Album Review – Null Positiv / Independenz (2020)

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A fantastic hybrid of Melodic Death Metal with Alternative Metal and Neue Deutsche Härte brought forth by one of the best new names of the underground German scene.

Forged in the fires of Lübbenau, Germany back in 2015 by the multi-talented frontwoman Elli Berlin, the up-and-coming Alternative/Nu Metal army known as Null Positiv has been on a constant and healthy rise in the underground scene releasing an array of electrifying albums since the band’s inception, starting with their 2016 debut EP Krieger until their brand new opus titled Independenz, or “independence” in English, brought into being earlier this year. Currently comprised of the stunning Elli Berlin on vocals, Bene Gugerbauer on the guitars, Manu Altendorfer on bass and Flo Schnablo on drums, Null Positiv are definitely one of the most interesting bands hailing from Germany from the past few years, not only presenting a fantastic hybrid of Melodic Death Metal with Alternative Metal, but singing all of their songs in their mother tongue German (just like their countrymen Rammstein), giving their music an organic and powerful vibe, with their new album Independenz beautifully representing their amalgamation of styles, their passion for heavy music and, therefore, pointing to an even brighter future for Elli and the boys.

In a truly Neue Deutsche Härte-inspired mode, Null Positiv begin their industrial feast with the excellent Freiheit (“freedom”), where Manu sounds bestial with his metallic bass jabs while Elli roars and screams rabidly from start to finish, followed by Insomnia, bringing forward a thrilling fusion of Alternative and Industrial Metal that reminds me of some of the best creations by Korn, led by the whimsical riffs by Bene and the pounding drums by Flo. Moreover, the music flows smoothly until the very end, setting the tone for the title-track Independenz, where you don’t need to speak a single word in German to understand and feel deep inside your soul what Elli passionately declaims, evolving into a dark ballad showcasing rumbling bass lines, melodious riffs and an empowering atmosphere. And growling like a demonic entity Elli steals the spotlight in the Melodic Death Metal tune Armageddon, infused with modern-day Groove Metal elements while Bene and Manu make a dynamic and incendiary duo with their thunderous strings.

Once again venturing through more alternative and modernized lands, Flo dictates the rhythm with his classy beats supported by the strident guitar lines by Bene in Gib Mir Ein Zeichen (“give me a sign”), while Elli “raps” the song’s lyrics. Then it’s time to be stunned by the gorgeous performance by Elli in the delicate but somber Blutdiamant (“blood diamond”), a stylish semi-ballad where its vicious bass and drums make an amazing paradox with its piano notes and all gentle background elements, whereas Phantomschmerz (“phantom pain”) sounds even more metallic and aggressive than its predecessors, with Elli singing and growling in great fashion while Flo shows no mercy for his drums (and consequently for our necks). After such amazing display of savagery by Null Positiv, grim vocalizations, a sense of hopelessness and endless electricity will penetrate deep inside your soul in Ich Fühl Nichts Mehr (“I don’t feel anything anymore”), one of their most atmospheric tunes while keeping their core Alternative Metal vibe intact.

Let’s keep banging our heads to their groove and melody in the exciting aria titled Fall Out, perfect for jumping up and down with Null Positiv in a fusion of contemporary Melodic Death Metal and alternative music, with Bene kicking ass with his riffs, and the quartet never seems tired of smashing our heads with their heavy-as-hell but very harmonious music as we can all witness in Schwarzes Labyrinth (“black labyrinth”), a very pleasant composition where Manu and Flo bring thunder and groove to our ears with their rumbling weapons. In Deine Haut (“your skin”) we’re treated to a rising metal intro where the guitars by Bene are intertwined with Elli’s striking vocals, resulting in a solid creation by Null Positiv (albeit not as flammable as the rest of the album), followed by Kommen Und Gehen (“come and go”), their last breath of insanity in the form of music with a welcome 80’s and 90’s vibe, bringing forward a great paradox between riffs and drums while Elli continues to hypnotize us all with her piercing clean vocals and evil gnarls.

In a nutshell, if you’re a fan of the Neue Deutsche Härte crafted by Rammstein and at the same time of female-fronted metal bands the likes of Arch Enemy, The Agonist and Infected Rain, you should definitely take a shot at Independenz, which is by the way available for streaming in its entirety on Spotify, as the new installment by Null Positiv might be exactly what you’re craving in heavy and alternative music. Hence, don’t forget to give Elli and the guys a shout on Facebook and on Instagram, to subscribe to their YouTube channel for all of their breathtaking videos, and of course to purchase Independenz from the band’s own webstore, as well as from Apple Music, from Amazon or from Discogs. Null Positiv not only reached new heights with Independenz, but as the name of the album already suggests, any band in the world can be one hundred percent independent (Triplebase Records is their own label, by the way) and still be successful and deliver first-class music to the masses, proving to all critics that heavy music might not be the exact same thing as decades ago, but it’s still alive and kicking.

Best moments of the album: Freiheit, Armageddon and Phantomschmerz.

Worst moments of the album: Deine Haut.

Released in 2020 Triplebase Records

Track listing
1. Freiheit 4:09
2. Insomnia 4:05
3. Independenz 5:29
4. Armageddon 2:55
5. Gib Mir Ein Zeichen 3:37
6. Blutdiamant 3:27
7. Phantomschmerz 3:55
8. Ich Fühl Nichts Mehr 3:37
9. Fall Out 4:00
10. Schwarzes Labyrinth 4:06
11. Deine Haut 5:02
12. Kommen Und Gehen 3:37

Band members
Elli Berlin – vocals
Bene Gugerbauer – guitars
Manu Altendorfer – bass
Flo Schnablo – drums

Album Review – Eight Lives Down / Humans (2020)

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Four distinct musicians from four different countries united in the name of metal, bringing to us all a truly unique sound, unmistakably heavy and angry, yet refreshingly different and unpredictable.

Originally founded by Greek-Kiwi vocalist and lyricist Aliki Katriou in 2016 together with British guitarist James Scott (replaced by French guitarist Paul Allain in 2017), bassist Marcin Orczyk from Poland, and Brazilian drummer Rodrigo Moraes Cruz, London, UK-based Extreme Metal act Eight Lives Down has its roots in Groove and Thrash Metal, but constantly branches out stylistically incorporating influences from Progressive, Death and Black Metal, as well as various other musical genres such as Punk Rock, Blues, and traditional folk music, while vocals range from low growls and high screams to clean and even operatic phrases, creating a truly unique sound, unmistakably heavy and angry, yet refreshingly different and unpredictable. Now in 2020 the quartet is ready to invade our senses with their debut full-length opus, entitled Humans, showcasing all their versatility, dynamism, creativity and rage, all enhanced by the album’s top-notch mixing and mastering done by Dan Baune at Noise Foundry Productions, while embraced by a modern, stylish artwork by Dylan Sutton.

The blazing guitar riffs by Paul kick off the sick and groovy Opening Shots, bringing forward a fusion of Melodic Death Metal with more modern and alternative styles, with Aliki growling like a true she-demon for our total delight, followed by Misguided, where the metallic bass jabs by Marcin will hit you in the face while Aliki blasts her wicked mix of clean vocals and harsh gnarls, leaning towards contemporary Thrash and Groove Metal while Rodrigo dictates the pace with his classy beats. Then the mesmerizing vocalizations by Aliki accompanied by tribalistic sounds and tones ignite the heavy and experimental Angela, with Paul, Marcin and Rodrigo bringing sheer progressiveness to the music with their refined techniques, whereas From The Cradle is a lot more introspective, grim and atmospheric than its predecessors, starting in a semi-acoustic manner while Aliki declaims the song’s dark lyrics, sounding at the same time like a 90’s Groove and Funk Metal tune and a modern-day thrashing tune, something a wicked band like Faith No More would definitely do.

More of their rumbling sounds permeate the air in the also heavy and furious Sacrifice, a lecture in Groove Metal by Eight Lives Down where Aliki’s roars get deeper and more enraged while Rodrigo sounds pulverizing on drums, supported by Marcin’s menacing bass; and in Organize Your Mind the quartet offers us all a hybrid of the rebelliousness of Alternative Metal with the intricacy of Progressive Metal, with Paul being on absolute fire with his demented riffage, while also presenting interesting atmospheric passages and endless heaviness. After that it’s time to break our necks headbanging together with Aliki and the boys in Colder, adding hints of Heavy Rock to their already crushing sonority while Paul and Marcin have a fun duel with their strident riffs and solos and low-tuned bass punches, respectively. Lastly, you better get ready for nine minutes of introspection, groove and heaviness in the form of Why, starting in a serene way with Aliki declaiming the song’s cryptic words, evolving into a thunderous metal feast led by Rodrigo’s visceral beats, not to mention the incendiary solos by Paul as the icing on the cake.

This precious gem of Extreme and Experimental Metal can be enjoyed in its entirety on YouTube, but of course in order to show your support to Aliki and her loyal henchmen you should definitely buy a copy of Humans from their own BandCamp page, from their webstore or from Amazon, as well as follow the band on Facebook and on Instagram for news, tour dates and other nice-to-know details about such up-and-coming metal band, and subscribe to their YouTube channel for more of their idiosyncratic creations. It will certainly be more than just interesting to see what the future holds for Eight Lives Down with their upcoming releases, if they’ll keep experimenting like crazy or if they’ll set a defined shape and style for their music. Until then, while we wait for the creative mind of Aliki to provide us more insanity in the form of music, we can keep banging our heads nonstop to Humans, by far one of the best alternative albums of the year.

Best moments of the album: Opening Shots and Sacrifice.

Worst moments of the album: None.

Released in 2020 Cult Of Parthenope

Track listing
1. Opening Shots 3:50
2. Misguided 4:01
3. Angela 3:56
4. From The Cradle 7:40
5. Sacrifice 3:52
6. Organize Your Mind 4:21
7. Colder 4:20
8. Why 9:02

Band members
Aliki Katriou – vocals
Paul Allain – guitar
Marcin Orczyk – bass
Rodrigo Moraes Cruz – drums

Album Review – South of Salem / The Sinner Takes It All (2020)

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This excellent UK outfit is ready to take the entire world by storm with an album full of cult anthems that have a truly original (but recognizable) take on the rock and metal genres with a horror twist.

Having spent the best part of a decade working on various musical projects supporting the likes of Iced Earth, The Damned, Wednesday 13, and The Birthday Massacre, the up-and-coming Bournemouth, UK-based Hard Rock outfit South of Salem has just brought to life their debut effort The Sinner Takes It All, an album full of cult anthems that have a truly original (but recognizable) take on the rock and metal genres with a horror twist. Recorded at Grindstone Studio in Suffolk, UK and produced, mixed, and mastered by Scott Atkins (Cradle Of Filth, Amon Amarth, Sylosis, Behemoth), the title of the album, according to vocalist Joey, guitarists Kodi and Fish, bassist Dee and drummer Pip, “represents the corruption connected to wealth and power. How in dark times the rich become more affluent and the poor become more disconnected. During the current pandemic, small businesses are going under and people are more reliant on their government. Human beings abusing others, when they should be helping one another. The sinners are truly preparing to take it all. Enough is enough!”

A Rock N’ Roll storm is about to begin in Let Us Prey, with its lyrics inspired by The Purge film series (“They call us sick but we’re feeling fine / Just counting down to the killing time / Tonight, tonight was made for us / We know we’re sick but we hide it well / On a murder mile straight to hell / Tonight we’re armed and dangerous”) while Kodi and Fish sound beyond insane with their riffs, followed by The Hate In Me, a modernized hybrid of Motley Crüe and Godsmack with a heavier twist where Joey exhales rage through his vocals while Pip keeps pounding his drums in great fashion. Then it’s time for the band’s guitar duo to slash their axes nonstop in the Hard rock extravaganza No Plague Like Home, the perfect soundtrack for a pub brawl with Dee and Pip bringing the thunder to the overall result, not to mention its kick-ass guitar solos, whereas the rumbling bass punches by Dee provides Joey a dense base for his introspective vocals in Pretty Little Nightmare, a song about the darkest side of love, ready to be played on any Rock N’ Roll radio station thanks to the dynamic and classic beats by Pip. After such introspective composition, let’s all rev up our engines to the sound of Made To Be Mine, where the fiery riffs by Kodi and Fish will make your blood boil, evolving into a melodious and vibrant sonority showcasing spot-on backing vocals and another excellent performance by Joey.

Piercing guitars and an 80’s-inspired vibe are the main ingredients in the Melodic Rock tune titled Cold Day In Hell, with Joey leading his crew with his rockin’ vocals in another song about obscure relationships, whereas in Demons Are Forever, featuring Alex Avdis (aka The AvD) of Red Method and The Defiled, we face a grim, eerie atmosphere generated by all band members while Joey delivers a somber performance on vocals. Furthermore, don’t forget to check the stunning official video for this song as it is intended to raise suicide awareness. Back to a more berserk and vicious mode, the quintet blasts the Punk Rock-infused Another Nail In My Coffin, blending elements from the music by The Misfits and Social Distortion with their classic rock sound, all spiced up by the song’s enfolding riffs, and keeping the level of adrenaline high South of Salem offer us all Severely Yours, a song about temptation in long-term relationships presenting a great job done once again by Joey with his raspy vocals while Pipi delivers classic beats nonstop. Finally, closing such excellent album we have one more punk-ish tune entitled Dead Hearts Don’t Break, dealing with negative thoughts and the way one relationship can contaminate all future ones, with Kodi, Fish and Dee being on absolute fire with their stringed weapons.

In a nutshell, South of Salem more than nailed it with The Sinner Takes It All, an album that will undoubtedly entertain any type of rock and metal fan, from the ones who love a good melody to rockers who enjoy some action in the mosh pit. Hence, don’t forget to follow the band on Facebook and on Instagram, to subscribe to their YouTube channel, to stream more of their music on Spotify, and above all that, to support those talented UK musicians by purchasing their debut album from their own Big Cartel page (and sooner than later from other retailers such as Apple Music and Amazon). Relationships are always tough, it doesn’t matter where you come from, your religion, sexual orientation and so on, and as there’s not much we can do about that besides trying to be the best person to our significant other every single day, why not doing that while also enjoying the top-of-the-line rock and metal music provided by South of Salem in their new album? I’m more than certain that at least your ears, your mind and your soul will feel a lot stronger and happier to the sound of their awesome creations.

Best moments of the album: Let Us Prey, No Plague Like Home and Another Nail In My Coffin.

Worst moments of the album: Pretty Little Nightmare.

Released in 2020 Independent

Track listing
1. Let Us Prey 3:24
2. The Hate In Me 3:35
3. No Plague Like Home 4:06
4. Pretty Little Nightmare 3:53
5. Made To Be Mine 3:41
6. Cold Day In Hell 4:28
7. Demons Are Forever 4:41
8. Another Nail In My Coffin 3:53
9. Severely Yours 3:15
10. Dead Hearts Don’t Break 3:35

Band members
Joey – vocals
Kodi – guitar
Fish – guitar
Dee – bass
Pip – drums 

Guest musicians
The AvD – keyboards and samples on “Demons Are Forever”

Album Review – Eshtadur / From the Abyss (2020)

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These unrelenting Colombian metallers return from the abyss once again embodying a deathly melodic atmosphere that reaches into realms of darkness and despair through the decay of humanity.

Three years after the release of the fantastic Mother Gray, which led the band to perform across several countries such as Colombia, Peru, Mexico, Germany, Netherlands, Belgium, France, Poland, Czech Republic, Hungary and Slovakia, the unrelenting Pereira, Colombia-based Melodic Death and Black Metal unity known as Eshtadur has just unleashed upon us all their fourth full-length installment, entitled From the Abyss, once again embodying a deathly melodic atmosphere that reaches into realms of darkness and despair through the decay of humanity. With a name translating to “rebellion of angels”, this South American outfit currently comprised of Jorg August on vocals and guitars, Alejo Guitarecho on the guitars and Andres El Negro on bass, with the support of Polish drummer Michał Łysejko, seeks to rebel in its own darkened way, embracing the abject reality, while offering in their new album ten potent and multi-layered songs tailored for diehard fans of the extreme music blasted by iconic bands such as SepticFlesh, Behemoth, Fleshgod Apocalypse and Carach Angren, all embraced by the Stygian artwork by Colombian artist Carlos Jácome.

Featuring American guitarist Riche Brown from Mindscar, the opening tune Lowborn Bastard is imposing and atmospheric from the very first second, with Michał being already bestial on drums while Jorg roars deeply and manically, also presenting crisp guitar riffs and solos for our total delight, and pounding their instruments mercilessly the band offers our avid ears the fulminating The Adverse Side, showcasing a fantastic performance by Jorg and Alejo on the guitars accompanied by the thunderous bass by Andres and wicked symphonic background elements. Then we have The Red Door, a neck-breaking hybrid of Melodic Death Metal and Symphonic Black Metal bringing forward cryptic words vociferated by Jorg (“The entrance of the never known / The altered state / I dare you find the door / Can you cross the line?”), while it’s impressive how Michał’s beats can be utterly bestial and intricate at the same time; and they go absolutely berserk in The Fall, blending the most visceral elements from Death and Black Metal spearheaded by the venomous growls by Jorg while their guitars sound as piercing and austere as possible. Following such demented tune, and featuring Swedish guiratist Henrik Danhage from Evergrey, She the Void ventures through the realms of Symphonic Doom Metal, presenting an interesting paradox between Jorg’s deep guttural and the song’s whimsical orchestrations, albeit being a little bit longer than what it should.

Then we’re treated to a very special cover version for the song All She Wrote, featuring Tunisian vocalist Zaher Zorgati from Myrath and once again Henrik Danhage on the guitars, originally recorded by Richmond, Virginia-based Glam Metal band FireHouse in their 1990 debut self-titled album (check the original version HERE), and Eshtadur’s version is simply amazing, bringing tons of metal to the original version’s core rockin’ vibe. It’s time for Eshtadur to put the pedal to the metal and blast the infernal Transient Stranger, where all band members are on fire, scathing our skins with their violence and wrath while Andres and Michał make the foundations of the earth tremble with their blackened, groovy sounds. Those Colombian metallers keep delivering sheer adrenaline, darkness and hatred in The Oathbreaker, with Jorg and Alejo making a demonic guitar duo while Michał pulverizes our senses with his menacing beats and fills in a lesson in contemporary Death Metal, followed by The Fear Difusser, featuring Colombian guitarist Adrián Holguín from Souledge, another round of acid, unfriendly extreme music by Eshtadur showcasing their usual blast beats intertwined with stunning background keys and slashing riffs. Lastly, there’s no better way to end such demolishing release than with an aggressive and furious tune, Disphased Dimension, led by Jorg’s devilish roars and the classic drums by Michał, while Andres brings the groove with his sick bass punches, putting a beautiful finale to the album.

As it happens with several bands from the most distinct parts of the world, it’s always a pleasure for fans of underground metal like myself to witness the organic and exciting growth of bands like Eshtadur, a band that’s not only carrying the flag of Colombian metal everywhere they go, but that has also been shaping up their own music style album after album, sounding more and more unique as times passes by, with From the Abyss representing another spot-on step in their already solid career. Hence, don’t forget to follow Jorg and his henchmen on Facebook, on Instagram and on YouTube, and to grab your copy of From the Abyss or to stream the album in its entirety by clicking HERE, keeping the flame of Colombian Melodic Death Metal burning bright for many years to come. After four ass-kicking albums and extensive tours all over the world, I wonder what’s next for such distinct band, and the answer to that seems quite simple after listening to their new album in full a few times, that Eshtadur will keep delivering first-class metal music no matter what, never selling off nor slowing down.

Best moments of the album: The Adverse Side, The Red Door and The Oathbreaker.

Worst moments of the album: She the Void.

Released in 2020 Blood Blast Distribution

Track listing
1. Lowborn Bastard 5:28
2. The Adverse Side 3:44
3. The Red Door 5:00
4. The Fall 3:46
5. She the Void 6:56
6. All She Wrote (FireHouse cover) 4:17
7. Transient Stranger 4:18
8. The Oathbreaker 4:41
9. The Fear Difusser 4:29
10. Disphased Dimension 4:35

Band members
Jorg August – vocals, guitars
Alejo Guitarecho – guitars
Andres El Negro – bass

Guest musicians
Michał Łysejko – drums (session)
Riche Brown – guitar solo on “Lowborn Bastard”
Zaher Zorgati – vocals on “All She Wrote”
Henrik Danhage – guitars on “All She Wrote” and “She the Void”
Adrián Holguín – guitars on “The Fear Difusser”

Album Review – Ragehammer / Into Certain Death (2020)

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It’s time to head into certain death to the sound of the new album by this insane Polish brigade, offering us all ten slabs of sincere and brutal Blackened Thrash Metal violence.

Kraków, Poland’s own Black/Thrash Metal institution Ragehammer is finally back to the battlefront after four years of studio inactivity (since the release of their 2016 opus The Hammer Doctrine) and a year-long live hiatus with the same lineup comprised of The Hellstörm on vocals, Bestial Avenger on the guitars, Corpsebutcher on bass and Mortar on drums to once again spit with scorn at the trend-ridden scene, where aesthetics took over the ethics, armed with their sophomore full-length album entitled Into Certain Death. Recorded, mixed and mastered by Mikołaj Żentara at No Solace, featuring an enraged artwork by Devinez, and consisting of ten slabs of sonic violence with variable pain levels in the characteristic of sincere and brutal Blackened Thrash Metal style which continues the path Ragehammer chose when starting almost 10 years ago, Into Certain Death will offer the listener exactly what the band has always promised to provide in their rebellious career, a raw, warlike fusion of Black and Thrash Metal without compromises, unnecessary distance or mercy, and of course a very good reason for getting drunk and raising our horns in the name of evil.

Metal troopers are marching to the beats by Mortar in the uprising intro Beneath the Red Suns, suddenly exploding into a lesson in Blackened Thrash Metal titled We Are the Hammer, with Bestial Avenger extracting endless savagery and electricity form his stringed weapon, therefore providing The Hellstörm exactly what he needs to shine with his raspy, berserk growls. Moreover, when they speed things up it’s time to simply crush your skull into the pit, and there’s no sign of those four horseman slowing their music down as they blast a furious hybrid of Black, Death and Thrash Metal titled Jesus Goat, with Corpsebutcher and Mortar being thunderous with their respective bass punches and blast beats. In Peace let’s say the name of the song doesn’t match with its infuriated rhythm, with the band bringing forward a potent display of extreme music led by Bestial Avenger’s razor-edged riffage while The Hellstörm vociferates rabidly from start to finish in great blackened, thrashing fashion, whereas the band’s frontman roars viciously in his mother tongue in the sick Black and Thrash Metal extravaganza titled Na Pewną Śmierć, which is Polish for the album’s title “into certain death”, tailored for admirers of the heaviest side of thrash, with Mortar sounding utterly demented behind his drum set.

In the fulminating 616. TerrorKorps the band drinks from the same wicked fountain as thrashing masters Exodus and Slayer, but of course with the band’s own Polish twist, while the stringed duo Bestial Avenger and Corpsebutcher will at the same time pierce your ears and smash your head with their extreme aggression and speed. It’s clear that slamming is their business, and business is good, as in the high-octane Fear Toxin we’re treated to more of the infernal screams by The Hellstörm and the unstoppable drums by Mortar in what’s perhaps the song with the most Black Metal riffs of all, while tribal beats and a hellish atmosphere are offered to the listener in Omega Red, sounding darker and more introspective than its predecessors, and showcasing another brutal job done by Bestial Avenger armed with his devilish guitar. Ragehammer keep distilling their demonic hybrid of extreme styles in the fast and furious Dragon City, where the rebellious gnarls by The Hellstörm are effectively supported by his bandmates’ backing vocals while Mortar doesn’t stop hammering his drums not even for a single second. And finally, a Stygian, somber intro darkly evolves into a massive wall of sounds in the imposing 8-minute aria titled Prophet of Genocide Part II (Mother Winter Eternal), the sequel to “Prophet of Genocide” from their 2012 demo War Hawks, with The Hellstörm investing into more anguished vocal lines while its second half presents Ragehammer’s usual sonic devastation.

I bet you can’t wait to join Ragehammer and head into certain death to the sound of their warlike metal music, and in order to do so simply pay the guys a visit on Facebook and (soon) purchase a copy of their breathtaking new album from the Pagan Records’ BandCamp or webstore in CD or LP format. The Hellstörm, Bestial Avenger, Corpsebutcher and Mortar nailed it once again with Into Certain Death, elevating their status in their homeland (and anywhere else in the world where ass-kicking extreme music is appreciated) from just a promise to one of the best and most entertaining acts of the underground scene, beautifully translating into their wicked creations exactly what Blackened Thrash Metal is all about.

Best moments of the album: We Are the Hammer, Jesus Goat and 616. TerrorKorps.

Worst moments of the album: None.

Released in 2020 Pagan Records

Track listing
1. Beneath the Red Suns 1:45
2. We Are the Hammer 3:58
3. Jesus Goat 3:29
4. Peace 4:25
5. Na Pewną Śmierć 4:28
6. 616. TerrorKorps 4:00
7. Fear Toxin 4:38
8. Omega Red 5:46
9. Dragon City 4:47
10. Prophet of Genocide Part II (Mother Winter Eternal) 8:54

Band members
The Hellstörm – vocals
Bestial Avenger – guitars
Corpsebutcher – bass
Mortar – drums

Album Review – Silent Obsession / Lost EP (2020)

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Bang your heads to this venomous fusion of Technical, Progressive and Brutal Death Metal made in Algeria.

Inspired by renowned bands such as Decapitated and Morbid Angel, among other modern metal acts, Algiers, Algeria-based Death Metal unity Silent Obsession is eager to spread their fusion of Technical and Brutal Death Metal with more contemporary styles such as Groove Metal to all four corners of the earth, sending a bold message that Algerian metal can be as vibrant, demolishing and entertaining as any of their North American or European friends. Originally conceived as a solo project by guitarist Max Marginal in 2017 aiming at exploring humanity’s dark side, Silent Obsession evolved to a full-bodied band in the next couple of years until reaching their current lineup comprised of the aforementioned Max Marginal on the guitar, Danny on vocals and guitar, Manil on bass and Ben Der on drums, strengthening their sound and creativity and, consequently, culminating with the release now in 2020 of their debut EP entitled Lost, bringing to our avid ears 12 minutes of top-of-the-line extreme music made in the People’s Democratic Republic of Algeria.

The blazing guitars by Danny and Max set the tone in the violent EP intro, already showcasing all their skills while Ben Der crushes his drums manically and also presenting elements from Thrash and Black Metal, with Danny’s vicious roars adding a touch of malignancy to the overall result. Then bringing tons of progressiveness and rage together with their core sonority the quartet fires Paranoia Activity, where Manil’s bass punches will hit you hard in the face and with Danny growling more deeply and demonically than before in a technical display of Death Metal infused with Groove Metal nuances, all spiced up by some sick guitar solos, whereas D.E.A.D. sounds even more violent and devastating, with Manil and Ben Der generating an earthquake with their sonic weapons while Danny and Max keep extracting sheer dementia form their guitars, not to mention how rabid and insane Danny’s roars sound. In other words, this is an absolutely perfect Progressive Death Metal tune for smashing your spinal cord into the circle pit. Lastly, in Destruction of the Spirit the band once again blends their core Death Metal with other extreme styles such as Thrash Metal and even Progressive Groove Metal, with their riffs and solos being utterly fantastic, accompanied by the always infernal drums by Ben Der.

Just like their friends from Lelahell, Litham and Hellium, among several other excellent bands, Silent Obsession are determined to carry the flag of Algerian Death Metal wherever they go, and their debut effort Lost is indeed a great example of what they are capable of offering to demanding metalheads always searching for heavy, violent and fast music. Hence, don’t forget to give the EP a listen on Spotify, on YouTube and on Deezer, to follow Silent Obsession on their official Facebook page for news, tour dates and other nice-to-know details about the band, and to purchase a copy of Lost from Apple Music. Max and his loyal henchmen are eager to know what you think of their debut installment, especially if you’re a diehard fan of underground Death Metal, showing you once again that not only high-quality metal music can be found anywhere in the world, but also if Death Metal is your cup of tea, you should definitely take a musical trip to “Al Jaza’ir”.

Best moments of the album: D.E.A.D.

Worst moments of the album: None.

Released in 2020 Independent

Track listing
1. Intro 2:34
2. Paranoia Activity 4:32
3. D.E.A.D. 3:11
4. Destruction of the Spirit 2:22

Band members
Danny – vocals, guitars
Max Marginal – guitars
Manil – bass
Ben Der – drums

Album Review – Calarook / Surrender Or Die (2020)

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On a quest for booze we go together with those unstoppable Swiss pirates and their debut full-length album.

On a quest for booze we go! That’s what frontman Philipp Wyssen, guitarist Nico Wiget, bassist Flavio Pompeo, drummer Yves Locher and violinist Lukas Mischler, collectively known as the unrelenting Winterthur, Switzerland-based Pirate Metal crew Calarook, promise to deliver in their debut full-length album Surrender Or Die, mixing rabid Melodic Death Metal with Folk Metal parts and sometimes a pinch of wonderful nonsense, therefore inviting us all to celebrate, mosh and headbang like there’s no tomorrow. Calarook have been on a roll since the band’s inception in 2014 (under the name Calico), firing an endlessly captivating seafaring sound that leaves no one standing still or even sober, starting with their 2017 EP Calico, but it’s now with Surrender Or Die that the quintet is ready to take us all on a full-bodied adventure across the seven seas, offering our avid ears over 69 minutes of first-class metal music while at the same time being always ready for more booze, pillaging and partying in the name of heavy music.

The tolling bells in the epic intro 47°30’18”N 8°51’52”E warn us all their festivities are about to start in A Cursed Ship’s Tale, sounding furious and imposing thanks to the crushing beats by Yves and the guttural roars by Philipp, while Lukas brings his share of lunacy with his whimsical violin, flowing smoothly until its climatic finale. They offer more of their visceral fusion of Melodic Death Metal with classic Death Metal and pirate music in Quest For Booze, an ode to all alcoholic beverages where Nico is unstoppable with his riffage accompanied by the rumbling bass by Flavio and the once again magical violin by Lukas, whereas it’s time to break your necks headbanging to the sound of Into The Storm, with Yves pounding his drums like a cannon from a pirate ship while Philipp continues to blast his inebriate, unfriendly growls. In the title-track Surrender Or Die the “captain” vociferates the song’s sailing lyrics rabidly (“We change the course / To pursue the prey / The distance gets smaller / The target turns away / But we can catch up / Prepared to fight / The cannons are loaded / Everyone is quiet”) while his bandmates generate a strong ambience with their respective instruments, inspiring us all to fight side by side with the band; and Flavio and his metallic bass ignite the rhythmic, dancing tune curiously titled Invisible Pineapples, showcasing an amazing job done by Nico with his slashing riffs. Put differently, simply  grab your beer and your sword and get ready to rock together with those metal pirates.

And those buccaneers keep delivering heaviness, speed and harmony in the excellent Kraken’s Chest, the epitome of Pirate Metal overflowing electricity and fury, also presenting an interesting paradox between Lukas’ classy violin and Yves’ thunderous beats, before it’s time to slam into the circle pit to the fun Paul The Parrot. Let’s all be honest, no one can stand still to a metal song about a parrot, with Nico and Yves making sure the rhythm remains as vibrant as possible in a great display of modern-day Melodic Death Metal, while Jack Rackham is another song exhibiting a pleasant speed and pace, with the violin by Lukas adding tons of finesse to the overall result while his bandmates continue to invite us all to prance around the fire pit. Kicking Flamingos is what I call a weird name for a song, but they’re pirates which means all makes sense; however, musically speaking it’s not on par with the rest of the album, sounding a bit generic despite Flavio’s great performance on bass. Fortunately, Calarook get back on track with their trademark Pirate Metal in Davy Jones’ Locker, a lot more introspective than its predecessors while Nico dictates the pace with his classic riffs, accompanied by Philipp’s deep growling.

In Tentacle Explosion we have less than three minutes of hammering Melodic Death Metal infused with the stylish violin by Lukas, resulting in a great option for their live performances which will certainly inspire us all to raise our horns and grab a pint in the name of metal music; and their loyalty to drinking and piracy goes on in Loyal To None But Rum, where all Calarook are telling us is to simply get drunk and slam into the circle pit to the sound of their thrilling music. Then venturing through more traditional lands, they fire their most Heavy Metal of all songs, The Legend Of Liquor Island, bringing forward a galloping rhythm led by Yves and his old school beats while Philipp keeps roaring and growling like a true pirate, whereas in The Feast Of Emerald Meadows the band fills our ears with a more vicious and violent sonority while Nico’s riffs walk hand in hand with Lukas’ violin. Hence, it will certainly urge you to sing its chorus along with Calarook while crushing your skull into the mosh pit once again, and closing this 69-minute pirate quest the band fires the classic The Undying Sailor, where despite the great job done by Yves and Lukas with their beats and violin, the final result is a bit messy, not to mention the song goes on for way too long.

If you’re ready to set sail together with the drunk and talented Swiss pirates of Calarook and support them in their epic adventures, you can follow the band on Facebook and on Instagram, subscribe to their YouTube channel for their fun and fresh official videos, stream more of their rebellious music on Spotify, and obviously purchase a copy of Surrender Or Die from the band’s own webstore (and soon enough from several other locations). In a world where people have the attention span of a goldfish, we must admit releasing a 69-minute album is a beyond bold move by Calarook, but yet again, as already mentioned they are not just musicians, but metal pirates, and as the great privateers they are they know exactly what they are doing by releasing such imposing and epic album. Or do you think only 20 or 30 minutes of music would be enough for all the action you can have together with Calarook on board of their ship in their quest for metal, rum, flamingos, parrots and pineapples?

Best moments of the album: Quest For Booze, Invisible Pineapples, Kraken’s Chest and The Feast Of Emerald Meadows.

Worst moments of the album: Kicking Flamingos and The Undying Sailor.

Released in 2020 Independent

Track listing
1. 47°30’18”N 8°51’52”E 2:02
2. A Cursed Ship’s Tale 4:33
3. Quest For Booze 5:36
4. Into The Storm 7:05
5. Surrender Or Die 4:27
6. Invisible Pineapples 5:09
7. Kraken’s Chest 5:46
8. Paul The Parrot 3:36
9. Jack Rackham 3:22
10. Kicking Flamingos 3:33
11. Davy Jones’ Locker 3:47
12. Tentacle Explosion 2:34
13. Loyal To None But Rum 4:38
14. The Legend Of Liquor Island 3:03
15. The Feast Of Emerald Meadows 4:34
16. The Undying Sailor 5:37

Band members
Philipp Wyssen – vocals
Nico Wiget – guitar
Flavio Pompeo – bass
Yves Locher – drums
Lukas Mischler – violin

Album Review – Onirik / The Fire Cult Beyond Eternity (2020)

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A unique Black Metal album that is the consequence of the descent and return from below carrying the flames and lava on its scales, giving it back to the world in posthumous vengeance.

Following up on his highly-acclaimed 2015 album Casket Dream Veneration, Lisbon, Portugal-based Black Metal one-man horde Onirik, the brainchild of vocalist and multi-instrumentalist Gonius Rex, returns with yet another distinct and heavy-as-hell album entitled The Fire Cult Beyond Eternity, the fifth studio album in his solid career. Active since 2002, Onirik has been exploring Black Metal in several approaches, always faithful to its original purpose, the emission of unordinary, dissonant and raw outputs with trance-inducing atmospheres, typically very cold and bathed in magic. With the special guest participation of none other than Dirge Rep on drums (Gehenna, Enslaved, Orcustus, The Konsortium), and mixed and mastered by Semjaza of Thy Darkened Shade at Sitra Ahra Studio, who also took care of the album’s ambient elements, The Fire Cult Beyond Eternity is the consequence of the descent and return from below carrying the flames and lava on its scales, giving it back to the world in posthumous vengeance.

Prepare your senses for six minutes of a classic Norwegian Black Metal inferno in the opening tune Cult Beyond Eternity, where Gonius Rex extracts sheer malignancy from his guitar while gnarling demonically at the same time, and it’s impressive how he is capable of adding so much groove and progressiveness to his Stygian creations such as Trapped in Flesh, Blood and Dirt, piling up additional layers of awesomeness to his already scorching sound while guest Dirge Rep takes care of the violence and brutality with his blast beats. Then our avid ears are penetrated furiously by over nine minutes of a downward spiral into the pits of the underworld together with Gonius Rex entitled Assigned to the Inexorable Flames, with his bass lines sounding utterly demented, groovy and wicked, proving how talented and focused he is at what he does, with the entire song feeling as grandiose and somber as it can be from start to finish.

In Melodies of Reflections and Praise this unearthly entity offers us all a modern yet old school version of Melodic Black Metal infused with Progressive Black Metal elements where Dirge Rep continues to deliver insanity and intricacy through his beats, providing Gonius Rex all he needs to distill his Jazz-inspired bass jabs.  And venturing through the sluggish realms of Doom Metal, Onirik blast the heavy and thunderous Granted the Vision, Molded into Stone, with the bass punches by Gonius Rex allied with the slow and steady beats by Dirge Rep punching us all in the head mercilessly. After such dense extravaganza, and again blending traditional Black Metal with modern-day sounds and a demented atmosphere, we’re treated to an avalanche of darkened sounds for our vulgar delectation in Murmurs of the Aging Vessel, with both Gonius Rex and Dirge Rep being on fire with their respective sonic weapons, whereas back to a more berserk mode Onirik haunt our souls one last time with their infuriated Black Metal in Apathy of Might, and they keep hammering their instruments nonstop until the song’s grand finale.

You can show your support and admiration for Gonius Rex’s alter ego Onirik by following the project on Facebook, and of course by purchasing a copy of such incendiary album from the underground Portuguese scene from the I, Voidhanger Records’ BandCamp page or from the Metal Odissey webstore in CD or in LP format.  “I have travelled beyond the casket and returned only to illustrate the certain retribution. This time the old ways flow deep like liquefied lava, ready to break the wounds of this earth and resurface in arsonists’ bliss,” cryptically said Gonius Rex about his newborn album, and even if you have no clue what exactly he wanted to say, let me tell you that the best way to understand his eerie words is by playing The Fire Cult Beyond Eternity at top volume and enjoying one of the best releases of the Portuguese underground scene in this obscure year of 2020.

Best moments of the album: Trapped in Flesh, Blood and Dirt and Assigned to the Inexorable Flames.

Worst moments of the album: None.

Released in 2020 I, Voidhanger Records

Track listing
1. Cult Beyond Eternity 6:15
2. Trapped in Flesh, Blood and Dirt 4:35
3. Assigned to the Inexorable Flames 9:00
4. Melodies of Reflections and Praise 7:32
5. Granted the Vision, Molded into Stone 6:18
6. Murmurs of the Aging Vessel 6:47
7. Apathy of Might 5:32

Band members
Gonius Rex – vocals, guitars, bass

Guest musicians
Dirge Rep – drums
Semjaza – ambient

Album Review – Jupiterian / Protosapien (2020)

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Rising as a mythical creature, this Brazilian Atmospheric Sludge and Doom Metal outfit is ready to haunt our souls with the crushing, primeval music found in their brand new opus.

Formed in 2013 in the city of São Paulo, Brazil, the unyelding Atmospheric Sludge/Doom Metal outfit Jupiterian is back in action after releasing their groundbreaking album Terraforming in 2017, which was akin to the sound of tectonic plates shifting. In the aftermath of that event, a new revelation has been unearthed, their magnum opus Protosapien. Featuring a Stygian artwork by Polish artist Mariusz Lewandowski, it slices through the ominous atmospheric murk of the band’s previous effort and in an almost primitive yet strangely evolved manner, goes for the jugular. Comprised of Von  vocals, guitars and synths, A on the guitar, R on bass and G on drums, Jupiterian rise as a mythical creature, imbibing everything that transpired and distilling it all to create something highly potent, dense and sonically immeasurable, a form of harrowing, otherworldly Sludge and Doom Metal that lumbers on erratically, carving their own path, trampling on anything that dares stand in their way, and being therefore highly recommended for admirers of the music by  Eremit, Loss, Primitive Man, Gaerea and My Dying Bride, among others.

The phantasmagorical and cinematic intro Homecoming will crawl deep inside your skin and darken your heart until the gates to the underworld are open with the imposing Mere Humans, where the reverberating bass by R and the Stygian riffs by V and A will make your head tremble while G fires sluggish, doomed beats nonstop. V’s and A’s dirty and piercing guitar lines keep bringing darkness to us all in Voidborn, accompanied by G’s damned drums and the hellish vociferations by V, being perfect for cracking your neck headbanging in solitude. Put differently, this is the epitome of primeval Sludge and Doom Metal spiced up by the obscurity of Blackened Doom, whereas in the vile Capricorn we’re treated to a ritualistic doom aria spearheaded by G’s tribal beats, with the quartet bringing forward a sharp hybrid of American Sludge Metal and classic Doom Metal. Furthermore, the bass punches by R sound absolutely metallic, taking the song’s malignancy to a whole new level. And they offer more of their raw and unearthly sounds in the heavy-as-hell Starless, showcasing a great sync between R and G with their respective bass jabs and drums while the inhumane growls by V add an extra touch of evil to the overall result. Lastly, a gargantuan roar by V ignite the one hundred percent, unfiltered Atmospheric Doom Metal feast titled Earthling Bloodline, where G pounds his drums slowly and steadily while his bandmates generate a menacing ambience with their strings from hell.

There are numerous places where you can put your dirty hands on Protosapien, such as the band’s own BandCamp page, the official Transcending Obscurity Records webstore (where you can find precious gems such as the 8-panel digipak CD with metallic effect and sandalwood fragrance or an amazing boxset including an autographed LP), the Transcending Obscurity Records webstores for the US and Europe, Apple Music, Amazon and so on. Hence, you can also support those Brazilian doomers by following them on Facebook, Instagram and YouTube, and also by streaming all of their wicked creations on Spotify. As aforementioned, like a mythical creature Jupiterian are among us to haunt our souls and blacken our damned hearts, having in Protosapien the perfect weapon to attack us all with their crushing, antediluvian doom.

Best moments of the album: Capricorn and Earthling Bloodline.

Worst moments of the album: None.

Released in 2020 Transcending Obscurity Records

Track listing
1. Homecoming 2:09
2. Mere Humans 5:38
3. Voidborn 6:53
4. Capricorn 7:06
5. Starless 7:13
6. Earthling Bloodline 6:40

Band members
V – vocals, guitars, synths
A – guitar
R – bass
G – drums

Album Review – Seventh / Vacarme (2020)

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Let your soul be consumed by the atmospheric music crafted by this amazing Canadian act, exploring psychological distress, mental disorder and how some individuals will benefit from committing immoral acts to escape reality.

Hailing from the always amazing Québécois independent metal scene, the Atmospheric/Post-Black Metal act that goes by the straightforward name of Seventh might have started their path not a long time ago, being formed in 2016 in the charming Quebec City, Canada, but they’ve managed to put out already two full-length album, those being their 2017 debut effort Limbes, and their newborn spawn Vacarme now in 2020. Recorded at La Boîte Noire Studio in Quebec City with François C. Fortin, and featuring a Stygian artwork by Canadian illustrator Philippe D’Amours linking all the songs together to represent escapism and abandonment for a better realm, Vacarme explores psychological distress, mental disorder and how some individuals will benefit from committing immoral acts to escape reality, all embraced by the massive wall of atmospheric sounds crafted by Jean-Fred Gauvin on vocals, Olivier Falardeau on the guitars, Martin Lessard on bass and Alex “Blaireau” Bernatchez on drums.

The guitar lines by Olivier arise to the sound of a ticking clock in the intro Synthèse, building a strong atmosphere for the band to crush our senses with Echoes and its psychological lyrics growled by Jean-Fred (“Here come all the signs stranding from the mind / To keep death in motion redefined / Held inside I hear it loud and clear / Like a raging storm of noise that bleeds out all my dopamine”) in a fulminating display of Atmospheric Black Metal with a stunning acoustic ending. Then without wasting any time the quartet pierces our souls with Hundred Winters, where the blast beats by Alex walk hand in hand with the Black Metal riffage by Olivier, and the music keeps growing in intensity, darkness and fury until the very end led by the always anguished gnarls by Jean-Fred; and get ready to bang your heads in the name of darkness together with Seventh in The Gift of Death, where Olivier and Martin slash their strings in great fashion, bringing elements of Doom Metal to their already heavy-as-hell sonority.

Serene and melodious lines permeate the air in the bridge titled Bloom, before they come back in full force with Lust, with its over six minutes of grim and mesmerizing passages showcasing another amazing job done by Olivier on the guitars while Alex keeps pounding his drums like a beast in an exciting depiction of what the music by Seventh is all about, whereas those four metallers are ready to smash us like insects In the nine-minute aria Disheartened, a lecture in Atmospheric Black Metal made in Canada presenting elements from what we like to call “Métal Noir Québécois”. Moreover, Jean-Fred is absolutely demonic on vocals, accompanied by the strident riffs by Olivier and the thunderous bass by Martin. And another stylish and charming interlude titled Collapse works as the calm before the storm for Through the Flesh, bringing forward more of their austere lyrics (“As the pleasure consumes all of these laws of morality / We consume all of these laws of indecency / As we consume all of these laws of misanthropy / We consume all of these laws of pure savagery”) and their pulverizing fusion of blackened sounds, ending the album on a truly incendiary and climatic note.

If you want to savor the atmospheric and somber “Métal Noir Québécois” brought forth by Seventh in Vacarme in its entirety, you can stream the full album on YouTube and on Spotify, but of course I highly recommend you grab a copy of the album from their own BandCamp page, or simply click HERE for all locations where you can buy or stream such distinct release. In addition, let’s show our support to Seventh by also following them on Facebook and on Instagram, and by subscribing to their YouTube channel, getting absolutely mesmerized and embraced by their dark creations. It’s always a pleasure to witness the rise of Extreme Metal bands here in Canada like Seventh, keeping the scene alive and, consequently, offering us fans of heavy music more and more options for our daily playlists, with Vacarme being specially recommended for the ones who admire the darkest and most introspective side of our beloved metal.

Best moments of the album: Echoes, The Gift of Death and Disheartened.

Worst moments of the album: None.

Released in 2020 Independent

Track listing
1. Synthèse 1:26
2. Echoes 8:10
3. Hundred Winters 5:47
4. The Gift of Death 5:34
5. Bloom 1:08
6. Lust 6:21
7. Disheartened 9:01
8. Collapse 1:07
9. Through the Flesh 7:58

Band members
Jean-Fred Gauvin – vocals
Olivier Falardeau – guitars
Martin Lessard – bass
Alex “Blaireau” Bernatchez – drums