The Finnish clan of the wilderness is ready to put us all to dance around the firepit once again with their majestic fusion of folk elements and heavy sounds.
Forged in the already distant year of 1993 (first as Shamaani Duo and later as Shaman), Finnish Folk Metal institution Korpiklaani is more than ready to put us all to dance around the firepit once again with their fusion of folk elements and heavy sounds found in their eleventh studio album, titled Jylhä, and let me tell you there couldn’t be a better name to describe such awesome record. Jylhä is the Finnish word for “majestic”, which is exactly what frontman Jonne Järvelä, guitarist Kalle “Cane” Savijärvi, bassist Jarkko Aaltonen, violinist Tuomas Rounakari, accordionist Sami Perttula and drummer Samuli Mikkonen have to offer throughout the album’s 13 original compositions in the impressive span of one hour of music, all embraced by the beautiful artwork by Finnish designer Jan “Örkki” Yrlund (Darkgrove Design), resulting in one of the most sonically diverse records they’ve ever written and, therefore, proving why they’re considered one of the most important names of the genre alongside giants the likes of Finntroll, Eluveitie, Ensiferum and Turisas.
The tribal beats by Samuli kick off the dark and folk Verikoira (“bloodhound”), a headbanging, beer-drinking tune by those old school Finnish guys with the violin by Tuomas and the accordion by Sami taking us back on a journey to a distant time, whereas it’s time to slam into the circle pit and drink some vodka in the name of Folk Metal in Niemi (“the cape” or “peninsula”), a song about the triple murder in Lake Bodom in 1960 that shocked the whole Finland, with Jonne leading his horde with his inebriate vocals while the slashing guitar by Cane adds some extra spice to the overall result. Then we have Leväluhta (“algae”), with its name taken from a spring in Isokyrö where remains of approximately a hundred Iron Age bodies have been found buried, highly inspired by Finnish traditional folk music where Samuli’s beats dictate the rhythm accompanied by the wicked accordion by Sami; followed by Mylly (“the mill” or “grinder”), the story of a man’s journey to the mill who on his way sees a figure sitting on a fence, a “devil” with a hoof as a foot. Musically speaking, it’s another entertaining round of their fusion of Folk and Heavy Metal where Jonne nicely declaims the song’s dark words.
A melancholic and pensive intro led by Jonne’s introspective vocals evolves into a dark and metallic Folk Metal extravaganza titled Tuuleton (“windless”), showcasing the razor-edge riffs by Cane in constant paradox with the crying violin by Tuomas, while in Sanaton Maa (“wordless land”), inspired by a legend known at least in Kaukola and Valkeala in Finland, a beautiful melody flawlessly flows from their unstoppable riffs, violin and accordion, resulting in a Folk Metal headbanger that will please all fans of the band. The violin by Tuomas keeps crying in Kiuru (“lark”), not as inspiring nor as vibrant as its predecessors despite the decent job done by Jonne with his trademark raspy vocals and the always stylish riffs by Cane; and Cane continues to extract electrifying sounds from his stringed axe in Miero, showcasing elements from Doom and Melancholic Metal carefully inserted in their traditional Folk Metal, therefore exhaling sadness while Jonne is effectively supported by his bandmates’ backing vocals.
Get ready to prance around the fire pit together with the boys from Korpiklaani in the fun Pohja (“base” or “ground”), where Samuli is on fire with his crushing drums while Cane and Jarkko make our heads tremble with their riffs and bass jabs, not to mention Tuomas’ incendiary violin solo. Then more traditional, old school Finnish music in the form of Folk Metal is offered to us all in Huolettomat (“careless”), keeping the atmosphere light and exciting while Jonne’s vocals sound like a drunk minstrel from the past; and never tired of drinking and partying around the fire, the band brings to our ears the straightforward Anolan Aukeat, with Samuli and Jarkko providing Tuomas and Sami a strong base for their refined violin and accordion sounds. Their second to last display of insanity and booze comes as the semi-acoustic extravaganza titled Pidot (“feast”), which should work really well if played live mainly because of how much fans of the band love this type of dancing tune, and last but not least Korpiklaani fire the grim and heavy Juuret (“roots”), presenting their usual dexterity and musical roots infused with pensive and sluggish sounds, changing its shape and form as the music progresses and with Cane, Tuomas and Sami displaying all their passion for folk music.
In a nutshell, we can rest assured that as long as the Finnish clan of the wilderness is among us, our good old Folk Metal will remain alive and kicking, with albums like Jylhä beautifully showing how majestic and fun Scandinavian Metal (as well as all other styles from the north) can be. Hence, don’t forget to give the guys from Korpiklaani a shout on Facebook and on Instagram, to subscribe to their YouTube channel and to search for them on Spotify for more of their first-class music, and of course to buy your copy of Jylhä by clicking HERE or HERE. Every single time Korpiklaani release a new album, you know it’s time to stretch our legs and arms, grab some cold beer, start the fire and get ready to spend hours and hours dancing around the firepit, celebrating the Scandinavian culture and, above all, our deep passion for heavy music together with those unstoppable Finnish metallers.
Best moments of the album: Niemi, Pohja and Huolettomat.
In times of turbulence, violence, uncertainty, hope and despair, perhaps the best subgenre of metal music to help us express all those feelings mixed together is our good old Death Metal, and in order to do that here at The Headbanging Moose let’s pay a humble tribute to a ferocious woman hailing from Germany that roars and growls with tons of passion when fronting her ass-kicking underground squads. Born on October 20, 1977 in Hannover, the capital and largest city of the German state of Lower Saxony, the unrelenting Extreme Metal vocalist, lyricist, songwriter and vocal coach Britta Görtz has been making a name for herself in the German and international scene with her potent guttural vocals since around 2005, standing out as the frontwoman for Thrash Metal act Cripper and more recently for Death Metal squads Critical Mess and Hiraes. Having said that, are you ready to bang your head and slam into the circle pit together with such talented growler?
Let’s kick off our tribute to Britta with her main band at the moment, the ruthless Death Metal horde known as Critical Mess, a Hannover-based act formed in 2012 that has already released two full-length albums so far in their career, those being Human Præy in 2018 and Man Made Machine Made Man in 2019, as well as the EP Zombie Apocoverlypse in 2020, all with Britta responsible for the vocal duties. After the band’s inception in 2012 they underwent many changes in lineup and writing styles until Britta replaced former vocalist Simon Körber in 2016, helping her bandmates Marco Schauff and Marco “Elmo” Evers on the guitars, Lommer Wiesener on bass and Benny Komatitsch on drums establish themselves and quickly finding their own, unique sound and style, always true to the familiar and beloved sound of old school Death Metal that they had all grown up with. Bringing forward crushing riffs, insane vocals, fierce harmonies and drum chops that put any industrial slaughterhouse soundscape to shame, Critical Mess have already shared the stage with insane acts the likes of Six Feet Under and Hatesphere, having also played in some of the most important festivals in the world like Wacken Open Air and Metaldays.
In case you’ve never heard any of the wicked creations by Critical Mess until today, you can stream all of their albums and songs on Spotify and enjoy their official videos on their YouTube channel, including the awesome videos for the songs Feasting, Into Oblivion, Cut The Cord, Pansperm; the song Echo live at Wacken Open Air 2019; live-recordings of the songs Gluttony (for the Apes Enraged Re-Live Online Festival) and Preacher of Lies (for Godslaves “Access All Areas” Online Festival), both recorded in their band practice room in Hannover; and a special video dedicated to their fans for the song Demise, from conception to stage. However, if you think Critical Mess are only brutality and rage, you must check their insane cover versions for the songs Everybody (Backstreet’s Back), by the infamous Backstreet Boys, Remmidemmi (Yippie Yippie Yeah), by Hamburg’s own Hip-Hop/Electro band Deichkind, and my favorite one Blinding Lights, by The Weeknd, all as seen on the German television show Halloween Gamenight with Luke Mockridge, which aired during last year’s Halloween. Britta is flawless on all three songs, but what she does in “Blinding Lights” is beyond awesome I must say.
Our skillful growler is also involved in a brand new project named Hiraes, a Melodic Death Metal band formed in 2020 that combines the full force of all four instrumentalists from Dawn Of Disease, those being Lukas Kerk, Oliver Kirchner, Christian Wösten and Mathias Blässe, with the powerful vocals by Britta in order to create an exciting new melodic death emergence. Currently, Hiraes are working on their debut album, which will certainly be highly recommended for fans of the Scandinavian madness brought forth by renowned acts the likes of Insomnium, At The Gates, Arch Enemy and Amon Amarth, pointing to a very interesting path ahead of Britta, therefore allowing her to showcase all her vocal range and potency outside of the purely Death Metal style she’s used to with Critical Mess. I honestly can’t wait to see what she’ll be able to do when venturing through more melodic realms, and let’s hope this never-ending pandemic doesn’t stop Britta and her henchmen from releasing new, vibrant music for all of us metalheads in a not-so-distant future.
Of course, we cannot talk about Britta and her pulverizing vocals without talking about the band that launched her to stardom in the metal community. I’m talking about German Death and Thrash Metal platoon Cripper, formed in 2005 in Hannover, with whom she recorded the EP Killer Escort Service in 2006, followed by the full-length albums Freak Inside (2007), Devil Reveals (2009), Antagonist (2012), Hyëna (2014) and Follow Me: Kill! (2017), with the last two being available on their BandCamp page, and all of them on Spotify. Hence, you can also visit their YouTube channel for official videos, interviews, unboxing of their albums and tons of other amazing footage from this hard-hitting band that unfortunately split up in 2018. Having toured with renowned acts like Overkill and Onslaught, in addition to repeat performances at major European festivals the likes of Summer Breeze, Wacken Rocks, Metalfest and Rockharz Open Air, Cripper effectively converted fans to their cause with their riveting mix of old school and modern thrash, as you can see in the official videos for the songs Animal Of Prey, Mother, Into the Fire, Tourniquet, Pressure, Totmann, A Dime For The Establishment, Shortcut, God Spoken Prayer/Cocoon and Damocles, as well as in their infernal live performances at Rock Im Betonwerk in 2012, at Metaldays in 2014 and at Wacken Open Air in 2016. As you might have noticed, when Critical Mess were formed, Britta was still singing for Cripper, but according to Britta herself it wasn’t difficult at all to manage both bands at the same time. “The two bands feel completely different,” she commented at that time, complementing by saying that “lyrically, Cripper is more expressive, while Critical Mess has so far been more storytelling.”
You can also find Britta screaming and roaring like a true she-wolf in several distinct bands and projects, where she was able to add her own share of violence and creativity to their music. For instance, you can enjoy Britta’s unique guttural vocals in the song My Abomination, from the album ED, released in 2020 by German Death Metal act Corrosive; in the song Into Darkness, from the 2014 album Drone, by German Groove Metal/Metalcore unity Drone; in the song Children of the Pit, from the 2016 album Welcome to the Green Zone, by German Thrash Metal squad Godslave; and doing backing vocals in the 2009 album Marauders, by German Death/Thrash Metal act Lost World Order. Not only that, Britta also showcased her skills as a photographer in the 2007 album Hate Is the Law, by German Death Metal band Ancient Existence.
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Regarding her influences, idols and first experiences in music, Britta has a very eclectic and wide range of musicians and bands that she admires. For instance, she said the first-ever concert in her life was back in 1990 in the small town of Seelze, where she grew up, of German Pop Rock band Die Prinzen; her first record was one containing the hit Bruttosozialprodukt, released in the 80’s by Neue Deutsche Welle group Geier Sturzflug; the first CD she bought herself was a live album by Guns N’ Roses (at the same time she bought her first CD player); and she would love to share the stage with the one and only Mike Patton, especially if it’s with his insane cult band Fantômas, which is quite easy to understand why as Mr. Patton is indeed one of the most talented, one of the wildest and one of the most creative vocalists ever. Also, on a side note, if you think Britta makes any distinction between male and female vocalists, or if she cares about the term “female-fronted metal”, she thinks that’s a stupid and very sexist concept, saying that she got tired of it right after her first interview where questions about her being a girl in a Death Metal band started to come up. Having said that, let’s simply stop asking that type of question when interviewing Britta, sounds good?
As mentioned, Britta has already been in several different festivals with all of her bands like the unparalleled holy land of metal music Wacken Open Air, having toured extensively across the entire European continent as well as being part of renowned and innovative events such as being aboard 70,000 Tons of Metal, saying the vibe in each one of those unique events might be different due to the number of people that attend each one, the ticket prices, the age of the fans and so on, but that in the end it’s always a pleasure for her to show her music and art to all types of metalheads. She also said that whenever someone can’t believe how powerful and aggressive her guttural vocals are when seeing he live for the first time, that doesn’t really amuse her as she thinks if you’re a true metal fan you’re already used to women growling for ages. In addition, she mentioned in one of her interviews that she dreams of touring around South America, as (unfortunately) she’s never been there and she would love to experience all South American countries as a touring band, immersing herself in each local youth and music culture.
All that recording, touring and screaming can be extremely strenuous on one’s vocal chords, demanding a lot from the singer, and of course it couldn’t be any different with Britta. She mentioned that there are some warmup exercises she does prior to each show, such as humming and singing some scales, saying that those aren’t only important for her vocal cords, but they also serve as a ritual to prepare herself mentally for hitting the stage, working at the same time as physical and mental warmups. In addition, our talented growler also listed lots of sleep and lots of water as necessary methods for anyone’s vocals to stay in shape, balancing her partying and avoiding drinking too much alcohol, working out regularly and eating healthy, fresh food (without stressing too much about that). If you want to have a one-hour online lesson (or even a face-to-face one after this pandemic is finally over) in growling, shouting and screaming with Britta, you can visit the LCHQ Online Shop and purchase a vocal coaching voucher, hiring her services to provide you some useful tips, teach you new techniques and warmups, and anything else related to guttural singing, and coming from such talented singer like Britta that’s definitely worth the investment.
Last but not least, Britta has a very strong opinion on populism and the tensions we’ve been experiencing worldwide, saying that it doesn’t matter which perspective you take, be it the way the media reports it or how the reporting is perceived, the desire for security paired with the abandonment of freedom, or the contribution that the so-called “western world” makes to all of this, in the end the situation is pretty tricky, leading people to think they have simple solutions to complex problems. There are countless interviews online with Britta where you can know more about her as a person, as an artist, her opinions, her likes and dislikes and so on, such as this one to Mama Goes Wacken where she talks about her passion for chocolate (among other topics, of course), this one to The Metal Gods Meltdown where she discusses the decision of Cripper to call it quits, this one to Rock Titan and this one to DJ Vampire talking about Cripper, and this one to Metal & High Heels when they played at FEMME (Female Metal Event). As you can see, Britta is an extremely talented musician with an open heart and an open mind, always willing to share her ideas, experiences and opinions with her fans and, more important than that, always ready to scream and roar in the name of our good old Death Metal.
“I never thought ‘oh look at what she is doing, a girl in a heavy metal, that’s what I wanna do, too’. What got me to wanting to play in a band was probably that I thought it was a good way for me to express myself and at the same time channel my energy. Energetic live shows no matter of which genre attract me. Shows where you can feel the electricity in the air, where it kicks your butt and really grabs you. I am trying to find a certain kind of flow on stage and to share my energy with the fans. That’s not easy, cause it is nothing that you can create every time, but that’s what I am aiming for.” – Britta Görtz
In their hard-hitting, uncompromising sixteenth studio album, the unrelenting German kingpins of Heavy Metal will tell you why they’re too mean to die.
Following on their critically acclaimed releases Blind Rage and The Rise of Chaos, the unrelenting German kingpins of Heavy Metal collectively known as Accept are back in 2021 with a brand new and pulverizing album of undisputed metal music entitled Too Mean to Die, the 16th studio album in their amazing career and the fifth to feature American frontman Mark Tornillo on vocal duties. Recorded in Nashville, the capital of the U.S. state of Tennessee and considered by many as the worldwide capital of music, the album was once again produced by British master producer Andy Sneap, known for his work with titans the likes of Judas Priest and Megadeth, and who has also been responsible for all Accept productions since 2010, enhancing the impact of the music blasted by the aforementioned Mark Tornillo on vocals, Wolf Hoffmann, Uwe Lulis and newcomer Philip Shouse on the guitars (marking it as their first-ever album with three guitarists), newcomer Martin Motnik on bass and Christopher Williams on drums, and therefore, proving this legendary squad will keep bringing to us all hard, direct and uncompromising metal music for many years to come.
Wolf, Uwe and Philip rev up Accept’s metallic engine in the amazing opening tune Zombie Apocalypse, delivering pure, unfiltered 80’s-inspired Heavy Metal with a modern twist, of course showcasing the band’s trademark sound and Mike’s piercing vocals, singing about mankind’s dependence and fixation with social media (“They’re walking by day, they stumble by night / Wandering blindly, with no end in sight / Mass communication, hand to hand / A new epidemic has control of this land”); whereas in Too Mean to Die we face lyrics about being a true headbanger (“I’m a heavy metal warrior / Restless son of a bitch / A weapon of destruction / With both hands on the switch”), while fast and furious German Power Metal flows from their riffs and Christopher hammers his drums in great fashion. And adding a good dosage of Hard Rock to their core metal music, the band fires the excellent Overnight Sensation, with Martin’s rumbling bass and Christopher’s classic beats providing Mike all he needs to shine on vocals in a song about becoming a (sub)celebrity and getting addicted to that ephemeral fame.
In No One’s Master, Accept lean towards some of their latest songs from The Rise of Chaos and Blind Rage, with the band’s guitar triumvirate being on fire with their crisp, crystalline riffs and soulful solos in another high-octane metal extravaganza, and Martin will make your head tremble with his wicked bass jabs in The Undertaker, a good, classic Heavy Metal tune that has its moments, but that’s considerably below the rest of the album in terms of adrenaline and punch. Then Wolf and his wolfpack extract sheer rage from their sonic weapons in the thrilling Sucks to Be You, with Mike’s classic screams being effectively supported by the band’s backing vocals, resulting in a beer-drinking, pub-brawling hymn for diehard fans of the band. And there’s no sign of slowing down or selling out by those dauntless metallers, as Accept keep blasting their instruments mercilessly in Symphony of Pain, showcasing a more imposing sonority found in Blood of the Nations and Stalingrad: Brothers in Death.
After so much heaviness and adrenaline, it’s time for one of Accept’s stylish, melancholic ballads entitled The Best Is Yet to Come, where Mike steals the spotlight with his introspective performance singing about how we get simpler as time goes by, while the band’s guitar trio embellishes the airwaves with their delicate riffs and piercing solos; followed by How Do We Sleep, a true headbanger by Mike, Wolf & Co. that sounds at the same time old school and modern, with Christopher dictating the pace with his pounding drums. And those metal veterans speed things up a bit, getting heavier and more aggressive in the acid tune Not My Problem, displaying an amazing job done by Wolf, Uwe and Philip on the guitars, adding endless electricity to the overall result and as a consequence sounding straight-to-the-point and as fun as hell until the very last second. Lastly, the solid instrumental tune Samson and Delilah closes the album on a distinct mode, with Wolf stealing the show with his classic riffs and solos and, of course, his undeniable and deep passion for all things Heavy Metal.
After listening to Too Mean to Die, I’m pretty sure you’ll get yourself headbanging nonstop, tapping on your desk, raising your horns while drinking a cold beer, and everything else that perfectly represents our beloved metal music, getting back to the start and repeating this exciting “ritual” over and over again, which means Accept moe than succeeded once again in their quest for Heavy Metal as expected. Hence, in case you’re from another dimension and don’t know Accept yet, you can start following them on Facebook, on Instagram and on VKontakte, subscribe to their YouTube channel, stream their extensive catalogue on Spotify, and purchase their awesome new album by clicking HERE or HERE, showing the world that just like the unstoppable guys from one of the most important metal bands in the world, you’re also a true metalhead that’s too mean to die.
Best moments of the album: Zombie Apocalypse, Too Mean to Die, Sucks to Be You and Not My Problem.
Worst moments of the album:The Undertaker.
Released in 2021 Nuclear Blast
Track listing 1. Zombie Apocalypse 5:31
2. Too Mean to Die 4:21
3. Overnight Sensation 4:24
4. No One’s Master 4:10
5. The Undertaker 5:37
6. Sucks to Be You 4:05
7. Symphony of Pain 4:39
8. The Best Is Yet to Come 4:47
9. How Do We Sleep 5:41
10. Not My Problem 4:21
11. Samson and Delilah 4:31
Band members Mark Tornillo – lead vocals
Wolf Hoffmann – guitar
Uwe Lulis – guitar
Philip Shouse – guitar
Martin Motnik – bass
Christopher Williams – drums
This multicultural Melodic Power Metal unity hailing from Germany is ready to enlighten our destiny to the sound of their fourth full-length album, presenting to the world a new and reinvigorated lineup.
The esoteric and the obscure. Tales of the eternal fight between darkness and light… Formed by arcane energies. The mysteries that lay beyond human recognition. We are Tragedian, Power Metal that enlightens your destiny!
Formed in 2002 by American guitarist, songwriter and producer Gabriele Palermo, Tragedian are a multicultural metal band from Hamburg, Germany with a range of influences from Heavy Metal to Speed and Melodic Power Metal, taking their favorite elements from each genre and making their own interpretation. Currently comprised of the aforementioned Gabriele Palermo on the guitars together with Venezuelan vocalist Joan Pabón, German bassist Dawid Wieczorek, German keyboardist and pianist Denis Scheither, and Italian drummer Nicolò Bernini, the band is about to unleash their fourth full-length album, entitled Seven Dimensions, the first with Joan, Dawid and Denis on the lineup. Produced by Gabriele himself, post-produced and mixed by Eike Freese at Chameleon Studios in Hamburg, and featuring an ethereal artwork by Polish artist Piotr Szafraniec (Archart Studio), Seven Dimensions takes the band to a different direction of Melodic Metal, showcasing nine new, electrifying anthems plus three previously released tracks reworked by the quintet.
Blazing guitars and whimsical keys kick off the Melodic Metal extravaganza titled Rising Rage, with Nicolò dictating the rhythm with his classic beats in a fast, harmonious and epic manner just the way we like it, and with Joan proving why he was chosen to be the band’s new lead singer. Then more of Gabriele’s slashing riffs and solos penetrate deep inside our ears in Aloneless, where Dawid and Nicolò’s low-tuned, rumbling sounds make a vibrant paradox with Denis’ classy keys. Put differently, it will certainly please all fans of bands like Stratovarius, Rhapsody of Fire and Angra, whereas investing in a more direct sonority, the band blends the electricity of Power Metal with the rebelliousness of old school Heavy Metal and Hard Rock in Out of the Dark, featuring guest guitars by Dan Palmer (Zebra Head, Death By Stereo), and the final result is simply awesome. And putting the pedal to the metal the quintet fires the melodic hurricane Darkest of My Days, where Joan is amazing on vocals supported by the unstoppable drums by Nicolò, not to mention the razor-edge guitar lines by Gabriele.
In Bringer of Dreams, featuring guest vocals by Wade Black (Crimson Glory, Leatherwolf), after a not-so-promising start the music fortunately evolves into another solid feast of Melodic Power Metal by Tragedian, with Joan and Wade bringing joy to our hearts with their dynamic vocal duo; and it’s time for a power ballad led by Joan’s passionate vocals and Denis’ melancholic piano notes entitled Crying in the Rain, also presenting background female vocals which bring an additional touch of finesse to the overall result, albeit going on for too long. Back to a more imposing and epic musicality, Nicolò kicks ass once again on drums while Gabriele keeps extracting sheer adrenaline from his axe in Enlightened, all spiced up by a classic Stratovarius-inspired keyboard solo by Denis, followed by an avalanche of classic riffs and nonstop drums in Forevermore, with the groovy bass punches by Dawid bringing thunder to the music. Needless to say, it can’t get any more melodic than this.
Destiny sounds relatively generic compared to the rest of the album, which doesn’t mean it’s a bad song, though, it’s just that it falls flat after a while despite the solid instrumental pieces blasted by the quintet. Then Joan showcases all his vocal potency and range is his mother tongue in Para Siempre (Forever), a very entertaining tune (and of course very special and personal for Joan himself) that results in a lecture in Spanish Melodic Metal; and those power metallers are never tired of embellishing the airwaves with their stylish sounds like what they do in The Journey, where Gabriele and Denis are once again in absolute sync form start to finish. Guest vocalist Zak Stevens (Savatage, Circle II Circle) adds his touch of melancholy and epicness to the inspiring ballad Forces of the Light, where we’re invited to let Tragedian’s enfolding music soothe our souls while Joan and Zak give a lecture in vocal performance, closing the digital edition of the album. However, you should definitely go for the CD version of Seven Dimensions, as the bonus tracks Crying in the Rain (duet version) and Forces of the Light (full orchestral version) are definitely worth the investment in the physical edition, especially the orchestral version for the embracing ballad with Zak Stevens.
As already mentioned, the addition of Joan, Dawid and Denis to Tragedian’s lineup brought a new share of epicness, melody and creativity to Gabriele’s brainchild, with Seven Dimensions perfectly depicting the band’s renewed energy throughout each one of the albums’ ten vibrant tracks (or twelve, if we also count the two bonus tracks of the CD version). Having said that, let’s all show the guys from Tragedian how much we admire their music, and that they’ve chosen to follow an exciting path in this new phase of their career by giving them a shout on Facebook and on Instagram, by streaming more of their music on Spotify, and especially by purchasing a copy of Seven Dimensions or by streaming it in full by clicking HERE. This is first-class, international Melodic Power Metal that deserves our attention and recognition, my friends, and let’s hope Gabriele and his melodic army keep delivering sheer awesomeness to all of us with all of their future releases, always displaying their refined techniques, and of course, their passion for heavy music.
Best moments of the album: Rising Rage, Out of the Dark, Forevermore and Forces of the Light.
Worst moments of the album:Crying in the Rain and Destiny.
Released in 2021 Pride & Joy Music
Track listing 1. Rising Rage 4:19
2. Aloneless 4:03
3. Out of the Dark 3:42
4. Darkest of My Days 3:42
5. Bringer of Dreams 5:35
6. Crying in the Rain 4:48
7. Enlightened 5:01
8. Forevermore 4:13
9. Destiny 4:19
10. Para Siempre (Forever) 3:37
11. The Journey 4:32
12. Forces of the Light 6:35
CD Edition bonus tracks 13. Crying in the Rain (duet version) 4:49
14. Forces of the Light (full orchestral version) 4:50
Band members Joan Pabón – vocals
Gabriele Palermo – guitar
Dawid Wieczorek – bass
Denis Scheither – keyboards, piano
Nicolò Bernini – drums
Guest musicians Wade Black – vocals on “Bringer of Dreams”
Zak Stevens – vocals on “Forces of the Light”
Dan Palmer – guitars on “Out Of The Dark”
Dark, diabolical, and majestic while taking a fresh look into 90’s Greek Black Metal with a nostalgia of the past and a twist into the future. That’s what these infernal veterans have to offer in their newborn spawn.
Forged in the fires of Athens, Greece in 2019 by bassist Jim Mutilator, a founding member of legendary Greek Black Metal band Rotting Christ, and vocalist The Magus, who formed Necromantia in 1989 together with Baron Blood (R.I.P.), one of the most influential and avantgarde bands of the scene, Hellenic Black Metal outfit Yoth Iria is an amalgam of the influences and visions of its creators, sounding dark, diabolical, emotional, powerful and majestic while taking a fresh look into 90’s Greek Occult Black Metal with a nostalgia of the past and a twist into the future. Now in 2021, the duet which developed and pioneered the underground scene back in the day is ready to crush our souls with their first full-length album, titled As The Flame Withers. Recorded, mixed and mastered at Pentagram Studio by Yoth Iria and George Emmanuel (Rotting Christ, Septicflesh, Lucifer’s Child), and displaying a Stygian artwork by Indian artist Harshanand Singh, As The Flame Withers represents everything this primeval entity stands for, supported by guest musicians George Emmanuel on the guitars, John Patsouris on keys and J.V. Maelstrom (Dephosphorus, Nigredo) on drums, dragging the listeners into the pits of the underworld and keeping them there forever in pitch black darkness.
The Children of Bodom-inspired riffage by George kicks of the melodic and infernal The Great Hunter, bringing to our ears old school Norwegian Black Metal blended with the epicness of Behemoth and Rotting Christ, whereas mesmerizing, imposing sounds permeate the air in the insane title-track Yoth Iria, showcasing beyond obscure lyrics growled by The Magus (“For aeons he laid dormant / speaking through dreams / conspiring in visions / watching from his Throne / Arch-Priest and King / of the Seven Hells / The Highest of Angels / the Brightest of them all”) while his bandmates keep the atmosphere as heavy and somber as possible. Then it’s time for George and Jim to slash their respective guitar and bass in the very melodious but of course heavy-as-hell Hermetic Code, a very atmospheric creation by the band offering our ears a good dosage of Doom Metal added to their core ferocity; and arising from the pits of the underworld like a demonic entity, The Magus and Jim bring forward Demonaz-inspired vocalizations and dirty, rumbling bass lines in The Mantis, with the background keys by John Patsouris sounding insanely epic while J.V. Maelstrom hammers his drums mercilessly.
In the excellent The Red Crown Turns Black we face more of their blasphemous lyrics (“From the deserts of Saturn / and the depths of the Abyss / the General of Chaos / the Devourerof Souls”) while the music sounds like a demonic fusion of Behemoth, Immortal and Children of Bodom, with George being once again sensational with his wicked riffs and solos, and rocking guitars and classic beats ignite the Stygian extravaganza titled Unborn, Undead, Eternal, reminding me of some of the most recent creations by Rotting Christ, with The Magus gnarling like a creature from the netherworld nonstop. The second to last explosion of their Ritualistic Black Metal comes in the form of Tyrants, where The Magus’ roars are effectively supported by the hellish kitchen by Jim and Maelstrom, resulting in another doomed, thunderous aria blasted by this talented Greek horde, while Jim continues to smash his bass in the closing tune The Luciferian, accompanied by the grim guitars by George. Once again blending old school Black Metal with Doom Metal and more contemporary styles, the song unfortunately loses its grip after a while, albeit nothing that could do any harm to such powerful album.
In the end, As The Flame Withers, which is by the way available for a full listen on YouTube, is exactly what such prominent duo from the Greek Black Metal scene is saying the album is, an ode to the early days of the genre without sounding outdated, tiresome nor bland at all. Hence, if you want to explore their obscure realm in more detail and stay updated with all things Yoth Iria, you can start following the band on Facebook and on Instagram, and of course purchase your copy of As The Flame Withers from the Pagan Records’ BandCamp page or webstore (including the CD and black LP versions of the album), as well as from Record Shop X. It’s indeed a true pleasure witnessing two trailblazers of the Greek Black Metal scene generating such infernally dark music with so much punch and potency even after all these decades on the road, proving once again extreme music can be a true fountain of youth for many, while the flames of Black Metal keep burning the souls of the unbelievers for all eternity.
Best moments of the album: Yoth Iria, The Mantis and The Red Crown Turns Black.
Worst moments of the album:The Luciferian.
Released in 2021 Pagan Records
Track listing 1. The Great Hunter 4:24
2. Yoth Iria 5:41
3. Hermetic Code 6:34
4. The Mantis 7:19
5. The Red Crown Turns Black 6:26
6. Unborn, Undead, Eternal 5:14
7. Tyrants 4:51
8. The Luciferian 6:32
Band members The Magus – vocals
Jim Mutilator – bass
Guest musicians George Emmanuel – guitars (session)
John Patsouris – keys (session)
J.V. Maelstrom – drums (session)
What happens when you put together four metalheads hailing from Brazil, Italy, Spain and Greece? A deadly and thrashing lesson in perpetual chaos, of course.
Staying true to their roots while exploring new terrains with a revitalized international line-up now comprised of Brazilian founding guitarist Prika Amaral, Spanish growler Diva Satanica (of Bloodhunter), Italian bassist Mia Wallace (of bands such as Abbath, Triumph of Death and The True Endless) and Greek drummer Eleni Nota (of Lightfold and Mask of Prospero), the ruthless all-female Death and Thrash Metal powerhouse Nervosa is ready to attack with inexorable fury, pungently sharp riffs and aggressive vocals on the 13 massive tracks from their newborn spawn, entitled Perpetual Chaos, the follow-up to their critically acclaimed 2018 opus Downfall Of Mankind. Recorded at Artesonao Casa de Grabación Studio in Málaga, Spain, produced by Prika Amaral and Martin Furia at Studio Porino, and mastered by Yarne Heylen, Perpetual Chaos builds upon the turbulence, adding diverse musical elements to create an infallible new standout that will strike the listener in a way only Nervosa could, therefore placing the album as one of the best releases of 2021 hands down.
The unstoppable Prika ignites their thrashing machine with her flammable riffs in the brutal Venomous, sounding pulverizing from the very first second with Diva Satanica being a true she-demon on vocals while Eleni showcases all her skills and rage on drums, whereas in Guided by Evil the rumbling, obscure sounds blasted by Mia and Eleni are everything Diva Satanica needs to growl the song’s vile words (“Desire consumes you, blinds you, takes you off the line / But you go slowly cause all you do is lie / Every step taken, misfortune is your delight / Tormented by feelings, swallowed by quicksand”) in another ass-kicking fusion of Death, Thrash and Black Metal. Following such frantic start, People of the Abyss is perhaps one of the most infuriated and heaviest of all songs in the history of Nervosa where Prika will pierce your ears mercilessly with her classy riffs and solos accompanied by the devilish bass by Mia, therefore inflicting some serious pain in your neck due to the intense headbanging needed. And more of their demented and grim sounds is offered in the title-track Perpetual Chaos, with Eleni and Prika making a hellish duo and, consequently, providing Diva Satanica a solid base for her to haunt our souls with her otherworldly screeches and gnarls.
Featuring guest guitarist Guilherme Miranda (of Entombed A.D.), Until the Very End is a high-octane fusion of Death and Thrash Metal brought forth by those unrelenting women where Prika is once again phenomenal armed with her killer strings; and it’s time for Nervosa to smash our skulls mercilessly in Genocidal Command, with German thrash legend Schmier, from the one and only Destruction, making a demented vocal duo with Diva Satanica, always supported by the thunderous kitchen by Mia and Eleni. Slower but heavy-as-hell, Kings of Domination presents hints of Groove Metal added to the guitar lines by Prika and the bass jabs by Mia, resulting in the perfect sound for headbanging like there’s no tomorrow, while Time to Fight is another short and sweet display of their thrashing savagery, inviting us all to slam into the pit while Eleni pounds her drums in great fashion. If you think the girls from Nervosa are tired already of so much violence, you better get ready for more of their Stygian sounds in Godless Prisoner, showcasing a straightforward sonority led by Prika while Eleni dictates the pace with her solid beats, albeit not as powerful as the other songs from the album.
Blood Eagle gets back to a more ferocious and somber musicality, with Prika and Mia being in total sync with their stringed weapons while Diva Satanica adds her personal dosage of Death Metal to the band’s core Thrash Metal through her devilish gnarls; and Eric A.K. (of Flotsam and Jetsam) lends his trademark vocals to Rebel Soul, a Motörhead-inspired metal extravaganza that will invite you to raise your horns and bang your head like a beast, bringing forward Diva Satanica and Eric on absolute fire from start to finish. Never slowing down nor selling out, and always loyal to the foundations of Thrash Metal, the band offers us all Pursued by Judgement, with Mia hammering her evil bass accompanied by the crushing drums by Eleni, keeping the album at a high level of animosity before we’re treated to the closing tune Under Ruins, presenting disruptive words viciously barked by Diva Satanica (“I feel death coming / Getting lonelier everyday / In the cravings that consume me / Self destruction without limits”) while her bandmates make sure the electricity keeps flowing nonstop through their wicked instrumental.
To be fair, I was a little worried about the future of Nervosa after the departures of vocalist and bassist Fernanda Lira and drummer Luana Dametto last year, but the moment Prika announced Diva Satanica, Mia Wallace and Eleni Nota as the new members of her thrashing squad I was more than sure their new album would sound phenomenal to say the least based on their unique talent and background in heavy music. Well, let’s say those four metal ladies exceeded all expectations in Perpetual Chaos, delivering an album that’s at the same time brutal, melodic, thrilling and detailed. Hence, don’t forget to give the girls a shout on Facebook and on Instagram to let them know how much you enjoyed their newest creations, to subscribe to their YouTube channel for more of their distinguished music and videos, to stream all of their catalogue on Spotify, and above all that, to purchase Perpetual Chaos from their own BandCamp page or webstore (America or Europe), or simply click HERE for all locations where you can buy or stream what’s by far one of the most exciting metal albums of the year. And before I forget… VIVA PERPETUAL CHAOS!
Best moments of the album: People of the Abyss, Genocidal Command, Time to Fight and Rebel Soul.
Worst moments of the album:Godless Prisoner.
Released in 2021 Napalm Records
Track listing 1. Venomous 3:46
2. Guided by Evil 3:30
3. People of the Abyss 3:27
4. Perpetual Chaos 3:39
5. Until the Very End 3:18
6. Genocidal Command 2:56
7. Kings of Domination 3:41
8. Time to Fight 2:32
9. Godless Prisoner 3:19
10. Blood Eagle 3:41
11. Rebel Soul 3:17
12. Pursued by Judgement 3:27
13. Under Ruins 3:57
Band members Diva Satanica – lead vocals
Prika Amaral – guitar, backing vocals
Mia Wallace – bass
Eleni Nota – drums
Guest musicians Guilherme Miranda – additional guitars on “Until the Very End”
Schmier – additional vocals on “Genocidal Command”
Eric A.K. – additional vocals on “Rebel Soul”
Turkey’s own Death Metal one-man army is ready to strike his venom once again through his first full-length opus, featuring nine original tracks of sick, alcohol-fueled terror.
Hailing from the dark pits of Antalya, a gateway to Turkey’s southern Mediterranean region, Death Metal one-man army Booze Serpent was formed back in 2019 by vocalist and multi-instrumentalist Serpent as an ode to 1980’s horror B-movies and H.P. Lovecraft novels, having already released in 2020 the project’s five-track debut EP Drünkard. After less than one year, Serpent returns in full force with his first full-length effort, the sick, alcohol-fueled terror party entitled Slices Of Death, offering us fans a high dosage of old school Death Metal with no shenanigans nor any artificial elements. Mixed and mastered by Polish musician Mikołaj Krzaczek (Thamnos Records), displaying a classic artwork by Death Rattle, and featuring an array of guest musicians such as Cezary Borawski on drums and Burak Ulugüney (of Minus Life) on keys, Slices Of Death was recorded entirely live, with no drum machines nor midi used in the recordings, giving it a more organic, honest and, therefore, violent feel throughout its nine inebriate and visceral tracks of groovy death.
An ominous, atmospheric intro ignites Booze Serpent’s evil brewing machine, morphing into the venomous Dead Fak, where Serpent blends a high dosage of Black, Death and Thrash Metal in his infernal riffs and screams; whereas Turkey’s own one-man horde gets the support of guitarist Gavin Brooks with a sick solo in Man-Eating Plant, while Cezary keeps hammering his drums nonstop, leaning towards contemporary Blackened Death Metal. Then guest drummer Jeremiasz Baum (of The Materia) lends his violence to Booze Serpent in Motel Hell, another short and sweet homage to darkness and drinking where the deep gnarls by Serpent will haunt your soul during your sleep, also presenting the trademark futuristic keys by Burak. And Serpent keeps slashing his guitar and bass in the straight-to-the-point, headbanging tune They Live We Drink!, another heavy and unfriendly creation showcasing the most visceral elements from Black and Death Metal, featuring a guest guitar solo by Gavin Brooks.
Venturing through the realms of Deathslam and Brutal Death Metal, Serpent fires the sick and vile The Beast (Pumpkinhead), blasting sheer rage through his demented riffs and growls, and all spiced up of course by the pounding beats by Cezary. Then uniting the obscurity of Black Metal with the bloodthirsty sounds of Death Metal we’re treated to The Animal, showcasing a bestial guest guitar solo by Croc (of Axxen Conners), resulting in the perfect tune for cracking our necks headbanging to the sound of Serpent’s hellish roars, while guest drummer Charlie Nicholson (of Psychosexual) brings his share of dementia to the short and pulverizing Live Brains!, a tribute to zombie flicks from the 80’s where Serpent sounds even more demonic than before on vocals, not to mention his infernal bass jabs and cutting riffs. The epic and imposing keys by Burak make the final result even more Stygian in Resurrected In Chapman Labs, where the cryptic lyrics barked by Serpent are complemented by his own razor-edged guitars and low-tuned bass, flowing into the atmospheric outro Slices Of Death, where grim piano notes permeate the air in the best Cradle of Filth and Dimmu Borgir-inspired style.
Dedicated to Serpent’s dearest friend Onur Soyulmaz, who sadly passed away in 2018, Slices Of Death is indeed a fantastic display of underground extreme music made in Turkey, bringing to our ears endless amounts of fury, electricity, heaviness and acidity, which obviously translates into awesomeness after all is sad and done. Hence, don’t forget to show your utmost support to such skillful Turkish metaller by following his project on Facebook and on Instagram, and of course by grabbing your sulfurous, alcohol-infused copy of Slices Of Death directly from Booze Serpent’s own BandCamp page, raising your glass high in the sky in the name of horror movies and Death Metal, and getting absolutely drunk to the sound of Serpent’s venomous compositions on a dark and bitterly cold winter night.
Best moments of the album: Man-Eating Plant, The Beast (Pumpkinhead) and Live Brains!
Worst moments of the album: None.
Released in 2021 Plague Demon Records
Track listing 1. Intro/Dead Fak 4:19
2. Man-Eating Plant 3:04
3. Motel Hell 2:58
4. They Live We Drink! 2:50
5. The Beast (Pumpkinhead) 2:16
6. The Animal 3:18
7. Live Brains! 2:14
8. Resurrected In Chapman Labs 3:00
9. Slices Of Death 2:28
Band members
Serpent – vocals, guitar, bass
Guest musicians Burak Ulugüney – intro, keys
Gavin Brooks – lead guitar on “Man-Eating Plant” and “They Live We Drink!”
Croc – lead guitar on “The Animal”
Cezary Borawski – drums on “Intro/Dead Fak”, “Man-Eating Plant”, “They Live We Drink!”, “The Beast (Pumpkinhead)”, “The Animal” and “Resurrected In Chapman Labs”
Jeremiasz Baum – drums on “Motel Hell”
Charlie Nicholson – drums on “Live Brains!”
Succumb to the dark side to the sound of the Occult Rock with a subtle Spanish folk and western vibe by this talented coven, looming in the dark, esoteric realms of witchcraft.
Hailing from Pamplona, Spain, Occult Rock all-female trio Kabbalah was formed on the ashes of local outfit Las Culebras, looming in the dark, esoteric realms of witchcraft and closed door arts while starting a prolific cycle of music by self-releasing three EP’s, those being Kabbalah, Primitive Stone and Revelations, between 2013 and 2016, progressing to their 2017 debut album Spectral Ascent. Now in 2021 it’s time for Alba DDU (vocals, guitar), Marga Malaria (vocals, bass) and Carmen Espejo (vocals, drums) to come back to life with their sophomore full-length opus entitled The Omen, where their 70’s rock influences are sprinkled with a subtle Spanish folk and western vibe while keeping the heaviness intact. In The Omen, Kabbalah cultivate their distinctive cross of influences moving between heavy riffs, harmonized vocals and killer songwriting, with its cover art, referencing the Kutná Hora ossuary located in the Czech Republic, welcoming listeners to the ill-fated cosmos portrayed in the album.
Those Spanish rockers begin their feast of Doom Metal and Heavy Rock with Stigmatized, heavily inspired by the sound of the Dio-era Black Sabbath, with Marga shaking the foundations of the earth with her sick bass while the song’s mesmerizing vocals are beautifully spiced up by the damned beats by Carmen. And Alba brings forward the power of the riff in Ceibas, being in absolute sync with Marga’s dirty bass jabs in a lecture in Occult Rock with tons of elements from 70’s Psychedelic Rock and 80’s Hard Rock; followed by Night Comes Near, offering us all more of their delicate but piercing sounds with Carmen kicking some serious as with her rhythmic beats, dictating the rhythm and offering Alba and Marga all they need to shine with their axes. Then ritualistic words are stunningly declaimed by the trio (“Seven witches, around the fire, singing and preaching, on a night of thunder. / In the ceremony pyre, where lies the undying, the soul rises, and leaves the body.”) in The Ritual, while the music remains obscure, dense and captivating from start to finish, with the awesome Black Sabbath-like beats by Carmen being the icing on the cake.
Dark clouds are above us all in the Stygian Occult Rock extravaganza titled Lamentations, led by the minimalist but sharp riffage by Alba while Carmen fires some tribalistic beats nonstop, not to mention the fantastic job done by all three girls with their hypnotizing, witch-like vocalizations. Sounding like a song extracted form a Quentin Tarantino movie, Labyrinth is spiced up by the sensational low-tuned bass jabs by Marga, being therefore once again tailored for all admirers of the obscure and eerie sounds blasted by bands like Candlemass, Witchfinder and Pentagram; whereas despite its 70’s-inspired lyrics (“Here I am, I’ve landed in a desert, a place to be, nothing as beautiful as this is. / Orange shades, that looked so familiar, from the first time, I saw the sand.”), Duna is not as powerful as the rest of the album, sounding too polished and light at times. And last but not least, back to a more menacing and somber sonority, the trio offers our avid ears the thunderous Liturgy, where Alba is on fire with her raw riffs accompanied by the sluggish drums by Carmen, all boosted as usual by their enthralling vocal lines.
It’s time to succumb to the dark and delicious rock music crafted by those Spanish witches in The Omen, and in order to do so simply go to Spotify to stream the album in full, and of course if Occult Rock is your cup of tea you can purchase such detailed and enfolding album from several locations including the band’s own BandCamp page, Ripple Music’s BandCamp page, webstore or Big Cartel, the Rebel Waves Records’ BandCamp page, the Stoner Witch Records’ webstore or Amazon. Not only that, don’t forget to follow Kabbalah on Facebook, Instagram and YouTube, for news, tour dates and more of their occult creations, allowing this extremely talented coven hailing from Spain to drag you into their doomed lair for all eternity.
Best moments of the album: Ceibas, The Ritual and Labyrinth.
Worst moments of the album:Duna.
Released in 2021 Ripple Music/Rebel Waves Records/Stoner Witch Records
Track listing 1. Stigmatized 3:56
2. Ceibas 3:16
3. Night Comes Near 3:51
4. The Ritual 3:19
5. Lamentations 3:24
6. Labyrinth 3:47
7. Duna 3:19
8. Liturgy 4:14
Band members Alba DDU – vocals, guitar
Marga Malaria – vocals, bass
Carmen Espejo – vocals, drums
A newborn French entity brings out their dead in their debut EP of pulverizing Industrial Metal and Blackened Crust.
Labeling their own music as “Blackened Crust Industrial As Fuck”, Cherbourg-en-Cotentin, France-based Industrial/Blackened Crust outfit Salò is unleashing upon humanity their debut EP entitled Sortez vos Morts, or “bring out your dead” in English, which as the band itself says, “tells you, without telling you everything either, poor little ones, how it generally goes – after all the lights at the end of the tunnel have closed.” Recorded and mixed by Manu Laffeach at Studio Chaudelande, mastered by Cyrille Gachet at Dick Doom Studio, and featuring an apocalyptic artwork by CLLK Artwork and logo by Dehn Sora, Sortez vos Morts is highly recommended for fans of the darkest and most desperate form of Industrial Metal you can think of, showcasing all the rage and versatility of this up-and-coming quartet formed by HCT on vocals and bass, AVS on the guitars, DLE onkeyboards and samples, and NGH on drums.
There’s nothing better than kicking of an Industrial Metal album than with a wicked, cinematic intro the likes of La Morale C’est Ça… (or “the moral is that…” in English), setting the stage for the band to crush in the visceral Sans Gêne Ni Haine, or “without embarrassment or hatred”, sounding sick and demented from the very first second with AVS and NGH making an infernal duo with their respective riffs and beats, while HCT barks and roars like a rabid beast. Then the phantasmagorical keys by DLE add an extra touch of dementia to the furious fusion of Industrial Metal and Blackened Crust by Salò in Sans Toit Ni Loi (“no roof or law”), with AVS firing his Thrash Metal-inspired riffage, followed by Tant D’interdits (“so many prohibitions”), where another eerie, alternative intro morphs into a neck-breaking sonority showcasing the rhythmic drums by NGH spiced up by the sick keys and samples by DLE, not to mention how HCT effectively takes the lead with his deranged screams. Their second to last blast of industrialized sounds, titled Sonnez La Curée (“ring the quarry”), is an insane and demonic creation by the French quartet where its thrashing, Punk Rock-infused riffs, together with its rebellious attitude and Hardcore growling by HCT, turn it into the most detailed and thrilling of all songs; whereas the ruthless and hellish Contagion closes the album in the most aggressive way possible, bringing to our ears venomous screams and riffs, menacing keys and Doom Metal-inspired beats.
Sortez vos Morts is available for a full stream on YouTube, but of course if you want to truly show your support for those French metallers you should start following them on Facebook and on Instagram, and even more important than that, purchase the EP from their BandCamp page, from the Cold Dark Matter Records’ BandCamp page or Big Cartel, from the Coups de Couteau’s BandCamp page, and soon also from the Duality Records’ Big Cartel. We must all admit Sortez vos Morts is indeed an amazing start for Salò, therefore already positioning them as a driving force of the genre in their homeland, and if that’s the music we’ll all hear “after all the lights at the end of the tunnel have closed”, then we can rest assured that the other side is at least heavy, furious and frantic, just the way we like it.
Best moments of the album: Sans Gêne Ni Haine and Sonnez La Curée.
Worst moments of the album: None.
Released in 2021 Cold Dark Matter Records/Coups de Couteau/Duality Records
Track listing 1. La Morale C’est Ça… 1:04
2. Sans Gêne Ni Haine 6:53
3. Sans Toit Ni Loi 4:28
4. Tant D’interdits 4:02
5. Sonnez La Curée 6:29
6. Contagion 3:53
Band members
HCT – vocals, bass
AVS – guitars
DLE – keyboards, samples
NGH – drums
This ruthless Finnish unity is on fire in their debut full-length opus, offering us all an aggressive, sharp and viciously groovy form of Death Metal that begs for repeat listens.
Hailing from Pohjois-Pohjanmaa, a region of Finland that borders Lapland, Kainuu, North Savo, Central Finland and Central Ostrobothnia, as well as the Russian Republic of Karelia, the unrelenting Death Metal unity known as Revulsion has been carving their name in the local and international scene with their aggressive, sharp and viciously groovy form of Death Metal that begs for repeat listens. Now in 2021, this furious five-piece act comprised of Aleksi Huhta on vocals, Jari Toppinen and Jarkko Viitasalo on the guitars, Tuomas Alatalo on bass and Atte Karppinen on drums returns in full force with their self-titled debut full-length opus, following on the very positive feedback received for their 2010 demo Undressing External Humanity and their 2011 EP Defiled, being highly recommended for fans of bands the likes of Dying Fetus, Depravity, Suffocation and Morbid Angel, among several others. Featuring a straightforward artwork by Polish illustrator Kuba Sokólski, the album brings forward Death Metal that is contemporary and practical, taking the best elements from all over and delivering it flawlessly without pulling any punches, helping the band pave their destructive path that started in the already distant year of 2005.
Revulsion kick off the album with Last Echoes of Life, a pulverizing, demonic extravaganza serving as the welcome card by the quintet where Aleksi is a true beast on vocals, and you can already sense a lot of Groove Metal influences in their sick Death Metal as mentioned, whereas the razor-edged riffs by Jari and Jarkko, together with the classic beats by Atte, generate a thunderous atmosphere in the menacing tune Pyre, displaying an amazing job done by all band members (in special Tuomas with his Alex Webster-inspired bass jabs). Then it’s time to slam into the circle pit like a demented metalmaniac to the sound of Walls, where Aleksi continues to bark and growl manically while his bandmates don’t let the energy level go down not even for a single second in this hammering Death Metal chant. After such infernal tune we’re treated to Mustaa Hiiltä, or “black carbon” from Finnish, and as the name already indicates it’s by far the darkest and most devilish of all songs form the album, blending the heaviness of Death Metal with the obscurity of Doom Metal, and once again presenting Tuomas’ rumbling bass to make things even more infernal; while Lihaan Sidottu Kirja (“a book bound by flesh”) brings forward another round of their deranged music, presenting Jari and Jarkko’s trademark riffage and the brutality flowing from the kitchen crafted by Tuomas and Atte. Put differently, this is Death Metal at its finest.
Revulsion Wooden Coffin Box
Blasting their sonic weapons without showing a single drop of mercy, those Finnish metallers will decimate your ears in Wastelands, again bringing forward a perfect sync between Aleksi’s hellish growling and the vicious drumming by Atte, and more of their classic Death Metal comes in the form of Unravel, offering the listener blazing riffs and smashing drums while Aleksi continues to vociferate the song’s words with tons of anger, albeit not as dynamic nor as creative as its predecessors. Back to a more ferocious sonority, it’s time for Atte to take the lead with his wicked beats and fills in Silence, while the band’s evil guitar duo continues to slash our ears with their dirty, intricate and venomous riffs; followed by Pawns, a high-octane, straight-to-the-point Death Metal explosion crafted by Revulsion that will please all fans of old school savagery, with Atte displaying all his heavy artillery throughout the song’s two intense minutes. Finally, there’s nothing better than closing the album with six minutes of sheer darkness and malevolence like what they offer us in Viimeinen Rituaali (“the last ritual”), the perfect tune for banging your head like a deranged maniac, with the Stygian riffs by Jari and Jarkko being a work-of-art.
You can find more information about Revulsion, their music, tour dates and plans for the future on Facebook and on Instagram, and of course in order to show those Finnish death metallers all your support and admiration you can purchase their bestial self-titled album from their own BandCamp page or from the Transcending Obscurity Records’ webstore by clicking HERE or HERE, but if I were you I would definitely go for the jaw-dropping Revulsion Wooden Coffin Box with laser engraving of the band logo, containing the wooden box and an 8-panel digipak CD with metallic effect and UV lamination, plus an autographed card, a metallic logo patch, a badge, a beer coaster, a bottle opener with keychain and a metallic sticker. What else can you ask for, right? This is top-notch Death Metal made in Finland that’s definitely going to stand out in your collection, showing everyone in your family and all your friends that you’re indeed a revulsive headbanging bastard.
Best moments of the album: Pyre, Mustaa Hiiltä and Lihaan Sidottu Kirja.
Worst moments of the album:Unravel.
Released in 2021 Transcending Obscurity Records
Track listing 1. Last Echoes of Life 3:06
2. Pyre 3:23
3. Walls 3:13
4. Mustaa Hiiltä 5:21
5. Lihaan Sidottu Kirja 3:49
6. Wastelands 2:42
7. Unravel 3:53
8. Silence 3:21
9. Pawns 2:09
10. Viimeinen Rituaali 5:59
Band members Aleksi Huhta – vocals
Jari Toppinen – guitar
Jarkko Viitasalo – guitar
Tuomas Alatalo – bass
Atte Karppinen – drums
Forged in the already distant year of 1993 (first as Shamaani Duo and later as Shaman), Finnish Folk Metal institution Korpiklaani is more than ready to put us all to dance around the firepit once again with their fusion of folk elements and heavy sounds found in their eleventh studio album, titled Jylhä, and let me tell you there couldn’t be a better name to describe such awesome record. Jylhä is the Finnish word for “majestic”, which is exactly what frontman Jonne Järvelä, guitarist Kalle “Cane” Savijärvi, bassist Jarkko Aaltonen, violinist Tuomas Rounakari, accordionist Sami Perttula and drummer Samuli Mikkonen have to offer throughout the album’s 13 original compositions in the impressive span of one hour of music, all embraced by the beautiful artwork by Finnish designer Jan “Örkki” Yrlund (Darkgrove Design), resulting in one of the most sonically diverse records they’ve ever written and, therefore, proving why they’re considered one of the most important names of the genre alongside giants the likes of Finntroll, Eluveitie, Ensiferum and Turisas.
In a nutshell, we can rest assured that as long as the Finnish clan of the wilderness is among us, our good old Folk Metal will remain alive and kicking, with albums like Jylhä beautifully showing how majestic and fun Scandinavian Metal (as well as all other styles from the north) can be. Hence, don’t forget to give the guys from Korpiklaani a shout on Facebook and on Instagram, to subscribe to their YouTube channel and to search for them on Spotify for more of their first-class music, and of course to buy your copy of Jylhä by clicking HERE or HERE. Every single time Korpiklaani release a new album, you know it’s time to stretch our legs and arms, grab some cold beer, start the fire and get ready to spend hours and hours dancing around the firepit, celebrating the Scandinavian culture and, above all, our deep passion for heavy music together with those unstoppable Finnish metallers.
THE HEADBANGING MOOSE 