Category Archives: Album Reviews

Album Review – Accept / Humanoid (2024)

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A sonic assault of blistering riffs, powerhouse vocals, and adrenaline-fueled melodies dealing with topical themes like AI, aging and death, brought into being by the Teutonic masters of Heavy Metal.

A sonic assault of blistering riffs, powerhouse vocals, and adrenaline-fueled melodies dealing with topical themes like AI, aging and death, the heavy and vibrant Humanoid is nothing more, nothing less than the seventeenth studio album by Teutonic Heavy Metal masters Accept, and a more-than-worthy follow-up to their 2021 album Too Mean to Die. Once again recorded, mixed and mastered by Andy Sneap at Backstage Recording Studios, and displaying a metallic artwork by Gyula Havancsák, the new album by Mark Tornillo on vocals, Wolf Hoffmann and Uwe Lulis on the guitars, Martin Motnik on bass, and Christopher Williams on drums is a metal missile that targets the head, heart, gut and balls, inspiring the band to continue stepping forward and bringing us the Heavy Metal we know and love from one of the most important bands in the history of heavy music.

Sinister guitar tones ignite the opening tune Diving into Sin, exploding into a metallic feast with Mark and Wolf leading their bandmates in a pure display of modern-day Accept, and they put the pedal to the metal in the title-track Humanoid, offering our ears an overdose of pounding drums, blazing riffs and a mechanized vibe in line with the song’s theme. Frankenstein presents cheesy but catchy lyrics declaimed by Mark (“Got the strangest feeling, something isn’t right / I hear peculiar sounds amidst the eerie light / Can someone tell me, who I’m supposed to be / I was at peace but now something’s awakened me”) while the rest of the band delivers pure Heavy Metal for the masses; whereas more classic Accept is offered to us all in Man Up, with Wolf and Uwe taking the lead with their 80’s-infused riffs while Mark receives a solid support by his bandmates on the backing vocals. And The Reckoning is an absolute banger by those Teutonic metallers where everything sounds incendiary, from Mark’s vocals to all riffs, bass and drums blasted by his crew.

The band continues to feed our minds and souls with the purest form of Heavy Metal in Nobody Gets Out Alive, where Wolf and Uwe, accompanied by the rumbling bass by Martin, sound utterly classy and thrilling armed with their axes; whereas in Ravages of Time, Mark delivers Blues-infused words (“I’ve been to many places, I’ve drank a lot of wine / I’ve loved a lot of women in my time / I took what I was given, too much was not enough / And now I’m here to tell the tale”) amidst a gentle, melancholic sound, or in other words, it’s a nice ballad by those veterans. It’s then pedal to the metal spearheaded by Wolf’s blazing guitar in Unbreakable, with Martin once again hammering his bass nonstop, therefore enhancing the song’s punch considerably, and there’s still more to go in Humanoid, starting with Mind Games, another old school, solid composition by Accept, albeit a bit generic compared to the rest of the album, while there’s nothing better than a song about some quality drinking in a Heavy Metal album like Humanoid, titled Straight Up Jack, and of course Mark’s vocals match perfectly with the topic “discussed”, resulting in a song with a strong AC/DC vibe. Lastly, let’s slam into the circle pit one final time to the sound of Southside of Hell, bringing forward more of their trademark riffs and beats and, consequently, closing the album on a metallic note.

Accept Humanoid Limited Edition Deluxe Boxset

Mark, Wolf & Co. are waiting for you on Facebook and Instagram with news, more of their music, tour dates (and they’ve just announced a co-headlining tour across North American with KK’s Priest, which is definitely going to be a celebration of pure Heavy Metal that you don’t want to miss), and don’t forget to experience Humanoid by clicking HERE and to buy a copy of their newborn metal beast from Napalm Records (including the more-than-special Limited Edition Deluxe Boxset containing a mediabook CD, a flag, a lighter, a keytool in a guitar shape, a textile sticker and a photo card) or by clicking HERE or HERE. Accept are one of those bands that despite always looking forward and embracing new technologies, at the same time they stay loyal to their foundations, and Humanoid is the perfect depiction of that healthy clash of the past, present and future of the band. We’re all humanoids, but of course with Accept kicking our asses with their undisputed metal music like what they have to offer in their new album, we can call ourselves headbanging humanoids.

Best moments of the album: Frankenstein, The Reckoning, Nobody Gets Out Alive and Unbreakable.

Worst moments of the album: Mind Games.

Released in 2024 Napalm Records

Track listing
1. Diving into Sin 4:00
2. Humanoid 4:35
3. Frankenstein 4:14
4. Man Up 5:08
5. The Reckoning 4:34
6. Nobody Gets Out Alive 4:06
7. Ravages of Time 4:15
8. Unbreakable 4:53
9. Mind Games 4:05
10. Straight Up Jack 3:27
11. Southside of Hell 4:56

Limited Edition/Mediabook/Boxset bonus track
12. Hard Times 3:41

Band members
Mark Tornillo – vocals
Wolf Hoffmann – guitar
Uwe Lulis – guitar
Martin Motnik – bass
Christopher Williams – drums

Album Review – Holycide / Towards Idiocracy (2024)

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Armed to the teeth with machinegun riffs and prophecies of destruction, Spain’s premier Thrash Metal battle tank is unleashing a completely uncompromising thrash attack on the soulless avarice, self-serving arrogance and blind stupidity of mankind.

Armed to the teeth with machinegun riffs and prophecies of destruction, Towards Idiocracy, the third full-length album from Madrid, Spain’s premier Thrash Metal battle tank Holycide, is a completely uncompromising thrash attack on the soulless avarice, self-serving arrogance and blind stupidity of mankind and its crumbling towers, built upon the rotting carcass of this once paradisiacal world. Mixed by Nexus 6 at Monsteny Studios, mastered by Davide Billia at Mk2 Recording Studio, and displaying a dystopian artwork by Daemorph, the new album by frontman Dave Rotten (Avulsed, Christ Denied, Putrevore), guitarists Salva Esteban (Charontid) and Ankor Ramírez, bassist Vicenta J. Payá (Unbounded Terror, Golgotha), and drummer Santi ‘GoG’ Arroyo (Avulsed, Buriality) is the perfect follow-up to the band’s previous efforts Bazookiller, Fist to Face, and Annihilate… Then Ask!, a total sonic apocalypse highly recommended for fans of Slayer, Exodus and D.R.I., among others, that will surely keep fueling the band’s thrashing machine for many years to come.

The opener A.I. Supremacy already brings forward an overdose of rage, heaviness and old school Thrash Metal by the quintet, with Dave showcasing his trademark visceral roars right from the start, sounding sick and violent just the way we like it in extreme music; followed by the title-track Towards Idiocracy, where Salva and Ankor show no mercy for our souls delivering electricity and fury through their riffs. Remote Control is another blast of ass-kicking Thrash Metal led by the hammering drums by Santi while their guitars will slash your ears in a violent and thrilling manner, whereas Lie Is the New Truth is one of the most frantic, demented tunes of the entire album where Dave once again growls in our faces like a beast, resulting in a lecture in Thrash Metal made in Spain. And there’s no sign of Holycide slowing down at all, as the band blasts our ears with one more feast of thrashing sounds titled Power Corrupts, with Salva and Ankor stealing the spotlight with their razor-edged, massive riffs.

Get ready to be smashed like an insect inside the circle pit to the sound of Technophobia, an infuriated Thrash Metal anthem against the perils of present day technology, with Dave bursting his lungs screaming in the name of heavy music; and Angry for Nothing is what we could call the Spanish version of the ruthless Thrash Metal played by Exodus, a demented creation by the band with Santi taking the lead with his unstoppable beats and fills. As usual, Holycide offer a sick cover of a thrash anthem in the album, this time Chemical Dependency, by Atrophy (check out the original version from their 1987 demo Chemical Dependency), and Holycide’s version is just as frantic and electrifying. The whole album exhales madness and violence, and in Pleased to Be Deceived it couldn’t have been any different than that, with their riffs, bass and drums generating a menacing atmosphere perfect for Dave’s trademark roars; while lastly, the band will burn everything and everyone that crosses their path with Flamethrower ‘Em All, again blasting our faces with their boisterous blend of Thrash Metal.

In summary, Holycide nailed it once again with Towards Idiocracy, an album that exhales aggression musically and lyrically speaking, turning it into a must-listen for any metalhead who enjoys the austere, unrelenting and violent sounds of our good old Thrash Metal. Hence, don’t forget to follow the band on Facebook and on Instagram for news, tour dates and so on, to stream their demented music on Spotify, and above all that, to put your damned hands on their bestial new album by grabbing a copy of it directly from their own BandCamp page or from the Xtreem Music BandCamp page, keeping our beloved Thrash Metal alive and kicking, and of course the circle pits moving frantically in total Armageddon. And through the hail of bullets and cancerous fumes we march on, from our brave new world towards idiocracy.

Best moments of the album: A.I. Supremacy, Lie Is the New Truth and Angry for Nothing.

Worst moments of the album: None.

Released in 2024 Xtreem Music

Track listing
1. A.I. Supremacy 3:15
2. Towards Idiocracy 3:49
3. Remote Control 4:17
4. Lie Is the New Truth 3:42
5. Power Corrupts 4:30
6. Technophobia 3:17
7. Angry for Nothing 3:53
8. Chemical Dependency (Atrophy cover) 3:03
9. Pleased to Be Deceived 4:46
10. Flamethrower ‘Em All 4:24

Band members
Dave Rotten – vocals
Salva Esteban – guitar
Ankor Ramírez – guitar
Vicente J. Payá – bass
Santi ‘GoG’ Arroyo – drums

Album Review – Rotting Christ / Προ Χριστού (Pro Xristou) (2024)

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The Hellenic beast of extreme music is back with their imposing fourteenth studio effort, a fervent tribute to the last Pagan kings who resisted the onslaught of Christianity, guarding their ancient values and knowledge.

Celebrating 35 years of existence in the name of extreme music, Athens, Greece’s own Melodic Black/Gothic Metal institution Rotting Christ is unleashing upon us all their fourteenth studio opus, titled Προ Χριστού (Pro Xristou), or “Before Christ” in Greek, the follow-up to their excellent 2019 album The Heretics. Recorded at Devasoundz Studios, produced by the band’s iconic mastermind Sakis Tolis, mixed by Jens Borgen and mastered by Tony Lidgren at Fascination Street Studios, and displaying a stunning artwork by Thomas Cole (which title is “Destruction”, and part of the painting series “The Course of Empire”) with digital processing by Adrien Bousson, the new album by the aforementioned Sakis Tolis on vocals and guitars, Kostas Foukarakis also on the guitars, Kostas Cheliotis on bass, and Themis Tolis on drums serves as a fervent tribute to the last Pagan kings who resisted the onslaught of Christianity, guarding their ancient values and knowledge. In this thematic odyssey, Rotting Christ delves into the legacies of historical figures such as Flavius Claudius Julianus and Nordic mythological kings, embodying the might of Pagan wisdom in the face of Christian adversity. The album encapsulates the essence of Rotting Christ’s signature style – melodic, yet harsh at times – reinventing themselves yet again, while remaining rooted in their 35-year legacy.

Pro Xristou (Προ Χριστού) is a superb, impressive intro, taking the album to a whole new level of epicness and obscurity and getting us more than ready for The Apostate, beginning with the incendiary trademark riffs by Sakis and Kostas Foukarakis and with all background sounds and choir turning it into a whimsical musical voyage tailored for longtime fans of the band. Like Father, Like Son, the first single of the album, presents more of the band’s trademark fusion of Black and Gothic Metal, with of course hints of Epic Metal to make things even more compelling; whereas the riffs by Sakis and Kostas Foukarakis will embellish the airwaves in the smooth but dark The Sixth Day, sounding at times like the most recent creations by Insomnium. Then featuring guest vocalist Amdroniki Skoula we have La Lettera Del Diavolo, or “the devil’s letter” from Italian, and every single time Sakis makes a duet with a woman the final result is stunning, with his bandmates crafting a beyond massive, bold sound in the background, therefore resulting in one of the most epic of all songs (if not the most); and a Black Sabbath-inspired riff guides the music in The Farewell, perfect for some vigorous headbanging to the pounding drums by Themis.

Pix Lax Dax is one of those eerie, mysterious creations by Rotting Christ where the background choir adds tons of epicness and power to the overall result, also with Themis once again hammering his drums in great fashion, followed by Pretty World, Pretty Dies, carrying a very distinct name to an embracing, majestic creation by the band, exhaling Epic Black Metal, and all spearheaded by the unparalleled dark vocals by Sakis,. Needless to say, I can’t wait to see this song played live. More of their puissant Black Metal is offered to us all in Yggdrasil, again blending their caustic, visceral riffs with ethereal and imposing background elements, which makes me believe it will easily become a fan-favorite; while  the last song from the regular version of the album, titled Saoirse, takes their atmospheric and epic power to a whole new level, with Sakis and Themis sounding on absolute fire until the very last second. Furthermore, if you go for the limited edition box version of the album, you’ll get the bonus tracks Primal Resurrection and All For One, both really good songs that are worth the investment in such special version of the album, plus of course all the perks included in the package.

Rotting Christ Προ Χριστού (Pro Xristou) LP Box + Digital Limited Edition

You can put your heretic hands on Προ Χριστού (Pro Xristou) by purchasing it from the Season of Mist webstore, including the already mentioned more-than-special LP box + digital limited edition, a collector’s edition limited to 500 copies worldwide that comes in a box size 32.5cm x 32.5cm x 5cm with gold foil and linen-like lamination, including the album on gold and black marbled 12” double vinyl, cut in 45 rpm for optimum fidelity, in gatefold with gold foil and linen-like lamination with 12-page insert, the aforementioned bonus tracks on black 7″ vinyl in jacket with linen-like lamination, the album with the bonus tracks on CD in digipak with gold foil and linen-like lamination with 16-page booklet, a 240 gsm, 120cm x 180cm linen printed shroud, a stainless steel pendant and necklace in linen bag with the band’s logo, and a numbered certificate, or click HERE to select your favorite version of the album (including all streaming options). Don’t forget to also check what the most important metal band in the history of Greece is up to on Facebook and on Instagram, to subscribe to their YouTube channel, and to stream their superb discography on Spotify. Those Hellenic metallers will take you back to the time before Christ in their stunning new album, keeping the spirit of true extreme music alive, and of course, leaving us all proud for always supporting them in their brilliant journey.

Best moments of the album: The Apostate, La Lettera Del Diavolo, Pretty World, Pretty Dies and Yggdrasil.

Worst moments of the album: Like Father, Like Son.

Released in 2024 Season of Mist

Track listing
1. Pro Xristou (Προ Χριστού) 1:29
2. The Apostate 5:01
3. Like Father, Like Son 4:35
4. The Sixth Day 3:56
5. La Lettera Del Diavolo 4:01
6. The Farewell 6:15
7. Pix Lax Dax 4:33
8. Pretty World, Pretty Dies 4:51
9. Yggdrasil 5:04
10. Saoirse 6:17

LP Box + Digital Limited Edition bonus tracks
11. Primal Resurrection 5:32
12. All For One 3:37

Band members
Sakis Tolis – vocals, guitars
Kostas Foukarakis – guitars
Kostas Cheliotis – bass
Themis Tolis – drums

Guest musicians
Amdroniki Skoula – vocals on “La Letra Del Diavolo”
Nikos Kerkiras – keyboards
Christina Alexiou, Maria Tsironi, Alexandros Loyziotis & Vasilis Karatzas – choir
Andrew Liles – narration on ‘The Apostate” and “Pretty World, Pretty Dies”
Kim Diaz Holm – narration on “Ygdrassil”

Album Review – Inhuman / Prerogative Of The Unborn (2024)

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A Death Metal beast hailing from Costa Rica returns with its fourth studio album, a sonic pilgrimage that explores the darkest corners of the human psyche.

Formed in 2011 in the city of Heredia, Costa Rica, the ruthless Technical Death Metal squad known as Inhuman is unleashing upon humanity their fourth full-length album, titled Prerogative Of The Unborn, a descent into the abyss of Death Metal with newfound echoes of melody that defy the norm. Displaying a sinister artwork by Phlegeton (aka Jose Luis Rey Sanchez), the new album by vocalist Gabriel Martinez, guitarist Jonathan Sanchez, bassist Andrés Maroto, and drummer Juriel Barquero is a manifesto of rebellion against the mainstream, a sonic pilgrimage that explores the darkest corners of the human psyche highly influenced by Decapitated, Lamb Of God, Behemoth, Decide, and Cannibal Corpse, among others, being therefore recommended for fans of the most visceral yet technical side of Death Metal.

The evil riffage by Jonathan and the sick drumming by Juriel ignite the mosh pit feast titled Columbarium, sounding infernal and violent just the way we like it in old school Death Metal, whereas the title-track Prerogative Of The Unborn brings forward six minutes of heaviness and savagery by the quartet, showcasing all their dexterity and passion for extreme music, with Gabriel roaring like a beast nonstop. Juriel then blasts some demented, intricate beats in In The Name Of The Father, adding an extra dosage of violence to their sound while Jonathan and Andrés hammer their stringed axes manically; followed by Poetry Of A Decaying Soul, a visceral, more direct tune showcasing the band’s incendiary Death Metal essence, with Gabriel once again taking the lead with his raspy vociferations.

The second half of the album begins with six minutes of darkness titled Dreadful Existence, offering our avid ears some ass-kicking breaks, variations, and the band’s trademark aggression, with Juriel sounding bestial on drums, while Worthless Skin is one hundred percent inspired by Death Metal titans the likes of Cannibal Corpse and Vomitory, as the band brings forward a gruesome sonic attack perfect for some sick headbanging. Their second to last onrush of insanity and obscurity is entitled Deathless Crave, where Andrés blasts his bass furiously accompanied by the always classy beats by Juriel, flowing into the closing tune I’m Staying Inside You, where the band delivers another solid display of Death Metal, sounding groovy while at the same time ruthless, albeit not the most electrifying option for putting an end to the album.

This beast of an album is available in full on YouTube and on Spotify, but of course if you want to show your utmost support to the Costa Rican underground you can purchase a copy of Prerogative Of The Unborn from the GrimmDistribution’s BandCamp page, and don’t forget to also check what the guys from Inhuman are up to on Facebook and on Instagram, or simply click HERE for all things Inhuman. Proudly carrying the flag of Costa Rican metal, those talented musicians will crush you to the sound of their new album, a Death Metal machine that will surely fuel them to keep moving forward and releasing more insanity in the form of music in the coming years.

Best moments of the album: Columbarium, In The Name Of The Father and Dreadful Existence.

Worst moments of the album: I’m Staying Inside You.

Released in 2024 GrimmDistribution/Sanatorio Records

Track listing
1. Columbarium 3:48
2. Prerogative Of The Unborn 6:22
3. In The Name Of The Father 5:03
4. Poetry Of A Decaying Soul 3:31
5. Dreadful Existence 6:08
6. Worthless Skin 4:08
7. Deathless Crave 3:21
8. I’m Staying Inside You 5:17

Band members
Gabriel Martinez – vocals
Jonathan Sanchez – guitars
Andrés Maroto – bass
Juriel Barquero – drums

Album Review – Darkflight / Entropy (2024)

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This Bulgarian doom trio will darken your senses with their fifth full-length album, a monumental work of sadness and despair taking the listener on a soul reaping journey through afterlife and purgatory.

Formed in the already distant year of 2000 in the city of Varna, Bulgaria, crafting a hybrid of Blackened Doom with fantasy-influenced lyrics, the unyielding Atmospheric Black/Doom Metal entity Darkflight has just unelashed upon mankind their fifth full-length opus, titled Entropy, following up on their 2017 album The Hereafter. Stronger than ever, and showcasing a melodic brilliance, the album proves that the band has matured and created a monumental work of sadness and despair, taking the listener on a soul reaping journey through afterlife and purgatory, all carefully brought into being by Milen Todorov on vocals and bass, Ivo Iliev on the guitars and synths, and Valentin Deskov on drums, being therefore perfect for admirers of the music by My Dying Bride, Anathema, and Katatonia.

The band’s obscure, old school Doom Metal feast begins with the lugubrious A Sad Place to Call Home, with Valentin delivering those traditional sluggish beats, darkening the skies while Milen declaims the song’s deep lyrics with tons of passion. Second Genesis is even more melodic, whimsical and atmospheric, blending the finesse of Atmospheric Black Metal with nuances of Progressive Rock while Ivo sounds fantastic on the guitars, delivering an amazing solo halfway through it; and  a mysterious female guest vocalist bring an extra touch of finesse to So Much to Tell, a beautiful ballad by Darkflight that brings melancholy and hope to our blackened hearts, whereas more of their fusion of rock and metal sounds is offered to us all in Vague Echoes, with the soothing guitars and synths by Ivo sounding very comforting and enfolding.

Then a pensive, deep start to the passionate vocals by Milen kick off the also embracing tune Buried Together, a beautiful ballad led by the intense vocals by Milen, while Rebirth follows a similar pattern, being at the same time dark, atmospheric and mesmerizing, with Ivo having an amazing performance with his piano and synths, or in other words, it’s definitely a song to listen to together with your loved ones. Your Time Has Passed is a more straightforward tune by Darkflight, bringing forward their trademark dark sounds infused with Gothic Rock and Metal elements, also offering another blast of Milen’s ethereal vocal lines while Valentin dictate’s the song’s gorgeous pace behind his drums. They keep embellishing the airwaves with their Atmospheric Black, Doom and Gothic Metal in Towards the Ruins, where once again Ivo and Valentin generate the perfect ambience for Milen to shine on vocals; and closing the album the trio offers more of their soothing, penetrating sounds in the form of Be Well, not as amazing as the rest of the album but still a solid ballad by those Bulgarian rockers.

In a nutshell, Entropy is a very well-crafted and detailed journey through the realms of Atmospheric Black and Doom Metal that truly deserves a full listen by any fan of good heavy music, and if you also want to know more about Darkflight, their tour dates and plans for the future, you can start following the band on Facebook, stream their music on Spotify or any other streaming service, and above all that, grab a copy of their striking new album from Symbol of Domination’s BandCamp page. The dark, pensive and mournful musical journey crafted by Darkflight in their new album will simply crush your hearts and souls, positioning them as one of the must-see names of the Bulgarian scene, and adding an extra layer of doom to the metal community worldwide.

Best moments of the album: Second Genesis, Vague Echoes and Your Time Has Passed.

Worst moments of the album: Be Well.

Released in 2024 Symbol Of Domination/Australis Records

Track listing
1. A Sad Place to Call Home 6:02
2. Second Genesis 6:40
3. So Much to Tell 4:40
4. Vague Echoes 5:40
5. Buried Together 4:45
6. Rebirth 4:52
7. Your Time Has Passed 3:38
8. Towards the Ruins 5:36
9. Be Well 5:00

Band members
Milen Todorov – vocals, bass
Ivo Iliev – guitars, synths
Valentin Deskov – drums

Album Review – The Last of Lucy / Godform (2024)

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One of the most technical and violent bands of the current American scene returns with their fulminating third full-length offering, showcasing their trademark scathing intensity and forceful execution.

Two years after their devastating album Moksha, Huntington Beach, California, United States-based Technical/Progressive Death Metal outfit The Last of Lucy finetunes their sound, blending elements of Technical Death Metal, Mathcore, a bit of Brutal Death Metal, and even bring back aspects of their debut on their latest full-length opus, entitled Godform. Mixed and mastered by Dave Otero at Flatline Audio Studio, and displaying a sick artwork by Pär Olofsson, the new album by Josh De La Sol on vocals, Gad Gidon on the guitars, Derek Santistevan on bass, and Josef Hossain-Kay on drums showcases the band’s trademark scathing intensity and forceful execution, along with their knack for writing catchy music and shuffling things around, casting out any semblance of complacency from taking shape in the minds of the listener and, consequently, being highly recommended for fans of Inferi, The Faceless, Archspire, The Zenith Passage, and Godless Truth, among others.

Wormhole provides a more than an infernal start to the album, with Josef already decimating our cranial skulls with his hammering drums while Josh barks and roars like a beast, or in other words, it’s the epitome of modern-day Technical Death Metal by one of the best bands of the genre. They keep blasting their ruthless yet very intricate sounds in Empyreal Banisher, also bringing elements from Deathcore which is kind of in line with their beginnings, not to mention the amazing job by Gad with both his riffs and solos, followed by Twin Flame, sounding and feeling freakin’ demonic while also presenting ethereal, smooth passages, in special the ones with the saxophone, resulting in a very detailed tune that should work really well if played live. In Shedim Séance we face two minutes of first-class Technical Death Metal by the quartet condensing all their fury, rage and dexterity in a short but extremely caustic composition; and there’s no sign of slowing down at all, as Sanguinary Solace is  pedal to the metal to the infuriated riffs by Gad while Derek hammers his bass frantically.

Gad continues to impress with his top-notch technique in Sentinel Codex, delivering wicked riffs perfect for the demented growls by Josh in another Technical Death Metal beast by the quartet, followed by Darkest Night of the Soul, portraying a beautiful name for one of the most complex, multi-layered songs of the album where their Death Metal vein pulses harder than ever, all spearheaded by the pulverizing beats by Josef. Angelic Gateway is another short and sweet explosion of Technical Death Metal with Deathcore nuances, with Gad yet again sounding ruthless armed with his axe. Two more songs to go and they still have a lot of fuel to burn starting with Anima Flux, where their riffs, bass and drums match perfectly with the wicked guttural by Josh, and last but not least the quartet will pierce our damned souls with the title-track Godform, bringing forward another shot of their trademark Death Metal extravaganza, with Derek and Josef making the earth tremble with their sick bass and drums.

Godform is one of those albums that you must listen to if you have Death Metal running through your veins, as it’s not only brutal and visceral, but the level of intricacy and dexterity brought forward by The Last of Lucy throughout the entire album is majestic. Hence, don’t forget to give them a shout on Facebook and on Instagram, getting up to date with their news, including tour dates, to stream their sick creations on Spotify or on any other streaming service, and above all that, to purchase a copy of the fulminating Godform from their own BandCamp page or from the Transcending Obscurity Records webstore by clicking HERE, HERE or HERE, and also click HERE for all things The Last of Lucy, letting their venomous yet extremely technical sounds penetrate deep inside your damned soul and mercilessly burn you from inside.

Best moments of the album: Wormhole, Twin Flame, Shedim Séance and Darkest Night of the Soul.

Worst moments of the album: None.

Released in 2024 Transcending Obscurity Records

Track listing
1. Wormhole 4:09
2. Empyreal Banisher 3:07
3. Twin Flame 4:44
4. Shedim Séance 2:22
5. Sanguinary Solace 3:14
6. Sentinel Codex 3:00
7. Darkest Night of the Soul 3:21
8. Angelic Gateway 2:41
9. Anima Flux 3:00
10. Godform 2:51

Band members
Josh De La Sol – vocals
Gad Gidon – guitars
Derek Santistevan – bass
Josef Hossain-Kay – drums

Album Review – Necht / The Prophecy Of Karnifor (2024)

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Offering grim, martial and epic tales of the Enkari, the first human civilization, this Canadian Black Metal horde steps out of the shadows of the past to spread the word of their long meditation.

GLORY TO THE SUN!

We humans are and have always been driven by our own imagination. Someone stumbles across an old book as a child and from then on lives a life believing in the resurrection of a man who died in a cruel way, giving rise to white metal as a movement. Born in the fires of the Canadian city of Calgary, Alberta in 2022, the infernal Black Metal entity known as Necht is stepping out of the shadows of the past to spread the word of their long meditation, entitled The Prophecy of Karnifor. Offering grim, martial and epic tales of the Enkari, the first human civilization, inspired by the discoveries of the German explorer and philosopher Karl von Mecklenburg, as unveiled in the controversial research of Dr. Birgitta Olsson, The Prophecy Of Karnifor is a bold, multi-layered feast of Black Metal in the name of B’ahn, Our Father, The Ceaseless Warrior, masterfully brought into being by Zenith Maharg (vocals) and his Ascendants Zhargor (guitars), Aemoh (bass) and Vlasfimos (drums).

As if the band was preparing us for their Stygian cult, we face the imposing intro The Vision of the Qa’ar, exploding into the ferocious Within Her Jaws Dwells The Dark Promise Of Our Death, where Ascendant Vlasfimos sounds utterly infernal behind his drums while Zenith Maharg begins his visceral, demented vocal attack by screaming and roaring manically nonstop. Then continuing their ritualistic feast of darkened sounds, it’s time for Stirred By Shadow, I Did Wake, where the riffs by Ascendant Zhargor will haunt your damned souls accompanied by the classic bass by Ascendant демон in another heavy, grim and venomous creation by the quartet. To Me, The Obelisk Calls blends their core Black Metal with elements from Atmospheric Black Metal, and the final result is a phantasmagorical voyage by Necht, with the drums by Ascendant Vlasfimos once again sounding demolishing; and you better prepare your senses for an overdose of towering, visceral sounds by Necht in the eight-minute beast titled Into Bondage Born, a Melodic Black Metal aria where Zenith Maharg leads his horde with his devilish gnarls while the guitar by Ascendant Zhargor will pierce your minds mercilessly.

And they keep decimating our damned souls in By The Fires Of Ascension Shall I Reach The Sky, with the band’s stringed duo delivering sheer Black Metal madness supported by the always hellish beats by Ascendant Vlasfimos, whereas By Blood And Bone Do We Bind lives up the the legacy of modern-day Melodic Black Metal, blasting our ears with the band’s trademark ferocity and passion for the occult, all of course spearheaded by the demonic growls by Zenith Maharg. There’s time for a cinematic interlude titled Blackened Loom The Walls Of Ishpan, setting the stage for the band to crush our souls one last time in For Violence Was Wrought Upon Me, a Behemoth-inspired extravaganza tailored for fans of Blackened Death Metal, putting a beyond infernal ending to the band’s black mass.

“BRETHREN! Do not fear the shadow. Within the shadow there may be found despair. Within the shadow there may be found death, and dissolution. But within the shadow, there may also be found awakening and enlightenment. For it was in the shadow that our Father, B’ahn, was born. GLORY TO THE SUN!” Those were the words by Zenith Maharg, from the Temple of Necht in the Cult of B’Ahn, citing the Enkari-B’Ahn writings, and if you’re eager to join them in the occult you can start following the band on Facebook and on Instagram, listen to their eerie creations on YouTube and on Spotify, and above all that, grab a copy of The Prophecy Of Karnifor from the band’s own BandCamp page or by clicking HERE. Glory to the Sun, glory to Black Metal, and glory to Necht for bringing into being such an amazing album.

Best moments of the album: Stirred By Shadow, I Did Wake, Into Bondage Born and By Blood And Bone Do We Bind.

Worst moments of the album: None.

Released in 2024 Independent

Track listing
1. The Vision of the Qa’ar 1:42
2. Within Her Jaws Dwells The Dark Promise Of Our Death 7:25
3. Stirred By Shadow, I Did Wake 5:40
4. To Me, The Obelisk Calls 5:26
5. Into Bondage Born 8:37
6. By The Fires Of Ascension Shall I Reach The Sky 6:41
7. By Blood And Bone Do We Bind 7:33
8. Blackened Loom The Walls Of Ishpan 1:46
9. For Violence Was Wrought Upon Me 5:32

Band members
Zenith Maharg – vocals
Ascendant Zhargor – guitars, choir
Ascendant демон – bass, choir
Ascendant Vlasfimos – drums

Album Review – Odiosa / Selva de Pedra (2024)

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Enjoy 18 minutes of first-class Crossover Thrash made in Brazil, courtesy of an amazing band in their fight against social inequality, physical and psychological violence, fascism and other social struggles.

Formed in 2017 in the Brazilian city of Recife, in the state of Pernambuco, the vicious Crossover Hardcore four-piece outfit Odiosa, the feminine Portuguese word for “hateful”, has been conquering audiences of the most diverse age groups with the proposal of provoking reflections on social issues in their homeland. Formed of the venomous Luísa Cunha on vocals, Rafa Farias on the guitars, Thalys Rossi on bass, and  Vitor Lima on drums, the quartet has just released their new album titled Selva de Pedra, or “concrete jungle”, the follow-up to their 2021 EP Mil Motivos Para Te Odiar. Produced, mixed and mastered by the band’s own guitarist Rafa Farias, the album offers thirteen ass-kicking original tracks portraying all the social inequality, physical and psychological violence, fascism and other social struggles from their homeland Brazil, bringing to our avid ears elements from Groove Metal, Crust, and Grindcore to make things as caustic and heavy as possible.

In the intro Caos, absolute chaos, disorder and the always threatening sound of cop sirens warm us up for the pulverizing Sistema Imundo, or “filthy system”, with the band blasting a Ratos de Porão-style Punk Rock sonority led by the crushing beats by Vitor, kicking off the album on a visceral mode. Then enhancing their animosity to a whole new level we have Povo Desolado (“desolate people”), with Luísa barking like a beast during the song’s intense 22 seconds, followed by Alienados (“alienated”), a song about the current political situation in Brazil, with Luísa once again vociferating the song’s acid lyrics while Rafa pierces our minds with his sick riffs. Slowing things down but sounding beyond caustic and aggressive, Traje do Fascismo (“fascism costume”) offers two minutes of top-notch Hardcore where Luísa’s raspy vocals add an extra touch of obscurity to the song’s already grim vibe, whereas it’s time for a quick break to the calm and melancholic Viver Sem Medo, or “to live without fear”, working as an interlude with Luísa this time declaiming the song’s lyrics in a pensive way, flowing into the breathtaking Repúdio, or “repudiation”, putting the pedal to the metal and offering us a circle pit feast where Thalys blasts his bass in the name of old school Punk Rock.

They only need a minute to kick us hard in the ass in Sucateando Nossa História, or “scrapping our history”, where their riffs, bass and drums match perfectly with Luísa’s rebellious vocals, while Absurdo (“absurd”) brings to our ears more of their fusion of Brazilian Hardcore, Punk Rock and Thrash Metal, and the final result is fantastic, turning it into one of the most exciting moments of the album. The quartet shows no signs of slowing down or softening their music; quite the contrary, their infuriated Hardcore extravaganza goes on in Nossa Voz, or “our voice”, led by the hammering beats by Vitor, and there’s still more fuel to burn in Selva de Pedra, starting with Oprimido, Opressor!, or “oppressed, oppressor!”, where Rafa’s riffage will pierce our minds as usual. In the second to last explosion of Hardcore made in Brazil, titled Fracasso, or “failure”, Luísa sounds absolutely demented on vocals while her bandmates don’t let the energy go down not even a tiny bit. And how about one last minute of pure savagery? That’s exactly what the quartet offers us in the title-track Selva de Pedra, ending the album in great fashion.

If you’re eager to slam into a mosh pit while listening to first-class Hardcore, you can stream the album in full on YouTube and on Spotify, and start following the band on Facebook, Instagram and YouTube to enjoy more of their music and stay updated with their live concerts. And of course, go grab a copy of Selva de Pedra from the band’s own BandCamp page or by clicking HERE, putting a huge smile on the faces of those talented Brazilian musicians. Living in a concrete jungle is never easy, but fortunately we have bands like Odiosa to keep our eyes and ears open to all issues faced by the people who live in those urban areas, a relationship of love and hate that translates perfectly to the band’s acid Hardcore.

Best moments of the album: Sistema Imundo, Traje do Fascismo and Absurdo.

Worst moments of the album: None.

Released in 2024 Independent

Track listing
1. Caos 0:30
2. Sistema Imundo 1:34
3. Povo Desolado 0:22
4. Alienados 0:56
5. Traje do Fascismo 2:06
6. Viver Sem Medo 1:04
7. Repúdio 2:08
8. Sucateando Nossa História 0:57
9. Absurdo 1:34
10. Nossa Voz 1:23
11. Oprimido, Opressor! 2:21
12. Fracasso 2:20
13. Selva de Pedra 1:06

Band members
Luísa Cunha – voclas
Rafa Farias – guitars
Thalys Rossi – bass
Vitor Lima – drums

Album Review – Korpiklaani / Rankarumpu (2024)

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Can you hear the striking Folk Metal sound of the ragged drum played by one of the most iconic Finnish bands of all time?

A highly revered and massively popular Folk Metal ensemble known for their signature style of Finnish Folk and Heavy Metal that runs the gamut of emotions for one of the most honest, unique and enthralling sounds in heavy music, Lahti, Päijät-Häme-based outfit Korpiklaani has just unleashed upon us their twelfth studio album, titled Rankarumpu (or “ragged drum” from Finnish), the follow-up to their 2021 release Jylhä. Once again produced, mixed and engineered by Janne Saksa at Sound Supreme Studio, mastered by Svante Forsbäck at Chartmakers, and displaying a beautiful artwork by Jan “Örkki” Yrlund of Darkgrove Design, the new album by the shaman at heart Jonne Järvelä on vocals and acoustic guitar, Kalle “Cane” Savijärvi on the guitar, Jarkko Aaltonen on bass, Sami Perttula on the  accordion, Olli Vänskä on the violin, and Samuli Mikkonen on drums and percussion showcases a band revisiting their older sound with faster tempos for one of their catchiest albums to date, putting every single person alive to dance together with those Finnish rockers.

The opener Kotomaa (“homeland”) already invites us all for a fun and dancing Folk Metal party, with Samuli sounding amazing on drums while Sami and Olli kick some as with their respective accordion and violin, followed by Tapa sen kun kerkeet (“kill while you can”), sounding thrashier thanks to the riffs by Cane, with Jonne delivering his inebriate, raspy vocals nonstop; and there’s more of Sami’s accordion madness in Aita (“fence”), leading his horde of vodka drinkers while inspiring us all to prance around the firepit. The breathtaking Saunaan (“sauna”) is a song that will ignite some ruthless mosh pits, therefore turning the floor section into a real sauna, with Jonne roaring in great fashion supported by the electrifying sounds blasted by his bandmates, and the blazing guitar by Cane kicks off the also fast-paced Mettään (“into the woods”), which seems to be the norm throughout the entire album, and of course Samuli benefits a lot from that; whereas Kalmisto (“march to the grave”) is a groovier tune by Korpiklaani with the low-tuned, metallic bass by Jarkko adding thunder to their already classy sound.

The title-track Rankarumpu brings to our avid ears an overdose of Finnish Folk Metal led by the rhythmic beats by Samuli while Jonne keeps declaiming the song’s Finnish lyrics with tons of passion, followed by No perkele (“damn it”), and of course with that name the song was going to be a banger. Needless to say, I would love to see them playing it live, with the accordion by Sami sounding even more incendiary during the song’s headbanging four minutes. It’s then time for a melancholic tune titled Viikatelintu (“reaper bird”) which, despite being a good song, is not at the same level as all others, sounding very generic at times. Back to a more vivid and vibrant sonority we have Nouse (“rise”), where once again Samuli hammers his drums nonstop, creating a healthy paradox with Olli’s charming violin. Oraakkelit (“oracles”) is another firepit prancing hymn by Korpiklaani, with Olli and Sami stealing the spotlight with their beyond folky sounds, while lastly we have Harhainen höyhen (“lost feather”), closing the album on a high Folk Metal note thanks to the amazing vocals by Jonne and all the wicked sounds blasted by his crew.

You can enjoy Rankarumpu in all of its glory on YouTube and on Spotify, check what the band is up to on Facebook and on Instagram, including their tour dates (and if you check what they did here in Toronto a few weeks ago by clicking HERE you’ll certainly want to see them live), subscribe to their YouTube channel, and above all that, grab a copy of their fun new album by clicking HERE or HERE. Can you hear the striking Folk Metal sound of the ragged drum played by one of the most iconic Finnish bands of all time? If your answer is yes, then Rankarumpu will certainly bring a lot of joy to your shamanic heart, no doubt about that.

Best moments of the album: Kotomaa, Saunaan and No perkele.

Worst moments of the album: Viikatelintu.

Released in 2024 Nuclear Blast

Track listing
1. Kotomaa 3:10
2. Tapa sen kun kerkeet 2:26
3. Aita 3:47
4. Saunaan 3:18
5. Mettään 4:19
6. Kalmisto 4:22
7. Rankarumpu 2:43
8. No perkele 3:58
9. Viikatelintu 3:21
10. Nouse 3:23
11. Oraakkelit 3:12
12. Harhainen höyhen 5:16

Band members
Jonne Järvelä  – vocals, acoustic guitar
Kalle “Cane” Savijärvi – guitar
Jarkko Aaltonen – bass
Sami Perttula – accordion
Olli Vänskä – violin
Samuli Mikkonen – drums, percussion

Album Review – The Tomb / The Valley of Despair (2024)

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Enjoy 29 minutes of pure, unfiltered Death Metal crafted with tons of hatred, energy and passion for old school extreme music by a very talented duo from Italy.

An old school Death Metal project created by vocalist Alessandro Nunziati (Sepolcrum, Theatres des Vampires, Lord Vampyr, Malamorte, Cain) and guitarist Alessio Bucci (Spectroscopy, Fecal Impaction, Gravestone) in 2022 in Rome, Italy, the ruthless The Tomb will kick you in the head to the sound of their debut full-length album, titled The Valley of Despair. Recorded, mixed and mastered by SK (aka Stefano Nuccetelli, who’s also responsible for bass and drum programming in the album) at Music Up Studio, produced by SK and the band itself, and displaying a blood drenched artwork Julian Felipe Mora Ibañez, The Valley of Despair will certainly please fans of bands the likes of Massacre, Cancer, Carcass, Death and Pestilence, among others, exhaling classic Death Metal during its 29 intense minutes.

Alessio ignites the band’s Death Metal attack with his sick riffs in The Gates of Suffering, sounding perfect for some brutal slamming into the pit while the music is at the same time very melodic and violent; followed by Horror Painted in Your Eyes, another blast of venomous riffs by Alessio while Alessandro delivers his trademark raspy roars. Moreover, the programmed drums by SK sound very organic, therefore adding an extra kick to the music, reminding me of the Beneath the Remains album sound by Sepultura. Then we’re treated to two and a half minutes of sheer aggression and wicked guitar solos by the duo in In the Twilight, supported by the rumbling bass by SK, being therefore recommended for admirers of 90’s Death Metal, whereas Entranced by the Smell of Death is another solid creation by The Tomb, with the guttural by Alessandro sounding even closer to old school Max Cavalera. And The Rise of the Ancestral Forces might not be as powerful as its predecessors, but it is still a good Death Metal tune by The Tomb.

Then a sinister, horror movie-inspired start explodes into an overdose of savagery titled Buried Alive, with Alessio once again delivering infernal riffs perfect for Alessandro to growl manically, whereas investing in a more ferocious sonority, the heavy-as-hell The House of Thousand Screams will hammer your head while the band makes sure there’s a lot of groove added to their sound, courtesy of SK’s infuriated bass, plus of course Alessio’s soulful guitar solos. The second to last deadly attack by The Tomb comes in the form of Delirium, showcasing Alessio’s usual riffs and solos and the menacing roars by Alessandro; and last but not least, the duo will crush our souls with the title-track The Valley of Despair, delivering one final round of savagery, heaviness and deep roars to close the album in great fashion.

You can enjoy Valley of Despair in its entirety on YouTube and on Spotify, follow The Tomb on Facebook for more details about one of the heaviest duos hailing form Italy, and above all that, grab a copy of their wicked album from the Great Dane Records’ BandCamp page or from the Despise The Sun Records’ BandCamp page, keeping the fires of Italian Death Metal burning while you enjoy an album of pure aggression and savagery that will surely inspire you to break your neck headbanging like a true metalmaniac.

Best moments of the album: Horror Painted in Your Eyes, Entranced by the Smell of Death and The House of Thousand Screams.

Worst moments of the album: The Rise of the Ancestral Forces.

Released in 2024 Great Dane Records/Despise The Sun Records

Track listing
1. The Gates of Suffering 3:50
2. Horror Painted in Your Eyes 2:38
3. In the Twilight 2:46
4. Entranced by the Smell of Death 3:18
5. The Rise of the Ancestral Forces 3:18
6. Buried Alive 3:51
7. The House of Thousand Screams 3:02
8. Delirium 3:12
9. The Valley of Despair 3:15

Band members
Alessandro Nunziati – vocals
Alessio Bucci – guitars

Guest musician
SK – bass, drum programming