Category Archives: Album Reviews

Album Review – Ingested / The Tide of Death and Fractured Dreams (2024)

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UK’s most hardworking Brutal Death Metal and Deathcore entity is back with their eight studio album, showcasing a band willing to expand its creativity without sacrificing the ferocity that made it one of the most impressively destructive names of the current scene.

Not many top-tier Death Metal bands can record and release an album a year and follow it with an extensive tour. That’s hardly ever been the case for Manchester, England’s crushing, visceral Brutal Death Metal/Deathcore entity Ingested. Since the release of their fifth album Where Only God May Tread, in 2020, the band has been on a creative tear that has produced almost a full record every year – even through the COVID pandemic – but has resulted in the kind of musical growth that only comes from constantly practicing, playing, and writing. Now in 2024 the band formed of frontman Jason Evans, guitarist Sean Hynes, and drummer Lyn Jeffs returns with their eight studio effort, titled The Tide of Death and Fractured Dreams, sounding as innovative and brutal as their latest opus, the bleak, firestorm Ashes Lie Still, released in 2022. Displaying a stunning artwork by David Seidman, the album showcases a band willing to expand its creativity without sacrificing the ferocity that made it one of the most impressively destructive and technical Death Metal bands on the scene.

The opener Paragon of Purity is insanely slamming and brutal from the very first second, with Jason already sounding inhumane on vocals while Lyn hammers his drums without a single drop of mercy, whereas he keeps smashing our skulls in Endless Machine, another perfect depiction of modern-day Brutal Death Metal highly recommended for some mosh pit action; and an eerie start gradually evolves into another demented display of the band’s trademark sound in the form of Where No Light Shines, this time sounding more Deathcore than ever, with Sean kicking some ass with his devilish riffs. Then featuring guest vocals by Josh Middleton (Sylosis), it’s pedal to the metal in Expect to Fail, with Lyn taking the lead with his fast-paced beats while Jason and Josh make an infernal vocal duet sounding like two demons roaring to each other. After that, their fusion of Death Metal with Deathcore brings to our avid ears another bestial creation titled Starve the Fire, where Jason’s vocals reach a new level of insanity (similar to the latest creations by Ov Sulfur, by the way).

After an overdose of pure hatred and heaviness, the band brings forward an ethereal, enfolding (and a bit too long) interlude titled Numinous, soothing our melancholic souls before all hell breaks loose in In Nothingness, featuring guest vocals by Mark Hunter (Chimaira), with Mark adding his share of dementia to the overall result supported by the massive drums by Lyn, while Sean’s riffs are tailored for some brutal slamming. Pantheon is simply an ode to violence, blood and insanity by Ingested, with Jason proving why he’s one of the top voices of the current Brutal Death Metal and Deathcore scenes worldwide, and I can’t wait to witness the band delivering this wicked tune live; and Jason and the boys continue to deliver first-class aggression in Kingdoms of Sand, where Lyn’s drums sound insanely heavy and groovy. Put differently, this awesome song couldn’t have sounded catchier and more devilish. Finally, the last song of the album, A Path Once Lost, is also the longest and most intricate one, a sinister musical journey spearheaded by Jason’s introspective vocals while still presenting Ingested’s trademark violence, also showcasing a more melodic side of the band.

The Tide of Death and Fractured Dreams is proof that once Ingested sniff out a trail of musical blood, they ravenously follow it until they’ve uncovered a festering feast. Hence, if you want to show your support to one of the most hardworking bands of the current extreme music scene, you can check what they’re up to on Facebook, and on Instagram, subscribe to their YouTube channel and also check them out on Spotify for more of their savage music, and above all that, purchase the venomous The Tide of Death and Fractured Dreams from the Metal Blade Records webstore or by clicking HERE. I bet it won’t take long for Ingested to deliver another blast of their first-class fusion of Brutal Death Metal and Deathcore in the next couple of years, but it will certainly be really hard for them to beat the quality found in their newborn beast. I said hard, not impossible, because Jason, Sean and Lyn seem to be on an absolute roll in the past few years, and we can always expect the utmost excellence from those amazing musicians.

Best moments of the album: Paragon of Purity, Expect to Fail, Pantheon and Kingdoms of Sand.

Worst moments of the album: Numinous.

Released in 2024 Metal Blade Records

Track listing
1. Paragon of Purity 4:22
2. Endless Machine 3:37
3. Where No Light Shines 4:31
4. Expect to Fail 4:17
5. Starve the Fire 4:06
6. Numinous 3:50
7. In Nothingness 4:39
8. Pantheon 3:30
9. Kingdoms of Sand 5:23
10. A Path Once Lost 6:51

Band members
Jason Evans – vocals
Sean Hynes – guitars, backing vocals
Lyn Jeffs – drums

Guest musicians
Josh Middleton – vocals on “Expect to Fail”
Mark Hunter – vocals on “In Nothingness”
Thomas O’Malley – bass (live)

Concert Review – Ültra Raptör, The Scepter & AMMO (Bovine Sex Club, Toronto, ON, 03/28/2024)

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A celebration of Canadian Heavy and Speed Metal offered by three of the must-see names of the current scene, setting one of the most iconic venues in Toronto on fire for our total delight.

OPENING ACTS: Ültra Raptör and The Scepter

What a night at the Bovine Sex Club this Thursday with the bands THE SCEPTER, ÜLTRA RAPTÖR and AMMO, celebrating the strength, quality and energy of Canadian Heavy and Speed Metal before the Easter long weekend during their Supersonic Steel Tour 2024. As a matter of fact, if the Friday before Easter is called “Good Friday”, then the whole night at the Bovine could have been named “Awesome Thursday”, a night of classic heavy music debauchery and shred from across Ontario and Quebec. The main reason my buddy Keith Ibbitson of Metal Paparazzi and I were invited to cover such an amazing event was due to our coverage of AMMO when they opened for Gloryhammer two weeks before at The Phoenix Concert Theatre, and I’m extremely happy the guys from AMMO invited us for their show on Thursday as I had to miss them opening for Gloryhammer because of work and traffic that day.

Also, I honestly didn’t think that the venue was going to be so jampacked Thursday night, not because of the quality of the bands, but because it was the night before the Easter long weekend as already mentioned, when most people have travel plans to meet their families in other cities, provinces, or even countries. Well, let’s say everyone who attended the gig on Thursday IS family, the united and healthy metal family of Toronto, and when Quebec City, Quebec-based Heavy/Speed Metal outfit ÜLTRA RAPTÖR began their incendiary concert, blending songs from their 2018 self-titled EP and their 2021 album Tyrants the likes of Missile (Metal Warrior), Gale Runner and Cadillacs and Dinosaurs, plus a brand new song titled Fossilized, from their upcoming album (to be released later this year), it was total anarchy, chaos, and mosh pits, with all fans at the venue having an amazing time while the band delivered fire and electricity (and dinosaurs) on stage. You can check more of their music on BandCamp and on Spotify, and please go see them live whenever you have a chance because they’re simply awesome (for instance, their drummer also plays with the fantastic Métal Noir Québécois horde Délétère), and as a bonus they have some ass-kicking merch for a very, very reasonable price. Merci pour ce concert incroyable, Ültra Raptör!

Setlist
Missile (Metal Warrior)
Highways of Ice
Under the Claw
Nightslasher
Gale Runner
Fossilized
The Quest for Relics
Cadillacs and Dinosaurs
Caustic Shower

Band members
Phil T. Lung – vocals
Criss Raptör – guitars
Zoltan Saurus – guitars
Dick Van Heuß – bass
Tony Bronco – drums

Then after a beer, bathroom and chat break (and by the way, the house DJ did a superb job playing what was probably his own 90’s mixtape, blowing the house speakers with classics from Sepultura, Slayer, Anthrax, White Zombie and several other metal giants), it was time for Ottawa, Ontario’s own Heavy/Speed Metal act THE SCEPTER to deliver another breathtaking show for the total delight of everyone at the venue. The ONLY issue with their performance was that I couldn’t get the name of any of the songs played*, except for the amazing Shadows in the Tower, available on BandCamp and on Spotify. There was another song about drinking, but I have no idea how it is actually called (maybe just “Drink”, but I’m not sure). Apart form that, it was another incendiary feast of heavy music, with frontman Jesse Harvey having a stellar performance as well as guitarists Josh and Morgan, again igniting some fun circle pits and inspiring everyone to raise their horns and headbang together with the band. Hopefully they’ll get back to Toronto in the near future for another blast of Heavy and Speed Metal, and next time I promise I’ll get their setlist.

*Update: Thanks to Keith, we now have their setlist! Hell yeah!

Setlist
Riding Out
Road to Mayhem
Where Art Thou?
Dunes
Taarakian Blood
Drink On
Protector of the Skies
Shadows in the Tower

Band members
Jesse Harvey – vocals
Josh – guitars
Morgan – guitars
Stew – bass
John – drums

AMMO

No one at the Bovine seemed to care about the late start to the shows, as the main attraction of the night, Toronto, Ontario’s unstoppable Heavy Metal warriors AMMO kicked off their shredding feast when it was already close to midnight. Spearheaded by frontman Alex Zdarvkovic, and showcasing the flammable guitar duo formed of Brett Hexx and Matt Lewis, AMMO put on another fantastic show as the icing on the cake for the night, with songs like Street Metal Werewolves and Taking the Throne sounding amazing live. I don’t remember exactly when, but Toronto’s own super fan William Yum threw a pack of cheese curds on stage, and the band not only laughed about it, but they actually ate the cheese. Anyway, back to the music, which is what really matters, the last two songs of their setlist were simply flawless, starting with the metallic hymn Too Metal for Metal, which chorus was sung I full force by almost everyone at the venue, followed by their rendition of Manowar’s classic Hail and Kill, and apart of course from the cover song you can enjoy all of their awesome creations on BandCamp and on Spotify. As I mentioned before, I’m extremely happy I was able to see AMMO live after missing them opening for Gloryhammer, and I believe everyone who attended the show is eager for another killer show by those amazing musicians sooner than you can say “too metal for metal”.

Setlist
Into Death
Street Metal Werewolves
Doomsayer
Taking the Throne
Empire
Too Metal for Metal
Hail and Kill (Manowar cover)

Band members
Alex Zdarvkovic – vocals
Brett Hexx – guitars, backing vocals
Matt Lewis – guitars
Necro Hippie – bass
Struan Robertson – drums

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Album Review – Rage / Afterlifelines (2024)

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One of the pillars of German Power Metal strikes again with an intense and unforgettable musical experience in the form of a double album  presenting their broad artistic range, from hard, fast and thrashy to anthemic, symphonic and lavish.

In addition to a new band biography to celebrate their 40th anniversary, to be released in October, the year of 2024 sees German Power Metal legends Rage unleash a majestic 94-minute double-album titled Afterlifelines, the 26th opus in their impressive career consisting of regular recordings by the trio on the first album, ‘Afterlife’, while a classical orchestra performs the second album, ‘Lifelines’. Produced by Rage at their own Lucky Bob Studio, mixed and mastered by Manuel Cohnen, and displaying a striking artwork by Karim König, the new album by the iconic Peter “Peavy” Wagner on vocals and bass, Jean Bormann on the guitars, and Vassilios “Lucky” Maniatopoulos on drums is an intense and unforgettable musical experience blending Heavy, Speed and Power Metal with orchestral elements, presenting Rage’s broad artistic range, from hard, fast and thrashy to anthemic, symphonic and lavish.

A melancholic, cinematic intro titled In The Beginning kicks off the first album ‘Afterlife’, setting the stage for the trio to crush our souls with the metalized End Of Illusions, with Jean shredding his axe in great fashion while Lucky hammers his drums nonstop, offering Peavy exactly what he needs to roar like a beast; followed by the first single of the album, Under A Black Crown, which sounds like classic Rage (and sounded even more incendiary when they played it live at Lee’s Palace here in Toronto on March 4, by the way), with their melodic riffs and rumbling bass matching perfectly with Peavy’s boisterous vocal lines. Sean doesn’t stop slashing his strings in the title-track Afterlife, another headbanging tune by Rage that will inspire all fans to raise their fists together with the band, whereas Dead Man’s Eyes couldn’t have sounded more Rage than it already does, with Peavy sounding awesome with his potent voice as usual while Lucky keeps blasting his drums in the name of Power and Thrash Metal; and they keep delivering sheer heaviness and melody in Mortal, with the song’s pounding drums and dark riffage being perfect for some evil headbanging.

Toxic Waves is a more generic song that albeit sounding well crafted and harmonious, doesn’t add much power to the rest of the album; then get ready for a hurricane of Teutonic Power Metal titled Waterwar, offering classic Rage with hints of Thrash and Speed Metal for our total delight, spearheaded by the visceral roars by the one and only Peavy. It’s pedal to the metal with another fast-tempo tune titled Justice Will Be Mine, where the trio keeps the speed and energy levels truly high in a breathtaking ode to Power Metal; and those three fantastic musicians don’t show any mercy for our necks in the also rockin’ feast titled Shadow World, where Sean steals the spotlight with his sick riffs and solos. Finally, following a similar pattern as the previous song, Life Among The Ruins is a straightforward Rage extravaganza where Lucky once again sounds thunderous on drums, as well as Peavy armed with his metallic bass, putting a beautiful ending to the first album.

It’s time to switch gears to ‘Lifelines’, starting with the symphonic yet extremely heavy Cold Desire, reminding me of some of Rage’s old songs where they played together with the Lingua Mortis orchestra, followed by Root Of Our Evil, another striking fusion of the band’s raw, unfiltered Heavy Metal with background orchestrations where Peavy is on fire with both his raspy vocals and rumbling bass, resulting in a true metal hymn. In Curse The Night the orchestrations sound even more imposing, adding an extra touch of epicness to Rage’s sonority, whereas more of the trio’s galloping sounds is offered to our avid ears in One World, albeit not as exciting and feeling bland at times. They continue to blend the savagery of old school Power Metal with the melody of Heavy Metal in It’s All Too Much, a guitar-infused feast led obviously by Jean.

Dying To Live offers a smoother side of Rage, with Peavy hypnotizing us all with his passionate vocals supported by the whimsical, enfolding sounds crafted by Jean and Lucky; and an epic start gradually evolves into a fusion of orchestral music and Rage’s trademark Power Metal sounds in The Flood, perfect for singing along with Peavy, who delivers deep, intense vocals during the entire song. Be prepared to be dragged into Rage’s lair for all eternity to the sound of the nine-minute aria Lifelines, a multi-layered, bold creation by Peavy and the boys overflowing deep emotions amidst a powerful sound full of classic riffs, pounding drums and killer vocal lines. Moreover, this is another Lingua Mortis-like composition where metal meets classic in a stunning way, while the cinematic Interlude offers longtime fans of the band some “Easter eggs” from their old orchestral creations such as “From the Cradle to the Grave”, preparing us all for one last musical voyage titled In The End, an introspective, climatic song that closes the album on a high note with Jean kicking ass with his riffs and solos, while Peavy once again declaims the song’s lyrics with endless passion.

RAGE Afterlifelines Limited Edition Deluxe Boxset

Two weeks after the arrival of the album, Rage will embark on a major European tour starting April 13, with shows and festival appearances in Japan and European countries and regions such as Germany, Austria, Greece, Poland, Cyprus, the Czech Republic, Spain and Scandinavia, meaning 2024 is set to be a real Rage year. Hence, don’t forget to follow one of the pillars of German Heavy and Power Metal on Facebook and on Instagram to keep track of all of their upcoming shows, stream all of their amazing albums on Spotify, and above all that, grab a copy of Afterlifelines by clicking HERE, including the limited edition deluxe boxset containing tons of amazing items such as a nine-track bonus CD titled “Live At Summer Breeze 2023”. There’s no better way to celebrate 40 incredible years on the road than with over 90 minutes of kick-ass Heavy Metal like what Rage have to offer us all in Afterlifelines, and if it’s not too much to ask, I really wish the band keeps embellishing the airwaves with their powerful music for at least another 40 years.

Best moments of the album: From ‘Afterlife’, the songs End Of Illusions, Under A Black Crown and Waterwar, while from ‘Lifelines’, the songs Cold Desire, Root Of Our Evil and Lifelines.

Worst moments of the album: Both albums are amazing, but maybe the songs Toxic Waves and One World sound and feel a little tiresome compared to all others.

Released in 2024 Steamhammer/SPV

Track listing
CD 1 Afterlife
1. In The Beginning 1:31
2. End Of Illusions 3:48
3. Under A Black Crown 4:00
4. Afterlife 3:45
5. Dead Man’s Eyes 3:24
6. Mortal 4:04
7. Toxic Waves 3:36
8. Waterwar 3:42
9. Justice Will Be Mine 4:35
10. Shadow World 3:22
11. Life Among The Ruins 4:06

CD 2 Lifelines
1. Cold Desire 3:59
2. Root Of Our Evil 4:02
3. Curse The Night 3:34
4. One World 4:24
5. It’s All Too Much 5:11
6. Dying To Live 4:51
7. The Flood 3:56
8. Lifelines 9:54
9. Interlude 2:43
10. In The End 3:23

CD 3 “Live At Summer Breeze 2023” Limited Edition Deluxe Boxset Exclusive
1. Resurrection Day
2. Solitary Man
3. End Of All Days
4. Great Old Ones
5. Straight To Hell
6. Nevermore
7. Refuge
8. Higher Than The Sky
9. Don’t Fear The Winter

Band members
Peter “Peavy” Wagner – vocals, bass
Jean Bormann – guitars
Vassilios “Lucky” Maniatopoulos – drums

Guest musician
Marco Grasshoff – string quartet arrangements, orchestrations, strings, wind instruments, piano

Album Review – Bruce Dickinson / The Mandrake Project (2024)

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After almost 20 years, the one and only Bruce Dickinson returns with his new solo offering, a concept album full of highs and lows that might be more appealing to fans of mellow rock music.

Almost 20 years later, British Heavy Metal legend Bruce Dickinson returns with his new solo offering, titled The Mandrake Project, his seventh studio album and the follow-up to his 2005 opus Tyranny Of Souls, marking the longest gap between two studio albums in his solo career. Produced by world renowned guitarist Roy Z, and mixed and mastered by Brendan Duffey at Fuel Music Studio, the album features the aforementioned Bruce Dickinson on lead vocals (and a bunch of other instruments here and there), Roy Z on the guitars and bass, Mistheria on keyboards (although she plays bass live with the band), and Dave Moreno on drums, but despite such stellar lineup the music is fairly basic and monotonous at times, full of highs and lows, and if it wasn’t for the always majestic vocal lines by Bruce I personally think The Mandrake Project would have been a huge flop.

A sinister, cinematic intro sets the stage for Bruce and his crew in Afterglow of Ragnarok, with the guitars by Roy Z dictating the song’s pace, resulting in a solid start to the album and to the story that’s beginning to be developed. Many Doors to Hell sounds like a toned-down version of some of the songs from Bruce’s old albums, with the keys by Mistheria adding an extra touch of delicacy to it, not to mention his always flawless vocals; followed by Rain on the Graves, one of the most theatrical of all songs. One thing that I can say for sure is that Bruce needs a better drummer, but in the end the song works quite well, whereas Resurrection Men is another solid creation by Bruce, blending Heavy Metal with classic Rock N’ Roll and even Stoner Rock thanks to the top-notch work done by Roy Z on the guitars. On the other hand, Fingers in the Wounds is a very basic and monotonous song where the guitars are not very audible and drums are the most boring you can imagine.

Eternity Has Failed, which is pretty much his own version for Iron Maiden’s “If Eternity Should Fail” (to be fair, Bruce’s version was created first, and Steve Harris asked him if it could be used as a Maiden song), is by far my favorite song of the album for obvious reasons, sounding a little bit more folky than metal also for obvious reasons, with Bruce kicking ass on vocals as usual. Then low-tuned bass lines ignite the rocking Mistress of Mercy, where Roy Z and Dave are in total sync, offering Bruce all he needs to shine on vocals; followed by Face in the Mirror, too mellow and not enough rock or metal, or in other words, one of the weakest songs of the album if not the weakest one. Fans of ballads might enjoy it, but due to the lack of more energy in the rest of the album this one ends up falling flat. Moreover, if one very slow ballad wasn’t enough the band offers another one that goes on for seven minutes titled Shadow of the Gods, which would have been a good idea in Accident of Birth, but again it’s too smooth and doesn’t add any extra kick to The Mandrake Project, picking up at the end albeit nothing really outstanding. On the other hand, Sonata (Immortal Beloved) has the punch we expect from a guy like Bruce, with Roy Z and Mistheria supporting him with their classy riffs, bass and keys. It’s not a marvelous ending to the album, but at least it has its good moments.

I’m a diehard fan of Iron Maiden, and I love everything Bruce Dickinson had released prior to The Mandrake Project, but I don’t see myself returning to this album in the near future because, at least for me, the music is way too bland, with most songs sounding way too low, mellow or uninspired. There are some excellent moments throughout the album, of course, but nothing that hasn’t been done before or that’s truly impactful. Let’s say that if it wasn’t for Bruce, I wouldn’t be able to listen to it more than once (and you can listen to it yourself in full on YouTube and on Spotify). The album will surely be very attractive to several fans worldwide, as music taste is a personal thing as you all know, so if The Mandrake Project appeals to you, you can purchase a copy of it from The Mandrake Project’s own webstore, from Bruce’s webstore, from Apple Music, or by clicking HERE. Now please excuse me as I’m going to go back to the new albums by Judas Priest, Blaze Bayley, and Saxon, as those sound much stronger and exciting to my taste.

Best moments of the album: Resurrection Men, Eternity Has Failed and Mistress of Mercy.

Worst moments of the album: Fingers in the Wounds, Face in the Mirror and Shadow of the Gods.

Released in 2024 BMG

Track listing
1. Afterglow of Ragnarok 5:45
2. Many Doors to Hell 4:48
3. Rain on the Graves 5:05
4. Resurrection Men 6:24
5. Fingers in the Wounds 3:39
6. Eternity Has Failed 6:59
7. Mistress of Mercy 5:08
8. Face in the Mirror 4:08
9. Shadow of the Gods 7:02
10. Sonata (Immortal Beloved) 9:51

Band members
Bruce Dickinson – lead vocals, acoustic guitars on “Resurrection Men” and “Face in the Mirror”, bongo drums on “Resurrection Men”, additional keyboards on “Eternity Has Failed” and “Mistress of Mercy”, percussion on “Eternity Has Failed”
Roy Z – guitars, bass
Mistheria – keyboards
Dave Moreno – drums

Guest musicians
Chris Declercq – guitar solo on “Rain on the Graves”
Gus G – guitar solo on “Eternity Has Failed”
Sergio Cuadros – woodwinds on “Eternity Has Failed”

Album Review – Beholder / Dualisme (2024)

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One of the new names of the Métal Noir Québécois scene returns with their sophomore opus, a 35-minute assault of aggressive, up-tempo Black Metal infused with melodic, doomy passages.

Forged in the fires of the stunning Quebec City back in 2016, the devilish five-piece horde Beholder, another amazing exponent of the current Métal Noir Québécois scene, is set to release their sophomore album, entitled Dualisme, the follow-up to their 2022 debut Arcane Subreptice and a huge improvement on their already solid foundations. Mastered by Patrick McDowall and displaying a sinister artwork by Khaos Diktator Design, Dualisme is a 35-minute assault of aggressive, up-tempo Black Metal with melodic, doomy passages which deeply contribute to its overall atmosphere, all masterfully crafted by Dan Mécréant on vocals, Pier-Luc Lavoie and Alex Bouchard on the guitars, Kéven Tremblay on bass, and Michel Murray on drums. “Both music and lyrics are influenced by orthodox black metal from the 90’s, with topics mainly dealing with luciferianism, history and occult philosophy. It has been a contemplative process from the writing to the recording. We feel like we reached a mature piece of art and feel extremely confident about it,” commented the band about their newborn beast.

The caustic guitars by Pier-Luc and Alex darken the skies before their bandmates come ripping in Le vassal de la profanation, a visceral Black Metal attack where the vocals by Dan will haunt your putrid soul for all eternity, followed by the title-track Dualisme, living up to the legacy of Métal Noir Québécois, sounding caustic from start to finish while Michel’s beats alternate between sheer savagery and more cadenced, somber moments; and Michel hammers his drums in a nice Motörhead-style in Vers le pandæmonium while the music evolves into a sinister form of Black Metal led by the once again sick riffage by Pier-Luc and Alex. After such disturbing sonority, it’s then time for Kéven to smash his bass and kick off the even darker Géomancie, where their blast beats walk hand in hand with their wicked, malignant riffs, resulting in a full-bodied aria of extreme music

The second half of the album begins with two and a half minutes of modern-day Black Metal titled Hexenaat, again showcasing the demonic gnarls by Dan while his bandmates keep delivering endless evil through their sonic weapons, and get ready for a hurricane of blackened sounds titled Despotisme ecclésiastique, where all band members are on absolute fire, blasting their trademark Black Metal magic for our total delight. The band then offers our putrid ears the venomous Résurgence de l’obscurantisme, the second to last explosion of infernal Black Metal made in Quebec from the album, with once again their guitar duo sounding evil armed with their axes, always supported by the classic, rumbling bass by Kéven, flowing into Credo fractal, a phantasmagorical outro by Montreal-based artist Thisquietarmy that sounds and feels truly haunting, even cinematic at times, but that goes on for way too long reducing the level of energy and evil crafted by all previous songs.

Beholder are definitely a force to reckon hailing from the Quebec scene, and if you want to join their horde of the occult you can start following the band on Facebook and on Instagram, stream more of their music on Spotify, and of course purchase a copy of Dualisme from their own BandCamp page, from the Avantgarde Music’s BandCamp page, or from Sound Cave as a digipak CD or as a crystal clear vinyl. Raw and visceral, Dualisme showcases an excellent fusion of Métal Noir Québécois with 90’s Black Metal, and I bet you’re also going to have a great time listening to this sulfurous album.

Best moments of the album: Le vassal de la profanation, Géomancie and Despotisme ecclésiastique.

Worst moments of the album: Credo fractal.

Released in 2024 Avantgarde Music

Track listing
1. Le vassal de la profanation 4:22
2. Dualisme 5:51
3. Vers le pandæmonium 4:45
4. Géomancie 3:34
5. Hexenaat 2:34
6. Despotisme ecclésiastique 5:26
7. Résurgence de l’obscurantisme 3:49
8. Credo fractal 5:00

Band members
Dan Mécréant – vocals
Pier-Luc Lavoie – guitars
Alex Bouchard – guitars
Kéven Tremblay – bass
Michel Murray – drums

Guest musician
Thisquietarmy – everything on “Credo fractal”

Album Review – Anthropovore / Parthénogenèse (2024)

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This French two-headed Black Metal beast returns with its sophomore album, sounding utterly experimental, dissonant and austere from start to finish.

Forged in the fires of Paris, France inspired by old school titans the likes of Darkthrone and Marduk, among others, with the goal to return to the origins of a primary, anxiety-inducing, angry and hateful Black Metal, the two-headed beast known as Anthropovore is back from the underworld with their sophomore offering, beautifully titled Parth​é​nogen​è​se, the follow-up to their 2022 debut Boogeyman. The album title is French for “parthenogenesis”, or “virgin birth”, a form of reproduction in which an egg can develop into an embryo without being fertilized by a sperm, and that weird concept is translated into the most experimental, dissonant and austere music you can think of thanks to the amazing job done by the band’s duo comprised of Simon Perrin (Demande à la Poussière, Muertissima, MUD, WeedBringer) on vocals, lead and rhythm guitars, bass, drone and machine sounds, and Stéphane Prados (Muertissima) on lead guitars and harsh screams, supported by the more-than-special guest vocals by Adsagsona (aka Adèle Adsa, the talented frontwoman of French Black Metal horde Hule).

Notre père, or “our father”, starts with a narration in French before their dirty riffs and low-tuned bass fill out every single space in the air, with Simon and Stéphane making an amazing duet with their clean vocals and demonic roars, flowing in a disturbing and devilish way until the very last second. Their wicked experimentations go on in Transmigre-moi (“transmigrate to me”), another sulfurous fusion of traditional Black Metal with Atmospheric and Experimental Black Metal, sounding dissonant and furious, with the mechanized sounds generated by Simon being infernal; whereas a demented start evolves into a feast of blackened, caustic sounds in Castigo, a Portuguese/Spanish word that means “punishment”, where Simon and Stéphane deliver sheer aggressiveness through their axes while also blasting sick vociferations in the name of darkness. And the title-track Parthénogenèse offers more of their idiosyncratic, devilish sounds where the guitars and bass feel utterly demonic while the duo keeps blasting endless obscurity through their visceral growls, followed by Souffrir, or “to suffer”, another explosion of Experimental Black Metal by the duo with all background noises and sounds adding an extra touch of insanity to the overall result.

They keep hammering our cranial skulls and decimating our damned souls in Mal dedans (“bad inside”), again showcasing their characteristic harsh roars, machine-like drums, and a reverberating sense of despair; then investing in a more brutal and thunderous sound, they will smash us all in Ternir, or “to tarnish”, offering their most demonic vocals, sounding almost like the screeches of an evil goblin, while the instrumental pieces generate a darkly disturbing atmosphere. Déconstruit (“deconstructed”) keeps the album at an insane level of animosity and rage by blending elements from Industrial Metal with their core Black Metal essence, while rumbling bass lines and massive beats set the tone in the heavy-as-hell Mangez-moi, or “eat me”, the duo’s second to last spawn of evil in the album, where they once again burst their lungs screaming like demonic creatures. Finally, Anthropovore kill whoever is still alive with the violent and grim Better Off Alive, ending the album on a high note to the sound of their inhumane harsh roars, caustic riffs and mechanized background sounds.

Such dissonant, devilish album is available in full on YouTube and on Spotify, but of course you can add it to your demonic collection by purchasing it directly from the band’s own BandCamp page or from the France Black Death Grind webstore, and don’t forget to also follow the band on Facebook, Instagram and YouTube for more of their wicked music. Parth​é​nogen​è​se exhales pure evil, hatred and darkness just the way we like it in Black Metal, strengthening the band’s name in the scene and inspiring them to keep blasting sheer obscurity for many years to come, always trying new experimentations while staying true to their roots, something really hard to do nowadays but that those French metallers are learning how to master, I might say.

Best moments of the album: Transmigre-moi, Parthénogenèse and Ternir.

Worst moments of the album: Souffrir.

Released in 2024 France Black Death Grind

Track listing
1. Notre père 8:12
2. Transmigre-Moi 5:59
3. Castigo 5:50
4. Parthénogenèse 9:06
5. Souffrir 5:22
6. Mal dedans 9:25
7. Ternir 5:09
8. Déconstruit 5:35
9. Mangez-Moi 4:48
10. Better Off Alive 5:32

Band members
Simon Perrin – vocals, lead and rhythm guitars, bass, drone and machine sounds
Stéphane Prados – lead guitars, harsh screams

Guest musician
Adsagsona – additional vocals

Album Review – Aborted / Vault of Horrors (2024)

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One of the must-see bands of the current Death Metal and Deathcore scene worldwide opens their demonic vault of horrors to bring brutality, gore and evil to our damned souls.

Since their unholy inception in 1995, Belgian Death Metal/Grindcore miscreants Aborted have been one of the pioneers of the genre and have annihilated friend and foe with relentless intensity and an uncompromising mix of flawless technicality and raw emotion. Now in 2024 the band currently formed of frontman Sven De Caluwé, guitarists Daníel Máni Konráðsson and Ian Jekelis, and drummer Ken Bedene, plus bassist Stefano Franceschini (who left the band in 2023) and guest musician Spencer Creaghan on synthesizers, returns with a worthy follow-up to their 2021 album ManiaCult, a sonic beast entitled Vault of Horrors. Produced, mixed and mastered by Dave Otero at Flatline Audio Studio, and displaying a sick artwork by Dan Goldsworthy (who has already worked with titans the likes of Corpsegrinder, Accept, Alestorm, Cradle of Filth, Gloryhammer, and many more), Aborted’s twelfth studio album dives deep into the vaults of VHS cassettes and stories that have been haunting us all for decades, with each song paying tribute to a horror cult classic ranging from obligatory cuts such as The Texas Chainsaw Massacre (to be found on Death Cult) or Halloween (The Shape Of Hate) to the more recent The Mist (to be discovered on Malevolent Haze), and with each one of its ten ferocious, gut-wrenching Death Metal slashers featuring a very special guest vocalist to add an extra touch of brutality and gore to Aborted’s trademark sound.

Featuring guest vocalist Ben Duerr (of Shadow Of Intent), the opener Dreadbringer offers our putrid ears sick lyrics (“Awake, bringing forth this disease / Multiply to dominate, your soul I’ll penetrate / Corrupt, contaminate, and imitate, eradicate / Your path leads right through us with no way to circumvent it”) and endless savagery in a beautiful fusion of Death Metal and Deathcore, followed by Condemned to Rot, with guest vocalist Francesco Paoli (of Fleshgod Apocalypse) barking like a beast, another lesson in brutality by Aborted with the insane drums by Ken bringing sheer aggression to the music; and featuring guest vocalist Johnny Ciardullo (of AngelMaker), Brotherhood of Sleep leans towards modern-day Deathcore, where Sven and Johnny make a demented vocal duet while Daníel and Ian keep slashing their axes in the name of violence. Then get ready to break your neck headbanging like a maniac to Death Cult, where Sven and guest vocalist Alex Erian (of Despised Icon) roar manically while the rest of the band doesn’t leave a single space left in the air with their first-class, inhumane instrumental parts; whereas Hellbound is another explosion of violence where the band’s Technical Death Metal side is boosted by the sick vocals by guest Matt McGachy (of Cryptopsy).

The pulverizing Insect Politics, featuring guest vocalist Jason Evans (of Ingested), might have less than two minutes in duration, but the music is as infernal and intense as its predecessors, resulting in a fantastic tune for hammering our skulls into the circle pit; and Aborted show no mercy for our putrid souls in The Golgothan, offering more of their trademark violence and dexterity, with Sven once again leading his horde with his deep, visceral growls supported this time by guest vocalist Hal Microutsicos (of Blasphemous and Engulf). There’s no time to breathe as The Shape of Hate is another blast of dementia and Death Metal by the band, where guest vocalist Oliver Rae Aleron (of Archspire) offers his trademark rap-like guttural, making the whole song even more insane and vibrant; and there’s still time for another thunderous, inhumane tune titled Naturom Demonto, featuring guest vocalist David Simonich (of Signs of the Swarm), with the rumbling bass by Stefano and the blast beats by Ken making the earth tremble. Of course the album wasn’t going to be complete without a massive dosage of sulfur, courtesy of guest vocalist Ricky Hoover (of Ov Sulfur) in Malevolent Haze, another feast of slashing riffs, crazy drums and demonic vociferations to end the album on a beyond violent and Stygian note.

In a nutshell, with this deadly alliance, Vault of Horrors is an epic journey where listeners are thrust into a world of intense brutality, characterized by lightning-fast guitar riffs, intricate, pummeling drum patterns and monstrous vocals that leave no room for respite. “As usual, the guest vocalists were all chosen out of friends, people we’ve known for years or got to know in the last years, toured with, or have a connection with. Hal from Engulf was also picked since I did a guest spot on their record and loved his vocals. The guys from Ingested, Carcosa, Ov Sulfur were people that we toured with last year. We also go way back with Archspire, Despised Icon, Fleshgod Apocalypse and Cryptopsy. Being able to collaborate with all these great artists is such a privilege and made the process all the more exhilarating since each of them bring their own flavour to the mix. The enthusiasm of everyone involved definitely shines through to the final product and adds yet another layer of depth to the listening experience of the album,” commented Sven, and if you want to show Aborted your utmost support and admiration you can check out what the band is up to on Facebook and on Instagram, subscribe to their YouTube channel, stream more of their music on Spotify, and of course purchase the imposing Vault of Horrors by clicking HERE or HERE. In other words, let’s see if you have what it takes to face the brutality, gore and evil found inside the vault of horrors by one of the leaders of the current extreme music scene worldwide.

Best moments of the album: Brotherhood of Sleep, Death Cult, Insect Politics and The Shape of Hate.

Worst moments of the album: None.

Released in 2024 Nuclear Blast

Track listing
1. Dreadbringer 5:30
2. Condemned to Rot 2:56
3. Brotherhood of Sleep 3:55
4. Death Cult 3:40
5. Hellbound 4:47
6. Insect Politics 1:44
7. The Golgothan 4:19
8. The Shape of Hate 4:17
9. Naturom Demonto 4:03
10. Malevolent Haze 4:53

Band members
Sven De Caluwé – vocals
Daníel Máni Konráðsson – guitar
Ian Jekelis – guitar
Stefano Franceschini – bass
Ken Bedene – drums

Guest musicians
Ben Duerr – vocals on “Dreadbringer”
Francesco Paoli – vocals on “Condemned to Rot”
Johnny Ciardullo – vocals on “Brotherhood of Sleep”
Matt McGachy – vocals on “Hellbound”
Jason Evans – vocals on “Insect Politics”
Hal Microutsicos – vocals on “The Golgothan”
Oliver Rae Aleron – vocals on “The Shape of Hate”
David Simonich – vocals on “Naturom Demonto”
Ricky Hoover – vocals on “Malevolent Haze”
Alex Erian – vocals on “Death Cult”
Spencer Creaghan – synthesizers

Album Review – Judas Priest / Invincible Shield (2024)

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Nothing can stand in the way of the Metal Gods as they raise the invincible shield of Heavy Metal.

Faster than a bullet, the unstoppable Judas Priest are back in action stronger than ever, raising the invincible shield in the name of Heavy Metal in their nineteenth studio opus, the masterpiece titled Invincible Shield, the follow-up to their critically acclaimed 2018 album Firepower. Produced by Andy Sneap at Backstage Recording Studios, and displaying an incendiary artwork by Mark Wilkinson (Marillion, Fish, Iron Maiden), Invincible Shield offers the listener 11 breathtaking tracks of pure, unfiltered Heavy Metal (or 14 if you go for the deluxe edition of the album) masterfully brought into being by the Metal God Rob Halford on vocals, Glenn Tipton and Richie Faulkner on the guitars, Ian Hill on bass, and Scott Travis on drums, positioning it as a must-listen for any fan of heavy music, and as the most serious contender for album of the year. Well, to be honest, it will be the album of the year, and yes, Invincible Shield is THAT good.

Panic Attack, the first single released back in October, kicks off the album on a high and metallic note, with Halford sounding tight as ever with his high-pitched, soaring screams while always supported by the crisp and incendiary instrumental pieces from his bandmates. Then we have the pulverizing The Serpent and the King, and I honestly don’t know how a 72-year-old vocalist can still deliver these pure metal lyrics with such a high level of power (“Idols to their worlds / Manifesting anger, / Conjurers of evil times! / We can sense the danger! / They claim every soul, / Show you who’s the leader! / Bow before iconoclasts, / Creators of disaster!”), resulting in a lecture in classic Judas Priest offering us all endless heaviness, fire, epicness, speed and fury; whereas the title-track Invincible Shield takes us back to their Ram It Down, Painkiller and Defenders of the Faith times, or in other words, it’s another flawless blast of razor-edged riffs and solos by Glenn and Richie, while Scott hammers his drums as usual for our total delight. Devil in Disguise is an imposing, heavy-as-hell metal hymn where Halford keeps distilling his unparalleled vocals while Ian and Scott make sure the earth trembles with their massive bass and drums, respectively; and the party has no time to end as their rockin’ vein pulses harder than ever in Gates of Hell, where Richie sounds majestic on the guitars as usual (as well as throughout the entire album), followed by Crown of Horns, another one of the singles released prior to the album launch, a more cadenced Hard Rock composition focusing on the melodic vocals by Rob.

Their metallic engine keeps roaring loud in As God Is My Witness, where Scott takes the lead with his classic beats accompanied by the slashing riffage by Glenn and Richie, and I would definitely love to see them playing this one live, whereas in Trial by Fire the band offers more of their darkly poetic lyrics (“Burden of guilt / Branded a liar / Falsely accused / Trial by firе / Committed no crime / In my innocence / I have endured / Trial by fire”) amidst a somber, headbanging sound perfect for their live performances. It’s then time for Ian to smash his bass in Escape from Reality, generating a reverberating atmosphere before Rob comes ripping in a song that reminds me of his time with the awesome Fight. In Sons of Thunder the name of the song says it all, blasting our ears with a Heavy Metal extravaganza led by Richie and Glenn’s blazing riffs while Rob continues to hypnotize us all with his purely metal vocals, sounding like a song taken directly from the 80’s; and closing the regular version of the album we have the horn-raising tune Giants in the Sky, again presenting their trademark riffs and beats, therefore providing Rob with everything he needs to shine on vocals. And if you’re a true metalmaniac and go for the deluxe edition of the album you’ll be treated to three amazing bonus tracks (also released on a bonus 7″ EP sold separately and included in promotional bundles), with all three songs being great and making the extra investment in the special edition totally worth it, with an honorable mention to Fight of Your Life for being the most emotional of those.

Judas Priest Invincible Shield The Complete Bundle

This flawless hurricane of Heavy Metal is available in full on YouTube and on Spotify, but of course you can purchase your favorite copy of it and put a huge smile on the faces of the Metal Gods by clicking HERE (including the insane Invisible Shield The Complete Bundle). Also, don’t forget to follow the Metal Gods on Facebook and on Instagram for all things Judas Priest, including their unmatched live concerts, which is something every decent person on earth should experience at least once in their lives. Nothing can stand in the way of Judas Priest as they raise the invincible shield of Heavy Metal in their brilliant new album, a masterpiece that in my humble opinion is their best effort since Painkiller, and an album that will surely reverberate to all four corners of the earth, spreading some Heavy Metal magic for the absolute delight of us all, mere mortal metalheads, as we praise the Metal Gods for all eternity.

Best moments of the album: The Serpent and the King, Invincible Shield, Gates of Hell, As God Is My Witness and Sons of Thunder.

Worst moments of the album: None, of course.

Released in 2024 Sony Music

Track listing
1. Panic Attack 5:25
2. The Serpent and the King 4:19
3. Invincible Shield 6:21
4. Devil in Disguise 4:44
5. Gates of Hell 4:37
6. Crown of Horns 5:45
7. As God Is My Witness 4:35
8. Trial by Fire 4:21
9. Escape from Reality 4:24
10. Sons of Thunder 2:58
11. Giants in the Sky 5:03

Deluxe Edition / 7” bonus tracks
12.Fight of Your Life 4:15
13.Vicious Circle 3:00
14.The Lodger 3:46

Band members
Rob Halford – vocals
Glenn Tipton – guitar
Richie Faulkner – guitar
Ian Hill – bass guitar
Scott Travis – drums

Album Review – Exhorder / Defectum Omnium (2024)

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Putting a foot back into the roots of the band’s inception, these American veterans return to the battlefield with their striking fourth full-length opus, turning the failure of all into first-class Thrash and Groove Metal.

Putting a foot back into the roots of the band’s inception, New Orleans, Louisiana’s own Thrash Metal veterans Exhorder return to the battlefield with their striking fourth full-length opus, titled Defectum Omnium, the Latin phrase for “the failure of all”. Produced by the band itself, mixed by Jens Bogren at Fascination Street Studios, and displaying a sinister artwork by Travis Smith of Seempieces Design Studio, the album is highly recommended for fans of Dark Angel, Nuclear Assault, Exodus, Death Angel, Testament, Machine Head, and Pantera, among others, with the band currently formed of Kyle Thomas on vocals and guitars, Jason Viebrooks on bass, and Sasha Horn on drums now being joined by former Cannibal Corpse heavyweight guitarist Pat O’Brien, just to give their sound an even edgier and more austere taste.

Let’s slam into the pit like true metalmaniacs to the sound of Wrath of Prophecies, a Pantera-infused onrush of thrashing sounds led by the piercing riffs by Kyle and Pat, kicking things off in an amazing way, followed by Under the Gaslight, a more cadenced, Groove Metal-ish tune by Exhorder recommend for some vigorous headbanging to the massive beats by Sasha and the always visceral roars by Kyle. Forever and Beyond Despair offers us then absolutely acid lyrics (“Designs of murder ending all  / Last call, then curfew comes / Take your meds and go / The gods bring on the wars / Send the troops, let ’em burn / The girls will work butter churns, all pregnant with babes”) amidst a fusion of Thrash Metal, Hardcore and Punk Rock, whereas letting their Southern Metal vein pulse harder than ever we face The Tale of Unsound Minds, with Jason and Sasha delivering sheer heaviness and groove through their devilish kitchen. After that we have Divide and Conquer, another Thrash and Groove Metal feast by the quartet where their riffs and solos sound striking, meaning it should work really well if played live; and an eerie intro quickly explodes into the venomous Year of the Goat, a slamming tune that will invite us all into the circle pit to the rumbling bass by Jason.

After a slower yet still heavy-as-hell start, the band will will hammer your heads mercilessly in Taken by Flames, offering modern-day Thrash Metal overflowing rage and insanity, all led by the boisterous beats by Sasha; and get ready for over seven minutes of darkness in the form of Defectum Omnium / Stolen Hope, starting in a hypnotic way before the band comes ripping with a venomous mid-tempo attack, with the riffage by Kyle and Pat penetrating deep inside our damned souls. It’s then time for some pure American hatred flowing from all instruments in Three Stages of Truth / Lacing the Well, with their riffs, bass jabs and blast beats generating the perfect ambience for some wild circle pits and crowd surfing; followed by Sedition, bringing forward three minutes of savagery and brutality blasted by the quartet, once again offering our avid ears an overdose of dirty riffs, raspy vocals and demolishing drums, and they keep destroying our cranial skulls with their visceral Thrash Metal in Desensitized, where the enraged growls by Kyle walk hand I hand with the unstoppable beats by Sasha. Last but not least, they present another shot of their hybrid of Southern Rock with Thrash and Groove Metal in Your Six, feeling sluggish, dirty and inebriate until the very last second.

Exhorder are not in a good mood throughout the entire Defectum Omnium, and of course that’s an amazing thing when it comes to violent and frantic Thrash Metal. Hence, don’t forget to start following those American thrashers on Facebook and on Instagram for news, tour dates and so on, to stream more of their wicked music on YouTube and on Spotify, and above all that, to purchase a copy of the incendiary Defectum Omnium by clinking HERE or HERE. The entire world as we know it has failed miserably, and that’s exactly what Exhorder needed as fuel for their fulminating new album, keeping the fires of heavy music burning bright while our rotten society comes to its inevitable end.

Best moments of the album: Wrath of Prophecies, Year of the Goat and Three Stages of Truth / Lacing the Well.

Worst moments of the album: Under the Gaslight.

Released in 2024 Nuclear Blast

Track listing
1. Wrath of Prophecies 4:14
2. Under the Gaslight 4:21
3. Forever and Beyond Despair 3:03
4. The Tale of Unsound Minds 5:01
5. Divide and Conquer 2:38
6. Year of the Goat 3:27
7. Taken by Flames 5:19
8. Defectum Omnium / Stolen Hope 7:13
9. Three Stages of Truth / Lacing the Well 6:46
10. Sedition 2:56
11. Desensitized 4:59
12. Your Six 4:28

Band members
Kyle Thomas – vocals, guitars
Pat O’Brien – guitars
Jason Viebrooks – bass
Sasha Horn – drums

Guest musicians
Rick Wartell – guitars
Bruce Franklin – guitars

Album Review – Midnight / Hellish Expectations (2024)

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Filthy, belligerent and obnoxious, the new opus by this american lone wolf offers the listener 25 minutes of blasphemy and depravity that live up to the legacy of Black, Thrash and Speed Metal.

Slaying the metal and punk underground with its own highly addictive brand of lust, filth and sleaze dating back to the band’s inception in 2003, Cleveland, Ohio-based Black/Speed Metal one-man cult Midnight, the brainchild of vocalist and multi-instrumentalist Athenar (aka Jamie Walters), is back with its sixth full-length offering, titled Hellish Expectations, following up on the critically acclaimed album Let There Be Witchery, released in 2022. Filthy, belligerent and obnoxious, Hellish Expectations offers the listener 25 minutes of blasphemy and depravity split into ten infuriated, austere compositions that live up to the legacy of Black, Thrash and Speed Metal, setting fire to the underground scene while Athenar continues to worship Satan armed with his always irreligious and impure sounds.

Get ready to be crushed like an insect by the Punk Rock-infused Speed Metal by Midnight in Expect Total Hell, with Athenar delivering classic 80’s raspy vocals and electrifying riffs nonstop, followed by Gash Scrape, another harsh and visceral creation by Midnight that will surely ignite some fun mosh pits, with Athenar kicking some ass on drums while he keeps roaring and vociferating like a maniac for our total delight. Masked and Deadly keeps the album at a high level of animosity, although not as dynamic as the previous songs; whereas in Slave to the Blade we face a Motörhead-inspired sound that will drag us all into the pit while Athenar sounds ruthless on the guitars and bass, delivering striking riffs and rumbling bass lines throughout the entire song. And let’s keep banging our heads and raising our horns to that sweet trademark depravity from the 80’s in Dungeon Lust, with Athenar once again taking us back in time with his dirty guitars and inebriate vocals.

It’s pedal to the metal as Athenar and his Midnight will attack our senses in Nuclear Savior, again showcasing an amazing fusion of Hardcore and Punk Rock with Blackened Speed Metal, all spiced up by a thrilling guitar solo, and he continues his descent into the pits of hell with the blasphemous and frantic Deliver Us to Devil, with his Speed Metal riffage adding an extra touch of dementia to the overall result, resulting in what’s undoubtedly one of the best songs of the album. Then investing in a heavier headbanging sound, let’s break our necks to the raging Mercyless Slaughtor, where his Black Metal vein pulses stronger than ever; and once again inspired by the dirty Rock N’ Roll blasted by the iconic Lemmy and his crew we have Doom Death Desire, excellent for some beer drinking while Athenar hammers his drums in the name of evil, while F.O.A.L. offers one last explosion of raw, rebellious sounds by our multi-talented lone wolf, with its Speed Metal riffs walking hand in hand with the massive Punk Rock drums.

“It’s a knuckle dragger with a fat cutoff. Pure testosterone meat. Probably the most concise and straight to the point Midnight album to date, and all written in a weekend.  The album was written on pure reaction upon leaving the studio after listening to raw tracks from the previous album Let There Be Witchery.  The final mix of that album was good, but at the time of laying it down in the studio, I didn’t like what I was hearing and demanded a new leviathan of an album to be written that weekend,” commented the unstoppable Athenar about Hellish Expectations, which is by the way available from Midnight’s own BandCamp page or from the Metal Blade Records webstore, and don’t forget to also start following the band on Facebook and on Instagram (because Midnight might be a one-man band in the studio, but Athenar surely summons some wicked musicians to join him on stage for some depraved concerts), and to stream his sick creations on Spotify and on all other streaming services. It’s always midnight in the land of Black and Speed Metal, and I’m sure you’re more than ready to raise your horns nonstop in the name of sheer blasphemy to the sound of this precious gem of the underground.

Best moments of the album: Slave to the Blade, Nuclear Savior and Deliver Us to Devil.

Worst moments of the album: Masked and Deadly.

Released in 2024 Metal Blade Records

Track listing
1. Expect Total Hell 3:29
2. Gash Scrape 2:18
3. Masked and Deadly 2:50
4. Slave to the Blade 1:51
5. Dungeon Lust 2:13
6. Nuclear Savior 2:38
7. Deliver Us to Devil 2:23
8. Mercyless Slaughtor 2:45
9. Doom Death Desire 2:16
10. F.O.A.L. 2:48

Band members
Athenar – vocals, all instruments