Category Archives: Album Reviews

Album Review – Construct Of Lethe / The Grand Machination EP (2016)

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The letters from Lucifer to archangels Gabriel and Michael after his fall to Earth as reimagined by Mark Twain, all embraced by a dark and dense atmosphere crafted by an amazing project led by veteran musician Tony Petrocelly.

Rating5

tgm-album-cover“Man is a marvelous curiosity. When he is at his very, very best he is a sort of low grade nickel-plated angel; at his worst he is unspeakable, unimaginable; and first and last and all the time he is a sarcasm.” – Letters from the Earth, by Mark Twain

Taking inspiration from Letters from the Earth, a posthumously published work of American author Mark Twain (1835–1910) with the title story consisting of eleven letters written by the archangel Satan after the fall (as he views the rise and fall of Christ) to archangels Gabriel and Michael about his observations on the curious proceedings of earthly life and the nature of man’s religion, The Grand Machination, the brand new EP by American Death Metal band Construct Of Lethe, will fulfill your needs of well-written extreme music with a dense and meaningful storyline complementing all the reverberation and aggressiveness flowing from the instruments.

Although the band is based in the city of Woodbridge, located in Northern Virginia, in the United States, Construct of Lethe are an international musical collective representing both the simultaneous culmination and dissolution of numerous bands and projects such as Against the Gods, Bethledeign, Xaoc, Dead Syndicate and Pain Tank. Formed in 2010 by multi-instrumentalist Tony Petrocelly, the band released on the first day of 2016 their debut full-length album, entitled Corpsegod, but it seems Tony and his henchmen didn’t want to wait too long to provide their fans another blast of their technical and dark Death Metal, culminating with the release of The Grand Machination in the beginning of October. Featuring an obscure cover art by Paul Gerrard and with vocalist David Schmidt reinterpreting and perverting Mark Twain’s Letters from the Earth, The Grand Machination brings forward a fresh view of the story for the ones who have already read the book, and a fantastic introduction to anyone who’s in touch with it for the very first time.

In the opening track, titled Lux in Tenebris (“light in the darkness”), an ominous intro is joined by dark and heavy guitars before a demonic fusion of Death and Doom Metal impregnates the air, with Dave sounding like a poet from the underworld declaiming the song’s beautiful lyrics (“Embrace me Thanatos that I might fall / Seduce me Hypnos that I might lap the silver waters and forget / But lo, at his heel bone I stood shackled and forced to witness / My glass eyes were held open by another’s will”). In addition, veteran drummer Kevin Talley, who has already worked with renowned bands such as Suffocation, Six Feet Under and DevilDriver as well as underground bands reviewed by The Headbanging Moose like Omega Diatribe and ThrOes, makes sure his beats reach the perfect level of complexity and obscurity requested, enhancing the song’s impact on the listener.

construct-of-letheDeath and Doom Metal are then joined by hints of Black Metal mainly due to the blast beats by Kevin, consequently making the whole ambience even more frightful, in Ascendit Ex Inferos (“he ascended from hell”), with its lyrics reaching a whole new level of obscurity (“Hear uttered a child’s creation / Upon festering incantations carried with miasmic breath / Logic castration, a eunuch of natural order”). Furthermore, it’s Tony who steals the spotlight with his cutting riffs in this maleficent tune, supported by Patrick Bonvin and his excellent solos. Then it’s time for the entire band to increase their brutality and fire the most demonic of all songs, titled Apotheosis Calvarium, where Death and Black Metal are united in a putrid and menacing way and Patrick once again delivers his share of amazing guitar solos, while Dave is the devil incarnate on vocals just the way the concept of the album demands.

Expandentes Putrescat (“spreading rot”) is where Construct Of Lethe get truly blackened, an intricate composition showcasing bestial drums and flammable guitars, surrounded by a hellish atmosphere that goes on until the song’s eerie conclusion; followed by Bibere Venenum in Auro (“drink poison in gold”), a traditional Death Metal song with highlights to the grotesque growls by Dave and the barbaric aura crafted by Kevin behind his drums. Yet again, Patrick keeps firing his old school solos nonstop, adding more electricity to this dense and somber chant. Lastly, the title-track The Grand Machination brings more darkness to the listener with its melodious guitars and Doom Metal-inspired drumming. The second half of the song leans towards a crude mix of Black and Death Metal, with its neck-breaking riff accompanying Dave and his Stygian poetic growls as the proper conclusion to this disturbing album.

You can visit the band’s official Facebook for more details on their music, listen to their obscure Death Metal on their YouTube channel (where you can take a shot at the entire EP, by the way), and you can grab a digital copy of the album at their BandCamp page, which includes instrumental demo versions of two of the regular album songs with a Cannibal Corpse-inspired vibe as bonus tracks. In Letters from the Earth, there’s an excerpt about the Bible that says “it is full of interest. It has noble poetry in it; and some clever fables; and some blood-drenched history; and some good morals; and a wealth of obscenity; and upwards of a thousand lies.” Well, maybe we should say the same about The Grand Machination, adding to that the album’s excellent riff-writing and demonic ambience. I bet Mark Twain and Lucifer would both agree with us on that.

Best moments of the album: Apotheosis Calvarium and The Grand Machination.

Worst moments of the album: None.

Released in 2016 Edgewood Arsenal Records

Track listing
1. Lux in Tenebris 4:48
2. Ascendit Ex Inferos 2:42
3. Apotheosis Calvarium 5:26
4. Expandentes Putrescat 5:03
5. Bibere Venenum in Auro 3:16
6. The Grand Machination 4:13

Digital Edition bonus tracks
7. Apotheosis Calvarium (demo version) 2:12
8. Bibere Venenum in Auro (demo version) 2:15

Band members
Dave Schmidt – vocals
Tony Petrocelly – guitar, bass
Patrick Bonvin – lead guitars

Guest musician
Kevin Talley – drums

Album Review – Hammerhands / Largo Forte (2016)

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The soundtrack to your darkest days is here, courtesy of a talented Canadian band and their sluggish, heavy and rowdy music.

Rating4

hh-largo-forte-coverFew subgenres of heavy music can be so disturbingly awesome as Sludge and Doom Metal thanks to those low-tuned sounds, wicked screams and sluggish beats that penetrate our hearts and souls every single time we listen to them, making our lives a little more miserable just the way we like it. Hailing from the city of Mississauga, Ontario (extremely close to our “headquarters”), here comes Canadian Sludge Metal quartet Hammerhands offering their moodiness, blasphemy and grudge in their brand new album, entitled Largo Forte, a solid display of atmospheric and doomed heavy music that will accompany your misery during those dark and rainy days.

Formed in the year of 2012, Hammerhands released their debut album, Glaciers, one year later in 2013, also releasing that same year a special covers EP named 1995 containing their versions for two of their biggest influences in music (“X.Y.U.” by The Smashing Pumpkins, and “To Bring You My Love” by PJ Harvey). It might have taken three years for the band to release new original material, but based on the music found in Largo Forte it was definitely worth the wait. Featuring a dark and pensive artwork by their own bassist Justin Hunt, Largo Forte brings forward the band’s trademark Atmospheric Sludge and Doom Metal blended with Alternative Metal and other subgenres of heavy music, generating a metallic ambience tailored for fans of sheer heaviness.

The rumbling bass by Justin kicks off the groovy Eighteen, a sluggish composition that becomes a dark feast of modern and crude Sludge Metal when the inebriate and desperate vocals by NJ Borreta join the musicality, with its anguish ending only increasing its impact even more; followed by THUNDERCHUNK, a dense Stoner Metal chant emanating pure anger from its lyrics (“You are a brave man, / some father’s son. / Hammer your hard head, / against the ground. / You’re going to flex your muscles, / and bare your teeth. / Break everything around you, / you know I’ll hold my god damn stance.”). Guitarist Collin Young does a superb job with his wicked noises while drummer Jon Galletly delivers those slow and extremely heavy beats we love in this type of music, with yet another ending transpiring hopelessness and anguish.

hammerhandsHigh Plains is just perfect for an eerie strip-tease done by a mischievous and devilish woman, an obscure Sludge and Doom Metal tune led by the thunderous bass by Justin and the slow and steady beats by Jon, not to mention the spot-on vocals by Collin throughout the entire song. And the title-track Largo Forte begins as obscure as its predecessor, with the bass lines kicking you in the face while Collin fires some Sabbath-inspired riffs in the background. Moreover, the music is kept low and dark almost in its entirety, suddenly exploding into pure hatred through the desperate screams by NJ. Mezzo Grave, displaying some wicked noises and screeches, works as a bridge to If You’re Not Part of the Party, You’re Part of the Problem, showcasing downright distortion and an endless dosage of aggressiveness. The thunderous sounds blasted by bass and drums will pierce your mind, whereas NJ continues delivering his anguished lines until the song’s chaotic and heavy ending.

With a start lot lighter than all previous tunes, Where We Go brings forward more melodious and melancholic sounds thanks to the guitar lines by Collin. Albeit being a good composition, it’s slightly below the rest of the album in terms of quality and creativity, but fortunately that doesn’t last long as we’re treated to the almost pure Doom Metal tune Darkerness with its low-tuned sonority and slow, heavy pace. This song presents a tormented intro that goes on for over two minutes, warning the listener that darkness is upon us, which is only confirmed through its macabre lyrics (“We’ll gut them, / and bleed them dry. / They’ll scream for hope, / but die inside. / Now that they plunge, / there is no right. / This place, / no light.”). Furthermore, as already happened in previous songs, its ending is a noisy and deranged chaos. In The Hardest Thing we have one final blast of distress, with Collin declaiming the lyrics through his somber and funereal vocals while the rest of the band plays some sort of Tarantino-inspired noisy Blues, an interesting way to close such a substantial album.

There’s a nice way to enjoy the whole album on YouTube in the 49-minute official video crafted by the band, displaying deserted landscapes, predatory reptiles, burning lava, among other beautiful scenes from Mother Nature, and you can also visit their Facebook page and YouTube channel to know more about their music and future projects. Obviously, you can purchase Largo Forte at Hammerhands’ BandCamp page to show your true support to these talented Mississaugans whose job is to provide us fans of Sludge metal exactly the type of music needed on our gloomiest days.

Best moments of the album: THUNDERCHUNK, High Plains and If You’re Not Part of the Party, You’re Part of the Problem.

Worst moments of the album: Where We Go.

Released in 2016 Independent

Track listing
1. Eighteen 4:58
2. THUNDERCHUNK 7:11
3. High Plains 4:57
4. Largo Forte 6:44
5. Mezzo Grave 2:34
6. If You’re Not Part of the Party, You’re Part of the Problem 3:39
7. Where We Go 5:50
8. Darkerness 7:58
9. The Hardest Thing 5:25

Band members
NJ Borreta – vocals, guitar
Collin Young – guitar, vocals on “High Plains”, “Where We Go” and “The Hardest Thing”
Justin Hunt – bass, backing vocals
Jon Galletly – drums, backing vocals

Guest musician
Andrew Couto – saxophone on “Darkerness”

Album Review – Rigor Mortis BR / The One Who… (2016)

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Feel the stiffness of death dominate your body after being crushed by the brutal Death Metal blasted by this old school quartet made in Brazil.

Rating5

capa02-grandeRigor mortis (or “stiffness of death” from Latin), is one of the recognizable signs of death caused by chemical changes in the muscles post mortem, which cause the limbs of the corpse to stiffen. Just add to that a “BR”, and the final result will exhale putridity and toughness, the two main elements found in the impetuous Death Metal played by the excellent Brazilian underground squad Rigor Morts BR, who are releasing a feast of old school extreme music entitled The One Who… for the delight of fans of Suffocation, Cryptopsy, Dying Fetus and Cannibal Corpse. If you’re ready to bang your head like a maniac until your neck stiffens to the point you cannot move it anymore, then Rigor Mortis BR will definitely help you achieve your main objective.

Formed in the 90’s by guitarist Alexandre Rigor in the city of Porto Alegre, the capital of Brazil’s most southern state, Rio Grande do Sul, Rigor Mortis BR offer fans of heavy music a lecture in brutality mixed with a refined technique, always loyal to the foundations of Death Metal by keeping their musicality extremely raw and visceral. Going beyond the limits of the human mind and especially of our actions and primeval nature in their lyrics, Rigor Mortis BR have been fighting for years against financial setbacks and the hassles of finding a record label, but it seems they have finally found the right partner for the release of The One Who…, as the entire team from Sangue Frio Produções are huge supporters of the Brazilian underground scene and certainly provided everything Rigor Mortis BR needed to spread their carnivorous Death Metal all over the world.

A short macabre Intro prepares the listener for Dialeto de Morto (“dialect of the dead”), a putrid Death Metal composition that takes violence to the limit, with bassist Christian Peixoto blasting some low-tuned punches before drummer Ricardo “Chakal” Chiarello begins his furious performance. Their sonic carnage continues with the demented Psychotropic Illness, where lead singer Leafar Sagrav (or Rafael Vargas backwards) sounds truly possessed due to his bestial deep gnarls while Alexandre Rigor delivers old school riffs through his evil guitar; followed by Human Flesh Juice, with the putrescent growls by Leafar and the insane beats by Chakal leading this infernal tune that brings forward traditional Death Metal with hints of Black Metal. Despite being cavernous at all times, it’s still very technical, showcasing how skillful the entire band is, as for example the wicked solos by Alexandre.

Medieval Impalement, the longest of all tracks, presents elements from sluggish and evil Doom Metal with Leafar offering some hellish gnarls commonly found in Black Metal, therefore enhancing the song’s obscurity. It’s tailored for fans of the heaviest form of Death Metal you can think of, where the sounds brought forth by Alexandre on guitars are insanely menacing. Following that damned song, Rigor Mortis BR keep paving their furious path of devastation with Find Body Parts Toy, with highlights to its unstoppable beats and another demented performance by Leafar on vocals. The second song of the album sung in Brazilian Portuguese and a demonic composition that sounds absolutely demolishing, Febrônio Índio do Brazil, is about a famous Brazilian serial killer known as “Filho da Luz” (or “son of light”), with the entire band translating the violence and bloodshed of his lunatic acts into their merciless Death Metal.

Interlúdio is a very quick break before all hell breaks loose once again with Raw Meat Sugar, with Chakal sounding as if he’s pounding his drums with a sledgehammer, consequently reaching a whole new level of heaviness and being highly recommended for some sanguinary mosh pits and ferocious headbanging. And closing the album we have the title-track The One Who…, bringing forward some modern elements without losing its old school essence. While Leafar’s growls and screams get deeper and deeper, Alexandre fires razor-edged riffs that will cut your ears mercilessly until the end of this bestial song.

In order to explode your ears and stiffen your neck headbanging to the music by Rigor Mortis BR, go check their Facebook, YouTube and ReverbNation. There are several locations where you can purchase The One Who…, as for instance the Sangue Frio Produções’ webstore, The Metal Vox, Heavy Metal Rock, the Odicelaf webstore and directly from the band’s Facebook shop. By supporting bands like Rigor Mortis BR, you are not only providing your neck an endless source of pain due to the brutality emanating from their music, but you’re also helping underground Death Metal to stay alive, which is always a good thing.

Best moments of the album: Dialeto de Morto, Human Flesh Juice and Raw Meat Sugar.

Worst moments of the album: None.

Released in 2016 Sangue Frio Records

Track listing
1. Intro 0:23
2. Dialeto de Morto 2:31
3. Psychotropic Illness 4:45
4. Human Flesh Juice 3:26
5. Medieval Impalement 6:14
6. Find Body Parts Toy 3:58
7. Febrônio Índio do Brazil 3:28
8. Interlúdio 0:24
9. Raw Meat Sugar 3:56
10. The One Who… 2:48

Band members
Leafar Sagrav – vocals
Alexandre Rigor – guitar
Christian Peixoto – bass
Ricardo “Chakal” Chiarello – drums

Album Review – Eteritus / Following the Ancient Path (2016)

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Follow the ancient path of old school Death Metal engendered by another promising band from the underground of Polish music.

Rating4

eteritus_coverOnce again, it’s time to take a direct flight to the beautiful Republic of Poland, more specifically to the city of Toruń, for another blast of high-quality Polish metal music. Located in northern Poland, Toruń is not only one of the oldest cities in the country, but also the birthplace of the renowned astronomer Nicolaus Copernicus. This charming and important city, which was was added to the list of Seven Wonders of Poland in 2007, might have the nickname “City of Angels” due to the angel in its coat of arms, but after listening to Following the Ancient Path, the debut full-length opus by Death Metal quartet Eteritus, we should also start calling it as “City of Death Metal”.

The band was founded in February 2013, when guitarist Zimny (also known as Zima) and drummer Nitro met, and after vocalist Liam Tailor joined the band one month later they already started working on new material. One year after the band’s inception, the EP Tales of Death was born and Eteritus’ lineup was completed by bassist Greg. After receiving many positive reviews from fans and critics, the band began working on what would become Following the Ancient Path, a storm of old school Death Metal for fans of sheer aggressiveness in music. Featuring a dark and traditional artwork by Polish artist Bartek Kurzok (who has already worked with other amazing underground bands such as Abigail, Ulcer and Deathstorm), this is one of those albums that despite knowing what you’re going to get, you always feel positively surprised with the level of professionalism and dedication from all band members, which always translates into kick-ass metal music.

A metallic Intro presenting eerie guitar sounds warms up the listener until Biocentric kicks off emanating aggressiveness, with vocalist and guitarist Liam Tailor leading the band’s sonic attack boosted by the sharp sounds and endless electricity flowing from the guitars. Moreover, this tune is tailored for some sick headbanging due to its menacing rhythm, which can also be said about the heavy and barbaric Hellish Imagery, where Liam delivers anger and darkness through his growls while Nitro varies between pure groove and demonic blast beats, living up to the tradition of old school Death Metal. And in the demonic composition The Unliving Thing, Liam becomes the creature exhaling brutality through its horror movie-inspired lyrics (“Dark moon reflects in the eye of the beast / He longs for his brood, calls for his kin / Watching with dead eyes / Searching for blood / Running from daylight / Hiding from sun”), with Nitro and Zima supporting him with his blazing beats and riffs, respectively.

eteritus_bandConsider yourself in the eye of a metal storm while listening to the vicious Eye of the Storm, a pure Death Metal chant where all instruments sound boisterous, especially the bass lines à la Alex Webster by Greg. Due to its awesome rhythm, the song never gets boring or tiresome; quite the contrary, it’s bestial in its entirety, maintaining the fire burning in the fantastic Incinerator, with its flammable lyrics (“Walking on the ashes of a scorched, dead world / Burned to the ground in a fiery storm / Cemetery silence, instilling fear / The light in your eye like a tip of a spear”) and its accelerated rhythm led by Nitro. Blending elements from Thrash Metal to their traditional Death Metal, this is not only one of the top moments of the album, but it will also work perfectly when played live.

The bestiality in Following the Ancient Path goes on with another carnivorous composition titled Somber Mind, with the band generating the perfect dark ambience for Liam to fire some really deep gnarls, including some obscure guitar solos and crushing beats, followed by the also solid End of Line.  The second to last song of the album brings forward sheer darkness, with the cutting bass guitar by Greg igniting a feast of visceral growls and intricate drumming, also showcasing poisonous riffs and endless aggressiveness. And if you love kick-ass high-octane Death Metal with hints of Black and Thrash Metal let me tell you that Mortal Prophecy will certainly satisfy your needs, being vile and thunderous from start to finish, also presenting interesting tempo changes and a fiery guitar solo at the end.

You can follow the ancient path of old school Death Metal engendered by Eteritus by liking their Facebook page, and grab your copy of the album at the Godz ov War Productions’ webshop or BandCamp page, as well as at Discogs. Yet again, we’re facing an up-and-coming band from Poland delivering top-of-the-line extreme music, consequently carving their names in the underground Polish scene, and I believe they will soon conquer other parts of Europe and the rest of the world thanks to their honesty, their talent, their passion for heavy music and their electrified attitude.

Best moments of the album: Eye of the Storm and Incinerator.

Worst moments of the album: None.

Released in 2016 Godz ov War Productions

Track listing
1. Intro 1:25
2. Biocentric 4:23
3. Hellish Imagery 4:32
4. The Unliving Thing 4:04
5. Eye of the Storm 3:07
6. Incinerator 3:16
7. Somber Mind 3:41
8. End of Line 3:41
9. Mortal Prophecy 4:16

Band members
Liam Tailor – vocals, guitars
Zima – guitars
Greg – bass
Nitro – drums

Album Review – Lordi / Monstereophonic (Theaterror vs. Demonarchy) (2016)

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This Halloween let’s all eat, drink, be scary and listen to another kick-ass Rock N’ Roll party brought forth by the most awesome horde of hair-raising monsters in the universe.

Rating4

lordi-monstereophonicOnce again it’s Halloween, or All Hallows’ Evening as many people prefer, a day dedicated to remembering the dead and to many distinct activities such as trick-or-treating, attending costume parties and carving pumpkins into jack-o’-lanterns, and there’s nothing better to set fire to that amazing celebration than the top-notch Hard Rock and Heavy Metal played by the most awesome horde of scary monsters in the universe, Finnish icons Lordi. With that said, put on your most spine-chilling costume, grab some chocolate (or beer) and head to the nearest Halloween party blowing your speakers to the music by Mr. Lordi and his (were)wolfpack, who are back with another excellent release entitled Monstereophonic (Theaterror vs. Demonarchy), the eighth studio album in their solid career.

And let me tell you that Monstereophonic (Theaterror vs. Demonarchy) is different from everything these guys have done since their inception back in 1992, with the album being divided in two distinct parts. While the first half of the album (Theaterror) showcases their classic Hard Rock and Heavy Metal, the second half of the album (Demonarchy) is conceptual and includes 6 or more minute songs that sound a lot heavier than what we’re used to, talking about the unholy gathering of The Undead Son, The Bloodsucking Count, The She-Wolf and The Witch, and their story with a little girl named Lizzy. The band also announced that their new costumes would be split in half, representing the two sides of the album. The overall production of the album is outstanding as usual, enhancing the experience of listening to our beloved monstrosities transforming the fusion of fear, love and electricity into old school heavy music.

In THEATERROR, we’re treated to one of those wicked intros by Lordi, entitled SCG8: One Message Waiting, this time with a freak named Ruiz threatening a woman from right outside her house, before the band kicks off Let’s Go Slaughter He-Man (I Wanna Be the Beast-Man in the Masters of the Universe), showcasing that great Hard Rock from the 80’s with the crisp keyboards by Hella adding an extra touch of nostalgia to the song. Moreover, as cheesy as the song and its lyrics might sound, it ends up working extremely well, being fun and energetic in its entirety. Besides, who doesn’t want to see He-Man dead, right? Anyway, Hug You Hardcore is another mid-tempo classic composition displaying a fantastic main riff by Mr. Lordi’s right-hand man Amen (just don’t ask me to talk about the lyrics), whereas Down with the Devil can be considered a newborn Hard Rock hymn, from its hellish riffs and keyboards to its spooky lyrics (“They say the devil dressed me / They hear him speak when I speak / They say I’m lost and damned / But I know damn well just where I am”). It’s a mandatory choice for the soundtrack to the most awesome Halloween party you can think of (and the best song of the album in my opinion), with its catchier-than-hell chorus getting even more awesome due to the song’s classy backing vocals.

Slowing down and getting more obscure, Mary Is Dead tells the sad story of how the death of a woman was kept a secret by her lover (who was also her killer, by the way), with Hella kicking ass with her melancholic notes while Mana delivers his precise doomed beats; followed by Sick Flick, another old school Lordi chant offered to the listener.  The band makes a statement that the Rock N’ Roll party is just starting through the song’s upbeat rhythm and the excellent riffs and solos blasted by Amen. Once again we face cheesy lyrics inspired by classic Hard Rock from the 80’s with a horror movie twist, and once again that works perfectly. And the end of Theaterror couldn’t sound more Lordi than None for One, bringing forward all the elements we expect in their music. Furthermore, Lordi’s kitchen architects Ox, Mana and Hella craft such an inspiring ambience with their instruments it’s impossible to stand still to the beat of the song.

lordi-2016An eerie intro named SCG VIII: Opening Scene informs the listener the second part of the album, the conceptual DEMONARCHY, is about to begin, and it’s time for some brutal Heavy Metal with Demonarchy, with Mana pounding his drums while Amen is on fire with his riffs. This is by far the most aggressive composition of the whole album, a sensational display of what Mr. Lordi and his crew can do when they get truly heavy with the creepy keyboards by the sexy doll Hella embellishing the overall result even more. A lot more melodious, the slow-paced The Unholy Gathering continues from where the previous song stopped in the storyline, and when they speed up the musicality it becomes a heavy music extravaganza with highlights to the potent vocals by Mr. Lordi and the spooky notes by Hella. And it looks like the second half of the album is indeed dedicated to much heavier and darker material based on what the band delivers in Heaven Sent Hell on Earth, one of those headbanging badass compositions with a gripping story in the background and a chorus that is yet again a beautiful option to sing along with the band.

The final triumvirate of Hard Rock blasted by Lordi is pure awesomeness, starting with And the Zombie Says, a first-class Heavy Metal tune with brilliant guitar lines and keyboards, not to mention the thunderous drums by Mana and the song’s beautiful chorus. It’s a nonstop action-packed song that transpires adrenaline until its very last second, with Mr. Lordi providing an amazing performance on vocals as usual.  In the neck-breaking chant Break of Dawn, another song to scream the chorus together with Mr. Lordi and a song also played to perfection by all band members, Amen kicks some serious ass with his sharp riffs. And last but not least, The Night the Monsters Died is the perfect climatic ending to the story being told and to the whole album, full of breaks and soulful passages and solos, and having as its main element a more-than-addictive chorus (“It’s the morning after the night / The night the monsters died / Don’t have to be afraid / Cause we’re already dead / It’s the morning after the night / The night the monsters died / We’ll never say goodbye / For the final time”). Put differently, this is a full-bodied composition that will put a smile on the face of everyone that listens to it, no matter how angry or sad that person might be.

There’s that Halloween quote by an unknown author that says we should all “eat, drink and be scary”, but after listening to such an entertaining album of kick-ass melodic old school Hard Rock and Heavy Metal I guess we need to change the saying to something like “eat, drink, be scary and listen to Lordi”. It’s insanely hard for a band to top a once-in-a-lifetime masterpiece like The Arockalypse, but Mr. Lordi and his living-dead crew have been on a roll since their 2013 release To Beast or Not to Beast, constantly producing high-end material for the undead masses. Could it be the charming spell Hella put on Lordi when she joined the band back in 2012? Or has Mr. Lordi found a special full moon that fully recharges his monster power endlessly? Either way, it looks like it will need a lot more than just garlic, silver bullets, sunlight and any other known weapon to kill the music by this iconic herd of rockin’ monsters from Finland.

Best moments of the album: Down with the Devil, Demonarchy, And the Zombie Says and The Night the Monsters Died.

Worst moments of the album: The Unholy Gathering.

Released in 2016 AFM Records

Track listing
1. SCG8: One Message Waiting 1:10
2. Let’s Go Slaughter He-Man (I Wanna Be the Beast-Man in the Masters of the Universe) 4:30
3. Hug You Hardcore 3:40
4. Down with the Devil 4:29
5. Mary Is Dead 4:37
6. Sick Flick 4:00
7. None for One 4:15
8. SCG VIII: Opening Scene 1:22
9. Demonarchy 6:01
10. The Unholy Gathering 5:09
11. Heaven Sent Hell on Earth 5:43
12. And the Zombie Says 6:23
13. Break of Dawn 5:47
14. The Night the Monsters Died 7:13

Band members
Mr. Lordi – vocals
Amen – guitars
OX – bass
Hella – keyboards
Mana – drums

Album Review – Testament / Brotherhood Of The Snake (2016)

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Join the Brotherhood of Thrash Metal spearheaded by one of the heaviest, most technical and most electrifying bands on the entire planet or die.

Rating1

testament_brotherhood-of-the-snakeRight after taking your first listen at Brotherhood Of The Snake, the eleventh studio album by American Thrash Metal servicemen Testament, you’ll realize what you have in your hands is a newborn metal classic. From start to finish, Brotherhood Of The Snake offers fans of both old school and modern Thrash Metal everything we love and crave in this type of music, from deep guttural vocals and supersonic blast beats to intricate and hellish guitar riffs and solos. And after Brotherhood Of The Snake, we can also say Testament brought into being a new first-class trilogy in heavy music, as all albums released after the band’s huge time off from studio in the early 2000’s, those being The Formation Of Damnation (2008), Dark Roots Of Earth (2012) and now Brotherhood Of The Snake, are beyond magnificent.

Featuring a menacing and classy artwork by Israeli artist Eliran Kantor, who has been working with Testament in all their releases since 2008, Brotherhood Of The Snake transpires pure Thrash Metal in all its 45 minutes of duration. Of course there are also their classic mid-tempo and slow, heavy tunes, but more than half of the album is comprised of high-speed thrashy material that will certainly ignite some demented mosh pits during their live concerts. Regarding the main concept of the album, Chuck has stated in one of his interviews that the album draws lyrical inspiration from the ancient astronaut hypothesis, namely through the Ancient Aliens television program. Furthermore, he said the title comes from the name of an ancient secret society (set up thousands of years ago by an alien named Ea or Enki, by the way).

The initial cavernous roar by Chuck in the title-track Brotherhood of the Snake is the epitome of the whole album, being barbaric, intimidating and thrilling at the same time. Moreover, the perfect riffs by both Eric Peterson and Alex Skolnick are mightily enhanced by the thunderous beats blasted by the juggernaut Gene Hoglan, making the lyrics sound even more meaningful in the end (“They’ve taken the tablets and hidden the scrolls / To deceive the ones they protect / The truth of creation, mutation of man / Entombed in the vatican walls”), with the song’s heavier-than-hell ending being just the icing on the cake. And it looks like their Thrash Metal onslaught has no time to end based on the amazing The Pale King, where it’s possible to savor the potent sound emanating from each instrument due to the crystal clear production of the album, in special the rumbling weapon carried by Steve Di Giorgio. In addition, Chuck treats us all with another of his flawless performances on vocals in this rhythmic and raw composition, something only a band like Testament can provide.

testament-2016Stronghold feels like a tribute to themselves and to the golden years of Bay Area Thrash, a fuckin’ kick-ass mosh pit-generator with bestial vocals and even more bestial backing vocals with the guitars by Eric and Alex penetrating our bones and lacerating our spinal cords mercilessly. In other words, this is a sonic orgasm for fans of fast and furious Thrash Metal from the 80’s, and I guess I don’t need to repeat myself and say it will sound absolutely perfect when played live. Following that thrashy storm, we have Seven Seals, showcasing beautiful guitar solos by Eric and Alex as well as intelligent and meaningful lyrics powerfully declaimed by Chuck, all embraced by heaviness to the second power, and it doesn’t matter if Gene is playing at full speed or if the song demands groovier and more rhythmic beats, he always delivers. And Born in a Rut, another groovy composition with fierce drums and a more serene (but also obscure) aura, concludes the first half of the album on a high note, perfect for enjoying a cold a beer while banging your head to another lesson in heavy music by Testament.

Another sensational hymn by Chuck and his unstoppable horde in undoubtedly Centuries of Suffering, where the dynamic duo Eric and Alex are once again on fire with their boisterous guitars, delivering riffs and solos that sound like if they were forged in the fires of the underworld. Not only that, what Gene does with his drum kit at around two minutes is truly impressive, increasing the song’s quality and ferocity to a whole new level. That guy is indeed a human wrecking machine. In Neptune’s Spear (a beautiful name for a first-class song), I can’t decide if the pounding drums by Gene or the blazing guitar riffs and solos by both Eric and Alex are the best elements of it, not to mention the aggressiveness brought forth by Steve and his unique bass sounds; whereas Black Jack is the ultimate soundtrack for an insane cards game “in the city of sin”, with its straightforward lyrics being boosted by its demolishing instrumental.

brotherhood-of-the-snake-boxset

Brotherhood Of The Snake Limited Edition Book Boxset

I’m neither pro nor against the theme explored in Canna-Business as I believe each one of us has the freedom to do whatever we want with our lives, and that’s why I want to focus on the music itself rather than on the discussion if that’s right or wrong. The whole song is evidently overpowering and electrifying, as expected in any composition by Testament, a high-octane chant with Chuck barking like a beast as well as providing some really deep vocals and vociferations. And lastly, The Number Game keeps the fire of Thrash Metal burning high and bright, with the performances by Chuck and Gene trespassing the frontiers of aggressiveness. No words can describe their awesomeness, especially the crazy beats and fills by Gene, therefore I suggest you simply go listen to it nonstop and don’t forget to break your fuckin’ neck headbanging to its brilliant hellish riffs.

There’s a series of videos on Nuclear Blast’s YouTube channel where Testament discuss each song of the album, their inspiration to write Brotherhood Of The Snake and the ancient alien theme, among other topics, like you can see for example HERE. I personally recommend you go watch those videos to get more involved with such an epic album, and of course if you’re planning on buying this instant classic just go for the Limited Edition Book Boxset, which includes the CD, the complete album on five brown 7 inch EP’s, an oversized 7 inch booklet, a 40×60 inch poster flag and a metal pin. Join the Brotherhood of Thrash Metal spearheaded by Testament, one of the heaviest, most technical and most electrifying bands on the entire planet or die. As simple as that.

Best moments of the album: Brotherhood of the Snake, Stronghold, Centuries of Suffering and The Number Game.

Worst moments of the album: Obviously none.

Released in 2016 Nuclear Blast

Track listing
1. Brotherhood of the Snake 4:14
2. The Pale King 4:51
3. Stronghold 4:00
4. Seven Seals 5:38
5. Born in a Rut 4:57
6. Centuries of Suffering 3:34
7. Neptune’s Spear 5:27
8. Black Jack 4:21
9. Canna-Business 3:47
10. The Number Game 4:38

Band members
Chuck Billy – vocals
Eric Peterson – guitar
Alex Skolnick – guitar
Steve Di Giorgio – bass
Gene Hoglan – drums

Album Review – Hostis / Hostis (2016)

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Experience all the destruction caused by the first-class fusion of Death and Thrash Metal by this technical band from Montenegro, blasting their austere message against politics, religion and media manipulation.

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1-cover-artFans of the demolishing sound bred by extreme music giants such as Kreator, Sepultura, Exodus and Cannibal Corpse have a very good reason to turn their eyes to the cities of Budva, a Montenegrin town on the Adriatic Sea, and Tivat, a coastal town in southwest Montenegro located around 40 minutes from Budva. If you truly enjoy breaking your neck headbanging to traditional Death and Thrash Metal, I recommend you take a shot at the self-titled debut album by Montenegrin act Hostis, a 6-track album containing 6 crushing composition by a band whose name has 6 letters. Hence, the final number is 666, which means no further explanation is required regarding the core essence of Hostis and their purpose in our dying world.

Founded in 2010 by Srđan Mišović (vocals and programming), Miloš Klikovac (guitars) and Aleksandar Dragojević (bass guitar), all members of Montenegrin Atmospheric Death Metal band Abhoth, Hostis base their lyrics on social issues, mostly against political and religious dogma and indoctrination and media manipulation. Their debut album also features special guitar solos by Montenegrin musician Stefan Stanišić, as well as solos by Luka Milošević (Deadly Mosh, Istrulity) and Dušan Mlađenović (Alister), both hailing from Serbia. In addition, the stunning old school artwork drawn and initially coloured by Zvonimir Grabić, with the whole graphic design and editing done by Milena Nićić (Myllen), increases the darkness and impact of the music found in Hostis to a point the whole album feels like a classic Death Metal album from the 90’s and not like the debut release from a brand new band.

Tailored for admirers of the cutting and sharp sound of old school Thrash Metal riffs, the opening track Hostis is an instrumental extravaganza containing all elements we love in extreme music such as technical solos, nonstop drums and endless heaviness. In other words, a great display of modern Thrash and Death Metal flawlessly delivered by all band members, getting the listener more-than-ready for the havoc beautifully entitled Beneath The Machinery Of Demise. When Srđan starts growling the song’s lyrics like a demonic beast (“Throne of megalomania / Upon the ashes of scattered lives / Twisting the fragments of reality / Beneath the machinery of demise”), supported by the piercing guitar lines by Miloš, you’ll definitely feel tempted to bang your head like a maniac or slam into the pit to this brutal and dense Death Metal chant.

hostisThe sensational Mutilation Of Truth kicks off as pure Bay Area Thrash the likes of Exodus and Testament, with the vocals by Srđan leaning towards the deepest guttural found in Death Metal. Moreover, it’s amazing how Hostis sound so polished and crude at the same time, with the potent sounds of all instruments being enhanced by the album’s outstanding production, not to mention all the song’s tempo changes that end up increasing its overall quality and potency. Demigods is another bestial fusion of Death and Thrash Metal led by the scorching riffs by Miloš, with the bass guitar by Aleksandar truly adding the world “metal” to the musicality. It’s another song that sounds like two or three in one, showcasing the band’s versatility and dexterity to keep their music interesting all the time.

There isn’t a single song that doesn’t sound brutal and technical in Hostis, which is also the case in the seven minutes of low-tuned progressive and demonic sounds found in In Shadow Of The Crucified, a rhythmic aria of darkness exhibiting awesome guitar lines and solos and the always cavernous growls by Srđan. And how do you think the album ends? Well, obviously with more devastation brought forth by such talented band, this time named Gods Are Dead. We must admit it’s pretty hard for most human beings to reach such demented level of guttural growls, which makes the work done on vocals by Srđan even more impressive. And after a creepy break halfway through the song, Hostis return in full force and keep delivering first-class Extreme Metal until all is said and done.

Do you want to experience all the destruction caused by the infernal and intense music crafted by this high-skilled band from Montenegro? Simply go check their Facebook page for news, tour dates and future projects, and their YouTube channel to listen to their music at top volume just like any good Death and Thrash Metal band deserves. And if you want to buy this excellent album, you can find it on sale at Discogs by clicking HERE or HERE. The extreme aggression of Death and Thrash Metal, together with an acid message against politics and religion, always results in top-notch music, and with Hostis that magic formula will certainly continue to have an amazing impact on fans of extreme music for many years to come.

Best moments of the album: Mutilation Of Truth and Demigods.

Worst moments of the album: None.

Released in 2016 Miner Recordings

Track listing
1. Hostis 5:44
2. Beneath The Machinery Of Demise 6:35
3. Mutilation Of Truth 6:16
4. Demigods  6:25
5. In Shadow Of The Crucified 7:02
6. Gods Are Dead 7:28

Band members
Srđan Mišović – vocals, programming
Miloš Klikovac – guitars
Aleksandar Dragojević – bass

Guest musicians
Stefan Stanišić – lead guitar
Luka Milošević – lead guitar
Dušan Mlađenović – lead guitar

Album Review – Soulwound / No Peace (2016)

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This berserk quintet from Finland brings forward absolutely no peace with their high-end assault of visceral Death and Thrash Metal.

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soulwound-cover640Carrying a robust and ominous name taken from a Fear Factory bonus song from the limited edition of their 1998 classic album Obsolete, Finnish Death/Thrash Metal group Soulwound are releasing their second opus entitled No Peace, offering fast, brutal, heavy and aggressive metal music with both old school and more contemporary influences, picking up where their 2013 debut full-length album Seeing Red left off. While listening to No Peace, you’ll find hints of the unique sonority crafted by Sepultura, the sonic havoc brought forth by Testament, the intricate and thunderous beats by Slayer, among other elements from several Thrash Metal giants, all enhanced by the band’s own Death Metal touch. In other words, if you’re looking for soft and romantic music, forget about Soulwound, as they’re among us to crush and destroy.

Forged in the fires of the small village of Myllykoski in Kouvola, Finland (located around 130 kilometers northeast of the capital Helsinki) by brothers Niko (guitar) and Janne Huusari (drums) in 2005, and having released a few demos before Seeing Red became a reality in 2013 with Arto Jauho stepping in as the band’s vocalist, Soulwound’s current lineup took form in 2014 when Mikko, the youngest of the Huusari brothers, joined the band as their second guitarist, resulting in all three brothers playing in the same band. And it’s perhaps that family unity that helped Soulwound achieve such a high level of professionalism in a short span of time, sounding like long-serving defenders of extreme music.

An eerie female voice explaining what impulsive aggression is makes the Fear Factory-inspired metallic Intro: Impulsive Aggression one of those creepy album starts that enfolds the listener before the neck-breaking Hurt Me Plenty kicks off, which despite showcasing lots of modern elements added to its background, in essence it’s old school visceral Death Metal. Moreover, while Arto fires his potent harsh growls, Janne delivers an avalanche of groovy and fierce beats and fills for the delight of lovers of the genre. As violent as the opening track but slightly heavier due to the kick-ass riffs by the guitar brothers Niko and Mikko (as well as the low-tuned sounds by bassist Joni Järvenmäki), Altars of Skin feels like a hybrid of Cavalera Conpiracy and Fear Factory with a Scandinavian twist, translating into pure awesomeness, whereas Alone Against All brings forward high-octane Death Metal highly influenced by the rebellious sound of Bay Area Thrash. Its sick guitar solos and endless amount of electricity turn it into one of the best moments of the album, being strongly recommended as the soundtrack for some insane circle pits.

p7172350-02Wasteland is yet another flawless Thrash Metal tune with elements from Sepultura, Slayer and Testament, in special the boisterous drumming by Janne and the visceral growls by Arto, and if you love darkened music emanating pure hatred you’ll have a complete blast listening to this superb tune. Then it’s time for more of Soulwound’s headbanging music with some menacing voices in the background before Anto comes gnarling like a beast in Crime and Punishment, which albeit slower than the previous songs it showcases some great riffage by both Niko and Mikko; followed by Misery Index with its berserk rhythm powered by huge dosages of anger. This is one of those songs the band wrote with their minds on their live performances due to its “festival potential”, also exhibiting some excellent guitar solos and a demented ending.

Hate Speech sounds very similar to its predecessor, displaying almost the same heaviness, speed and ferocity, which means that if they play these two songs in a row during their concerts I’m quite sure we’ll see some blood spilling from the crowd. And as one final explosion of Death Metal we have Damned, as brutal and well-crafted as the rest of the album, yet again embracing elements from Bay Area Thrash mixed with contemporary Death Metal and with highlights to the deep and desperate guttural by Anto.

As Soulwound is offering us all absolutely no peace with their visceral and modern music, we should all show them our respect and support by visiting their Facebook page, YouTube channel and SoundCloud, and you can take all that peaceless Death Metal craziness home by purchasing their brand new album at the Inverse Records’ webstore (as a regular CD version or a CD + T-shirt bundle), at CDON.COM, or at Record Shop X. As already mentioned, Soulwound are not among us to bring joy or tranquility to our lives, but to provide a demolishing assault of high-end metal music, which is indeed all we ask for when the music in question is Death and Thrash Metal.

Best moments of the album: Altars of Skin, Alone Against All and Wasteland.

Worst moments of the album: Crime and Punishment.

Released in 2016 Inverse Records

Track listing
1. Intro: Impulsive Aggression 1:57
2. Hurt Me Plenty 5:09
3. Altars of Skin 4:29
4. Alone Against All 3:40
5. Wasteland 4:59
6. Crime and Punishment 5:50
7. Misery Index 4:20
8. Hate Speech 4:26
9. Damned 5:55

Band members
Arto Jauho – vocals
Niko Huusari – guitar
Mikko Huusari – guitar
Joni Järvenmäki – bass
Janne Huusari – drums

Album Review – Abigail / The Final Damnation (2016)

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Delivering chaos, sex and blasphemy for over 20 years, one of the most prominent bands from the underground Japanese scene strikes back with more of their libertine and devilish music.

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abigail-the-final-damnation-coverWhenever the name “Abigail” is enunciated, your mind probably takes you to Denmark, home of one of the most iconic metallers of all time, the one and only King Diamond. However, if you travel further east, more specifically to Japan, the Land of the Rising Sun, you’ll face a high-octane fusion of Black, Thrash and Heavy Metal from the 80’s with a libidinous twist through the music by an uncompromising power trio known as Abigail, who have recently released their fifth studio album, titled The Final Damnation, highly recommended for fans of bands like Venom, Bulldozer and Carnivore who also nurture a profound admiration for topics such as war, alcohol, partying, depravity and bitches.

Abigail, who have dubbed themselves as “The Most Evil Band in Japan”, was formed in 1992 in the city of Tokyo, Japan by Yasuyuki Suzuki, a talented multi-instrumentalist and one of the most important names in the underground extreme music scene in Japan, having played with bands such as Cut Throat, Barbatos, Tiger Junkies and the iconic Sigh, from our beloved metal chick Dr. Mikannibal. Their musicality might have shifted a bit from their earliest raw Black Metal to a more complex degree of Speed Metal mixed with Street Punk (a mixture classified by the band as “Street Metal”), also increasing the level of debauchery and blasphemy in their lyrics. With The Final Damnation, which features an obscure artwork by French artist Christophe Moyen, the band has considerably increased the dosage of Black Metal in their music, going back to their roots without losing their current thrashy attitude and electricity.

abigail-band-promoFrantic guitars and drums with a strong melody supporting them set the tone for the berserk title-track The Final Damnation, before Yasuyuki begins firing his inebriate gnarls. In essence, it’s music to drink and fight, exactly what the band wants you to do, boosted by all old school guitar solos Noboru “Jero” Sakuma delivers throughout the whole song. Blasphemy Night is insanity in the form of music, a bestial marriage between Black and Thrash Metal with nuances of Hardcore and Punk Rock where Yasuyuki sounds truly demonic on vocals while drummer Youhei shows no mercy for mankind, obviously commanding us all to slam into the fuckin’ pit, followed by a massacre titled Whisky Coke and Bitch. I guess nothing needs to be said about the name of the song, right? Anyway, Jero continues delivering his traditional solos in this less obscure chant, strongly inspired by the rebellious Punk Rock played by bands such as The Exploited and Black Flag.

In spite of its slower-than-usual start, the deranged composition Sex & Metal (another song with a “cute” name) is sheer devastation throughout its almost 6 minutes, with Yasuyuki and his henchmen smashing everyone who dares to cross their path, also exhibiting more of their insane high-speed guitar solos. And the gates are opened by Abigail’s infernal composition straightforwardly named Open the Gates of Hell, displaying a sonority highly inspired by Thrash Metal from the 80’s with an eccentric Japanese touch. In addition, the bass guitar by Yasuyuki sounds amazingly brutal in this hurricane of disturbing metal. Blazing guitar lines ignite the thrashy composition No Pain! No Limit!, showcasing backing vocals a la traditional Punk Rock while Youhei delivers precisely what we all want in this type of music by pounding his drums like a wild beast during the entire song.

The pulverizing hymn Sweet Baby Metal Sluts doesn’t only have another gentle name, but the screeching gnarls by Yasuyuki will torment your mind while the band keeps discharging their libidinous music through your ears, with Jero continuing his feast of demented solos. And closing the album, how about 7 minutes of total anarchy? That’s what you’ll get in Holocaust by Evil with its Slayer-like guitars and extreme aggressiveness. Youhei pays his personal tribute to Thrash and Black Metal, and although there’s a melodic break influenced by traditional Heavy Metal after around two minutes, Abigail had to obviously finish off the album like a steamroller from hell with their lunatic musicality. Before all is said and done, Yasuyuki fires some final grasps from the depths of hell to give the whole song a more macabre touch.

As aforementioned, if you truly consider Heavy Metal, sex, alcohol and blasphemy as the most important things in your life (and you should), the music by Abigail will definitely be the perfect soundtrack for your metallic and carnal adventures. And in case you want to show your support for those Japanese metallers, go grab your copy of The Final Damnation at the Nuclear War Now! Productions’ BandCamp or at their webstore as a CD, a regular LP or as a “die hard” LP, or at Abigail’s official webstore. Abigail have been on fire since their inception almost 20 years ago, and The Final Damnation is just another proof this defiant troop from Tokyo is far from calling it a day.

Best moments of the album: Blasphemy Night, Sex & Metal and Open the Gates of Hell.

Worst moments of the album: None.

Released in 2016 Nuclear War Now! Productions

Track listing
1. The Final Damnation 4:32
2. Blasphemy Night 3:55
3. Whisky Coke and Bitch 4:50
4. Sex & Metal 5:50
5. Open the Gates of Hell 3:57
6. No Pain! No Limit! 3:04
7. Sweet Baby Metal Sluts 3:22
8. Holocaust by Evil 7:08

Band members
Yasuyuki Suzuki – vocals, bass
Noboru “Jero” Sakuma – guitars
Youhei – drums

Album Review – Misteyes / Creeping Time (2016)

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Which side will you chose in the never-ending battle between Light and Dark Metal brought forth by this distinct symphonic band from Italy?

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creeping-time-front-cover-artwork“Opposition brings concord. Out of discord comes the fairest harmony.” – Heraclitus

The never-ending battle between good and evil, day and night, light and dark, heaven and hell, life and death or whatever other philosophical depiction you want to give to the two opposite worlds that guide our thoughts and actions has just been transformed into high-end music by Italian Symphonic Death/Gothic Metal act Misteyes in Creeping Time, the debut full-length album by a band that definitely knows how to put together the best elements from Light and Dark Metal, enhancing their contrast and, consequently, their impact on the listener.

Misteyes started back in 2012 in the city of Turin, Italy as a five-piece group, playing what could be considered Melodic Death/Black Metal before changing their music direction in 2014 to what exists today, including the addition of a female vocalist and a keyboardist to the band. The next couple of years were very fruitful for Misteyes, who not only started working on Creeping Time, but also shared the stage with renowned names in the Gothic scene such as Cadaveria, Opera IX, Lunarsea and Elegy Of Madness. The band’s approach and musicality can already be sensed through the obscure artwork by Italian artist Alessandro Alimonti (Overload Design Studio), but it’s when the music starts that you’ll find yourself in the middle of the fight between light and dark, getting completely mesmerized by the music that flows through your ears.

The melancholic intro The Last Knell, which begins with the sound of a baby crying, grows in intensity until the title-track Creeping Time arises from the depths of hell in a feast of Symphonic Black and Gothic Metal. Denise “Ainwen” Manzi is the beauty on vocals while Edoardo “Irmin” Iacono provides his beastly growls, perfectly depicting what the band wants to say with the “Light and Dark Metal” concept, with keyboardist Gabriele “Hyde” Gilodi being the one responsible for giving the song its operatic vibe. Then it’s time for some heavier riffs by Daniele “Insanus” Poveromo and Riccardo “Decadence” Tremaioni in the dense Brains in a Vat, an amazing composition filled with passion, hate and agony featuring the creepy spoken words by guest musician Mattia Casabona (Aspasia), sounding like a hybrid of the music by the early days of Cradle of Filth with Epica, resulting in a masterpiece of underground Symphonic Metal. Moreover, it’s interesting how Hyde maintains the mystery in Misteyes’ music through his keyboards no matter how fast and heavy the music is, which is the case in Inside the Golden Cage, where the vocals by Ainwen are once again heavily inspired by the diva Simone Simons whereas Irmin leans towards pure Black Metal, not to mention the thrilling beats by Federico “Krieger” Tremaioni.

Lady Loneliness, a beautiful atmospheric power ballad focused on the gentle voice of Ainwen with some pianos notes giving it an extra touch of delicacy, showcases a good story told through its lyrics (“If you are here, I cannot be overtaken by fear / Only this eternal silence is what can soothe my pain / In darkness I can find you, this time will be forever / Come! Come to me, my lady! Lady Loneliness!”); followed by The Prey, with the whole band getting back to a more brutish mode. Irmin effectively enhances the song’s aggressiveness due to his deranged harsh growls, with Insanus, Decadence and Hyde delivering sheer madness while bassist Andrea “Hephaestus” Gammeri brings forward his share of insanity through his low-tuned punches. Their operatic and dark vein becomes evident once again in Destroy Your Past, a song full of progressive passages thanks to the intricate lines delivered through guitars and bass and all tempo changes led by Krieger, as well as in the operatic metal hymn The Demon of Fear, where guest musician Roberto Pasolini (Embryo) complements the menacing keyboards by Hyde with his enraged growling. This excellent song, displaying a Symphonic Black Metal vibe with hints of Gothic Metal and Melodic Metal, is another good example of the fight between good and evil proposed by Misteyes, proving one more time how connected to the concept of opposition all songs are.

misteyes-2016Special guest Mattia Casabona is back in action, this time with clean vocals, in the two-part aria entitled “Awake the Beast”, starting with the operatic A Fragile Balance (Awake the Beast – Part 1), with its eerie piano intro and Ainwen providing her Tarja-inspired vocals. Almost “a capella”, it sounds like a horror flick soundtrack, leading to the furious and blackened Chaos (Awake the Beast – Part 2), a high-octane tune tailored for fans of obscure and harmonious music where Progressive and Symphonic Black Metal are flawlessly united. Krieger and Hyde are yet again the architects of the musicality, generating the perfect ambience for the sick riffs by both Insanus and Decadence to shine.

In the gripping Decapitated Rose, guest vocalist Björn “Speed” Strid (Soilwork) steals the spotlight by blasting his infuriated declamation of the song’s dark lyrics (“When life is withered …There is no water which can bring it back! / Ivy smothers your soul! Petals fall and you are alone! / All beauty is gone! Only the thorn is what remains! / In this garden of madness … Decapitated rose! Decapitated rose!”), with Hephaestus firing some thunderous bass lines that end up increasing the song’s creepiness while the keyboard sounds by Hyde will pierce your head and haunt your soul. And last but not least, the talented Nicole Ansperger (Eluveitie) and the awesome sound of her violin add the word “epic” to the powerful Winter’s Judgement, a Symphonic Gothic Metal feast that blends elements from the music by Dimmu Borgir, Nightwish, Epica, Moonspell and other prominent bands. In addition, the growls by Irmin get deeper than ever, guiding the listener into a journey through the realms of darkness and light until the song’s soulful ending.

In summary, it doesn’t matter which side you choose in the battle between Light and Dark Metal proposed by Misteyes, you’ll certainly win due to the sensational quality of their music. Thus, you can get in touch with these Italian metallers and get to know more about their music through Facebook, YouTube, ReverbNation and SoundCloud, and acquire your copy of Creeping Time at several different places such as their BandCamp page, the Maple Metal Records’ BandCamp page or Big Cartel, on iTunes, Amazon or CD Baby.

Best moments of the album: Creeping Time, Brains in a Vat, The Prey and Decapitated Rose.

Worst moments of the album: Destroy Your Past.

Released in 2016 Maple Metal Records

Track listing
1. The Last Knell (Intro) 1:40
2. Creeping Time 6:29
3. Brains in a Vat 5:39
4. Inside the Golden Cage 5:24
5. Lady Loneliness 4:37
6. The Prey 7:03
7. Destroy Your Past 5:02
8. The Demon of Fear 6:55
9. A Fragile Balance (Awake the Beast – Part 1) 3:41
10. Chaos (Awake the Beast – Part 2) 5:26
11. Decapitated Rose 4:48
12. Winter’s Judgement 8:05

Band members
Edoardo “Irmin” Iacono – growl and scream vocals
Denise “Ainwen” Manzi – clean and operatic vocals
Daniele “Insanus” Poveromo – lead guitars
Riccardo “Decadence” Tremaioni – rhythm guitars
Gabriele “Hyde” Gilodi – piano, synth and orchestrations
Andrea “Hephaestus” Gammeri – bass and fretless bass
Federico “Krieger” Tremaioni – drums

Guest musicians
Björn “Speed” Strid – additional scream and clean vocals on “Decapitated Rose”
Nicole Ansperger – violin on “Winter’s Judgement”
Roberto Pasolini – additional growls and scream vocals on “The Demon of Fear”
Mattia Casabona – spoken words on “Brains in a Vat”, additional clean vocals on “A Fragile Balance (Awake the Beast – Part 1)”, and additional growls and scream vocals on “Chaos (Awake the Beast – Part 2)”