Album Review – Verthebral / Abysmal Decay (2019)

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The abysmal decay of mankind and religion through the eyes of a ruthless Paraguayan Death Metal horde.

Formed in 2013 in Ciudad del Este, a city on the Paraná River in Paraguay, South American Death Metal unity Verthebral is a reminder of the potency of Death Metal coming from their continent, blasting our ears with their ruthless creations without a single drop of mercy. From the traditionally-rooted riffing to the relentless percussive hammering with savage and barked out vocals, Verthebral execute with utter savagery and precision each and every track form their newborn opus Abysmal Decay, tempering it with unpredictable tempo changes and whiplashing breakdowns, proving this is not just mindless brutality, but a well thought out extreme album that must not be taken lightly, being highly recommended for fans of hellish acts like Krisun, Rebaelliun, Morbid Angel, Deicide, Slayer, Death, Sarcófago, Malevolent Creation and Hate Eternal, among others.

Featuring a classic and absolutely incendiary artwork by Brazilian artist Marcos Miller (who has already worked with bands like Exterminate and Mental Horror), and layout by Finnish artist Turkka G. Rantanen (Paganizer, Demilich), Abysmal Decay is a natural and exciting follow-up to their 2017 demolishing album Regeneration, once again dealing with several controversial topics like anti-religion, philosophy, human conduct and death, all embraced by a violent and very detailed sonority brought forth by Christian Rojas on vocals and bass, Daniel Larroza and Alberto Flores on the guitars, and Denis Viveros on drums. Put differently, after you start listening to Abysmal Decay, you’ll undoubtedly feel your head, mind and ears tremble, exactly the way we all love in old school Death Metal.

Get ready to be smashed form the very first second in the opening track Ancient Legion, highly inspired by bands like Krisiun and Cannibal Corpse and with Christian delivering his trademark growling attack supported by the demented drums by Denis, sounding solid and pulverizing form start to finish. The quartet keeps hammering our heads in The Art of Perversion, a rhythmic, multi-layered Death Metal extravaganza led by the razor-edged riffs by Daniel and Alberto that will certainly inspire you to crack your skull into the circle pit, not to mention its amazing sinister break halfway through it; followed by the title-track Abysmal Decay, another brutal display of Death Metal slightly slower than its predecessors but heavy-as-hell, with the band’s guitar duo not only slashing our ears with their riffs but also with their crisp solos, resulting in a perfect choice for banging your head like a maniac.

Then it’s time for an absolutely demolishing display of extreme music by this talented band entitled Isolation Room, alternating between frantic moments and sheer brutality and heaviness where Christian continues to roar and bark like a true beast, elevating the overall quality of the album even more. Coronation of Envy already begins in full force, inspiring us all to slam into the pit like berserk metalheads, with Denis being unstoppable on drums and consequently building a thunderous stage for Daniel and Alberto to shine with their strident guitar solos, whereas in Absence of a God we face almost five minutes of crushing Death Metal made in Paraguay. It’s quite impressive how they never get tired of delivering the most rumbling and disruptive sounds possible, with the music living up to the legacy of bands like Deicide, Krisiun and Death.

Christian leads his horde with his deep, enraged gnarls in Sweet Home Illusion, a classy Death Metal onrush featuring demonic and intricate blast beats and metallic bass punches while Daniel and Alberto keep firing scorching sounds from their stringed weapons, before the instrumental bridge Obsidian Tears enhances our senses for the pulverizing My Dark Existence, a mid-tempo, disturbing chant led by the band’s infernal guitarists where Danis sounds like a sledgehammer on drums, feeling dense and obscure from start to finish (albeit not as creative as all previous songs). And closing the album the band adds tons of progressiveness to their evil music in Testimony of Hate, piercing our minds and ears with their visceral riffs and deranged growls, with the sounds from all instruments growing in intensity and rage until the song’s climatic and vile ending.

If you consider yourself a diehard Death Metal fan and true supporter of the underground, don’t forget to get in touch with the guys from Verthebral on Facebook, and to purchase your copy of Abysmal Decay from the band’s own BandCamp page, or from the Transcending Obscurity Records’ webstore in digipak CD format, in a digipak CD and T-shirt combo, or in an outstanding CD box set including an 8-panel digipak CD with metallic effect, an autographed card, an album artwork coaster, an album artwork fridge magnet, a gloss finish badge and a silver logo patch. Having said all that, I’m beyond happy to witness the healthy and vibrant rise of South American Death Metal in the past few years, with bands like Verthebral proudly waving the flag of Paraguayan extreme music everywhere they go through their destructive, heavy and anti-religious creations, or in other words, everything we love (and want) in our good old Death Metal.

Best moments of the album: The Art of Perversion, Isolation Room and Sweet Home Illusion.

Worst moments of the album: My Dark Existence.

Released in 2019 Transcending Obscurity Records

Track listing
1. Ancient Legion 3:38
2. The Art of Perversion 4:44
3. Abysmal Decay 4:26
4. Isolation Room 4:17
5. Coronation of Envy 3:39
6. Absence of a God 4:52
7. Sweet Home Illusion 5:33
8. Obsidian Tears 1:19
9. My Dark Existence 4:32
10. Testimony of Hate 4:25

Band members
Christian Rojas – vocals, bass
Daniel Larroza – guitars
Alberto Flores – guitars
Denis Viveros – drums

Album Review – Singularity / Place of Chains (2019)

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The emotions of being wrongfully imprisoned turned into an ass-kicking hybrid of Technical Death Metal and Symphonic Black Metal by a sensational metal unity from Arizona.

Tempe, Arizona-based Technical Death Metal/Symphonic Black Metal hybrid act Singularity is back from outer space to pulverize our senses once again with the release of Places of Chains, the follow-up to their highly acclaimed 2014 self-titled debut album and their 2016 EP Void Walker. Since their formation in 2010, the band now comprised of Jack Fliegler (ToxicxEternity, Hemoptysis) on vocals and guitar, Adam King (Depraved Heretic, Arkaik) on bass and vocals, and Nathan Bigelow (Arkaik, Alterbeast, Solar Impulse) on drums, not to mention keyboardist Nick Pompliano (R.I.P), who sadly passed away during the creation process of the album in 2018, has continually shown themselves to be a forward-thinking act, one with a bold vision built on fusing Technical Death Metal and Symphonic Black Metal together in a myriad of ways. In other words, let’s say this talented American entity was capable of uniting the best of both worlds in Place of Chains, bringing forth music that has at the same time the intricacy and aggressiveness of Death Metal with the beauty and mystery of Black Metal, and the final result is absolutely stunning to say the least.

Mixed by Mike Low (Inferi, Oubliette), mastered by Zak Denham (Anagnorisis), and featuring additional orchestrations on every track by Malcolm Pugh (Inferi, A Loathing Requiem) and a futuristic and apocalyptic artwork by Justin Abraham, who has already worked with several excellent bands like Equipoise, Inanimate Existence, Lecherous Nocturne, A Loathing Requiem, Virulent Depravity and Æpoch, among several others, Place of Chains will undoubtedly and strongly appeal to all fans of bands like  Fleshgod Apocalypse, Old Man’s Child, Dimmu Borgir and the first album from Irreversible Mechanism. “Place of Chains is the translation to the song title ‘Desmoterion’ which lyrically illustrates the emotions of being wrongfully imprisoned. Considering that many of the songs on this record lyrically are about enslavement, we felt it was a good over-arching title for the record. We strongly believe that this is the best Singularity record so far. Singularity would also like to thank our guest artists that we had the privilege of having on this record. With every record, we try to further hone in on what the core of Singularity’s sound is and what we want to bring to the world of metal,” commented the band on the release of their newborn spawn.

Bellum, a cinematic and incendiary intro led by the futuristic orchestrations by guest Malcolm Pugh, sets the stage for Singularity to smash us all in Victory or Death, featuring Jared Christianson (Arkaik) as a guest vocalist.  Showcasing lyrics that invite us all to war (“Let the games begin / Your legions are chosen for a tournament / Worthy of the ages / The astral arena beckons your names”), this is a first-class Technical Death Metal tune where Jack is astounding with his riffs and solos while Nathan sounds like a stone crusher on drums, not to mention the intricacy and groove flowing from Adam’s bass. And in Sisyphean Cycle an ominous intro evolves into a doom-ish feast of Symphonic Black Metal the likes of Dimmu Borgir infused with Death Metal nuances, where Adam continues to impress with his thunderous bass jabs while the keys by Nick bring an extra touch of malignancy to the overall result.

Guest vocalist Jeremy Davis (Animus Complex) brings his own dosage of lunacy to Ritual of Regret (by the way, check the band’s amazing guitar playthrough for it HERE), a song that begins in full force spearheaded by Nathan and his insane beats while Jack and Nick have a healthy and thrilling “riffs-versus-keys duel”, leaning towards pure Symphonic Black Metal at times. Furthermore, all of their roars reach a true demonic level as the music progresses, also bringing to our ears sensational razor-edged guitar solos. Back to a more technical mode, Singularity offer us all Consume and Assume, a fast and intricate Death Metal chant perfect for slamming into the pit, all embraced by the whimsical keys by Nick and also featuring a guest guitar solo by Nick Padovani (Equipoise, Virulent Depravity), who co-composed the song with the band; whereas in Desmoterion you better get ready for over seven minutes of pulverizing Technical Death and Black Metal with all band members being in absolute and demonic sync, bringing forth an imposing and epic atmosphere for our total delight. The song’s vocals couldn’t sound more infernal and wicked than this, as well as its piercing guitar solos and all breaks and variations, resulting in a full-bodied aria by this talented metal unity.

In the berserk Serpentes, Eternal not a single space in the air is left empty, with the Stygian words vociferated by Jack and Adam (“Far below / Beneath black earth and snow and decay / Residing under ice and rot, they seek / Surface world never knows / Eyes like fire, these Serpentine / Hearts beat steady as the ancient ones”) shining amidst a feast of slashing riffs and solos, rumbling bass lines and unstoppable blast beats, followed by Dead Receptors, co-composed by Singularity and John Low (the band’s former drummer), which sounds like a hybrid between classic and a more technical version of Death Metal with a stylish twist, as if it was a dark and devilish “waltz” where the vocal lines alternate between obscure Black Metal moments and full Death Metal roars. And last but not least, As Dark as This Nefarious Night is another onrush of darkened and complex sounds by Singularity where Nathan once again delivers sheer violence on drums, while Jack and Adam make our heads tremble with their respective riffs and bass punches, ending in a visceral and epic manner.

You can enjoy this striking album of technical and symphonic extreme music in its entirety on YouTube and on Spotify, but of course in order to show your true support to the guys from Singularity, and as a tribute to the deceased Nick Pompliano, you should definitely purchase your copy of the album from The Artisan Era Records’ webstore, from Singularity’s BandCamp page, from Apple Music or from Amazon. Also, don’t forget to give them a shout on their official Facebook page, as I’m sure the band would love to hear your thoughts on Place of Chains. Now it’s time for Singularity to give life to their creations on stage while promoting their new album (which means you should definitely keep an eye on their live tour announcements) before heading back to their spacecraft and begining the writing process of their new material, and I personally can’t wait to see what those skillful and hardworking guys from Arizona will provide us in their future releases.

Best moments of the album: Victory or Death, Ritual of Regret and Desmoterion.

Worst moments of the album: None.

Released in 2019 The Artisan Era Records

Track listing
1. Bellum 2:44
2. Victory or Death 3:39
3. Sisyphean Cycle 6:26
4. Ritual of Regret 3:07
5. Consume and Assume 4:50
6. Desmoterion 7:07
7. Serpentes, Eternal 4:39
8. Dead Receptors 4:03
9. As Dark as This Nefarious Night 5:08

Band members
Jack Fliegler – vocals, guitar
Adam King – vocals, bass
Nick Pompliano (R.I.P) – keyboards
Nathan Bigelow – drums

Guest musicians
Malcolm Pugh – additional orchestrations
Jared Christianson – vocals on “Victory or Death”
Jeremy Davis – vocals on “Ritual of Regret”
Nick Padovani – guitar solo on “Consume and Assume”

Album Review – The Agonist / Orphans (2019)

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Montreal, Quebec-based juggernauts of Melodic Death Metal return with a brand new album that’s more extreme, more melodic and more exciting than ever.

I guess one of the most important details in Orphans, the sixth full-length album in the career of Montreal, Quebec-based Melodic Death Metal/Metalcore juggernauts The Agonist, is the fact that the band took their time to write and record it without rushing things up, and the final result is truly breathtaking. Featuring a minimalist but captivating artwork by Canadian artist Mikio Murakami (Silent Q Design), Orphans is a huge step forward in the band’s musical path compared to their previous album Five, released in 2016, a bland and uninspired album that seemed to have been released way too fast as if their record label was trying to capitalize on the huge success of their 2015 opus Eye of Providence. Fortunately for all of us, the band comprised of the stunning Vicky Psarakis on vocals, Danny Marino and Pascal “Paco” Jobin on the guitars, Chris Kells on bass and Simon McKay on drums learned their lesson, putting a lot of effort, focus and time on the creation of the amazing Orphans and, consequently, getting back on track for our total delectation.

Vicky’s mesmerizing vocalizations ignite the furious and wicked opening track In Vertigo, my favorite song in Orphans showcasing lyrics clearly inspired by Alice in Wonderland (“A little too big and a little too small / The thing is that life isn’t one size fits all / So take a sip and a couple of bites / And lay back to feast with your own eyes / Down down down the rabbit hole!”). Danny and Pascal are on fire with their riffs and solos, not to mention the brutal, guttural growls blasted by Vicky during the last part of the song, resulting in a full-bodied anthem that represents what The Agonist are all about to perfection. They continue their journey to the past without sounding outdated in As One We Survive, a modern and fresh version of their classic sonority where Melodic Death Metal meets Progressive Metal, with Simon crushing our heads mercilessly with his intricate beats; and get ready to slam into the pit with Vicky and the boys in The Gift of Silence, another frantic creation by the band overflowing rage and madness where Chris and Simon generate a rumbling ambience with their bass lines and beats, also presenting very melodic pieces led by Vicky and her piercing clean vocals.

Then it’s time for the band to head into the battlefield in Blood as My Guide, a fantastic composition showcasing thrilling vocal lines, powerful drums and an absolutely inspiring vibe, resulting in what’s by far one of the best creations of the Vicky era. Moreover, it’s impressive how Danny and Pascal can sound so violent and at the same time so harmonious on the guitars, with Vicky’s gorgeous Greek words bringing an extra touch of epicness to the overall result. After such imposing tune, let’s meet Mr. Cold together with The Agonist in another solid tune where all band members deliver some of the most progressive lines of the whole album, in special the stringed trio Danny, Pascal and Chris, whereas in Dust to Dust they venture through the lands of classic Rock N’ Roll and even Soul, but always loyal to their Metalcore essence, of course. Needless to say, Vicky is flawless with both her clean and harsh vocals, enhancing even more the song’s headbanging rhythm led by Simon’s beats. And back to a more aggressive and infuriated sonority we have A Devil Made Me Do It with its straightforward, in-your-face lyrics roared by our she-wolf Vicky (“Catch me if you can / I am faster than your mind can fathom / Armed with the element of surprise / I slither through the corners of your eyes”), while the band’s guitar duo keeps blasting flammable riffs and solos from start to finish.

The Agonist Orphans Limited Deluxe Box Set

Those talented metallers continue to hammer our heads in The Killing I, bringing to our ears groovy bass punches delivered by Chris while Simon goes berserk on drums, or in other words, this song should work beautifully if played live, and I have no words to describe Vicky’s demented performance on vocals where she proves once again she can easily and seeminglessly fluctuate between gorgeous clean vocals and deep, enraged roars. The title-track Orphans is perhaps the darkest of all songs, a voyage through the realms of Melodic Death Metal and Metalcore infused with Progressive Metal, with Vicky effectively telling the story behind the music with tons of emotion while the rest of the band offers an avalanche of groovy and thunderous sounds nonstop. Then closing the album The Agonist smashes our senses one final time in Burn It All Down, where Vicky sounds as insane and violent as she can be while Simon and Chris build a solid stage perfect for Danny and Pascal to slash their stringed axes, leaving us all disoriented and eager for more of this version of the band in a not-so-distant future.

As mentioned in the beginning of this review, I’m glad The Agonist took their time to compose Orphans, which is by the way available in full on Spotify, delivering a beyond dense and potent album of metal music that will certainly please all diehard fans of the band as well as newcomers to their metallic world. You can grab your desired copy of Orphans from several different locations by clicking HERE, like for instance the limited deluxe box set containing a jewel case CD, a flag, a logo pendant, a patch and an autographed card. The investment in this box set is definitely worth it, mainly because Orphans kicks some serious ass, of course, and also due to the fact it’s been three long (but productive) years since their last installment. Orphans is undoubtedly a serious contender to feature among the best metal albums of 2019, proving once and for all great bands like The Agonist don’t need to release album after album just because their labels think it’s a good idea. We, metalheads from all over the world, are more than happy to wait for a while for new material as long as it’s as extreme, melodic and exciting as Orphans.

Best moments of the album: In Vertigo, The Gift of Silence, Blood as My Guide and The Killing I.

Worst moments of the album: None.

Released in 2019 Napalm Records

Track listing
1. In Vertigo 5:04
2. As One We Survive 3:40
3. The Gift of Silence 4:38
4. Blood as My Guide 4:27
5. Mr. Cold 4:40
6. Dust to Dust 3:17
7. A Devil Made Me Do It 3:38
8. The Killing I 4:17
9. Orphans 5:39
10. Burn It All Down 3:36

Band members
Vicky Psarakis – vocals
Danny Marino – guitar
Pascal “Paco” Jobin – guitar
Chris Kells – bass
Simon McKay – drums

Guest musician
Lefteris Germenlis – electronic and string arrangements

Album Review – Cthonica / Typhomanteia: Sacred Triarchy of Spiritual Putrefaction (2019)

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Witness the spiritual putrefaction of men in the form of raw extreme music, crafted by a cryptic Venezuelan duo that refuses to compromise or embrace standardized creation processes.

On their horrific debut opus entitled Typhomanteia: Sacred Triarchy of Spiritual Putrefaction, Venezuelan Black/Death Metal abominable duo Cthonica unravels almost an hour of blood-curling and slithering ritualistic aural terror the hideousness and repulsiveness of which has rarely been seen on this earth, being highly recommended for admirers of the extreme noise blasted by bands such as Immolation, Incantation, Beherit, Blasphemy and Portal. Adding hazy layers of purulent noise and sepulchral dark ambient murk to further disfigure their abhorrent creation, Cthonica have crossed a new threshold in Extreme Metal, setting an entirely new standard of sonic inversion with their raw and decaying sound, and taking the glorification and worship of death and perversion to an entire new realm of conceptual and audial atrocity.

Formed in the Venezuelan capital city of Caracas in 2016 by D.V. on guitars, bass and drums, and H.K. on vocals, noise, electronics, lyrics and concept, rising from the ashes of a previous incarnation of the project called Okkvlt, Cthonica are a proudly home-recorded project, both for necessity due to the precarious access to resources in the tumultuous Venezuelan society and general lack of most things out there, and for the complete refusal by the core duo behind the project to compromise or embrace standardized and commonly acceptable creation processes. Mixed and mastered at Necrosound Studio, and featuring an artwork of surreal visual horror by Venezuelan artist Bryan Maita (BMS Illustration), Typhomanteia: Sacred Triarchy of Spiritual Putrefaction deals with the Tehomic-Typhonian metamorphosis of every man’s reason through what they call “spiritual putrefaction”, or the progressive human corruption through the guidelines of opprobrious disciplines and their teachings, and even if you have no idea of what this means at all simply (try to) relax and enjoy over 50 minutes of first-class, utterly raw extreme music made in Venezuela.

Typhomanteia: Sacred Triarchy of Spiritual Putrefaction, which seems to be purposely split into two distinct parts, kicks off with the first act of the first part, Act I: The Chalice, sounding dissonant, disruptive and absolutely raw from the very first second. H.K. begins growling deeply and rabidly in great Death Metal fashion while D.V. does an amazing job with both his flammable riffs and demonic blast beats, generating a Stygian ambience that will crawl deep inside your skin like a putrid maggot, resulting in a very atmospheric experiment with phantasmagorical passages and creepy intermissions to make things even more mesmerizing. Act II: The Lantern begins in full force, with the duo smashing our souls with their crude Experimental Black Metal, and you can easily sense the dirtiness flowing from D.V.’s devilish riffage throughout the entire song. Furthermore, H.K. continues to fire gargantuan harsh gnarls like a beast in this brutal and disturbing ode to the void, followed by Act III: The Verb, just as gruesome and infernal as its predecessors, with D.V. unleashing pure obscurity from his Doom Metal beats. Put differently, it can’t get any more experimental than this, and it’s quite impressive how they captivate our senses no matter how lengthy and intricate their wicked creations might be. In addition, H.K. not only is a talented growler, but his background noises and tones also add an extra touch of lunacy to the music.

Featuring guest vocalist İanzél (Ancient Blood, Desesperanza, Precaria), IV:I: Nor The Deadliest Disease Shall Be Compared With His Gift of Salvation… (the first aria of the second part of the album) brings to your ears a humongous wall of blackened sounds that will crush you like an insect, with the guitars and bass by D.V. reaching a new level of malignancy and sulfur while H.K. darkly vociferates the song’s words from the very depths of the underworld. This is the perfect sample of what underground extreme music is all about, which can also be said about V:II: … for the Children of he Who Lurks Beyond Shall Not Witness This Showcase Of Glory…, showcasing a tribal and absolutely vile intro led by the scorching hot riffs by D.V. while H.K. fires his trademark enraged roars. Its strident riffs and solos, together with its crisp beats, generate a dense and furious sonority that flows smoothly until everything ends in the most aggressive and demented way possible. Then prepare your ears and minds for another onrush of obscurity and dementia in the form of raw Black Metal by the duo titled VI:III: … Not As Those Who Served and Preached in Obeisance., where visceral blast beats and riffs permeate the air, blackening your heart and thoughts while H.K.’s vocals get more and more deranged as the music progresses. And to properly conclude the album we have the cinematic outro VII: Ω De Derelictum Domum Sacrorum with its eerie noises, haunting screeches and demonic tones, putting a beyond devilish ending to such unique opus.

This precious and raw gem of underground extreme music made in South America can be appreciated in full on Spotify, but of course if I were you I would show my utmost support to H.K. and D.V. by purchasing Typhomanteia: Sacred Triarchy of Spiritual Putrefaction from one of the several locations where the album is on sale, such as the Sentient Ruin Laboratories’ BandCamp or webstore (if you fancy the vinyl format), the Cagliary Records’ BandCamp or webstore (for admirers of the cassette format), from the Clavis Secretorvm’s BandCamp or webstore in digipack format or as a black or white double LP, and Apple Music. The current state of Venezuela might be precarious and extremely delicate, but even facing all types of barriers and against all odds Cthonica managed to deliver an excellent debut album for our total delectation, proving once again that the underground is (and will always be) alive and kicking, and that the spiritual putrefaction of the human being can be useful at least as fuel when Black Metal is the music in question.

Best moments of the album: Act II: The Lantern and IV:I: Nor The Deadliest Disease Shall Be Compared With His Gift of Salvation….

Worst moments of the album: None.

Released in 2019 Clavis Secretorvm/Sentient Ruin/Caligari Records

Track listing
1.  Act I: The Chalice 11:19
2. Act II: The Lantern 7:49
3. Act III: The Verb 9:51
4. IV:I: Nor The Deadliest Disease Shall Be Compared With His Gift of Salvation… 6:34
5. V:II: … for the Children of he Who Lurks Beyond Shall Not Witness This Showcase Of Glory… 8:20
6. VI:III: … Not As Those Who Served and Preached in Obeisance. 5:30
7. VII: Ω De Derelictum Domum Sacrorum 2:57

Band members
H.K. – vocals, noise, electronics
D.V. – guitars, bass, drums

Guest musician
İanzél – additional vocals on “IV:I: Nor The Deadliest Disease Shall Be Compared With His Gift of Salvation…”

Metal Chick of the Month – Thais Amaral

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Soldado não para!

If you’re a fan of the Crossover Thrash played by bands like Sepultura and Lamb of God, but at the same time highly influenced by Alternative and New Metal the likes of Korn, Jinjer and Deftones, get ready to be absolutely stunned by our metal chick of the month of November, who’s more than ready to rock like there’s no tomorrow together with her bandmates from a Brazilian band that goes by the stylish name of Endigna. Owner of a potent and versatile voice, she can deliver first-class clean vocals as well as demonic roars to our avid ears, both in Brazilian Portuguese and in English, leaving us all disoriented after her sonic attack is said and done. I’m talking about Thais Amaral, also known as Thais Endigna or even Babby Drunk, not only the frontwoman for Endigna but also a woman that brings a very welcome (and aggressive) feminine touch to a scene dominated by men.

Born and raised in Taboão da Serra, a municipality in the state of São Paulo in Brazil and part of the Metropolitan Region of the city of São Paulo, Thais started her life in music when she was around 8 or 9 years old because of the religious direction of her own family. As part of a gospel family, she got used to seeing people around her singing and playing different musical instruments; however, she only got interested in singing, never in playing an instrument, which led her to be part of the children’s choir at her church, moving on to the teenage group and to the youth group, later forming an all-female quintet where they used to sing a slightly different musical style more inclined to Soul and R&B. Although she decided to leave the church only when she was 16, she used to listen to a lot of rock music from the 90’s since she was around 12, which ended up having a huge influence on her desire to have her own band. That dream kind of came true when she was about to turn 18 years old, in 2003, when she formed a band named Goma 84, which unfortunately lasted for only two years until it was dissolved due to the different musical directions each member wanted to take. Through the years, apart from popular singing, Thais has also been enrolled in a course at IC&T – Instituto de Canto e Tecnologia in São Paulo, Brazil specialized in Heavy Metal vocal techniques, taught by Brazilian vocalist Thiago Bianchi (Shaman, Noturnall).

It was in 2007 that Thais formed her current band Endigna together with drummer (and also her husband) Tiago Sorrentino, aiming at showing a more aggressive side of rock and metal with lyrics in Portuguese, dealing with different introspective and rebellious topics. Highly influenced by renowned acts like Sepultura, Pantera, Lamb of God and Korn, as well as some very interesting names of the Brazilian scene such as Nação Zumbi and Raimundos, the band comprised of our metal lady Thais Amaral (or in this case Babby Drunk) on vocals, Tom Ayres on the guitar, Bruno Mota on bass and Tiago Sorrentino on drums released their debut EP entitled Soldado Não Para (which would translate as “a soldier doesn’t stop” or “a soldier never stops” from Portuguese) in 2014, and despite all the changes in their lineup through the years the band has solidified their name in the Brazilian underground scene, having already played in several cities across the country. At first, when the band was created, Thais and her bandmates were not exactly sure of what they wanted to do apart from obviously having fun playing in a metal band, and what started as a form of entertainment with the band playing cover songs from bands like Sepultura, System of a Down and Disturbed (like this live footage from 2012 where they play the classic Down with the Sickness), plus a couple of original compositions, quickly evolved to a more serious project, attracting more and more people curious to see that fusion of extreme music with female clean and harsh vocals.

In 2018, while Endigna was recording their first full-length album, Thais and Tiago faced a lot of problems with lineup changes and different musical ideas, which forced Thais to end the recordings and put an end also to Endigna as a band. However, after uploading on YouTube a vocal cover video for the song Pisces, by one of her favorite bands, Ukrainian metallers Jinjer, Thais was informed the video was not only seen by Jinjer themselves, but the band posted it on their official Facebook page, acknowledging it as the best cover version to one of their songs they’ve ever seen. If that wasn’t enough to make Thais extremely happy and proud of herself, Endigna were later invited to be the opening act for Jinjer at Manifesto Bar in São Paulo during their Latin American tour that year. Needless to say, that was a dream come true for Thais and the boys, re-igniting the fire inside Endigna for the delight of all fans of the band. If you want to enjoy the flammable music and live performances by Thais and her bandmates from Endigna, I recommend you take a good look and and even better listen at several Youtube videos from their official channel such as De Mãos Dadas, Pecado, Soldado Não Para, Lei Da Obediência, and several live videos like Morre Que Passa, Salvação at Mineiro Rock Bar, Pecado and Cara Da Derrota at Manifesto Bar in 2015, and Salvação, Sufocante and Lei Da Obediência live at Crazy Festival at Led Slay in 2011. Also ,don’t forget to check their SoundCloud page and official Instagram profile to know more about the band and their music.

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Apaart from her career with Endigna, our dauntless Thais can also be seen singing on the song Olho por Olho (which literally translates as “eye for an eye”) by a very peculiar project curiously named D.A.T.E.N.N.A (Desgraceiras Aterradoras Televisionadas Em Notícias Nada Agradáveis), a wordplay with the name of a Brazilian journalist who hosts a hideous TV show that deals mostly with the urban violence and nasty crimes in various regions of Brazil, as well as her aforementioned YouTube channel where you can find her vocal covers for Jinjer’s Pisces and Arch Enemy’s Reason To Believe, featuring special guest Hebberty Taurus,  guitarist for a Brazilian metal band called Dakhmas. Furthermore, Thais is also a skillful tattoo artist, running her own studio called Thais Amaral Tattoo in her hometown Taboão Da Serra (and you can get more details about the studio directly from its Facebook page or Instagram).

Regarding her biggest idols, influences and favorite bands and artists, Thais always mentions in her interviews iconic groups like Lamb Of God, Slayer, Deftones, Otep, Faith No More, A Perfect Circle, Tool and Stone Temple Pilots, and even pop artists like Beyoncé and P!nk; in addition, Thais also said in one of her social media profiles that the saddest song she’s ever listened to is Eric Clapton’s Tears in Heaven, the movie she’s watched the most in her life is The Craft, from 1996, saying she even owns it in VHS and DVD, and that she recommends the song Kriptonita, by a band named Ludov, for anyone who’s looking for good music from the Brazilian rock scene.

Thais, who by the way has been suffering from bulimia for several years but that fortunately has also been able to control that inner monster, said in one of her interviews that although the rock and metal scene are still considered sexist by many, she doesn’t really feel that difference or discrimination as she works better with guys than with girls, but that she obviously understands from a viewer standpoint that there’s a lot more pressure on women than on men. Also, our talented growler currently enjoys full support from her family in regards to her career as a musician, complementing by saying that this wasn’t the case in the beginning as the type of music played by Endigna isn’t exactly what we can consider a cash cow. Nevertheless, Thais and Endigna truly love to hit the stage and kick some serious asses, with her “ritual” before her live performances including a facial muscle warm-up, vocalizations and gargling with lukewarm water to drain her vocal chords, and after the concert is over she doesn’t talk or say anything for four or six hours to recover her voice.

Lastly, when asked about the rock and metal scene in her hometown and in the rest of Brazil, Thais said that there are countless amazing bands all over the country that deserve our attention, despite of course all hassles and barriers faced by any underground band that plays heavy music. She complemented by saying that her interaction with all organizers, as well as with all fans of heavy music, is always fantastic, praising the hard work by everyone involve in all festivals and events where Endigna played and saying she loves to interact with the fans, without whom Endigna wouldn’t exist in her opinion, also mentioning the importance of the internet for the band to spread their music, their videos and tour dates. And, as a bonus, if you speak fluent Brazilian Portuguese or have a very good understanding of the language, simply sit down, relax and enjoy this nice interview with Thais to a series called “A Cena É Delas” for Motim Underground, where she talks about everything that was mentioned above and more, focusing on the role of women in the current scene, showing that the underground in Brazil is stronger than ever with talented musicians like Thais proudly carrying the flag of heavy music wherever they go.

Thais Amaral’s Official Facebook page
Thais Amaral’s Official Instagram
Thais Amaral’s Official Twitter
Thais Amaral’s Official YouTube channel
Endigna’s Official Facebook page
Endigna’s Official Instagram
Endigna’s Official Twitter
Endigna’s Official YouTube channel

Album Review – Iced Earth / Horror Show (2001)

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Are you looking for the ultimate Heavy Metal soundtrack to spice up your Halloween party? Mr. Jon Schaffer and his henchmen can definitely help you with that.

IcedEarth-HorrorShowTampa, Florida-based Power/Thrash Metal veterans Iced Earth might be one of the most underrated bands in the history of heavy music, and I believe they’re not bigger or more famous due to Mr. Jon Schaffer’s fickle temper, which has resulted in countless (and unstable) lineup changes in the history of the band, lowering any expectations a fan might have about their future. I personally don’t care that much about the mood of any musician, as long as this doesn’t negatively affect the overall quality of the music. Take a look at Dave Mustaine and Dani Filth, for example, and you’ll notice there are some changes in their music, but the core essence of Megadeth and Cradle of Filth is always there for the delight of their fans. Due to those constant changes you never know exactly what to expect from Iced Earth, as they sometimes deliver really bad material, but fortunately for all of us their 2001 album Horror Show showcases the Iced Earth we all want to listen to, sounding powerful, well-engendered and, above all, very creative and entertaining.

Horror Show is not just a traditional Heavy Metal album, also bringing a lot of the energy from Power Metal and some of the violence found in Thrash Metal, and that’s in my opinion the best “formula” Jon and his crew can offer us. Furthermore, it’s kind of  a concept album focused on different horror stories, making it even more interesting for Heavy Metal fans that also enjoy reading a frightful book or going to the movies to see a good dosage of monsters and blood. For instance, all songs on the album are based on classic horror films, from werewolves to vampires and mummies, and many of the lyrics are lifted directly from the source material, proving that when Jon doesn’t let his personal issues interfere in his music, the final result is always fantastic. Add to all that some incredibly talented musicians like Matt Barlow on vocals, Larry Tarnowski on the lead guitar, Steve DiGiorgio (Testament, Death, Charred Walls of the Damned) on bass and Richard Christy (Death, Charred Walls of the Damned) on drums, and there you have the utmost recipe for awesomeness.

Wolf, the first track of the album inspired by The Wolf Man films, is an excellent heavy song to kick things off, showing why Jon is considered by many one of the best riff-makers in Heavy Metal. The speed of the song and its grinding riffs give it an amazing Thrash Metal touch, not to mention its chorus inspired by a poem that is recited in the 1941 film The Wolf Man, making any fan excited for the rest of the album. Then we have Damien, inspired by The Omen films, presenting outstanding lyrics that make a lot of sense if you have read the book or seen the movies like I’ve done (“When the Jews return to Zion / And a comet fills the sky / The Holy Roman Empire rises / And you and I must die”). As a matter of fact, the chorus was taken from the 1976 film The Omen, and the spoken section was adapted from a speech in its 1981 sequel, Omen III: The Final Conflict, just to give you a sense of how detailed this song is. Things get even better in Jack, inspired by the one and only Jack the Ripper, with Jon slashing our ears with his riffs in great “Ripper” fashion. Moreover, perhaps the funniest thing about this song is that Horror Show was the last studio album (apart from their album of cover songs called Tribute to the Gods, from 2002) Matt recorded before Tim “Ripper” Owens (The Ripper himself!) joined the band in 2003 and recorded The Glorious Burden in 2004, which is for me one of their best and most consistent albums of all.

The album continues with Ghost of Freedom, the only song that wasn’t inspired by any horror movie or character. It’s a very beautiful ballad and one of the top moments of the whole album, showing us a more “romantic” side of Jon and how good Matt’s voice can be even when he’s not screaming. The following three songs might not be masterpieces, but they surely keep the album at a high level of adrenaline and epicness. Im-Ho-Tep (Pharaoh’s Curse) (inspired by The Mummy), Jekyll & Hyde (inspired by The Strange Case of Dr. Jekyll and Mr. Hyde), and Dragon’s Child (inspired by Creature from the Black Lagoon) not only have amazing concepts, but the music itself is very pleasant and cohesive, embracing us all and pulling us deeper into the world of horror created by the band throughout the entire album.

IcedEarth_Promo2001Frankenstein (“surprisingly” inspired by Frankenstein) is even better than those three tracks, raising your energy level and making you want to headbang like a crazy motherfucker, followed by the best song of Horror Show without a shadow of a doubt, the stunning Dracula (also “astoundingly” inspired by Dracula), a metal masterpiece that’s absolutely flawless from start to finish, presenting to the listener the duo Jon and Matt at the peak of their forms. This is an all-time fan favorite and a mandatory track in any of the band’s live setlists, also bringing to our avid ears ass-kicking lyrics (“Do you believe in love? / Do you believe in destiny? / True love may come only once in a thousand lifetimes…”). Lastly, we have The Phantom Opera Ghost, obviously inspired by The Phantom of the Opera, and despite all the additional elements and musicians it sounds too pretentious and doesn’t deliver what the fans are actually expecting.

The limited edition has a bonus disc with two totally opposite moments: an incredible cover for Iron Maiden’s Transylvania, where Jon does what he does best with his guitar; and a tedious interview with him that lasts for over an hour. I guess there’s a one-disc version of Horror Show that includes Transylvania as a regular track, so if I were you that’s the one I would buy. And finally, one thing that Iced Earth have always delivered are stunning album arts. The band’s own mascot, Set Abominae, might not be part of the compositions this time, but he certainly makes the front cover of Horror Show designed by Danny Miki and Travis Smith darkly captivating. In a nutshell, Horror Show, which makes the already distant year of 2001 look like it just happened yesterday, is a mandatory choice for that Heavy Metal Halloween party you’re planning with your friends (as well as a good source of inspiration for your costumes), or maybe you can just dress up as Jon Schaffer and walk around your neighborhood playing some of the tracks from Horror Show on your guitar, how about that? We could even call this new Halloween tradition as “Trick or Thrash”.

Best moments of the album: Wolf, Damien, Ghost of Freedom, Dracula and Transylvania.

Worst moments of the album: The Phantom Opera Ghost.

Released in 2001 Century Media Records

Track listing
1. Wolf 5:20
2. Damien 9:12
3. Jack 4:14
4. Ghost of Freedom 5:12
5. Im-Ho-Tep (Pharaoh’s Curse) 4:45
6. Jekyll & Hyde 4:39
7. Dragon’s Child 4:21
8. Frankenstein 3:50
9. Dracula 5:54
10. The Phantom Opera Ghost 8:41

Limited Edition Disc Two
11. Transylvania (Iron Maiden cover) 4:30
12. Interview with Jon Schaffer (conducted by Sumit Chandra) 69:27

Band members
Matt Barlow – vocals
Jon Schaffer – guitar
Larry Tarnowski – lead guitar
Steve DiGiorgio – bass
Richard Christy – drums

Guest musicians
Yunhui Percifield – lead vocals on “The Phantom Opera Ghost” as “Christine”, backing vocals
Jim Morris – guitar solo on “Ghost of Freedom”, keys, backing vocals
Howard Helm – keys (pipe organ) on “The Phantom Opera Ghost”
Richie Wilkison, Rafaela Farias & Sam King – backing vocals

Album Review – Kaamos Warriors / Shadows Of Northern Chaos (2019)

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All hail the Finnish warriors of the eternal night and their brand new album of Dark Metal, beautifully reflecting the coldness and melancholy of the North.

Formed as a duo by vocalist and guitarist Mikko Ojala (Crowned with Black, Dark the Suns, The Beauty of Darkened Hearts) and guitarist Jani Moilanen (R2JBros) in the beginning of 2018 in Kempele, a municipality just south of the city of Oulu in Northern Finland, the sinister Dark Metal unity known as Kaamos Warriors is unleashing upon humanity their second full-length opus entitled Shadows Of Northern Chaos, a follow-up to their debut album Ikuisen Talven Sarastus (or “the dawn of eternal winter” in English), released earlier this year. Now a three-piece band with the addition of bassist Jyri Moilanen to their lineup, Kaamos Warriors once again reflect the coldness and melancholy of the North in the eight dark and somber compositions found in  Shadows Of Northern Chaos, combining the bitterly cold elements from Atmospheric and Doom Metal to their core Black Metal essence. As a matter of fact, the word “kaamos” means “the polar night”, or the period of darkness north of the Arctic Circle and south of the Antarctic Circle when the sun does not rise over the horizon, perfectly summarizing what the music by those Finnish metallers is all about.

Mikko and Jani generate a frosty and raw ambience with their riffs in the opening track Wolves in Storm, an ode to the North blending classic Black Metal with contemporary Blackened Death Metal and with Mikko’s vocals sounding deep and obscure just like the music demands. Then we have Chaos Walks the Earth, even darker and more demonic than its predecessor, with its guitars bringing the most visceral tones from classic Death Metal while Jyri’s bass lines sound absolutely ominous, therefore adding an extra dosage of malignancy to the music, all spiced up by spot-on blast beats and strident guitar solos. And get ready to crack your neck headbanging to the boisterous Chaos & Mayhem, where the brutal sounds of guitars and bass fill every single space in the air, resulting in a dense and violent atmosphere that leans towards Melodic Black Metal; whereas Ruined by Plague is a mid-tempo hellish hymn blasted by the trio with a huge focus on the very detailed work done on the guitars, which complemented by Jyri’s thunderous bass turns it into a storm of heavy music.

In the title-track Shadows of Northern Chaos this talented Finnish triumvirate goes full Black Metal, blasting our ears with an infernal sonority led by Mikko’s Stygian, guttural roars while its riffs add hints of melancholy and hopelessness to the overall result, and they keep slashing their strings in Where Shadows Grow, another classic Black and Death Metal composition showcasing spot-on beats, harsh gnarls and a perturbing, winter-like vibe, offering the listener a fusion of sheer aggressiveness and obscurity with a very pleasant melody. Ruins of Hope sounds as if Unleashed met Marduk and Behemoth for a jam session, with Mikko and Jani firing incendiary riffs from their axes while Jyri keeps delivering rumbling bass punches nonstop, and lastly the band fires Moon and Stars, one of the most melancholic and darkest of all tracks where you can feel the bitterly cold epicness of the North flowing from its riffs and beats, flirting with Doom Metal and remaining truly grim and dark until the very end.

If you enjoy this fusion of extreme music with the chilling, melancholic landscapes from the North crafted by Kaamos Warriors, you should definitely follow the band on Facebook, listen to more of their music on Spotify, and purchase their music from different locations such as Apple Music and Amazon. Shadows Of Northern Chaos might not be a masterpiece nor a revolution in Black and Death Metal, but it’s definitely a very good, cohesive and well-balanced album by those warriors of the never-ending northern night highly recommended for fans of the genre, and if in their first year of existence they were already capable of delivering two really entertaining full-length albums, I can’t wait to see what’s next in their promising (and wintry) career.

Best moments of the album: Chaos Walks the Earth, Chaos & Mayhem and Shadows of Northern Chaos.

Worst moments of the album: None.

Released in 2019 Inverse Records

Track listing
1. Wolves in Storm 2:28
2. Chaos Walks the Earth 2:28
3. Chaos & Mayhem 2:06
4. Ruined by Plague 2:35
5. Shadows of Northern Chaos 3:06
6. Where Shadows Grow 3:28
7. Ruins of Hope 2:28
8. Moon and Stars 4:00

Band members
Mikko Ojala – vocals, guitars
Jani Moilanen – guitars (lead/acoustic)
Jyri Moilanen – bass

Album Review – Forlet Sires / Holy (2019)

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The “abandoned forefathers” of Switzerland continue their explorations of uneasy, heavy music with their excellent sophomore opus of Atmospheric Black and Doom Metal.

Brought into being in late 2013 in Winterthur, a Swiss city northeast of Zurich, near the German border, Atmospheric Black/Doom Metal unity Forlet Sires might have started out as a conventional Atmospheric Black Metal project, but soon the band started to incorporate influences from several distinct styles such as classic Black Metal, Doom Metal and even Progressive Metal, consolidating a new approach on the genre without any boundaries while keeping a grief aspect in every tone. Now in 2019 the band comprised of Kilian Schmid on vocals, Tobias Kalt and Sebastian Vogt on the guitars, Matthias Menzi on bass and Daniele Brumana on drums returns in full force with Holy, the follow-up to their 2016 debut album Journey Towards Ruin and a lesson in atmospheric and utterly dark music.

Recorded by Forlet Sires at Gaswerk Winterthur with assistance from Pascal Pendl and George Necola, mixed by Billy Anderson, mastered by Justin Weis and featuring a stylish artwork by Adam Burke that perfectly depicts the album’s sense of death, abandonment and hopelessness, Holy presents an evolved version of Forlet Sires (by the way, an old English expression that roughly translates to “abandoned forefathers”, expressing how mankind has lost its way in various aspects) continuing their explorations of uneasy, heavy music, creating an elusive net of insecurity and surpassing music barriers while following the band into their sonic abyss. These words might sound a bit too poetic for some of you, but as soon as you start listening to Holy I’m sure you’ll realize no words can effectively describe the dark and atmospheric poetry flowing from Forlet Sires’ music.

Melancholy permeates the air from the very first second in the opening track Carnage and Candor, with Tobias and Sebastian taking the lead with their somber guitar lines, suddenly exploding into visceral Atmospheric Doom Metal for our total delight with Kilian roaring like an infernal beast. Moreover, this multi-layered aria brings forward tons of progressiveness and obscurity, getting more and more infuriated as the music progresses with Daniele adding a touch of evil with his Black Metal blast beats, ending in a truly grim and vile manner just the way we like it in Doom Metal. Then in Where Nothing Shall Thrive we’re treated to a classic display of Atmospheric Black and Doom Metal that leans towards the most vicious form of Blackened Doom you can think of, all enhanced by the physiological and somber lyrics vociferated by Kilian (“You’re alive, alone. You’re afraid, you tried. Devils are in your mind, lining you up to die. Fade away, longing for more. Feel the void, mourn the waste of life. Youth was lost, faster than you thought. Midlife has passed, all you did was dreaming. Gently conditioned, ambition repressed by degrees.”). And to make things even better, the stringed trio Tobias, Sebastian and Matthias exhale heaviness and evil from their axes throughout the entire song, not to mention the lesson in intricacy and darkness given by Daniele on drums.

Dead Skin, a demonic hybrid of Progressive Metal and Blackened Doom by the quintet, sounds and feels as wicked as it can be,  with Kilian leading his horde with his demented growls and gnarls while the sound of guitars penetrates deep inside your skin and Matthias delivers tons of groove from his bass, resulting in a full-bodied composition that will please all fans of the genre without a shadow of a doubt. And lastly, the thunderous bass by Matthias together with Daniele’s drums generate a beyond aggressive atmosphere in We Roam This World Alone, the epitome of Atmospheric Doom Metal showcasing Stygian words that carry a message of anguish and grief growled by Kilian (“Cold sorrow claims all hope. Live on, for reasons unknown. Falling. Fallen. While I’m bleeding unappealing strands of purulence, I am feeding off a cyst on this dry cunt.”). Hence, keep banging your head nonstop to Tobias’ and Sebastian’s crushing riffage until the song’s climatic finale, overflowing desperation and evil.

It’s quite impressive how Forlet Sires are capable of crafting lengthy, complex and sorrowful compositions without sounding tiresome or repetitive; quite the contrary, each one of the four songs found in Holy, available in full on Spotify, will keep you mesmerized, dragging you into a downward spiral of darkness together with the band, which in the end means they were more than successful in their aforementioned duty of generating fresh and at the same time mournful music. If you want to show your true support to this talented Swiss army of doom, go check what they’re up to on Facebook and grab your copy of Holy from their BandCamp page, from Apple Music or from Amazon, preparing your blackened mind and soul for the most desolating and melancholic moments in life.

Best moments of the album: Where Nothing Shall Thrive and We Roam This World Alone.

Worst moments of the album: None.

Released in 2019 Cruel Bones

Track listing
1. Carnage and Candor 12:37
2. Where Nothing Shall Thrive 7:45
3. Dead Skin 8:59
4. We Roam This World Alone 11:23

Band members
Kilian Schmid – vocals
Tobias Kalt – guitars
Sebastian Vogt – guitars
Matthias Menzi – bass
Daniele Brumana – drums

Album Review – Rexoria / Ice Breaker (2019)

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One of the most promising names of the Swedish metal scene returns with an inspiring new album that will bring you right into the dark forests and up on high mountains.

Creating an inspiring sound with various folk and power influences which will bring you right into the dark forests and up on high mountains, Jönköping, Sweden-based Melodic Metal outfit Rexoria is back in action in 2019 with a brand new opus entitled Ice Breaker, the follow-up to their 2018 installment Queen of Light and, more important than that, an album that will undoubtedly put a huge smile on the faces of fans of the music played by renowned acts like Doro, Battle Beast, Imperia, Aldaria, and several other bands that beautifully unite the electricity of traditional Heavy Metal with melodic and epic nuances. Mixed and mastered at Studio Fredman in Gothenburg, Sweden by Fredrik Nordström, and featuring an epic artwork showcasing a fearless valkyrie designed by Brazilian artist Jobert Mello from Sledgehammer Graphix (who has already worked with bands like Sabaton, Primal Fear and Grenouer), Ice Breaker is the perfect depiction of everything the music crafted by vocalist and keyboardist Frida Ohlin, guitarist and bassist Jonas Gustavsson, guitarist Cristofer Svensson and drummer Martin Gustavsson represents, being at the same time heavy, fast, melodic and exhilarating, paving a very promising path for these extremely talented musicians.

The electrifying riffs by Jonas and Cristofer permeate the air in the magical Velvet Heroes, a pure Hard Rock tune taken from the 80’s with a metallic touch brought forth by Frida’s soaring vocals, making it impossible to stand still to its inspiring rhythm and pace. Drinking from the same metal fountain as the iconic Doro, Frida delivers strident, sharp vocal lines in Fight the Demons, while her bandmates blast their instruments with tons of precision and feeling, sounding like a Swedish version of Accept with a feminine vibe; then it’s time to slow things down a bit to a passionate performance by Frida and the boys in Endless Nights, where Jonas and Cristofer are on fire with their guitar solos, resulting in a beautiful power ballad to warm up our hearts before the winter arrives. And if you consider yourself a courageous person, simply head into the always dangerous wilderness with Rexoria in Into the Wild, a mid-tempo tune where the galloping bass by Cristofer together with the rhythmic drums by Martin take the lead, being tailored for admirers of the golden years of Heavy Metal.

There’s more Melodic Metal flowing from their razor-edged guitars and pounding drums in Reach for the Heavens in Time, bringing an endless amount of electricity that will inspire you to prance and sing together with the band, whereas the title-track Ice Breaker is a lesson in Melodic Metal with an important message about the dangers of climate change, with its powerful backing vocals and galloping rhythm (that bands like Iron Maiden and Judas Priest made famous) supporting Frida in her quest for a better world. A screaming eagle and gentle piano notes are the main ingredients in the classy instrumental bridge Wind and Rain, before Rexoria embellish the airwaves once again with their charming metal music in The Rise of the Phoenix, leaning towards the Symphonic Metal played by bands like Nightwish and Epica. Needless to say, Jonas and Cristofer have another solid performance with their guitars, not to mention the song’s epic aura crafted by Frida’s keys.

Putting the pedal to the metal the band salutes the gods of heavy music in Brothers of Asgaard, a song that has all it takes to become a fan-favorite where Frida ventures through more aggressive lands with her high-pitched vocals, also showcasing thrilling guitar solos and unstoppable beats, followed by The Raging Thunder, another song that blends the heaviness of classic metal music with the band’s ethereal and touching vibe, being highly recommended for banging your head nonstop or simply savoring Frida’s powerful vocal lines. The second to last track in Ice Breaker, titled Roaring, is by far one of the best songs of the album, a rockin’ extravaganza led by Martin’s crushing beats where it’s truly entertaining to witness Frida roaring like the she-wolf she is, alternating between rampant moments and high-octane passages. And closing the album we have Vår Verklighet (or our reality” in Swedish), featuring Swedish vocalist Niklas Isfeldt (Dream Evil), an epic composition by the band where Frida and Niklas make a fantastic vocal duet while the rest of the guys keep the music flowing nicely and powerfully, also bringing a soulful guitar solo as the icing on the cake.

In summary, the excellent Ice Breaker, which is available in full on Spotify and on sale from several locations such as the band’s own webstore, the Pride & Joy webstore, the Nuclear Blast webstore, Apple Music and Amazon, represents a huge step forward in the career of those four Swedish metallers, helping Rexoria emerge as one of the most promising names in the Melodic and Symphonic Metal scene worldwide. Hence, you can also show your support to Frida and the boys by following them on Facebook, getting connected to a band that’s not only going places, but that showcases a limitless potential to shine brighter and brighter as the years go by and, above all, with an honest and deep passion for our beloved heavy music.

Best moments of the album: Velvet Heroes, Brothers of Asgaard and Roaring.

Worst moments of the album: The Rise of the Phoenix.

Released in 2019 Pride & Joy Music

Track listing
1. Velvet Heroes 3:28
2. Fight the Demons 4:07
3. Endless Nights 4:38
4. Into the Wild 3:52
5. Reach for the Heavens in Time 5:08
6. Ice Breaker 5:38
7. Wind and Rain 1:26
8. The Rise of the Phoenix 5:04
9. Brothers of Asgaard 3:45
10. The Raging Thunder 4:12
11. Roaring 3:47
12. Vår Verklighet 4:31

Band members
Frida Ohlin – vocals, keyboards
Jonas Gustavsson – guitar, bass
Cristofer Svensson – guitar
Martin Gustavsson – drums

Guest musician
Niklas Isfeldt – vocals on “Vår Verklighet”

Album Review – Thrashfire / Into the Armageddon (2019)

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It’s time for total annihilation blasted by three metallers from “the land of four seasons” who are ready to thrash until their very last breath.

It’s not everyday that we’re able to face a band hailing from Turkey, but whenever that happens, and we have some good examples here on The Headbanging Moose with Inhuman Depravity, Diabolizer, Grotesque Ceremonium, Axxen Conners, Sülfür Ensemble and Engulfed, the music is always vibrant, fun and, above all, heavy-as-hell. That can also be said about an unrelenting Ankara-based trio that goes by the name of Thrashfire, unleashing upon humanity pure Speed and Thrash Metal since their inception back in 2006. After the release of their debut self-titled demo in 2007, followed by a promo EP titled World Domination in 2010, their first full-length album Thrash Burned The Hell in 2011 and the EP Vengeance Of Fire in 2015, it’s time for Thrashfire to violently thrash us all with their sophomore opus Into the Armageddon, undoubtedly their best work to date.

Comprised of vocalist and guitarist Burak Tavus, bassist Okan Özden and drummer Gürkan Güvendik, the band has been on an incendiary roll since day one, having already shared the stage with renowned acts like Destruction, Artillery, Rumble Militia and Venom Inc., as well as numerous shows within Turkey and a mini-tour in Germany in 2017, where they will return in November 2019 to play at the infamous True Thrash Fest Hamburg. Featuring a classic, gruesome and absolutely awesome artwork by Ozan Yildirim (Deadhouse Studio), Into the Armageddon is an intense and infernal thrashing extravaganza that will surely be the delight of lovers of bands like Kreator, Dark Angel, Slayer and Sodom, proving why Thrashfire are one of the biggest names in Turkish Thrash Metal, if not the biggest one of all.

The opening tune Pure Devastating Necromancy begins in full force with Burak screaming like a demented beast from the very first second, offering us all pulverizing, high-octane Thrash Metal where Gürkan sounds absolutely brutal on drums, generating a thunderous ambience together with Okan’s vile bass lines. In Katacomb (The Kingdom of Ressurrection), a quick and somber intro morphs into a frantic circle pit-catalyst led by Burak’s classic thrashing riffs and raspy vocals, feeling like a hybrid between old school Slayer with Death Angel and Exodus (which obviously means it’s infernally fantastic); and there’s no time to breathe as the power trio attacks our senses with hatred and electricity in Dybbukim, an enraged display of Thrash Metal where Burak bursts his lungs growling manically while Gürkan alternates between more rhythmic moments and sheer brutality on drums.

The trio keeps hammering and pounding our heads in Wisdom of Sacrilegious, with Burak’s shredding being amplified by Okan and Gürkan’s kitchen of hell, therefore resulting in nonstop action in the form of Turkish Thrash Metal for our avid ears. Then razor-edged riffs and bestial beats turn up the heat in Supreme Command, a classic Bay Area Thrash chant made in Turkey where Burak’s roars get more and more deranged as the music progresses, while Okan’s bass punches add an overdose of metal to the overall result. And if you thought the trio couldn’t sound more violent and visceral you better get ready for Through the Crimson Darkness, bringing forward slashing riffs, unstoppable beats and endless aggressiveness flowing from all instruments.

Then drinking from the same electrifying fountain as thrash masters Slayer and Exodus, the band offers us a breathtaking hymn of evil entitled Slaughtered By Hellgoats, where our beloved Turkish triumvirate is on absolute fire from start to finish; followed by Post Apocalyptic Holy Terror, a beautiful name for a “gentle” composition by Thrashfire. Burka sounds deeply infuriated and possessed with his vocals and riffs, not to mention Gürkan’s stone crushing drums, being highly recommended for anyone who enjoys a good old, violent mosh pit. High Heel in the Hell is a solid, straightforward tune also perfect for slamming into the pit, with Burak and Okan smashing their strings in great fashion, and after the music is over it’s time for the traditional “body count”. And lastly, we’re treated to over six minutes of old school thrash in the title-track Into the Armageddon, where the trio doesn’t stop delivering extreme aggression and fury. Moreover, Gürkan has a fantastic performance on drums, with the music getting more and more obscure and demonic as it approaches its demolishing and grim conclusion.

If you want to get caught in a mosh, you can enjoy Into the Armageddon in its entirety on YouTube and on Spotify, and purchase your copy of the album from the Xtreem Music’s BandCamp page or webstore, as well as from Apple Music or Amazon. Also, don’t forget to show your support to underground Turkish metal by following the band on Facebook, preparing yourself for total annihilation to the sound of the music crafted by three metallers from “the land of four seasons” who are ready to thrash until their very last breath.

Best moments of the album: Dybbukim, Supreme Command and Slaughtered By Hellgoats.

Worst moments of the album: None.

Released in 2019 Xtreem Music

Track listing
1. Pure Devastating Necromancy 2:58
2. Katacomb (The Kingdom of Ressurrection) 5:03
3. Dybbukim 3:33
4. Wisdom of Sacrilegious 3:53
5. Supreme Command 5:49
6. Through the Crimson Darkness 3:17
7. Slaughtered By Hellgoats 3:06
8. Post Apocalyptic Holy Terror 5:11
9. High Heel in the Hell 3:19
10. Into the Armageddon 6:16

Band members
Burak Tavus – vocals, guitar
Okan Özden – bass
Gürkan Güvendik – drums