Category Archives: Album Reviews

Album Review – Gorotica / Morbid Menagerie (2022)

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This repulsive, perverted and cannibalistic Australian-based troupe of questionable French origins offers in their debut opus a fulminating 22-song platter of Death Metal and Grindcore.

Shambling out from the dead blackened underbrush of Sydney, Australia’s backwoods comes a repulsive, perverted and cannibalistic troupe of questionable French origins, collectively known as Grindcore act Gorotica. Living as a reclusive hive for the past three years, the troglodytic trio formed of Jon Von Cannibale on vocals, Gaspard La Verge on the guitars and bass, and Raymonde Peste on drums have been honing their rusted blades and musical skills to now emerge under the Gorotica moniker and bring forth to the public their mission of death and cannibalism in auditory form, or in other words, their debut full-length album Morbid Menagerie. The album offers a 22-song platter of Death Metal and Grindcore with elements of Hardcore garnishing the meat and bones of the music, and with several guests lending their pipes to the chaos, most notably the talented Miller from Sydney grind stalwarts Black Rheno and Tobias from the well-known prog outfit Glass Ocean, presenting it as a highly recommended option for admirers of the goriest side of metal music.

Get ready for a pulverizing Grindcore feast titled At The Gates Of The Necropolis, the perfect welcome card by the band where Jon is bestial on vocals; whereas Gaspard’s metallic riffs and rumbling bass lines are accompanied by the classic drums by Raymonde in Fleshgrind, offering us all two minutes of savagery and heaviness. Born Unto Death is another brutal, venomous onrush by the trio, with Gaspard delivering sheer adrenaline through his Hardcore-infused riffs, not to mention the monstrous roars by Jon, while Teeth Removed With A Sledgehammer brings forward 33 seconds of pure dementia, speed and violence where Jon gets the help from Miller on vocals. Less aggressive and exhaling groove, it’s time for Raymonde to take the lead with his rhythmic beats and fills in The Necrophile, and back to their more infernal mode, Jon growls nonstop accompanied by the insane blast beats by Raymonde in Malevolent Insertion. Guest Tobias lends his demented, deep roars to the band in Corpsefucker, followed by Left To Bleed, starting with the low-tuned bass punches by Gaspard and evolving into a Grindcore extravaganza perfect for slamming into the circle pit. Things get even sharper and more thrilling in Knife Wound Gratification, with Gaspard stealing the spotlight with a maniacal string work while also presenting some welcome breaks and variations. In Graveyard Cannibal it becomes clear that they’re definitely a band that mastered the art of crafting sick tunes that last for less than a minute, and needless to say, Jon is insane on vocals, followed by Execution By Fire, slightly more melodic than its predecessors and sounding confusing at times.

One of the heaviest songs of the album, The Endless Urge, is Grindcore at its finest with all band members being on absolute fire until the very last second, while Ocular Impalement offers our ears one more round of dementia and gore in less than a minute; and their Doom Metal vein arises in Human Skin Drapery, a neck-breaking tune led by the sluggish and pounding drums by Raymonde. It’s time to slam into the pit one more time to the sound of Consuming The Flesh Of The Dead, with Jon bringing forth his trademark deep gnarls, followed by 12 seconds of pure insanity entitled Forced Cluster Headache, working as a “warmup” for Purging The Apocalypse, a fantastic, fast and furious Grindcore attack thanks to the superb job done by Raymonde on drums. The title-track Morbid Menagerie continues to smash everyone that crosses their path to pieces, not to mention guitars and bass by Gaspar couldn’t have sounded more metallic. Then guess what? We’re treated to 44 seconds of pure violence in Severed Head Pincushion, flowing into the dark and sinister Obsession With Mutilation, a good option to headbang in the name of Grindcore and Death Metal. And how about a minute of undisputed aggressiveness as their second to last breath of classic Grindcore? That’s what you’ll get in Desecrating The Remains Of A Virgin, before Bound To The Breaking Wheel closes the album exactly like it should, with no shenanigans, no artificial elements, just plain Grindcore by such skillful and enraged trio.

As already mentioned, Morbid Menagerie is indeed a demented platter of Death Metal and Grindcore by those three mysterious marauders that form the uncanny Gorotica, and you can already preorder such disturbing album from their own BandCamp page, and soon also stream it in full on Spotify. You can also start following Gorotica on Facebook and on Instagram for an overdose of gore and death on your daily routine, making your life a lot more fun to the sound of their bloodcurdling creations. In the end, it doesn’t really matter if the band members are French or Australian because the music found in Morbid Menagerie is awesome, showing the trio knows exactly what they’re doing and, consequently, offering us all another great option for enjoying some carnage inside the circle pit.

Best moments of the album: Fleshgrind, Born Unto Death, Knife Wound Gratification, The Endless Urge and Purging The Apocalypse.

Worst moments of the album: The Necrophile and Execution By Fire.

Released in 2022 Independent

Track listing
1. At The Gates Of The Necropolis 1:49
2. Fleshgrind 2:03
3. Born Unto Death 3:10
4. Teeth Removed With A Sledgehammer 0:33
5. The Necrophile 2:25
6. Malevolent Insertion 1:47
7. Corpsefucker 0:31
8. Left To Bleed 2:34
9. Knife Wound Gratification 2:08
10. Graveyard Cannibal 0:47
11. Execution By Fire 2:03
12. The Endless Urge 2:17
13. Ocular Impalement 0:44
14. Human Skin Drapery 3:09
15. Consuming The Flesh Of The Dead 1:39
16. Forced Cluster Headache 0:12
17. Purging The Apocalypse 1:11
18. Morbid Menagerie 2:13
19. Severed Head Pincushion 0:44
20. Obsession With Mutilation 1:55
21. Desecrating The Remains Of A Virgin 0:58
22. Bound To The Breaking Wheel 3:50

Band members
Jon Von Cannibale – vocals
Gaspard La Verge – guitars, bass
Raymonde Peste – drums

Guest musicians
Jean-Paul Lattouf – percussion
Miller – additional vocals on “Teeth Removed With A Sledgehammer” and “Severed Head Pincushion”
Tobias – additional vocals on “Corpsefucker”
Rasmus & Gaspard – additional vocals

Album Review – Strangle Wire / Shaped By Human Frailty (2022)

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A gargantuan collision between the heaviest of Death Metal and the darkest of emotions, submerged in an unsettling atmosphere of grief and isolation, masterfully crafted by a ruthless Belfast-based quartet.

A gargantuan collision between the heaviest of Death Metal and the darkest of emotions, submerged in an unsettling atmosphere of grief and isolation, Shaped By Human Frailty, the first full-length album by Belfast, Northern Ireland-based horde Strangle Wire, is a demonstration of Death Metal at its most effective and affecting, with sheer power being shaped by superb song writing following up on their 2018 EP The Dark Triad. Branding themselves as “Psychological Death Metal”, the band currently formed of Pete on vocals, Ross on the guitar, Daff on bass and John on drums delivers fast, groove laden and devastatingly heavy Death Metal throughout the entire album with the assistance of Chris Fielding (Electric Wizard, Primordial, Napalm Death) at Foel Studios, being therefore tailored for fans of Bolt Thrower, Asphyx, Grave and Benediction.

Arising from the pits of the underworld, the band kicks things off with a demented Death Metal attack entitled Heavily Medicated, where the vocals by Pete sound inhumane, also showcasing an amazing stringed work by Ross and Daff while John decimates our souls with his crushing drums. Pete roars deeply in the also pulverizing Learned Wretchedness, bringing forward old school Death Metal for lovers of the genre while again inviting us all to slam into the circle pit like demented metalmaniacs, with Ross extracting sheer obscurity from his riffs and solos. Are you tired already? Because there’s more of the band’s demolishing Death Metal in Judas Switch, an ass-kicking, infernal creation bringing to our avid ears more of the putrid guttural by Pete and the hammering drums by John, and get ready to be smashed by Strangle Wire in the demonic The Human Tensile Experiment, where the sensational blast beats by John offer Pete exactly what he needs to bark like a rabid beast, not to mention how heavy and visceral the guitars and bass by Ross and Daff sound.

Take a deep breath to the sound of the melancholic instrumental interlude An Abhorrent Intervention before all hell breaks loose in the title-track Shaped by Human Frailty, offering us all old school, in-your-face Death Metal with no shenanigans, being vile and aggressive from start to finish spearheaded by the intricate and demonic beats by John. Dead Before the Still brings forward less than three minutes of pulverizing groove and heaviness by the quartet, with the bass by Daff making our heads tremble in an ode to classic Death Metal; whereas their second to last blast of insanity and darkness, titled Psychology of the Sick, is a lesson in violence inspiring us all to headbang like there’s no tomorrow. And there’s nothing better than ending an album of crushing Death Metal with another crushing song, named Horrors Beneath, where Pete roars in great fashion supported by the stunning instrumental by his bandmates.

If you would like to explore the vicious, psychological world of Strangle Wire, you can do so by following the band on Facebook and on Instagram for news and tour dates, by subscribing to their YouTube channel, by streaming their music on Spotify, and by purchasing Shaped By Human Frailty from their own BandCamp page or from Apple Music sooner than you can say “Death Metal”, or simply click HERE for all things Strangle Wire. Absolutely dark and sinister, Shaped By Human Frailty provides us with the exact message that the band wanted to send when they started working on the album, with its cruel atmosphere proving that once you’re captured by the Death Metal brought into being by Strangle Wire, there’s no escape.

Best moments of the album: Heavily Medicated, The Human Tensile Experiment and Horrors Beneath.

Worst moments of the album: None.

Released in 2022 Grindscene Records

Track listing
1. Heavily Medicated 3:25
2. Learned Wretchedness 3:58
3. Judas Switch 4:08
4. The Human Tensile Experiment 4:24
5. An Abhorrent Intervention 1:03
6. Shaped by Human Frailty 5:26
7. Dead Before the Still 2:39
8. Psychology of the Sick 3:33
9. Horrors Beneath 5:38

Band members
Pete – vocals
Ross – guitar
Daff – bass
John – drums

Album Review – Diabolical Raw / Elegy of Fire Dusk (2022)

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Behold this grandiose album of Symphonic Black and Death Metal, telling a deep and detailed story inspired by ancient Central Asian Turkish mythology.

Having entered the Turkish Extreme Metal scene in the city of Izmir in the now distant year of 1998 under the name Diabolical and currently located in Hanover, Germany, the fantastic Symphonic Black/Death Metal duo now known as Diabolical Raw, comprised of vocalist Ozan Erkmen and multi-instrumentalist Ozan Tunc, is back from the pits of hell with their sophomore full-length opus, the imposing and epic Elegy of Fire Dusk, the follow-up to their critically acclaimed 2019 album Estrangement. Recorded, mixed and mastered by the band itself, and displaying a sinister yet gorgeous artwork by Mukadder “Muko” Karaoğlan, the album tells a story inspired by ancient Central Asian Turkish mythology that develops around Kaygun, the daughter of a small clan leader, showing that not only the music found in the album is grandiose, but there’s also a lot of depth in its lyrics.

Middle-Eastern elements spice up the bold, obscure intro Revelations, opening the gates of the underworld for the duo to crush our souls in Commands of the Gods, with Ozan Tunc generating a menacing ambience with his riffs, drums and all orchestrations, resulting in an imposing Dimmu Borgir-style aria showcasing the demonic vocal potency by Ozan Erkmen. Wise Old Woman is another blast of obscurity in the form of top-notch Symphonic Extreme Metal that feels like the soundtrack to a hellish horror movie, where Ozan Tunc sounds possessed by an evil entity behind his drums; and there’s no time to breathe as the duo’s fusion of Black Metal with symphonic elements and a Stygian storytelling is offered to us all in Entry into Erlik’s Hell, with Ozan Tunc extracting sheer darkness from his guitars, bass and drums while Ozan Erkmen roars and barks manically for our total delight. They keep guiding us through the realms of Turkish mythology in the incendiary aria Tilgen’s Fall, blending the most pulverizing elements of classic Black Metal with pure symphony, and get ready to be decimated by the duo in Face the Judgement, a brilliant Symphonic Black and Death Metal extravaganza spearheaded by the massive, unstoppable beats by Ozan Tunc, flowing into the instrumental interlude Uprising, which will captivate our senses before we’re treated to Talking With Gods, sounding as if it was taken directly form the soundtrack to an epic, demonic movie, with Ozan Tunc being simply majestic throughout the entire song.

No sign of slowing down as Diabolical Raw keep hammering our heads with their Symphonic Black Metal in The Invincible Army, where the wicked, evil vociferations by Ozan Erkmen will haunt your soul for all eternity while Ozan Tunc generates a beautiful wall of sounds in the background. Then an otherworldly roar by Ozan Erkmen kick off the infernal tune The Last War With Evil, the perfect combination of the rawness and violence of traditional Black Metal riffs with the finesse of Symphonic Black Metal, reminding me of some of the most visceral creations by Cradle of Filth, followed by its second part entitled The Last War With Evil II, once again exploding our senses with their somber sounds and wicked vociferations. Put differently, I must say that Ozan Erkmen might be one of the best Extreme Metal vocalists of the current scene. The Council at the Asar Land is one of the most symphonic and detailed of all songs, a flawless fusion of heaviness and orchestral elements thanks to a brilliant job done by Ozan Tunc, in special his venomous blast beats, before the album ends with the cinematic outro Epic Grandeur, putting a classy finale to all the madness and obscurity crafted by the duo.

In a nutshell, Diabolical Raw simply nailed it with Elegy of Fire Dusk, one of the best Extreme Metal albums of 2022 hands down, and if you want to show your support to such talented duo you can start following them on Facebook and on Instagram, subscribe to their YouTube channel and stream more of their hellish creations on Spotify, and of course, above all that, purchase a copy of such awesome album from their own BandCamp page or from the Base Record Production’s BandCamp page. Do you think you have what it takes to face ancient Central Asian Turkish mythology in the form of Symphonic Black and Death Metal? If your answer is yes, don’t waste your time and go prove to Diabolical Raw that you’re a loyal servant of the dark side of music, inspiring the duo to keep embellishing the airwaves with their unparalleled music for many years to come.

Best moments of the album: Commands of the Gods, Entry into Erlik’s Hell, Face the Judgement and The Last War With Evil.

Worst moments of the album: None.

Released in 2022 Base Record Production

Track listing
1. Revelations 2:31
2. Commands of the Gods 6:18
3. Wise Old Woman 5:33
4. Entry into Erlik’s Hell 8:02
5. Tilgen’s Fall 7:19
6. Face the Judgement 6:06
7. Uprising 2:06
8. Talking With Gods 6:37
9. The Invincible Army 5:54
10. The Last War With Evil 8:30
11. The Last War With Evil II 7:42
12. The Council at the Asar Land 7:45
13. Epic Grandeur 2:36

Band members
Ozan Erkmen – vocals
Ozan Tunc – all instruments

Album Review – Chimera / Gloria Mortis (2022)

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Playing what can be described as a mix of Heavy and Black Metal, this up-and-coming Polish group returns with their sophomore album, as dark and heavy as it is melodic and epic.

Established at the end of 2013 in Warsaw, Poland, Chimera play what can be described as a mix of Heavy and Black Metal, which is exactly what they have to offer us all in their sophomore opus Gloria Mortis, the follow-up to their 2016 debut effort Transmutation. Recorded at Hainrich House Studio, Gloria Mortis is just as dark and heavy as it is melodic and epic, being highly recommended for admirers of the newest wave of extreme music, in special all the new names hailing form the vibrant underground scene in Poland, therefore showcasing all the talent by the band currently formed of Krzysztof Gałecki on vocals and guitars, founder Rafał “Charon” Mazur on lead guitars, Wiktor Waliłko on bass, and Andrzej Ruszkowski on drums.

An eerie intro simply titled I, where Krzysztof distills his Polish words to give it a darker edge, sets the tone for the pulverizing and grim Dunkelheit (“darkness” from German), presenting Black Metal riffs by Krzysztof and Charon while Andrzej hammers his drums powerfully, being at the same time ferocious and melodic, and kicking things off on a very high note. Then investing in a similar sound of its predecessor, Necrosis of Soul is another infuriated creation by Chimera where the band adds elements from Groove Metal and Deathcore to their core essence, not to mention Krzysztof sounds inhumane with his deep roars; whereas Madness sounds and feels even heavier and more demented, with Charon being on fire with his riffage and solos accompanied by the rumbling bass by Wiktor in an electrifying fusion of Black, Heavy and Death Metal. And the thunderous bass and beats by Wiktor and Andrzej, respectively, generate a menacing ambience in Nieistniejąc (“non-existent” from Polish), with the sharp riffs by the band’s guitar duo slashing our ears mercilessly.

The album’s “second act” begins with the horror-movie inspired interlude II, also displaying cryptic vocalizations and morphing into the intricate and groovy Immortal Self, reminding me of the music by several bands from the current American modern metal scene. Moreover, the song’s devilish growls and razor-edged riffs will pierce your mind like a bullet, whereas headbanging guitars and a Stygian atmosphere will embrace your soul in The Bable Tower, where Krzysztof continues to vociferate like a creature from the underworld in a vicious onrush of Black and Death Metal. Then in Asmodeus we’re all invited to slam into the circle pit thanks to its endless brutality, groove and electricity, with Andrzej sounding insane behind his drums supported by the metallic bass by Wiktor, resulting in one of the best songs of the album hands down. And the band keeps delivering their trademark hybrid of violence and intricacy in Dziki Sęp (“wild vulture” from Polish), bringing forward an awesome job done by Krzysztof and Charon with their Black Metal-infused riffs. There’s still time for one last breath of pure insanity entitled Among Wolves, getting heavier and heavier as time passes by, all spearheaded by the venomous vocalizations by Krzysztof before a narration-style outro named III puts a Stygian ending to the album.

If you’re an admirer of a modern fusion of Black, Death and Heavy Metal with a dense background, you should definitely give the new album by Chimera a try by streaming it in full on YouTube and on Spotify, and of course purchase it from the band’s own Facebook page to show your utmost support to the underground. In addition, go check what the band is up to on Facebook and on Instagram, including their tour dates, and subscribe to their YouTube channel for more of their music and videos. Gloria Mortis is undoubtedly a step forward in the career of such promising band from the Polish metal scene, and I’m pretty sure that we’ll hear more from those guys sooner than we can imagine as their third opus isn’t far from seeing the light of day.

Best moments of the album: Dunkelheit, Madness and Asmodeus.

Worst moments of the album: Immortal Self.

Released in 2022 Independent

Track listing
1. I 1:48
2. Dunkelheit 5:36
3. Necrosis of Soul 4:33
4. Madness 4:02
5. Nieistniejąc 5:15
6. II 1:22
7. Immortal Self 4:01
8. The Bable Tower 4:05
9. Asmodeus 4:30
10. Dziki Sęp 3:28
11. Among Wolves 3:59
12. III 1:07

Band members
Krzysztof Gałecki – vocals, guitars
Rafał “Charon” Mazur – lead guitars
Wiktor Waliłko – bass
Andrzej Ruszkowski – drums

Album Review – Blind Guardian / The God Machine (2022)

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Seven years after the release of Beyond The Red Mirror, the most respect German Power Metal bards of all time make a brilliant return with their breathtaking twelfth studio album.

Seven years after the release of Beyond The Red Mirror, the multi-talented German Power Metal bards Blind Guardian make a brilliant return and compensate for the waiting time with their new studio album, entitled The God Machine, the twelfth in their undisputed career. Produced, recorded and engineered by Charlie Bauerfeind and Thomas Geiger, mixed by Joost van den Broek and Jos Driessen, mastered by Jaakko Viitalähde, and displaying a classy artwork by Peter Mohrbacher, The God Machine brings everything we learned to love and more in the music by frontman Hansi Kürsch and his henchmen André Olbrich and Marcus Siepen on the guitars, Frederik Ehmke on drums, and session musicians Barend Courbois on bass and Thomas Geiger on keyboards, with each song having its lyrics based on a specific novel, play, series or milestone in their personal lives, such as The Kingkiller Chronicle, Battlestar Galactica and American Gods. “We didn’t want to rehash our style from 1995, but on the other hand we didn’t want to have to continue on our current path forever. The God Machine is a new beginning for us. We’re putting everything back to square one and return to certain patterns that we neglected a bit on previous releases. Look forward to an album that is straighter, more aggressive, but always blessed with highly infectious melodies and hooks,” commented Hansi about the band’s new opus.

The rhythmic riffs by André and Marcus set the stage for the epic Deliver Us From Evil, with Hansi distilling his trademark, powerful vocals from the very first second in a pure Blind Guardian sound with no shenanigans, or in other words, this will be a fantastic opener for their upcoming concerts. In Damnation we’re treated to cryptic words darkly declaimed by Hansi (“They’re like ghosts / The ancient ones / Burning blue’s their sign / It’s all true / Hush don’t cry / Better hide”) while his bandmates deliver first-class Power and Heavy Metal nonstop in a journey back in time to the band’s early days; followed by Secrets Of The American Gods, which starts in a beyond epic, majestic manner before exploding into another headbanging, symphonic Power Metal aria, being therefore tailored for their live setlists. And it’s then time for another explosion of visceral Power Metal by the bards entitled Violent Shadows, where Barend and Frederik’s kitchen offers the band’s guitar duo the perfect atmosphere for their wicked riffs and solos.

Life Beyond The Spheres displays solid instrumental and vocals, albeit it lacks the same punch as its predecessors. The keys by guest Joost van den Broek are spot-on, though, enhancing the song’s kick. Then speeding things up and delivering a beautiful fusion of heaviness, epicness and violence the band brings forward Architects Of Doom, where Frederik dictates the pace while Hansi continues to stun us all with his unparalleled vocals; and Hansi mesmerizes us once again in Let It Be No More, starting in a serene, pensive manner and evolving into a bold and beautiful sonority where André pierces our souls with his guitar solo. The fantastic Blood Of The Elves brings to us listeners powerful lyrics (“Honor, it’s easy to dispose / In this darkest hour we’re alone / From behind closed doors it aims for her / Magic’s reaching out to draw her in / To the eye of the storm / The storm”) spiced up by a traditional, straightforward sound that will please all fans of the band, whereas just like a sinister, climatic ending of a fantasy movie we’re treated to the hammering Destiny, a great way to conclude another sensational work by Blind Guardian showcasing their characteristic vocals and riffs enfolded by gorgeous background elements.

Blind Guardian The God Machine Nuclear Blast Mailorder Vinyl Boxset

Such masterpiece of German Power and Heavy Metal can be appreciated in all of its glory on YouTube and on Spotify, but if I were you I would certainly click HERE or HERE to purchase the physical edition of the album, including the superb Nuclear Blast Mailorder Vinyl Boxset, limited to 1,700 copies, which comes with a crystal-clear double LP with red inkspot and black splatter in a gatefold with 24-page booklet, a digipack CD, a board game, a slipmat, a signed card, a sticker and a postcard set. Don’t forget to also follow the band on Facebook and on Instagram for news and tour dates, and to stream all of their amazing videos and albums on YouTube and on Spotify. In summary, seven years between two albums feels like an eternity for us fans when the band in question is as amazing as Blind Guardian, but the wait was certainly worth it as The God Machine proves why such German metal machine is so respected and admired in the world of heavy music.

Best moments of the album: Deliver Us From Evil, Damnation, Violent Shadows and Blood Of The Elves.

Worst moments of the album: Life Beyond The Spheres.

Released in 2022 Nuclear Blast

Track listing
1. Deliver Us From Evil 5:21
2. Damnation 5:20
3. Secrets Of The American Gods 7:28
4. Violent Shadows 4:17
5. Life Beyond The Spheres 6:02
6. Architects Of Doom 6:20
7. Let It Be No More 4:48
8. Blood Of The Elves 4:37
9. Destiny 6:46

Nuclear Blast Mailorder Edition, Vinyl Boxset bonus tracks
10. Life Beyond the Spheres (Cyber Mix) 6:07
11. Destiny (Lead Guitar Version) 6:42
12. Let It Be No More (Heavy Vocals) 4:49

Band members
Hansi Kürsch – vocals
André Olbrich – lead, rhythm and acoustic guitars
Marcus Siepen – rhythm and acoustic guitars
Frederik Ehmke – drums

Guest musicians
Barend Courbois – bass (session)
Thomas Geiger – keyboards, effects (session)
Joost van den Broek – keyboards on “Life Beyond The Spheres”
Marcela Bovio, Marjan Welman, Olaf Senkbeil, Hacky Hackmann & John “Jaycee” Cuijpers – backing vocals

Album Review – All Else Fails / The Incident at Black Lake EP (2022)

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An award-winning Canadian Metalcore act returns to their DIY roots with their musically and lyrically dark brand new four-track EP.

Over the last 15 years, Edmonton, Alberta-based award-winning Metalcore band All Else Fails has become a cornerstone of the Melodic Heavy Metal community in Canada. Combining intense riffs, intricate rhythm sections, brutal guttural screams, and melodic yet unusual vocal lines paired with relevant and relatable lyrics, their message resonates with us all, and now in 2022 it’s time for vocalist and guitarist Barrett Klesko, guitarist John Saturley, bassist Coco Lee and drummer Nelson Collins-Lee to return to their DIY roots by mindfully abandoning their social media and redirecting their energy to contributing to their local metal scene by building a direct personal connection to their fans and followers, living in line with a humanist philosophy and encouraging a culture of support between artists, culminating with the release of a new EP entitled The Incident at Black Lake. Produced by All Else Fails, mixed and mastered by Bevin Booth at In The Booth Recordings, and displaying a somber artwork by Indonesian illustrator and graphic designer Zulmi_m, The Incident at Black Lake is musically and lyrically dark according to Barrett himself, who complemented by saying that “I think this EP is beautiful, there is elegance in darkness. I think it’s sad because I know the turmoil and pain it took to write it, and I think it’s powerful because it’s the first time I have truly been honest in my music.”

A cinematic intro grows in intensity until all hell breaks loose to the demented screams by Barrett in I, Defiler while Coco brings sheer groove to the sound with his low-tuned, metallic bass, resulting in classic Metalcore alternating between pure savagery and melodic, ethereal moments, all spiced up by its background Symphonic Deathcore elements. Then another imposing start morphs into the Metalcore and Deathcore feast entitled Devour The Sun, offering our ears over eight minutes of slashing riffs by Barrett and John while Nelson hammers his drums in total sync with the bass by Coco, overflowing heaviness, intricacy and harmony, not to mention Barrett does an amazing job on vocals as usual; followed by Flesh /Excess /Wealth, another multi-layered, detailed aria masterfully brought into being by the quartet. The guitars by Barrett and John exhale fire throughout the entire song while Nelson’s beats add an extra dosage of complexity to the music, being therefore  perfect for banging your head nonstop and singing its lyrics together with Barrett. Lastly, the band puts the pedal to the metal as the closing song of the EP, Crystal Mountain, is just as violent and melodic as its predecessors, blending Metalcore with Progressive Death Metal nuances, with all band members showcasing their refined skills until the very last second and with Nelson stealing the spotlight with another ass-kicking performance on drums. In addition, its background epic sounds are simply fantastic.

The Incident at Black Lake might be “just” a four-track EP by All Else Fails, but its 25 minutes of music are absolutely intense and electrifying, proving why they’re undoubtedly one of the most important names of the Canadian Metalcore scene. Hence, don’t forget to give the guys from All Else Fails a shout on Facebook and on Instagram, to stream more of their music on Spotify, and to purchase a copy of The Incident at Black Lake really soon from their own BandCamp page or from Apple Music. As already mentioned, there’s a lot of darkness flowing from the music and the lyrics found in the EP, and that’s exactly what makes it so compelling, showing that their decision to channel their energy into their local metal scene and “forget” about social media will bring tons of benefits to their career.

Best moments of the album: Devour The Sun and Flesh /Excess /Wealth.

Worst moments of the album: None.

Released in 2022 Independent

Track listing
1. I, Defiler 5:48
2. Devour The Sun 8:24
3. Flesh /Excess /Wealth 5:36
4. Crystal Mountain 5:19

Band members
Barrett Klesko – vocals, guitar
John Saturley – guitar
Coco Lee – bass, backing vocals
Nelson Collins-Lee – drums

Album Review – Jordfäst / Av Stoft (2022)

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A ruthless Swedish Black Metal duo returns with their sophomore opus, telling sobering tales of human struggles against societal norms and religious oppression, and the fight for the right to determine one’s own fate.

An old Swedish word for being buried, loosely translated to ”attached to soil”, Jordfäst is also the name of a Skåne, Sweden-based Black Metal duo who unearth the grim past of the Scandinavian peninsula in their songs, channeling the long-forgotten cries of people that once lived. Now in 2022 it’s time for vocalist Olof Bengtsson and multi-instrumentalist Elis Edin Markskog, supported by session drummer Joakim Unger, to unleash upon humanity their sophomore opus entitled Av Stoft, the follow-up to their critically acclaimed 2021 debut full-length album Hädanfärd. Epic and dreaming, conjuring up soundscapes comparable to genre greats such as Ulver, Saiva, and Primordial, Av Stoft, which is Swedish for “of dust”, continues where Hädanefter left off, with folky melodies and theatrical narratives woven into a solid backbone of Black Metal. Recorded at Studio Wheelmust, mixed and mastered by William Blackmon at The Overlook, and featuring guest vocals by Joakim Svensson of Skogen, the album is comprised of two songs which have a combined playing time of 33 minutes, telling sobering tales of human struggles against societal norms and religious oppression, and the fight for the right to determine one’s own fate, with its gloomy layers interspersed with searing melodies reflecting a reality as unforgiving as the northern winter.

Eerie voices are suddenly joined by the massive beats by Joakim in Abortologen (“the abortologist”, from Swedish), bringing to our damned ears over 16 minutes of Scandinavian Black Metal infused with Folk and Doom Metal nuances where Olof roars manically in the name of pure evil, while Elis crafts a beyond caustic and visceral sound with his riffs, bass and keys, not to mention his guitar solos are a thing of beauty, enhancing the song’s epicness and electricity considerably. Put differently, it’s imposing and violent from start to finish, being therefore tailored for admirers of the genre while also ending in a serene way to the sound of a piano. The second song of the album, Kom Eld, Kom Regn (“come fire, come rain”), offers our ears pure Scandinavian Black Metal flowing from the very first second, with its vocalizations adding an extra touch of darkness to the overall result. Furthermore, the song brings forward a headbanging pace led by the strident riffage by Elis while Joakim hammers his drums in great fashion, and the music alternates between sheer aggressiveness and more melodic, Stygian moments. Not only that, Olof sounds absolutely bestial with his enraged roars, without a single second left empty throughout its 17 minutes of Scandinavian awesomeness that builds up to a sinister, epic and chilling ending.

“With Av Stoft we took a more timeless approach by implementing themes which have always been part of humanity’s history and shaped our society. Concepts pertaining to life and death; the right of the lone individual to either end or start one or the other as he sees fit, as well as the consequences that might follow. As on Hädanefter, the stories are told from several perspectives and depict everything from personal suffering to the relentless forces of nature – all of which are indifferent to our suffering and just biding their time to sweep us away, once and for all,” commented the duo about their newborn spawn, which will soon be available for purchase from the band’s own BandCamp page and from Nordvis Produktion, as well as for streaming on Spotify. Hence, don’t forget to start following Olof and Elis on Facebook and Instagram to stay up to date with all things Jordfäst, letting the obscure tales told by the duo in Av Stoft crawl dep inside your mind while they keep carrying the flag of Scandinavian Black Metal armed with their austere music for many decades to come.

Best moments of the album: Kom Eld, Kom Regn.

Worst moments of the album: None.

Released in 2022 Nordvis Produktion

Track listing
1. Abortologen 16:08
2. Kom Eld, Kom Regn 16:59

Band members
Olof Bengtsson – vocals
Elis Edin Markskog – guitar, bass, keyboards, backing vocals

Guest musicians
Joakim Unger – drums (session)
Joakim Svensson – additional vocals

Album Review – Megadeth / The Sick, the Dying… and the Dead! (2022)

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The sick, the dying… and the Megadeth!

Marking the longest gap between two studio albums in the band’s career since their 2016 release Dystopia, the excellent The Sick, the Dying… and the Dead! is not only the sixteenth studio album by American Thrash/Speed Metal icons Megadeth, but a bold statement that the unrelenting Mr. Dave Mustaine and his henchmen are far from calling it quits, offering us all a lecture in thrash, speed and technique split into 12 incendiary songs. Produced by Dave Mustaine and Chris Rakestraw, mastered by Ted Jensen at Sterling Sound, mixed by Josh Wilbur, displaying a classic cover art by Brent Elliott White, and with artwork, layout and design by Josh Graham at Suspended In Light, The Sick, the Dying… and the Dead! is the first Megadeth album to feature drummer Dirk Verbeuren and the second to feature guitarist Kiko Loureiro, with the bass parts originally recorded by founding bassist David Ellefson being re-recorded by Steve Di Giorgio of Testament (although the band’s current bassist is James LoMenzo) after David was dismissed from the band due to a sex scandal during the album’s recording.

Showcasing an intro inspired by the classic scene “Bring Out Your Dead” from the 1975 cult movie Monty Python and the Holy Grail, the title-track The Sick, the Dying… and the Dead! Quickly morphs into pure Megadeth to the stunning riffs by Dave and Kiko, being also perfect for screaming “Die! Die! Die!” together with “MegaDave”. Then we have Life in Hell, sounding fast and furious just the way we like it in Speed Metal with its lyrics being acid and fun at the same time (“Busted, caught red-handed again / You can’t be trusted, born to lose, you’ll never win / You’re so corrupted, you stand before us condemned / So maladjusted to the world we’re living and dying in”), not to mention how thunderous Dirk sounds on drums; followed by Night Stalkers, another one of my favorites where the band puts the pedal to the metal with Dave and Kiko being on fire with their wicked riffs, accompanied by Steve’s rumbling bass and Dirk’s pulverizing beats, all of course spiced up by a spot-on guest appearance by the one and only Ice-T, the man behind Body Count. In Dogs of Chernobyl a heavy and dark start gradually evolves into another metallic feast by Dave & Co., with its second part setting fire to the atmosphere with its razor-edged riffs, solos and beats, whereas Sacrifice sounds very similar to some of the songs from Dystopia, being very melodic and sharp and with Dave’s raspy voice being nicely supported by all backing vocals. And more of their undisputed fusion of Thrash and Speed Metal is offered to us all in Junkie, with Dave kicking some serious ass as usual with both his unique vocals and trademark riffs and solos.

After the tribalistic interlude Psychopathy, it’s time for Dave to distill his venom in Killing Time, showcasing lyrics that seem to be directed to the band’s former bassist Dave Ellefson (“Some people look at you and feel sorry / They see your beady eyes and a soul that is black / It’s clear to see, you’re a pathological liar / And your alibi was a lie, it was all just an act, and that’s a fact”); followed by Soldier On!, a headbanging extravaganza that transpires Megadeth where Dave leads his horde flawlessly, with “The Marching Metal Bastards” part at the end being ridiculously funny. Célebutante is another old school, straightforward tune by the band where Dirk and Steve are in absolute sync from start to finish, albeit presenting some really weird lyrics, while in Mission to Mars the lyrics are even weirder but for a good reason (they’re meant to be cheesy), also displaying excellent instrumental parts including its striking guitar solos. Then the incendiary shredding by Dave and Kiko ignite the closing tune We’ll Be Back, which was curiously the first single released, sounding technical, violent, fast and acid just the way we love it, or in other words, it’s simply flawless until the very end. Moreover, depending on the version of the album you acquire, there are some amazing bonus tracks waiting for you, with the best one being by far This Planet’s on Fire (Burn in Hell), originally recorded by Sammy Hagar on his 1979 album Street Machine (listen to the original version HERE), and featuring Sammy Hagar himself on vocals together with MegaDave.

You can enjoy the album in its entirety on Spotify, where by the way you’ll find the best bonus tracks in my humble opinion, but if you’re a loyal member of Megadeth’s Cyber Army you should definitely purchase your favorite version of the album by clicking HERE or HERE, always keeping an eye on the band’s official Facebook and Instagram for news, tour dates and other fun stuff by Dave and his crew. In a nutshell, The Sick, the Dying… and the Dead! couldn’t have sounded more Megadeth than this, staying loyal to the band’s original Speed Metal infused with Thrash Metal, while at the same time containing elements from all phases of their undisputed career, putting a huge smile on the faces of their old school fans and of newcomers to their metal realm. It’s an album for all of us, for all diehard metalheads out there, inspiring us to raise our horns to the sick, the dying… and the Megadeth!

Best moments of the album: The Sick, the Dying… and the Dead!, Life in Hell, Night Stalkers, Mission to Mars and We’ll Be Back.

Worst moments of the album: Célebutante.

Released in 2022 Universal Music

Track listing
1. The Sick, the Dying… and the Dead! 5:04
2. Life in Hell 4:12
3. Night Stalkers 6:38
4. Dogs of Chernobyl 6:14
5. Sacrifice 4:08
6. Junkie 3:39
7. Psychopathy 1:20
8. Killing Time 5:13
9. Soldier On! 4:54
10. Célebutante 3:51
11. Mission to Mars 5:24
12. We’ll Be Back 4:29

Digital Edition bonus tracks
13. Police Truck (Dead Kennedys cover) 2:29
14. This Planet’s on Fire (Burn in Hell) (Sammy Hagar cover) 5:04

EMP Exclusive CD bonus tracks
13. This Planet’s on Fire (Burn in Hell) (Sammy Hagar cover) 5:04
14. Take No Prisoners (live) 3:29

Target Exclusive CD bonus tracks
13. This Planet’s on Fire (Burn in Hell) (Sammy Hagar cover) 5:04
14. The Conjuring (live)* 5:49

*Mislabeled as “Dystopia” on the album track listing.

Band members
Dave Mustaine – lead vocals, lead and rhythm guitar, additional bass
Kiko Loureiro – lead guitar, backing vocals, flute on “Night Stalkers”
Dirk Verbeuren – drums

Guest musician
Steve Di Giorgio – bass (session)
Ice-T – vocals on “Night Stalkers”
Sammy Hagar – vocals on “This Planet’s on Fire (Burn in Hell)”
Brandon Ray – additional vocals
Eric Darken – percussion
Roger Lima – keyboards, effects
Luliia Tikhomirova – narration on “Dogs of Chernobyl”
Bill Elliot – voices on “Junkie”
John Clement – voices on “Soldier On!”
The Marching Metal Bastards – voices on “Soldier On!”
Maila Kaarina Rantanen – voices on “Mission to Mars”
Clint Underwood – voices on “Mission to Mars”

Album Review – Forlesen / Black Terrain (2022)

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This doomed entity hailing from Portland, Oregon brings forward four monolithic songs that will fully immerse the listener in a contrast of the serene and cacophonous in their new opus.

Formed in San Francisco, California at the end of 2016, but currently based in Portland, Oregon, Atmospheric Black/Doom Metal outfit Forlesen draws from Epic Doom, Black Metal, Slowcore and Dark Ambient to subvert traditional songwriting with their new full-length, entitled Black Terrain, which weaves heartbreak and hypnosis to show the band at their most vulnerable and vicious. Mixed by Jack Shirley at The Atomic Garden, mastered by Garrett Haines at Treelady Studios, and displaying a beautiful artwork by Benjamin A. Vierling, Black Terrain brings forward four monolithic songs, at times approaching twenty minutes in length, fully immersing the listener in a contrast of the serene and cacophonous, showcasing the evolution in the sound crafted by vocalist and multi-instrumentalist Ascalaphus (Botanist), vocalist and multi-instrumentalist Bezaelith (Lotus Thief), guitarist Petit Albert (Lotus Thief), and drummer Maleus (Kayo Dot, Maudlin Of The Well) from their debut effort Hierophant Violent,  being therefore highly recommended for fans of Candlemass, Dead Can Dance, Low and Neurosis, among several others.

An eerie, otherworldly start gradually evolves into an atmospheric and somber Doom Metal sonority led by the sluggish beats by Maleus in Strega, while Ascalaphus, Bezaelith and Petit Albert darken the skies with their minimalist but heavy-as-hell riffs and whimsical vocalizations, flowing smoothly while also offering us all a neck-breaking rhythm. Furthermore, its beautiful guitar work will penetrate deep inside our hearts, also showcasing a perfect balance between the delicate vocals by Bezaelith and the devilish roars from her bandmates, making an instant connection with the title-track Black Terrain, where the band continues to permeate the air with their melodic and grim sounds. The whole song is effectively energized by the tribalistic drums by Maleus while Bezaelith delivers introspective, ethereal vocal lines, suddenly morphing into the Black Metal-infused aria Harrowed Earth, bringing to our avid ears a multi-layered, enfolding and caustic explosion of sounds spearheaded by the blast beast by Maleus and the wicked, dirty riffage by Ascalaphus, Bezaelith and Petit Albert. Put differently, it’s Atmospheric Black Metal at its finest, evolving to a more obscure form of Doom Metal as time passes by. Lastly, in Saturnine the lyrics will put you in a doomed trance (“Come now and let it all go… / Time is a beast devouring it’s children / Wild eyed, the ever churning tide / He does suppress the cries of nascent sovereignty / Lest golden ages be undone / Time makes beasts of all its golden children / Wild eyed, the ever churning tide / As we egress through parodies of infancy / And we await being born / Go now and let it all come…”), while the music remains serene, infuriated, lugubrious and alive all at the same time, resulting in a spot-on fusion of Ambient and Doom Metal.

The doomed beast known as Forlesen can be found on Facebook and on Instagram for news, tour dates and other details about their wicked music, and you can also stream all of their creations on Spotify. However, if you want to show your true support to the underground, you should purchase a copy of the eccentric Black Terrain from the I, Voidhanger Records’ BandCamp page, from Metal Odissey as a CD or double LP, or from Apple Music, showing all the passion you nurture in your blackened heart for contemporary doom. The songs in Black Terrain might be lengthy, sluggish, somber and pensive, but that’s exactly what makes the album so compelling, consequently  inspiring the band to keep spreading their wings over this black terrain we live called earth.

Best moments of the album: Strega and Harrowed Earth.

Worst moments of the album: None.

Released in 2022 I, Voidhanger Records

Track listing
1. Strega 19:10
2. Black Terrain 8:57
3. Harrowed Earth 12:29
4. Saturnine 18:07

Band members
Ascalaphus – vocals, guitars, synth, harmonium, bass
Bezaelith – vocals, bass, guitars, synth
Petit Albert – guitars, synth, Hammond B3 organ, backing vocals
Maleus – drums

Guest musician
Leila Abdul-Rauf – glockenspiel, trumpet

Album Review – Grave Digger / Symbol of Eternity (2022)

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The mighty Grave Digger go back in time to offer us all a powerful sequel to their 1998 classic Knights of the Cross based on the Knights Templar, the Crusades and the Holy Grail.

One of the most important and creative bands in the history of German rock and metal, the mighty Power Metal institution Grave Digger, is back two years after the excellent Fields of Blood with another headbanging album entitled Symbol of Eternity, bringing to our ears everything we’ve learned to love in their music since the band’s inception decades ago. Produced, mixed and mastered by the band’s mastermind, the iconic Chris Boltendahl himself, at his own studio named Graveyard Studios, and displaying a beautiful artwork by Uwe Jarling, Symbol of Eternity is a concept album based on the Knights Templar, the Crusades and the Holy Grail, working as a sequel to the band’s 1998 classic Knights of the Cross while showcasing once again all the talent and passion of the aforementioned Chris Boltendahl together with his henchmen Axel Ritt on the guitars, Jens Becker on bass and Marcus Kniep on drums.

It’s time to head into the battlefield to the sound of the epic, cinematic intro The Siege Of Akkon before Chris & Co. deliver pure Heavy Metal in the exciting Battle Cry, with Marcus dictating the pace with his old school beats accompanied by the rumbling bass by Jens. Put differently, it’s pure, unfiltered Grave Digger for all diehard fans of the band to sing along with them, and the same can be said about Hell Is My Purgatory, showcasing an addictive chorus vociferated by Chris (“Hell is my purgatory / I’m a sinner, I’m your priest / Hell is my purgatory / Faith unleashed the beast / Hell is my damnation / My holy revelation / Hell is my crematory / Hell! Hell! Hell!”) and a great sync between Axel’s riffs and Jens’ metallic bass. Then pure German metal riffage flows from Axel’s guitar in the also high-octane King Of The Kings, where Marcus once again hammers his drums in great fashion, whereas the title-track Symbol Of Eternity brings forward the band’s usual heaviness and obscurity, displaying a sluggish pace, somber passages and the melancholic vocals by Chris, albeit not as exciting a the rest of the album. After the short Middle Eastern-inspired interlude Saladin, the band returns in full force with Nights Of Jerusalem, offering our ears more of their thunderous drums, dirty riffs and raspy vocals. Moreover, we all know Chris is an amazing storyteller, and he nails it once again in this classic tune.

Heart Of A Warrior presents another beyond catchy chorus (“Take my last breath / Prepared myself to death / In my last hour / I feel the power / And I was sent by God / To be victorious / I got the heart / Of a warrior”) embraced by a classic Grave Digger sonority; while acoustic guitars kick off the mid-tempo, headbanging tune Grace Of God, with its background symphonic element adding an extra touch of epicness to the overall result. Back to a more melodic sonority, it’s time for Axel to extract sheer electricity form his guitar in Sky Of Swords, perfect for banging your head and raising your fists in the air together with the unrelenting Grave Digger, followed by Holy Warfare, a pure Heavy and Power Metal feast made in Germany with an exciting pace and riffage where Marcus pounds his drums as we dive into the battle together with the band. The Last Crusade, the last original song from the album, will darken the skies to the deep, sinister vocals by Chris while the instrumental pieces sound and feel utterly powerful. Last but not least, the bonus track Hellas Hellas, featuring guest vocals by its original singer Vasilis Papakonstantinou, has been a staple in Grave Digger’s sets whenever they played Greece, since the 90’s, and this new studio version kicks some serious ass to the point it should be played anywhere, not just in Greece (and you can compare it to the original version by clicking HERE).

Grave Digger Symbol of Eternity Limited Collector’s Hardcover Boxset

Symbol of Eternity can be savored in its entirety on Spotify, but of course if you’ve always been a loyal soldier of the Grave Digger army you can purchase your favorite version of the album by clicking HERE, including the super limited collector’s hardcover boxset (and good luck trying to find that one available as it’s limited to only 500 copies worldwide) that includes the limited 2CD mediabook, a 115 x 75cm flag, an armband with metallic 3D emblem, an A3 poster, a signed autograph card and a certificate of authenticity. Also, don’t forget to follow the band on Facebook and on Instagram for news and their electrifying tour dates, raising your sword together with Chris and his horde whenever they take your city by storm. In a nutshell, Symbol of Eternity might not get even close to being their strongest effort to date, but that doesn’t mean it’s not a powerful and gripping album of old school German Heavy Metal, proving why Grave Digger have been on the road for so many decades and showing us all they’re far from calling it quits. Long live Grave Digger, and may their Power Metal be part of the soundtrack of our lives for all eternity!

Best moments of the album: Battle Cry, Hell Is My Purgatory, Heart Of A Warrior and Holy Warfare.

Worst moments of the album: Symbol Of Eternity.

Released in 2022 ROAR! Rock Of Angels Records

Track listing
1. The Siege Of Akkon 1:03
2. Battle Cry 3:53
3. Hell Is My Purgatory 3:53
4. King Of The Kings 4:43
5. Symbol Of Eternity 5:18
6. Saladin 0:36
7. Nights Of Jerusalem 4:40
8. Heart Of A Warrior 3:46
9. Grace Of God 4:23
10. Sky Of Swords 4:16
11. Holy Warfare 3:43
12. The Last Crusade 5:20
13. Hellas Hellas (Vasilis Papakonstantinou cover) 4:00

Limited Edition Boxset/ Mediabook CD 2 (Live at Metal Hammer Paradise)
1. The Clansman’s Journey 1:31
2. Healed by Metal 4:31
3. The Clans Will Rise Again 5:31
4. Lawbreaker 3:33
5. The Roundtable 5:36
6. The Curse of Jacques 5:09
7. Season of the Witch 5:17
8. Excalibur 5:25
9. Rebellion 5:49
10. Witch Hunter 3:44
11. Heavy Metal Breakdown 8:18

Band members
Chris Boltendahl – vocals
Axel Ritt – guitar
Jens Becker – bass
Marcus Kniep – drums

Guest musician
Vasilis Papakonstantinou – vocals on “Hellas Hellas”