bizkit blended with the alternative sounds by Paramore, with Ryan and Josh doing a great job with their electrified strings once again. And last but not least, closing the album we have one final shot of adrenaline and fun in the form of the title-track Therapy, a song that will definitely please all fans of contemporary rock music, with Marc blasting fierce beats while Cass hypnotizes us all with her piercing voice.
If you also think the motto “I know it’s only Rock N’ Roll, but I like it!” perfectly represents your state of mind, as aforementioned you should undoubtedly give Therapy a chance by listening to the album in full on YouTube and on Spotify, and obviously by adding it to your personal collection by purchasing a copy of the album from the band’s own webstore, or click HERE for all options where you can buy or stream such entertaining opus of rock music. Also, don’t forget to give them a shout on Facebook and on Instagram, showing your support for such promising band of the UK scene in the name of our good old Rock N’ Roll.
Best moments of the album: Wildchild, Hideaway and Electric.
Worst moments of the album:Pause Rewind.
Released in 2020 Eclipse Records
Track listing
1. Intro 1:09
2. Wildchild 2:27
3. Smile 3:25
4. White Noise 2:27
5. Self Destruct 2:56
6. Black and Blue 4:14
7. Hideaway 4:02
8. Too Young to Know 4:22
9. Electric 3:46
10. Pause Rewind 2:58
11. Therapy 3:27
Band members
Cass King – vocals
Joe Mac – guitar
Ryan O’Hara – guitar
Josh Fodden – bass
Marc Rush – drums
The titans of Thrash Metal are back in action with another technical, melodic and absolutely pulverizing album of extreme music.
Since the release of the brilliant The Formation Of Damnation in 2008, every single time American Thrash Metal masters Testament release a new album, you can see a huge smile on the faces of all fans of our beloved Bay Area Thrash, including myself. It was like that with their following albums, those being Dark Roots Of Earth, released in 2012, Brotherhood Of The Snake, released in 2016, and now four years later the same can be said about the bold, multi-layered opus Titans Of Creation, the thirteenth studio album in their undisputed career. Produced by Jamaican musician and producer Juan Urteaga, who had recorded, engineered, mixed and mastered their previous two studio albums, mixed and mastered by Andy Sneap, and featuring a hellish artwork by their longtime friend Eliran Kantor, who coincidentally has taken care of all of their art since The Formation of Damnation, Titans Of Creation will crush you like an insect from start to finish, proving once and for all why frontman Chuck Billy, guitarists Eric Peterson and Alex Skolnick, bassist Steve Di Giorgio and drummer Gene Hoglan are undoubtedly among the best, most demonic and most talented teams in the world of heavy music.
And the entire band comes ripping in the opening track Children of the Next Level, a classic avalanche of Thrash Metal with their trademark insane beats and flammable riffs, not to mention the fun and wicked lyrics vociferated by Chuck (“In trans-human state / It’s time to evacuate / Waiting for a ride to take them to the gate / Await the siren call / More phenobarbital / Pour it down the hatch, ingest it all / Children of the next level / They’re chillin’ with the Devil / Children of the next level / Here they come!”). After such demented start to the album, Gene takes the lead in the high-octane, thrilling tune WWIII, while Alex and Eric show everything they got with their sick riffs and solos. Put differently, this is old school Testament without sounding outdated at all, and needless to say Chuck is once again marvelous with his enraged roars. Then we have Dream Deceiver, more melodic and rhythmic than the previous songs, where Gene’s beats will smash your senses so intricate and precise they are, supported by the always thunderous bass lines by Steve and, therefore, keeping the album at a high level of adrenaline and rage.
The violent Night of the Witch reminds me of the early days of the band, but even more ferocious that that (if that’s something possible), bringing to our ears first-class Thrash Metal in honor of all witches of the world, with the vicious words barked by Chuck (and Eric) being the icing on the cake (“Conjuring in darkness, desecrate their will / The dead of night has taken flight, assassinate them all / Show them the face of terror / Show them the grace of Hell / Black magic of the witch / Shall never break the spell”). Slowing down things a bit but still venomous and heavy-as-hell, Testament offer us all the sinister City of Angels, alternating between more aggressive, thrashing moments and serene, dark passages, despite going on for a little too long; whereas in Ishtar’s Gate the sound of the guitars by both Eric and Alex is insanely heavy and captivating, while Steve keeps pounding his bass cords in great fashion, adding an extra metallic touch to the musicality together with Chuck’s characteristic deep roars. And showing no mercy for our necks the band blasts the excellent Symptoms, inspiring us to headbang like true metalheads. Furthermore, Gene sounds fantastic as usual, it doesn’t matter the song’s speed, and in this case we can enjoy sheer groove and heaviness flowing form his beats.
Titans Of Creation Limited Edition Boxset
Back to a more berserk and frantic sonority, Chuck and his henchmen fire the classic False Prophet, and if you love some brutal headbanging Gene offers you exactly what you need in this awesome chant, also bringing Alex and Eric’s razor-edged riffage beautifully complemented by Steve’s in-your-face bass punches, while incendiary riffs ignite the Thrash Metal party titled The Healers, presenting a mix of heavy beats and demonic growls intertwined with the complex and smashing drums by Gene and the always perfect solos by the band’s ruthless guitar duo. Then a groovy and dark bass intro by Steve quickly morphs into a demolishing hurricane of Thrash Metal by Testament entitled Code of Hammurabi, presenting the most entertaining, violent and melodic side of the band. Put differently, it’s simply impossible not to slam into the circle pit to the sound of this infernal anthem, and they still have a lot of fuel to burn in the breathtaking, pulverizing Curse of Osiris, where the Stygian backing vocals by Eric add a welcome touch of evil to the overall result. Moreover, Gene showcases once again all his dexterity and fury on drums, resulting in a lesson in devastation in the name of Bay Area Thrash full of demented solos and with endless electricity flowing from all instruments, before the cinematic and climatic outro Catacombs put an end to another bestial spawn of metal music by Testament.
You can purchase your desired version of Titans Of Creation from several different locations, such as the ass-kicking boxset (limited to 1,500 copies worldwide) from the Nuclear Blast webstore, including a 24-page booklet with exclusive band photos and liner notes, a 3D lenticular, a CD and an Earth Element Edition Vinyl, or save it on your favorite streaming service by clicking HERE. As already mentioned, Testament showed us all everything they got once again with Titans Of Creation, keeping the flames of old school Thrash Metal burning bright and, consequently, positioning them as one of the top bands of the genre hands down. In other words, if you thought Thrash Metal was dead and gone after Slayer’s retirement, here come Testament to prove you wrong and to decimate you as the merciless titans of Thrash Metal that they have always been.
Best moments of the album: WWIII, Night of the Witch, Code of Hammurabi and Curse of Osiris.
Worst moments of the album:City of Angels.
Released in 2020 Nuclear Blast
Track listing
1. Children of the Next Level 6:13
2. WWIII 4:48
3. Dream Deceiver 4:58
4. Night of the Witch 6:32
5. City of Angels 6:43
6. Ishtar’s Gate 5:09
7. Symptoms 4:37
8. False Prophet 4:54
9. The Healers 4:23
10. Code of Hammurabi 4:52
11. Curse of Osiris 3:24
12. Catacombs 2:01
Band members
Chuck Billy – vocals
Eric Peterson – guitar
Alex Skolnick – guitar
Steve Di Giorgio – bass
Gene Hoglan – drums
Enter the phantasmagoric realms of Death Metal ruled by four skillful and ruthless musicians from the underground Norwegian scene.
Forged in 2014 in the fires of Oslo, the capital of the always alluring country of Norway, when guitarist Audun Melbye brought in some songs from his former band Pieces, the up-and-coming Death Metal squad known as Coldflesh started recording their first studio album back in 2016 (when they settled on the band name, by the way), but after several vocalists and inadequate conditions to record it (resulting in tracks that were not showing the band’s full potential), the album was reduced to a four-track EP entitled Phantasmagoric Realms and postponed to a March 2020 release. However, the band now comprised of vocalist and guitarist Robin Berg Pettersen, guitarist Audun Melbye, bassist Magnus Slettebø and drummer Laszlo Juhos nailed it in their debut endeavor, delivering a high-end fusion of old school Death Metal with more contemporary Extreme Metal sounds and, therefore, pointing to a bright future for this Norwegian horde.
The opening track Deficiency already begins in full force, with Robin and Audun’s heavy riffage together with Laszlo’s pounding beats generating a reverberating atmosphere, blending classic Death Metal with the Melodic Death Metal from the Gothenburg scene, not to mention Robin’s demonic, deep growling. Then we have the title-track Phantasmagoric Realms, a solid tune full of classic beats, soulful guitar solos and endless rage that keeps inviting us all to slam into the mosh pit, with Robin and Audun, supported by the massive bass punches by Magnus, slashing our ears mercilessly; followed by Aeons Absorbed, another crushing Death Metal extravaganza led by Laszlo’s rhythmic drums and Robin’s wicked roars, sounding perfect for banging your head nonstop and reminding me of some of the creations by the mighty Unleashed (but with a darker twist). And the final act by Coldflesh comes in the form of Eradicate The Futile, a mid-tempo, hammering tune where the bass by Magnus sounds infernally heavy, with Laszlo bringing forth a warlike ambience perfect for the band’s guitar duo to kick ass with their shredding, effectively ending such short but very entertaining album of extreme music.
In summary, although Coldflesh were forced to shorten their debut installment due to unforeseen reasons, those Norwegian metallers managed to do a really good job in Phantasmagoric Realms, showcasing all their talent, dedication and passion for Death Metal in the 18 minutes of music found in the EP. Hence, go check what this new name from the underground Norwegian scene is up to on Facebook, and of course go show your true support to independent metal by purchasing your copy of Phantasmagoric Realms from the band’s own BandCamp page. As aforementioned, Coldflesh have a promising future ahead of them based on this short and sweet sample of how crushing their Death Metal can be, and it’s only a matter of time until we hear form those guys again, hopefully with an absolutely demolishing full-length spawn.
A ruthless attack of pure Thrash Metal in its most intense and aggressive form by one of the most talented an fun squads of the Spanish underground scene.
Madrid, Spain-based Thrash Metal platoon Holycide is back with their sophomore album Fist to Face, the follow-up to their awesome 2017 debut opus Annihilate… Then Ask!, and an album that’s likely to become one of the best Thrash Metal albums of 2020. Showcasing a ruthless attack of pure Thrash Metal in its most intense and aggressive form while at the same time being technical and catchy as hell, the excellent Fist to Face, which was recorded at Cadillac Blood Studios in Spain and features a classic, in-your-face artwork designed by Brazilian artist Alberto Quirantes (Akirant Illustration), who has already worked with bands like Blaze Bayley, Hyperion and most of the current art for Iron Maiden’s Legacy of the Beast theme, proves once again that the band comprised of Dave Rotten on vocals, Miguel Bárez and Salva Esteban on the guitars, Dani Fernández on bass and Jorge Utrera on drums is on the right path to stardom, crushing everything and everyone who dares to go against their thrashing way of life.
Intrump might be one of the funniest intros I’ve ever seen in my life, as mocking such “unique” character like Donald Trump is obviously something most metal bands enjoy a lot, setting the tone for Dave and his horde to hit us hard in the title-track Fist to Face, with both Miguel and Salva being demolishing with their riffs and solos while Jorge doesn’t stop hammering his drums like a maniac. After such rebellious start, we have the also great Empty Cyber Life, presenting meaningful and austere lyrics growled by Dave (“You think you’ve got lots of friends on your profile / You think you’ve got a truly successful life / You think you’ve got a great power of influence / You think you’ve got an interesting life to share / Come on, wake up! / You’ve got nothing at all / Everything around you / It’s false”) while the music remains fast, furious and raw as good Thrash Metal always demands.
Dani’s thunderous bass punches and Jorge’s classic beats dictate the rhythm in Vultures, a headbanging tune perfect for enjoying a beer or slamming into the pit where Dave’s raspy, devilish gnarls are effectively supported by the song’s entertaining backing vocals, and they keep blasting pure Thrash Metal to our ears in Nuclear Fallout, a high-octane creation where Dave is once again bestial on vocals while the band’s guitar duo deliver sheer adrenaline through their incendiary strings. In the acid Trapped by the Crappy Trap you’ll notice how much the guys from Holycide hate all that nasty, fake and boring trap music stuff, with Dave beautifully vociferating the song’s funny words, whereas Mentality Packs is another good thrashing song, albeit not as powerful as the rest of the album, but of course bringing the band’s trademark circle pit-generator vibe and Dave’s infernal growls and roars.
Then Holycide bring forth a vicious cover version for The Aftermath, released in 1988 by a defunct American Thrash Metal band from Los Angeles named Recipients of Death (check the original version HERE), and let me tell you that Holycide’s version sounds just as devastating and evil, bringing elements from the demented sound crafted by Slayer and Exodus in their early years. Miguel, Salva and Dani generate an unrelenting hurricane of Thrash Metal with their stringed weapons in Napalm Sweet Napalm, a brutal tune that couldn’t have sounded faster and more electrifying than this, providing Dave all he needs to shine with his enraged Thrash and Death Metal-inspired screams; followed by Innocent Hate, where the band keeps the pedal to the metal in their thrashing machine showcasing spot-on backing vocals, rumbling bass lines and endless violence flowing from their riffs and beats. Lastly, there’s no better way to end the album than with more pulverizing sounds in the form of Fake Libertarian, where Jorge is vicious and very melodic at the same time on drums while Miguel and Salva bring a touch of insanity to the music with their sick guitar solos.
If you want to thrash like there’s no tomorrow together with the guys from Holycide, you can simply follow them on Facebook and on Instagram, and obviously purchase your copy of Fist to Face (available for a full listen on YouTube and on Spotify, by the way) from their own BandCamp page, from Xtreem Music’s BandCamp page or webstore in CD and other formats and bundles, from Apple Music, from Amazon or from Discogs. There’s no excuse to not put your hands on such high-octane, insurgent and well-crafted album of Thrash Metal, and just in case you don’t support Holycide I guess you know you’ll get nothing more, nothing less than a huge fist directly to your face.
Best moments of the album: Fist to Face, Vultures, Napalm Sweet Napalm and Innocent Hate.
Worst moments of the album:Mentality Packs.
Released in 2020 Xtreem Music
Track listing 1. Intrump 1:32
2. Fist to Face 3:26
3. Empty Cyber Life 4:32
4. Vultures 3:53
5. Nuclear Fallout 3:24
6. Trapped by the Crappy Trap 4:00
7. Mentality Packs 3:58
8. The Aftermath (Recipients of Death cover) 3:33
9. Napalm Sweet Napalm 4:56
10. Innocent Hate 3:18
11. Fake Libertarian 3:49
Band members
Dave Rotten – vocals
Miguel Bárez – guitar
Salva Esteban – guitar
Dani Fernández – bass
Jorge Utrera – drums
Join the stunning Aura Dănciulescu and her henchmen in their quest for heavy music with the breathtaking second volume of their conceptual “The Book Of Scarlet” trilogy.
My fellow metalheads, it’s time to visit the charming and vibrant Romania, more specifically the country’s capital Bucharest, to have an absolute blast with Stormbreaker, the breathtaking fourth studio album by a Heavy and Power Metal unity that has been making a name for themselves since their inception in 2014 under the name Aura, but currently known by the stylish moniker of Scarlet Aura, marking the official release of the second fantasy book volume from the conceptual “The Book Of Scarlet” trilogy after their 2018 installment Hot’n’Heavy, and showing the entire world who they are through the album’s musical and lyrical parts. And let me tell you that Stormbreaker is even more powerful than its predecessor, putting the band comprised of the stunning frontwoman Aura Dănciulescu, guitarist Mihai Dănciulescu, bassist Rene Nistor and drummer Doru Florin Gheorghita in the spotlight of not only the Romanian metal scene, but anywhere else in the world where people live and breath our beloved Heavy Metal.
“As an artist I’m not afraid to dig into the unknown by approaching sensible subjects in our songs, subjects like the difficulty of being honest with others but also with yourself regarding your own feelings, the need of overcoming a huge sufferance that troubles you, the lack of courage when it’s about doing the right thing, the lack of love or the crying for it… Subjects that make ourselves human, subjects that are in each one of us and that make us who we are and maybe throughout our music, we get recovered, healed or better, we discover ourselves for who we really are because with any doubt music heals the spirit, metal heals the heart,” commented the band’s front lady Aura about their brand new opus, with Mihai adding that “Stormbreaker continues the heavy metal statement we started with Hail To You and although “The Book Of Scarlet” trilogy takes these albums into a fantasy world of discovering Scarlet, I think we’ll all realize after listening that actually Scarlet is in each one of us. Stormbreaker comes rough, it comes straightforward, it comes in your face with the powerful rhythms, edgy guitar riffs, almost psychedelic guitar solos, hard crunchy bass lines, modulations and surprises at every step not giving you the time to get bored but to want more after every song, all of us exceeding even our own expectations.”
The cinematic intro The World Is Not Enough (perhaps inspired by the James bond movie of the same name released in 1999) welcomes the listener to the magic world of Scarlet Aura, setting the stage for the infernally heavy Metal Hell, spearheaded by the soaring vocals by Aura and exhaling epicness and rage from start to finish. Furthermore, Mihai is bestial with his riffage while Rene and Doru keep the atmosphere as dense and thunderous as it can be. And the band keeps the momentum going by firing a high-octane, melodic and absolutely demolishing hymn title Battle Cry, where Mihai and Rene are superb with their stringed weapons, not to mention Aura’s enfolding vocals as usual. Needless to say, this metal anthem will work majestically when played live, which can also be said about the title-track Stormbreaker, where the band presents their more melodic side, leaning towards classic Hard Rock at times and with Rene kicking some serious ass with his rumbling bass while Doru keeps pounding his drums in great fashion.
Loose Cannon has a delicious vibe à la Iron Maiden’s classic “Stranger in a Strange Land” thanks to the thunderous job done by both Rene and Doru, but it’s Aura who steals the spotlight with her potent voice. Put differently, simply bang your head nonstop to the band’s classy and rebellious Heavy Metal. And Mihai ignites the also thrilling and vibrant I Am The One with his razor-edged riffs, again flirting with Hard Rock but keeping the band’s metallic core essence intact, therefore sounding and feeling like it was originally recorded in the 80’s; whereas it’s time to slow things down and enjoy a passionate and flammable performance by Aura in the ballad High In The Sky, showcasing an ethereal and serene ambience while Mihai blasts his precise riffs and solos throughout the entire song. Then incendiary guitar lines take the lead in the upbeat, insurgent anthem The Heretic, where Aura is yet again fantastic with her deep and potent roars, resulting in a lesson in Heavy Metal with a darker twist, all spiced up by Doru’s crushing beats.
Adding hints of Punk Rock and Hardcore to their classic Heavy Metal, the band brings forward the dancing tune Daddy’s Lil Monster, displaying an amazing sync between Rene and Doru in the background while Aura leads her henchmen with her enthralling voice. Back to a more classic sonority the band offers our ears the good (but not as exciting as the rest of the album) A Blast From The Past, presenting a decent job done by all band members despite losing its grip after a while, and closing the album Aura and the boys bring forth their own fast-and-furious metal hymn titled Scarlets United, blending elements from bands like Helloween, Judas Priest and Primal Fear into their already electrifying musicality, with Mihai putting the pedal to the metal with his wicked guitar solos and, consequently, leaving us eager for more of Scarlet Aura’s beautiful metal music as soon as the album is over.
The Book Of Scarlet is open and Scarlet Aura are more than ready to take the world of heavy music by storm with its sensational second chapter Stormbreaker, and if you want to know more about this up-and-coming Romanian squad, listen to more of their music and keep an eye on their tour dates, simply follow them on Facebook, on VKontakte and on Instagram, listen to more of their music on Spotify and, above all that, purchase your copy of Stormbreaker from the band’s official webstore in CD or LP format, as well as from other locations like Apple Music and Amazon. Aura and the boys are united in their quest for metal, ready to head into the battlefield and armed with their newborn spawn Stormbreaker, positioning the band as one of the most promising new names of the scene. Having said that, what are you waiting for to officially become a “Scarlet” in the name of Heavy Metal?
Best moments of the album: Metal Hell, Battle Cry, Loose Cannon and The Heretic.
Worst moments of the album:A Blast From The Past.
Released in 2020 Silver City Records
Track listing
1. The World Is Not Enough 1:56
2. Metal Hell 6:03
3. Battle Cry 4:33
4. Stormbreaker 4:27
5. Loose Cannon 6:06
6. I Am The One 3:55
7. High In The Sky 6:15
8. The Heretic 5:46
9. Daddy’s Lil Monster 4:48
10. A Blast From The Past 5:29
11. Scarlets United 5:09
Band members
Aura Dănciulescu – lead vocals
Mihai Dănciulescu – guitars, backing vocals
Rene Nistor – bass, backing vocals
Doru Florin Gheorghita – drums
A lesson in how to transform pain, agony and grief into beautiful metal music by one of the pioneers of the death and doom style.
It’s impressive when even after 30 years on the road a veteran band like West Yorkshire, UK-based Gothic/Doom Metal masters My Dying Bride, one of the pioneers of the death and doom style alongside Anathema and Paradise Lost, is capable of still delivering top-of-the-line music without sounding repetitive, outdated or tiresome, just like what they have to offer us now in 2020 with their 13th studio album, the majestic The Ghost Of Orion, proving once again why the band currently comprised of Aaron Stainthorpe on vocals, Andrew Craighan and Neil Blanchett on the guitars, Lena Abé on bass, Shaun Macgowan on keyboards and violin and Jeff Singer on drums is and will always be a reference in extreme music. Produced by Mark Mynett (Mynetaur), portraying a stunning artwork by Israeli artist Eliran Kantor (Testament, Tristania, Fleshgod Apocalypse), and featuring very special guest appearances by British cellist Jo Quail and Norwegian singer Lindy Fay Hella (from Folk/Ambient band Wardruna), The Ghost Of Orion not only marks the band’s longest gap between studio albums to date, being released five years after their previous effort Feel the Misery, but it’s also a lecture in how to transform pain, agony and grief into beautiful Doom Metal.
As soon as you hit play, get ready to dive deep into the Stygian waters of doom ruled by Aaron and his horde in the opening track Your Broken Shore, with Jeff dictating the rhythm with his somber, sluggish beats while Aaron is absolutely superb with both his anguished, clean vocals and his demonic roars, resulting in the perfect anthem for savoring endless darkness and solitude, not to mention the delicate and whimsical sounds of the cello by Jo Quail and the violin by Shaun throughout the entire song as the icing on the cake. And that lugubrious vibe goes on in the also captivating To Outlive the Gods, with sheer melancholy flowing from its words (“A fool will believe every single word said / And yes you may speak with only me now on the sunrise / Child of my sore and bleeding body come over here / Sit here and say your words feeding only me till sunrise”) while Andrew, Neil and Lena make our hearts tremble with their crushing riffs and bass punches.
Clearly inspired by Aaron’s arduous experience with his five-year-old daughter, who was diagnosed with cancer a couple years after the release of Feel the Misery, from which she was thankfully declared in remission later, Tired of Tears brings forward gentle and serene sounds that graciously permeate the air while Shaun is absolutely amazing with his violin, with Lena and Jeff keeping the atmosphere dense and mournful with their sonic weapons. Put differently, this is a lesson in Gothic and Doom Metal with nuances of Depressive Black Metal and Blackened Doom, showcasing My Dying Bride’s undisputed ability to turn pure sadness into grandiose metal music. Following such touching tune we have The Solace, where the hypnotizing vocals by Lindy Fay Hella are solely accompanied by the grim guitar lines by Andrew and Neil in a minimalist and enfolding creation by My Dying Bride.
In the brilliant The Long Black Land the energy emanating from the cello by Jo Quail together with the low-tuned, menacing bass by Lena is outstanding, embellishing even more the song’s over ten minutes of obscure passages spearheaded by the clean and aggressive gnarls by Aaron, giving life to its poetic lyrics for our total delight (“On the lap of the world I lay my head / Pick my way carefully through our long past / Hold my hand, young one / Hold my hand / Listen to my voice / Hold my hand / Face your God / Your God”) and ending in a classy and mournful manner. The semi-acoustic, phantasmagorical bridge The Ghost of Orion sets the stage for the also bold and intricate The Old Earth, starting also in a gentle and somber way led by Andrew’s and Neil’s acoustic lines, suddenly exploding into a lecture in devilish and sluggish Doom Metal where Aaron declaims the song’s lyrics with passion and rage, overflowing sheer melancholy before the outro Your Woven Shore brings to the listener an ethereal, sinister atmosphere and sonority, putting a cinematic and therefore fabulous closure to the album.
In summary, as aforementioned, Aaron and his bandmates from My Dying Bride simply nailed it in The Ghost Of Orion, available for purchase from the Nuclear Blast webstore and for streaming on Spotify, filling our ears, minds and hearts with an immeasurable amount of melancholy, sorrow and distress in what’s undoubtedly one of the best metal albums of 2020. Having said that, I highly suggest you go check what the band is up to on Facebook and on Instagram, including their tour dates, as they’ll bring the music found in The Ghost Of Orion to the stages near you without a shadow of a doubt. Hence, after listening to such distinguished album of Gothic and Doom Metal (again and again), I’m sure you’ll understand once and for all why My Dying Bride are so important and relevant to the world of heavy music, getting better and better as the years go by just like that fancy red wine you enjoy savoring all by yourself on a cold and rainy night while listening to their undisputed doom.
Best moments of the album: Your Broken Shore, The Long Black Land and The Old Earth.
Worst moments of the album: None.
Released in 2020 Nuclear Blast
Track listing
1. Your Broken Shore 7:43
2. To Outlive the Gods 7:56
3. Tired of Tears 8:37
4. The Solace 5:52
5. The Long Black Land 10:01
6. The Ghost of Orion 3:31
7. The Old Earth 10:32
8. Your Woven Shore 2:09
Band members
Aaron Stainthorpe – vocals
Andrew Craighan – guitars
Neil Blanchett – guitars
Lena Abé – bass
Shaun Macgowan – keyboards, violin
Jeff Singer – drums
Guest musicians Jo Quail – cello
Lindy Fay Hella – female vocals on “The Solace”
A sickening, slamming and brutal album of Death Metal from the always fertile breeding ground of Texas, courtesy of an up-and-coming band ready to unleash hell upon humanity.
Texas has always been a fertile breeding ground for the most brutal extremes of Death Metal, and Houston’s own Architectural Genocide have been proving themselves a match for all the illustrious, gore-soaked names who have gone before them since their inception in 2017, unleashing hell upon humanity with their debut full-length opus entitled Cordyceptic Anthropomorph, the sound of sheer brute force within a maelstrom of violence and pulverized flesh. Mixed and mastered by renowned Italian drummer Davide “BrutalDave” Billia (Beheaded, Antropofagus, Hour Of Penance), and featuring a brutal and Stygian artwork by American musician and designer Jon Zig (Images of Violence, Deeds of Flesh, Relics of Humanity, Viral Load), Cordyceptic Anthropomorph is highly recommended for fans of the absolute chaos blasted by bands like Disentomb, Gorgasm and Visceral Disgorge, showcasing all the undeniable talented of lead singer Daniel Brockway, guitarist Jonathan Blake, bassist Matt Day and drummer Nat Conner, and of course their deep passion for what people like to call “Brutal Texan Death Metal”.
It’s time to slam into the circle pit like there’s no tomorrow to the sound of the opening track Spires of Mangled Tissue, bringing to our ears brutal devastation from the very first second, with Nat sounding infernal with his blast beats and fills while Daniel barks like a rabid beast, resulting in a freaking heavy extravaganza from start to finish. Then in Hallucinogenic Demise an ominous intro led by Jonathan’s wicked guitar lines and Matt’s low-tuned bass evolves into modern and furious Death Metal with Daniel’s inhuman screeches adding a touch of dementia to the overall result, with Nat once again crushing his drums manically; and they continue their onrush of dark and hellish sounds in Dominate and Proliferate, where Jonathan extracts sheer violence from his stringed axe in great Brutal Slamming Death Metal fashion. And the title-track Cordydeptic Anthropomorph lives up to the legacy of both old school and modern-day Death Metal, sounding and feeling as brutal and technical as it can be thanks to the amazing job done by the band’s stringed duo, not to mention Nat’s demented and intricate beats.
And the boys from Architectural Genocide keep smashing our skulls and spinal cords with the visceral and infuriated Gorge on Deceased, the perfect depiction of how vile but at the same time melodic and technical the quartet can be, offering a few interesting breaks and variations while Daniel’s deep guttural roars continue to reverberate in the air. Then Nat takes the lead once again in the berserk Pleasure Induced by Agony, sounding like a stone crusher on drums in what’s perhaps the heavier and most vicious of all songs from the album, with Jonathan and Matt showing no mercy for their strings (nor for our necks, of course). The second to last blast of malevolent Death Metal by this skillful four-piece horde comes in the form of Abolishment of Human Existence, where Matt and Nat are in absolute sync with their respective bass punches and demonic beats and fills, providing Daniel all he needs to shine with his deep vociferations, whereas Burgeoning Necrosis is a fantastic and pulverizing closing tune, or in other words, the epitome of everything the band stands for, showcasing the classic, hammering drums by Nat and the always brutal shredding by Jonathan.
If you have what it takes to face the Brutal Texan Death Metal assault fired by Architectural Genocide in their debut installment, all you have to do is go to Comatose Music’s BandCamp or webstore, as well as to Discogs, to put your hands on such ruthless album of extreme music. Hence, don’t forget to show your true support to the guys from Architectural Genocide by following them on Facebook and on Instagram, and by listening to their music on Spotify. The architect of genocide is among us to bring us all a whole new level of sickening, slamming and brutality with Cordyceptic Anthropomorph, proving once again why the underground is and will always be the dark lair (and consequently our endless source) for ass-kicking Death Metal, and if you’re in Texas then the awesomeness coming from that is even higher, no doubt about that.
Best moments of the album: Hallucinogenic Demise, Cordydeptic Anthropomorph and Pleasure Induced by Agony.
Worst moments of the album: None.
Released in 2020 Comatose Music
Track listing
1. Spires of Mangled Tissue 4:51
2. Hallucinogenic Demise 5:48
3. Dominate and Proliferate 4:21
4. Cordydeptic Anthropomorph 5:06
5. Gorge on Deceased 3:56
6. Pleasure Induced by Agony 5:42
7. Abolishment of Human Existence 5:19
8. Burgeoning Necrosis 5:03
Band members Daniel Brockway – vocals
Jonathan Blake – guitar
Matt Day – bass
Nat Conner – drums
Blasting thrashing anthems about devious behavior, sex, alcohol and drug abuse, this Brazilian horde delivers an ode to all things metal in their band new (and rebellious) opus.
With nearly 20 releases under their bullet belts, Brazilian Thrash Metal horde Thrashera is a veritable institution in the underground in their homeland, blasting thrashing anthems about devious behavior, sex, alcohol and drug abuse, horror films, war, massacres, nuclear disasters, violence, underground counterculture, punk issues and the headbanging way of life since their inception in the year of 2010 in the city of Rio de Janeiro by three maniacs deeply into the 80’s wave of Satanic metal and primitive Rock N’ Roll. It’s that lattermost element which has endeared the band to so many across the international underground, and their brand new full-length album, rebelliously titled Não Gosto!, is definitely going to launch Thrashera onto an ever wider stage, which the band will promptly destroy.
Currently comprised of vocalist Chakal, guitarists Madcrusher and Bode de Sade, bassist Anras Vardamir and drummer Surtur Impurus, Thrashera are not just about partying, with the album title, translated to English as “I don’t like it!”, depicting the band’s distrust in the current political and religious scenario in their homeland. “The name of the album stands as a denial manifest towards the present political and religious ideologies in Brazil responsible for ‘killing’ – oppressing – all artistic forms of expression. It’s a reinforcement of our lyric approach in the last decade as a band, in an era where the individual liberty for the underground movement and its followers is in serious danger. Expressing Não Gosto! as a mantra, it’s probably the only reasonable path! Não Gosto! synthesizes all the refusal towards the hypocrisy that commands the world, guiding our masses into the abyss with an unconscious grin. This is also a shout-out and a wakeup call to all the underground forces to organize, react, and unite themselves in order to avoid the extinction of the most marginalized culture in the planet. Metal always said No! And always will!”, commented the band about the album.
A cinematic, eerie and anti-religious intro evolves into a feast of old school Thrash Metal led by Surtur’s frantic beats in Intro Víbora Resistente / Não Gosto!, featuring guest vocals by Luiz Carlos Louzada (Vulcano) and Armando Exekutor (Flageladör), and I must say all vocal lines couldn’t have sounded more demonic than this, with its raw and primeval sound making the whole thing even more entertaining. Then acoustic guitars permeate the air in Maré 669 before all hell breaks loose and Madcrusher and Bode de Sade begin slashing their stringed weapons beautifully, resulting in over six minutes of nonstop electricity and blasphemy blasted by Thrashera with Chakal sounding absolutely demented and wicked on vocals; followed by Rei dos Excessos, a song that begins in full force with Surtur and Anras being in an infernal sync with their respective instruments. Put differently, it’s pure old school thrash with no shenanigans nor any artificial elements, where once again the band worships Satan and all that’s considered immoral or forbidden. And Sangue ao Metal is a fast and furious ode to all things metal led by Chakal’s vicious, deep roars while Surtur keeps hammering and pounding his drums manically, inspired by the classic sonority from the early days of the almighty Slayer.
Sounding heavy-as-hell and utterly aggressive just the way we like it, it’s time for the band to fire a new (and hard) version for their 2012 song Trapped in the 80’s (you can check the original one HERE, released in the split album Guerreiros do Álcool), with the 2020 version sounding more polished and thrashier, leaning at times towards Speed Metal. After such demented onrush of sounds, guess what the band has to offer us all? Well, those guys love metal music more than anything, which becomes beyond clear in the high-octane Metal!, where both Madcrusher and Bode de Sade decimate our ears with their hellish riffs, while Chakal keeps vociferating the song’s boisterous words in the name of Heavy Metal. Mysterious female voices praising the power of women and their fight against sexism ignite another bestial tune titled Correntes Não Prendem Serpentes, where Chakal (together with an uncanny female guest vocalist) barks the song’s lyrics about witches and other female characters, followed by Igreja, the band’s personal tribute to a cult album titled Cabeça Dinossauro, released in 1986 by an amazing Brazilian band called Titãs (check the original song HERE), with Thrashera’s version sounding and feeling amazing with its raw and visceral Thrash Metal vibe, once again against all that’s wrong with religion and the church.
You can join Thrashera in their cult to Thrash Metal and everything that’s considered evil (and therefore good) by following the band on Facebook, and grab your copy of their rebellious soundtrack to the end of our days from the Hellprod Records’ BandCamp page or webstore. I must warn you, though, that once you enter their realm of depravity, blasphemy and violence, there’s no way back, which in the end is a good thing as you’ll be against all that’s wrong in their homeland right now. This is what first-class old Thrash Metal is all about, always against religion and politics, always fast, furious and infernal, and always perfect for having a beer while slamming into the circle pit with your friends. That’s all that we really like in our lives, and always will.
Best moments of the album: Maré 669, Sangue ao Metal and Metal!.
Worst moments of the album: None.
Released in 2020 Helldprod Records
Track listing
1. Intro Víbora Resistente / Não Gosto! 5:46
2. Maré 669 6:19
3. Rei dos Excessos 3:09
4. Sangue ao Metal 4:08
5. Trapped in the 80’s (Hard version) 4:22
6. Metal! 4:08
7. Correntes Não Prendem Serpentes 5:17
8. Igreja (Titãs cover) 2:51
Band members
Chakal – vocals
Madcrusher – guitars
Bode de Sade – guitars, backing vocals
Anras Vardamir – bass, backing vocals
Surtur Impurus – drums
Guest musicians Luiz Carlos Louzada – vocals on “Não Gosto!”
Armando Exekutor – vocals on “Não Gosto!”
Remember (that you have) to die. This is the meaning of the famous phrase Memento Mori, the title of the brand new EP by Welsh Hard Rock three-piece act Eulogy and the follow-up to their wildly popular EP Back To Life, released in 2017. Performing original music with a dark lyrical twist, Eulogy were formed back in 2017 in Cardiff, Wales by lead singer and bassist Neil Thomas, guitarist Mike Williams and drummer Darran Goodwin, aiming at showcasing a multitude of influences and musical variations, with the four track from their brand new EP being written and refined over a period of five months before being recorded, mixed and mastered at Coda Recordings by Neil Garland. “We wanted to create something heavier and darker while maintaining our melodic sound,” stated Neil Thomas about Memento Mori, featuring the band’s most dynamic writing to date throughout its 18 minutes of classic Hard Rock.
In summary, Memento Mori, available for a full listen on Spotify, not only points to a bright future for those Welsh hard rockers, but it also positions Wales as a very interesting source of old school Hard Rock for admirers of the genre. Hence, don’t forget to show your support to Neil, Mike and Darran by following them on Facebook and on Instagram, by subscribing to their YouTube channel, and above all that, by purchasing your copy of Memento Mori from their official BandCamp page, from CD Baby or from Google Play, helping Eulogy to proudly carry the flag of British Hard Rock wherever they go.
THE HEADBANGING MOOSE 