Category Archives: Album Reviews

Album Review – Vox Mortis / Avignam Jagat Samagram (2021)

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The Indonesian rabid dogs of Death Metal are ready to attack in their visceral 13-track debut opus packed with aggressive riffs and intense blast beat while at the same time raising awareness about animal welfare.

Mixed and mastered by Indonesian musician Muhamad Ridho Leonard (of bands like Choria, Infitar and Kill Athena), who’s also the session guitarist in the album under the moniker Rsharsh, Avignam Jagat Samagram is the debut opus by Indonesian Death Metal act Vox Mortis (which translates from Latin as “the voice of the dead”), containing 13 visceral songs packed with aggressive riffs and intense blast beat while at the same time raising awareness about animal welfare. Formed in 2020 in Jakarta, Indonesia’s massive capital sitting on the northwest coast of the island of Java, by vocalist Doni Herdaru Tona (of Funeral Inception, Bloody Gore, Kerangkenk and more), bassist Donirro and drummer Achmad Mustaid (of Vomitology and Funeral Inception), Vox Mortis will pulverize your senses with Avignam Jagat Samagram, attacking you like a feral beast while sending a very important (and obviously dark) message about how animal cruelty is helping to drive our society to its abominable and inevitable end.

Rev up your engines as total annihilation is about to start in Sadisfaction, with Achmad crushing his drums ruthlessly while the guitars by Rsharsh will slash your ears like a sharp razor blade. In other words, it’s brutal and technical Death Metal for the masses, which is also the case in Forever No To Dog Meat, a Brutal Slamming Death Metal chant made in Indonesia where the band tries to uncover the dark side of dog meat trade circulation and the cruelty behind it until it is served as food, with Doni sounding like a creature from the abyss with his guttural growls; followed by the title-track Avignam Jagat Samagram, just as bestial and pulverizing as the previous songs, with the addition of some background orchestrations making it even more diabolical and with Donirro and Achmad being on fire with their rumbling bass and blast beats. Their fusion of old school Death Metal with epic music goes on in Bayar Dendam Balas Hantam, where Donirro delivers some Alex Webster-inspired bass jabs while Achmad keeps hammering his drums furiously; and talking about human abusive behavior and animal cruelty, it’s time for the trio to get back to a rawer and more visceral sonority in Primata Durjana, where Doni keeps barking like a deranged dog (which makes total sense) accompanied by the demented kitchen by his bandmates. Then vile and aggressive from the very first second, Mati! Mati! Mati! Is another solid display of savagery in the form of Death Metal spearheaded by the thunderous drums by Achmad.

In Tetes Darah Pecundang the band adds elements of Groove Metal to their usual sonic madness, but of course always loyal to their vile roots, with Doni’s growls walking hand in hand with the stone crushing beats by Achmad, whereas leaning towards the Death Metal played by Cannibal Corpse in their most recent albums the band fires the obscure and groovy Torture 365, presenting an amazing job done by Donirro with his sick bass while Rsharsh’s riffs overflow violence. There’s no time to breathe as Ronta Semesta begins in full force, led by the infernal drumming by Achmad and the always wicked roars by Doni, and also no sign of things slowing down as Vox Mortis keep demolishing our senses in Di Atas Altar Tradisi, with Doni vociferating manically while Rsharsh brings wrath to the music with his riffage. After a wicked intro the band comes back with their fusion of Death Metal and Deathslam in the form of Friends Not Food, where the bass by Donirro sounds more metallic and vicious as the music progresses, and the band delivers a fast and hellish Death Metal sonority that’s pretty good by itself, but that of course lacks Doni’s evil roars, in the instrumental Ode Untuk Sang Jendral. Lastly, how about a sick tribute to the one and only Morbid Angel with Chapel of Ghouls/Immortal Rites, both taken from their 1989 classic album Altars of Madness? You can check the original versions for Chapel of Ghouls and Immortal Rites on YouTube and see for yourself that Vox Mortis’ tribute lives up to the darkness of the original songs.

If you want to know more about those relentless Indonesian death metallers and their quest for animal rights, you can start following them on Facebook and on Instagram, subscribe to their YouTube channel and stream more of their music on Spotify, and sooner than you think purchase their excellent and devastating debut album from their own BandCamp page, from the Necropsy Records webstore and from the Rapture Records webstore. The album’s aggressive album art, designed by the talented Indonesian musician and illustrator Adi Christianize (Dechristianize Art), is the perfect depiction of the music by Vox Mortis, where a beastly, monstrous dog is finally unleashed from his chains and is ready to seek revenge against mankind, exactly how the Death Metal by those Indonesian rabid dogs sound. It’s visceral, violent and thrilling from start to finish, just the way we fans of extreme music love it, and I personally can’t wait to see what’s next for such promising band from “The Emerald of the Equator.”

Best moments of the album: Forever No To Dog Meat, Avignam Jagat Samagram and Torture 365.

Worst moments of the album: Ode Untuk Sang Jendral.

Released in 2021 Cerberus Productions/Necropsy Records/Rapture Records

Track listing
1. Sadisfaction 4:02
2. Forever No To Dog Meat 3:17
3. Avignam Jagat Samagram 4:09
4. Bayar Dendam Balas Hantam 3:58
5. Primata Durjana 3:17
6. Mati! Mati! Mati! 2:51
7. Tetes Darah Pecundang 3:55
8. Torture 365 3:54
9. Ronta Semesta 3:37
10. Di Atas Altar Tradisi 3:50
11. Friends Not Food 3:49
12. Ode Untuk Sang Jendral (Instrumental) 5:00
13. Chapel of Ghouls/Immortal Rites (Tribute to Morbid Angel) 3:52

Band members
Doni Herdaru Tona – vocals
Donirro – bass
Achmad Mustaid – drums

Guest musician
Rsharsh – guitars (session)

Album Review – Orecus / The Obliterationist (2021)

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Behold the rebirth of an amazing Swedish act armed with their first full-length album, drawing influences from the riff-focused modern-era Death Metal together with the aggression of its older counterpart.

Founded in 2011 in Stockholm, Sweden and having released an EP titled Conclusion in 2016, but re-ignited as a band in 2020, Melodic Death Metal unity Orecus draws influences from the riff-focused modern-era Death Metal together with the aggression of its older counterpart, forming a clear path between sheer brutality and clever songwriting. Comprised of Philip Grüning on vocals, Elias Ryen-Rafstedt and Francis Larsson on the guitars, and Martin Maxe on bass, Orecus are set to release their first full-length opus entitled The Obliterationist, showcasing the band’s capability to create uncompromising Modern Death Metal that both grooves and reeks havoc, spiced up by the pristine re-amping, mixing and mastering by Buster Odeholm of Impact Studios and enfolded by a dark and aggressive artwork by Jorden Haley, who has already worked with bands the likes of Daath and The Agony Scene.

Elias and Francis begin slashing their guitars mercilessly in The Obliterationist while Philip roars the song’s austere lyrics like a true beast (“There’s money to be made in reeking havoc / When our leaders slaughter for personal gain / Provoking the underdogs / Until their fates are sealed”) in a vicious display of modern-day Melodic Death Metal; and hammering drums are accompanied by the low-tuned, metallic bass by Martin in Distress Signal, a good headbanging tune where Philip’s growling gets deeper and more demonic than before, also presenting elements from classic Death and Groove Metal. Then investing in a more contemporary sonority by adding hints of Metalcore to their already infernal sound, the band fires the venomous The Destruction Path, where the strident riffage by Elias and Francis will pierce your mind like a bullet, whereas featuring guest vocalist Chad Kapper (Frontierer) we’re treated to Blodvite, displaying industrialized sounds and endless electricity flowing smoothly from all instruments. Moreover, it’s impressive how they can sound technical but at the same time extremely dark and heavy, and it’s time to crush our spinal cords into the circle pit to the sound of Omnipotent, a brutal Melodic Death Metal composition where sheer violence and rage exhale from the band’s riffs, bass jabs and drums nonstop.

Supported by the spot-on guest vocals by Fredrik Söderberg (Soreption), the bass by Martin sounds and feels beyond visceral in Below The Threshold, while the band’s guitar duo cuts our skin deep with their demonic shredding accompanied by Philip’s inhumane gnarls, and they continue their Melodic Death Metal onrush with the also heavy and dark Unborn, Reborn, showcasing an amazing job done by both Elias and Francis in absolute sync with the song’s intricate beats. Then the deep guttural roars by Philip will haunt your soul in the bludgeoning tune My Manifest, presenting their trademark Melodic Death Metal guitars intertwined with a somber atmosphere and endless savagery. In Become The Nihilist the band shows why they’re never tired of blasting obscurity and rage from their sonic weapons, albeit not as vibrant as its predecessors and sounding a bit generic after a while. It’s still heavy-as-hell, though, setting the tone for Extinct, bringing to our ears one last round of their Stygian words barked by Philip (“I’ve caught a glimpse of what’s to come / A sinking world / Suffocated by submissive views / The deafening silence speaks volumes”) while the music remains as demented as possible, not to mention how thunderous Martin sounds on bass.

The ruthless guys from Orecus are waiting for you on Facebook, on Instagram and on Spotify to show you exactly what they got, and of course in order to provide them your utmost support you can purchase The Obliterationist from their own BandCamp page, from Apple Music or from Amazon, adding such intense album of Melodic Death Metal to your personal and vile collection. As already mentioned, Orecus offer us fans of extreme music a fantastic fusion of old school and modern-day Death Metal with endless aggression, heaviness and intricacy in The Obliterationist, and let’s hope that their newborn spawn is just the first step in this new phase of their career, keeping the flames of underground Swedish Melodic Death Metal burning high and bright for many years to come.

Best moments of the album: The Obliterationist, The Destruction Path and Below The Threshold.

Worst moments of the album: Become The Nihilist.

Released in 2021 Violent Groove

Track listing
1. The Obliterationist 4:42
2. Distress Signal 3:23
3. The Destruction Path 4:08
4. Blodvite 3:32
5. Omnipotent 4:27
6. Below The Threshold 3:57
7. Unborn, Reborn 5:06
8. My Manifest 3:52
9. Become The Nihilist 3:39
10. Extinct 4:27

Band members
Philip Grüning – vocals
Elias Ryen-Rafstedt – guitars
Francis Larsson – guitars
Martin Maxe – bass

Guest musicians
Chad Kapper – vocals on “Blodvite”
Fredrik Söderberg – vocals on “Below The Threshold”

Album Review – Heavy Feather / Mountain of Sugar (2021)

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Rawer, heavier and harder, the sophomore album by these sensational Swedish roots rockers ooze with a 70’s sound and feel, filled with attitude, raw vocals and roaring guitar riffs.

Two years after the release of their critically acclaimed debut album Débris & Rubble, vocalist Lisa Lystam, guitarist Matte Gustavsson, bassist Morgan Korsmoe and drummer Ola Göransson, collectively known as Stockholm, Sweden-based Roots Rock outfit Heavy Feather, are ready to stun us all once again with their sophomore effort entitled Mountain of Sugar, an even rawer, heavier and harder album than their previous one, but still with the Roots and Psychedelic Rock touch holding it all together. Recorded by  Erik “Errka” Petersson at No Regrets Fonogram in Stockholm and mastered by Magnus Lindberg (Lucifer, Imperial State Electric), Mountain of Sugar consists of 11 tracks oozing with a 70’s sound and feel, filled with attitude, raw vocals and roaring guitar riffs, therefore being once again highly recommended for fans of iconic bands like Free, Cream and Lynyrd Skynyrd.

Let’s take a journey back to the 70’s to the magical riffs by Matte in 30 Days, and Lisa doesn’t take too long to begin mesmerizing us with her powerful voice accompanied by her bandmates’ classic backing vocals in an awesome way to properly kick off the album, whereas singing about the eternal fight between time and love (“When I get old / Start counting my days / Living them slow / Living in haze / There’s one thing that’s clear / And that is your grace”), Bright in My Mind is another solid Rock N’ Roll tune with Morgan carefully slamming his bass from start to finish. Love Will Come Easy brings forward more of their fusion of 70’s rock music with contemporary Hard Rock and Blues, with Ola dictating the pace while Lisa shines as usual with her piercing vocal lines; and catchy lyrics (“Yes I’m relentless, a mountain of sugar / And I keep on rising, the mountain of sugar / I am mesmerizing, a mountain of sugar / But don’t get me feisty, the mountain of sugar”) and an upbeat vibe are the main ingredients in the vibrant Mountain of Sugar, not to mention Lisa’s kick-ass harmonica. Then a Deep Purple-inspired riff by Matte is boosted by the classy kitchen blasted by Morgan and Ola in Too Many Times, where Matte also adds tons of electricity to the music with his soulful riffs. And did I mention there’s also some cowbell for our total delight?

It’s time for a classic ballad by Heavy Feather titled Let It Shine, where Lisa steals the spotlight with a very passionate vocal performance while her bandmates deliver smoothness and love through their refined instruments, whereas Come We Can Go is old school Rock N’ Roll for admires of the genre, keeping the album at a high level of adrenaline and showcasing an amazing job done by Ola on drums. In Sometimes I Feel we’re introduced to a male vocalist (perhaps Matte?) instead of Lisa’s usual vocals, with Matte and Morgan being in total sync with their stringed weapons, generating a gentle but at the same time heavy ambience. Lisa is then back on vocals to hypnotize our senses in Lovely Lovely Lovely, while Ola fires classic beats and fills and Matte continues to shine with his electrifying solos; and a high dosage of Rock N’ Roll riffs and beats permeate the air in the awesome Rubble & Débris, a wordplay with the title of their previous album, inspiring you to sing, drink and bang your head together with the quartet while Lisa steals the show once again with her visceral vocals. Finally, ending the album the band delivers a delicate and beautiful ballad titled Asking in Need, perfect for listening to it while embracing your loved ones, all spiced up by the whimsical riffs and solos by Matte.

Those Swedish rockers are definitely making a name for themselves in the worldwide Rock N’ Roll scene, first with Débris & Rubble and now with Mountain of Sugar, two albums that can already be considered a must-have for anyone who enjoys old school rock music. You can get to know more about Heavy Feather on Facebook and on Instagram, subscribe to their official YouTube channel, stream all of their awesome creations on Spotify, and grab your copy of Mountain of Sugar from their own BandCamp page, from Apple Music, and soon from other locations. It’s a pleasure seeing how Heavy Feather took a step forward in their career with Mountain of Sugar without giving up their passion for the past, which only proves Rock N’ Roll is not only timeless, but also as sweet and delicious as sugar.

Best moments of the album: 30 Days, Mountain of Sugar and Rubble & Débris.

Worst moments of the album: Sometimes I Feel.

Released in 2021 The Sign Records

Track listing
1. 30 Days 3:41
2. Bright in My Mind 3:27
3. Love Will Come Easy 4:07
4. Mountain of Sugar 2:23
5. Too Many Times 2:46
6. Let It Shine 2:52
7. Come We Can Go 3:44
8. Sometimes I Feel 3:59
9. Lovely Lovely Lovely 4:13
10. Rubble & Débris 3:15
11. Asking in Need 3:40

Band members
Lisa Lystam – vocals, harmonica
Matte Gustavsson – guitars
Morgan Korsmoe – bass
Ola Göransson – drums

Album Review – Black Diamonds / No-Tell Hotel (2021)

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These talented Swiss hard rockers are finally back in action with their fourth full-length album, inviting us all for a massive load of rock and glamour once we step through the door of the band’s own hotel.

Following up on the success of their 2017 album Once Upon A Time, Rhine Valley, Switzerland-based hard rockers Black Diamonds are finally back in action with their fourth full-length album entitled No-Tell Hotel, inviting us all for a massive load of rock and glamour once we step through the door of the band’s own hotel. Currently formed of Michael Kehl on vocals and guitar, newcomer Chris Johnson on lead guitar (replacing the band’s former guitarist Andreas Rohner), Andi Fässler on bass and Manuel Peng on drums, Black Diamonds tell gripping stories of the guests at No-Tell Hotel, leaving no detail out in their new album and, more important than that, offering our ears pure, kick-ass Rock N’ Roll that brings back the fun and rebellious attitude of the Sunset Strip of 1986, being therefore recommended for fans of Mötley Crüe, Poison and the early years of Bon Jovi, among others.

Chris and Michael ignite the band’s rockin’ machine with their classic riffs in No-Tell Hotel, where the whole band sounds sharper and more melodic than in their 2017 album, all spiced up by wicked guitar solos and a catchy chorus, while in Evil Twin we’re treated to lyrics about the dangers of alcoholism (“I am a married man, the nice guy next door / A valued member of community / I lead a quiet life, yet I’m far from bored / Because my job can be sheer lunacy / And in the nighttime, when the mood is right / A few drinks are all it takes to turn the tide”) embraced by a true headbanging rhythm where Manuel is bestial behind his drums. Then acoustic guitar generate an introspective ambience for Michael to shine on vocals before the electricity level goes through the roof in Lonesome Road, an old school Rock N’ Roll tune infused with 80’s Hard Rock; and putting the pedal to the metal the band delivers a Hard Rock and Glam Metal hymn titled Forever Wild, spearheaded by the slashing guitars by Michael and Chris while Andi hammers his bass in great Duff McKagan-inspired fashion.

It’s time for a pure, unfiltered Hair Metal chant titled Saturday (and don’t forget to check their South Park-themed official video as it kicks ass), where although its lyrics are a bit odd they make total sense if you’re into 80’s rock and metal, with Manuel dictating the pace with his stylish beats. Then slowing things down the quartet delivers a passionate ballad named Anytime, a bit cheesy (but in a good way), with their soulful solos adding an extra touch of finesse to the overall result, not to mention its delicate piano notes; while pounding drums and endless stamina are the main ingredients in The Island, with Michael being absolutely on fire with his raspy vocals accompanied by the razor-edged and very melodic guitars by Chris, resulting in a song highly recommended for a day at the beach. And their Rock N’ Roll steamroller continues to crush us all in the melodic My Fate, where the rumbling bass by Andi and the headbanging drums by Manuel will put you to dance together with the band.

Hand In Hand is another serene and atmospheric ballad by Black Diamonds where Michael takes the lead with his classic vocal lines while Chris provides him a solid support with his Bon Jovi-like acoustic guitars, whereas back to a more thrilling sound it’s time to get down to the Sunset Strip in Reaching For The Stars, with Andi and Manuel delivering sheer thunder with their a heavy kitchen while Michael sends a positive message through his vocals. And as we all know, it’s not a true Hard Rock album without some cowbell, offered by Black Diamonds in the exciting Turn To Dust, presenting hints of the music by icons such as AC/DC, Motley Crüe and Guns N’ Roses, consequently being perfect for singing along with the band; whereas a Western-ish intro evolves into a dancing tune entitled Outlaw, showcasing a galloping rhythm, endless fun and a very entertaining performance by all band members incorporating traditional country music elements to their core Hard Rock.

Black Diamond’s Rock N’ Roll party is just starting inside No-Tell Hotel, and if you want to join those talented Swiss rockers in their celebration of life, death, love and hate you can follow them on Facebook and on Instagram for news, tour dates and other nice-to-know details about the band, subscribe to their YouTube channel and stream their catalogue on Spotify for more of their 80’s Hard Rock, and of course purchase No-Tell Hotel from their own webstore, or by clicking HERE to buy or stream your favorite version of the album. Having said all that, what are you waiting for to spend a few nights at No-Tell Hotel together with Black Diamonds? I’m sure you’ll have nothing but a good time relaxing at such respectful hotel to the sound of their inspiring music.

Best moments of the album: Evil Twin, Forever Wild and The Island.

Worst moments of the album: Hand In Hand.

Released in 2021 Metalapolis Records

Track listing
1. No-Tell Hotel 4:01
2. Evil Twin 5:12
3. Lonesome Road 3:50
4. Forever Wild 4:22
5. Saturday 3:20
6: Anytime 4:45
7. The Island 3:58
8. My Fate 3:31
9. Hand In Hand 5:17
10. Reaching For The Stars 3:57
11. Turn To Dust 3:50
12. Outlaw 3:55

Band members
Michael Kehl – vocals, guitar
Chris Johnson – lead guitar
Andi Fässler – bass
Manuel Peng – drums

Album Review – Rioghan / Blackened Sky EP (2021)

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An up-and-coming Finnish poet and lyricist translates her work into music in her debut EP, deeply rooted in Progressive, Gothic and Progressive Metal.

Formed in 2019 by Finnish singer Rioghan Darcy, Lapua, Finland-based Alternative/Gothic Metal entity Rioghan is deeply rooted in Progressive, Gothic and Progressive Metal, translating into fresh and captivating music Rioghan’s work as both a poet and a lyricist. Now in 2021 our dauntless artist teamed up with Jonne Soidinaho, Eemeli Bodde and Atte Pohjonen, all skilled musicians from the Finnish music scene, to come up with a four-song EP entitled Blackened Sky, her debut installment as a vocalist. With all instruments being recorded and programming done by Eemeli and Jonne in various locations while vocals were recorded with Ville Hautaluoma in his studio in Seinäjoki, Finland, Blackened Sky brings something new to the table, being recommended for fans of rock and metal music who are not afraid of exploring newer, more alternative lands that are at the same time heavy, obscure, whimsical and fascinating.

Atmospheric and ethereal form the very first second, the opening track Hollowness already presents Rioghan’s delicate, enfolding vocals boosted by the song’s gentle background keys in a stylish fusion of Progressive and Alternative Rock and Metal, whereas sick Groove Metal riffs and bass punches together with tribalistic beats generate the perfect ambience for Rioghan’s piercing voice in Enough, where she showcases her more aggressive side and, therefore, turning this song into a must-listen for fans of the music by bands like Tesseract and Jinjer. Then investing in a much more alternative sound Rioghan brings forth the stylish Wither, where you won’t find the heaviness of the guitars from the previous song but instead electronic and atmospheric elements like what’s seen in the music by Lorde; and lastly, it’s time for an embracing, orchestral ambience in Corrupt, with Rioghan being supported by classic acoustic guitars while the music flows smoothly until everything fades to the sound of her comforting vocals.

I guess there’ll be a lot of discussion among fans of alternative music if Rioghan is rock, metal or something else, and that’s in my humble opinion the beauty of her music, avoiding any labels while at the same time bringing forth stunning elements from an array of musical styles, with Blackened Sky perfectly representing the first step in her promising career. Hence, don’t forget to show your support to Rioghan by following her on Facebook and on Instagram, by streaming her music on Spotify, and of course, by purchasing Blackened Sky from her own BandCamp page (or by pre-saving it to your desired music library by clicking HERE). I truly hope she doesn’t take too long to mesmerize us all once again with another EP or, even better, with her first full-length album, but until then let’s close our eyes and relax to the sound of the unique creations found in Blackened Sky, a short and sweet display of what this talented musician from the land of ice snow is capable of doing.

Best moments of the album: Enough.

Worst moments of the album: None.

Released in 2021 Inverse Records

Track listing
1. Hollowness 3:25
2. Enough 4:46
3. Wither 3:18
4. Corrupt 3:26

Band members
Rioghan Darcy – vocals

Guest musicians
Eemeli Bodde & Jonne Soidinaho – all instruments, programming

Album Review – Los Males Del Mundo / Descent Towards Death (2021)

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It’s time to descend into death to the sound of the debut album by this Argentinian duo, inviting us all to a conceptual journey and dragging us into the darkest and most remote places of the human soul.

Formed in 2016 in Buenos Aires, the capital of the charming Argentina, by vocalist and drummer Dany Tee (of bands like Acathexis and Seelenmord) and guitarist Cristian Yans (of Eroica), Los Males Del Mundo (which translates from Spanish as “the evils of the world”) combine today’s modern Black Metal sound with late 90’s Melodic Black Metal, with lyrics deeply influenced by Friedrich Nietzsche, Emil Cioran and A. Schopenhauer. Later joined by bassist Nikita Kamprad (of German Black Metal band Der Weg einer Freiheit) as a producer and guest musician, the project released in 2020 their debut self-titled EP, shaping up their sound and inspiring them to release now in 2021 their first full-length effort, titled  Descent Towards Death. Recorded at Estudio Carmen in Argentina, produced, mixed, and mastered in Würzburg, Germany by Nikita himself, and displaying a grim artwork by Matt Lombard, Descent Towards Death is an invitation to a conceptual journey, dragging you into the darkest and most remote places of the human soul, reflecting an internal battle between aggressive and furious passages blended with dense and introspective landscapes full of melancholic melodies. In other words, simply hit play and be prepared to face one of the best and most intense Black Metal albums of the year.

The sluggish, somber guitars by Cristian kick off the 12-minute Atmospheric Black Metal feast titled Falling Into Nothing, exploding into dissident Black Metal where Dany not only crushes his drums ruthlessly, but his demonic gnarls bring even more obscurity to the final result, taking the listener on a one-way journey into the netherworld. In The Silent Agony their cryptic words will penetrate deep inside your psyche (“Like worms hiding from sunlight / we take shelter in the dirt / descending to the deepest filth -memories of the past – / trying to give sense to our existence / as redemption / to justify the misery of our days”) while the music remains dense and scorching from start to finish, with Dany sounding infuriated behind his drum set and screaming like Dani Filth in his Cruelty and the Beast-era; whereas in Eternal Circle Of Vain Effords they add a huge dosage of Blackened Doom and Doom Metal to their core sonority, with the bass punches by Nikita hammering your head without mercy while Cristian continues to extract darkness from his wicked riffs. Then venturing through more epic and Stygian lands the band fires the infernal Nothing But A Lie, where Cristian’s riffage and Nikita’s vicious bass walk hand in hand, therefore providing Dany all he needs to haunt our souls with his otherworldly roars and screeches. And Slayer-ish guitars à la “Seasons in the Abyss” permeate the air in the closing aria The Heavy Burden while Dany continues to growl like a demonic entity, always accompanied by the rumbling bass by Nikita, resulting in a multi-layered creation that will undoubtedly blacken the skies and your heart, not to mention how beautiful Cristian’s closing guitar solo sounds and feels.

In a nutshell, it’s truly impressive how bold, detailed and sharp the entire Descent Towards Death sounds coming from only two guys from Argentina that are just starting their career in metal music, positioning the album as one of the best releases of 2021 as aforementioned. Hence, if you want to put your hands on such precious gem of South American Black Metal, simply go to their own BandCamp page, to the Northern Silence Productions’ BandCamp page or webstore, as well as other locations such as Juno Records and Clear Spot. In addition, don’t forget to follow them on Facebook and on Instagram for all things Los Males Del Mundo, including new music and videos, tour dates and plans for the future. It’s time to begin our descent into darkness and death together with this multi-talented Argentinian duo, and there’s nothing better than the austere and captivating music found in their newborn opus to guide us on this harsh but extremely thrilling voyage.

Best moments of the album: Falling Into Nothing and The Heavy Burden.

Worst moments of the album: None.

Released in 2021 Northern Silence Productions

Track listing
1. Falling Into Nothing 12:12
2. The Silent Agony 8:28
3. Eternal Circle Of Vain Effords 5:16
4. Nothing But A Lie 4:56
5. The Heavy Burden 10:00

Band members
Dany Tee – vocals, drums
Cristian Yans – guitars

Guest musician
Nikita Kamprad – bass (session)

Album Review – Harakiri For The Sky / Mӕre (2021)

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This Atmospheric Black Metal duo from Austria returns with a breathtaking collection of tales from feverish dreams in the form of their fifth full-length opus.

Mӕre, a malicious folkloristic entity creeping on sleeping people’s chest during the night and causing breathlessness and anxiety, is the exact state of diffuse terror and paralysis that has been enshrined in Vienna, Austria-based Atmospheric Black Metal duo Harakiri For The Sky’s music ever since their debut album. Now in 2021, a breathtaking collection of tales from feverish dreams is being released in the form of the band’s fifth full-length opus Mӕre, the follow-up to their critically acclaimed 2018 album Arson. Founded in 2011 by vocalist J.J. and multi-instrumentalist M.S., the aim of Harakiri For The Sky has always been to create a unique mixture of melancholy and aggression, madness and meaning, wrapped in alternately manic and mellow songs that bridged Black Metal and Atmospheric Post-Rock. Featuring session drummer Kerim “Krimh” Lechner (Septicflesh, Act of Denial) and an atmospheric artwork by Meike Hakkaart (Art of Maquenda), Mӕre will haunt your soul and darken your heart in a majestic way, being therefore highly recommended for fans of the somber music crafted by bands like Alcest, Wolves In The Throne Room and Agalloch.

The atmospheric guitars by M.S. kick off the venomous opening track I, Pallbearer, with Kerim hammering his drums in great Black Metal fashion, providing J.J. al he needs to vociferate rabidly. In other words, what a sensational start to the album, ending with gorgeous, serene piano notes and setting the tone for Sing for the Damage We’ve Done, a lesson in Atmospheric Post-Black Metal that’s as visceral and aggressive as it’s melodic and epic, with guest vocalist Neige (from bands like Alcest and Zero) helping J.J. declaim the song’s poetic and introspective words (“It’s been so long, it’s difficult to tell / If I truly miss what I once called home / It’s been so long, it’s difficult to tell / If this truly was my longest way home”). Another round of their imposing and captivating sounds fills our ears in the pulverizing Us Against December Skies, where J.J. sounds bestial with his sick screams while M.S. slashes his stringed weapons mercilessly supported by the always infernal blast beats by Kerim, and you better prepare your senses for 11 minutes of modern-day, vibrant Atmospheric Black Metal in the form of I’m All About the Dusk, where M.S. will hit you in the head with his low-tuned bass while piercing your mind with his riffage, being full of breaks and variations and an endless sense of despair. And the duo continues to spread darkness and rage through their devilish roars and riffs in Three Empty Words, another good tune blending the heaviness of Melodic Black Metal with Post-Black Metal where Kerim proves why he was invited by J.J. and M.S. to be responsible for the drumming duties.

Atmospheric Black Metal usually means lengthy songs, and in the case of Harakiri For The Sky that’s translated into a thrilling musical voyage through obscure lands titled Once upon a Winter, a multi-layered and very detailed composition where J.J. takes his rage and despair to the next level, whereas in And Oceans Between Us we face more of their cryptic, somber lyrics (“You were the ailment / And leaving was the cure / I fell away and I still suffer / And year by year I’m fading away”) enfolded by a beyond mesmerizing sonority led by the strident guitars by M.S., exhaling epicness and bringing to our ears grandiose passages intertwined with classic Black Metal beats. The anonymous vocalist of Portuguese Black Metal band Gaerea lends his sharp vocals to the Stygian tune Silver Needle // Golden Dawn, with the song’s guitars overflowing pure Atmospheric Black Metal while drums and vocals lean towards contemporary Post-Metal, and acoustic guitars kick off the melancholic and embracing Time Is a Ghost, growing in intensity as the music progresses with Kerim stealing the spotlight with his infernal drumming, while J.J. continues to growl and bark just the way we like it in extreme music. And as the icing on the cake, Harakiri For The Sky offer our ears a fantastic version for Song to Say Goodbye, from the 2006 album Meds by Placebo (you can check the original version HERE), and let me tell you the band did a tremendous job adding a gargantuan amount of obscurity and heaviness to their version, with J.J. taking the lead with his trademark hellish roars.

As you might already know, the word “harakiri” means a ritual suicide by disembowelment with a sword, formerly practiced in Japan by samurai as an honorable alternative to disgrace or execution, and after listening to the deep, scorching music found in Mӕre it’s easy to understand why the name of the band was chosen to be Harakiri For The Sky, piercing your soul like a samurai sword and eliminating all traces of life from your body, therefore leaving you in pitch black darkness for all eternity. Hence, don’t forget to give the duo a shout on Facebook and on Instagram, to stream more of their enfolding music on Spotify, and to purchase their excellent new opus by clicking HERE. Needless to say, you should definitely go for the very special CD Wooden Boxset edition of the album, available from AOP Records, EMP, Nuclear Blast and Amazon. Melancholic and aggressive, Mӕre represents another solid stone in the career of Harakiri For The Sky, showing us all that in Atmospheric Black Metal there’s nothing better than a never-ending, eerie onrush of fear and terror.

Best moments of the album: Sing for the Damage We’ve Done, I’m All About the Dusk and And Oceans Between Us.

Worst moments of the album: Three Empty Words.

Released in 2021 AOP Records

Track listing
1. I, Pallbearer 7:06
2. Sing for the Damage We’ve Done 8:05
3. Us Against December Skies 8:21
4. I’m All About the Dusk 11:09
5. Three Empty Words 9:29
6. Once upon a Winter 10:27
7. And Oceans Between Us 8:57
8. Silver Needle // Golden Dawn 7:09
9. Time Is a Ghost 8:33
10. Song to Say Goodbye (Placebo cover) 5:25

Band members
J.J. – vocals
M.S. – all instruments

Guest musicians
Kerim “Krimh” Lechner – drums (session)
Neige – additional vocals on “Sing for the Damage We’ve Done”
Anonymous – additional vocals on “Silver Needle // Golden Dawn”

Album Review – El Pistolero / Mexican Standoff (2021)

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These German gunslingers are ready to draw their weapons and invade the airwaves with the fusion of depravity, booze and rebelliousness from their rockin’ debut album.

A bunch of Rock N’ Roll animals, dirty, loud and mean, are on their way to give the world what it needs, a rockin’ bastard which sounds as if Motörhead and Airbourne had an illegitimate child together. Founded back in 2012 in Mannheim, a city in southwest Germany, El Pistolero (which translates from Spanish as “the gunslinger”) are ready to take the world of rock music by storm with their debut full-length album, entitled Mexican Standoff, bringing forth a straightforward fusion of Rock N’ Roll and Hard Rock à la Motörhead, Rose Tattoo, AC/DC and Airbourne. Mixed and mastered by Rolf Munkes (Empire, Crematory) at Empire Studios, Mexican Standoff is a lesson in depravity, booze and rebelliousness, showcasing all the undeniable talented and filthy passion for all things rock by frontman Alex ‘Nighty’ Blochmann, guitarists J.C. Müller and Chris Kaczynski, bassist Willy Krug and drummer Andy Hornef, inviting us all to dance the night away to each of the album’s vibrant compositions.

In the frantic and depraved opening track Sticky Fingers we’re treated to inebriate lyrics declaimed by Nighty and his raspy vocals (“I went drunk to a bar and claimed to be a star / Always want to take it for free / A girl to the left and a girl to right / That`s just the way that I love, that’s me / Bad girls like it – good girls love it / In rows they’re gonna follow me”), while the music is a hybrid of the Hard Rock played by AC/DC and Airbourne with the band’s own German twist. Then venturing through the lands of the badass Rock N’ Roll blasted by Motörhead, J.C. and Chris slash their guitars mercilessly in Desert Road while Willy showcases all his respect and admiration for the menacing bass by the iconic Lemmy Kilmister (R.I.P.); whereas in Stormbringer it’s beyond clear the band loves to tell stories of drinking and fighting in their lyrics (“Another day fallen up the stairs / A game of poker with two pairs / Someone rich, someone poor / See them lying on the floor”), not to mention you better get ready to party and dance nonstop to the crushing beats by Andy. After that, the band’s guitar duo seems to have a deal with the devil, firing pure evil and adrenaline through their riffs in Fear The Reaper while Nighty continues to vociferate in great fashion, supported by the song’s absolutely catchy backing vocals.

Then El Pistolero deliver a solid Hard Rock and Heavy Metal feast entitled Seeds Of Evil with hints of Southern Rock added to their core sonority, and after a short and eerie intro it’s time for more of their Motörhead-infused sounds in Machine Gun Preacher, perfect for slamming into the pit to the metallic riffs and bass jabs by J.C., Chris and Willy. Andy then pounds his drums nonstop in the title-track El Pistolero, a pub brawling tune bringing forward classic Hard Rock backing vocals and riffage, perfectly representing everything the band stands for, and let’s keep banging our heads to their visceral sound in the sonic extravaganza Down Under, with Nighty declaiming the song’s words while J.C. and Chris add fire to the music with their stylish riffs and solos. The quintet keeps putting the pedal to the metal in the musical train Still Riding, where the piercing sound of their guitars walks hand in hand with Andy’s old school drumming; and get ready to be smashed by El Pistolero in Five Bullets Come In Peace, accelerating their pace and turning up the heat, with the band’s guitar duo being on absolute fire. Liquor & Tits is an electrifying, deviant fusion of Hard Rock and Rock N’ Roll where Nighty leads his rockin’ crew with his raspy vocals while Andy delivers endless stamina through his beats; and lastly, closing the album the band offers our ears the short and sweet Punk Rock-ish tune Painkillers, once again showcasing razor-edged guitars, rumbling bass jabs and El Pistolero’s trademark insubordination.

These German gunslinger are more than ready to rock your world to the sound of their insane debut effort, and in order to join them in their quest for old school rock and metal music you can start following them on Facebook and on Instagram for news and tour dates, subscribe to their YouTube channel and stream their music on Spotify, and of course click HERE for all locations where you can buy or stream their alcohol and sex-infused album. In the end, although Germany might be thousands and thousands of kilometers away from the infamous American Wild West, that didn’t stop the guys from El Pistolero at all from crafting their ass-kicking album reeking of rye, bourbon, tequila, tits, blood and pure Rock N’ Roll, proving not only that rock music knowns no frontiers, but also that anytime, anywhere is a good place for a Hard Rock standoff.

Best moments of the album: Sticky Fingers, Fear The Reaper and Liquor & Tits.

Worst moments of the album: None.

Released in 2021 Metalapolis Records

Track listing
1. Sticky Fingers 3:22
2. Desert Road 2:32
3. Stormbringer 3:03
4. Fear The Reaper 5:17
5. Seeds Of Evil 2:49
6. Machine Gun Preacher 3:37
7. El Pistolero 3:07
8. Down Under 3:52
9. Still Riding 4:29
10. Five Bullets Come In Peace 3:47
11. Liquor & Tits 5:06
12. Painkillers 2:20

Band members
Alex ‘Nighty’ Blochmann – vocals
J.C. Müller – guitar
Chris Kaczynski – guitar
Willy Krug – bass
Andy Hornef – drums

Guest musician
Carsten Schulz – backing vocals

Album Review – Immortal Guardian / Psychosomatic (2021)

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What’s the best thing to do during this never-ending pandemic? This talented American group has the answer to that armed with their brand new album of breathtaking Progressive Power Metal.

After winning over new audiences with their acclaimed 2018 debut full-length album Age of Revolution and touring relentlessly alongside fellow shredders such as Marty Friedman, Powerglove and Exmortus, Austin, Texas’ own Progressive Power Metal entity Immortal Guardian is back in action in 2021 with their sophomore effort, entitled Psychosomatic, offering their fans more of what they like to call “Super Metal”. As a matter of fact, as the spread of COVID-19 and the subsequent pandemic began to ensue, each member of the band retreated to their respective hometowns; guitarist and keyboardist Gabriel Guardian (also known as Gabriel Guardiola) remained in Las Vegas, Nevada, in the United States, vocalist Carlos Zema (of bands like Outworld and Heaven’s Guardian) recorded his vocals from his home in Brazil, new drummer Justin Piedimonte stayed in Montreal, Canada, and new bassist Josh Lopez remained in the band’s native Texas. With shutdowns around the world being enforced, the band completely scrapped the originally planned record that they had been working on and were heavily inspired to write and create a new thematic record about their emotions surrounding current events, with the final result being at the same time epic, bold and of course very personal to each one of those four talented musicians.

The title-track Psychosomatic beings in an imposing manner led by the whimsical keys by Gabriel, gradually evolving into a feast of Progressive Metal showcasing the high-pitched screams by Carlos (and somewhat working as an extended intro to the rest of the album), and they put the pedal to the metal in the heavy and groovy Power Metal tune Read Between the Lines, with the bass jabs by Josh adding sheer heaviness to the overall result while Carlos continues to shine on vocals. Then it’s time to enjoy this eternal lockdown together with the guys form Immortal Guardian in the multi-layered, electrifying Lockdown, with Justin dictating the pace with his intricate beats while Gabriel kicks some serious ass with both his riffs and keys, whereas featuring guest guitars by Marcelo Barbosa (of Almah and Angra), Phobia is another thunderous dosage of their fusion of Progressive and Power Metal where Gabriel, Josh and Justin are in absolute sync with their sonic weapons. And more of their intricate sounds and magical passages are offered in the epic extravaganza titled Clocks, with the keys by Gabriel generating a beautiful ambience perfect for his own piercing guitar solos.

After the short atmospheric interlude Self-isolation, let’s keep banging our heads to the sound of the Heavy Metal hurricane titled Goodbye to Farewells, featuring guest vocals by Mary Zimmer (of Helion Prime), with all band members extracting tons of adrenaline from their instruments while Mary sounds utterly bestial with her harsh roars, showcasing a different side from her work with her main band. Then in Candlelight we’re treated to a pensive, melancholic intro where Josh adds his share of darkness through his bass, evolving into a more traditional hybrid of Heavy Metal and Hard Rock (albeit not as entertaining nor dynamic as the rest of the album, though, going on for too long), and more of their refined piano notes permeate the air in Find a Reason, a more gripping ballad than the previous song, sounding dense from start to finish and with Carlos passionately declaiming the song’s words while Justin pounds his drums flawlessly. Finally, Gabriel once again brings forward his deep passion for shredding in New Day Rising, a spot-on depiction of their Progressive Power Metal, offering many breaks, variations, complex passages and the usual speed and energy of Power Metal for the delight of admirers of the genre.

It’s quite easy to join the army of immortals spearheaded by Gabriel, Carlos, Josh and Justin, as their newborn spawn is available from an array of locations including the band’s own BandCamp and webstore, the M-Theory Audio webstore (in CD and limited purple LP format), the Plastic Head webstore (also in CD and limited purple LP format), or simply click HERE for all places where you can buy or stream the album. Also, let’s show our support to those talented metallers by following them on Facebook and on Instagram, by subscribing to their YouTube channel and by streaming more of their music on Spotify. Psychosomatic is undoubtedly the perfect example of how we should face the COVID-19 pandemic, turning our fears, anxiety and hopelessness into ass-kicking metal music like what Immortal Guardian were capable of doing (perhaps not in such majestic way, of course), showcasing once again the positive energy Heavy Metal can bring to us all even during the most difficult times of our lives. Stay home, stay safe, and rock on!

Best moments of the album: Lockdown, Phobia and Goodbye to Farewells.

Worst moments of the album: Candlelight.

Released in 2021 M-Theory Audio

Track listing
1. Psychosomatic 5:33
2. Read Between the Lines 6:01
3. Lockdown 4:12
4. Phobia 6:13
5. Clocks 5:12
6. Self-isolation 0:39
7. Goodbye to Farewells 5:50
8. Candlelight 5:24
9. Find a Reason 7:00
10. New Day Rising 5:56

Band members
Carlos Zema – vocals
Gabriel Guardian – guitars, keyboards
Josh Lopez – bass
Justin Piedimonte – drums

Guest musician
Mary Zimmer – harsh vocals on “Goodbye to Farewells”
Marcelo Barbosa – guitars on “Phobia”

Album Review – Demon King / The Final Tyranny EP (2021)

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This newly formed demonic trio aims to be one of the reigning champs of the Death Metal world with their fulminating and very technical debut EP.

Formed in 2019 in the city of Nashville, Tennessee, in the United States, Blackened Death Metal outfit Demon King is the comeback project of prominent original Enfold Darkness guitarist Matt Brown after stepping away from playing music for a number of years, now joined by technical wizards Malcolm Pugh (Inferi, A Loathing Requiem, Entheos) on bass and Jack Blackburn (Inferi, Enfold Darkness, Vital Remains) on drums. Together, this incredibly talented trio aims to be one of the reigning champs of the Death Metal world in the coming years, starting their path of devastation with their debut EP titled The Final Tyranny. Mixed by Zack Ohren at Castle Ultimate Productions, mastered by Justin Shturtz at Sterling Sound, and displaying an infernal artwork by renowned artist Justin Abraham, The Final Tyranny is strongly recommended for fans of Abigor, Arsis, Dimmu Borgir, Naglfar, Necrophagist and Old Man’s Child, among many others, providing the listener 17 minutes of undisputed dexterity, violence and rage.

We must admit Blackened Death Metal always brings us amazing, poetic lyrics, which is exactly the case in the opening track Tyrannical Reign of the Deceiver (“For ages the world did hold the coming of one / Which would usher in the era of din / And the chieftains they called upon disorder as order / Their ally for the clasp within / Multitudes surrender to him as their god”), while Jack sounds like a stone crusher from hell on drums and Malcolm hammers his metallic bass nonstop, resulting in an explosion of sounds that’s as technical and infernal as it can be. Then a sinister intro will darken the skies before the trio comes ripping with their hard-hittingTechnical Death Metal in Invoking the Spirit of Chaos, where Matt not only roars like a demonic entity, but his hellish riffage adds an extra touch of dementia to the music; and it’s time for more lunacy in the form of Technical and Blackened Death Metal in Transmutation of the Artilect, with Malcolm and Jack being absolutely thunderous and menacing with their beats and bass jabs while Matt continues to gnarl and scream rabidly in a perfect fusion of intricacy and heaviness. Lastly, even more obscure than its predecessors, The Watcher, Wreathed In Flame is a ruthless display of modern-day aggressiveness and fury, with the demonic drums by Jack being beautifully supported by the demented strings by both Matt and Malcolm, not to mention how piercing Matt’s guitar solos sound and feel.

This short and sweet display of unrelenting Blackened Death Metal by Demon King is available for purchase by clicking HERE, or from other retailers such as Amazon and Record Store Day. Also, don’t forget to follow those insane metallers on Facebook and on Instagram, and to stream their sick creations on Spotify, showing your utmost support to this newborn force of the extreme music scene. Across its four dense tracks, The Final Tyranny deftly combines and shifts on a dime between Technical Death Metal, Black Metal, and Melodic Death Metal in order to create a sound of their own, also pointing to a very interesting future ahead of the trio and, therefore, inspiring fans of Death Metal from all over the world to keep slamming into the circle pit while Matt, Malcolm and Jack show us exactly what to do when armed with their sharp instruments and their blackened hearts and souls.

Best moments of the album: Tyrannical Reign of the Deceiver and Transmutation of the Artilect.

Worst moments of the album: None.

Released in 2021 The Artisan Era Records

Track listing
1. Tyrannical Reign of the Deceiver 3:51
2. Invoking the Spirit of Chaos 4:16
3. Transmutation of the Artilect 4:31
4. The Watcher, Wreathed In Flame 5:04

Band members
Matt Brown – vocals, guitars
Malcolm Pugh – bass
Jack Blackburn – drums