Category Archives: Album Reviews

Album Review – Juggernaut / La Bestia (2021)

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Let’s slam into the circle pit to the sound of the brand new album of old school Thrash Metal by these four talented and unstoppable beasts hailing from Brazil.

Born in the year of 2005 in the Brazilian city of Blumenau, in the state of Santa Catarina, Thrash Metal outfit Juggernaut has just unleashed upon humanity their third full-length opus, entitled La Bestia, or “the beast” in English, offering fans of bands like Death, Sadus and Destruction a very good reason to slam into the circle pit to the sound of its eight unrelenting tracks infused with Progressive Rock and Metal influences. Recorded, mixed and mastered by Edgar Maccoppi at Edgar Maccoppi Áudio Estúdio, La Bestia began to take its shape and form back in 2017 with a very noble goal of providing us fans an honest album of the purest renowned Santa Catarina Thrash Metal you can think of with a lot of participation in the writing and composing process by all members, those being Cicero on vocals, Célio Jr. on the guitars, Valda on bass and Alefer on drums, and let me tell you that the final result lives up to its hype, sounding as fast, heavy and technical as our good old Thrash Metal demands.

The classic beats by Alefer kick off the thrashing metal madness TerrorISIS Squad, with Cicero’s vocals bringing hints of Black and Death Metal to their music, feeling absolutely inspired by the golden years of our beloved Thrash Metal, followed by Puppets of Society, as fast and demented as the opening track, where Célio Jr. continues to slash his stringed axe mercilessly while Valda and Alefer make the earth shake with their thunderous kitchen in an old school, in-your-face and massive display of their passion for heavy music. There’s no time to breathe as those Brazilian headbangers keep blasting sheer aggression in Hollow Surface, where Célio Jr. and Valda add their share of progressiveness to the overall result accompanied by the breaks and variations provided by Alefer’s beats, whereas investing into a blend of a galloping rhythm and a pure thrashing sonority we’re treated to Man of a Thousand Faces, with Cicero’s raspy roars and gnarls being exactly what’s needed to talk about all the lies, deceive and hate featured in the song’s lyrics.

Then it’s time for the quartet to hammer our cranial skulls once again with the Progressive Thrash Metal tune Human Template, keeping their core rebelliousness intact and therefore bringing into being a very entertaining and intricate mosh pit feast, not to mention Valda’s sick bass punches; and never tired of delivering 80’s Thrash Metal to us fans, Célio Jr. takes the lead with his classic riffs and solos in Useless Generation, while Alefer alternates between bestial moments and more complex passages on drums. The fulminating title-track La Bestia represents everything Juggernaut stands for, sounding violent, groovy and rebellious form start to finish, with its more progressive start morphing into a neck-breaking, venomous vibe where Cicero roars a mix of Portuguese and Spanish words to discuss about all issues found in Latin America such as slavery, hunger and crime, before the quartet offers us a cover version for Starship’s hit single We Built This City, from their 1985 album Knee Deep in the Hoopla (and you can check the original version HERE), with the band turning such upbeat pop hymn into a true headbanger where they managed to maintain the original song’s core essence while adding their own thrashing touch to it.

You can have a very good taste of what Thrash Metal made in Santa Catarina is all about by streaming the full album on YouTube and on Spotify, but of course if I were you I would definitely buy a copy of it from the band’s own BandCamp page, from Apple Music or from Amazon, showing your utmost support to the Brazilian underground scene. In addition, don’t forget to give Juggernaut a shout on Facebook and on Instagram, and to subscribe to their YouTube channel, to know more about the music by those talented thrashers from Brazil. The thrashing beast carefully brought forth by Juggernaut is ready to attack, and you better get ready because things inside the band’s sick circle pit are about to get beyond serious.

Best moments of the album: Puppets of Society, Human Template and La Bestia.

Worst moments of the album: Useless Generation.

Released in 2021 Independent

Track listing
1. TerrorISIS Squad 4:40
2. Puppets of Society 4:46
3. Hollow Surface 4:30
4. Man of a Thousand Faces 3:57
5. Human Template 4:15
6. Useless Generation 4:46
7. La Bestia 5:32
8. We Built This City (Starship cover) 3:34

Band members
Cicero – vocals
Célio Jr. – guitars
Valda – bass
Alefer – drums

Album Review – Terrordome / Straight Outta Smogtown (2021)

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The new album by this unrelenting Polish squad will hit you hard right in the head with their fusion of Thrash Metal, Hardcore and Crossover Thrash with beyond acid lyrics.

Recorded, mixed and mastered by Tomasz “ZED” Zalewski at Zed Studio and featuring an old school artwork by Marcin “Biały” Białkowski, Straight Outta Smogtown is the third full-length installment by a Thrash Metal squad formed in 2005 in the city of Kraków, Poland that goes by the in-your-face name of Terrordome, following up on the violence and adrenaline of their 2015 album Machete Justice. Highly recommended for fans of the sickness blasted by renowned acts the likes of Nuclear Assault, Slayer and Cryptic Slaughter, the new album by vocalist and guitarist Uappa Terror and guitarist Paua Siffredi, together with session musicians Simon on bass and Friggi Mad Beats (Chaos Synopsis, Attomica) on drums, will hit you hard right in the head with their fusion of classic Thrash Metal, Hardcore and Crossover Thrash, with an array of guests including Frank Blackfire (Sodom, Assassin) and Manu Joker (Uganga, Sarcofago) bringing even more electricity to the album’s metal thrashing madness.

Featuring an atmospheric guitar solo by guest Konrad “Destroyer” Ramotowski (Untervoid, Hate), the intro Terrorizing the Nation as the Best Way to Thwart Shameful Schemes warms up our bodies and minds for the Exodus and Nuclear Assault-inspired tune Possessed By Blyat, where Friggi Mad Beats crushes his drums mercilessly, being therefore perfect for slamming into the pit right away, whereas Worried Again sounds even heavier and more menacing, with Uappa’s visceral roars adding an extra touch of animosity to the music while Uappa himself and Paua extract pure Thrash Metal from their sick riffage. And their sonic attack has no time to stop, as they keep delivering hatred and madness in Steel on the Road, with their thrashing riffs and blast beats elevating the song’s insanity through the roof, not to mention how demented Uappa sounds on vocals.

The rumbling bass by Simon kicks off the Thrash and Groove Metal feast Plastic Death, where Uappa invests into Tom Araya-like vocals while his bandmates exhale heaviness through their sonic weapons, and it’s impressive how they managed to sound even faster and heavier than before in Your Personal Comfort Versus the Global Disaster, a brutal Thrash Metal assault showcasing razor-edged riffs by Uappa and Paua and the always wicked beats by Friggi Mad Beats. Then featuring guest vocals by Manu Joker and Jairo Vaz (Chaos Synopsis), get ready to be smashed by Terrordome in Desordem e Regresso, a sick display of extreme music and a “tribute” to the political nightmare that haunts Brazil these days; and Friggi Mad Beats hammers his drums in great fashion in the berserk Into the Void, a pulverizing Crossover Thrash extravaganza led by the vicious riffs and solos by the band’s relentless guitar duo. After such demented tune, their thrashing party goes on in the also electrifying Ego-Boost Downfall, drinking from the fountain of Bay Area Thrash and, therefore, offering our ears piercing riffs and thunderous bass jabs nonstop.

Money Kills carries a great title for another solid, straightforward Thrash Metal tune where all band members are on fire from start to finish, with Uappa stealing the spotlight by rabidly roaring the song’s acid words, while Demolition, featuring a slashing guitar solo by guest Frank Blackfire, offers more of their European thrash spearheaded by the machine gun-like beats by Friggi Mad Beats. Put differently, it will work perfectly when played live to an avid moshing crowd, and firing some Gary Holt-like riffs and infernal beats the quartet brings forward another humongous dosage of animosity and rebelliousness in I Don’t Care, where Uappa is once again demented on vocals. Then an atmospheric intro evolves into a headbanging tune titled Conspiracy, where Uappa and Paua invite us all to dance like a monkey into the circle pit, albeit not as intense as its predecessors; whereas an intro taken from the 1968 cult movie Night of the Living Dead, directed by the iconic George A. Romero (R.I.P.), explodes into what’s in my opinion the best song of the album, The Day They Left Their Graves, a lecture in Thrash Metal with Friggi Mad Beats sounding utterly infernal on drums, presenting the perfect combination of old school thrash with tales of the living dead.

You can get caught in the frantic mosh crafted by Terrordome in Straight Outta Smogtown by listening to the full album on YouTube and on Spotify, but of course if you consider yourself a true thrashing trooper you should definitely purchase the album from the band’s own BandCamp page and webstore, from the Selfmadegod Records’ BandCamp page and webstore, from Apple Music or from Discogs. In addition, don’t forget to follow those sick thrashers on Facebook and on Instagram, and to subscribe to their YouTube channel for more of their awesome creations. After all is said and done, Terrordome proved us all with Straight Outta Smogtown that Thrash Metal is more than alive, especially in the underground, solidifying their name in the local and international scene and, of course, proudly carrying the flag of Polish extreme music wherever they go.

Best moments of the album: Worried Again, Steel on the Road, Desordem e Regresso and The Day They Left Their Graves.

Worst moments of the album: Conspiracy.

Released in 2021 Selfmadegod Records

Track listing
1. Terrorizing the Nation as the Best Way to Thwart Shameful Schemes 0:48
2. Possessed By Blyat 2:41
3. Worried Again 3:24
4. Steel on the Road 2:38
5. Plastic Death 3:32
6. Your Personal Comfort Versus the Global Disaster 2:50
7. Desordem e Regresso 2:45
8. Into the Void 2:25
9. Ego-Boost Downfall 2:57
10. Money Kills 3:49
11. Demolition 2:43
12. I Don’t Care 2:49
13. Conspiracy 3:41
14. The Day They Left Their Graves 3:09

Band members
Uappa Terror – vocals, guitars
Paua Siffredi – guitars
Virious – bass*
Rob Sixkiller – drums*

Guest musicians
Simon – bass (session)
Friggi Mad Beats – drums (session)
Konrad “Destroyer” Ramotowski – guitar solo on “Terrorizing the Nation as the Best Way to Thwart Shameful Schemes”
Słoma – additional vocals on “Worried Again”
Kosa – additional vocals on “Worried Again”
Syru – additional vocals on “Worried Again”
Frank Blackfire – guitar solo on “Demolition”
Manu Joker – additional vocals on “Desordem e Regresso”
Jairo Vaz – additional vocals on “Desordem e Regresso”

*Bass and drums recorded respectively by Simon and Friggi Mad Beats

Album Review – DSKNT / Vacuum γ-Noise Transition (2021)

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One of the most unique projects of the Swiss metal scene returns in full force with a reality-destroying album that takes shape as a dark and multidimensional hallucination deep into reality’s most cryptic and terrifying truths.

Fully conceived, recorded, produced and mastered by the band itself within the confines of their own studio, the brand new album by Swiss Black Metal monstrosity DSKNT, the horrific Vacuum γ​-​Noise Transition, can be seen as a devouring nightmare of omnipotent sonic annihilation conceived at the most liminal edges of sanity, pushing the boundaries of Experimental Metal further and further. Formed in 2013 in Sion, a city in the southwestern Swiss canton of Valais, DSKNT first emerged in 2017 out of total obscurity in their native homeland with an unexpected and insanely crushing self-recorded debut album titled PhSPHR Entropy, but it’s now in 2021 that vocalist Quasar and multi-instrumentalist Asknt are ready to pulverize our senses with Vacuum γ​-​Noise Transition, a reality-destroying album that takes shape as a dark and multidimensional hallucination deep into reality’s most cryptic and terrifying truths, embraced by a primeval yet darkly futuristic artwork by AntïGraphic.

Eerie and cryptic from the very first second, the disruptive and atmospheric noises from the intro Spin set the stage for DSKNT to crush our minds in Deconvolution J/ψ [Part I], with Asknt smashing his guitars and drums mercilessly in great Black Metal fashion while Quasar vociferates the song’s otherworldly words manically, sending an austere message to mankind (“Bend the Origins. Destructurate. / Behind the sporadic affliction of Negated, the utter halogenic radiance. / Crawling mechanics of void disturbance. / Degenerating. Ravenous partial reconfiguration of abscond deity.”). After such infernal and experimental start, it’s time for the duo to keep hammering our souls in Transition K0 [Part I], showcasing infernal blast beats and fills, countless breaks and variations and an endless sense of dementia, all spearheaded by the inhumane roars by Quasar in order to make things even more hellish and dissident.

There’s no time to breathe as DSKNT’s thunderous sounds keep permeating the air in the Death and Black Metal extravaganza Θ-Noise – Phase Shift, presenting elements from Avantgarde Black Metal in the piercing riffage blasted by Asknt; whereas an absolute feel of despair impregnates each and every instrument in the also noise-fueled aria Transition Ω- [Part II], where the duo continues to mix the past, present and future of extreme music, resulting in a wicked and fulminating sound that could be labeled as “Apocalyptic Black Metal”. Then get ready for a 9-minute dissonant Black Metal voyage together with DSKNT entitled Deconvolution Ξ*0 [Part II], sounding and feeling noisy and distorted from the very first second, with Quasar’s demonic gnarls walking hand in hand with the hurricane of riffs, bass jabs and beats brought forth by Asknt. Put differently, it couldn’t have sounded more tormenting nor more austere than what it already does, darkly morphing into the vile outro Spore, as dissonant as the album’s intro, putting the perfect “full circle” conclusion to such entertaining album of extreme music.

The music by DSKNT is all around us, and you can experience such distinct metal voyage by purchasing Vacuum γ​-​Noise Transition from a vast array of locations including the band’s own BandCamp page, the Sentient Ruin Laboratories’ BandCamp page or webstore, Apple Music, Season of Mist (CD and cassette), Midheaven Mailorder, Cargo Records, and ebullition.com, or simply stream it as many times as you want on Spotify. Needless to say, you should also start following DSKNT on Facebook and on Instagram to stay up-to-date with all things surrounding this insane project, including new music, new videos and tour dates. And after knowing more about DKSNT and their disturbing creations, you’ll then realize metal music can go much further than the boundaries and limits you’re accustomed to.

Best moments of the album: Θ-Noise – Phase Shift and Deconvolution Ξ*0 [Part II].

Worst moments of the album: None.

Released in 2021 Sentient Ruin Laboratories

Track listing
1. Spin 3:03
2. Deconvolution J/ψ [Part I] 7:38
3. Transition K0 [Part I] 6:39
4. Θ-Noise – Phase Shift 5:59
5. Transition Ω- [Part II] 7:20
6. Deconvolution Ξ*0 [Part II] 9:17
7. Spore 3:23

Band members
Quasar – vocals
Asknt – all instruments

Album Review – Aversed / Impermanent (2021)

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An up-and-coming American entity is ready to conquer the world of heavy music with their debut album, presenting their own struggles with anxiety and depression reflected on the backdrop of environmental collapse on Earth.

Let’s all celebrate this year’s International Women’s Day with the first-class metal music blasted by Boston, Massachusetts-based female-fronted unity Aversed in their debut full-length opus entitled Impermanent, the ass-kicking follow-up to their 2011 self-titled EP and their 2016 EP Renewal. Mixed and mastered by Christian Donaldson at The Grid Productions, produced by the band’s own guitarist Alden Marchand, and displaying a sick artwork by Adam Burke at Nightjar Illustration, Impermanent illustrates the unique approach to songwriting by frontwoman Haydee Irizarry, guitarists Sungwoo Jeong and Alden Marchand, bassist Peter Albert de Reyna and drummer Jeff Saltzman with nine diverse compositions full of catchy hooks and vast melodies, pivoting from Melodic Death Metal towards a nuanced balance of Blackened and Orchestral Melodic Metal. “The album presents our own struggles with anxiety and depression reflected on the backdrop of environmental collapse on Earth.  However, like the changing mind, we present this inevitable human destruction as a chance for a beautiful rebirth, a chance for new life to flourish.  We attempted to portray this imagery by combining the violence of death and black metal with the lighthearted beauty of rock & roll, blues, and classical,” commented the band about their newborn beast.

A melancholic intro quickly explodes into a venomous Melodic Death Metal feast entitled Natsukashi, a Japanese word used when something evokes a fond memory from your past, also presenting hints of classic Death and Black Metal while Jeff takes the lead with his unstoppable beats, accompanied by the razor-edged guitars by Sungwoo and Alden and, therefore, resulting in a beyond perfect way to start the album. Then we have Close My Eyes, bringing to our ears a very pleasant and melodious vibe where Haydee steals the show with both her piercing clean vocals and her she-wolf roars, living up to the legacy of renowned acts such as Arch Enemy and The Agonist, not to mention the amazing job done by the band’s guitar duo once again; followed by Laboratory, where we’re treated to very entertaining lyrics declaimed by Haydee (“Ten thousand years ago / the blossom of mankind / sprung forth unto Earth / a civilized mistake / Machines to woo thy mind / and spin it into exquisite design / separated from nature / we transcend into gods”) amidst a neck-breaking, demented Death Metal sound where Peter and Jeff make the earth tremble with their infernal kitchen. And putting the pedal to the metal the quintet offers the frantic and austere title-track Impermanent, with Jeff’s crushing drums walking hand in hand with the hellish screams by Haydee.

After such imposing tune, a smooth and serene intro and the background sound of waves kick off the thrilling Abandoned, alternating between more melodic Metalcore moments and sheer savagery, with Sungwoo’s and Alden’s riffs cutting our skin deep, whereas blending their core sonority with Progressive Death Metal, they bring forward the intricate, multi-layered Solar Sea, where Haydee keeps growling nonstop (and obviously stunning us all with her amazing voice), while Peter blasts his bass with tons of intricacy and rage. In Malaise the band invests into a more straightforward, in-your-face sound while still presenting their most melodic side, with the band’s guitar duo, accompanied by the bass jabs by Peter, generating a dense and strident atmosphere from start to finish; and Aversed will blow your mind with the epicness and violence flowing from Spiraling, a metallic and insane extravaganza where Jeff sounds utterly bestial behind his drums while Haydee keeps embellishing the airwaves with her piercing clean vocals and devilish growls. And lastly, it’s time for more of their fusion of Melodic Death Metal with Progressive Metal and Metalcore in Nightshade, once again presenting furious riffs and beats intertwined with the demented roars by Haydee, growing in intensity until fading into an ethereal finale.

After taking several listens to Impermanent, I must say that such awesome, multi-layered album of modern metal music will certainly become a (and sorry about the bad joke) permanent part of my daily metal playlist, and I highly recommend you also add it to yours by purchasing it from the band’s own BandCamp page, where you can by the way acquire a fantastic bundle containing a shirt, a double-sided hoodie, a CD in jewel case and the LP version of the album, or from Apple Music, showing your absolute support to one of the most promising and hardworking bands of the current American scene. Hence, don’t forget to also follow the guys and girl from Aversed on Facebook and on Instagram for news and tour dates, and to subscribe to their YouTube channel for more of their kick-ass videos, helping to keep the fires of the underground burning bright. In the end, Aversed did a superb job with Impermanent, paving an exciting path ahead of them in the melodic and progressive landscape while at the same time offering something fresh to admirers of the fusion of aggressiveness and harmony. And if this is just their first album, I can’t imagine how far the band can go in a not-so-distant future.

Best moments of the album: Natsukashi, Laboratory and Nightshade.

Worst moments of the album: Malaise.

Released in 2021 Independent

Track listing
1. Natsukashi 5:29
2. Close My Eyes 5:35
3. Laboratory 4:13
4. Impermanent 6:45
5. Abandoned 6:21
6. Solar Sea 7:36
7. Malaise 5:52
8. Spiraling 6:27
9. Nightshade 8:35

Band members
Haydee Irizarry – vocals
Sungwoo Jeong – guitars
Alden Marchand – guitars
Peter Albert de Reyna – bass
Jeff Saltzman – drums

Guest musicians
Patrick Logue – orchestrations
Eden Rayz – cello

Album Review – Moonspell / Hermitage (2021)

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Portugal’s own Dark Metal institution returns with their thirteenth full-length album, offering us all a revolutionary and epic journey through the darkest days of human existence.

Portugal’s own Dark Metal institution Moonspell is approaching their 30th anniversary more ambitious and stronger than ever, and in order to proper celebrate such important milestone there’s nothing better than savoring each and every track from their newest opus, entitled Hermitage, the thirteenth studio album in their undisputed career. Recorded, mixed and mastered by Jaime Gomez Arellano (Paradise Lost, Ghost, Sólstafir) at Orgone Studios and featuring a stylish artwork by Latvian artist Arthur Berzinsh, Hermitage is not only the follow-up to their critically acclaimed 2017 album 1755 and their 2015 masterpiece Extinct, but it’s also a revolutionary, wonderfully intuitive and epic journey through the darkest days of human existence masterfully crafted by frontman Fernando Ribeiro, guitarist Ricardo Amorim, keyboardist Pedro Paixão, bassist Aires Pereira and newcomer Hugo Ribeiro on drums, as well as a testament to what they’ve always loved the most, which is honest, emotional metal that binds us even in the darkest times.

Just like the soundtrack to a dark thriller, the opening track The Greater Good will already mesmerize your senses, with the thunderous bass jabs by Aires and the massive beats by Hugo adding heaviness to such atmospheric tune, whereas sheer poetry flows from Fernando’s words (“So close to me, as tight as you can be / Inside the cell / The voice within, the desert wind / Calls out our name / So close, so close”) in Common Prayers, another captivating Gothic Metal aria by Moonspell where Ricardo and Aires are on absolute fire with their stringed weapons, not to mention the epic keys by Pedro. In All or Nothing, the guitars by Ricardo exhale passion and harmony nonstop in a beautiful display of Dark and Melancholic Metal that will please all fans of Moonspell’s most Gothic side, while Fernando is flawless as usual on vocals; and back to a more visceral and atmospheric sonority we’re treated to the dense Hermitage, with Fernando roaring the song’s epic lyrics (“In the circle of life and sin / On this day of apocalypse / On our way to hermitage / It’s the return to innocence”) while Hugo pounds his drums mercilessly. Then the cryptic bass sounds by Aires are intertwined with the classic keys by Pedro in Entitlement, a very melodic tune blending elements from Gothic and Progressive Metal, therefore sounding very experimental at times, with Ricardo taking the lead with his soulful riffs and solos.

It’s time for a fully instrumental voyage through the realms of darkness in the form of Solitarian, offering our ears classic, crying guitars, delicate keys and tribal beats, working as an interlude for the piercing The Hermit Saints, a headbanging extravaganza where all band members are in absolute sync, generating that classy trademark sound found in their latest albums. Moreover, Fernando’s anguished vocals are effectively supported by all background elements, resulting in a lecture in Dark Metal. In Apophthegmata we face an enfolding and smooth start, evolving into a massive sonority where Ricardo and Aires are once again unstoppable with their axes while Hugo showcases all his skills and potency behind his drums and Pedro keeps the ambience as sinister as it can be with his keys; whereas the quintet offers us fans over seven minutes of magnificent Dark Metal titled Without Rule, where the music remains ethereal but at the same time heavy and sharp from start to finish, with Fernando leading his bandmates into the unknown, flowing into the cinematic Black Metal-inspired outro City Quitter, putting a beyond atmospheric conclusion to such multi-layered album. Not only that, if you purchase the superb mediabook or limited deluxe box set versions of Hermitage, you’ll get as a beyond amazing bonus track the song Darkness in Paradise, Moonspell’s cover version for Candlemass’ classic tune from their 1988 album Ancient Dreams (check out the original version HERE), and let me tell you that their tribute to one of the pillars of Doom Metal is just as imposing as the original song, with Fernando stealing the spotlight with his Stygian vocals.

You can enjoy Hermitage in its entirety on Spotify, but this album is so detailed, enfolding and captivating that I highly recommend you purchase a copy of it to add it to your collection of dark and melancholic albums from Moonspell’s BandCamp page or webstore (where you can by the way find the special mediabook edition), or simply click HERE for all locations where you can buy or stream this precious gem of contemporary Dark Metal. Needless to say, don’t forget to follow Moonspell on Facebook and on Instagram to keep up to date with all things surrounding one of the most important metal bands of the European scene. As soon as this pandemic is over, we’ll all be able to leave our hermitages, including the guys from Moonspell, and we’ll finally be able to meet them again on stage to stun us all with the impressive creations of their newborn spawn.

Best moments of the album: Common Prayers, Hermitage, The Hermit Saints and Apophthegmata.

Worst moments of the album: Solitarian.

Released in 2021 Napalm Records

Track listing
1. The Greater Good 5:04
2. Common Prayers 4:08
3. All or Nothing 7:22
4. Hermitage 4:43
5. Entitlement 6:16
6. Solitarian 4:07
7. The Hermit Saints 4:22
8. Apophthegmata 5:41
9. Without Rule 7:42
10. City Quitter (Outro) 2:59

Mediabook/Limited Deluxe Box Set bonus track
11. Darkness in Paradise (Candlemass cover) 7:10

Band members
Fernando Ribeiro – vocals
Ricardo Amorim – guitars
Pedro Paixão – keyboards, samples, programming
Aires Pereira – bass
Hugo Ribeiro – drums

Album Review – Die Entweihung / Kings & Pawns (2021)

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An Israel-based one-man army continues to follow an eclectic direction with his new opus, mixing diverse musical genres with Black Metal vocals and Middle-Eastern melodies.

Formed in 2007 by vocalist and multi-instrumentalist Denis Tereschenko (known as Herr Entweiherr during the first years of the project) in the northern part of Israel, three years after moving to Haifa from his hometown Vitebsk, in Belarus, Melodic Dark/Black Metal entity Die Entweihung, which is German for “the desecration”, has just unleashed upon us all the project’s impressive tenth full-length opus, entitled Kings & Pawns, continuing the eclectic direction of some of his previous albums by mixing diverse musical genres the likes of Experimental, Doom and Thrash Metal with trademark Black Metal vocals, Middle-Eastern melodies and lyrics that, just like in the previous two albums, deal with “the confrontation of man and his surrounding world”. Not only that, Kings & Pawns also marks Die Entweihung’s first release in nine years to feature a couple of guest musicians, more specifically vocalists Alexander Ivanov (of Jinx) and Alena “Dark Zero” (of Nocturnal Pestilence), and bassist Anton Shirl (of Tales of Darknord), bringing additional layers of obscurity and mystery to the already idiosyncratic music crafted by Denis, all enfolded by a stylish artwork by Yulia “BooShweak” Asher.

A wicked intro quickly evolves into a metallic feast titled Away into the Night, where Denis delivers at the same time slashing riffs and whimsical keys, working as an expanded intro to The Moustached God, a grim fusion of Experimental Black Metal and contemporary Progressive Metal where Denis gnarls like a creature from the underworld while his beats and fills, as well as his Arabian guitar lines and solos, elevate the song’s epicness through the roof. And our talented and relentless lone wolf continues to pave his path of darkness and harmony in As The Hangover Starts, showcasing more of his classic Heavy Metal riffs intertwined with Symphonic Black Metal keys; whereas enhancing his progressiveness and experimentations we’re treated to the melodic instrumental tune Confrontation, once again displaying a fantastic job done by Denis on the guitars while he also crafts a dense kitchen with his drums and bass. Then guest Alexander Ivanov makes a demented vocal duo with Denis in Kings & Pawns, while our one-man army keeps hammering his drums and extracting sheer electricity form his riffage in a great depiction of his Melodic Dark Metal.

Featuring Alena “Dark Zero”, Iron Maiden-inspired guitars ignite the atmospheric The Nonsense Games, where Alena kicks some serious ass with her Doro-like clean vocals and devilish roars from start to finish; while sounding darker and more primeval than before, Denis and his Die Entweihung bring forward elements from an array of styles in the hypnotizing The Only Thing Worthy to Save, keeping the album at a high level of obscurity. Alena returns in full force in the cover song Working Class Hero, originally released by John Lennon under his solo project John Lennon/Plastic Ono Band in their 1970 self-titled album (check the original version HERE), showcasing all her talent and passion for heavy music and, therefore, resulting in a beautiful rendition for such distinct classic; and the albums closes with another cover song, this time Sons of Moon and Fire, from the 1999 demo Revelation by Russian Black Metal horde Der Gerwelt, a beyond amazing tribute by Die Entweihung featuring guest bassist Anton Shirl (of Tales of Darknord), dedicated to the memory of Dmitry Aarbreck Abramov (R.I.P.) from the original Der Gerwelt lineup (and you can take a listen at the original version HERE).

In the end, as you can see it’s quite difficult to label the music crafted by Denis and his Die Entweihung in Kings & Pawns, showcasing all the dexterity, creativity and dynamism by such talented musician. Hence, the best thing to do in order to try to understand all styles and nuances found throughout the album is to stream it in full on YouTube, and of course purchase the album (and show Denis your utmost support) from his own BandCamp page, from Wings of Destruction’s BandCamp page or webstore, or from Discogs. Also, don’t forget to give Denis a shout on Facebook, getting to know more about his career, his music and plans for the future, consequently inspiring him to always move forward armed with his epic music. In a world where each one of us is either a king or a pawn, and with the discrepancy between those two groups growing exponentially year after year, there’s nothing better than some diverse and epic metal music to help us endure our daily lives, and Denis and his Die Entweihung are among us exactly to help us with that.

Best moments of the album: The Moustached God, Kings & Pawns and The Nonsense Games.

Worst moments of the album: Confrontation.

Released in 2021 Wings of Destruction

Track listing
1. Away into the Night 2:47
2. The Moustached God 6:32
3. As The Hangover Starts 8:36
4. Confrontation 4:02
5. Kings & Pawns 4:53
6. The Nonsense Games 7:12
7. The Only Thing Worthy to Save 6:42
8. Working Class Hero (John Lennon cover) 4:02
9. Sons of Moon and Fire (Der Gerwelt cover) 7:02

Band members
Denis Tereschenko – vocals, all instruments

Guest musicians
Alena “Dark Zero” – harsh and clean vocals & arrangements on “The Nonsense Games” and “Working Class Hero”
Alexander Ivanov – harsh and clean vocals & arrangements on “Kings & Pawns”
Anton Shirl – bass on “Sons of Moon and Fire”

Album Review – Captain Naysayer / Captain Naysayer EP (2021)

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All aboard the Rock N’ Roll vessel captained by a talented five-piece Belgian crew, taking you on a trip through the unruly waters of rock and metal music to the sound of their self-titled debut EP.

Starting as a wet dream of guitarist Daan and drummer Evert from a Belgian rock band named The DeVilles, Keerbergen, Belgium-based Rock N’ Roll/Hard Rock act Captain Naysayer are ready to rock your world to the sound of their self-titled debut EP, bringing to the table a fun and vibrant sound inspired by 70’s Rock N’ Roll. Comprised of the aforementioned Daan and Evert together with their countrymen Tom on keyboards and Bert on bass, as well as Brazilian vocalist Arthur, who by the way joined the band from overseas after seeing their online post to lure some candidates for the job, Captain Naysayer take no prisoners in their quest for classic rock and metal, offering to us all six undisputed songs that go from the most classic form of Rock N’ Roll to heavier and more melodic passages, and the final result will certainly put you to dance and bang your heads together with the boys like there’s no tomorrow.

Arising from the bottom of the ocean like a true kraken, Captain Naysayer start blasting their 70’s Rock N’ Roll in Black Silhouette, spearheaded by the smashing beats by Evert and the classic vocals by Arthur, with the Axel Rudi Pell-inspired keys by Tom being the icing on the cake. And more of their old school rock music is offered in the form of Changes, where Daan’s soulful riffs and Bert’s low-tuned bass add an extra touch of nostalgia to the overall result, not to mention how rhythmic and pleasant the drumming by Evert sounds; followed by Voodoo Lovin’, an amazing display of Psychedelic Rock with a Southern Rock twist where the lyrics declaimed by Arthur couldn’t have been more Hard Rock than this (“Since we first met you put me through a test / Going through the ringer on the tip of your finger / It was hard each day just to get a little closer to you / It was like a spell, it was like a trance / Nothing in my mind except for the desire / For the fire that was burning in between your legs”).

After such powerful start, the second half of the EP kicks off with I See Danger, showcasing a Placebo-like vibe in Arthur’s strident vocals accompanied by some tribalistic elements and the Rock N’ Roll riffage by Daan. In addition, tons of progressiveness flows from all instruments, with Tom’s keys bringing electricity and epicness to their core sound in another ode to rock and metal music. Then smooth keys and a whimsical atmosphere suddenly explode into a Jethro Tull-like sonority in Blue Eyed Mask, a delicate ballad by Captain Naysayer where the vocals by Arthur exhale poetry and melancholy from start to finish, whereas they showcase their Deep Purple vein and passion for classic Progressive Rock and Metal in the closing tune Living Again, where Tom is on fire with his ass-kicking keys while Evert and Bert bring the Blues to the music, all spiced up by an incendiary performance by Arthur on vocals while ending in the most vibrant way imaginable.

If you want to know more about Captain Naysayer before boarding their Rock N’ Roll vessel, you can start following the band on Facebook and on Instagram for news, tour dates and plans for the future, subscribe to their YouTube channel for more of their music and videos, and of course purchase their thrilling EP from BandCamp and stream it on Spotify (or simply click HERE to choose your favorite version of the album). I’m sure those Belgian musicians (and of course their Brazilian vocalist) will love to hear from you, keeping their inner rockin’ fire burning and, therefore, inspiring them to move forward in their career and continue to embellish the airwaves with their great fusion of old school Rock N’ Roll, Hard Rock and Blues, carving their names in the small but always prolific underground Belgian scene.

Best moments of the album: Voodoo Lovin’ and Living Again.

Worst moments of the album: None.

Released in 2021 Independent

Track listing
1. Black Silhouette 4:27
2. Changes 3:53
3. Voodoo Lovin’ 4:18
4. I See Danger 3:33
5. Blue Eyed Mask 4:23
6. Living Again 5:09

Band members
Arthur – vocals
Daan – guitar
Tom – keys
Bert – bass
Evert – drums

Album Review – Shocker / Shocker EP (2021)

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Enjoy this journey through the past, present and future of rock and metal music brought forth by five hardworking and talented Belgian “shockers”.

Formed somewhere in 2018 in Kuurne, a municipality located in the Belgian province of West Flanders, from an old idea by frontman Sammy Peleman (After All, September Syn) and bassist Koen (when Sammy performed as a guest vocalist in Koen’s cover band Back to Back), Shocker are a Heavy Metal and Hard Rock outfit that doesn’t like to be stuck to any boundaries or labeled as just one specific music style, bringing to our ears an amalgamation of rock and metal genres and subgenres with a strong 70’s Psychedelic Rock vibe to make things more entertaining and vibrant. Now in 2021 it’s time for Sammy and Koen, together with their bandmates  David Vandewalle (Anesthesy, Artrach) on the guitars, Chris Dedeurwaerder (Phoenix Rebellion) on guitars and keyboards, and Jelle Vandewalle on drums, to release their debut self-titled EP, containing four no shenanigans rockin’ songs that will take you on a journey to the past, bring you back to the present, and show you that the future of Rock N’ Roll is safe thanks to hardworking and talented bands like those Belgian rockers.

And let Shocker’s party begin with some good old, electrifying Rock N’ Roll in the opening tune Thrillseeker, with David and Chris bringing a touch of 80’s metal to the music with their riffs while of course Sammy kicks some ass with his Glam Metal vocals; whereas switching gears to a darker sonority found in some of the more contemporary songs by Iron Maiden they offer us all Twisted Shape of Man, before Jelle begins pounding his drums accompanied by the rumbling bass by Koen and the incendiary riffs from the band’s guitar duo. Then Koen ignites the band’s somber machine with his low-tuned, metallic bass in The Genuine Falls while Sammy declaims the lyrics with tons of passion and introspection, resulting in a classic Heavy Metal tune that slowly and gradually accelerates its pace until reaching an epic, galloping sound led by Jelle’s beats, also infused with a few welcome Progressive Rock and Metal nuances. Lastly, closing the EP it’s time for some groove in the Hard Rock and Hair Metal extravaganza titled Breaking the Silence, where the strident riffs and solos by David and Chris walk hand in hand with Sammy’s soaring vocals, therefore putting a classic conclusion to their debut effort.

Despite the fact that the EP is relatively short in duration, with the four songs lasting for a combined running time of a little less than 23 minutes, it’s indeed an amazing indication of where those five skillful musicians are headed to in their future releases, not to mention their progressive vein allows them to experiment a lot more than other regular bands, which of course means we can expect a few good surprises from Shocker anytime they release a new EP or full-length album. Furthermore, as a completely independent band that loves the DIY style from the bottom of their hearts as much as they love rock music, they need our support and admiration to keep moving forward in their career, so why not paying them a visit on their official Facebook page not only to provide your feedback on their music, but more important than that, to purchase their newborn EP and to keep on rockin’ in the free world? That’s what electrifying rock music like what those Belgian “shockers” have to offer us all is all about, and that’s pretty much all that we need in our lives.

Best moments of the album: The Genuine Falls.

Worst moments of the album: None.

Released in 2021 Independent

Track listing
1. Thrillseeker 5:07
2. Twisted Shape of Man 6:56
3. The Genuine Falls 5:17
4. Breaking the Silence 5:26

Band members
Sammy Peleman – vocals
David Vandewalle – guitars
Chris Dedeurwaerder – guitars, keyboards
Koen – bass, backing vocals
Jelle Vandewalle – drums

Album Review – Wojtek / Does This Dream Slow Down, Until It Stops? EP (2021)

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Bang your heads in total isolation to the sound of the new EP by this Italian Sludge Metal entity, offering us all four austere songs born from the boredom and frustration of two lockdowns.

Wojtek is a basic, Polish male name. Wojtek is also a Syrian bear who fought in the Battle of Cassino, during World War II, carrying crates of ammunition and roaring at enemies. And Wojtek is also a Padua, Italy-based band born in May 2019, playing a heavy and raw fusion of Sludge and Doom Metal, and who have just released their third EP curiously titled Does This Dream Slow Down, Until It Stops?, offering fans of heavy music four austere songs born from the boredom and frustration of two lockdowns. Comprised of vocalist Mattia Zambon, guitarists Morgan Zambon and Riccardo Zulato, bassist Simone Carraro and drummer Enrico Babolin (who was also the producer of the album), Wojtek dig deeper into their favorite topic, that being human misery, in each of the four tracks of the EP, with the mixing and mastering by Mattia Bonafini, the cryptic artwork by the band’s own guitarist Riccardo Zulato and the logo by View From The Coffin adding an extra touch of darkness, rage and despair to the band’s venomous metal music, therefore living up to the legacy of the most primeval form of Sludge Metal.

In the opening track Catacomb we’re treated to wicked lyrics growled by Mattia (“Grow my fears / Is this town real? / Drill my ears / Endless pain I feel / Whenever you whisper I break / Every inch of my muscles will shake”) while his bandmates blast their instruments with tons of rage and aggressiveness from the very first second in an infernal display of contemporary Sludge Metal, and Enrico continues to add his share of animosity to their rebellious music through his Thrash and Death Metal beats in Desensitized, with Morgan and Riccardo slashing their strings mercilessly. Put differently, this is a neck-breaking, violent tune that reeks of progressiveness and obscurity. Then an instrumental and absolutely atmospheric horror movie-inspired interlude entitled Rednetrab (or “bartender” backwards) will send shivers down your spine before those Italian metallers come crushing one last time with their dirty and Stygian sounds in XX Years, a beyond disturbing creation where the bass punches by Simone will hit you right in the face while Mattia vociferates rabidly à la Mike Patton, bringing to our ears a flawless hybrid of Hardcore and modern-day Stoner and Sludge Metal tailored for admirers of the genre.

If you’re curious to know more about Wojtek and their wicked creations, you can start following the band on Facebook and on Instagram right away, and grab your copy of Does This Dream Slow Down, Until It Stops?, which is by the way available for a full listen on YouTube and on Spotify, from several locations including the band’s own BandCamp page, the Ripcord Records’ BandCamp page, the Teschio Dischi’s BandCamp page, the Violence In The Veins’ BandCamp page, and Apple Music. In the end, it looks like this never-ending pandemic has been extremely fruitful for the guys from Wojtek, inspiring them to turn their inner darkness and frustrations into first-class doom and, consequently, offering us all another good reason to keep banging our heads while in total isolation from society.

Best moments of the album: Desensitized and XX Years.

Worst moments of the album: None.

Released in 2021 Ripcord Records/Shove Records/Teschio Dischi/Fresh Outbreak Records/Violence In The Veins

Track listing
1. Catacomb 4:37
2. Desensitized 5:02
3. Rednetrab 4:08
4. XX Years 5:31

Band members
Mattia Zambon – vocals
Morgan Zambon – guitars
Riccardo Zulato – guitars
Simone Carraro – bass
Enrico Babolin – drums

Album Review – Wolvencrown / A Shadow Of What Once Was EP (2021)

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The new EP by this UK Atmospheric Black Metal entity depicts a time when the primeval forest swathed their homeland in arboreal splendor, enfolding the listener in layers of dream and memory.

Following up on the success of their 2019 critically acclaimed album Of Bark And Ash, Nottingham, England-based Atmospheric Black Metal horde Wolvencrown returns with a three-track EP titled A Shadow Of What Once Was, building upon the dynamic melodies and rich atmosphere of their debut opus. Showcasing a stunning artwork by Spanish illustrator Joan Llopis Doménech (Lustre, Sojourner, Ruadh), A Shadow Of What Once Was enfolds the listener in layers of dream and memory, summoning the scent of fallen leaves, the touch of evening mists and the howl of the pack upon the cold night breeze, all accompanied by the enthralling sounds crafted by vocalist and guitarist Nick, guitarist Jack, bassist Reece, keyboardist Will and drummer Matt. In other words, this is a release to be cherished, a dark treasure to uncover, a chance meeting upon a midnight path with long dead kings whose shades are swift of foot and sharp of tooth.

And they don’t waste a single second and begin blasting unfiltered, no shenanigans Atmospheric Black Metal in A Shadow Of What Once Was pt.1, with Nick roaring and slashing his strings at the same time accompanied by the Doom Metal beats by Matt, not to mention the phantasmagorical keys by Will while also presenting elements from classic Norwegian Black Metal. Then we have A Shadow Of What Once Was pt.2, the second part of this multi-layered extravaganza that is just as imposing and grandiose as its first act, with Will and Matt darkening the skies with their wicked keys and beats while Nick, Jack and Reece make an infernal stringed triumvirate, resulting in a captivating fusion of obscurity and madness with beautiful and atmospheric passages. Last but not least, get ready for over seven minutes of ethereal instrumental Atmospheric Black Metal made in the UK in Coming To An End, bringing forward a sinister Cradle of Filth-inspired vibe led by Will’s classy keys and the minimalist, tribal beats by Matt, therefore feeling like the soundtrack to a creepy horror movie.

After listening to their debut self-titled EP, to Of Bark and Ash, and now to A Shadow of What Once Was, I must say it’s truly impressive what the guys from Wolvencrown are capable of offering us fans of extreme and atmospheric music without sounding outdated or cheesy; quite the contrary, those UK metallers are always reinventing themselves and surprising us with new sounds, elements and nuances added to their core Atmospheric Black Metal. Hence, don’t forget to give them a shout on Facebook, and to grab your copy of A Shadow of What Once Was from their own BandCamp page or from Clobber Records in CD or cassette format or as a special bundle that comes with their 2017 debut self-titled EP. For some bands an EP might represent a stop gap release, a time filler between the serious business of full-length albums, but for this skillful UK band A Shadow of What Once Was represents a doorway to new visions, a fresh opportunity to explore and create something vital, alive and utterly essential, depicting a time when the primeval forest swathed their homeland in arboreal splendor.

Best moments of the album: A Shadow Of What Once Was pt.2.

Worst moments of the album: None.

Released in 2021 Clobber Records

Track listing
1. A Shadow Of What Once Was pt.1 5:22
2. A Shadow Of What Once Was pt.2 5:44
3. Coming To An End 7:04

Band members
Nick – vocals, guitars
Jack – guitars
Reece – bass
Will – keyboards
Matt – drums