Album Review – White Walls / Grandeur (2020)

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Hailing from the Romanian shores of the Black Sea, four talented musicians return with their third full-length album of dynamic, splendorous and grandiose Progressive Metal.

Hailing from the Romanian shores of the Black Sea, more specifically from the city of Constanța, where the band was formed back in 2009, Progressive/Alternative Metal outfit White Walls has been associated with diverse groups such as Leprous, The Ocean, Opeth, Tool and Karnivool, often intertwining elements of darkness and light with relentless riffs, melancholic chords and a balanced mix between restlessness and restraint, resulting in what the band itself likes to call “Dynamic Progressive Metal”. Now in 2020, vocalist Eugen Brudaru, guitarist Alexandru-Eduard Dascălu, bassist Șerban-Ionuț Georgescu and drummer Theo Scrioșteanu return with an exciting full-length album entitled Grandeur, the third in their undisputed career. Mixed and mastered by Forrester Savell, and featuring a classy artwork by Romanian artist Radu Damian, Grandeur opens a whole new spectrum of musical pathways and offers a more mature sound seven years after the release of their previous effort Escape Artist. Inspired by the state of the world, the title is not only a beautiful word, but also reveals some of the underlying themes in the songs.

Serene guitars and a feeling of peace and hope will penetrate your mind in the intro False Beliefs, revving up the band’s engine for the groovy and violent Eye For An I, offering our ears a frantic, headbanging fusion of classic Progressive Metal the likes of Mastodon and Gojira with modernized Groove Metal nuances, with Eugen being on fire with both his clean vocals and his enraged roars. Then it’s time for another sonic voyage titled Home Is On The Other Side, where Alexandru cuts our skin deep with his riffage while Serban makes the earth tremble with his bass, not to mention it’s atmospheric intermission, sounding very intricate, detailed and vibrant until the very last second; and there’s not a single second to waste as the quartet fires the thrilling Holy Worse, with Eugen growling rabidly while Theo dictates the pace with his rhythmic beats, sounding as if they were a more alternative version of Dream Theater. After that, strident guitars blended with the reverberating bass by Serban ignite the also electrifying Velvet, full of breaks and variations and, therefore, perfectly representing what White Walls are all about, and I must say it will undoubtedly please all fans of the genre; and there’s more of Serban’s thunderous bass jabs in Speaking in Tongues, a very dynamic and straight-to-the-point composition where the band needs less than three minutes to showcase all their dexterity and passion for progressive sounds.

In Starfish Crown we face lyrics that are obviously there to make you think (“Retrieve the heart that whispers in your ear / My crescent lights flow / Would you help me? / Repetition is key / Resolution? We’ll see… / No direction for me / Just a silly dream”), while Serban and Theo make a fantastic duo as the band’s groovy kitchen, whereas Locked-in Syndrome is a little more inclined to Progressive Rock than the other songs, with Eugen doing a great job once again by displaying all his vocal range while Alexandru extracts minimalist but at the same time piercing sounds form his guitar. Then it’s time to enhance their heaviness and groove in the neck-breaking Month’s End, a fantastic tune with Theo smashing his drums with tons of precision and rage, resulting in one of my favorite songs of the album, exhaling an infinite amount of progressiveness and feeling. And you better prepare your senses for over six minutes of hammering Progressive Metal sounds in The Descent, where all band members demonstrate their close relationship with their instruments. In addition, Alexandru’s guitar solos are absolutely stunning, adding an extra touch of finesse to the overall result. Lastly, let’s have a blast with Serban and Theo with their respective bass jabs and beats in The Slaughter (Marche Funèbre), sounding like two or three songs in one thanks to the amazing job done by the quartet throughout the song’s eight minutes of sheer complexity and creativity, before the music smoothly fades into eternity.

It’s indeed a very pleasant and unique experience to explore each and every track found in Grandeur in detail, and you can do so by streaming the album in full on YouTube and on Spotify, but of course if you want to properly support White Walls and inspire them to keep moving forward you can purchase a copy of the album from your favorite retailer by clicking HERE, as well as by following them on Facebook and on Instagram, and by subscribing to their YouTube channel. The actual meaning of the word “grandeur”, which is splendor and impressiveness, especially of appearance or style, perfectly suits the music by White Walls, who not only represent Romanian rock and metal anywhere they go, but they also show everyone that, despite its complexity, Progressive Metal can be just as breathtaking as any other music style.

Best moments of the album: Eye For An I, Velvet and Month’s End.

Worst moments of the album: Locked-in Syndrome.

Released in 2020 Tentasol Records

Track listing
1. False Beliefs 1:38
2. Eye For An I 4:45
3. Home Is On The Other Side 5:04
4. Holy Worse 4:50
5. Velvet 4:56
6. Speaking in Tongues 2:41
7. Starfish Crown 5:32
8. Locked-in Syndrome 4:28
9. Month’s End 4:19
10. The Descent 6:47
11. The Slaughter (Marche Funèbre) 8:57

Band members
Eugen Brudaru – vocals
Alexandru-Eduard Dascălu – guitar
Șerban-Ionuț Georgescu – bass
Theo Scrioșteanu – drums

Guest musician
Cosmin Farcaș – additional keys and effects

Album Review – Invernoir / The Void and the Unbearable Loss (2020)

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Succumb to the fusion of the Doom, Death and Gothic Metal sounds found in the first full-length opus by an Italian act that perfectly represents the coldness of anguish and pain.

Born from the desire to revive the fusion of Doom, Death and Gothic Metal sounds of the 90’s taking inspiration from the best albums of bands like My Dying Bride, Anathema, Katatonia and Paradise Lost, Rome, Italy-based project Invernoir is cold and decadence, the anguish due to the awareness of not having a goal, the lack of answers, apathy and pain. Comprised of Alessandro Sforza (Ars Onirica) on harsh vocals, guitars, drum programming and cymbals, Lorenzo Carlini (Black Therapy) on clean vocals and guitars, and Valerio Lippera (Lykaion) on bass, Invernoir have been making a name for themselves since their inception in 2016, having already played alongside amazing bands such as Candlemass, Ahab, Skepticism, Shores of Null, Naga and Weeping Silence, and now two years after their debut four-track EP Mourn this dark and talented Italian triumvirate (now a quartet with the recent addition of drummer Flavio Castagnoli to their lineup, by the way) returns with the bold and atmospheric The Void and the Unbearable Loss, not only their first ever full-length effort, but an album that will surely carve the word “doom” in the blackened hearts of fans of the genre from all over the world.

It’s a grey, rainy and bleak day, the perfect ambience for Invernoir to captivate our senses with the title-track The Void and The Unbearable Loss, slowly growing in intensity until their sluggish beats and piercing guitars permeate the air for our total delight, followed by The Path, sounding less doomed and a lot more inclined to Gothic Metal than its predecessor. Furthermore, Alessandro and Lorenzo are once again precise with their riffs while alternating between their anguished roars and gloomy clean vocals, while Valerio blasts his bass with tons of groove. Then get ready for a somber and heavy-as-hell hybrid of traditional Doom Metal with Blackened Doom and Gothic Metal entitled House of Debris, perfect for breaking your neck headbanging in solitude while Alessandro screams like a demonic entity. And more melancholy in the form of first-class Doom Metal is offered by Invernoir in Suspended Alive, showcasing truly deep and obscure lyrics (“The purest form of pain / I saw it before it was born / The purest form of pain / A frame / Of what it was / And yet not”), smashing drums and endless agony flowing from their riffs.

Investing in a much more atmospheric and melodious sound, with Lorenzo taking the lead with his passionate clean vocals, Cast Away is another dense and introspective fusion of Melodic Doom Metal and Gothic Rock by this talented Italian trio, and they continue their downward spiral into madness and obscurity with the hammering Doom Metal feast titled The Burden, displaying a great job done by all three band members with their stringed weapons, therefore offering both Alessandro and Lorenzo all they need to sing and gnarl in anger. After such dense sonority, a strident riff kicks off the brutal, slow-paced At Night, presenting the band’s most damned side and reminding me of some of the creations by the iconic Paradise Lost and My Dying Bride in what’s probably their rawest and most visceral of all songs, before they come ripping with one more of their Stygian voyages through the realms of gothic and doom in The Loneliest, where Lorenzo is spot-on with his clean vocals by generating an amazing paradox with the harsh growls by Alessandro, always supported by the minimalist, thunderous bass by Valerio. Put differently, they couldn’t have ended the album in a more beautiful way.

This fantastic and somber gem of Italian gothic and doom can be fully appreciated on YouTube and on Spotify, and if you’re curious to know more about the guys from Invernoir, their music and their plans for the future you can start following them on Facebook and on Instagram, and of course purchase The Void and the Unbearable Loss from their own BandCamp page, from Funere’s BandCamp page or from the BadMoodMan Music’s BandCamp page, as well as from Apple Music, Amazon and Discogs. As aforementioned, the new album by Invernoir is highly recommended for lovers of the melancholy blasted by the titans of the genre like My Dying Bride and Katatonia, proving once again why Italy has become (and will always be) a reference in underground doom.

Best moments of the album: Suspended Alive and Cast Away.

Worst moments of the album: None.

Released in 2020 Funere/BadMoodMan Music

Track listing
1. The Void and The Unbearable Loss 7:03
2. The Path 7:02
3. House of Debris 5:57
4. Suspended Alive 5:37
5. Cast Away 7:09
6. The Burden 5:28
7. At Night 6:08
8. The Loneliest 7:00

Band members
Alessandro Sforza – harsh vocals, guitars, drum programming, cymbals
Lorenzo Carlini – clean vocals, guitars
Valerio Lippera – bass

Album Review – Kuujeojabenojujanomiashikushija / The Hunting Boar! The Hunting Tyrant! (2020)

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A solitary man on a mission seeking self-emptying and seeing the violent animal within brings to our ears his brand new experimental musical journey.

“You can kill it, but you must see it.”

If you throw  the expression “Kuujeojabenojujanomiashikushija” into Google Translator just out of curiosity like I did, you’ll see the app recognizes it as Swahili, translating it to “Come on in, take a look and enjoy yourself!” I have absolutely no idea if that was the intention of the mysterious American vocalist and multi-instrumentalist R.P. when he originally named his Experimental Death Metal project Kuujeojabenojujanomiashikushija, a solitary man on a mission seeking self-emptying and seeing the violent animal within, but just like its name, this extreme music entity offers a weird, uncanny and absolutely experimental musical journey to the listener in its second studio album, beautifully entitled The Hunting Boar! The Hunting Tyrant!, following up on all the madness found in the project’s 2014 debut EP 82121 and its 2017 full-length opus Hheoalle. In addition, as you might suspect based on the uniqueness of the project, absolutely everything in the album was done by R.P. himself, giving it an additional touch of lunacy and rawness and, therefore, sounding very organic from start to finish.

A mix of Industrial and Avantgarde Metal kicks off the album in the wicked intro Ripped Apart Under Glimmering Constellations, before R.P. slashes his raw, dirty guitar and crushes his drums like a maniac in the excellent Christ’s Descent Into Hell, and let me tell you that the song’s lyrics couldn’t have been more insane than what they already are (“Words accursed: mutational and eclipsed / Iron disc, zwarte zon / Coma of the soul from death to death / I wring the neck! It’s finished. / Poison diplomacy”). You better leave your mind and ears wide open as rumbling bass punches, cryptic vociferations and a sense of hopelessness and despair permeate the air in Vision Of Spinning Golgotha, uniting the sickness of Industrial Death Metal with the finesse of Progressive Metal, whereas R.P.’s demented riffs and beats are the main ingredients in Predator Reconfigured As Prey, another disruptive, dissident metal extravaganza that will make your head tremble throughout its less than three minutes of intense obscurity. And extracting sheer rage and insanity from his razor-edged guitar, R.P. offers our ears more of his Experimental Death Metal in Lycanthrope Before God, resulting in a headbanging tune tailored for admirers of the genre.

Then eerie noises ignite three minutes of industrialized sounds and tones in the instrumental (and lengthy) aria titled Entry, setting the stage for R.P. to roar venomous words (“If they can see me, I will kill them”) nonstop in They Can See Me, while the music remains as paradoxal to anything that can be called mainstream as possible, making an instant bridge with the also eccentric Murderer Swings The Censer, one of the most progressive of all songs, taking his innovative Death Metal to a whole new level of heaviness and fury and ending in a truly sick manner before R.P. comes ripping once again with his austere riffs and low-tuned bass in Scent Trail Under Arched Sconces. Blending the most visceral elements from Death, Groove and Industrial Metal with tons of feeling and darkness, this is one of the best songs of the album hands down. Lastly, are you ready for another round of sick guitars, pounding drums and wicked background noises? That’s what you’ll get in Do You See Over That Mountain?, sounding like an industrialized and instrumental version of the progressive madness blasted by Mastodon, and morphing into the idiosyncratic Epektasis, starting in an atmospheric and ethereal way before becoming a Progressive Rock and Metal exhibit by R.P. until all fades into the void.

I guess after all is said and done, the aforementioned translation to the project’s name, “Come on in, take a look and enjoy yourself!”, makes total sense, as if R.P. is indeed inviting us all to enter his wicked realm of experimentations and violence, take a very good look (or maybe I should say listen) around, and have a good time to the sound of each one of his multi-layered creations. Hence, in order to do that and show him your support and admiration for the underground, you can start following R.P. and his Kuujeojabenojujanomiashikushija on Facebook and purchase a copy of The Hunting Boar! The Hunting Tyrant! From the project’s own BandCamp page. As R.P. himself likes to cryptically say, “you can kill it, but you must see it”, or in the case of his newborn opus, you can kill “it”, but of course you must listen to his entertaining new album first.

Best moments of the album: Christ’s Descent Into Hell, Predator Reconfigured As Prey and Scent Trail Under Arched Sconces.

Worst moments of the album: Entry.

Released in 2020 Independent

Track listing
1. Ripped Apart Under Glimmering Constellations 1:09
2. Christ’s Descent Into Hell 3:20
3. Vision Of Spinning Golgotha 1:55
4. Predator Reconfigured As Prey 2:45
5. Lycanthrope Before God 2:14
6. Entry 3:00
7. They Can See Me 1:30
8. Murderer Swings The Censer 3:23
9. Scent Trail Under Arched Sconces 4:03
10. Do You See Over That Mountain? 3:13
11. Epektasis 4:33

Band members
R.P. – vocals, all instruments

Album Review – Memoira / Carnival of Creation (2020)

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Combining a symphonic atmosphere with beautiful female vocals, this Finnish Gothic Metal outfit is back after a long hiatus with their third (and amazing) full-length album.

Known for their melancholic melodies and powerful guitar riffs, while combining a symphonic atmosphere with beautiful female vocals, Pori/Jyväskylä, Finland-based Symphonic Gothic Metal act Memoira is back after a long hiatus with their third full-length album, entitled Carnival Of Creation, the follow-up to their 2008 self-titled debut album and to their 2013 release Memories, Tragedies, Masquerades. Featuring a dark and melancholic artwork by Finnish artist Niina Varheenmaa, Carnival of Creation is highly recommended for fans of the music by Kamelot, Nightwish and Delain, among others, showcasing all the passion for the darkest and most delicate side of metal by founding members Jani Puusa on the guitars and Lassi Nuolivaara on keyboards and piano, together with newcomers Annika Jalkanen (For Selena and Sin, Blood Region) on vocals, Hannu Lindholm (The Howl) on the guitars, Niko Laaksonen (Randy Reckless, Blowtorch, Rorschach) on bass and Matti Virtanen (Dark Tone Company, Concrete Words, Anomaly) on drums.

And the gentle piano notes by Lassi intertwined with the enfolding voice by Annika set the tone in the charming opening track Dawn of Time, a very pleasant fusion of Gothic Metal and modern Hard Rock to properly kick things off in Carnival of Creation, followed by the title-track Carnival of Creation, bringing forward circus-inspired keys, potent beats by Matti and a strong symphonic vibe, with the band’s guitar duo Jani and Hannu keeping the ambience as dense and electrifying as possible through their riffs. Then get ready for over six minutes of adrenaline and groove in Queen Element, where sheer poetry flows from Annika’s mesmerizing vocals (“First rays of the sun awake the sleeping land / The roots of the bitter earth shall guide her hand / She pours the wine, sweet taste of divine”) while Niko pounds his bass in great fashion accompanied by the kick-ass drums by Matti; whereas sounding like a symphonic and delicate 80’s-inspired version of the Melodic Metal played by Stratovarius, Hunter’s Moon will please all fans of Scandinavian metal, with Lassi being in absolute sync with Niko and Matti, therefore generating a bold and gripping atmosphere.

Dark Passenger is an embracing metal waltz by Memoira that will penetrate deep inside your soul, with Annika once again stealing the spotlight with her dark and gentle vocals while her bandmates provide her a beautiful wall of sounds perfect for her to shine even brighter; and clearly inspired by the trademark sonority by Nightwish, Shooting Star reminds me of one of their greatest classics “Nemo”, with Niko bringing the groove with his rumbling bass. Put differently, it couldn’t have sounded more pleasant nor more atmospheric, which is also the case in Snowglobe, another gentle composition by Memoira with Annika taking the lead once again accompanied by the melancholic and smooth piano notes by Lassi, resulting in a lecture in Gothic Rock and Metal made in Finland. Last but not least, it’s time for a thrilling fusion of Gothic and Symphonic Metal in Crimson Bride Symphony, where all band member are on absolute fire, especially Jani and Hannu with their precise riffage, while Annika invites us all to dance to Memoira’s top-of-the-line music.

In a nutshell, Carnival of Creation, which is available for a full listen on Spotify, will undoubtedly take Memoira back to the position they deserve in the world of heavy music as one of the most interesting and talented bands from the Finnish Gothic scene, and if you want to show your support to such amazing band from the land of ice and snow you should follow them on Facebook and on Instagram, subscribe to their YouTube channel, and of course grab your copy of the album from their own webstore, from the Inverse Store, from Apple Music or from Amazon. Memoira seem to be back for good, inviting us all to join them in their dark and atmospheric carnival of Symphonic Gothic Metal, with their new album pointing to a bright and thrilling future ahead of those skillful Finnish rockers.

Best moments of the album: Dawn of Time, Queen Element and Crimson Bride Symphony.

Worst moments of the album: None.

Released in 2020 Inverse Records

Track listing
1. Dawn of Time 5:52
2. Carnival of Creation 5:54
3. Queen Element 6:12
4. Hunter’s Moon 5:15
5. Dark Passenger 6:16
6. Shooting Star 5:45
7. Snowglobe 6:50
8. Crimson Bride Symphony 7:50

Band members
Annika Jalkanen – vocals
Jani Puusa – guitar
Hannu Lindholm – guitar
Lassi Nuolivaara – keyboards, piano
Niko Laaksonen – bass
Matti Virtanen – drums

Album Review – Helion Prime / Question Everything (2020)

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A stunning concept album of Power Metal with each song revolving around different figures throughout human history who had the courage to question the status quo of their respective worlds and societies.

Two years after the release of their sophomore album Terror of the Cybernetic Space Monster, the unstoppable Sacramento, California-based Sci-Fi Power Metal entity Helion Prime returns with their third effort (and the much shorter title) Question Everything, their first album with new vocalist Mary Zimmer, from bands like Luna Mortis, The Ottoman Empire, Earthen and White Empress, among others, who has also accompanied the band on two separate tours of the United States. Not only that, Question Everything also sees the band’s original singer, Heather Michele, returning in a writing capacity and contributing in all lyrics and melodies, supporting guitarists Jason Ashcraft and Chad Anderson, bassist Jeremy Steinhouse and drummer Alex Bosson in their quest for science and heavy music. Mixed by Chris Collier and mastered by Brett Caldas-Lima with additional mixing, drum edits and reamping by Alex Nasla of Gear Gods Studio, and featuring a stylish cover art by American artist Marc Whisnant, Question Everything is a concept album with each song revolving around different figures throughout human history who had the courage to question the status quo of their respective worlds and societies, in some cases even dealing with harsh persecution as a result.

The exciting opening track The Final Theory kicks off in full force to the strident guitars by Jason and Chad, setting the stage for Mary and her smooth, powerful vocals and offering our avid ears some good classic Melodic Metal to start their 60-minute journey through space and science. In Madame Mercury, a beautiful song in honor of American mathematician Katherine Johnson (who sadly passed away earlier this year), whose calculations of orbital mechanics during her 35 years as a NASA employee were critical to the success of the first and subsequent US crewed spaceflights, we’re treated to strong lyrics declaimed by Mary (“Born in a time defined / By bias in our laws / Held to a standard of / Injustice with no cause / Came a mighty force of reckoning / A gale of objectivity / One with the audacity / To know where she belonged”) while the music remains solid, cohesive and epic from start to finish; followed by Prof, a headbanging tune led by the galloping bass and beats by Jeremy and Alex, with the music growing in intensity until reaching a truly epic rhythm and vibe, and with its background keys also making an interesting paradox with the slashing riffs by the band’s guitar duo.

In The Gadfly, based on the one and only Greek philosopher Socrates, a serene intro explodes into a fusion of modern-day Power Metal with Symphonic and Melodic Metal, resulting in one of the most progressive of all songs, with the solos by Chad being absolutely incendiary. Then we have the breathtaking Photo 51, based on the life and discoveries of English chemist and X-ray crystallographer Rosalind Franklin, showcasing their most Iron Maiden/Helloween-inspired vein and with Mary living up to the legacy of grandiose female vocalists the likes of Brittney Slayes and Floor Jansen, not to mention how bestial Alex is behind his drums, whereas strident guitars ignite another Heavy Metal extravaganza titled E Pur Si Muove, where its keys add an extra touch of finesse to the overall result while Jason, Chad and Jeremy blast their stringed weapons in great fashion. And featuring guest vocals by American singer John Yelland (Judicator, Dire Peril, Principium), Words of The Abbot is another fast-paced, epic creation by Helion Prime, with the amazing job done by both Jason and Chad on the guitars providing Mary all she needs to shine on vocals once again.

Based on the fictional character Dr. Cornelius from the 1968 masterpiece Planet of the Apes (and I must say how much I love this movie, having watched it for the first time when I was just a little boy with my dad), The Forbidden Zone brings forward dark and epic lyrics (“What lies beyond / Those barren mountains / Hiding on that shore / I refrain”) with the music remaining absolutely loyal to the band’s foundations, offering us all their purest display of Symphonic Power Metal; followed by the title-track Question Everything, featuring the band’s former vocalists Heather Michele (Graveshadow) and Sozos Michael (Planeswalker), something I believe only Helloween had done before in the song “Pumpkins United”, with Michael Kiske, Andi Deris and Kai Hansen sharing the vocal duties. And let me tell you that the Helion Prime vocal triumvirate kicks some serious ass throughout the entire song, while Jason, Chad, Jeremy and Alex breathe fire, adrenaline and speed through their respective instruments. Then despite it’s 80’s inspired rhythm and vocal lines, as well as the soulful solos by Chad, Reawakening never really takes off, falling flat after a while, but fortunately for all of us the band closes the album with their cover version for Kong at the Gates/Forbidden Zone, from their 1999 album Famous Monsters by the Misfits (check out the original version HERE), with Helion Prime’s version sounding amazing (and very melodic) while presenting the band’s own twist, speahrheaded by the rebellious vocals by Mary.

“This album has truly been amazing to work on. The idea behind it is something I’ve been holding on to since around the time I started the band. Aside from writing some of what I consider to be Prime’s best work it was a great experience getting to work with Heather again on an album as she once again contributed her talents for the lyrics,” said Jason about the band’s newborn opus, and we must all admit it’s indeed their most complex and detailed about since their inception back in 2014. Well, when a Sci-Fi Metal band is named after an alien planet featured in the film The Chronicles of Riddick, you know their music will have a lot of content to support all their noise, right? It’s like if we could call their style “Nerd Metal” in the best way possible, and if you want to experiment their nerdy and thrilling music you can stream Question Everything in full on Spotify. In addition, don’t forget to also follow the band on Facebook and on Instagram, and above all, to purchase your copy of their new album from their own webstore, from Apple Music or from Amazon. Those Helion Prime chose to write about in Question Everything faced prejudice, mockery and persecution, yet through it all they held true to their beliefs and ideas, serving as an inspiration for all minds to continue thinking outside the box and staying true to themselves, and of course for Helion Prime to unleash upon us one of the best Symphonic Power Metal albums of the year.

Best moments of the album: Photo 51, Words of The Abbot and Question Everything.

Worst moments of the album: Reawakening.

Released in 2020 Saibot Reigns

Track listing
1. The Final Theory 4:20
2. Madame Mercury 4:19
3. Prof 3:55
4. The Gadfly 6:35
5. Photo 51 5:13
6. E Pur Si Muove 5:48
7. Words of The Abbot 4:55
8. The Forbidden Zone 4:32
9. Question Everything 5:56
10. Reawakening 6:54
11. Kong at the Gates/Forbidden Zone (Misfits cover) 3:39

Band members
Mary Zimmer – vocals
Jason Ashcraft – rhythm guitars
Chad Anderson – lead guitars
Jeremy Steinhouse – bass
Alex Bosson – drums

Guest musicians
John Yelland – vocals on “Words of The Abbot”
Heather Michele – vocals on “Question Everything”
Sozos Michael – vocals on “Question Everything”

Album Review – MuN / Presomnia (2020)

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These four talented musicians from Poland continue to explore the space somewhere between Stoner, Doom and Post-Metal in their exciting new album.

Founded in Wrocław, Poland in 2015, the interesting Stoner/Post-Metal entity MuN continues to explore the space somewhere between Stoner, Doom and Post-Metal, with clearly audible influences from Progressive Metal and Ambient, in their newborn opus Presomnia, the follow-up to their debut album Opia, released in 2016, and to their sophomore effort Axis Mundi, released in 2018. Recorded at Jupiter Ranch Studio, mixed and mastered at Mustache Ministry Studio, and featuring a classy and beautiful album cover designed by the band’s own vocalist Ozimir Gaslonsky, Presomnia is also the group’s second work since expanding the lineup from an instrumental trio to a quartet with a vocalist, with Ozimir once again lending his unique vocal lines to the bold music carefully crafted by guitarist Paweł Jankowski, bassist Pedro and drummer Gniewko Świątek.

An atmospheric and enfolding intro warms up our senses for the visceral Scowl, starting with the tribal and rhythmic drums by Gniewko accompanied by minimalist guitar lines before Ozimir comes crushing with his deep, enraged screams in a Post-Metal extravaganza highly recommended for admirers of the genre; and the wicked bass by Pedro kicks off six minutes of madness and introspection curiously entitled Arthur, being gradually joined by his bandmates and with Ozimir’s delivering cryptic, anguished vocals while Paweł continues to gently shred his guitar. Their insanity in the form of Stoner Rock and Post-Metal hammers our heads once again in Topple, with Pedro and Gniewko bringing sheer groove and intricacy to the music with their respective weapons, being  very entertaining from start to finish and exhibiting all of the band’s versatility and innovation, never sounding the same and never being tiresome or flat at all.

Then we’re treated to two minutes of rumbling bass punches, pounding drums and Stygian vociferations by Ozimir in the eerie interlude Deceit, before the quartet begins another dark and bold sonic attack titled Verity, uniting the most electrifying and enthralling elements from Post-Metal with Stoner and Doom Metal for our total delight. Furthermore, Paweł takes the lead with his infernal but at the same time very melodic riffs, while Gniewko is responsible for taking the song’s heaviness through the roof with his demented beats. Last but not least, closing the album MuN bring forward a 13-minute multi-layered, modern and grim musical journey named Decree, where Paweł and Pedro are in absolute sync while Gniewko dictates the pace with his progressive, intricate drums, all spiced up by the obscure, clean vocals and the infernal roars by Ozimir. Put differently, simply close your eyes and get lost in their sea of eccentricity and experimentations until the song’s very last second.

I’m sure you’re more than just curious to take a listen at Presomnia to better understand what the band means by “the space somewhere between Stoner, Doom and Post-Metal”, and you can easily do that by streaming the album in its entirety on YouTube and on Spotify. After getting addicted to their weird creations, you should obviously purchase the album from the band’s own BandCamp page, from Apple Music or from Discogs (or click HERE for all locations where you can buy or stream Presomnia) in order to show those Polish guys your utmost support, as well as by following them on Facebook and on Instagram. In the end, although the addition of Ozimir to the band was already crucial for the success achieved with Axis Mundi, it’s now with Presomnia that MuN sound more cohesive, tighter and more focused than ever, elevating them as one of the most entertaining names of the entire Post-Metal scene.

Best moments of the album: Scowl and Verity.

Worst moments of the album: None.

Released in 2020 Piranha Music

Track listing
1. Intro 2:17
2. Scowl 7:20
3. Arthur 6:00
4. Topple 4:48
5. Deceit 2:02
6. Verity 8:21
7. Decree 13:03

Band members
Ozimir Gaslonsky – vocals
Paweł Jankowski – guitar
Pedro – bass
Gniewko Świątek – drums

Album Review – Lord Almighty / Wither (2020)

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Transcending genre norms, the new opus by this amazing Progressive Black Metal band from Boston showcases an epic world that will surely be loved by all types of metalheads.

Formed in the grimy artist spaces of Rugg Road in Boston, Massachusetts, in the United States in 2013 by vocalist and guitarist Keenan Carroll and guitarist Samuel “Goose” Willgoose, later enlisting bassist Phill Gelinas and drummer Christopher Narainen to complete the line up and hit the road, the unrelenting Progressive Black Metal unity Lord Almighty continues to play a crushing mix of Black Metal blasts and Rock N’ Roll melodics in their newborn opus entitled Wither, the follow-up to their 2015 full-length album Paths. Recorded by Goose himself at Murder Box Studios, mixed by Phillip Cope at Jam Room, mastered by Brad Boatright at Audiosiege, and featuring a Stygian cover Art by Adam O’Day, Wither transcends genre norms, showcasing an epic world that will surely be loved by all types of metalheads. “Wither is an album that really was written over a few years. There were plenty of experiences along the way that continued our descent into madness. It was a hazy time looking through smoke and double vision. Conceptually we had a lot of different emotions and life experiences that culminated to what you hear. If you listen hard enough, you might even hear the crackle of the fire in our building where we lived or the cops pounding on the doors. Or maybe even the dreams in which we envisioned when we found ourselves without homes,” commented the band about their new album.

Their sonic onrush of sounds begins in full force with the opening track Cry of the Earth, where Christopher already presents his heavy artillery while the guitars by both Keenan and Goose bring a thrilling fusion of Black Metal and Punk Rock to the music, building an instant connection with the also progressive, multi-layered Sundown, with their strident guitars and intricate beats providing Keenan all he needs to vociferate with tons of anger, alternating between more rhythmic moments and sheer brutality. After such exciting start to the album, the quartet invests into a classic Black Metal sonority, offering our ears Mercy, with Phill and his Marduk-inspired bass punches adding an extra touch of evil to the overall result, sounding imposing and grim from start to finish and suddenly morphing into a incendiary tune titled Rise, where the Jazz-ish guitars by Keenan and Goose grow in intensity until exploding in a bestial Progressive Black Metal feast led by the crushing beats by Christopher. Then we have V, an instrumental intermission spearheaded by Christopher’s tribalistic beats, setting the tone for the neck-breaking and utterly progressive Despite, showcasing devilish riffs and solos, low-tuned bass lines and the always hellish growls and snarls by Keenan, also bringing forward hints of classic Heavy Metal and Rock N’ Roll, therefore demonstrating all the band’s versatility and range.

Stifled is another one of their cryptic instrumental creations, this time offering our ears a somber atmosphere and background voices, keeping everything as dark and heavy as possible before they come crushing our spinal cords with the Doom Metal-infused aria titled Adrift, also adding a touch of Atmospheric Black Metal to the song’s already pulverizing sound. Moreover, all band members are on fire throughout the entire song, exhaling obscurity and hopelessness; and after some inspired jamming the quartet fires the demonic Black Metal extravaganza entitled Hour By Hour, where Keenan and Goose sound beyond infernal with their razor-edged riffs, not to mention Goose’s blazin’ guitar solo. Their second to last blast of malignancy comes in the form of the title-track Wither, bringing forward their core progressiveness with Phill’s bass jabs hammering our heads mercilessly in a vicious display of contemporary Melodic Black Metal, whereas closing the album the band brings forth the also strident and piercing Hooded Three. The song actually takes longer than expected to take off, but when it does it’s another display of brutality by Lord Almighty with the thrashing riffs by the band’s guitar duo inspiring us all to slam into the pit.

The beyond progressive and demolishing creations found in Wither can be better appreciated in full on YouTube, but of course as usual if you want to truly demonstrate your support to the guys from Lord Almighty and keep the fires of underground extreme music burning bright forever and ever, go check what the band is up to on Facebook and on Instagram, subscribe to their YouTube channel, stream more of their music on Spotify, and above all that, grab your copy of their sulfurous new album from their own BandCamp page or webstore. As already mentioned, Wither is not only a very cohesive and vibrant album of extreme music, but it also translates into Black Metal all obscure experiences from each band member in their own descend into madness, which means you should definitely use the entire album as the soundtrack to your own downward spiral into the pits of the underworld. I’m sure the band would love to be part of that unique experience in your damned life.

Best moments of the album: Sundown, Rise and Hour By Hour.

Worst moments of the album: Hooded Three.

Released in 2020 Independent

Track listing
1. Cry of the Earth 3:51
2. Sundown 4:05
3. Mercy 2:31
4. Rise 4:20
5. V 0:51
6. Despite 3:43
7. Stifled 1:34
8. Adrift 3:55
9. Hour By Hour 3:57
10. Wither 4:49
11. Hooded Three 5:11

Band members
Keenan Carroll – vocals, guitars
Samuel “Goose” Willgoose – lead guitars
Phill Gelinas – bass
Christopher Narainen – drums

Album Review – Sepultura / Quadra (2020)

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A sensational concept album based on Quadrivium embraced by a fusion of Thrash, Groove and Progressive Metal, masterfully crafted by the best Brazilian metal band of all time.

In case you’re form another dimension and haven’t listened to Quadra yet, let me tell you that the fifteenth studio effort by Brazilian Thrash/Groove Metal titans Sepultura is much more than just another metal album. With a concept based on Quadrivium, which are the four subjects or arts (namely arithmetic, geometry, music and astronomy), taught after teaching the trivium, Quadra, meaning “four ways” from Latin, is a 12-track album divided into four sections of three songs each. The first being Thrash Metal songs based on the classic Sepultura sound; the second section is inspired by the groove-percussion oriented sound the band explored in Roots; the third part has more progressive songs inspired by the track Iceberg Dances from Machine Messiah, albeit not all are instrumental tracks; and side four features slow-paced and melodic tracks similar to the song Machine Messiah. Add to that the undeniable talent by the band’s four horsemen Derrick Green on vocals, Andreas Kisser on the guitars, Paulo Jr. on bass and Eloy Casagrande on drums, and there you have the band’s most successful record since 1998’s Against.

Recorded and produced by Jens Bogren at Fascination Street Studios in Örebro, Sweden, and featuring a bold artwork by Christiano Menezes from Darkside Books revolving around the meaning of the number four, Quadra is also the Portuguese term for sports court. “We all come from different Quadras. The countries, all nations with their borders and traditions; culture, religions, laws, education and a set of rules where life takes place. Our personalities, what we believe, how we live, how we build societies and relationships, all depends on these set of rules that we grew up with. Concepts of creation, gods, death and ethics. Money, we are enslaved by this concept. Who’s poor and who’s rich, that’s how we measure people and material goods. Regardless of your Quadra you need money to survive, the prime rule to play this game called life. Hence the coin. The coin is forged with the senator skull, who represents the set of rules and laws we live by; the world map on his head delimiting the borders of all nations, imaginary lines separating people by concepts of race and the sacred,” explained Andreas about the concept behind the album art.

Tribal beats and futuristic sounds ignite the brutal and groovy Isolation, an old school Thrash Metal chant with Sepultura’s unique twist, where Derrick already tells us all this album is going to be fantastic through his enraged roars, whereas Means to an End is another ass-kicking, trademark creation by the quartet with the talented Eloy bringing tons of progressiveness and fury to the musicality, while Paulo continues to be precise and groovy as usual on bass. And there’s no sign of slowing down in Last Time, where Derrick and Eloy represent the brutality in the music while Andreas showcases his infinite talent as a shredder as well as with his fantastic solos; and adding primeval elements and beats from the band’s cultural background it’s time for one more round of savagery and groove united in the name of metal in Capital Enslavement, with Andreas slashing his strings beautifully accompanied by the unstoppable Eloy on drums. Back to a more traditional sound blending Thrash, Groove and Progressive Metal, Andreas, Paulo and Eloy generate a bold and reverberating atmosphere in Ali, sounding beyond perfect for Derrick to fire his beastly growls.

Raging Void is a mid-tempo, neck-breaking tune led by Eloy and his pounding drums where Derrick is effectively supported by all backing vocals, while Andreas keep stunning us all with his whimsical guitar. Then  a sensational acoustic intro by Andreas sets the stage for an austere and multi-layered metal feast entitled Guardians of Earth (which has one of the best and most touching official videos of the past decade), with all choirs and orchestrations making the whole song even more impactful and thrilling; followed by The Pentagram, bringing to our ears a classic Death Metal sonority infused with endless progressiveness and rage. Furthermore, Andreas is superb on the guitars as usual, while Paulo brings the groove with his minimalist but precise bass jabs, resulting in an excellent instrumental composition. After that we have Autem, uniting the past, present and perhaps the future of Sepultura by alternating between old school thrashing moments and the obscurity and hatred from Death and even Black Metal. Needless to say, Eloy and Andreas are in absolute sync throughout the entire song, and after the brief but beautiful acoustic intermission Quadra, it’s time for a darker, more introspective side of Derek in Agony of Defeat, where once again all background choirs and orchestrations bring a touch of finesse to the overall result, albeit not as majestic as the rest of the album, though. And last but not least, the delicate, sexy vocals by guest Emmily Barreto make a superb paradox with the raspy growls by Derrick in Fear, Pain, Chaos, Suffering, with the music sounding grim, melodic and vibrant form start to finish, or in other words, a great composition showcasing the band’s endless creativity and passion for heavy music.

After all is said and done, it’s more than fair to give such amazing album of heavy music four of our rating skulls, especially as the album revolves around the various meaning of the number four, right? In addition, in case you haven’t done so yet, I recommend you follow the best and most influential band of the Brazilian metal scene of all time on Facebook and on Instagram, subscribe to their official YouTube channel for more of their unique and heavy-as-hell songs and videos, and of course purchase or stream Quadra by clicking HERE. When Derrick was asked during an interview with BraveWords “Which Sepultura album are you most proud of?”, he replied, “Definitely Quadra. It’s the latest album, and we really worked so hard on it. We have so many different elements from the past that have helped us get to here – where we are at right now. So, without a doubt in my mind, this is the strongest album that we’ve done together. And I’m extremely proud of it.” I guess we must all agree with Derrick that Quadra is hands down the most detailed, diverse and electrifying album of his era fronting Sepultura, raising the flag of Brazilian metal higher and higher for the delight of all of their loyal and diehard fans.

Best moments of the album: Isolation, Capital Enslavement, Guardians of Earth and Fear and Pain, Chaos, Suffering.

Worst moments of the album: Agony of Defeat.

Released in 2020 Nuclear Blast

Track listing
1. Isolation 4:56
2. Means to an End 4:39
3. Last Time 4:27
4. Capital Enslavement 3:40
5. Ali 4:12
6. Raging Void 3:57
7. Guardians of Earth 5:11
8. The Pentagram 5:20
9. Autem 4:06
10. Quadra 0:46
11. Agony of Defeat 5:51
12. Fear, Pain, Chaos, Suffering 4:09

Alive in Brazil Digipack and Earbook bonus disc (recorded live at “Audio” in São Paulo, Brazil on June 20, 2015)
1. Choke 3:46
2. Convicted in Life 3:31
3. Sepulnation 4:41
4. Apes of God 3:22
5. Sepultura Under My Skin 3:45
6. Manipulation of Tragedy 4:19
7. The Vatican 6:34
8. Cut-Throat 2:55

Band members
Derrick Green – lead vocals
Andreas Kisser – guitars
Paulo Jr. – bass
Eloy Casagrande – drums, percussion

Guest musicians
Bruna Zenti – violin
Kadu Fernandes – percussion on “Capital Enslavement”
Renato Zanuto – keyboards, orchestrations on “Isolation”, “Means to an End”, “Capital Enslavement” and “Guardians of Earth”, choir arrangements
Francesco Ferrini – orchestrations on “Last Time” and “Fear, Pain, Chaos, Suffering”
Robertinho Rodrigues – acoustic bass
Chorus Mysticus – choir vocals
Jens Bogren – backing vocals
Paulo Cyrino – effects on “Ali”
Gunnar Misgeld – choir arrangements on “Isolation”, “Last Time”, “Guardians of Earth” and “Agony of Defeat”
Emmily Barreto – female vocals on “Fear, Pain, Chaos, Suffering”

Album Review – Hellsmoke / 2020 (2020)

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Raise your horns to the debut album of gasoline-infused Heavy Metal and Hard Rock by five Swedish rockers who are ready to kick some ass and burn some fuel in the name of good music.

Playing what the band itself likes to call “a gasoline-infused Heavy Metal and Hard Rock combination”, Helsingborg, Sweden’s own Hellsmoke were born when guitarist Christofer Dahlman (Alyson Avenue, Bai Bang) and a previous member of the band got together with their longtime friend and drummer Roger Landin (Cloudscape), starting then to iron out what the band should be all about, which is obviously heavy guitars, pounding drums and rough but refined melodies. With the additions of the skillful vocalist Rimbert Vahlström (Syron Vanes), guitarist Michael Åkesson (Alicate) and bassist Jörgen Löfberg (Darkane) to the crew, it’s time for Hellsmoke to kick some serious ass and burn a huge amount of fuel in the name of our good old Rock N’ Roll with their debut full-length album, simply titled 2020, and although the year of 2020 itself is a million light-years away from being even close to decent as you all know, the music found in Hellsmoke’s debut effort positions them as one of the most interesting and electrifying names of the new Swedish scene and of the global Hard Rock scene hands down.

Their infernal train of Rock N’ Roll is about to arrive in the opening track Devils Train, a Volbeat-meets-Black Sabbath-meets-Black Label Society extravaganza with Jörgen being thunderous on bass while Rimbert showcases all his vocal potency right from the start, whereas the blazing guitars by Christofer and Michael ignite their machine once again in the dark and melodic Black Sun Rising, a headbanging tune blending the heaviness of classic metal music with contemporary Hard Rock for our total delight. Following such strong start, there’s nothing better than drinking a cold pint of beer while banging our heads to a fun rockin’ hymn like Rest When You’re Dead, led by the pounding beats by Roger while Rimbert has another sensational performance with his raspy, flammable vocals; and it’s then time for a dark and groovy ballad titled Nowhereland, where Jörgen and Roger generate a menacing atmosphere with their metallic instruments in contrast with the piercing riffs and solos by Christofer and Michael. And there’s more of their fusion of Heavy Metal with Stoner and Southern Rock in Hellcome to the Badland, bringing to our avid ears a hammering sonority with classic beats, strident guitars and very entertaining lyrics declaimed by Rimbert.

Get ready for a frantic pub brawl to the sound of the Rock N’ Roll anthem Raise Your Fist, where all band members are on absolute fire, therefore inspiring us all to (guess what?) raise our fists in the name of rock and metal. Needless to say, Rimbert steals the show once again in this amazing tune, while the band’s unstoppable guitar duo puts the pedal to the metal in the fast and furious Hell Adrenaline, sounding as if Volbeat and Motörhead had a bastard son, exhaling heaviness, groove, electricity and endless adrenaline. The menacing bass by Jörgen kicks off the stoner-fueled, neck-breaking Common Man, where once again we face the soulful riffs and solos by Christofer and Michael intertwined with the intricate, progressive drums by Roger, and in Bad Motor Breath the band shows they’re never tired of blasting old school, badass Rock N’ Roll in what’s perhaps the most Southern Rock-inspired song of all, with Rimbert and Roger taking the lead with their respective dirty vocals and smashing beats. Finally, closing such amazing album let’s enjoy another awesome display of the band’s perfect hybrid of Heavy Metal and Rock N’ Roll entitled Nitro Woman, and I must point out  what a bestial performance by the band’s stringed trio, providing Rimbert exactly what he needs to kill with his always precise vocal lines.

Containing absolutely no shenanigans nor any artificial elements, 2020 offers fans of rock and metal a straightforward sound perfect for hitting the road or spending some time with our most beloved friends and family members, being therefore highly recommended for admirers of the hard-hitting music by bands like Motörhead, Volbeat, Motorjesus and Black Label Society, proving the guys from Hellsmoke are among us to stay with their incendiary creations. Hence, keep an eye on the band’s Facebook page and Instagram for news, tour dates and everything else surrounding them, and of course don’t forget to support the guys from Hellsmoke by purchasing 2020 from an array of locations including the Pride & Joy Music webstore, the Season of Mist webstore, the Wind Up Production webstore, the Banquet Records webstore, Amazon and so on. As aforementioned, 2020 might be the nastiest, most disturbing and most disgusting year of the past few decades, but at least that damned number will always be well-represented by the smoky and acid music played by those talented Swedish rockers in their newborn spawn.

Best moments of the album: Rest When You’re Dead, Raise Your Fist, Hell Adrenaline and Nitro Woman.

Worst moments of the album: None.

Released in 2020 Pride & Joy Music

Track listing
1. Devils Train 4:09
2. Black Sun Rising 4:50
3. Rest When You’re Dead 4:12
4. Nowhereland 4:52
5. Hellcome to the Badland 4:10
6. Raise Your Fist 3:51
7. Hell Adrenaline 2:57
8. Common Man 5:39
9. Bad Motor Breath 4:27
10. Nitro Woman 4:12

Band members
Rimbert Vahlström – vocals
Christofer Dahlman – guitars
Michael Åkesson – guitars
Jörgen Löfberg – bass
Roger Landin – drums

Album Review – Reternity / A Test Of Shadows (2020)

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Just one year after the release of their debut album, this German Melodic Heavy Metal outfit returns in full force with a worthy and stronger successor in every way.

Just one year after the release of Facing the Demon and after several successful club shows and festivals, the creative duo consisting of frontman Stefan Zörner and guitarist Carsten Sauter, together with guitarist Oskar Schmidt, bassist Didi Schenk and drummer Suat Gören, collectively known as Heilbronn, Germany-based Melodic Heavy Metal outfit Reternity, are back in full force with their sophomore album entitled A Test of Shadows, a worthy and stronger successor in every way. Produced in cooperation with Jonas Kümmerle at Analog Mixing Studio, A Test Of Shadows brings forward compact songs without unnecessary lengths, always spiced up by the melodic and expressive vocals of Stefan as well as the powerful and original riffs of Carsten, with a musical spectrum ranging from homages to the Speed and Thrash Metal scene of the blissful 80’s to heavy and danceable mid-tempo hymns and neck-breakers, resulting in a sound that should quickly grow on the heart of every friend of melodic, varied metal.

A creepy version to an excerpt from Ludwig van Beethoven’s Symphony NO. 9 in D Minor, OP. 125: IV. Finale: Presto – Allegro Assai – Rezitativo – Allegro Assai sets the stage for Sniper’s Death, where Suat begins crushing his drums in great fashion, offering Stefan all he needs to shine on vocals in a thrilling and heavy-as-hell Melodic Heavy Metal feast, also showcasing Thrash Metal-infused guitars. There’s more of their groovy and smashing riffs in This Is the End, courtesy of the band’s infernal guitar duo Carsten and Oskar supported by Didi’s rumbling bass, keeping the album at a high level of adrenaline and exhaling pure metal, and it’s interesting to see how the band has invested a lot more on the thrill and heaviness of classic Heavy Metal this time rather than the melody of their previous release as in My Crush, with Stefan doing a great job declaiming the song’s passionate lyrics. In the title-track A Test of Shadows, a very progressive and dark creation by Reternity, Carsten’s and Oskar’s riffage sounds as razor-edged as possible, with Suat dictating the pace with his intricate beats and fills. Needless to say, this should sound amazing when played live; and  starting with elements from Groove Metal and from the heavier-than-usual rock blasted by Volbeat and Godsmack they offer us all A Grave Called Home, alternating between more introspective, serene moments and obscure, pounding guitars and drums.

Time to put the pedal to the metal once again in (We Were) the Gods, with Stefan’s precise vocal lines being amazingly supported by his bandmates’ backing vocals in a hybrid of classic Heavy Metal with contemporary Melodic Metal, not to mention Suat’s old school beats, and they keep hammering our heads with their fusion of harmony and aggressiveness in Falling Shadows, where Didi once again blasts metallic sounds form his bass while the band’s guitar duo offers our ears Iron Maiden-inspired riffs. In You’ll See the Sun they tried to sound a little bit more stoner or alternative than usual; however, it didn’t work as well as expected, with even Stefan’s vocals sounding uninspired and bland, feeling disconnected from the rest of such amazing album. Fortunately, in No Deeper Hole the boys get back to a more frantic and berserk mode thanks to the smashing drums by Suat and the always incendiary riffs and solos by Carsten and Oskar, and the sheer electricity flowing from all instruments will surely generate some nice circle pits during their live concerts. Lastly, obscure piano notes kick off the somber and melancholic Stranded, created in collaboration with Jazz musician Aljoscha Crema, by far the most personal of all songs where Stefan has another superb performance on vocals, putting a gentle and introspective ending to A Test Of Shadows.

In summary, if you consider yourself a diehard fan of melodic and classic Heavy Metal, I highly recommend you take a shot at A Test Of Shadows, first by streaming the album in full on YouTube and on Spotify, and then, even more important than that, by purchasing the album from your favorite retailer, including the MDD shop, Nuclear Blast, Apple Music and Amazon. Also, don’t forget to follow Reternity on Facebook for news, tour dates and other nice-to-know details about Stefan, Carsten & Co., as I’m more than sure those German metallers will keep embellishing the airwaves with their refined and extremely pleasant creations for many years to come, just like what they have to offer us in A Test Of Shadows, an album that explains why not only the big German bands like Scorpions and Helloween have conquered the world of heavy music, but also why the underground scene in Germany is by far one of the best in the entire world.

Best moments of the album: (We Were) the Gods, Falling Shadows and No Deeper Hole.

Worst moments of the album: You’ll See the Sun.

Released in 2020 Black Sunset

Track listing
1. Symphony NO. 9 in D Minor, OP. 125: IV. Finale: Presto – Allegro Assai – Rezitativo – Allegro Assai (Intro) 0:19
2. Sniper’s Death 4:08
3. This Is the End 3:21
4. My Crush 4:12
5. A Test of Shadows 4:29
6. A Grave Called Home 5:07
7. (We Were) the Gods 4:11
8. Falling Shadows 4:06
9. You’ll See the Sun 4:29
10. No Deeper Hole 2:47
11. Stranded 5:18

Band members
Stefan Zörner – vocals
Carsten Sauter – guitars
Oskar Schmidt – guitars
Didi Schenk – bass
Suat Gören – drums

Guest musician
Aljoscha Crema – piano on “Stranded”