Album Review – Grenouer / Ambition 999 (2019)

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Over 55 minutes of classy and modern rock music showcasing a different side of this talented Russian band, but still keeping their amazing core Alternative Rock and Metal intact.

Offering over 55 minutes of modern and melodic Alternative Metal with several distinct rock elements, Ambition 999, the ninth album in the career of Saint Petersburg, Russia-based act Grenouer, turned out to be a long-term project due to all the re-recording needed until the band reached its desired sound. That resulted into one of the biggest gaps between albums in their career, with nothing more, nothing less than four years separating Ambition 999 from their previous album, Unwanted Today, released in 2015. However, all that wait was definitely worth it as their new album is indeed a fresh addition to their discography, with each one of its 15 songs offering a different approach when compared to the band’s two previous efforts in terms of riff intensity and rapid-fire solos, balancing between new and clichés, double density and marked vocal temperament.

Engineered and recorded by Al Bolo at RDS& Moscow Gates Apartment Studios, Anssi Kippo at Astia-Studio, and Luigi Del Missier at BlackMirror Studios, produced, mixed and mastered by Giuseppe “Dualized” Bassi from dysFUNCTION Productions, and featuring a futuristic artwork by Brazilian artist Jobert Mello (Sledgehammer Graphix) and Italian artist Zimon (New Breed Graphic Studio), Ambition 999 feels like a heavier version of bands such as Depeche Mode and Duran Duran, presenting a more than inspired and electrified band comprised of Andrey Ind on lead vocals, Dmitry Rubanovsky and Alexander Motor on the guitars, Al Bolo on bass and Danny D on drums, and bringing to our avid ears everything we need to have a good time on the road, at a pub, at home, or anywhere else where good rock music is properly appreciated.

Electric waves permeate the air before the band begins blasting their modernized blend of Alternative Rock and Metal in Burnt to the Ground, with highlights to the slashing guitar riffs and solos by Dmitry and Alexander; followed by Nevermind Tomorrow, a song perfect for banging our heads to their riffs and beats while Andrey gives life to its party-like lyrics (“Fast and tight / High heel party night / Tomorrow never knows and never dies / Drinks on me / Any chicks for free? / We’re born to make some noise, so sing with me / Or you’d better shout”), and One Day, another thrilling tune in the same vein as bands like Godsmack, Shinedown and Three Days Grace, sounding very melodic and showcasing a passionate performance by Andrey on vocals while Danny D dictates the rhythm with his spot-on beats. Then in Infinite Grace the band adds a good amount of heaviness to their music, getting closer to the musicality by bands like Rob Zombie and Marilyn Manson but still keeping their core Alternative Rock intact, also presenting some sick guitar solos for our total delectation, whereas in Medicine Treats No Lies the quintet continues their feast of modern-day rock and metal music, with Al together with Danny D bringing thunder to the music with their respective instruments.

If Cure for the Lonely is even more futuristic and atmospheric, displaying a strong focus on Andrey’s vocals and feeling at times like a hybrid of modern rock music with the electronic and alternative sounds by old school bands like Depeche Mode, Uncommon Faith is a good song for hitting the highway, presenting great sync between the band’s stringed trio and Danny D’s beats, all infused with Hard Rock elements. On the other hand, Back on Track is slightly below the rest of the album in terms of electricity, albeit it does bring forward a considerable amount of progressiveness as well as Andrey’s smooth but potent vocals; while Universe of My Heaven sounds very modern and progressive, also bringing some symphonic elements in the background to give it an extra taste. Moreover, Al’s bass sounds as groovy as it can be, while Danny D pounds his drums just the way we like it in good modern Rock N’ Roll. After that, it’s time for Grenouer to take their musicality to even more eccentric lands with the weird, atmospheric and fun Crimson Lines, with highlights to its classy, poetic lyrics (“Read between the crimson lines / Sacred destination / Go behind the scenes of life / Steady irritation / Read between the crimson lines / Go behind the sonic nightmares / Black and white visions in the sky”).

It’s interesting how Grenouer manage to keep their essence while exploring new sounds, which is the case in the almost electronic-dancing tune Chase the Sun, and although the final result is quite entertaining the guitars by both Dmitry and Alexander needed an extra kick for the whole song to work even better. Then melancholic, acoustic guitars ignite the introspective Ingenious Care, showcasing smooth vocal lines, complex and serene drums, and featuring guests Chayka Chursina on vocals and Zimon on bass, sounding dark from start to finish and, therefore, sending the desired message by the band. Dangerous Girls takes the band back to a heavier, more pounding sonority, with their guitar duo being on fire as well as Al and his rumbling bass, or in other words, this is a well-balanced hybrid of Progressive and Alternative Metal for admirers of the genre. The second to last blast of Grenouer’s rockin’ sounds comes in the form of Paranormal Star, sounding as whimsical and piercing as its name, placing it as another serious candidate to be part of their live setlists, whereas the last tune from Ambition 999 is a superb acoustic ballad entitled Alone in the Dark, which not only presents beautiful guitars and vocals, but its official video is amazingly obscure and captivating. Put differently, it might not be the usual electrified Grenouer we’re used to, but this somber, pensive side of the band is just as enfolding as their more regular sonority.

What are you waiting for to put your hands on 15 extremely well-crafted and energizing rock songs made in Russia? Simply go to the band’s official BandCamp page to grab your copy of the album, as well as to the Sleaszy Rider Records’ BandCamp or webstore, to iTunes or to Amazon, and keep an eye on their Facebook page, VKontakte and YouTube channel for news, tour dates and more of their crisp rock music. As an already established and successful band in the world of heavy music, we can rest assured Grenouer are far from calling it quits, hoping that all of their future releases are just as good as the music found in Ambition 999 and that they proudly keep carrying the flag of Rock N’ Roll wherever they go.

Best moments of the album: Nevermind Tomorrow, Medicine Treats No Lies, Crimson Lines and Alone in the Dark.

Worst moments of the album: Back on Track and Chase the Sun.

Released in 2019 Sleaszy Rider Records

Track listing
1. Burnt to the Ground 3:30
2. Nevermind Tomorrow 3:32
3. One Day 4:15
4. Infinite Grace 4:07
5. Medicine Treats No Lies 3:25
6. Cure for the Lonely 2:37
7. Uncommon Faith 5:13
8. Back on Track 3:41
9. Universe of My Heaven 3:49
10. Crimson Lines 4:16
11. Chase the Sun 3:17
12. Ingenious Care 3:24
13. Dangerous Girls 4:08
14. Paranormal Star 3:10
15. Alone in the Dark 3:20

Band members
Andrey Ind – lead vocals
Dmitry Rubanovsky – guitars
Alexander Motor – guitars
Al Bolo – bass
Danny D – drums

Guest musicians
Chayka Chursina – female vocals on “Ingenious Care”
Zimon – bass on “Ingenious Care”

Album Review – Hiss From The Moat / The Harrier (2019)

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A first-class album of Black and Death Metal made in Italy, inspired by the true harriers of our society such as politics, religion and dictatorship.

In case you’re not familiar with the brutality and rage of Italian Black/Death Metal horde Hiss From The Moat, the band was founded in 2006 by drummer James Payne (Vital Remains, Hour of Penance) with two Italian friends, bassist Carlo Cremascoli and guitarist Giacomo Poli, delivering a stream of very interesting releases since their inception, starting with their debut EP The Carved Flesh Message, in 2009, followed by their first full-length album Misanthropy, in 2013, eventually adding vocalist and guitarist Massimilano Cirelli to their lineup, and now their sophomore full-length opus The Harrier, in 2019. Regarding the album’s title, Mr. Payne says, “The Harrier refers to he who devastates. It’s not intended as someone whom we created to destroy, but rather to indicate everything that has devastated our history, like politics, religion and dictatorship etc. That’s why we used extracts of religious and political scripts in the lyrics.”

Based in the cities of Los Angeles (United States), London (England) and Milan (Italy), this multinational entity has recently issued a series of videos through their YouTube channel showing the band working on the recording of The Harrier in the city of Milan, therefore demonstrating their passion for what they do and a desire to be as honest and transparent as possible with their fans. Furthermore, regarding the album’s artwork designed by Stefano Bonora, Mr. Payne said that “the artwork of the album is defined by three elements: a head of a statue that represents the blind and apathetic attitude of mankind; the mechanical mask on top of the head that represents the institutions that oppress people (similar to the belt on the statue’s mouth and the crosses as blinders); and the alchemical circles that have the meaning of improving mankind through the mind and the body, to promote self-improvement without looking for external help,” just to give you an idea of how obscure and austere their music is.

The cryptic and serene intro The Badial Despondency suddenly explodes into the bestial title-track The Harrier, where the quartet begins pulverizing everything and everyone that crosses their path. Furthermore, James is unstoppable on drums, while Massimiliano roars the song’s dark lyrics manically from start to finish, and brutality and rage keep flowing from all instruments in I Will Rise, a beyond electrifying Melodic Black Metal tune where the guitars by both Massimiliano and Giacomo sound infernal, not to mention how fast, precise and ruthless James is on drums. Then some sort of “dark poem” is recited by Massimiliano before all hell breaks loose in The Passage To Hell, bringing not even a single second of peace for us to breathe, only sheer devastation in the form of classic Black Metal, with James once again hammering our heads with his hellish and intricate drumming.

Slaves To War is just as demonic as its predecessor, showcasing sick guitar riffs, endless violence and a sulfurous atmosphere only modern Black Metal can offer you, keeping the album on fire before the band comes ripping our hearts out with the magnificent Sine Animvs, a lecture in modern-day Melodic Black Metal infused with Death Metal nuances, close to the Blackened Death Metal blasted by the iconic Behemoth. Hence, it’s absolutely impossible to stand still to the incendiary riffs by the band’s guitar duo. In the interlude titled The Abandonment, acoustic guitars work as the “calm before the storm”, warming up our senses for The Allegory of Upheaval, another straightforward creation by those Italian metallers alternating between very complex and interesting moments and less inspired passages. It’s still a very good song though, proving how powerful the band always sounds.

Then we have another one of my favorite tracks, God Nephasto, and James himself had a few nice words to say about it. “The song is one of the most intense of the album as far as rhythm and atmosphere,” explained our talented drummer. “It has several parts of blast beats and breakdowns that combined with the dark atmosphere of the notes keep the song pretty nervous. This is to support the lyrics that have been taken from parts of the Enuma Elish and the Old Testament that talk about when the Gods mentioned in these scripts, ordered sacrifices in their honor.” Musically speaking, it’s a visceral sonic havoc that will please all fans of the genre, sounding crisp, thunderous and menacing, with highlights to Massimilano’s infernal growls and obviously to James’ demolishing beats. Their second to last Black Metal extravaganza, entitled Unperishing, is just as demonic and violent as the rest of the album, with its classic riffs and beats bringing endless heaviness to the overall musicality, while Carlo not only extracts thunder from his bass, but he also supports Massimiliano’s vociferations flawlessly with his backing vocals. And there’s still time for one final onrush of blackened sounds for our total delight, named The Decay of Lies, less frantic but as heavy as hell, working at times as a marching outro to such vile album. Needless to say, Massimiliano and Giacomo are absolutely demonic with their guitars from start to finish, ending the album on a high and obscure note.

There are several places where you can get your copy of such amazing album of Black and Death Metal, like the band’s own BandCamp page or Big Cartel, the M-Theory Audio’s webstore in regular CD or limited edition vinyl format, the Napalm Records’ webstore, iTunes, Amazon, and so on. Don’t forget to also follow Hiss From The Moat on Facebook, and to worship darkness to the sound of their crushing extreme music, always keeping a very good distance from all types of religion and from politics, the true destroyers of our decaying society. and that’s how you craft first-class extreme music, my friends. Music that not only makes you bang your head and raise your horns, but that above all that also makes you think.

Best moments of the album: I Will Rise, Sine Animvs and God Nephasto.

Worst moments of the album: The Allegory of Upheaval.

Released in 2019 M-Theory Audio

Track listing
1. The Badial Despondency 1:24
2. The Harrier 4:00
3. I Will Rise 3:56
4. The Passage To Hell 3:44
5. Slaves To War 4:35
6. Sine Animvs 3:48
7. The Abandonment (Interlude) 3:26
8. The Allegory of Upheaval 4:33
9. God Nephasto 4:12
10. Unperishing 4:46
11. The Decay of Lies 4:48

Band members
Massimilano Cirelli – vocals, guitar
Giacomo Poli – guitar
Carlo Cremascoli – bass, backing vocals
James Payne – drums

Concert Review – Godsmack & Volbeat (Canadian Tire Centre, Ottawa, ON, 05/10/2019)

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And the city of Ottawa was more than ready to rumble with two of the best bands of the modern Hard Rock and Rock N’ Roll scene.

OPENING ACT: Stitched Up Heart

Although my drive from Toronto to Ottawa on Thursday was a complete shit due to the nasty rain and all the trucks spraying tons of water on my windshield, that didn’t turn my energy level down not even a bit for the concert that was about to happen on Friday. I was really pumped to see what’s probably the best modern Rock N’ Roll bands available out there, the almighty Volbeat and the incendiary Godsmack, kicking some serious ass on stage at Richcraft Live (I honestly have no idea what that name means) at the Canadian Tire Centre. It was my first time at that venue and I must say it’s indeed a great place to watch a concert or a sports event, but unfortunately getting there is not that easy unless you drive, take a taxi or Uber to the venue, which ends up inflating the parking costs considerably.

Anyway, fans were still arriving at the venue when Los Angeles-based Hard Rock act STITCHED UP HEART began their short but effective performance, spearheaded by the beautiful Mixi on vocals. If you have no idea about what type of music Stitched Up Heart play, let’s say it’s a fusion of the contemporary Hard Rock played by Godsmack with Evanescence and Marilyn Manson, and the final result is very entertaining. It was a beyond solid warm-up for the main attractions of the night, and a very good welcome card from the band to us fans of rock music here in Canada, as I don’t actually remember seeing them anywhere around here before this tour opening for Volbeat and Godsmack. In other words, go to their official website for more information about the band, where they’re playing, where to buy their music, and so on, as those guys (and girl, of course) are definitely worth a shot.

Setlist
This Skin
Warrior
Catch Me When I Fall
Darkness
Straightjacket
Finally Free
Lost (feat. Sully Erna)

Band members
Mixi – vocals
Merritt – guitar
Randy – bass
Decker – drums 

VOLBEAT

After a short break, and with the Canadian Tire Centre already occupied by thousands of fans from different parts of Canada and the United States, it was time for Danish rockers VOLBEAT to bring to Ottawa their undisputed Rock N’ Roll infused with Heavy Metal nuances, proving once again that Copenhagen-based quartet is not one of the biggest names in the current Rock N’ Roll scene in vain. Still promoting their 2016 album Seal the Deal & Let’s Boogie, but just about to release a brand new album (for our total delight), the band comprised of Michael Poulsen on vocals and rhythm guitar, Rob Caggiano on lead guitar, Kaspar Boye Larsen on bass, and Jon Larsen on drums set the venue on fire with their fast and melodic riffs and beats, and of course, endless electricity (despite the fact that Mr. Poulsen was visibly fighting some sort of cold or flu).

From the first few notes from the excellent The Devil’s Bleeding Crown to the closing moments from the already classic Still Counting, Volbeat delivered what’s expected from them, inspiring all fans from the floor section to ignite some fun (and furious) circle pits, especially during their most metallic songs such as A Warrior’s Call, 16 Dollars, Doc Holliday and Seal the Deal. Also, I think I’ve already mentioned this before, but it’s always impressive to witness how powerful and precise Mr. Caggiano is on the guitar, elevating the band’s sonority to new heights since entering the band in 2013. In addition, one song that I was extremely happy they played was Hallelujah Goat, one of my favorite Volbeat songs of all time due to its energy and heaviness, potentialized by Rob’s amazing technique and feeling. And before I forget, the band also played a brand new song for the first time ever in Ottawa, the 40-second Punk Rock tune Parasite, which albeit being extremely short it was well received by all fans who were paying attention at the moment, because you know, 40 seconds are not enough not even for a quick bathroom break. In a nutshell, I know that I just saw Volbeat live and that I’ll see them again with Slipknot, Gojira and Behemoth soon here in Toronto, but they’re so good live I cannot wait, and besides, their concerts are never long enough for them to play all of their classics.

Setlist
The Devil’s Bleeding Crown
Lola Montez
Sad Man’s Tongue (with Ring of Fire intro)
A Warrior’s Call / I Only Want to Be With You
Let It Burn
Black Rose
Parasite
16 Dollars
Dead but Rising
Fallen
Hallelujah Goat
Marie Laveau
Doc Holliday
Seal the Deal
Still Counting

Band members
Michael Poulsen – vocals, rhythm guitar
Rob Caggiano – lead guitar
Kaspar Boye Larsen – bass guitar
Jon Larsen – drums

GODSMACK

It was close to 9:45pm when the lights went out, a fun mashup of classic rock songs started playing from the amps, and finally GODSMACK hit the stage with their unique mix of Alternative Rock and Heavy Metal. I confess I don’t think their 2018 album When Legends Rise is one of their best efforts to date; quite the contrary, it’s relatively weak compared for example to their previous album, the fantastic 1000hp, released in 2014, but Sully Erna and his henchmen are so amazing in what they do they managed to turn all of the songs they played from their new album, those being When Legends Rise, Say My Name, Unforgettable, Under Your Scars and Bulletproof, into truly amazing moments of their performance. By the way, as explained by Sully during the concert, inspired by their own song Under Your Scars, Godsmack have recently founded The Scars Foundation to help raise awareness of the mental health issues that so many are faced with today. Needless to say, donate and show your support to such important and noble cause.

Getting back to the concert, I have to say that even if they played bad music the whole thing would still have been at least great, as all the fire and other special effects on stage added a lot of energy to their performance. But, of course, Godsmack do not play bad music, and fantastic songs like 1000hp (my favorite of the night), Cryin’ Like a Bitch and Whatever put a huge smile on the faces of every single fan watching their concert. Furthermore, there were three very distinct moments that let’s say “surprised” most fans due to their uniqueness, those being their dark and enthralling performance of their all-time hit Voodoo, the interesting Batalla De Los Tambores (or “battle of the drums”, if you know nothing in Spanish) between Sully and the extremely talented drummer Shannon Larkin, and the Rock N’ Roll party established on stage when Rob Caggiano and the entire Stitched Up Heart joined them on stage for a cover version of AC/DC’s classic Highway to Hell.

In the end, after Godsmack played their heavier-than-hell hit I Stand Alone, all fans left the Canadian Tire Centre extremely satisfied, hoping the band doesn’t take another abysmal time to return to Canadian soil. On the other hand, if you live in Canada and missed Godsmack, I feel really sorry for your soul. A band like that is always busy, always touring the world, and they don’t have a lot of empty spot to fill out with Canadian dates. Well, don’t cry like a bitch if you missed it, simply stay tuned to their upcoming tours and do like the rockin’ citizens from Ottawa, whenever you hear the words “Volbeat” or “Godsmack”, put on your black shirt, you leather jacket and get ready to rumble like there’s no tomorrow with one of the best and most electrifying bands of the not-so-new generation of rock and metal music.

Setlist
When Legends Rise
1000hp
Say My Name
Keep Away (Moon Baby Outro)
Cryin’ Like a Bitch
Awake
Unforgettable
Something Different
Voodoo
Batalla De Los Tambores
Whatever

Encore:
Under Your Scars
Bulletproof
Highway to Hell (AC/DC cover)
I Stand Alone

Band members
Sully Erna – vocals, guitar
Tony Rombola – lead guitar
Robbie Merrill – bass
Shannon Larkin – drums

Interview – Anthony Kaoteon

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In this exclusive interview, Lebanese vocalist and multi-instrumentalist Anthony Kaoteon talks about his brand new project Death Tribe, his already established band Kaoteon, and his always delicate connection to the Middle-East.

Anthony Kaoteon (Kaoteon, Death Tribe)

The Headbanging Moose: Let’s begin with a very simple question, and that is who’s Anthony Kaoteon? When did you begin your life in metal music, and who influenced you the most to follow that path?

Anthony Kaoteon: I am a Lebanese kid who grew up at the end of Civil War, witnessed the Syrian occupation, the religious hatred of my countrymen, the bombs in the streets of Beirut, the Israeli mass airplane attacks on the country to mention a few big events that scarred me as a child and made me realize that the world is blind and needs someone loud enough to hear the truth.

THM: What’s your goal with Death Tribe, and what’s the main difference from your already established band Kaoteon? Can you tell us more about the story behind Death Tribe and the reason for the band’s name?

AK: Death Tribe is more of a personal project where I am experimenting with Metal genres. It is not a side project but it has no restrictions or limitations as it has no genres, not one vocalist or one sound. The only restriction is me as the only fixed member in the band but working with new musicians opens my mind and allows me to explore areas I would have never explored otherwise. If I was a polyamorous guy, then KAOTEON would be my lover and Death Tribe my date.

Album Review – Death Tribe / Beyond Pain And Pleasure: A Desert Experiment (2019)

THM: Regarding your brand new album Beyond Pain and Pleasure: A Desert Experiment, how was the recording process of the album? Did everything go as planned, and do you think the final result sends the message you had in mind to the listener?

AK: The recording process was very lengthy, expensive and time consuming especially that it was recorded in several regions and studios around the world. The biggest impact on sound were the mixing engineer – namely Karim Sinno from The Audioloft in Lebanon. He brought everything together and kept it crystal clear.

THM: Beyond Pain and Pleasure features an array of excellent guest vocalists such as Walid Wolflust, Serge the Slave, Adnan Mryhij, Youmni Abou el Zahab and JM Elias. Apart from Walid Wolflust, who sings for your other band Kaoteon, are they all your personal friends? How did you invite each one of them to sing in the album?

AK: They are all personal and close friends of mine who have their great bands and I wanted to promote their sound through mine while promoting my sound through theirs. We come from a very talented region that is undiscovered and deserves much more support.

THM: My favorite songs from Beyond Pain and Pleasure are the title-track Beyond Pain and Pleasure, Neurotic Breakdown and Nuclear Hate. I personally think they’re very powerful and rebellious, which I believe is what you want the listener to feel while listening to the album. Having said that, what song from the album better represents yourself and your never-ending fight for freedom?

AK: That is the beauty of an album like BP&P, every person will have a different favorite. I enjoy Hollow, BP&P and Implode Explode a lot but this varies every now and then. The overall sound of the album is rebellious so I surely wanted that but what I really wanted is to deliver an eclectic album that brings all genres together under one record.

Anthony Kaoteon (Kaoteon, Death Tribe)

THM: I’m pretty sure the metal scene in the Netherlands, your current home, is a lot more developed than in your homeland Lebanon. Are there any bands you would recommend from the Dutch underground scene?

AK: I am still not very active in the scene due to a lot of shit happening in my personal life that I will not discuss but the bands here are very talented. I see a huge stoner metal movement. I cannot chose one band top of mind as it wouldn’t be just but there is definitely a lot of bands to check that won’t disappoint.

THM: Now talking about your connection to Lebanon and the Middle-East, how harmful do you think the combination of religion and politics is in that region not only to metal and non-metal music, but to all forms of art? And do you see an end to that in the future?

AK: It is detrimental and I am afraid I don’t see an end to it anytime soon. It is a deeply rooted plague that is still being nourished by the west to control its masses and use it when and where needed.

THM: Do you think one day you’ll be able to return to Lebanon and start making metal music again there? And what do your family and friends that are still in Lebanon think of the type of music you play?

AK: Most people don’t know what is metal unless they like it and play it. We live parallel lives so that we don’t get judged. I don’t see myself returning to Lebanon to play music any time soon.

Album Review – Kaoteon / Damnatio Memoriae (2018)

THM: What’s next for Anthony Kaoteon? Can we expect a new Kaoteon or Death Tribe album in a not-so-distant future, and do you have any plans for touring with any of your bands around Europe or in North America? I would love to see either Kaoteon or Death Tribe performing in Canada.

AK: For touring, KAOTEON is the horse of choice and we are releasing the 3rd album soon hopefully as we finished the recording with Adrian (Erlandsson) from At the Gates on drums and Linus (Klausenitzer) from Obscura on bass again. The mixing and mastering were finalized by Tue Madsen in Denmark at Antfarm Studios and the artwork is getting ready with Vincent Fouquet in France.

THM: Thanks a lot for your time, Anthony! It’s always a pleasure interviewing relentless musicians like you who keep the underground metal scene alive and kicking. Please feel free to send a final message to our readers, and anything else you would like to say to all fans of heavy music out there.

AK: Thanks a million for the opportunity to speak and promote the music Gustavo. People like you keep the dream alive and I hope you will keep it up. As for the readers and music lovers, if you want bands to keep making music – support them!

Links
Kaoteon Facebook | Instagram | YouTube | BandCamp
Death Tribe Facebook | Instagram | YouTube | BandCamp

Album Review – Sepsiss / Badd Blood EP (2019)

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Bang your head to the debut EP by this emerging American outfit that plays uncompromising metal combining a more traditional sound with modern rhythms and urban hardcore.

Founded by vocalist Melissa Wolfe and guitarist William Savant in 2011 in Manchester, a city in the southern part of the U.S. state of New Hampshire, the incendiary female-fronted Hard Rock and Alternative Metal band that goes by the name of Sepsiss has been wowing crowds across their home state since their inception, playing uncompromising metal that combines a more traditional sound with modern rhythms, light synths and a blend of urban hardcore. Now in 2019 this five-piece outfit comprised of the aforementioned Melissa on clean vocals and William on harsh vocals and on the guitar, accompanied by Cam Loud also on the guitar, Mr Goodbarz on keyboards and Robbert Pann on drums is unleashing a very dynamic and fun EP entitled Badd Blood, offering fans of modern metal music eight unique tracks which prove that female-fronted metal bands can offer some of the most powerful, intriguing and diverse sounds in the genre, just like what bands such as their rock heroes Heart and more recently Evanescence have always done.

A cinematic intro evolves into a feast of modern-day Hardcore and Alternative Metal entitled Fair To Say led by Melissa’s classic vocal lines, giving life to the song’s lovesick lyrics (“You are my favorite vice, / The way you’re squeezing me tonight. / The way you’re screaming songs slice the sky for me… / I fell in love with your void, / I filled it up on my own accord. / And you’re bored with being broken… / SO I’LL BREAK US UP!!!!”), as if Green Day met Evanescence. Then with William making a flammable vocal duet with Melissa we have To Write Hate On His Arms, showcasing straightforward and precise beats by Robbert while Mr Goodbarz adds a touch of delicacy and madness to the background with his keys, resulting in what’s in my humble opinion the best track of the EP.

William and Cam bring tons of heaviness to the band’s modern Hard Rock in Sky Is Falling, a song that’s considerably faster and more dynamic than its predecessors, with the music remaining vibrant and fresh for over five minutes in an interesting fusion of different styles like Metalcore, Melodic Death Metal and contemporary Hard Rock; followed by The Swarm, where the band switches their gears to a more alternative sonority with Mr Goodbarz and Robbert keeping the atmosphere as modern as possible in perfect sync with the guitar riffs. Black Light Invasion follows a similar pattern, with Melissa’s vocals getting sexier as the music progresses, sounding groovy and catchy from the very first second and, therefore, being highly recommended for hitting the dance floor while both William and Cam kick some serious ass with their riffs and solos. And in Falling Unloved the band accelerates their pace to a frantic fusion of the music by Evanscence with Hardcore, Punk Rock and even Ska, crushing their instruments mercilessly and offering their fans a good reason to crack their necks headbanging.

And their Rock N’ Roll party goes on in Force You To Lay Down, where the vocals by Melissa sound inebriating and captivating, while her bandmates make sure the energy level doesn’t go down not even a bit by pounding their instruments nonstop. Last but not least, Eyes Of Empathy closes the album with five minutes of first-class Hard Rock, showcasing lyrics that are as catchy as they can be (“Eyes of empathy can never reason why… / It could never mend the things I’ve seen tonight… / Forever quell the screams of your denial… / I won’t ever wake.”). Not only that, Melissa is on absolute fire on vocals, with the amount of electricity and rage brought forth by William, Cam and Robbert being beyond outstanding.

Do you have what it takes to enter the alternative and metallic lands ruled by Melissa, William & Co.? You can certainly show your total support to such up-and-coming band by following them through their official Facebook page, by subscribing to their YouTube channel, by listening to their music on Spotify, and obviously by purchasing Badd Blood from the band’s own webstore as a regular physical version or as an autographed edition. And let’s hope Sepsiss keep on rocking and inspiring more and more women to follow a similar musical path not only in their home state, but anywhere else in the world where good music is appreciated, all in the name of Rock N’ Roll.

Best moments of the album: To Write Hate On His Arms and Eyes Of Empathy.

Worst moments of the album: None.

Released in 2019 Independent

Track listing
1. Fair To Say 3:54
2. To Write Hate On His Arms 3:20
3. Sky Is Falling 5:17
4. The Swarm 2:27
5. Black Light Invasion 3:58
6. Falling Unloved 3:55
7. Force You To Lay Down 3:37
8. Eyes Of Empathy 5:03

Band members
Melissa Wolfe – vocals
William Savant – vocals, guitars
Cam Loud – guitars
Mr Goodbarz – keyboards
Robbert Pann – drums

Album Review – Of Blood and Mercury / Strangers EP (2019)

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A mix of dark pop and ambient with a touch of synthetic nostalgia from the 80’s by a Belgian duo not afraid of experimenting in music, giving us a hint of the concepts and harmonies to be feature on their upcoming album.

Brought into being in early 2018 in the city of Brussles, Belgium by vocalist Michelle Nocon (Bathsheba, Leviathan Speaks, Serpentcult) and multi-instrumentalist Olivier Lomer-Wilbers (Enthroned, Emptiness), Avantgarde Noir Rock project Of Blood and Mercury is not exactly what you would expect from the fusion of musicians from extreme bands such as Enthroned, Pro-Pain, Bathsheba and Luminance, but that doesn’t mean it’s bland or tiresome. Quite the contrary, Michele and Olivier united their creativity in a very vibrant and detailed musical style that could be described as a mix of dark pop and ambient, with a touch of synthetic nostalgia from the 80’s.

As their first adventure through the realms of avantgarde music, Of Blood and Mercury are offering us an enthralling three-track EP entitled Strangers, where Michelle and Olivier have the support of bassist David Alexandre Parquier (Soror Dolorosa) and drummer Jonas Sanders (Emptiness, Pro-Pain, Resistance) to help them give life to their very distinct project. Recorded in the caves of Brussels’ Blackout Studio, Strangers gives us a hint of the concepts and harmonies to be feature on their upcoming 10-track album to be released later this year, with the melancholic tones of Michelle’s voice beautifully depicting the shadows that drag the wonders of nature to their ghostly forms.

Ethereal sounds ignite the mesmerizing Strangers, where you’ll feel embraced by Michelle’s vocals while she recites the song’s delicate lyrics (“Dusty words remember a lost cause. A feeling of a half filled glass. / Half poison, half wine. Half bitter, half sweet. some steel, some rust, some victory.”), with an extra kick added to the musicality thanks to the precise drums by Jonas. Put differently, this is first-class heavier-than-usual Dark Wave penetrating deep inside our hearts and souls, which can also be said about the following tune, titled Walk the Void. Inspired by the music by Enya with a modern and melodic twist, Of Blood and Mercury generate an inebriating atmosphere throughout the entire song, with Olivier doing a great job with his precise synths, keys and guitar lines. Furthermore, it definitely feels like the band is focusing a lot more on the atmosphere rather than just the music itself, and the final result is absolutely amazing. And the last song of the EP, Estranged, continues to wander between the rock and electronic genres in a very gentle and serene way, inviting us to simply close our eyes and let the hypnotic waves crafted by Michelle, Oliver & Co. invade our senses. In addition, some people like to say that musicians are the poets of the modern era we’re living in, and based on the lyrics crafted by Michelle and Olivier that statement is more than valid (“Estranged one, / in oblivion. / The disease has sprung. / Wear the mask of Cain. / ‘Cause you still haven’t learned to exit the dream. / And I still feel numb. / Estranged one, / in oblivion. / Symmetry gone wrong, / infertile brain.”).

You can listen to the entire EP by clicking HERE, follow Of Blood and Mercury on Facebook, and obviously show your true support to this classy duo by purchasing their debut EP directly from their BandCamp page. Now it’s just a matter of waiting for a full-bodied release by Of Blood and Mercury in the coming months, and until then we can satisfy our craving by listening to Strangers again, again and again, letting our minds and souls wander through the vast and melancholic lands of the distinct Avantgarde Noir Rock presented to us all by two veterans of the extreme music scene who are not afraid of experimenting and trying new musical styles and nuances, consequently showing the world there is no such thing as boundaries for musicians who create music from the bottom of their hearts.

Best moments of the album: Strangers.

Worst moments of the album: None.

Released in 2019 Independent

Track listing
1. Strangers 4:54
2. Walk the Void 5:30
3. Estranged 4:58

Band members
Michelle Nocon – vocals, programming
Olivier Lomer-Wilbers – guitars, keyboards, programming

Guest musicians
David Alexandre Parquier – bass
Jonas Sanders – drums, percussion

Metal Chick of the Month – Kayla Dixon

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Death falls so heavy on my soul… Death falls so heavy, makes me moan…

Things are about to get doomed, heavy and extremely sexy here at The Headbanging Moose with our metal chick of the month of May. Trained in classical, jazz and musical theatre vocals, as well as acting and dance, the talented and stunning Kayla Dixon, frontwoman for Doom Metal institution Witch Mountain and for Alternative Metal outfit Dress the Dead, is among us to prove once again that black girls do have a place in the world of heavy music, and she has been doing that in great fashion with her beyond powerful vocals since joining Witch Mountain in 2015. Hence, after listening to Kayla singing for the very first time you’ll get absolutely addicted to her voice and performance, no doubt about that, therefore going after everything she has already recorded in her career, it doesn’t matter if it’s metal or not.

Born on March 20, 1995 in Glendale, California and raised between Lancaster, Pennsylvania, California, and Maryland (as you can see, she moved a lot when she was a kid), Kayla has been singing since the age of five, joining a Jazz band at the age of 13, when she began to hone her vocal skills and discovered her passion for performing. Having studied ballet, modern and contemporary techniques at the American Dance Institute, the Dance Theatre of Harlem and the Maryland Youth Ballet, among others, not to mention she’s a trained actor of Stanislavski and Meisner techniques (which contributed to her deep understanding of the importance of storytelling on stage), Kayla has already participated in several projects in her career, such as productions at the Studio Theatre in Washington, D.C., the Levine Music, and the Interlochen Center for the Arts, also making an appearance in in the Sundance award winning movie I Don’t Feel At Home In This World Anymore, on Netflix, as well as in the TV series Portlandia, Grimm and Outlaw. In addition, she said in one of her interviews she doesn’t sit at a keyboard or think about intervals or scales, unless she’s writing harmonies. She usually writes the melody first, thinking about “what words match this melody and how can I put this melody into words?”

Kayla got her first contact with heavy music during her teens due to her sisters, who used to listen to bands like Marilyn Manson, Tool and Nine Inch Nails, and she fell in love for that type of music. After straying away from that for a while, she said it was when she was in the ninth grade that she rediscovered all those bands, later turning her attention to other heavier and more complex bands such as Meshuggah. She mentioned in one of her interviews that it was the intensity of metal music that really caught her attention at first, as she feels she can express all her emotions and feelings through metal. In addition, she also said that the energy coming from the audience while you’re on stage is also what makes heavy music so special for her.

Regarding her career with both Witch Mountain and Dress the Dead, everything started back in 2015 when Kayla, who had recently discovered the music by Witch Mountain, saw on their Facebook page they were auditioning for a new vocalist after the departure in 2014 of the amazing Uta Plotkin, prior to the release of the album Mobile of Angels. She then decided to take a shot at that by submitting a video audition, admitting she was a little nervous as she loved Uta’s lyrics and the vocal melodies, but fortunately for all of us fans of rock and metal Kayla became the band’s new frontwoman (and let’s not forget she was only 19 years old at the time). Four years later, this excellent Portland, Oregon-based band formed back in 1997 released their first full-length album with Kayla on vocals, self-titled Witch Mountain (which by the way she was responsible for all lyrics), not to mention their 2016 single Burn You Down, impressing not only the band’s diehard fans with her potent voice and her ability to easily switch between clean and harsh vocals,  but also her own band members. “When she laid down a scratch track in the studio and was going back and forth between the cleans and the dirties, our producer Billy and us were just sitting there laughing with joy,” recalls guitarist Rob Wrong. “For her that was just a scratch track, and we’re just like ‘most people in the world can’t do this.’ For Dixon, the possibility to cross styles and alternate between clean and screaming vocals is ‘a breath of fresh air.’”

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Then in 2018, one year after parting ways with former The Haunted vocalist Peter Dolving, Dress the Dead announced a new lineup with our goddess Kayla on vocals in an unexpected move by many. “A mutual friend reached out to me about Dress the Dead.  One of my first thoughts was, ‘I don’t know if I’m ready or even at an appropriate talent level to be replacing someone like Peter Dolving for these guys.’  I’d battled with the idea in my head for several months before finally reaching out.  I had listened to and loved 1969, but what really hit me hard was when I heard the other songs that are still unreleased that they sent me.  I had no idea how musically diverse this band would turn out to be,” said Kayla about joining her second major band, but as what happened with Witch Mountain her vocals matched Dress the Dead’s music flawlessly, as you can enjoy in the excellent songs 1969, There Goes The Sun and Promises & Kisses. In addition to that, just to give you an idea of how healthy her relationship with her new bandmates is, take a look at this fun YouTube video titled “Dress The Dead – Crappy Comments”, where Kayla and the rest of the band read and discuss about the most ridiculous comments they received from fans via social media.

Our hardcore vegan (yes, she’s a vegan) had also been involved with several other bands and projects before joining Witch Mountain and Dress the Dead, each one offering Kayla a chance to showcase all her highly developed vocal skills. For instance, she was (apparently) the vocalist for a Cleveland, Ohio-based Groove/Death Metal band named Demons Within during an unknown period of time, and the lead singer for Sacramento, California-based Power Metal act Helion Prime from 2016 until 2017, with whom she recorded the sensational single Remnants of Stars, in 2017. Apart from that, she also started lending her unique voice now in 2019 to a British/Romanian Atmospheric Doom/Death Metal band named Clouds during some of their live performances, and she also appeared as a guest vocalist in the song Buried In Sand, from Clouds’ 2018 release Dor – Bonus Album;  in the electrifying title-track Terminal, from the 2017 album Terminal, by British Melodic Progressive Metal band Divinity Compromised; and more recently in Living Light, from the 2019 album Divided by Darkness, by Phoenix, Arizona-based Doom Metal act Spirit Adrift, to be released later this month.

Touring is always one of the most difficult and demanding tasks in the life of a musician, and as a talented vocalist that Kayla is she obviously warms up her voice (and mind) properly before going on stage, sometimes meditating for a few minutes to reach her desired state of mind prior to performing. As a matter of fact, Kayla mentioned that meditation was one of the main activities she discovered through the years to fight her childhood traumas, to work on her spirituality and to remain strong when facing any type of adversity. She also said that, to keep her body and mind healthy while touring with Witch Mountain, who by the way have a very aggressive touring agenda, she tries to eat well and work out whenever she can, avoiding things like partying and drinking. Even with all those precautions to stay in shape, Kayla said that due to her incendiary performances each show ends up being fairly exhausting for her but energizing at the same time, saying it’s another form of “meditation” for her. “Music is a way for me to express that negativity and get it out. There’s also a positivity about it. So, it’s very energizing. Music is what makes me happy and I believe it is my life’s purpose,” commented Kayla, and if you take into account the fact that when she’s not on tour she can be giving vocal lessons or acting (albeit she hasn’t being doing a lot of that lately due to her busy schedule), it’s the utmost proof she was born to be an artist.

As curious as this might sound, Kayla always mentions in her interviews that she considers herself an introvert, although she’s not actually afraid of talking to people. Despite having introverted tendencies, she confronts that inner fear by working really hard on it, saying that fear doesn’t have to be who she really is or her story. And even more curious than that, she mentioned that one thing she loves doing for relaxation and fun is watching horror movies, with her favorite one being the 1982 cult movie Poltergeist and also mentioning Suspiria as another movie she enjoyed a lot (I just don’t know if she’s talking about the 1977 original one or the 2018 version). She said Poltergeist really freaked her out, that it was extremely scary in her opinion, so how can this be a relaxing activity, right? Anyway, still talking about ghosts and paranormal activities, she said she had a few paranormal experiences in her life, as her mother was really into that kind of thing and would tell her about ghosts she saw. She mentioned that when she was seven years old she was sitting in the living room around Christmas time watching the classic TV special Rudolph the Red-Nosed Reindeer, and when she went to her room there was this white figure of an old man standing. In addition, her dad, who’s by the way a pastor, also claims he’s seen a ghost in his church, which used to be an old-fashioned one-room school house back in the 1900’s, describing the appearance of the ghost in great detail. If ghosts truly exist or not, no one knows for sure, but if Kayla channels those encounters and experiences into her music, and we all know the unknown has always been a magnificent inspiration for all genres and subgenres of heavy music, we can rest assured she’ll keep providing us first-class rock and metal for decades to come.

Kayla Dixon’s Official Facebook page
Kayla Dixon’s Official Instagram
Kayla Dixon’s Official Twitter
Kayla Dixon’s Official YouTube channel
Witch Mountain’s Official Facebook page
Witch Mountain’s Official Instagram
Witch Mountain’s Official Twitter
Witch Mountain’s Official BandCamp page
Dress the Dead’s Official Facebook page
Dress the Dead’s Official Instagram

“When I get on stage, I lose control and there’s not much I can do about that.” – Kayla Dixon

Album Review – Orthostat / Monolith Of Time (2019)

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A heavy-as-hell album ranging from slow and doom-ish parts to infernal blast beats, proving once again the underground Death Metal scene in Brazil is a lot more interesting than you might think.

Forged in the year of 2015 in the fires of Jaraguá Do Sul, a city located in the north of the Brazilian state of Santa Catarina, Death Metal squad Orthostat is unleashing upon humanity their debut full-length opus, entitled Monolith Of Time, a heavy-as-hell album ranging from slow and doom-ish parts to infernal blast beats, and a natural follow-up to their 2016 demo Into the Orthostat. Comprised of David Lago on vocals and guitars, Rudolph Hille also on the guitar and Eduardo Rochinski on bass (all supported by session drummer Thiago Nogueira), Orthostat are sending a solid statement to all fans of old school Death Metal with their new album, proving once again Brazil is and will always be an excellent source of underground metal music no matter which part of the country you visit.

Recorded by David Lago at HellFrost Studio, in Brazil, produced and engineered by David Lago and Thiago Nogueira, and Mixed and Mastered by Thiago Nogueira, Monolith Of Time will provide your ears a feast of pulverizing and highly technical sounds, with its lyrics dealing with themes related to ancient civilizations, their culture and their wars, all enfolded by a cryptic artwork by illustrator and storyteller Carlos Bercini. In other words, Orthostat offer in Monolith Of Time everything a metalhead can ask for in an album of Death Metal, and after hitting play you better get ready to have your skull crushed by this talented and ruthless horde of Brazilian musicians.

In the opening track, entitled Ambaxtoi, ominous sounds grow in intensity while desperate background vociferations make the whole atmosphere dense, disturbing and grim in great fashion, but after two and a half minutes the music morphs into sheer Death Metal for our total delectation. After such powerful start we’re treated to Qetesh, a lesson in gruesome and vile Death Metal by Orthostat where Thiago crushes his drums manically while David and Rudolph make sure our skin burns with their scorching riffs, not to mention the song’s uncanny lyrics (“Oh, Qetesh, deity of intercourse / Stream thy heat on us / Bring the human instinct forth / The breeding mild / The species thrive / Surviving the wild”); followed by Eridu, another classic and putrid Death Metal extravaganza spearheaded by the pulverizing riffs by the band’s guitar duo, with David taking his growling to deeper and deeper lands while Eduardo doesn’t stop smashing his bass chords violently. And it seems that their sonic havoc has no time to end, with all band member firing absolute fury and aggression in Incitatus, showcasing a very classic sonority the likes of Cannibal Corpse and Six Feet Under where not only the instrumental pieces are extremely well executed, but the vocals by David are also as visceral as they can be.

Then we have over six minutes of brutal sounds in Baetylus, with its lyricis perfectly representing what can be called “dark poetry” (“A large flint / Coned shaped obelisk / Wears the wool / Garbed deity / Pour the oil / Make the pebble shine / Hefty boulder / Stone divine”), and with the music ending with a sick guitar solo as the icing on the cake. If you’re a fan of the more straightforward sound by Cannibal Corpse, but with huge dosages of complexity added to the sound of each instrument, you’ll love The Will of Ningirsu, offering the listener nonstop action by the entire band with highlights to David, Rudolph and Eduardo’s razor-edged strings. Full of breaks and variations, Tezcatlipoca is a headbanging tune where your skull will be shattered by the unrelenting drums by Thomas, presenting over nine minutes of scorching riffs, pulverizing beats and rumbling bass lines. Furthermore, after a phantasmagorical break halfway through it, the band’s steamroller of Death Metal returns in full force to destroy your senses, working as their “coup de grâce”. And the song that carries the name of the band, Orthostat, closes the album by bringing forward a fusion of Death and Doom Metal recommended for fans of truly dark music, evolving into another sonic demolition boosted by the demonic guitar riffs and solos by Eduardo and Rudolph.

This precious gem of old school Death Metal from the Brazilian underground scene can be better appreciated in full on YouTube and on Spotify, but if you want to show your true support to Orthostat don’t forget to grab your copy of Monolith Of Time from their own BandCamp page, as well as from iTunes or from Amazon. In a nutshell, if you love pure, old school Death Metal, you must give Orthostat’s debut album a listen without a shadow of a doubt. And do you want to know why? Because they crush, as simple (and as Death Metal) as that.

Best moments of the album: Qetesh, Incitatus and The Will of Ningirsu.

Worst moments of the album: Eridu.

Released in 2019 Sangue Frio Records

Track listing
1. Ambaxtoi 7:12
2. Qetesh 5:13
3. Eridu 4:38
4. Incitatus 5:04
5. Baetylus 6:18
6. The Will of Ningirsu 4:50
7. Tezcatlipoca 9:17
8. Orthostat 6:09

Band members
David Lago – vocals, guitars
Rudolph Hille – guitars
Eduardo Rochinski – bass

Guest musician
Thiago Nogueira – drums (session)

Album Review – Illimitable Dolor / Leaden Light (2019)

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Drenched in wistful melancholy and stirring up faded albeit rich memories, the new album by this Australian-based unity is an ambitious ode to all things doom.

New South Wales, Australia-based Atmospheric Doom/Death Metal masters Illimitable Dolor return from the darkest corners of the earth after the release of their highly acclaimed self-titled debut album in 2017 with a brand new opus, entitled Leaden Light, carrying on where they last left, drenched in wistful melancholy and stirring up faded albeit rich memories, sounding purer, more refined and clearer in expression than before, and lingering for long in your thoughts. With three artworks made by Indonesian artist Varises Otak for the CD, LP and box set editions exclusively (with layout and design by Australian graphic designer Pat Di Palo), this is an ambitious release from the band that features some of the best music in the style without overdoing any aspect of it.

Formed in 2014 in the city of Sydney, the band comprised of Stuart Prickett (The Slow Death, Horrisonous) on vocals, guitars and keyboards, Yonn McLaughlin (The Slow Death, Nazxul) on drums and vocals, Dan Garcia (The Slow Death) and Mat V. Newton (Lycanthia) on the guitars, Gavin Collison on bass and Guy Moore (Elysium) on keyboards offers in Leaden Light a raw and obscure fusion of Atmospheric Doom and Death Metal with Funeral Doom, influenced by renowned acts such as Skepticism, My Dying Bride and Officium Triste, beign therefore recommended for admirers of the music by Mournful Congregation, Evoken, The Slow Death and Chalice of Suffering, among others. Containing five extremely detailed, mournful and lengthy songs in the span of over 51 minutes, Leaden Light is not an easy listen for the lighthearted, consuming your soul and inviting you to join the band in darkness for all eternity.

A thunderstorm warns the listener darkness is upon us, before Yonn and his sluggish beats together with Guy’s phantasmagorical keys invade our senses in Armed He Brings The Dawn, showcasing a dense and heavy atmosphere from start to finish while Stuart vociferates the song’s Stygian words deeply through his low-tuned, devilish gnarls. In addition, the music flows like a river of darkness, alternating between purely somber passages and more piercing sounds, embracing the listener majestically. Soil She Bears is just as damned, lugubrious and grim as its predecessor, with deep and visceral roars permeating the air while the keys by Guy keep the ambience truly menacing. Not only that, Gavin and Yonn bring heaviness to the musicality with their respective punches and beats, dragging you to the bitterly cold crypts of the underworld.

Horses Pale And Four continues form where the previous song ended, building momentum and aiming at reaching a climatic stage where all instruments are darkly connected, with Stuart’s growls and the band’s guitar triumvirate’s riffs complementing each other flawlessly. Put differently, this is a bold and enfolding display of Atmospheric Doom Metal spiced up by Atmospheric Black Metal and Blackened Doom nuances tailored for lovers of the genre. Then the serene, melancholic piano notes by Guy kick off the utterly doomed and depressive Leaden Light Her Coils, where the guitars by Stuart, Dan and Mat feel like a delicate but extremely sharp knife cutting our skin deep. Furthermore, its rhythm is beyond mesmerizing, and you’ll certainly be stunned by how grandiose their music can be, with Guy, Gavin and Yonn giving a lecture in Doom Metal with their slow, steady and reverberating tones. And last but not least, the sextet morphs into their most Atmospheric Black Metal mode possible in 2.12.14 (which is probably the date when the band was created), feeling very touching, ethereal and melancholic, with Stuart, Dan and Mat taking the lead with their gentle guitar lines, followed by Yonn’s precise beats and all other grim instruments and sounds until the song’s dense ending.

As already mentioned, Leaden Light, available in full on Spotify, might not be an easy listen at first for the average rock fan, but it’s definitely worth a shot and a fantastic introduction to the world of modern-day Atmospheric Death and Doom Metal. Hence, you can show your true support to such idiosyncratic entity hailing from Australia by following them on Facebook, and specially by grabbing your copy of Leaden Light from several locations like their own BandCamp page or the Transcending Obscurity Records’ webstore in the US or in Europe (where by the way you can still purchase the beyond special gold CD or LP box sets), as well as from iTunes or Amazon. In other words, succumb to the most lugubrious side of music by joining Illimitable Dolor in pitch black darkness, and may your life be doomed forever and ever to the sound of their classy and extremely somber music.

Best moments of the album: Horses Pale And Four and Leaden Light Her Coils.

Worst moments of the album: None.

Released in 2019 Transcending Obscurity Records

Track listing
1. Armed He Brings The Dawn 14:50
2. Soil She Bears 7:18
3. Horses Pale And Four 11:27
4. Leaden Light Her Coils 13:48
5. 2.12.14 4:27

Band members
Stuart Prickett – guitars, vocals, keyboards
Dan Garcia – guitars
Mat V. Newton – guitars
Gavin Collison – bass
Guy Moore – keyboards
Yonn McLaughlin – drums

Album Review – Answer With Metal / Centralia (2019)

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The answer to all your problems in life in the form of nine songs filled with speed, melody, powerful vocals and ear piercing solos, courtesy of one of the best names of the underground Canadian scene.

It’s time to return to Stouffville, a municipality in the Greater Toronto Area of Ontario, Canada, approximately 50 kilometers north of downtown Toronto, to raise our horns once again to the classic and exciting Heavy Metal blasted by a five-piece group known as Answer With Metal, who are releasing now in 2019 their fourth full-length album, entitled Centralia, a fantastic follow-up to the band’s latest releases Handling the Blade (2015) and Return to the Gates (2016). Comprised of pretty much the same lineup from their previous installments, which is Dan Nielsen on vocals, Andrew Jarvis on the guitar, Jon Stallan on bass and Alejandro Gonzalez on drums (with the exception of rhythm guitarist Matt Hadaway, who left the band in 2018 for personal reasons), Answer With Metal are back to prove there’s no better answer to all problems in life than our good old Heavy Metal, having Centralia as their powerful weapon of persuasion.

Featuring a futuristic, eye-catching artwork by Brazilian graphic designer Caio Caldas from Cadies Art (who has already worked with DragonForce, Raven Lord, Soulspell, Hammerdrone and Xenosis, among several other bands), and mixed and mastered by the band’s own guitarist Andrew Jarvis, Centralia offers the listener nine songs filled with speed, melody, powerful vocals and ear piercing solos, delivering a blend of 80’s traditional metal with heavier thrashing elements in order to give it a rawer  sound. As a matter of fact, the title of the album is a reference to Centralia, a city in Pennsylvania, in the United States, which became a near ghost town due to the Centralia mine fire, which has been burning underground since 1962, giving you a very good idea of how hot and incendiary the music found throughout the entire album can be.

Slashing riffs a la Judas Priest kick off the frantic and very traditional No One’s to Own, a true headbanger where Andrew and Jon are in absolute sync with their stringed weapons, before Dan begins firing his high-pitched, metallic vocal lines for our total delight. In other words, the album couldn’t have started in a better way, and the band puts the pedal to the metal to make things even more thrilling in the fantastic Wild Hunt, exhaling old school Heavy Metal with an additional and very welcome Thrash Metal touch. I’m quite sure this is Alejandro’s favorite song to play due to its speed and fury, while Andrew and Jon keep crushing their strings beautifully, not to mention its absolutely catchy lyrics (“The huntsmen ride strong / The hunt goes on and on / The hounds of hell lead the way / Black as night you’ll die today”). And blending elements from the music by renowned acts such as Iron Maiden, Judas Priest, Helloween and Primal Fear (which obviously translates into awesomeness), Answer With Metal fire the excellent Stand and Fight, proving they do not need to play at the speed of light to sound amazing, with Dan stealing the spotlight with his strong voice.

Again focusing on heaviness instead of speed, the band delivers a powerful performance in Jenova, especially Andrew with his soulful riffs and solos, followed by the title-track Centralia, a marching/headbanging tune also inspired by the NWOBHM showcasing those old school lyrics we all love so much (“Fear not our fate rebirthed / Enter the reset – flood out the earth / Altered in restless dreams / Rise from the ashes of Centralia”) and a precise Ale on drums, effectively dictating the song’s rhythm. Then it’s time to speed things up once again just the way we like it in Power Metal with Don’t Know Why, perfect for hitting the highway (and get a ticket for over-speeding, of course), with Jon and Ale blasting thunderous and intricate roars from their respective instruments throughout the entire song.

And the Heavy Metal party has no time to end, as we’re treated to more of their classic musicality in Cry Wolf, where the entire band does a great job in what’s in my opinion the best song of the album, blasting sheer rage, speed and electricity, not to mention Andrew’s awesome shredding form start to finish. In No Heights a Home the band ventures through the realms of Thrash Metal one more time, which becomes even clearer in the vocal lines and riffs as the music progresses, also presenting a great chorus for singing along with the band, intricate bass punches by Jon and rabid beats by Ale, adding to the whole song tons of potency and stamina. Lastly, closing the album we have the mid-tempo, semi-ballad Last of You, a very good song but slightly below the rest of the album in terms of impact, creativity and feeling. There’s still a lot to enjoy though, such as Dan’s excellent vocal lines.

It’s time to join Answer With Metal in their journey to the obscure Centralia, and in order to do that simply grab your copy of the album (also available for a full listen on Spotify) from the band’s own BandCamp page or from iTunes. Also, don’t forget to follow them on Facebook for news, tour dates and other nice-to-know details, and to subscribe to their YouTube channel for more of their gripping music, showing your true support and admiration for this excellent Canadian band that has been proudly carrying the flag of traditional Heavy Metal since their inception, never giving up and always loyal to their foundations. And that’s how you make true heavy music, my friends.

Best moments of the album: Wild Hunt, Cry Wolf and No Heights a Home.

Worst moments of the album: Last of You.

Released in 2019 Independent

Track listing
1. No One’s to Own 4:06
2. Wild Hunt 4:55
3. Stand and Fight 4:40
4. Jenova 4:36
5. Centralia 3:59
6. Don’t Know Why 4:06
7. Cry Wolf 3:34
8. No Heights a Home 3:56
9. Last of You 4:57

Band members
Dan Nielsen – vocals
Andrew Jarvis – guitars
Jon Stallan – bass
Alejandro Gonzalez – drums