Immerse yourself in the debut full-length opus by four Indian metallers who are not afraid to experiment with the new and the unknown, always ready to push their own boundaries in heavy music.
Formed in late 2011 in Bangalore (also known as Bengaluru), the capital of India’s southern Karnataka state, Avantgarde/Progressive Metal entity Orchid is a four-piece band comprised of Kaushal on vocals, Vinay on the guitar, Rahil on bass and Mayur on drums that plays a dense and very distinct blend of Heavy Metal with several other genres and styles such as Progressive Rock, Hardcore and Psychedelic Rock leanings (as well as Mathcore), pushing the boundaries of heavy music in the subcontinental underground and remaining one of the most original bands to emerge from the region.
In 2016, Orchid released their much-awaited self-titled debut EP to critical acclaim with Rolling Stone India calling it “one of the best cult classics of 2016” and “one of the most intriguing metal releases of the year”, inspiring the guys to keep moving forward and keep spreading their distinguished music to all four corners of the earth with their debut full-length opus Miasma, an album tailored for fans of bands like Dillinger Escape Plan, Gorguts and Frank Zappa, among others. Unlike their previous EP, which touched upon themes of techno-surrealism, Miasma is more straightforward with sociopolitical themes, with the artwork, done by the band’s own drummer through Copycat, containing elements from every song on the album.
An enraged scream by Kaushal kicks off the low-tuned, sluggish and heavy-as-hell opening track Obsolescence, with Vinay delivering lancinating riffs while Mayur brings tons of intricacy and dementia to the musicality with his beats, remaining crazy, vibrant and unique from start to finish, whereas in Solipsist we’re treated to two and a half minutes of top-notch Progressive Metal where Kaushal growls and roars manically while Vinay and Rahil give a lesson in progressiveness and heaviness with their stringed weapons. Then we have Master Supreme, a short and sweet headbanging tune led by the crushing drums by Mayur, bringing to our avid ears the most insane elements from Progressive and Groove Metal. “The song is about the pervasive influence and the growing epidemic of gurus/godmen and their cults in Indian society as well as abroad. Religion and spirituality is the biggest scam in the world; and because we live in India, we have a front-row seat to the circus,” commented the band about this austere and captivating song.
After the shortest song of the album, it’s time for the longest one, titled Dead End, offering seven minutes of insanity, rage and eccentricity. In other words, a full-bodied sonic extravaganza full of breaks and variations, not to mention the beautiful Jazz-inspired passage featuring guest Aadarsh Subramaniam and his old school keyboard solo, building an instant bridge to the also pulverizing Identoid, where Rahil extracts truly thunderous roars from his bass while Mayur and Kaushal “duel” to see who’s the most aggressive and demented one, maintaining the album at a high level of ferocity and intricacy. Following such fun tune we have Sugar Pill, showcasing the most progressive of all starts but quickly morphing into a sonic onrush of crisp guitar riffs, Hardcore-inspired drums and raspy growls, fading into a very alternative and sluggish outro, before Zero-Sum Game comes crushing like a thunderbolt, already beginning in full force and bringing a violent Kaushal on vocals, while Vinay keeps firing his classic and slashing guitar lines in a lesson in modern-day Progressive Metal with Avantgarde Metal and Mathcore nuances. Lastly the band offers us all Disassembly Line, not as vibrant and crushing as all previous songs but still a good sample of all the madness the quartet can blast through their music, with highlights to the once again amazing job done by Mayur on drums.
In a nutshell, the guys form Orchid were able to condense all their skills, influences and rage in a very intricate and solid way throughout Miasma, placing their brand new album as a fresh option for fans of heavy music who are always in pursuit of bands that think outside the box and that are not afraid to experiment with the most distinct music styles and genres. Having said that, what are you waiting for to show your support to those Bangalore-based metallers? Go check what they’re up to on Facebook, subscribe to their YouTube channel for more of their music, and purchase Miasma directly from their BandCamp page as well as from Instamojo. I bet you’ve never thought metal music made in India could sound so insane and eccentric like this, right?
Best moments of the album:Obsolescence, Dead End and Zero-Sum Game.
Worst moments of the album:Disassembly Line.
Released in 2019 Independent
Track listing 1. Obsolescence 5:54
2. Solipsist 2:34
3. Master Supreme 1:10
4. Dead End (feat. Aadarsh Subramaniam) 6:59
5. Identoid 2:47
6. Sugar Pill 4:22
7. Zero-Sum Game 4:32
8. Disassembly Line 3:48
Band members Kaushal – vocals
Vinay – guitars
Rahil – bass
Mayur – drums, percussion
Guest musician
Aadarsh Subramaniam – keyboard solo on “Dead End”
Terror is coming in the form of an absolute ode to all things brutal by this ruthless and demented Death Metal squad from Arizona.
The very first album review of 2019 is an absolute ode to all things brutal, and I’m sure you’ll feel completely disoriented after listening to its 31 minutes of pulverizing and gruesome extreme music. I’m talking about Crypts, Coffins, Corpses, the third full-length installment by American Brutal Death Metal unity Meathook, released on January 1 via Unmatched Brutality Records. Formed in 2007 in Phoenix, Arizona by the Gonzales Brothers, Meathook are ready to strike again six years after the the cruel assault of their 2012 album, Facing Deformity, and their depraved inclinations have only become more sickening with the passage of time.
If the dreams of the deranged could be captured in music, if the tales of their sleeping journeys through kingdoms of the unspeakable and grotesque were vomited out from the mouths of demons, then you would have the sound found in Crypts, Coffins, Corpses, comprised of nine crushing hymns of old school, unrelenting Brutal Death Metal highly recommended for fans of Devourment, Skinless, Ingested and Terrordrome, among other utterly vicious and demolishing metal bands. As the new year begins, a new age of dark dreams and devastation will dawn with the new opus by Meathook, so simply say goodbye to quiet nights and untroubled sleep because terror is coming in the form of the most extreme type of music you can think of.
Wicked noises explode into sheer brutality led by the demented beats by drummer Johnny Gonzales in the opening track Awaiting Torment, while lead singer Mars Gonzales barks like a rabid demon in a feast of violent, gory and visceral sounds just the way we like it; and their onrush of crushing noises goes on in Cauldron of Dead Bodies, a lesson in Brutal Death Metal where guitarists Robin Mack and Aaron Gonzales decimate their strings beautifully, delivering classic Death Metal riffs while the roars by Mars get deeper and deeper. Then Mars once again leads his horde of sick bastards in Purification Through Pain, almost vomiting the lyrics (and therefore making it quite impossible to follow them) while Johnny pulverizes everything and everyone with his bestial drumming, followed by the fulminating title-track Crypts, Coffins, Corpses, perfect for braking your spinal cord in half headbanging, with Robin and Aaron being in total sync with their axes supported by the low-tuned punches by bassist Elliot Thomas in a lecture in gore and dementia. And in Placed Upon the Altar we’re treated to a high-octane devastation bringing the most disturbing and gruesome elements from Brutal Death Metal such as inhumane growls, incendiary guitars and nonstop blast beats, or in other words, another sensational creation by this devilish Death Metal squad.
Leaning towards old school Cannibal Corpse but at the same time presenting a more contemporary vibe, Temples Made From Flesh is a song perfect for slamming into the pit, with Mars sounding absolutely monstrous on vocals, whereas in Disseminated Remains an operatic intro morphs into an ass-kicking display of savagery led by Johnny’s potent and rhythmic beats, hammering our heads mercilessly from start to finish. If you’re still alive after such gargantuan level of havoc blasted by Meathook up until now, you better get ready because the album’s second to last bloodthirsty extravaganza, titled Awakened by the Stench, is just as perverse and vile as the rest of the album, with Mars and Johnny complementing each other’s demonic roars and beats respectively. And last but not least, closing their Death Metal coffin the band offers our avid ears the insanely heavy and brutal Coils of Entrails, presenting hints of the most devastating form of Grindcore, not to mention Mars’ spine-tingling screeches and gnarls as well as Robin’s and Aaron’s razor-edged riffs.
If you have what it takes to face the disturbing and thunderous Death Metal by Meathook, you can take a detailed listen at Crypts, Coffins, Corpses on YouTube and on Spotify, and of course if you’re already a longtime member of the Death Metal underworld you can purchase your copy of the album from the band’s own BandCamp page, from the Unmatched Brutality Records webstore, or from the Comatose Music webstore. As aforementioned, the first review of 2019 was going to be a total carnage, and we have to thank the guys from Meathook for kicking off this new year on such a high, apocalyptic and barbaric mode for our total delight.
Best moments of the album:Cauldron of Dead Bodies, Crypts, Coffins, Corpses and Placed Upon the Altar.
Worst moments of the album: None.
Released in 2019 Unmatched Brutality Records
Track listing 1. Awaiting Torment 3:28
2. Cauldron of Dead Bodies 3:39
3. Purification Through Pain 3:09
4. Crypts, Coffins, Corpses 3:38
5. Placed Upon the Altar 3:19
6. Temples Made From Flesh 3:04
7. Disseminated Remains 3:56
8. Awakened by the Stench 3:32
9. Coils of Entrails 3:37
Band members Mars Gonzales – vocals
Robin Mack – guitar
Aaron Gonzales – guitar
Elliot Thomas – bass
Johnny Gonzales – drums
I’ve been looking so long for you now… You won’t get away from my grasp…
As 2019 promises to be another memorable year for Maidenmaniacs from all over the world, especially for the ones that reside in the United States, Canada, Mexico and South America who will have the utmost pleasure of seeing Steve, Bruce & Co. live during their upcoming Legacy of the Beast Tour 2019, there’s nothing better than kicking off our Metal Chick of the Month section with an amazing bass player that truly understands what it means to be part of the legacy (and also continuing our tradition of starting the year with a badass girl on bass guitar, of course). I’m talking about Wanda Ortiz (or Wanda A. Ortiz), the skillful bass player for the all-female tribute band The Iron Maidens (billed as the “World’s Only Female Tribute to Iron Maiden”) under the brilliant stage name of Steph Harris, who’s ready to crush your skull in half to the sound of her thunderous, galloping bass allied to her endless stamina when performing live.
Born on March 27, 1968 in Huntington Beach, a California city southeast of Los Angeles, Wanda first learned to play bass at the early age of nine years old, when the elementary school she attended had a music program that enabled students to sign up and choose an instrument. When she arrived late on the first day of music class, she wound up with a junior-sized double bass, and from that moment on we can say it was “love at first gallop”. In addition to that, while she took lessons on the double bass, also known as an upright bass, Wanda also taught herself how to play electric bass when she was 11 years old in order to play in the school jazz band, and she continued playing bass throughout her school years, eventually earning a Bachelor of Music in Performance (BMus) degree from UCI – University of California, Irvine. One funny thing about Wanda and her relationship with the bass guitar is that, according to Wanda herself, she felt a little sad about her instrument when in high school because she could rarely play the melody, which were the fun parts for her, as she got stuck with simpler lines meant to hold down the beat (in other words, a typical bass line), which despite being very important could get really boring at times. Luckily, she had a friend who told her about bands like Iron Maiden and Rush that really featured bass in their music and, after listening to them, she felt a lot better.
Moving on to her career as a musician, our dauntless bassist, who plays a variety of styles such as Heavy Metal, Hard Rock, Blues and classical music armed with her glitter blue G&L SB-2 bass guitar and her black SB-2 bass guitar on select shows, started playing in a more professional way in 1997, when she joined a California-based Punk Rock/Rock N’ Roll band named Rotten Rod & The Warheads. She was their bassist from 1997 to 2002, having recorded with the band a demo in 1998 titled Practice Bomb (under the eccentric moniker of “Wanda Smart Bomb”), containing songs like Germs and Cruel World. I don’t know about you, but I would love to listen to the music by this fun and electrifying band on any rock n’ roll radio out there. Anyway, while still playing for Rotten Rod & The Warheads, she was also the bassist for Heartache City from 1999 to 2001, with whom she recorded the band’s self-titled album in 2001. I couldn’t find anything online form this band, but if Wanda was their bass player I’m sure their music was at least fun to listen to, right? Furthermore, Wanda was also the bassist for a Huntington Beach-based Rock/Blues band named Field of Vision in 2004, having recorded with them the six-track album FOV that same year, highly influenced by renowned acts such as David Bowie, The Rolling Stones and Velvet Underground. Once again, there’s nothing online about this specific album, but as aforementioned we know from the bottom of our hearts it’s good music we’re talking about. As a matter of fact, in 1998 and 2004, she won the Best Female Bassist award at the Rock City News Awards and, in 2003, she also won the best bassist award at The All Access Music Magazine Awards, proving how talented and focused she has always been as a musician.
In addition to those previous acts and to The Iron Maidens, our ass-kicking bassist also works as a freelance musician in various groups and orchestras in the Southern California area, including The South Coast Symphony as principal bassist since 1996. When asked about how different it is playing for The South Coast Symphony and for The Iron Maidens, if that’s the type of diversity she needs in her playing style, Wanda said that she likes to play classical music just as much as metal, and after playing an upright bass she thinks it keeps her chops up, also saying that it’s like someone who enjoys playing basketball and baseball, two different sports but both fun, which is the same with classical music and metal for her. Moreover, her talent is also recognized by several important brands and companies, being endorsed by BBE Sound, Digitech, Dunlop Manufacturing, G&L Musical Instruments, RotoSound Strings, Schroeder Superior Sound Cabinets, Coffin Case and Monster Energy Drink, and she’s also been in a couple of interesting documentaries recently, those being Hair I Go Again (2016) and the upcoming Rock Is Dead? (2019).
It was in September 2002 when Wanda finally joined The Iron Maidens, remaining with the band ever since and adopting her stage name “Steph Harris” as an obvious reference to Iron Maiden’s iconic bassist and founder Mr. Steve Harris. So far, she has recorded with the band the albums World’s Only Female Tribute to Iron Maiden (2005), Route 666 (2007), The Root of All Evil (2008) and the video Metal Gathering Tour Live in Japan (2010), trying to be as loyal as possible to Iron Maiden’s original sound. In one of her interviews, Wanda said that when she joined the band everyone was just looking for a fun and original side project (there were already several all-female tribute acts for bands like AC/DC in the area), as they all had their own bands and projects, with a goal of playing maybe once or twice a month at some local pubs. However, after the first few shows a lot of people started calling them, with things really kicking off after the band had been together for about a year despite the fact they never took themselves too seriously at that time. As a matter of fact, if there’s one thing they always took very seriously was the music, always trying to replicate the original tones from Iron Maiden the best possible way even with the different instruments they use like Wanda’s bass, which is technically a Fender bass but not the same one used by Steve. If you want to take a good listen at how amazing Wanda and the girls from The Iron Maidens are, simply search for them on YouTube, as there are countless fantastic videos of their live performances such as The Trooper and Die With Your Boots On in California in 2014, or these two full concerts recorded in New York in 2018 and in California in 2013. Also, how about a nice and relaxed interview with the entire band conducted by Grasser Production in 2017 called “15 questions with The Iron Maidens”?
This slideshow requires JavaScript.
Regarding the songs she likes to play the most from the Iron Maiden vast and rich discography, she said her all-time favorite are Losfer Words (Big ‘Orra), Phantom of the Opera, Powerslave and Rime of the Ancient Mariner, and when questioned if it’s hard for The Iron Maidens to come up with a setlist to please all fans she said it’s not difficult at all because it’s drummer Linda McDonald who keeps track of all places the band plays and what songs they played before, also taking into account her own endurance and the timing for their lead singer to do a costume change, for example, and always focusing on old songs not usually played by Iron Maiden during their current concerts and tours. She was also questioned if she ever struggles with identity, wanting to do her own original material and showcasing it, and she said she doesn’t really have any issues with that, stating that she actually enjoys playing music written by a wide variety of different composers, either metal or orchestral music, and that it doesn’t stop her from writing her own music which she has done before in original bands. Also, when asked if the band has ever had to deal with any issues related to artwork, royalties, cease-and-desists from lawyers or anything like that, she said the band does everything they can to avoid that, but that they were asked to change their logo many years ago (and they did). She complemented by saying that wasn’t a big deal, and she doesn’t think the guys from Iron Maiden were even aware of it; they simply have a good team of people who help look after everything.
Of course, it’s impossible not to talk about her “relationship” with Mr. Steve Harris and his two-fingered galloping bass method. In one of her interviews, Wanda talked about how much Steve Harris and his bass have influenced her taste for music and her playing style, talking about the aforementioned story of her playing only the basic notes while her friends would play the melodies with their violins and violas in high school, but that after listening to the all-time classic Piece of Mind she fell in love with her bass guitar again and never stopped listening to the music by Iron Maiden ever since. Apart from Steve Harris, she also cites Geddy Lee, lead vocalist, bassist, and keyboardist for Canadian Rock titans Rush, and Chris Squire, bassist and founding member of English Progressive Rock band Yes, among her influences, once again showing how much she loves the most intricate, unique and vibrant sounds anyone can extract from a bass guitar. There’s also a price to pay for having Steve Harris as her major influence, and especially for playing Iron Maiden’s music, which comes in the form of fans who believe they can offer her advice on how to perform that material beyond her considerable talent. “Every once in a while, there will be a bass player in the audience. There’s a couple songs that I’ve gotten used to playing it a certain way or maybe a different position, but they’re the same notes, but it’s not the same position (Harris) plays it in. Sometimes I’ll get that, or sometimes I’ll get like, ‘Well, Steve uses two fingers’. Well, okay. Sometimes I’ll hear that. Very rarely though,” said our talented bassist.
Wanda’s first ever Iron Maiden concert happened many years ago during the World Slavery Tour, when according to Wanda herself she didn’t drink anything to avoid having to leave to use the bathroom, as she didn’t want to miss any part of the show (well, it’s the same for me). Years later, Wanda was even able to get to know Iron Maiden in person when Michael Kenney, Steve’s long-time bass tech and the band’s onstage keyboard player, introduced the whole band to them at a concert in Irvine, California. Wanda and the other girls were obviously nervous at first for meeting their idols, but the guys were really friendly to them and down to earth, making the whole experience very pleasant. The only thing that didn’t go as planned was that they weren’t able to give them cookies that they baked specially for them, as their singer left them in her car. I’m pretty sure those cookies were delicious, but you know what was even better than that? The fact that The Iron Maidens were not only able to meet their icons in person for the first time ever, but also that the band led by Mr. Steve Harris supports them, acknowledging their undisputed talent, their passion for metal and their hard work, and that they can rest assured “Steph Harris” and the girls will always represent this more “feminine” and “delicate” side of Eddie with a lot of energy, respect and admiration. Having said that, don’t forget to check Wanda and the girls live whenever they take your city by storm, and of course, as usual… UP THE IRONS!
“As a bass player, of course, you’re going to be drawn to music more challenging, interesting and fun. I’ve always been an Iron Maiden fan since I was very young. When the band first formed everybody wanted to do something different, something more challenging. Since we all wanted something unique that nobody else was really doing, we thought Iron Maiden would be a good fit. We are all coincidentally huge Iron Maiden fans, so that made it better.” – Wanda Ortiz
“Chasing a dream as I go higher Playing it mean, my heart’s on fire Living my life, ain’t no pretender Ready to fight with no surrender.” – No Surrender, by Judas Priest
Another year goes by and, as usual, we lost a lot of good people, including family and friends. In heavy music, 2018 was the year several amazing musicians passed away, such as Dave Holland (former drummer of Judas Priest), Ralph Santolla (former guitarist of Iced Earth, Deicide, Death and Obituary), Vinnie Paul (the talented drummer of Hellyeah, Pantera and Damageplan), Jill Janus (the stunning vocalist of Huntress), and “Fast” Eddie Clarke, one of the meanest guitarists in history and the last of Motörhead’s “Three Amigos”, signaling the definitive end of Motörhead’s classic lineup. Not only that, we also saw the one and only Glenn Tipton, the iconic lead guitarist for Heavy Metal giants Judas Priest and one of the most influential guitar players in the history of metal, opening up about his ongoing fight against Parkinson’s disease and, as a consequence, having to pull out of the 2018 tour due to his health issues. However, as the Metal Gods themselves sing in their new ass-kicking song No Surrender, we can’t surrender and should keep on fighting with our heads high, always listening to our good old Heavy Metal to inspire us to face our daily struggles.
Enough said already, how about we show the world that we metalheads are still here, always ready for a fight, and that metal music is alive and kicking with The Headbanging Moose’s Top 10 Hard Rock/Heavy Metal Albums of 2018, excluding EP’s, best of’s and live albums? From classic bands like Judas Priest, Behemoth and Immortal, to underground bands from all four corners of the earth like Ukraine’s 1914, Australia’s Rise of Avernus and Canada’s Altars of Grief, we can say that 2018 was a damn good year for our beloved Heavy Metal, pointing to a promising future for all its genres and subgenres and proving once again that metal unites us all it doesn’t matter where we live, our culture, language, race or religion. So, get ready to raise your horns and bang your heads nonstop to our selection of best metal albums of the year, and always remember… NO SURRENDER!
1. Judas Priest – Firepower (REVIEW)
The Metal Gods are firing on all cylinders with their majestic new album of pure and highly inspired Heavy Metal.
Best song of the album: Firepower
2. Blaze Bayley – The Redemption of William Black (REVIEW)
What does the future hold for Mr. William Christopher Black? Enjoy the dramatic conclusion to Blaze’s stunning Infinite Entanglement Trilogy.
Best song of the album: The Dark Side of Black
3. Behemoth – I Loved You at Your Darkest (REVIEW)
Poland’s most blasphemous metal institution returns after four years with a much more melodic and dynamic approach than before.
Best song of the album: Ecclesia Diabolica Catholica
4. Dragonlord – Dominion (REVIEW)
Exploring themes of darkness, here comes Eric Peterson’s Symphonic Black and Thrash Metal project with their first album in 13 years.
Best song of the album: Northlanders
5. Primal Fear – Apocalypse (REVIEW)
The Teutonic eagles of Power Metal return with another sensational opus showcasing the perfect amount of creativity and melody.
Best song of the album: The Ritual
6. Immortal – Northern Chaos Gods (REVIEW)
The Gates of Blashyrkh have finally opened again to the sound of the pulverizing new album by the Northern Chaos Gods of Black Metal.
Best song of the album: Mighty Ravendark
7. 1914 – The Blind Leading the Blind (REVIEW)
It’s time to head into the battlefields of the Great War together with these Ukrainian Blackened Death and Doom Metal infantrymen.
Best song of the album: Passchenhell
8. Rise of Avernus – Eigengrau (REVIEW)
Here come Australia’s own Rise of Avernus with their most symphonic, heaviest and darkest opus thus far.
Best song of the album: Eigenlicht
9. Altars of Grief – Iris (REVIEW)
A superb album of Canadian Blackened Doom narrating a tragic story of a deeply flawed man and his dying daughter.
Best song of the album: Broken Hymns
10. Marduk – Viktoria (REVIEW)
A furious and aggressive fusion of Marduk’s classic Black Metal with their more contemporary warlike sound.
Best song of the album: Viktoria
And here we have the runner-ups, completing the top 20 for the year:
In addition, how about another round of awesome albums released this year, this time presenting to you our Top 10 EP’s of 2018? Those shorter-than-a-regular-album but still heavier-than-hell releases are like going to a fancy restaurant, where you might not get a humongous amount of food, but what’s served on your plate is more than enough to please your palate (or your ears, in this case). And, of course, you leave the place eager for more of that tasty and exquisite metal music.
1. Violent Life Violent Death – Come, Heavy Breath (REVIEW)
2. Strangle Wire – The Dark Triad (REVIEW)
3. Godless – Swarm (REVIEW)
4. The Black Swamp – Witches (REVIEW)
5. Progenie Terrestre Pura – starCross (REVIEW)
6. Lebowskii – Liquidators (REVIEW)
7. Geisterwald – Geisterwald (REVIEW)
8. Soul Dissolution – Nowhere (REVIEW)
9. Dark Archive – Cultivate Our Blood in Aeon (REVIEW)
10. Forte Ruin – Rebuilding the Machinery (REVIEW)
Metal Xmas and a Headbanging New Year! See you in 2019!
And last but not least, if you want to support Glenn Tipton and everyone else on their personal battles against Parkinson’s, you can purchase the official Glenn Tipton Parkinson’s Foundation Charity T-shirt by clicking HERE or make a direct donation following the instructions found HERE. You can always help your family, friends and fellow metalheads, as simple as that, and who knows, maybe we can make this world a better place to live.
Committed to pure, unadulterated, lightning-fast, ear-shredding, thrash-influenced Death Metal, this promising Indian act is ready to kill with their crushing and groovy sophomore EP.
From their inauspicious origins in 2015 in the city of Hyderabad, the capital of southern India’s Telangana state, within a very exotic metal music scene, Death/Thrash Metal squad Godless slowly rose to the very top of the country’s Death Metal class thanks to their unapologetic commitment to pure, unadulterated, lightning-fast, ear-shredding, thrash-influenced Death Metal. Comprised of Kaushal LS on vocals, Ravi Nidamarthy on the guitars, Abbas Razvi on bass and Aniketh Yadav on drums, Godless had an amazing year in 2018, having won the Wacken Metal Battle India, having played at the iconic Wacken Open Air as the great prize of the competition won, and having released their sophomore EP, a thrashing and groovy beast entitled Swarm.
Featuring a dark and devilish artwork by Khaos Diktator Design, Swarm deals with controversial themes such as zombification, cosmic horror, reanimation of the dead, occultism and religion. “We actually started to work on the Swarm EP right after our debut EP Centuries of Decadence. We didn’t really have any direction in mind but wrote the song Infected by the Black. Things naturally took on a more aggressive, thrashier and faster direction, and we just continued the flow from there on for the rest of the EP,” commented the band about their new album, inviting us all to slam into the pit and roar together with them on their quest for extreme music.
The soothing sound of water blended with cryptic, otherworldly noises in the intro Exordium set the stage for Godless to decimate our senses in Infected By The Black, blasting a more demonic version of the already heavy-as-hell Trash Metal by their countrymen SystemHouse33, and with Kaushal barking and roaring like a beast in a true Death Metal style while Aniketh pounds his drums frantically and with tons of groove. Following such pulverizing start we have From Beyond, another brutal tune blending the most electrifying elements from Thrash, Death and Groove Metal where Ravi’s riffs sound as metallic and piercing as possible, accompanied by Abbas and his menacing bass punches.
Then growling deeper and deeper like a rabid creature, Kaushal leads his henchmen in the fulminating Deathcult, presenting a crisp and thunderous sonority thanks to the fantastic sync between Abbas and Aniketh, not to mention Ravi’s incendiary guitar lines. Put differently, this is old school Thrash Metal infused with the most carnivorous elements from Death Metal, for the absolute delight of fans of extreme music. And last but not least, with the help of guest guitarist Tom “Fountainhead” Geldschlager (Obscura, Despotic, NYN), the quartet unleashes hell upon humanity with the thrashing and infernal tune Empty Graves, where Kaushal goes full Death Metal on vocals while Aniketh sounds like an unstoppable stone crusher on drums, bringing total chaos in the form of music to end the EP on a high and visceral note.
All the devastation and groove brought forth by Godless can be better appreciated by following them on Facebook, by subscribing to their YouTube channel, by listening to more of their music on Spotify, and obviously by purchasing Swarm from their BandCamp page or webstore, as well as from iTunes or Amazon. Because you know, whenever you feel the urge to slam into the circle pit and scream like a beast to the sound of crushing Death and Thrash Metal, you can count on this promising Indian act to provide you the perfect soundtrack to that.
Best moments of the album:Infected By The Black.
Worst moments of the album: None.
Released in 2018 Independent
Track listing 1. Exordium 0:51
2. Infected By The Black 3:33
3. From Beyond 3:44
4. Deathcult 3:24
5. Empty Graves (feat. Tom “Fountainhead” Geldschlager) 3:50
Band members Kaushal LS – vocals
Ravi Nidamarthy – guitars
Abbas Razvi – bass
Aniketh Yadav – drums
Guest musician
Tom “Fountainhead” Geldschlaeger – guitars on “Empty Graves”
Immerse yourself into a work of windswept mysticism and pure pagan fury dedicated to the most important and powerful totem in the culture of southern Slavs.
Originating from the southern regions of Europe, Serbian Black Metal duo All My Sins was officially formed by multi-instrumentalists Nav Cosmos and V in the year of 2000 in the city of Pančevo around the idea of claiming their own place among the already-established Second Wave of Black Metal. Inspired by the spiritual heritage of the land they come from, the band started making records, each of them conceptually placed around certain mythological symbols such as their brand new opus entitled Pra Sila – Vukov Totem, which would be roughly translated to English as “The Primordial Force of the Wolf’s Totem”, a work of windswept mysticism and pure pagan fury dedicated to the most important and powerful totem in the culture of southern Slavs, the wolf.
Featuring a somber cover art by Romanian musician and artist Daniel Dorobantu (Thy Veils) and guest musicians Nemir, Khargash and Jaguar (from underground Serbian bands like Obscured and Terrörhammer), All My Sins’ newborn eight-track album portrays the wolf as the ancient ancestor of Serbian people, a creature with unusual attributes that is believed to possess obscure divine powers, narrating a vast spiritual journey throughout the realms of southern Slavic mysticism. The meeting of man and wolf, mystically dangerous yet magnificent at the same time, depicts the encounter with a demonic being and concurrently the moment when a man meets his native forefather. In the world of wilderness abandoned by man, contradictory and strong, the wolf represents everything we are not, unknown and terrifying, or the perfection of a stranger.
In the opening track Vukov Totem, or “Totem of the Wolf”, a demented blast of visceral Black Metal invades our ears mercilessly, with V pulverizing his strings with his violent shredding while Nemir shakes the foundations of the earth with his blast beats before a cosmic break turns the sonic devastation into a more progressive and atmospheric extravaganza. Their incendiary feast of Slavic Black Metal goes on in Zov iz Magle, or “A Call from the Mist”, where Nav Cosmos roars and gnarls powerfully from the bottom of his blackened heart, with the entire song feeling very dense, enfolding and also bringing some deep, phantasmagorical clean vocals, while its instrumental parts remind me of old school Norwegian Black Metal; followed by Vetrovo Kolo, or “The Wheel of the Wind”, another brutal explosion of extreme sounds by All My Sins where Nemir sounds even more enraged and bestial on drums, while Nav Cosmos vociferates manically. Furthermore, the song’s razor-edged guitar riffs will violently pierce your mind and soul, leaving you completely disoriented after all is said and done. And U Mlazevima Krvi, or “In the Streams of Blood”, brings forward devastation, rage, madness and top-notch Pagan Black Metal to our ears. What else can you ask for, right? Moreover, Nav Cosmos’ deranged growls in his mother tongue end up adding an extra touch of lunacy to the overall musicality, just like what happens in the whole album.
Then it’s time to get smashed into the circle pit to the fulminating Opsena, or “The Phantasm”, showcasing almost eight minutes of crushing Black Metal with Atmospheric Black Metal nuances while V continues to brutalize his strings powerfully, with the music morphing into a completely new sonority after a cryptic, somber passage, feeling a lot more melodic and introspective. In the bridge Mesecu u Oko, or “Towards the Moon’s Eye”, wicked, Stygian noises are spiced up by Nav Cosmo’s anguished gnarls, flowing into over 10 minutes of a beyond atmospheric display of contemporary Black Metal named Konačna Ravnodnevica (Čin Prvi), or “The Final Equinox (Act I)”, sounding epic and bold from start to finish, with Nemir delivering sheer darkness through his crisp drumming, until melancholy permeates the air in Konačna Ravnodnevica (Čin Drugi), or “The Final Equinox (Act II)”, featuring guest Khargash on bass and backing vocals. This is a fantastic Atmospheric Black Metal chant infused with hints of Doom Metal, remaining as sluggish and grim as it can be and, therefore, putting a pensive ending to such demolishing album of Pagan Black Metal.
Brewing since the ancient days, Pra Sila – Vukov Totem (available for a full listen on YouTube) is now being released into the modern era with a timelessness that’s exciting to behold, and you can savor that first-class fusion of Black Metal and the Slavic culture by purchasing the album from the band’s own BandCamp page, from the Saturnal Records’ BandCamp page or webstore, from Amazon, or from Discogs. Also, don’t forget to follow the band on Facebook and on VKontakte, and immerse yourself into a sensational world of South Slavic Black Metal mysticism crafted by this talented and undisputed Serbian duo.
Best moments of the album:Vukov Totem, Vetrovo Kolo and U Mlazevima Krvi.
Worst moments of the album:Konačna Ravnodnevica (Čin Drugi).
Released in 2018 Saturnal Records
Track listing 1. Vukov Totem 9:43
2. Zov iz Magle 7:56
3. Vetrovo Kolo 6:25
4. U Mlazevima Krvi 3:52
5. Opsena 7:57
6. Mesecu u Oko 1:19
7. Konačna Ravnodnevica (Čin Prvi) 10:25
8. Konačna Ravnodnevica (Čin Drugi) 8:10
Band members Nav Cosmos – vocals, recitals, bass
V – guitars, bass, clean and backing vocals, recitals, keys, vrg
Are you already on your personal countdown to become part of the legacy on the upcoming Legacy of the Beast Tour 2019?
As there are only a few days left until 2018 comes to its inevitable end, it’s time to get ready for the year that’s about to start with the already classic annual calendar by Heavy Metal titans Iron Maiden, allowing you to properly count the days until Bruce, Steve & Co. take your city by storm with their undisputed Legacy of the Beast Tour 2019. And although the Iron Maiden 2019 Calendar might not be a masterpiece, mainly because the manufacturer, your friendly neighborhood Danilo Promotions Limited, missed a fantastic chance of crafting the entire calendar based on all the different Eddies from their critically-acclaimed, epic mobile game Legacy of the Beast, it’s still a fun piece to add to your collection.
As I said, instead of assigning a distinct (and ass-kicking) Eddie from the game to each month of the calendar, such as the Eternity Eddie, the Vampire Hunter Eddie, the Grim Reaper Eddie or the Samurai Eddie, they decided to take a more conventional path by simply adding pictures of the band members taken during their Legacy of the Beast Tour 2018. The front cover and the photos chosen to be part of the calendar are amazing, no doubt about that, especially the ones from February, April and September, but as a Maidenmaniac I still believe the Eddies would have been a much more suitable choice. Well, we can’t actually complain about that if you take a look at all previous versions, as it seems the manufacturer alternates between an Eddie-themed calendar (like their amazing 2018 edition) and a version containing solely band photos from year to year. Having said that, who knows, maybe next year when the 2020 version of the calendar is released we get all those fancy Eddies from the game, right?
Iron Maiden 2019 Square Global (Multilingual Edition)
Anyway, just like in all previous years, the 2019 calendar dimensions (30.4 x 1.5 x 42.4 cm) and weight (299 g) are quite standard, and you can purchase your copy of it from your regular retailers such as the Iron Maiden webstore, Danilo.com, Amazon (US, Canada or UK, for example), and Calendar Club. In addition, don’t forget there’s always the 12 x 12 version of the calendar named Iron Maiden 2019 Square Global (Multilingual Edition) if you prefer that specific format, although I believe it will be hard for anyone to find it online for purchase (it’s sold out in most locations) unless you go for the alternate version with a different front cover sold by BrownTrout. The price of the calendar, that being either the regular A3 version or the 12 x 12, varies depending on where you buy it, but I would say anything between 15 and 20 US Dollars should be fine.
Iron Maiden 2019 Square Global (BrownTrout Version)
In a nutshell, this is another good quality merch released by the one and only Iron Maiden that will certainly please most of their diehard fans (like this guy here who’s writing this review to you right now), also helping them count the days to their upcoming Legacy of the Beast Tour 2019 as already mentioned, especially if you live in North or South America. I’m already on my personal countdown to the two concerts in a row I’m attending here in Toronto, eager to see them performing their all-time classics mixed with some of my favorite “underground” hymns such as Where Eagles Dare, The Clansman, Flight of Icarus, Sign of the Cross and The Wicker Man for the first time after so many years and, as a consequence, becoming part of the legacy together with one of the most important bands not only in the history of metal, but of music in general.
A superb amalgamation of melodic riffs and sweeping solos embraced by the beauty and finesse of symphonic music, blasted by a Belgian outfit that’s among us to dictate violence and spread the plague.
As total strangers, but sharing the same passion for heavy music, five friends met in June 2016 with the same goal in mind, which was translating their vision of life and musical ideas into a genre that’s not well known or developed among headbangers yet, but that has tons of potential to become your next favorite thing in metal. I’m talking about Symphonic Deathcore, an amalgamation of sounds and styles that encompasses melodic riffs and sweeping solos embraced by the beauty and finesse of symphonic music, and there’s no better band to introduce you to this thrilling new genre than Belgian metallers When Plagues Collide (a name standing for the reflection of our modern-day society and, therefore, allowing a critical view on social issues) and their debut full-length opus, titled Tutor of the Dying.
Believe me when I say you’ll be absolutely stunned by the complex and brutal creations by this Aarschot-based squad, comprised of Wouter Dergez on vocals, Joris Dergez and Santy Van der Mieren on the guitars, Bastiaan Barbieux on bass and Siebe Hermans on drums. Featuring an old school Death Metal-inspired artwork by Hans Trasid of Disart Design, as well as the very special guest musicians Ben Duerr (Shadow of Intent, Hollow Prophet), Luke Griffin (Acrania, Human Error) and Tim De Ridder (The Seventh, Before He Shot her), Tutor of the Dying is highly recommended for fans of bands like Fleshgod Apocalypse, Make them Suffer, Martyr Defiled and Molotov Solution, with each one of the album’s 11 tracks “dictating violence and spreading the plague”, like the band itself would say.
If you’re curious to know what Symphonic Deathcroe is all about, simply hit play and let cryptic sounds and noises from the underworld kick off the six-minute aria Messengers of the Holy Falsehood, being gradually accompanied by a choir and background symphonic elements until all hell breaks loose to the demented beats by Siebe and the lunatic vociferations by Wouter, with both Joris and Santy firing truly incendiary riffs from their axes. Fertilization with the Body of Men is a lot more metallic and closer to traditional Metalcore, with Bastiaan and Siebe shaking the foundations of the earth with their rumbling instruments, not to mention how the background piano and other symphonic elements bring an ethereal touch to the band’s sonic havoc, whereas Legion is another ass-kicking, demolishing tune by the quintet where Wouter sounds even more enraged and demented than before, with the strident sound of the guitars beautifully penetrating deep inside our minds.
And their level of destruction and rage only grows in Dictating Violence, a Deathcore tune perfect for slamming into the pit featuring the first guest of the album, vocalist Ben Duerr, blasting sheer brutality and wrath. Then an eerie and somber semi-acoustic bridge titled Als Imperatieve Grootmacht (which means “as an imperative superpower”, from Dutch) showcases devilish vocalizations and enigmatic words, setting the tone for the fulminating title-track Tutor of the Dying, bringing the most demonic, high-pitched screeches by Wouter, while Siebe shows no mercy for his drums nor for our necks. In other words, this is top-notch Deathcore to the masses with a phantasmagorical and amazing atmosphere, which can also be said about Fleshmould, where guest vocalist Luke Griffin growls and barks like a beast together with Wouter while the band’s guitar duo continues their insane shredding feast for our total delight.
An imposing intro evolves into a bold and introspective creation named Belials Archetype, led by the visceral riffs by both Joris and Santy and also presenting truly wicked lyrics (“Malevolent thoughts slither through the mind of this broken man / The weeping eyes of his unborn child reflecting on the name of his murdered wife / The ever cold breeze carries her scent as reminder of the elegance of life / In her fragile existence she achieves in maintaining the breath of belief in the essence of his being / Still death and reunification offer solace and liberation”); and When Plagues Collide continue their deranged feast of sounds and noises in Marked for Destruction, featuring guest vocalist Tim De Ridder, all embraced by spot-on symphonic elements and without showing any signs of the band slowing down. Quite the contrary, they keep taking their violent Deathcore to new heights, obviously making us fans of extreme music happy. Lastly, presenting a sonority slightly different from the previous songs we have Corpus Maleficus, more symphonic and less barbaric than its predecessors but of course still keeping intact their Deathcore roots, with highlights to the great sync between Siebe’s beats and the flammable guitars by Joris and Santy, before the orchestral, Stygian outro Vows captivates our senses and depressurizes our souls from all the devastation brought forth by the band throughout the entire album.
As already mentioned, I’m certain that after taking a more detailed listen at Tutor of the Dying in its entirety on YouTube or on Spotify you’ll get addicted to Symphonic Deathcore, and in order to show your appreciation for the music by When Plagues Collide don’t forget to follow them on Facebook and to subscribe to their YouTube channel. In a nutshell, the excellent Tutor of the Dying, available from the band’s BandCamp page or webstore, as well as from Chugcore’s BandCamp page, from iTunes and from Amazon, is the utmost depiction of what high-end Symphonic Deathcore is all about, always dictating violence, always spreading the plague and, above all that, showing us all When Plagues Collide are among us to stay (and slay).
Best moments of the album:Messengers of the Holy Falsehood, Dictating Violence and Tutor of the Dying.
Worst moments of the album:Corpus Maleficus.
Released in 2018 Chugcore
Track listing 1. Messengers of the Holy Falsehood 6:27
2. Fertilization with the Body of Men 4:25
3. Legion 4:16
4. Dictating Violence (feat. Ben Duerr) 3:42
5. Als Imperatieve Grootmacht 2:41
6. Tutor of the Dying 4:49
7. Fleshmould (feat. Luke Griffin) 3:28
8. Belials Archetype 3:25
9. Marked for Destruction (feat. Tim De Ridder) 4:00
10. Corpus Maleficus 4:18
11. Vows 2:54
Band members Wouter Dergez – vocals
Joris Dergez – guitar
Santy Van der Mieren – guitar
Bastiaan Barbieux – bass
Siebe Hermans – drums
Guest musicians Ben Duerr – vocals on “Dictating Violence”
Luke Griffin – vocals on “Fleshmould”
Tim De Ridder – vocals on “Marked for Destruction”
Follow the tale of a young man’s downward spiral into the abyss to the sound of the symphonic and progressive devastation blasted by this excellent Dutch quintet.
If you’re familiar with the work by Dutch Symphonic/Progressive Black/Death Metal act Tragacanth, having already listened to their 2015 debut full-length album Anthology of the East, you know how those five skilled metallers love to blend their entrancing melodies and symphonic sections with lyrical themes ranging from spiritual wars to mythical creatures, telling the tales of ancient Babylonian times. Now in 2018 it’s time for the band comprised of Terry Stooker on vocals, Erik Brouwer and Adrian Neagoe on the guitars, Mark Oosterbaan on bass and Jasper van Minnen on drums to strike once again with their sophomore opus entitled The Journey of a Man, this time showcasing a lyrical mix between mythological and purely personal topics, being recommended for fans of cult acts such as Nile, Carach Angren, Dimmu Borgir and Behemoth.
Formed in 2014 in Utrecht, a city in the central Netherlands that has been a religious center for centuries, Tragacanth are one of those bands that do not just create music, spicing up their creations with a fantastic storytelling, and their new album is the perfect depiction of their highly-developed musical and lyrical skills. “From the mystical, enigmatic Far East covered in Anthology of the East, this time we travel to Ancient Greek times where a young man finds out he is to perish soon. Wandering the complex maze of emotions and disease running through his veins, The Journey of a Man tells the tale of his downward spiral into the abyss,” commented the band about their newborn spawn, inviting us all to join this young man in his personal and very obscure journey.
Enter the ominous realm of Tragacanth to the sound of the eerie opening track Survival: Stagnate Reality, a lot more progressive than symphonic I might say, with the band’s guitarists Erik and Adrian giving a lecture in Progressive Death Metal, sounding utterly insane, heavy and intricate. And their creepy guitars and bass lines dictate the rhythm in Denial: They are Mistaken, where Terry sounds diabolical with his gnarling in a brilliant fusion of the Symphonic Black Metal by Dimmu Borgir with the Progressive Death Metal by bands like Augury and Virulent Depravity; followed by Anger: Kitrine Chole, a beautiful devastation blasted by Tragacanth where its bass lines will tremble inside your head while Jasper smashes your skull with his complex and powerful beats, not to mention how demonically Terry vociferates the song’s insane lyrics (“A black haze thwarts / My vision’s blurred / Sever the chains / Composure can’t hold / This pent up energy / The rage breaking free / The walls imploding destroying all what once was”).
Their demented feast of Progressive Death Metal and Symphonic Black Metal goes on in the pulverizing Depression: Waning Light, featuring the angelical voice of Romanian vocalist Manuela Marchis, and where the drums by Jasper sound heavier than hell while Terry keeps growling and screaming rabidly, turning it into my favorite song of the album by far. Then not ready to accept his fate, the man turns to the gods, with the path leading him to Hades, god of the underworld, Thanatos, the personification of death, and eventually to those cruel sisters of fate, the Moirai, resulting in the vibrant Bargaining: Will You Answer Me?, featuring guest vocalist Rik van Schaaik in the role of Hades and Thanatos, among other additional vocal lines, with the music being as infernal and complex as its predecessors thanks to the impressive job done by Erik, Adrian and Mark with their stringed weapons. And a cryptic, Middle-Eastern beginning evolves into a dense and impactful display of Progressive Metal in Nightmare: The Vision, with highlights to its mesmerizing bass punches and ass-kicking drums, ending in a very symphonic and captivating manner.
Once again drinking form the fountain of modern-day Progressive Death Metal, get ready to have your spinal cord broken in half to the brutal headbanging tune Acceptance: My Destiny Awaits, with the guitars by Erik and Adrian bringing a touch of delicacy to this sonic demolition, and their onrush of berserk and intricate sounds goes on in Suffering: The Essence Implodes, where Terry roars like a demon while Jasper shows no mercy for his drums (nor for our necks), also bringing the most pulverizing elements from Death and Black Metal thoroughly added to the musicality. Lastly, darker and more introspective than all previous songs we have Death: Journey’s End, closing the album on a Stygian note, with Erik and Adrian stealing the spotlight with their slashing riffs and soulful solos, not to mention all the poetry flowing form the song’s lyrics (“Let go / Enclaved by the river Styx / Lies a tomb for me / My celestial sanctuary / Let go / An eternal resting place / All alone and forgotten /The Asphodel Meadows”).
As already mentioned, Tragacanth are not your average metal band, being true masters in blending heavy music with a deep and detailed background story, always keeping in mind the band has only a couple of years of existence (which means they still have a lot to grow in the coming years). Hence, The Journey of a Man, available for a full listen on YouTube and on sale from several different locations such as their own BandCamp, the Pest Records’ BandCamp, the Loud Rage Music webstore, iTunes, Amazon and Discogs, is a fantastic materialization of that impressive ability by those four Dutch metallers, beautifully taking us down into the abyss together with the album’s main character.
Best moments of the album:Anger: Kitrine Chole, Depression: Waning Light and Acceptance: My Destiny Awaits.
Worst moments of the album:Suffering: The Essence Implodes.
Released in 2018 Pest Records
Track listing
1. Survival: Stagnate Reality 5:24
2. Denial: They are Mistaken 7:21
3. Anger: Kitrine Chole 4:25
4. Depression: Waning Light (feat. Manuela Marchis) 8:40
5. Bargaining: Will You Answer Me? (feat. Rik van Schaaik) 4:36
6. Nightmare: The Vision 4:54
7. Acceptance: My Destiny Awaits 5:18
8. Suffering: The Essence Implodes 4:55
9. Death: Journey’s End 6:34
Band members Terry Stooker – vocals
Erik Brouwer – guitars
Adrian Neagoe – guitars
Mark Oosterbaan – bass
Jasper van Minnen – drums
Guest musicians Manuela Marchis – vocals on “Depression: Waning Light”
Rik van Schaaik – vocals on “Bargaining: Will You Answer Me”
Blending rock and punk influences with the violence of Death, Thrash and Black Metal, this Finnish squad is more-than-ready to mosh and roll in their first full-length release.
Blending rock and punk influences with the more violent and austere Death, Thrash and Black Metal sounds, Finnish Mosh N’ Roll squad Where’s My Bible (and yes, that’s the actual name of the band) was formed in 2014 in the city of Heinola with the intention to just have fun and play, although the thought of being taken seriously quickly kicked in, culminating with the release of their debut EP named The Beginning in early 2016. A major milestone for the band, which is reflected in the title itself, the EP led the band to participate in several concerts and festivals in the following months, including a spot in the main stage of the renowned Tuska Open Air in 2017, secured after winning the Tuska-Torstai competition hosted by the festival.
The band kicked off 2018 by starting the recording of their debut album, simply titled M’N’R (the acronym for Mosh N’ Roll), an energetic and upbeat representation of the band’s sound, being released in the fall this year. In other words, if you enjoy slamming into the circle pit and enjoying a cold beer while listening to our good old Rock N’ Roll, but with a more venomous metal twist, get ready to rock together with frontman Jussi Matilainen, guitarists Toni Hinkkala and Pasi Löfgren, bassist Jarno Laakkonen and drummer Antti Jokinen, and enjoy all those fun bruises that high-octane feast of sounds will leave on your body.
A wicked intro kicks things off, setting the tone for the thrashing party titled Speedload, led by the rip-roaring riffs by Toni and Pasi, while Antti hammers his drums like a good thrasher that he is. Also presenting elements from Hardcore and Metalcore, this is not only a true headbanger but a fantastic welcome card by the band, with highlights to the sick growling by Jussi. If you love hitting the dance floor and crushing your skull, well, the time is now, as Where’s My Bible deliver a neck-breaking and vibrant tune named Dancefloor, with Toni and Pasi getting the support of Jarno and his thunderous bass to generate a dense and electrifying ambience, living up to the legacy of 80’s Thrash Metal with a modern vibe; and Jarno ignites another classy exhibit of Mosh N’ Roll titled Absinthe, bringing elements from Punk Rock and Hardcore to their already incendiary sonority. In addition, Jussi sounds even more demented on vocals, helping to keep the music violent and melodic from start to finish.
Then the acoustic and somewhat atmospheric bridge Interlude gives us time to recover our energies before Jussi comes growling as deep as a knife would go in Meatholder, a demolishing display of Melodic Death Metal and Metalcore where the guitars by Toni and Pasi exhale heaviness, rage and harmony in an amazing sample of what the band is capable of. Faster than a bullet and as heavy as hell, Me Myself and I is a sonic extravaganza where Antti doesn’t stop pounding his drums in over six minutes of unrelenting Finnish Thrash Metal, getting considerably progressive and atmospheric towards its ending. Transcendence is another song that surpasses the six-minute barrier, something not very common for Thrash Metal bands, but that keeps the energy level high until its last second, which means there’s plenty of time for you to break your neck headbanging to the vicious riffs by Toni and Pasi while Jussi continues to bark and gnarl manically. And lastly as a bonus track we have Failure, originally recorded back in 2016 and featuring Leevi Luoto (responsible for guitars and clean vocals for Finnish Metalcore act One Morning Left), remaining aggressive, raw and frantic throughout its entirety.
In the end, I guess the best way to summarize M’N’R is by taking a few interesting steps. First of all, simply follow Where’s My Bible on Facebook and listen to M’N’R on Spotify or, even better, show your support to those Finnish metallers by purchasing the album from the Inverse Records webstore, from Record Shop X, from metalmailorder.com, from iTunes or from Amazon, then fill your refrigerator up with some good quality beer, invite your friends for the night, and there you have a true Rock N’ Roll party with a beyond special Finnish Mosh N’ Roll touch. What else can you ask for in good Scandinavian music, right?
Best moments of the album:Speedload, Absinthe and Meatholder.
Worst moments of the album: None.
Released in 2018 Inverse Records
Track listing
1. Intro 1:04
2. Speedload 4:54
3. Dancefloor 3:35
4. Absinthe 3:48
5. Interlude 1:21
6. Meatholder 5:10
7. Me Myself and I 6:14
8. Transcendence 6:06
Bonus track 9. Failure (feat. Leevi Luoto) 5:00
Band members Jussi Matilainen – vocals
Toni Hinkkala – guitar
Pasi Löfgren – guitar
Jarno Laakkonen – bass
Antti Jokinen – drums
Guest musician Leevi Luoto – additional guitars and vocals on “Failure”
Formed in late 2011 in Bangalore (also known as Bengaluru), the capital of India’s southern Karnataka state, Avantgarde/Progressive Metal entity Orchid is a four-piece band comprised of Kaushal on vocals, Vinay on the guitar, Rahil on bass and Mayur on drums that plays a dense and very distinct blend of Heavy Metal with several other genres and styles such as Progressive Rock, Hardcore and Psychedelic Rock leanings (as well as Mathcore), pushing the boundaries of heavy music in the subcontinental underground and remaining one of the most original bands to emerge from the region.
After the shortest song of the album, it’s time for the longest one, titled Dead End, offering seven minutes of insanity, rage and eccentricity. In other words, a full-bodied sonic extravaganza full of breaks and variations, not to mention the beautiful Jazz-inspired passage featuring guest Aadarsh Subramaniam and his old school keyboard solo, building an instant bridge to the also pulverizing Identoid, where Rahil extracts truly thunderous roars from his bass while Mayur and Kaushal “duel” to see who’s the most aggressive and demented one, maintaining the album at a high level of ferocity and intricacy. Following such fun tune we have Sugar Pill, showcasing the most progressive of all starts but quickly morphing into a sonic onrush of crisp guitar riffs, Hardcore-inspired drums and raspy growls, fading into a very alternative and sluggish outro, before Zero-Sum Game comes crushing like a thunderbolt, already beginning in full force and bringing a violent Kaushal on vocals, while Vinay keeps firing his classic and slashing guitar lines in a lesson in modern-day Progressive Metal with Avantgarde Metal and Mathcore nuances. Lastly the band offers us all Disassembly Line, not as vibrant and crushing as all previous songs but still a good sample of all the madness the quartet can blast through their music, with highlights to the once again amazing job done by Mayur on drums.
THE HEADBANGING MOOSE 