Album Review – HerezA / Death Metal Drunks (2019)

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Join this horde of ruthless headbanging bastards in their quest for metal and booze, armed to the teeth with their brand new opus of straightforward Death N’ Roll.

Vodka, whiskey, gin, rakija, black tooth grin, tequila, Jägermeister and Jack Daniel’s, all mixed with humongous dosages of rebelliousness, depravity and violence. That’s the extremely combustible recipe found in Death Metal Drunks, the brand new album by Croatian/German Punk/Death Metal horde HerezA and a fantastic follow-up to their 2017 release I Become Death. As the band itself likes to say, there’s no “pre”, no “post”, no “tech”, no “prog” and not even any “swe” references or connotations in their new opus, but a straightforward Death N’ Roll attack highly recommended for fans of the demolishing music played by iconic acts like Cannibal Corpse, Napalm Death, The Exploited, Carcass, Kreator, Motörhead and several other relentless rock and metal entities.

Formed in 2014 in Beli Manastir, Croatia, but currently located in the beautiful Stuttgart, capital of southwest Germany’s Baden-Württemberg state, what used to be a duo comprised of vocalist Ivan Kovačević and guitarist Slobodan Stupar is now a full-bodied squad with the additions of bassit Holger and drummer Thomas Polder, which translates into not only a more dynamic musicality but also makes it possible for HerezA to tour a lot more, spreading their nihilistic, inebriate and boisterous creations to the four corners of our decaying world. Produced by Slobodan himself, recorded, mixed and mastered by Mario Marković, and featuring an absolutely superb cover art by Croatian artist Andrej Bartulović (All Things Rotten), perfectly representing what HerezA are all about, Death Metal Drunks is one of those albums that will put a huge smile on your face every single time you listen to it, inspiring you to join other metalheads into the sickest circle pits you can think of.

Wicked distortions and a menacing aura suddenly explode into sheer violence in the form of music in Back From The Grave, where Ivan’s roars sound even more enraged than in their previous album, while guest vocalist Adrie Kloosterwaard (Sinister) delivers deep, guttural Cannibal Corpse-inspired lines to make things even more brutal. Then Slobodan shows no mercy for our necks with his incendiary riffs in Genocid, where Thomas keeps hammering his drums frantically, therefore being recommended for fans of a thrashier and more hardcore version or our good old Death Metal; whereas Kopam Oči, Režem Jezik, Prste, Nos I Uši (“I dig my eyes, I cut my tongue, my fingers, my nose and my ears” from Croatian), featuring guest vocals by Igor Buljin (Gorthaur’s Wrath), follows a similar pattern as most songs in I Become Death, or in other words, it’s  an onrush of vicious sounds that will inspire you to slam into the pit like a maniac while Slobodan and Holger don’t stop slashing their stringed weapons mercilessly.

Blazing guitars and punk-infused drums dictate the rhythm in the boozy metal hymn Death Metal Drunks, by far my favorite song of the album showcasing utterly entertaining lyrics vociferated by Ivan (“We are back once again / To show you how it’s done / Pedal to the metal, full speed ahead / Breaks are for the weak / Head through the wall, we don’t care at all / Heading for selfdestruction / Give us booze, give us beer / We are ready for execution”), followed by Rak n’Roll, bringing forward less than two minutes of total sonic anarchy as if the Exploited and Napalm Death had a son (and if that son was trained by Cannibal Corpse), with highlights to Thomas’ crushing performance on drums. Horses bring the noise in Dullahan, a thunderous tune infused with badass Rock N’ Roll elements the likes of Motörhead, also presenting a great job done by Slobodan with his scorching riffs and featuring the third guest vocalist of the album, Aleister Kainulainen (King Satan), to give the whole song and extra kick. And if you think HerezA will slow down at any given point you’re absolutely wrong, as Do Kosti Bez Milosti (“to the bone without mercy”) is another overdose of violence, insanity and rage sung in their mother tongue Croatian, with Ivan’s demented growls and Thomas’ nonstop beats inspiring the listener to violently crack their spinal cords in half.

Beneath The Wheels Of Death is hell on wheels once again led by the berserk grunts by Ivan while Slobodan delivers spot-on riffs and solos, and there’s no time to breathe at all as after a weird semi-acoustic intro the quartet blasts their own version of what can be called “Country Metal” in Necrobitch, Cowgirl From The Morgue, with its lyrics seeming like they were taken from a Steel Panther song but embraced by the heaviness and speed of Punk Rock. In addition to that, pay good attention to how Holger’s groovy and rumbling bass lines add a lot of electricity to the overall result. In Stupid Spoiled Whore the quartet once again brings to our ears very “classy” lyrics (“Spoiled, rich, little girl / You have everything in the world / Mommy and daddy love you so / They can’t see you’re just a / Piece of shit / You make me sick / An ugly boar / Stupid spoiled whore / Shit for brains / You leave stains / Everywhere you go / You’re stupid spoiled whore”), with the music being a feast of raw, razor-edged noises and tones that couldn’t sound more violent. And lastly, Monstrum is a beyond thrilling and deranged way to close such excellent album of extreme music where Thomas steals the spotlight with his frantic drumming while Ivan, Slobodan and Holger fill out every empty space with their respective growls, riffs and bass punches.

After all is said and done, I have only one very simple question to you, and I’m pretty sure your answer will be positive. Do you consider yourself a Death Metal drunk? Well, if you’re reading this review to the very end I believe you are, which means you’re more than ready to join HerezA in their quest for metal and booze by following them on Facebook, and especially by purchasing your copy of Death Metal Drunks (available for a full listen on Spotify and on YouTube) from the Godz ov War Productions’ BandCamp or webstore, as well as from Apple Music and Discogs. And after putting your hands on the album and hitting play, you know what to do. It’s booze, slamming, more booze, headbanging while slamming, an extra dose of booze, and so on.

Best moments of the album: Kopam Oči, Režem Jezik, Prste, Nos I Uši, Death Metal Drunks and Do Kosti Bez Milosti.

Worst moments of the album: None.

Released in 2019 Godz ov War Productions

Track listing
1. Back From The Grave (feat. Adrie Kloosterwaard) 2:56
2. Genocid 1:58
3. Kopam Oči, Režem Jezik, Prste, Nos I Uši (feat. Igor Buljin) 2:53
4. Death Metal Drunks 3:10
5. Rak n’Roll 1:34
6. Dullahan (feat. Aleister Kainulainen) 2:42
7. Do Kosti Bez Milosti 3:15
8. Beneath The Wheels Of Death 2:10
9. Necrobitch, Cowgirl From The Morgue 3:23
10. Stupid Spoiled Whore 2:35
11. Monstrum 1:38

Band members
Ivan Kovacevic – vocals
Slobodan Stupar – guitar, vocals
Holger – bass
Thomas Polder – drums

Guest musicians
Adrie Kloosterwaard – vocals on “Back From the Grave”
Igor Buljin – vocals on “Kopam Oči, Režem Jezik, Prste, Nos I Uši”
Aleister Kainulainen – vocal on “Dullahan”

Concert Review – Slipknot (Budweiser Stage, Toronto, ON, 08/20/2019)

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An awesome night of heavy music spearheaded by the world’s most beloved and rebellious masked horde, showing everyone that if you’re 555, then Toronto is 666.

OPENING ACTS: Behemoth, Gojira and Volbeat

Blackened Death Metal, Progressive Groove Metal, Rock N’ Roll and Alternative Metal. What at first it might look like the distinct styles you usually find at an European metal fest during the summer is actually the lineup of the 2019 edition of the highly-acclaimed Knotfest Roadshow, and fortunately for us Torontonians the one and only Slipknot and their friends from Behemoth, Gojira and Volbeat brought that amalgamation of very different but utterly electrifying genres to the always great Budweiser Stage on another hot summer day in the city. It was a Tuesday, just the beginning of the week, which means most people who attended the show still had an entire week of work after around six intense hours of loud beats, unstoppable riffs and demented circle pits. Well, who cares, right? It’s all in the name of our good old Heavy Metal and Rock N’ Roll.

Just by arriving at the venue you could see it was going to be a very special day for longtime fans of Slipknot, with several of them being properly dressed as their idols, including some wicked (and a few weird) masks, showing how much those people love and respect a band that revolutionized metal music 20 years ago and that are still alive and kicking. If you had the opportunity to arrive to the Budweiser stage right when the gates were opened, you were able to enjoy a lot of different attractions such as a special Slipknot exhibition right beside where 2018 Wacken Metal Battle Canada winners Centuries of Decay (you can see more details about their 2018 win HERE) where blasting their first-class Progressive/Atmospheric Death Metal, enjoy one or more of the several food trucks available, test your knowledge of metal music by taking a fun quiz at the Monster Energy truck (needless to say, I had all six answers correct and got myself a nice Monster Energy bandana), or even take a picture with that crazy dude who tried to swim back to the Slayer concert in 2018 at that same venue. He was wearing a personalized shirt about his 2018 incident and two arm floats. Yes, he’s that crazy.

However, when the clock hit 5:30pm sharp, it was time for the gods and demons of heavy music and all fans that were already at the venue (and I was surprised by the huge number of people that managed to get there in time for the very first concert) to witness another blasphemous, theatrical and absolutely heavy-as-hell performance by Poland’s own BEHEMOTH. Still promoting their awesome 2018 opus I Loved You At Your Darkest, the iconic Nergal and his henchmen Seth, Orion and Inferno delivered a short and sweet concert for fans of their darker version of Death Metal, literally spitting fire, blood and blasphemy on our faces for around 40 minutes, with songs like Ora Pro Nobis Lucifer,  Bartzabel and Chant for Eschaton 2000 proving why they became one of the most beloved extreme bands of the past decade, and also one of the most hated and abhorred by any type of church (which in the end is a very positive thing).

Setlist
Solve
Wolves ov Siberia
Daimonos
Ora Pro Nobis Lucifer
Bartzabel
Conquer All
Sabbath Mater
Chant for Eschaton 2000

Band members
Adam “Nergal” Darski – lead vocals, guitars
Patryk Dominik “Seth” Sztyber – guitars
Tomasz “Orion” Wróblewski – bass guitar
Zbigniew Robert “Inferno” Promiński – drums and percussion

After a quick break the stage was ready with all of its lights aiming at our faces to warn us the pulverizing concert by French Progressive/Groove Metal institution GOJIRA was about to begin, and let me tell you it was simply fantastic and insanely heavy from start to finish. The Duplantier Brothers Joe and Mario, together with Christian Andreu on the guitar and Jean-Michel Labadie on bass delivered a neck-breaking performance for our total delight, leaving us all eager for more of their music in Canadian lands. I loved how heavy, dense and thrilling songs like Stranded, Flying Whales (my favorite of their setlist) and Silvera sounded last night, and we must thank Mr. Mario Duplantier for that. The guy is an untamed beast on drums, crushing his drum set flawlessly and throwing almost all of his sticks to the fans throughout his bestial performance. After such devastating concert by Gojira, I must say once again there’s only one thing I hate about festivals, and that’s the fact bands like Gojira do not have enough time to show the crowd everything they got.

Setlist
Toxic Garbage Island
Backbone
Stranded
Flying Whales
Love
The Cell
Silvera
The Gift of Guilt

Band members
Joe Duplantier – vocals, guitar
Christian Andreu – guitar
Jean-Michel Labadie – bass
Mario Duplantier – drums

After two demolishing concerts of extreme music, it was time to cool things down a bit with the heavier-than-usual Rock N’ Roll by Danish institution VOLBEAT, who are just beginning to promote their newest album Rewind, Replay, Rebound. As a big fan of Volbeat, I was a little worried about how the most berserk Slipknot fans would react to their fusion of lighter styles like Rock N’ Roll and Hard Rock, and during the first few songs let’s say most fans weren’t impressed with their music. However, after Sad Man’s Tongue (preceded by a snippet of Johnny Cash’s “Ring of Fire”) and Black Rose, featuring Toronto’s own Danko Jones on vocals together with Michael Polsen, things started to pick up and the more than 13 thousand fans at the venue who were already anxious for Slipknot had a great time with the band, especially when they played their heavier stuff like A Warrior’s Call, Dead But Rising and Seal the Deal. In a nutshell, it might not have been the best slot to add Volbeat, right after Behemoth and Gojira and right before Slipknot, but you know what? In the end it all worked really well, something only talented bands like Volbeat can do even against all odds.

Setlist
Born to Raise Hell (Motörhead song)
The Devil’s Bleeding Crown
Lola Montez
Sad Man’s Tongue
Black Rose (with Danko Jones)
The Everlasting
Slaytan
Dead But Rising
A Warrior’s Call / I Only Want to Be With You
Last Day Under the Sun
Doc Holliday
Seal the Deal
Still Counting
Sawdust in the Blood (Rob Zombie song)

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

SLIPKNOT

It was already past 9pm when the speakers began playing AC/DC’s rock anthem “For Those About to Rock (We Salute You)”, getting our engines revved up for a storm of heaviness, insanity and explosions by American institution SLIPKNOT. It was total chaos and anarchy from start to finish, with the first few songs from their setlist, those being the classics People = Shit, (sic) and Get This, already inspiring all their fans to go absolutely mental into the pit. The temperature at the Budweiser Stage was just going up, with their new songs Unsainted, Solway Firth (both from their brand new, ass-kicking album We Are Not Your Kind) and All Out Life working even better than expected. As a matter of fact, I was more than sure those three songs would sound fantastic on stage, first because they’re already damn good songs, but mainly due to the fact Slipknot on stage always take their heaviness to the next level.

Corey, Mick, Jim and all others were on fire during their long and incendiary performance, with all their stage paraphernalia (and the Budweiser Stage is just perfect for that type of concert) adding a very welcome touch of insanity to the night. Not only that, it was visible how Corey was extremely happy to be back in Toronto after a long time, letting all the energy coming from the crowd penetrate deep inside his mind and helping him growl and scream like a beast until the very end. “We’ve been at this for 20 years! It hasn’t always been easy, but looking at all of you here tonight, I can safely say we’ll be doing it for another 20,” said a more-than-excited Corey to his fans before crushing their heads once again with their venomous music. I honestly have no idea if they can keep that level of violence on stage for another two decades, but if they keep going and delivering top-of-the-line heavy music like what Slayer have been doing until now, we can rest assured rock and metal will never die.

Although the fans at the floor section were out of control inside some killer circle pits, I must say the most demented guy from the entire night was the band’s newest member Tortilla Man. How deranged and talented is that guy? He kept pounding his drums, screaming, jumping up and down, dancing and hitting his beer kegs as hard as possible without showing any signs of fatigue for almost two hours; now I fully understand why the rest of the band is so happy and excited to have Tortilla Man in the band. The only field where he wasn’t number 1 in madness and precision was dancing, because that’s Mr. Sid Wilson’s undisputed title. I don’t know for sure what exactly he does behind his turntables, but when he’s there dancing and having fun around the stage it’s a whole new thing. That guy is just as sick as his music, no doubt about that. Anyway, after the all-time hits Spit It Out (including their famous “get down/jump the fuck up” interaction with the crowd) and Surfacing, it was time for Slipknot to say goodbye, to promise us all they will return to Toronto, and for the fans to breather a little and try to recover their energies to try to get home safe and sound. And as one final message after such amazing night of metal music, all I have to say to you is that if you’re 555, then I’m 666. As simple as that.

Setlist
For Those About to Rock (We Salute You) (AC/DC song)
(515)
People = Shit
(sic)
Get This
Unsainted
Before I Forget
Solway Firth
The Heretic Anthem
Psychosocial
The Devil in I
Prosthetics
Vermilion
Custer
Sulfur
All Out Life
Duality

Encore:
Spit It Out
Surfacing
‘Til We Die

Band members
(#0) Sid Wilson – turntables, keyboards
(#4) Jim Root – lead and rhythm guitars
(#5) Craig “133” Jones – samples, media, keyboards
(#6) Shawn “Clown” Crahan – custom percussion, backing vocals
(#7) Mick Thomson – lead and rhythm guitars
(#8) Corey Taylor – lead vocals
Alessandro Venturella – bass
Jay Weinberg – drums
Tortilla Man – custom percussion, backing vocals

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Album Review – WildHeart / No Love (2019)

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Highly inspired by classic Hard Rock and Glam Metal from the 80’s, this five-piece act from Belgium will take you on an electrifying journey back to the Sunset Strip anno 1986.

Hailing from Ninove, a city and municipality located in the Flemish province of East Flanders in Belgium, Hard Rock outfit WildHeart is a young and hungry band with a great passion for and highly inspired by classic Hard Rock and Glam Metal from the 80’s such as Whitesnake, RATT, Mötley Crüe, Dokken and Van Halen, taking you on a journey back to the Sunset Strip anno 1986 with their fun and vibrant music. Having the debauchery on stage and a carefree Rock N’ Roll vibe as their top priorities, the band comprised of frontman Farty, guitarists Foxx and Juice, bassist Stevie Dee and drummer Thunderberck is offering to our ears now in 2019 their sophomore album entitled No Love, a follow-up to their also excellent self-titled debut album released in 2016.

Produced by Joren Cautaers and mastered at Mass Destruction Production in Sweden by none other than Erik Martensson, known from bands like Eclipse and W.E.T., No Love is a thrilling feast of rockin’ tunes and sounds tailored for diehard fans of the genre who are always eager to meet new bands playing that classic sonority from around 30 years ago. Even the band’s attire seems to be taken from the golden years of Glam and Heavy Metal, looking like a more serious (but still uncompromising) version of our beloved Steel Panther and really old school Van Halen.

The old school intro The Mirror grows in intensity until A Stranger’s Eyes comes crushing our heads and warming up our hearts, exhaling pure Hard Rock for lovers of the music by Motley Crüe and Poison, with the blazing riffs by Foxx and Juice dictating the song’s frantic rhythm while Farty powerfully declaims its lyrics. After such powerful start, it’s time to put on your tight leopard pants and get ready to bang your head with the band in Nothing but Trouble, a song that sounds as if it was taken straight from an album recorded in the 80’s, with Thunderberck pounding his drums with a lot of precision and Stevie Dee adding the word “metal” to the musicality armed with his bass punches; whereas a catchy riff ignites the headbanging Dutch Courage, where all band members showcase their deep passion for Glam Metal in over five minutes of first-class rock music for the masses. Moreover, Farty steals the spotlight with another fantastic vocal performance, while the band’s guitar duo breathes fire with their refined solos.

The title-track No Love leans towards classic Skid Row with hints of Survivor’s all-time hit “Eye of the Tiger”, with the sync between guitars, beats and bass being simply amazing, therefore resulting in an energizing tune that should sound beyond electrifying if played live. Then showcasing an Iron Maiden’s “From Here To Eternity”-inspired riff, led by Thunderberck’s crushing beats and presenting a pure 80’s vibe, One Way Ticket to Paradise is more than perfect for singing along with the band or enjoying it while having a relaxing ride on the highway on a summer day; and WildHeart keep hitting our heads hard with their old school music in Rumours, a song that feels like a power ballad at times, but still bringing the groove and punch from faster rock songs. Needless to say, Farty once again delivers a great performance on vocals, not to mention the band’s usual incendiary guitar solos.

Now rev up your engines for a mid-tempo Hard Rock extravaganza entitled Good to Be Bad, infused with the heavier sounds by bands like Judas Priest and Primal Fear (especially during the song’s scorching hot, metallic riffs), turning it into a great metal hymn perfect for raising your fists in the air together with the band. The Winner’s Always Right is another explosion of classic rock and metal spearheaded by Foxx’s and Juice’s unstoppable axes, while Thunderberck keeps slamming his drum set in great fashion. Well, this song definitely asks for a colorful bandana, don’t you think? Anyway, adding hints of classic Rock N’ Roll and Southern Rock to their old school musicality, this rockin’ quintet offers us the fun and fresh Valerie, and you’re already aware that every single time a Hard Rock band writes a song named after a girl, the final result exhales awesomeness. Lastly, WildHeart probably thought it was a good idea to close the album with a true headbanger, and that’s exactly what we get in Tonight We Rock, bringing to our avid ears a flammable fusion of the music by Van Halen with Scorpions, hence making it impossible to stand still to the dynamic riffs and beats blasted by the band while Farty delivers what’s perhaps his most inspired vocals of the whole album.

No Love, which by the way is available for a full and delicious listen on Spotify, is more than just another album of Hard Rock. It’s a passionate, detailed and very honest tribute from WildHeart to all of their heroes from the 80’s, working as some sort of “time machine” for everyone who loves that classic rock sonority that has been embellishing the Sunset Strip for over 30 years. Having said that, don’t forget to show those Belgian metalheads you true support and admiration by following them on Facebook, by subscribing to their YouTube channel, and of course by purchasing your copy of No Love from several locations like Apple Music. After listening to No Love, I caught myself wondering if there’s a street that can be named the “Belgian Sunset Strip” in WildHeart’s homeland, having those obstinate rockers as one of the greatest new names of European Hard Rock and Glam Metal.

Best moments of the album: Dutch Courage, One Way Ticket to Paradise and Tonight We Rock.

Worst moments of the album: None.

Released in 2019 WildHeart Records

Track listing
1. The Mirror 1:12
2. A Stranger’s Eyes 5:21
3. Nothing but Trouble 5:00
4. Dutch Courage 5:09
5. No Love 5:03
6. One Way Ticket to Paradise 5:13
7. Rumours 6:12
8. Good to Be Bad 4:33
9. The Winner’s Always Right 4:43
10. Valerie 4:46
11. Tonight We Rock 4:47

Band members
Farty – vocals
Foxx – guitar
Juice – guitar
Stevie Dee – bass
Thunderberck – drums

Album Review – Slipknot / We Are Not Your Kind (2019)

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Heavier and more experimental than usual, those masked metallers are back with a fantastic album that proves once again why Heavy Metal is our kind of music.

From the obscure depths of the human psyche, American Alternative Metal horde Slipknot returns after five long years with a brand new album, entitled We Are Not Your Kind, the sixth studio album in the career of those masked marauders and a beyond solid statement by the band saying that, despite all the losses and problems they’ve had in the past decade or so, they can still deliver top-of-the-line metal music for the masses. Produced by Greg Fidelman, who has already worked with several renowned bands like Metallica, Black Sabbath, Slayer and with Slipknot themselves in the albums .5 The Gray Chapter in 2014 and Vol. 3: (The Subliminal Verses) in 2004, We Are Not Your Kind has been described as a heavier and more experimental album than their previous releases featuring moody instrumentals and electronic elements, and the final result is simply stunning.

Not only that, We Are Not Your Kind is the band’s first album since the firing of longtime member Chris Fehn, while the rest of the crew remains the same, with Sid Wilson and Craig “133” Jones on turntables, samples, media and keyboards, Jim Root and Mick Thomson on the guitars, Shawn “Clown” Crahan on custom percussion and backing vocals, Corey Taylor on lead vocals, Alessandro Venturella on bass and Jay Weinberg on drums, not to mention their newest member “Tortilla Man” also on custom percussion and backing vocals, who joined the band for their live performances earlier this year. Jim Root himself said that the album is “the most time we’ve had to write a record, and work stuff out together” and that “while the industry is moving toward singles, Slipknot wanted to make an album experience, front to back.” On a side note, while the title of the album is taken from a line in the band’s standalone single “All Out Life”, released in 2018, that specific song is not featured on the standard edition, but only on the Japanese edition for a reason beyond my knowledge. Well, who cares, right? As long as the music found in the standard edition of the album kicks ass we can live without “All Out Life” despite that being a damn good song.

Insert Coin is one of those fantastic, ethereal intros that transport the listener into the wicked world of Slipknot, before their new anthem Unsainted, featuring the Angel City Chorale, invades our senses, with the thunderous percussion blasted by Jay and Shawn reeking classic Slipknot, all boosted by the sick shredding by Jim and Mick and lyrics that deal with Corey’s fight against depression (“Oh, I’ll never kill myself to save my soul / I was gone but how was I to know? / I didn’t come this far to sink so low / I’m finally holding on to letting go”). Needless to say, I can’t wait to watch them playing this song live next week in Toronto, like what they did on Jimmy Kimmel Live earlier this year. Birth of the Cruel, a mid-tempo tune perfect for headbanging while Corey alternates between his demented clean vocals and harsh roars, is a lot less violent but still creepy and thunderous, with Jim, Mick and Alessandro delivering tons of groove through their strings; followed by the somber bridge Death Because of Death, featuring guest vocalist Kat Primetau, warming us up for Nero Forte, bringing forward a classic fusion of Heavy and Alternative Metal and a great job done by Jay on drums, dictating the song’s pounding rhythm while Corey sounds as crazy as he can be, always supported by smooth but piercing backing vocals.

Critical Darling is an almost-radio-friendly tune by Corey, Shawn & Co., showcasing slashing riffs by the band’s badass guitar duo while Corey gnarls manically, once again supported by spot-on backing vocals which end up making the chorus extremely catchy; whereas in A Liar’s Funeral a cryptic intro morphs into some sort of “new version” of their own dark ballad “Snuff”, suddenly exploding into a neck-breaking sonority with hints of Doom and Sludge Metal, alternating between sheer melancholy and raging madness from start to finish. Then in the magnificent Red Flag we face the most classic version of Slipknot in the album, overflowing insanity, heaviness, fury and that awesome blend of the wicked noises by Sid and Craig with the venomous percussion by Shawn. Hence, this should sound outstanding if played live, not to mention how sharp both guitars and Alessandro’s bass punches sound. Then after the uncanny bridge What’s Next we’re treated to one of Slipknot’s most experimental songs of all time, Spiders, which sounds absolutely addictive, demented and fun, with all its background noises and percussion generating a unique ambience for our avid ears and mind. Put differently, simply relax, sit down and sing the song’s weird lyrics along with Corey, while Jim and Mick deliver short but crushing riffs as the music progresses.

Somber beats and riffs ignite the pulverizing Orphan, presenting the band’s trademark sonority that made them famous worldwide, and with Alessandro and Jay being on fire with their rumbling instruments while Corey’s vocals get utterly deranged, sounding perfect for smashing your skull into the circle pit. The last part of album is comprised of longer-than-usual songs that surpass the 6-minute barrier, starting with the very experimental My Pain, presenting an eerie atmosphere created by Sid and Craig and low, pensive vocalizations; however, the music never gets as heavy or fast as we’re used to, making me wonder if fans of classic Slipknot will enjoy it. Anyway, that eccentric vibe goes on in Not Long for This World, where Corey and the band’s electronic duo Sid and Craig set the tone before the rest of the band comes ripping with their acid instruments, bringing to our ears a beautiful melody and rumbling bass lines, with its creepy ending building an instant connection with Solway Firth, a circle pit-catalyst showcasing scorching riffs by Jim and Mick and endless electricity flowing from Jay’s beats, while Corey declaims the song’s austere words in great fashion (“I’m not ahead of my time- I just drew the first breath – If I’m alive tomorrow / I will alleviate the pressure… by cutting you out of me / I found my bottom line – dead on the front lines- I know I’ll never go home / So set fire to your ships and past regrets and be free”). And lastly, as aforementioned, All Out Life might be only present in the Japanese edition of the album, but it’s such a great song, perfect for slamming and screaming its lyrics together with the band (like you can see on their performance on Jimmy Kimmel Live), it makes the investment in this version of the album totally worth it.

In a nutshell, one of the most innovative and influential bands of modern metal music from the past 20 years, the one and only Slipknot, managed to deliver a fantastic album against all odds, proving once again that there’s nothing better than adversity to makes us (and, in this particular case, the entire band) stronger and more focused. Having said that, I highly recommend you grab your copy of the album, as well as other well-crafted merch, from the Slipknot Official Store, and buy your ticket for the Knotfest Roadshow when the band invades your city with their chaotic and rebellious anthems. We Are Not Your Kind might sound a bit too experimental or modern for some people, but I’m pretty sure most fans of contemporary heavy music will have a very good time listening to this multi-layered and very dense album. And whenever you catch yourself screaming “we are not your kind!” together with Corey and the guys, you’ll be at the same time showing everyone Heavy Metal is and will always be YOUR kind of music.

Best moments of the album: Unsainted, Red Flag, Spiders, Orphan and All Out Life.

Worst moments of the album: My Pain.

Released in 2019 Roadrunner Records

Track listing
1. Insert Coin 1:38
2. Unsainted 4:20
3. Birth of the Cruel 4:35
4. Death Because of Death 1:20
5. Nero Forte 5:15
6. Critical Darling 6:25
7. A Liar’s Funeral 5:27
8. Red Flag 4:11
9. What’s Next 0:53
10. Spiders 4:03
11. Orphan 6:01
12. My Pain 6:48
13. Not Long for This World 6:35
14. Solway Firth 5:56

Japanese Edition bonus track
15. All Out Life 5:40

Band members
(#0) Sid Wilson – turntables, keyboards
(#4) Jim Root – lead and rhythm guitars
(#5) Craig “133” Jones – samples, media, keyboards
(#6) Shawn “Clown” Crahan – custom percussion, backing vocals
(#7) Mick Thomson – lead and rhythm guitars
(#8) Corey Taylor – lead vocals
Alessandro Venturella – bass
Jay Weinberg – drums

Guest musicians
Angel City Chorale – choral performance on “Unsainted”
Kat Primetau – additional vocals on “Death Because of Death”

Album Review – Sophist / Betrothal To The Stone: Conception of Mephisto (2019)

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Inspired by some of the greatest names of the Black Metal and Grindcore scene, this Canadian duo is ready to disturb our peace of mind with their unholy and blistering fast creations.

soph·ist·ry
/ˈsäfəstrē/
noun
the use of fallacious arguments, especially with the intention of deceiving.

Conjured in June of 2019 in the city of Edmonton, capital of the Canadian province of Alberta, Black Metal/Grindcore duo Sophist has put their blackened hearts and souls into the making of their debut EP entitled Betrothal To The Stone: Conception of Mephisto, a frantic blend of extreme styles inspired by bands such as Anaal Nathrakh, Mayhem and Napalm Death in order to create a sound that is unholy as it is blistering fast. Both veterans in the local music scene, Michael Sparks (bass, guitars) and Davis Hay (vocals, programming) kept the writing process fairly simple, with Davis defining the drums and song structure followed by Michael’s overlay of bass and guitar. Engineered, mixed and mastered by Davis himself, and featuring an obscure artwork by Unexpected Specter, Betrothal To The Stone: Conception of Mephisto deals with the esoteric and the occult, with much of the inspiration for the lyrics on the album coming from an alchemical text called Hermaphrodite Child of the Sun and Moon (which you can find available in full HERE).

Musically speaking, Betrothal To The Stone: Conception of Mephisto is a feast of violent and blasphemous sounds, as already mentioned, with the title-track Betrothal to the Stone: Conception of Mephisto​ exploding into raw, obscure Black Metal after a short and creepy intro. Moreover, Davis roars and gnarls manically while Michael shreds his guitar chords nonstop in this lesson in bestiality, reminding me of truly old school Mayhem. Faster and more demented, Choke on Your Own Bile is infused with Grindcore and Hardcore elements, with Davis and Michael extracting pure hatred from their instruments. Not only that, albeit the drums are programmed, they do sound really organic, bringing even more ferocity to the music. Then get ready for total anarchy in the form of visceral Black Metal blasted by the Canadian duo in A Captive of Saturn’s Scythe, where the insanity flowing from their riffs and beats is perfect for Davis to keep vociferating like a demon, inviting us all to slam into the circle pit with them. And as a beyond special and interesting bonus, the duo offers us the instrumental versions of all three songs of the EP, showcasing the same rage and heaviness but obviously without Davis’ demonic growls.

If you enjoy exploring the darkest pits of extreme music and are addicted to the most visceral and unholy forms of Black Metal available out there, then Betrothal To The Stone: Conception of Mephisto will undoubtedly satisfy your cravings. Hence, go show your support to Sophist and to underground Black Metal in general by following the duo on Facebook, by subscribing to their YouTube channel, and by purchasing their flammable debut EP from their own BandCamp page or from other locations like Apple Music. And, of course, this is just the beginning for Sophist, as I’m pretty sure Davis and Michael will return with more of their razor-edged, blasphemous creations in a not-so-distant future, carving their names even deeper onto the darkened walls of Canadian extreme music.

Best moments of the album: Choke on Your Own Bile.

Worst moments of the album: None.

Released in 2019 Independent

Track listing
1. Betrothal to the Stone: Conception of Mephisto​ 3:16
2. Choke on Your Own Bile 5:10
3. A Captive of Saturn’s Scythe 2:53

Bonus tracks
4. Betrothal to the Stone: Conception of Mephisto​ (Instrumental version) 3:16
5. Choke on Your Own Bile (Instrumental version) 5:10
6. A Captive of Saturn’s Scythe (Instrumental version) 2:53

Band members
Davis Hay – vocals, programming
Michael Sparks – bass, guitars

Concert Review – Iron Maiden (Budweiser Stage, Toronto, ON, 08/10/2019)

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Who’s ready for another night of Iron Maiden and their ass-kicking Legacy of the Beast Tour 2019 in Toronto?

INTRODUCTION: “No FTTB nor The Raven Age for you”

As I wasn’t selected for the First To The Barrier experience by the Iron Maiden Fan Club for the second night of the one and only Iron Maiden in Toronto at the always pleasant Budweiser Stage, and as a few friends invited me to a BBQ with lots of beer and metal music before the concert, let’s say that I “had to” miss the opening act THE RAVEN AGE, which in the end was more than good for me because watching their concert in full from the first row on Friday wasn’t what we can call a very entertaining experience. If you were there on the second day and saw The Raven Age, I’m pretty sure it was the exact same thing as the previous night, with the same band’s lineup, the same setlist, and the same confusing sonority. However, if you missed The Raven Age both days you can take a look at how their concert was by clicking HERE.

IRON MAIDEN

Just like what happened on Friday, 15 thousand fans from the most diverse countries such as Australia, Peru, India, Brazil, El Salvador, Germany, Colombia, Sweden and so on (including WWE badass superstar and a true metalhead Erick Rowan, whose real name is Joseph Ruud) were gathered together at the Budweiser Stage at around 9pm to enjoy another round of classics by the one and only IRON MAIDEN, once again as part of their Legacy of the Beast Tour 2019. Their setlist was the absolute same as Friday, of course, but because I wasn’t so close to the stage let’s say I was able to move more, to jump up and down a lot more, and to have a much more complete view of the stage, including Janick Gers who I must confess I couldn’t see much on the previous night. I was really tired from the previous day and I thought I was going to take it easy on Saturday, but you know what? As soon as Doctor Doctor started playing on the speakers, it was pure madness one more time.

As I mentioned, this time I could enjoy their full stage without having to force my neck up, right or left too much, and my neck is very thankful for that. The whole band was on fire as usual, with Dave and Adrian delivering their traditional crisp and crystal clear riffs and solos while Steve was the beast incarnate on stage. How can he do that? He doesn’t stop smashing his bass chords, singing, running around the stage and jumping up and down not even for a single second, and he’s already 63 years old! It’s absolutely impressive, reminding me why I admire and respect his work and passion for Iron Maiden so much. It’s always a pleasure to watch him play The Trooper, “galloping” his bass as if he was riding a horse into the battlefield, and his endless energy while screaming the famous “Oooh! Ooo-oooo-oooh!” together with the crowd during Fear of the Dark. After another superb and impeccable performance by Bruce, Steve & Co. was over (and this time Bruce’s flame thrower worked during Flight of Icarus), I started thinking how boring the world of music will be without Iron Maiden when they call it quits, but that’s something we don’t need to worry about at least for the next few years, as Bruce himself promised they’ll return to Toronto, most probably after the release of their upcoming studio album. I wish I could attend more concerts from their current tour, but for obvious reasons like time and money, for now I’ll have to  content with two nights in Toronto I’ll never forget. UP THE IRONS!

Setlist
Transylvania
Doctor Doctor (UFO song)
Churchill’s Speech
Aces High
Where Eagles Dare
2 Minutes to Midnight
The Clansman
The Trooper
Revelations
For the Greater Good of God
The Wicker Man
Sign of the Cross
Flight of Icarus
Fear of the Dark
The Number of the Beast
Iron Maiden

Encore:
The Evil That Men Do
Hallowed Be Thy Name
Run to the Hills
Always Look on the Bright Side of Life (Monty Python song)

Band members
Bruce Dickinson – lead vocals
Steve Harris – bass
Dave Murray – guitar
Adrian Smith – guitar
Janick Gers – guitar
Nicko McBrain – drums

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Concert Review – Iron Maiden (Budweiser Stage, Toronto, ON, 08/09/2019)

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How about witnessing the almighty Iron Maiden and their Legacy of the Beast Tour 2019 from the best spot of the Budweiser Stage in Toronto on a perfect summer day?

INTRODUCTION: First To The Barrier

Thousands of fans from all over the world, a perfect sunny day, a lot of (overpriced) beer, and another memorable performance by the unparalleled Iron Maiden at the Budweiser Stage to shake the foundations of our beloved city of Toronto. That would have already been a damn good summary of the night if I hadn’t been one of the 40 lucky bastards (plus one guest each) from the Iron Maiden Fan Club who were chosen to get into the venue before the rest of the crowd and bag the best spot at the barrier, which is obviously right at the front. That’s what’s called the FIRST TO THE BARRIER (or FTTB if you’re a fan of acronyms) experience, a fun but quite exhausting adventure as you have to be there at the venue several hours before the concert starts, most of the time without food or anything to drink, and if you move or try to go to the washroom you simply lose your spot and all that effort will be in vain.

Fortunately, I can say I’m good at standing for hours waiting for a concert to start without eating or drinking anything, and all I can say is that the whole experience was more than amazing. What an unforgettable night in another celebration of classic Heavy Metal, where all fans had the chance to not only sing and scream lots of classic together with the band, but a night where we were also able to make new friends, uniting our metal universe even more. Even if you’re not part of the Iron Maiden Fan Club, you can try to be someone’s guest by asking people on Facebook’s FTTB Public Group if they have a spare available when the band takes your city by storm. That’s totally worth it, and that’s how I met a very nice Maidenmaniac who drove hours from Montreal wearing his Aces High pilot hat to join me a couple of feet from the stage from around 5pm until the end of the show.

OPENING ACT: THE RAVEN AGE

Let’s say the only part of the day that wasn’t exactly fun was having to endure British Melodic Groove Metal act THE RAVEN AGE’s performance in full from the first row without having the option to simply ignore them and go grab a beer. Formed in 2009, this London, England-based band has just released a new album named Conspiracy, featuring new vocalist Matt James, who joined the band in 2018. I’m not going to say it was a bad concert, but I think due to the fact those boys are still trying to find their core essence, playing a confused mix of Power, Thrash, Death and Heavy Metal with Hard Rock and even Southern Rock, it was tough to follow them and to actually enjoy their concert. There were a few good moments, though, like the opening song Betrayal of the Mind and the closing tune Angel in Disgrace, especially the last one as it was the heaviest and most detailed of their setlist, but overall it wasn’t the warmup I was expecting for the main attraction of the night. And believe me, standing there for almost one hour listening to something you don’t really enjoy was not what we can call a nice experience. On a side note, both guitarists Dan Wright and George Harris (and yes, he is Steve Harris’ son) are quite talented and have a great future in heavy music. Just maybe not with The Raven Age, unless they stop trying to sound like a generic version of Trivium or Avenged Sevenfold and find their own sound in the future.

Setlist
Bloom of the Poison Seed
Betrayal of the Mind
Promised Land
Surrogate
The Day the World Stood Still
The Face that Launched a Thousand Ships
Fleur De Lis
Grave of the Fireflies
Seventh Heaven
Angel in Disgrace

Band members
Matt James – vocals
Dan Wright – guitar
George Harris – guitar
Matt Cox – bass
Jai Patel – drums

IRON MAIDEN

Finally after a short break, when it was around 9pm, the almighty IRON MAIDEN hit the stage to stun us all with their flawless Legacy of the Beast Tour 2019, obviously inspired by their successful mobile game Legacy of the Beast (don’t forget you can also follow the game’s official Facebook page for news, updates and other shenanigans). As a matter of fact, the short and sweet video showing scenes from the game and several of its versions of our beloved Eddie (most of them already available as Legacy of the Beast Figurines), while the classic instrumental tune Transylvania was playing in the background, was more than enough to warm up our senses for the metallic hurricane that was about to start, but we all needed of course to sing in unison UFO’s all-time classic Doctor Doctor and scream the spoken words from Churchill’s Speech to properly invite Bruce Dickinson, Steve Harris, Dave Murray, Adrian Smith, Janick Gers and Nicko McBrain to crush our minds with my favorite Iron Maiden song of all time, the one and only Aces High, while a giant airplane was “flying” above their heads.

That beyond epic start was followed by an avalanche of the band’s old and not-so-old classics, with Where Eagles Dare, The Clansman, The Wicker Man and Flight of Icarus being the highlights of the night for me. By the way, Bruce’s speech before The Clansman was quite fun, where he “complained” about the fact an Australian (Mel Gibson) portrayed one of the most important Scotsmen of all time, Mr. William Wallace. The song was played to perfection, of course, with all 15 thousand fans at the Budweiser Stage screaming “FREEDOM!” together with Bruce & Co. at the top of their lungs (including of course this guy here that’s writing this review). Another memorable and extremely funny moment was when Bruce’s flame thrower just stopped working in the middle of Flight of Icarus, and after blowing raspberries (yes, he did that), why not showing everything he got by beautifully and powerfully screaming “FLY AS HIGH AS THE SUN” to end the song in great fashion? We might not have had Bruce’s flames in our faces, but we got something even better than that, his unique, trademark high-pitched scream piercing our ears and minds.

It was also amazing to witness all fans singing together with the band even the longest and most obscure songs (or maybe not as classic as the others) of their setlist, those being For the Greater Good of God and Sign of the Cross, proving once again not only Iron Maiden’s newest creations are still meaningful and appreciated, but also that it doesn’t really matter how long their songs are, they are never ever tiresome or boring. And what to say about the poetry found in the lyrics for the gorgeous Revelations? I’ll never get tired of witnessing Bruce declaiming those dark and touching lyrics live, no doubt about that. Well, after almost two hours of perfection, with an encore that brought to our avid ears the insanely awesome The Evil That Men Do, Hallowed Be Thy Name and Run to the Hills (needless to say, all three perfectly executed), it was time to enjoy Monty Python’s inspiring hymn Always Look on the Bright Side of Life and get ready to see the boys in action once again on Saturday. Because you know, one Iron Maiden concert is never enough.

Setlist
Transylvania
Doctor Doctor (UFO song)
Churchill’s Speech
Aces High
Where Eagles Dare
2 Minutes to Midnight
The Clansman
The Trooper
Revelations
For the Greater Good of God
The Wicker Man
Sign of the Cross
Flight of Icarus
Fear of the Dark
The Number of the Beast
Iron Maiden

Encore:
The Evil That Men Do
Hallowed Be Thy Name
Run to the Hills
Always Look on the Bright Side of Life (Monty Python song)

Band members
Bruce Dickinson – lead vocals
Steve Harris – bass
Dave Murray – guitar
Adrian Smith – guitar
Janick Gers – guitar
Nicko McBrain – drums

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Album Review – Embrace of Disharmony / De Rervm Natvra (2019)

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A fascinating journey into a unique universe of Avantgarde and Progressive Dark Metal inspired by Lucretio’s poem “De Rervm Natvra” and his theory of the universe.

Forged in in 2006 the fires of Rome, the stunning capital of Italy, with the main goal of uniting the dark and epic Progressive Metal from bands like Symphony X and Adagio with elements from Avantgarde and Extreme Metal bands, as well as several orchestral outfits like Arcturus, Winds, Dimmu Borgir and Opeth, Avantgarde/Progressive Dark Metal four-piece act Embrace of Disharmony is unleashing upon humanity their second full-length opus entitled De Rervm Natvra, which translates from Latin as “on the nature of things”, a fascinating journey into a unique musical universe thoroughly crafted by the band, released five years after their debut album Humananke.

Comprised of Gloria Zanotti on vocals, Matteo Salvarezza on guitars, vocals and programming, Leonardo Barcaroli on bass and Emiliano Cantiano on drums, Embrace of Disharmony offer in De Rervm Natvra a more extreme sonority but at the same time a more avantgarde-ish aura than in Humananke, all spiced up by idiosyncratic electronic elements and a superb lyrical theme based on Lucretio’s poem “De Rervm Natvra” and his theory of the universe. Recorded at Dis(agio)harmony Studios and Hombre Lobo Studios with Valerio Fisik, mixed by Giuseppe Orlando at Outer Sound Studio, and mastered by Mika Jussila at Finnvox Studios, De Rervm Natvra is not only a great piece of symphonic and extreme music, but the overall sound quality of the album is simply outstanding, showing how focused all band members and their entire crew were, delivering first-class metal music to our avid ears.

Ethereal sounds permeate the air in Prohoemivm (“introduction”), with the voices in the background delivering a cryptic message and warming up our senses for the symphonic and eerie Lavdatio Epicvri (“in praise of Epicurus”), where Matteo’s background effects and keys grow in intensity until the entire band begins smashing their instruments furiously. And their venomous version of Dream Theater mixed with Cradle of Filth goes on in the 10-minute extravaganza De Primordiis Rervm (“the beginning”), a darker version of Epic Symphonic Metal with Emiliano sounding like a stone crusher on drums and with the delicate vocals by Gloria bringing more finesse to the overall musicality in an avalanche of symphonic sounds, somber passages, operatic choirs and tons of progressiveness. Then the quartet continues to mesmerize us with their dark symphony in De Motv Primordiorvm Rervm (“the beginning of motion”), another thrilling Progressive Dark Metal voyage where Matteo delivers crisp riffs while Leonardo and Emiliano are at the same time utterly progressive and vicious with their bass and drums, respectively; followed by De Infinitate Orbivm (“infinite worlds”), where a wicked intro evolves into a feast of Symphonic Metal showcasing classic piano notes, a menacing atmosphere and rumbling bass lines. Furthermore, Gloria and Matteo make a very dynamic and inspired vocal duo, while Emiliano doesn’t stop hammering his drums for our total delight.

In De Mortalitate Animae (“the immortality of the soul”), it’s impressive how the quartet is capable of transforming their music into some sort of theater or movie score, showcasing acoustic guitars while the smooth vocals by Gloria dictate the song’s rhythm, also presenting explosions of extreme music intertwined with pure Progressive Metal. De Pavore Mortis (“the terror of death”) starts in a whimsical and serene manner, again morphing into a Symphonic Metal party where Emiliano sounds even more brutal than before on drums while Gloria delivers some vicious, heavier-than-usual vocal lines to add an extra kick to the song; whereas in the Symphonic and Progressive Metal aria De Captionibvs Amoris (“the seizures of love”) we’re treated to the most wicked intro of the entire album, a dark and futuristic start that gets even more enfolding thanks to Matteo’s keys and Emiliano’s beats, generating a powerful paradox of sounds and setting the stage for Gloria to shine on vocals. Lastly we have De Formatione Orbis (“the formation of the world”), the most experimental of all songs, closing the album in a really distinct way and even flirting with Folk Metal at times. Once again presenting a potent vocal duet by Gloria and Matteo and flammable guitar riffs, the music gets a bit too atmospheric compared to the rest of the album, but nothing that could harm its overall electricity and impact.

In summary, Embrace of Disharmony are more than ready to take your hand and guide you through their whimsical and captivating world of heavy music in De Rervm Natvra, which is by the way available for a full listen on Spotify, and in order to show them your true support and admiration go check what they’re up to on Facebook, and purchase De Rervm Natvra from their BandCamp page, Apple Music, Amazon, or Discogs, or click HERE for all available options in the market. Gloria, Matteo, Leonardo and Emiliano might be only four musicians, but what they offer our ears in their new album sounds like if they were a full-bodied orchestra, meaning that not only they’re extremely talented and passionate about what they do, but also that fortunately for all of us we’ll be hearing from Embrace of Disharmony for many years to come, embellishing the airwaves with their fusion of the past, present and future of heavy music.

Best moments of the album: De Primordiis Rervm, De Infinitate Orbivm and De Captionibvs Amoris.

Worst moments of the album: De Formatione Orbis.

Released in 2019 My Kingdom Music

Track listing
1. Prohoemivm / Lavdatio Epicvri 3:05
2. De Primordiis Rervm 9:54
3. De Motv Primordiorvm Rervm 5:58
4. De Infinitate Orbivm 6:53
5. De Mortalitate Animae 7:53
6. De Pavore Mortis 6:12
7. De Captionibvs Amoris 5:53
8. De Formatione Orbis 8:14

Band members
Gloria Zanotti – vocals
Matteo Salvarezza – guitars, vocals, programming
Leonardo Barcaroli – bass
Emiliano Cantiano – drums

Guest musician
Marco Migliorelli – spoken words on “De Infinitate Orbivm” and “De Mortalitate Animae”

Album Review – Mettadone / Rotten Flattery (2019)

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This talented Ukrainian entity returns after four long years with a much darker and rawer sound, bringing to our ears first-class European Death and Doom Metal.

Formed in 2014 as a Gothic-doom duo by vocalist and multi-instrumentalist Evgeniy Shamarin in Kharkiv, a city in northeast Ukraine which is considered the Black Metal capital of the country, Death/Doom Metal unity Mettadone are ready to crush with a brand new lineup and musical direction in their sophomore album Rotten Flattery, highly recommended for fans of bands with a classic 90’s European sound such as Hypocrisy, Edge of Sanity and Paradise Lost. Comprised of the aforementioned Evgeniy on vocals and lead guitar, Sergey Baskakov also on the guitar, Alexander Chernyakhovsky on bass and Alexey Silenko on drums, Mettadone decided to venture through much darker and devilish lands in Rotten Flattery than what we were able to witness in their debut album Invisible Disease, mainly thanks to Evgeniy moving from drums to vocals and guitar when their previous vocalist left the band, switching from their My Dying Bride-inspired sonority to a much rawer approach, consequently sounding closer to other amazing underground acts like Warcrab, Moss Upon The Skull, Refusal and their countrymen 1914.

The quartet begins hammering their instruments mercilessly in the opening track Mind’s Prisoner, showcasing a well-balanced fusion of classic Death Metal and old school Doom Metal (and even Blackened Doom), with Evgeniy growling like a demon while Alexey crushes his drums in great fashion; whereas in Obscurity of Hypocrisy they keep blasting hatred and rage in the form of extreme music, with the band’s guitar duo Evgeniy and Sergey being on absolute fire, adding a welcome touch of evil to the music with their raw, razor-edged riffs. Then Alexander and Alexey extract pure metallic and utterly menacing sounds form their respective instruments in Untrue Entity, generating a thunderous atmosphere perfect for Evgeniy’s demented roars, resulting in six minutes of darkened sounds perfect for banging your head like there’s no tomorrow. And in Pray for Help we’re treated to a more ferocious version of classic Sludge and Doom Metal, with symphonic elements bringing epicness and melancholy to the overall musicality. Furthermore, it’s a pleasure to listen to Alexey on drums, as he can be at the same time infernal and very technical, never letting the music get stale or tiresome.

Living up to the legacy of underground Doom Metal, the quartet delivers the Stygian tune On the Verge, showcasing a beautiful work done by Evgeniy, Sergey and Alexander with their stringed weapons, and also presenting some clean vocals and crisp guitar solos as “bonuses” for our avid ears. In a Funeral Home showcases creepy piano notes intertwined with cutting riffs and pounding drums in what’s the darkest of all songs of the album with its seven minutes of demonic sounds and a strong feeling of hopelessness, just the way we like it in old school doom, also sounding very progressive and intricate from start to finish. Act of Revenge is another song tailored for ripping your spinal chord headbanging where Evgeniy’s growls get deeper and deeper as the music progresses, with the band’s guitarists being in absolute sync, therefore delivering flammable riffs from their axes while Alexey dictates the rhythm with his hellish beats. The last track from the regular version of the album, entitled Orphan, will pierce your ears and minds with its classic Doom Metal sonority infused with Death Metal nuances, and you better be ready because the quartet won’t stop hitting you hard with their vicious music, with the song’s ending being an interesting mix of the Death Metal by Unleashed with the obscure music by Paradise Lost. And lastly, Mettadone offer us more of their dark and visceral music in the bonus track He’ll Not Be Alive, where Evgeniy keeps gnarling demonically while his bandmates fire insanity and violence from their instruments, with the strident sound of guitars being simply fantastic and extremely enjoyable.

After listening to Rotten Flattery, I’m more than sure this new version of Mettadone is here to stay, providing fans of obscure doom and death everything they can ask for in underground extreme music. Hence, don’t forget to give Mettadone a shout on Facebook and on VKontakte, to subscribe to their YouTube channel for more of their visceral music, and obviously to purchase a copy of Rotten Flattery from the Archaic Sound’s BandCamp page or from Discogs. After all is said and done, although Kharkiv might be considered the Black Metal capital of Ukraine, let’s say that the city also has its share of first-class Death and Doom Metal to offer us fans, thanks to the great job done by Mettadone in their brand new opus and hopefully in many more to come in their promising career.

Best moments of the album: Obscurity of Hypocrisy, Pray for Help and Act of Revenge.

Worst moments of the album: None.

Released in 2019 Archaic Sound

Track listing
1. Mind’s Prisoner 7:10
2. Obscurity of Hypocrisy 4:26
3. Untrue Entity 6:16
4. Pray for Help 5:31
5. On the Verge 6:41
6. In a Funeral Home 7:06
7. Act of Revenge 5:26
8. Orphan 7:34

Bonus track
9. He’ll Not Be Alive 3:49

Band members
Evgeniy Shamarin – lead vocals, guitars
Sergey Baskakov – guitars
Alexander Chernyakhovsky – bass
Alexey Silenko – drums

Metal Chick of the Month – Ela

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ELA ROCKS!

Hailing from the charming Stuttgart, capital of southwest Germany’s Baden-Württemberg state and known for the Mercedes-Benz and Porsche headquarters and museums, our metal chick of the month of August is ready to set fire to The Headbanging Moose with her powerful vocals, stunning looks and deep passion for Hard Rock, Rock N’ Roll, and Heavy and Power Metal. Furthermore, you’ll certainly find her evolution in music quite interesting, from her mellower, radio-friendly Pop Rock early days to her current ferocious beast mode, blasting first-class Heavy Metal for our absolute delectation, always ready to rock like there’s no tomorrow. Ladies and gentlemen, please welcome the raven-haired vocalist Michaela “Ela” Eichhorn, or if you prefer you can simply call her Ela, frontwoman for German Melodic Heavy Metal band ELA and a woman that beautifully represents the power and importance of women in contemporary metal music.

You won’t find a lot of personal details about our dauntless Ela on the internet, but that doesn’t mean there isn’t a lot to read, learn and enjoy about her. Let’s say that if you want to know more about Ela, all you have to do is search for her own band ELA, as in the end the two can be considered the same entity. In other words, there’s no Michaela Eichhorn without ELA and vice-versa, which means we’ll be focusing on Ela’s career with her band on this humble tribute to this talented German singer, starting with the band’s inception over ten years ago, in the year of 2006. As a matter of fact, we can go a bit further than that, to the year of 2004, when Ela was part of a Karlsruh, Baden-Württemberg-based band named Com’n Rail, with whom she released the full-length album Out of My Universe that same year (and you can still buy the album from Amazon or from Discogs).

After several concerts all over Germany to promote Out of My Universe in the following years, Com’n Rail split up in 2006, with Ela finally founding what’s known today as ELA. However, as already mentioned, the band’s first releases, those being the EP’s Out of Time and Little Lies, both released in 2008, and the full-length albums Passion, from that same year, and Make My Day, from 2009, showed a much smoother side of Ela, offering her fans a fusion of classic Hard Rock with pop and alternative music. Ela’s debut EP Out of Time featured German musician J.R. Blackmore (the son of Ritchie Blackmore and his former German wife Margit, and known from bands like EBC Roxx and Over the Rainbow) on the guitar, with the invitation originating from Ela herself after listening to one of his instrumental pieces during a radio interview in Hamburg and falling in love with his refined technique. Upon returning home that night, she sent an email to Mr. Blackmore inviting him to participate in her album, he obviously accepted the invitation, and two weeks later the single Out Of Time was recorded (check out the official video shot at the legendary rock club Headbangers Ballroom in Hamburg HERE), with the full EP featuring the aforementioned single, a couple of original songs  by Ela and instrumental pieces by Mr. Blackmore, and a cover version for UFO’s Queen of the Deep. As a consequence of the very positive feedback received from fans and the specialized media, the duo went on a fairly extensive European tour after the release of the EP, not to mention the official video was played on many German music channels such as iMusic1 TV, Hit24, Deluxe TV and Streetclip.Tv.

The year of 2008 also witnessed the release of her first full-length album Passion, which you can listen in full on YouTube, again drawing excellent feedback and very positive reviews from the media. This was Ela’s first cooperation with Martin Engler of Mono Inc., which also happened in her next album. Songs like After the Rain and Out of Time achieved great success among fans of her music, the first single Little Lies made it onto several radio playlists for several weeks, her cover versions for Credence Clearwater Revival’s Who’ll Stop the Rain and Cheap Trick’s I Want You To Want Me were simply amazing, and Bleed got its own official video, shot at a castle for Ela’s own delight. “I’m a huge fan of castles, and it was my utmost wish to film on the historic grounds of a fortress. Just the masonry is ever so fascinating, and for a song like ‘Bleed’ I couldn’t have imagined any other location”, said our talented frontwoman.

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In 2009 Ela was back in action with a more rockin’ sonority with the album Make My Day, featuring re-recorded songs form her previous releases, and new songs like Here to Stay, Who (Won’t You Tell Me) and Right for the Devil, and once again featuring Martin Engler on drums, percussion, keyboards, programming and other arrangements. Ela had a few nice words to say about this heavier and harder version of her music. “The atmosphere in a studio is different to the one on stage, where you’re being swept away by the energy of your fans. Before you pick a song for an album, you work for weeks on that tune until it is to your perfect liking. However, and I think I speak for many of my musician colleagues here, after a while you may dislike this song and/or you suddenly get new ideas for it. Music has a lot to do with emotions, so I think that your own feelings play a major role here. When you know that you’re due to play live shows, it gets you in a different mood, you feel changed. I can only speak for myself, but I felt an overpowering urge to bring these songs across way harder – well, I guess, I simply wanted to ROCK more,” she commented, already pointing to a heavier future for her band.

Although Ela might not have released any new material under her own band until 2015, in 2010 she founded together with J.R. Blackmore and keyboardist Tony Carey (Rainbow) the project EBC Roxx,  having released the album Winners Vol.1 that same year,  with the song Silver Arrows being the anthem to accompany the first race of Mercedes Formula 1 pilots Michael Schumacher and Nico Rosberg that season. Then after a short hiatus Ela returned in 2015 with her band ELA showcasing a more visceral and metallic sound in Nervous Breakdown, featuring among several hard and heavy songs a medley of two of Slade’s biggest classics, Cum On Feel the Noize and Gudbuy T’Jane. Produced by Jörg Uken (Soundlodge Tonstudio) and mixed by Sascha Paeth (Avantasia, Beyond the Black, Edguy), Nervous Breakdown led Ela and her bandmates to promote the album on a tour with the iconic band Bonfire, proving once again she was on the right path in heavy music.

In 2016 Ela and her henchmen got even more metal with the release of the EP Out Of This World, presenting a much harder sonority closer to the Symphonic Metal played by bands such as Nightwish and Lacuna Coil, as you can see in this live version of the song This Kaleidoscope from 2017. Then in 2017 ELA finally achieved its most metallic form with the release of the full-length opus Second Reality, featuring powerful songs like Deadly Sins, therefore explaining why the album stayed in the Top 20 of the German Rock and Metal Charts for weeks. Ela’s metal side received so much praise from fans, critics and media from all over the world her band even toured around Germany as a supporting act for the one and only Grave Digger, not to mention Ela’s guest vocals in 2019 in the title-track Facing the Demon, from the album Facing the Demon, by German Melodic Heavy Metal act Reternity. Having said all that, you might be asking yourself what’s next for Ela, right? Well, no one knows exactly what our dark-haired singer will bring to our avid ears in the future, but we can rest assured it’s definitely going to rock our world.

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