A scorching extravaganza of Norwegian Black Metal that will consume your soul, thoroughly put together by a one-man army of darkness.
Norwegian Romantic Black Metal one-man army Minneriket is the work of vocalist and multi-instrumentalist Stein Akslen, who created the project back in 2014 for as much a philosophical and spiritual channeling as a musical outlet. Drawing on influences as various as punk and goth yet steeped in the intensity of the early Norwegian Black Metal scene, Minneriket, which translates as “the kingdom of memories”, is honest and real, reflecting both self and society, knocking down barriers and ignoring taboos, breathing new life into the genre in a completely uncompromising manner. After the releases of the albums Vargtimen in 2015, Stjerner, speil og svartebøker… in 2016, and more recently the Burzum tribute From the Veins of a Nearly Dead Boy in 2017 (which officially received inclusion on the Vikernes Burzum website), Minneriket returns in full force, unleashing upon humanity the project’s latest opus Anima Sola.
The title of the album, which means “lonely soul” in English, and the artwork, designed by Czech artist Anna Marine, are based on the catholic imagery of the lonely spirit burning in purgatory. The soul which is burning forever, but is never entirely consumed by the flames. It’s the war between spirits and matter, and fire as both a destructive force of nature and the kindle in your heart. Musically speaking, Anima Sola is a scorching extravaganza of Norwegian Black Metal that will consume your soul, with Stein doing a fantastic job on vocals, guitars, bass and keyboards throughout the whole album, leaving you completely disoriented after each of its ten piercing compositions is over, it doesn’t matter if sung in English or in his mother tongue Norwegian.
Tro, håp og kjærlighet (Norwegian for “faith, hope and love”) brings a somber, melancholic intro that keeps growing darker and darker, until Stein arises from the crypts of hades with his hellish gnarls, with his Stygian guitars generating a mesmerizing rhythm. In other words, this is Atmospheric Black Metal at its finest. And things get even better in An All Too Human Heart, featuring guest musician Fredrik Rex (Blodsgard) on guitars and bass. Offering the listener that strident Black Metal riffage we all love so much, Stein attacks our souls with an infernal storm of old school Norwegian Black Metal, sounding absolutely bestial on vocals and, consequently, more obscure than anything or anyone you can imagine. Furthermore, it’s impressive how he masterfully blends the sheer obscurity of Black Metal with the smoothness and delicacy of ambient music, which is exactly the case in When Life Gets Sick, the Dead Grow Strong, always sounding and feeling pugnacious and chthonic, with the song’s riffs and beats being in full diabolical sync, effectively boosting its overall impact.
Then disturbing sounds permeate the air in I am the Serpent Son, a song tailored for lovers of the darkest form of Norwegian Extreme Metal where Stein uses his voice in an otherworldly way to distill its stylish lyrics (“I submit to your beauty and wisdom / I will learn all your black arts / Mother Lilith! / See to all my needs / so that I may grow and conquer this world”). And there’s not a single second of peace or hope in over seven minutes of extreme music in Between Infinity and Melancholy, where Stein keeps firing his blistering guitar lines and enraged vociferations, with the musicality feeling extremely raw and primeval, but still very polished due to the above average production of the album. Then in Det lyset jeg ikke kan se (or “the light I cannot see”), also featuring Fredrik Rex, we face over 13 minutes of a descent into the pits of hell full where thunderous bass punches and steady beats steal the spotlight for the first three minutes, before a sonic onrush of traditional Black Metal lacerates our minds mercilessly. In addition, Stein and his Minneriket don’t let our souls rest not even during the atmospheric break in this full-bodied blackened aria, proving how precise he is with his instruments.
Stein then treats us with a wicked beginning and his disturbing, Satanic vocal lines in Sorger er tyngst i solskinn (“sorrow is the heaviest in sunshine”), all effectively supported by the song’s somber instrumental pieces, feeling extremely metallic, inhuman and bizarre from start to finish; while Alle hjerter banker ei (or “all hearts beat one” in English) leans towards vile Blackened Doom, where once again Stein delivers hypnotizing riffs and beats that will drag your soul to the underworld, with endless grief and despair flowing from all instruments. And his most damned and depressive side keeps dominating his mind in the desperate hymn Smerte, skjønnhet og Satan (“pain, beauty and Satan”), being slow and steady as good Doom Metal should be without forgetting the project’s old school Black Metal core, before a sonic havoc of putrid sounds entitled Time for Suicide comes crushing our hearts, with its lyrics being as perturbing as they can be, especially through Stein’s evil gnarls (“Headaches taunt me with flashbacks of the past / Call it fear, but I think it runs deeper / an infection that eats away at my soul / furthering my suffering and doubling my agony”).
In summary, Anima Sola, which can be enjoyed in its entirety on Spotify, might be considered by many Minneriket’s strongest work to date, proving how focused, professional and passionate about extreme music Mr. Akslen is, always moving forward and never sounding outdated or bland. You should definitely check his other albums, news and future plans on Facebook and on YouTube, and grab your copy of Anima Sola through the project’s own BandCamp page, on iTunes or on Amazon. Stein himself commented that the album was created because “we need to talk about the darkness”, also saying that the album “speaks of solitude and ineptitude, loss and yearning; humorless Black Metal with music and lyrics equally painful and raw.” Well, let’s face it, the man behind Minneriket more than succeeded in sending his dark message to the world with Anima Sola.
Best moments of the album: An All Too Human Heart, I am the Serpent Son and Det lyset jeg ikke kan se.
Worst moments of the album:Smerte, skjønnhet og Satan.
Released in 2018 Akslen Black Art Records
Track listing
1. Tro, håp og kjærlighet 5:40
2. An All Too Human Heart 3:33
3. When Life Gets Sick, the Dead Grow Strong 3:59
4. I am the Serpent Son 4:34
5. Between Infinity and Melancholy 7:35
6. Det lyset jeg ikke kan se 13:25
7. Sorger er tyngst i solskinn 6:10
8. Alle hjerter banker ei 4:52
9. Smerte, skjønnhet og Satan 3:30
10. Time for Suicide 2:27
Band members Stein Akslen – vocals, guitars, bass, keyboards
Guest musician Fredrik Rex – guitars and bass on “An All Too Human Heart” and “Det lyset jeg ikke kan se”
A dystopian science fiction taking place well after civilization has been destroyed by its own nuclear ambitions in the form of 44 minutes of suffering and austere Doom Metal.
Formed in 2014 in Saint Catharines, the largest city in Canada’s Niagara Region and the sixth largest urban area in the province of Ontario, Sludge/Doom Metal duo Vile Creature is more than ready to release their brand new full-length album titled Cast of Static and Smoke, a logical progression from their previous releases both in sound and content. While in their 2015 debut album A Steady Descent into the Soil they mirrored Blackened Doom with equally melancholy stories of growing up queer, and in their 2016 EP A Pessimistic Doomsayer they explored escaping your demons by forging relationships with works of fiction, now with Cast of Static and Smoke the band have delved into building a world of their own while writing a compelling 44 minutes of what they like to call “suffering metal”.
In order to properly translate all that melancholy and suffering into metal music, the duo comprised of Vic on vocals and drums and KW on vocals, guitar and percussion recorded the core of the album live with only one guitar and one drum kit. Furthermore, Cast of Static and Smoke is a record and a short story at the same time, a dystopian science fiction taking place well after civilization has been destroyed by its own nuclear ambitions. Displaying an eerie artwork by artist Stephen Wilson (Unknown Relic) and featuring a few interesting guest musicians who end up bringing extra layers of complexity to the music, the album presents four songs that embody emotions felt by characters and moments that take place within the story, sounding less chronological and more a response to certain instances. Musically the band is as heavy as they have ever been, weaving through different paces and influences with ease while maintaining their foundation in Doom Metal.
Wicked, somber sounds kick off the 10-minute Doom metal aria Water, Tinted Gold & Tainted Copper, with guest Erin Severson talking about all that’s wrong in our society before the sluggish beats and distorted guitars by Vic and KW invade our ears, paving the path for the song’s austere lyrics (“Blinded by visions of the elements of life / Leading to a scorched earth / A crows nest shrouded in metal and rust / Even scraps fear nothingness / I’ve seen blackened, deserted shores / Calling me, whispering lore”). Furthermore, guest vocalist Chris Colohan effectively provides his share of anguished growling, taking the song’s acidity to a whole new level before everything ends in the most visceral way possible. Then we have the absolutely grim Circuits, Bending & Breaking, an excellent hybrid of Doom Metal, Blackened Doom, Drone and Ambient with a violent twist where Vic keeps blasting Stygian, slow-paced beast while KW gnarls desperately and rabidly amidst a high level of distortions and rough noises perfect for disturbing our thoughts.
Forest, Subsists as a Tomb starts as dark and downbeat as the two initial compositions of the album, becoming another feast of devilish sounds and tones led by the lingering drums by Vic, with KW firing some enraged growls and slashing guitar noises. Once again, Erin’s narration feels as creepy as the previous one, with another guest musician, James Claypool, bringing forward a good amount of wickedness to the overall musicality with his flammable guitar. And lastly we have Sky, in Descending Pieces, a song that doesn’t bring any joy or happiness to our hearts and souls; quite the contrary, it follows the same somber path crafted by Vile Creature throughout the entire album, resulting in a solid display of modern-day Doom and Sludge Metal with the duo’s deranged screams and perturbing riffs and beats setting the stage for the final unsettling message by Erin.
In summary, although Cast of Static and Smoke is definitely not an easy listen for newcomers to the world of depressive and suffering Doom Metal by Vile Creature, it’s indeed an album that will grow on you as the music and the story progress together, gradually making your ears and senses more familiar with the band’s eccentric type of music. The album can be purchased through the band’s own BandCamp page, as well as through the Halo of Flies’ BandCamp page or webstore and the Dry Cough Records’ webstore. Furthemrore, if you buy Cast of Static and Smoke you’re not just buying over 40 minutes of high-quality extreme music, but the physical copy is also accompanied by a 16-page booklet that includes lyrics, credits, the full story itself (which you can read HERE), and an audio recording of the entire story scored by Vile Creature for those who have a hard time reading small print or just want another way to experience it. Having said that, don’t waste your time and go show your support to Vile Creature by visiting their Facebook page and buying their new album, and consequently immersing yourself in the bitter and melancholic post-apocalyptic reality proposed by this persevering Canadian duo.
Best moments of the album: Circuits, Bending & Breaking.
Worst moments of the album: None.
Released in 2018 Halo of Flies
Track listing
1. Water, Tinted Gold & Tainted Copper 10:20
2. Circuits, Bending & Breaking 9:16
3. Forest, Subsists as a Tomb 13:36
4. Sky, in Descending Pieces 8:52
Band member Vic – drums, vocals
KW – guitar, vocals, percussion
Guest musicians Chris Colohan – vocals on “Water, Tinted Gold & Tainted Copper”
James Claypool – guitar on “Forest, Subsists as a Tomb”
Erin Severson – the narrator on “Water, Tinted Gold & Tainted Copper”, “Forest, Subsists as a Tomb” and “Sky, in Descending Pieces”
George Zhen – piano
I hide you, I find you, I catch your fall… I’ll be there when the lights go out…
She has already been involved with so many distinct bands and projects it feels like she’s a 100-year old veteran in heavy music, when in fact she’s just about to turn 39 years old. I’m talking about the unstoppable American vocalist Amanda Somerville, our metal chick of the month who’s not only a singer and songwriter, but also a vocal coach, being known primarily for her work with several renowned European Symphonic Metal bands such as Edguy, Avantasia, Epica, Kamelot and After Forever, and having also produced two solos albums and two solo EP’s so far, as well as a wide range of more underground acts like Aina, Trillium and Exit Eden. also, there are countless albums and songs from other artists in the world of heavy music where you can find the stunning Amanda delivering her beautiful vocal notes, only proving how professional she is and how much other musicians admire her talent and skills as a vocalist. Having said that, are you ready to get delightfully “lost” in the world of Amanda Somerville?
Born on March 7, 1979 in Flushing, a city in Genesee County in the U.S. state of Michigan, Amanda Somerville, whose full name is Amanda Somerville-Scharf, attended Flushing Senior High School, graduating a full year early and winning a scholarship for graduating with high honors to the University of Michigan in Flint, Michigan, where she majored in psychology. In 1999 she moved from the United States to Wolfsburg, Germany, working mainly in Germany and in the Netherlands. Her voice has a wide range, but she has said herself that her tessitura is in the alto range, and if you have no idea of what that means you can take a quick look at this short and sweet explanatory video HERE. On August 19, 2013, she announced that she was engaged to be married to After Forever’s former guitarist Sander Gommans, and the pair were married in July 2014; less than one year after their marriage, on January 8, 2015, the couple announced they were expecting their first child, who was born on July 17, 2015 and named Lana Elise Gommans, and now in January the couple and little Lana were joined by the identical twins Anya Jayne and Juliet Marlies (and you can expect to hear more from Amanda and her new babies through her official blog).
Amanda has started singing from a very early age in her life, having grown up in a very musical family where music was a very basic and essential part of life. Furthermore, not only she had that influence and inspiration at home, but she mentioned she also had very good music mentors at elementary school, learning how to read music and play the piano at a rather young age. In addition, she said she has always dreamed about becoming a musician, and that’s all she ever wanted to do. For instance, throughout her life she has always performed in talent shows, competitions and concerts, hosting karaoke, singing in cover bands and jazz combos to earn money while she was in university, and even doing some appearances as a DJ. However, albeit being famous worldwide for her participation in several metal bands and projects, Amanda said that when she started her career she was a solo artist directed to the Pop Rock genre with some American folk elements. It was only when she decided to record a single with her bass player and drummer years ago that she met German guitarist, bassist and musical producer Sascha Paeth, who at that time was related to her bass player and owned a recording studio. Both Sascha and German keyboard player and musical producer Michael “Miro” Rodenberg were at the spot, helped them set up everything and listened to them performing, until they asked Amanda if she wanted to do something together with them, opening the doors of heavy music for our stunning diva. And regarding her education in music and arts in general, she said she never really studied music in a formal way, nor was she classically trained in singing. Amanda mentioned that it was her grandmother who taught her how to read music and gave her the basic foundation that she still uses for composing until today. Furthermore, as a vocal coach she was able to work with several distinguished musicians, always being open to learn from her students and to face new challenges they might bring her, therefore growing as a musician and as a person.
Trying to list every single band and project Amanda was or is still involved in Heavy Metal might be one of the toughest tasks one can try to accomplish, as she has already written and recorded with several renowned acts like the ones mentioned in the beginning of this essay about our gorgeous American vocalist, as well as her solos releases (which by the way were primarily soft and elegant Pop Rock with some Hard Rock, folk and soul music influences) and a rock opera, among other distinct endeavors. Let’s start with her solo career, with the releases of the albums In the Beginning There Was… (2000) and Windows (2008), and the EP’s Blue Nothing (2000) and Never Alone (2003), with her upcoming album Conformity Challenged to be announced soon. You can have a listen at her softer and more graceful side in songs like I Miss America and Puzzling Rapunzel, from her debut album, and Inner Whore and Sometimes, from Windows, but that’s the lightest music you’ll find in this tribute to Amanda, as from now on it’s going to be pure heavy music flowing through her veins and vocals.
Her first venture in metal was her collaboration with German multi-instrumentalist Robert Hunecke-Rizzo (Heavens Gate, Luca Turilli, Kamelot, Rhapsody of Fire), co-writing the rock opera Aina, a Symphonic and Progressive Heavy/Power Metal project featuring a number of guest appearances including Glenn Hughes, Michael Kiske and Candice Night, where the concept and lyrics were written by Amanda herself. There was only one album released under the project, the 2003 opus Days of Rising Doom (which you can listen in its entirety HERE), and don’t expect to see anything new from Aina in the short or even long-term. After Aina, she made a similar collaboration with her husband-to-be Sander Gommans, providing vocals and lyrical concept for HDK (the acronym for Hate Death Kill), a Melodic Death/Gothic Metal project with whom she released the albums System Overload, in 2009, and Serenades of the Netherworld, in 2014. Do you want to bang your head to the music by HDK? Try the songs System Overload and Mortal Zombie, one from each release by the project, and see if you like this more ferocious side of Amanda.
Perhaps her most remarkable project to date is her partnership with the iconic German vocalist Michael Kiske (Helloween, Unisonic) on a musical project entitled Kiske/Somerville, also featuring Primal Fear’s own Mat Sinner on bass and Magnus Karlsson on guitars (who by the way are the two main songwriters of the project), and Czech drummer Veronika Lukešová. In 2010, the project released their debut self-titled album, followed by another full-length release named City of Heroes, in 2015. From their debut installment, you can enjoy on YouTube songs such as Silence and If I Had A Wish, and from City of Heroes you should take a listen at Walk on Water.
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Another very interesting project by Amanda goes by the name of Trillium, a Symphonic Metal band formed in 2011 in the Netherlands (where she currently resides), featuring some of her longtime fellow musicians Sander Gommans, Sascha Paeth and Michael “Miro” Rodenberg, having released in 2011 the full-length album Alloy. She described the music by Trillium as “more like an expedition with my musical family to explore and celebrate the metamorphosis I’ve gone through as an artist over the past several years”, while the name of the band “symbolizes a trinity because things are always showing up in 3s in my environment and there are a number of triads occurring in this project, as well”. And she went on saying that “the name of the album, Alloy, is symbolic and metaphorical. An alloy is a substance composed of two or more metals, or of a metal or metals combined with a non-metal, intimately mixed. It also means standard; quality; fineness and is an admixture, as of good with evil. I’m a Pisces, so I’m all about duality and combining known elements – sometimes opposing each other – to create something different. Though I’ve been working myself further and further into the metal scene, I still always feel the need to add an extra element to make it shine, bling, stand out”. From Alloy, you should check the song Coward, and if you like what you hear you can enjoy the full album HERE.
In 2017, Amanda joined a new project entitled Exit Eden, featuring four female singers from the rock and metal scene from four different countries, those being Clémentine Delauney (Visions of Atlantis, Serenity) from France, Marina La Torraca (Highlight Kenosis, Phantom Elite) from Brazil, newcomer Anna Brunner from Germany, and obviously Amanda Somerville. The band was conceived with the plan “to show the world that almost every classic song can be transformed into a solid metal-rock song”, a concept similar to Finland’s Northern Kings, releasing in 2017 the album Rhapsodies In Black, comprised of 11 metallic versions for some of the biggest pop and rock classics like Rihanna’s Unfaithful, Depeche Mode’s A Question Of Time, Shontelle’s Impossible, Lady Gaga’s Paparazzi, Backstreet Boys’ Incomplete, and Bonnie Tyler’s Total Eclipse Of The Heart, with the stunning Dutch goddess Simone Simons also appearing in two songs of the album, Madonna’s Frozen, Adele’s Skyfall.
Apart from all those bands and projects, Amanda has also been involved with several iconic acts either live or as a guest musician in some of their studio albums. For instance, in 2008, she toured America with Dutch Symphonic Metal icons Epica, while Simone Simons recovered from a staph infection; she was also one of the live guest vocalists for Tobias Sammet’s metal opera Avantasia world tours in 2008, 2010, 2013 and 2016, where she performed both backing vocals and lead vocals for a few songs; she was featured on Douglas R. Docker’s space metal opera Docker’s Guild in 2012 in a duet with Goran Edman on the debut album The Mystic Technocracy – Season 1: The Age of Ignorance, and again in 2016 in the Flash Gordon Suite on the album The Heisenberg Diaries – Book A: Sounds of Future Past; and also played the part of the “Queen of the Nile” in an album titled The Book of Gates, by a metal opera project from the Middle-East named EON, produced by Lebanese guitarist Amadeus Awad. And the list goes on and on with Amanda lending her beautiful voice to several interesting songs recorded by bands like After Forever, Edguy, Lunatica, Serenity, Wolfpakk, Shaman, DesDemon, Hollow Haze, Sebastien, Soulspell, and many, many others.
When asked about her experience working with several renowned artists such as Alice Cooper, Ian Gillan and Eric Martin due to her role in projects like Rock Meets Classic and Avantasia, Amanda answered that working with all those metal icons is always a pleasure for her, as she always enters a new situation or project with a very open mind and loves to be surprised by those artists, not to mention she also said most of them are amazing human beings. In addition, when asked which musician or artist she would love to work with in the future, Amanda mentioned some important names in music such as John Fogerty, the mastermind behind Creedence Clearwater Revival; Grace Slick, an American musician and former model, widely known in Rock N’ Roll history for her role in San Francisco’s burgeoning psychedelic music scene in the 60’s, being the voice of bands like Jefferson Airplane and Starship; and as a solo artist she would also love to work with Paul Simon and Tori Amos. As you can see although those musicians listed by Amanda are not your regular metal icons, they do have a huge influence on countless metal artists and bands from different styles, proving once again heavy music is not and can never be isolated from the rest of the world of music.
Regarding her inspirations for her music and lyrics and her full creative process, Amanda said she doesn’t really have a “normal process” as far as songwriting goes, with her songs beginning sometimes as a chorus or a verse, sometimes as just the lyrics with the body of the composition coming later, and sometimes the song will come to her from start to finish in its entirety. She complemented by saying that as a songwriter, the lyrics are of extreme importance to her, and that her songs are always very emotional because she doesn’t believe in writing or performing anything that can’t make people feel along with her. All her songs are personal-based, talking about human struggles and relationships, whether it was something she went through, a dream, or inspired by someone or something, and all being “little windows” into the innermost workings of Amanda Somerville.
Last but not least, apart from all her projects and adventures in music in general, Amanda still found some time in June 2014 to be part of a German television show named Keep Your Light Shining, which aired from the end of May to June 2014 by ProSieben, singing the song Addicted To You by Avicii (and you can also see her personal message about the show HERE). She said she accepted the challenge because she enjoys getting out of her comfort zone, pushing herself to her own limits. However, the show had to make some special arrangements for her due to her touring schedule and other details, as she was only able to join their third show. Many people asked her why she was doing that, because she didn’t need it, but she said she actually wanted to participate on the show as a new experience for her. Moreover, despite the final result not being very positive for her, she said she wasn’t sad or anything like that as in the end she was the only member with a career while some of the others went backstage and cried their hearts out. What’s next for Amanda Somerville? Now with the twins she will probably take some time off from all her endeavors in heavy music, but I’m sure it won’t take long for us metalheads to have the pleasure of listening to her beautiful voice once again accompanied by some flammable guitar riffs and headbanging beats in another ass-kicking song, band or project.
“I’ve never really been able to force a song. I don’t believe in doing anything contrived, especially when it comes to songwriting. I think it’s a blasphemy to one’s art. Music is my emotional outlet and I let it take me wherever it leads.” – Amanda Somerville
Behold the next step in the remarkable musical evolution by one of the biggest new names of the Progressive Death Metal scene.
Hailing from New Haven, a coastal city on Long Island Sound, in Connecticut, American Progressive Death Metal legion Xenosis set out from their formation in 2010 with a precise goal in mind: To create Death Metal that blurs the lines, that draws from the past and present equally, and to continually evolve as a band from release to release. To date, they’ve lived up to that aim, and have continued to up the ante with each new musical effort put forth. After the releases of their self-titled debut EP in 2010, followed by the full-length albums Haunted Skies, in 2012, and Sowing the Seeds of Destruction, in 2015, it’s time for Xenosis to strike again with their third full-length opus, titled Devour and Birth.
On Devour and Birth, Xenosis offer the listener their characteristic Progressive Death Metal that blends old school-inspired Death Metal with a fair bit of more modern Technical Death Metal ideas, rounding out there sound with a lot of groove and some thrashy Melodic Death Metal influences as well. Given the eclectic style of Progressive Death Metal that Xenosis play, their list of influences, which includes names such as Death, Meshuggah, Morbid Angel, Suffocation, Testament, Gojira and Emperor, among others, serves as a guide of sorts that the music on Devour and Birth does not fit neatly inside one mold or style of Death Metal, and after taking a detailed listen at the entire album you’ll certainly get addicted to their intricate fusion of extreme sounds.
In the opening track, named Night Hag, a brutal wall of heavy and groovy sounds comes crushing our senses mercilessly, led by the demonic drumming by Gary Marotta and the gruesome roars by frontman Sal Bova, resulting in an extremely technical but at the same time crude sonority highly recommended for fans of the genre. Then in Army of Darkness we face total devastation with a demented level of complexity flowing from all instruments, with guitarists Kenny Bullard and Mark Lyon firing some Dream Theater-ish riffs and solos while Sal keeps growling deeper and deeper; and their onrush of Death and Groove Metal continues in full force in Delirium (Death of a God), where the bestial and utterly complex beats by Gary are flawlessly complemented by the wicked bass lines by Dave Legenhausen in a prefect representation of modern-day Progressive and Technical Death Metal.
I guess I don’t need to say Concave also sounds insanely aggressive and harmonious at the same time, with Dave and Gary making a dynamic duo from the underworld, therefore generating a fierce and vile background for Kenny and Mark to go mental with their riffs and solos. Then we have Oxidation, a mechanized bridge that reminds me of some of the weirdest tracks by Industrial Metal titans Fear Factory, revving up the engines for the heavy-as-hell Ominous Opus, full of breaks and variations to give its Death Metal core essence a demented twist, uniting the words “progressive” and “aggressive” in a fantastic manner. Put differently, simply go break your neck headbanging to the brutish riffs delivered by the band’s guitarists while Sal keeps growling like a beast.
The amazing title-track Devour and Birth takes their ferocity to a whole new level, sounding exciting form start to finish with the whole band displaying all their skills, in special Gary, Kenny and Mark, blasting sheer havoc through their sick beats and very technical shredding respectively. And the last track of the album, titled The Projector, is another hurricane of Death Metal masterfully executed by Xenosis, a circle pit-catalyst that sounds and feels very complete and detailed, being absolutely perfect for slamming into the pit during the band’s live performances.
Featuring a futuristic and menacing artwork by Brazilian graphic designer Caio Caldas (CadiesArt), Devour and Birth, which can be purchased through the band’s own BandCamp page, as well as on iTunes or on Amazon, not only cements Xenosis as one of the most interesting exponents of the current independent Progressive Death Metal scene, but it is also an album of extreme music that’s utterly recommended for all metalheads who are searching for a monumental amount of intricacy and progressiveness amidst all the chaos and destruction usually delivered in Death Metal. You can find more details about Xenosis and their elaborate music at their Facebook page and YouTube channel, and keep witnessing (and of course supporting) for years to come the remarkable musical evolution this talented five-piece act has been enjoying since their beginnings.
Best moments of the album: Night Hag, Concave and Devour and Birth.
Worst moments of the album: None.
Released in 2018 Independent
Track listing
1. Night Hag 6:45
2. Army of Darkness 5:14
3. Delirium (Death of a God) 5:51
4. Concave 5:15
5. Oxidation 0:54
6. Ominous Opus 5:59
7. Devour and Birth 4:28
8. The Projector 5:56
Band members Sal Bova – vocals
Kenny Bullard – guitar
Mark Lyon – guitar
Dave Legenhausen – bass
Gary Marotta – drums
A science fiction story in the form of first-class Symphonic and Melodic Metal, thoroughly crafted by a skillful four-piece act hailing from Finland.
Finnish Symphonic Metal band Vinide was formed back in 2003 in Kuhmo, a town in Finland located at the south-eastern corner of the Kainuu region, by five high school students who shared the same interest in playing heavy music. Since their inception, Vinide have already released the full-length albums Vinide (2007) and Odes For Thoughts (2014), as well as the EP’s The Puzzle (2008) and Into The Waters (2010), but it’s now in 2018 with their new full-length opus titled Reveal that the band has put the pedal to the metal, increasing the strength, complexity and reach of their music. The composing of the new album begun in the spring of 2015, when vocalist and guitarist Elmeri Kinnunen came up with an idea of science fiction story, and after one and a half year in the making the band is finally ready to pierce our minds with the imposing sonority found throughout Reveal.
Featuring a classy artwork by Finnish graphic designer Petri Lampela, Reveal is a science fiction story about a former employee of a large information technology company named OMEGA who finds himself locked in a mental asylum and is even sentenced to death. After he escapes the asylum, he starts to search for what is really going on and what the biggest interest of OMEGA’s artificial intelligence project is. The fears of the future seem to come true, while the humankind is driving itself towards definite termination. The story goes on and a lot of plot twists are going to happen. How big is the urge to create something that humans don’t fully understand? What is going to happen to our hero during his journey to find out the origin of everything?
A futuristic and cinematic intro builds the stage for the symphonic extravaganza titled The Beginning Scene, which kicks off in full force with orchestrations and crushing riffs filling all spaces, before Elmeri starts telling the story proposed. Moreover, this song has a touch of Avantasia and Stratovarius added to its core, all beautifully complemented by the stunning vocals by guest soprano Minna Seilonen. Then we have Breakout, sounding more melodic, intricate and electrifying, and presenting that traditional Scandinavian Melodic Metal sonority with drummer Jaakko Juntunen living up to the legacy of icons such as Jörg Michael and Jukka Nevalainen, not to mention the fiery guitar solos by Elmeri and his bandmate Mikko Kähkönen; followed by the title-track Reveal, an introspective power ballad led by Elmeri and his dark vocals, continuing to tell the obscure story of the main character with all melancholy being boosted by smooth guitar lines together with acoustic moments, as well as the song’s awesome background symphonic elements.
In a bridge named Anger, an eerie voice gives more details about the evolution of the facts, being the perfect warm-up for the Opera Metal-inspired tune The Rat, blending the finesse of symphonic music with the fury of Heavy Metal, with highlights to the fantastic job done by Heikki Polvinen and his keys, supported by the classic riffs by Elmeri and Mikko while Minna once again embellishes the atmosphere with her angelical voice. In Plea, it’s time for another guest musician, Kaija Kinnunen, to lend her voice to a different character, explaining who that person is in Emanuel, an upbeat symphony of Scandinavian Metal, feeling and sounding very classy and impactful with great performances by Elmeri on vocals and Jaakko on drums, also presenting those fun traditional duels between guitars and keyboards.
The whole plan is finally revealed in the interesting The Truth, building an instant (and obvious) connection with The Plan, a mid-tempo Melodic Metal tune the likes of Avantasia, being more symphonic and imposing than previous tracks during its seven minutes of melodious waves of heavy music; whereas Believe offers the listener pure Power Metal infused with orchestral elements to make it bolder and more gripping, also presenting what can be considered the heaviest riffs by Elmeri and Mikko in the entire album. In addition, Heikki steals the spotlight with his epic keys, resulting in a song more-than-recommended for lovers of the more orchestral side of heavy music. And Vinide bring forward a modern, metallic beginning to another blast of kick-ass Symphonic metal titled Bombs, where it’s quite interesting to see in detail how the band manages to combine the core heaviness of Melodic Metal with the gentle side of symphonic music, creating an amazing full-bodied musicality for fans of the genre.
Another Dimension is in my opinion the most generic of all songs despite presenting solid guitars and keys and the always pleasant vocals by Minna, but fortunately that small slide doesn’t last for too long as Vinide fire another ass-kicking song named The Great Voyage, leaning towards more traditional Heavy Metal spiced up by Hard Rock elements, but of course without losing the band’s symphonic essence. In other words, it’s indeed a voyage through the realms of Scandinavian Metal full of classic guitar lines, whimsical keys and epic passages. And the ending song in Reveal, entitled Save the Earth, couldn’t sound more furious and potent, with the entire band delivering faster and heavier riffs and beats while Kaija adds a touch of modernity to the song by impersonating the program voice.
The best way to know more about Vinide and their futuristic realm of Symphonic Metal is by following them on Facebook and on VKontakte, and by listening to their music on YouTube, on Spotify and on SoundCloud. And if you’re a huge admirer of Symphonic and Melodic Metal with a thrilling story behind the music, you can purchase Reveal at the Inverse Records webstore, at Record Shop X or on Amazon, among other locations. To be fair, Reveal is already an excellent album even if you pay zero attention to the story being told, just to give you an idea of how talented the quartet is; but of course, I highly recommend you listen to the album from start to finish while being fully immersed in the perils faced by the main character. That is something truly unique, and something that only heavy music can provide you.
Best moments of the album: Breakout, The Rat, Believe and Bombs.
Worst moments of the album:Another Dimension.
Released in 2018 Inverse Records
Track listing
1. Intro 1:31
2. The Beginning Scene 5:05
3. Breakout 4:20
4. Reveal 6:13
5. Anger 0:52
6. The Rat 5:00
7. Plea 0:27
8. Emanuel 5:46
9. The Truth 2:37
10. The Plan 7:04
11. Believe 4:50
12. Bombs 4:41
13. Another Dimension 5:49
14. The Great Voyage 5:44
15. Save the Earth 3:43
Band members Elmeri Kinnunen – guitars, vocals
Mikko Kähkönen – guitars
Heikki Polvinen – keyboards
Jaakko Juntunen – drums
Guest musicians Minna Seilonen – violin, soprano voice
Kaija Kinnunen – program voice, woman
An aggressive mix of Thrash, Groove and Extreme Metal with Southern Rock blasted by a new four-piece act hailing from the always metallic U.S. state of Texas.
It’s time for The Headbanging Moose to head to Texas, the second-largest state in the United States by both area and population where several amazing heavy bands were born such as D.R.I., Devourment, Pissing Razors, Galactic Cowboys and, above all, the mighty Pantera, to slam into the pit to the aggressive mix of Thrash, Groove and Extreme Metal with Southern Rock blasted by a four-piece act that goes by the name of Not My Master. Playing what the band members themselves call Texas Metal, or in their own words, “dirty nasty satanic devil music you would find on Pornhub, if Pornhub played dirty nasty satanic devil music”, Not My Master are releasing their straightforward, vicious and extremely aggressive debut EP, titled Disobey.
Formed in 2016 in the city of El Paso, situated in the far western corner of Texas, the band comprised of Chris Kidwell on vocals, Chelo Styles on the guitar, Rudy Barajas on bass and Charlie Gonzalez on drums has been spreading their “Texas Fuckin’ Metal” throughout the whole state for a while, having already shared the stage with bands like Soulfly, Death Angel, Puddle Of Mudd and Rotting Christ, and also played in festivals such as Zia Music Fest, KILL This Festival, MUDD Fest and HaloHeavy Fest. With Disobey, the band not only aims at solidifying their name in the local Texan scene, but also to spread their ruthless music all over the world, effectively summarizing in its seven distinct tracks what the band is capable of offering to fans of heavy music.
The marching beats by Charlie are gradually joined by the slashing riffs by Chelo and the menacing bass punches by Rudy in the opening track, entitled Acadence, before Chris begins firing some enraged growls in a solid display of Extreme Groove Metal, perfect for fans of bands like Lamb Of God. Then the band keeps pounding our heads with their visceral music in Revenge, with lots of groove flowing from both guitar and bass while Chris switches back and forth from deep, rabid growls to clean, dark vocals, reminding me of the most obscure songs by Pantera (which obviously translates into sheer awesomeness); followed by the acid Where’s God Now, with the guitar lines by Chelo inspiring you to break your neck headbanging, not to mention how the metallic sounds blasted by all instruments increase the impact of Chris’ screams.
Then we have an eerie start to what’s the darkest composition in the EP, titled Morning Star, suddenly exploding into a heavy and aggressive hybrid of Groove and Southern Metal with hints of modern Doom Metal, led by Chris and his demented gnarls, whereas in Lies the raw and dirty guitar lines by Chelo build a demonic atmosphere for the rest of the band to blast hatred and evil in a fantastic display of Sludge Metal. Moreover, the low-tuned bass punches by Rudy sound insanely heavy, bringing even more ferocity to the overall result. And as a “bonus” don’t forget to listen to the two creepy alternative versions of this song on YouTube by clicking HERE and HERE.
Not My Master then treat us with an excellent cover version for How the Gods Kill, by Danzig (check the original version HERE), and on a side note, this classic was also covered by Polish Death/Black Metal project +MROME+ in their 2016 album Noetic Collision on the Roof of Hell (as you can see HERE). With that said, which version do you prefer? In my humble opinion, both kick some serious ass, with Not My Master sounding more melancholic in its first half before becoming a beautiful storm of Southern Metal throughout the rest of the song. And lastly, closing this obscure and very enjoyable EP we have another wicked tune named Consume, a vicious sample of what they call Texas Metal with Chelo burning our skin with his scorching hot riffs while Chris and Rudy sound like an earthquake with their growls and bass lines, respectively.
Are you curious to know more about Not My Master? I surely am, and I can’t wait to see when those Texan metallers will release their first full-length album, kicking everyone in the head with their relentless fusion of Southern and Groove Metal. You can follow Not My Master on Facebook and get to know more about the band members, their tour dates and other details, as well as listen to their music and watch their videos on ReverbNation. High-quality heavy music made in El Paso, Texas is furiously knocking at your door, but be careful because once you open it, there’s no escape from Not My Master’s vicious attack.
Best moments of the album: Revenge and Lies.
Worst moments of the album: None.
Released in 2018 Independent
Track listing
1. Acadence 4:18
2. Revenge 3:08
3. Where’s God Now 3:49
4. Morning Star 5:15
5. Lies 4:38
6. How the Gods Kill (Danzig cover) 5:55
7. Consume 4:41
Band members Chris Kidwell – vocals
Chelo Styles – guitar
Rudy Barajas – bass
Charlie Gonzalez – drums
Enjoy 10 fist-pounding tracks rooted in traditional Heavy Metal melded with the symphonic beauty of Power Metal, courtesy of a band that has the purest form of heavy music running through their veins.
Following their 2015 release Apocalyptic Promenade, an album that combined the melody and beauty of Symphonic Power Metal while maintaining the crunch, drive and power of traditional metal, plus their 2011 debut A Divine Act of War, which had its music placed in the television series Rock n’ Lock, the video game Volgarr the Viking and Danny Trejo’s 2006 movie Vengeance, American Power Metal warriors Sonic Prophecy return in 2018 with a brand new full-length album titled Savage Gods, featuring 10 fist-pounding tracks rooted in traditional Heavy Metal melded with the symphonic beauty of Power Metal, capturing the excitement and sound of such bands as Iron Maiden, Judas Priest, Helloween, Hammerfall and Kamelot while blending other musical styles to arrive at a sound of their own.
Officially founded in 2008 in Salt Lake City, the capital and the most populous municipality of the state of Utah, in the United States, Sonic Prophecy showcase all their passion and commitment to old school Heavy Metal in Savage Gods, with the album lyrics covering topics commonly found in heavy music, such as medieval wars, mechanized genocide and the dangers associated with extremist ideologies. “We think our fans will love this album! Savage Gods, as a record, basically combines all of the things I think people liked about our previous releases and then moves us forward into new areas musically and lyrically. For our fans, there will be no mistaking this is Sonic Prophecy, but we definitely cover some new exciting ground on this record”, commented frontman Shane Provstgaard on the album, also adding that “this is pure heavy metal with driving guitars, thundering drums, and some of what I feel is my best vocal work to date. With songs Night Terror, Unholy Blood and the album title track, we’ve really laid down a brutal sonic backdrop, along with keeping the melody, which is important to our music.”
An Iced Earth-inspired intro ignites the full-bodied title-track Savage Gods, led by the sharp axes by guitarists Darrin Goodman and Sebastian Martin while tons of epicness flow from the potent vocals by Shane. And their feast of old school metal music goes on with another amazing tune titled Night Terror, where Shane elevates the impact of his vocals to an even higher level, boosted by the beyond classic beast by drummer Matt LeFevre, followed by Unholy Blood, a song that begins in full force with a spot-on guitar solo before becoming a mid-tempo epic chant. Needless to say, this amazing song will definitely please fans of bands like Iron Maiden, Iced Earth, Blind Guardian, Judas Priest, and so on.
In Dreaming Of The Storm the band brings forward darker, more introspective lines to give the sense of a storm inside our minds, with bassist Ron Zemanek making sure there’s a good amount of thunder in the given storm while Matt keeps the musicality flowing smoothly through his precise beats. Then we have the aggressive Man The Guns, an 80’s-inspired hymn with hints of Hard Rock and Rock N’ Roll presenting galloping bass punches, exciting double bass roars and a good amount of shredding and solos, all embraced by Shane’s enraged performance on vocals. What else can you ask for in heavy music, right? And leaning towards Melodic Metal the band fills our ears with very harmonious lines and smooth piano notes to make the overall result bolder in Walk Through The Fire, where Matt does a great job with his rhythmic beats while Darrin and Sebastian simply kick ass with their solos; whereas A Prayer Before Battle is one of those epic songs perfect for heading into the battlefield, with Shane evoking the gods of war with his Matt Barlow-like vocals, not to mention the NWOBHM-inspired drumming by Matt, guiding us to Valhalla together with Sonic Prophecy.
Iron Clad Heart is another song with a beautiful name and endless electricity flowing from all instruments, sounding like a hybrid between the music by Iced Earth and Iron Maiden, presenting accelerated riffs and beats while Shane continues to thrive on vocals. Put differently, if you love traditional metal from the bottom of your heart, this tune is absolutely made for you. The second to last song in Savage Gods, named Man and Machine, is one of those cases where if you listen to it as an individual song you’ll certainly enjoy it a lot, but compared to the rest of the album it lacks energy and impact. The low-tuned bass lines by Ron sound amazing throughout the whole song, though, but they’re not enough for the song to keep up with the other tracks. And last but not least Sonic Prophecy goes full Power Metal in Chasing The Horizon, delivering gripping riffs and fast-paced beats that effectively support another solid performance by Shane on vocals, with some nice variations making it sound like two songs in one.
It’s time to join Sonic Prophecy’s quest for traditional Heavy Metal by following them on Facebook and listening to their music on YouTube, and of course by purchasing the excellent Savage Gods at the band’s own webshop, at the Rockshots Records’ webshop, at the JPC webshop, and also on your usual online stores iTunes and Amazon. When Shane said Savage Gods is pure Heavy Metal he wasn’t exaggerating at all; quite the contrary, he was actually being slightly modest in his comment, as this album exhales the purest form of Heavy Metal, courtesy of a band that has incandescent metal running through their veins.
Best moments of the album: Night Terror, Man The Guns, A Prayer Before Battle and Iron Clad Heart.
Worst moments of the album:Man and Machine.
Released in 2018 Rockshots Records
Track listing
1. Savage Gods 6:44
2. Night Terror 5:38
3. Unholy Blood 5:13
4. Dreaming Of The Storm 4:55
5. Man The Guns 5:04
6. Walk Through The Fire 7:09
7. A Prayer Before Battle 5:46
8. Iron Clad Heart 5:24
9. Man and Machine 6:44
10. Chasing The Horizon 6:14
Band members Shane Provstgaard – vocals
Darrin Goodman – guitar
Sebastian Martin – guitar
Ron Zemanek – bass
Matt LeFevre – drums
Welcome to the amazing world of Melodic Metal ruled by an up-and-coming four-piece act from Sweden.
Hailing from Jönköping, is a city on the shores of Lake Vättern, located in southern Sweden, Melodic Metal quartet Rexoria have been on a fast and healthy rise since their inception in 2016, having already toured several countries with bands like Bloodbound and Crystal Viper, as well as supporting renowned acts such as Backyard Babies, Entombed A.D. and Battle Beast in their homeland Sweden. And the reason for that amazing upward trend is obviously the extreme talent of their band members, their devoted passion for Heavy Metal and, as the icing on the cake, the stunning performance by frontwoman Frida Ohlin, who by the way was one of the finalists in the Swedish competition Årets Rockröst in 2016 (which would translate as “The Rock Voice”).
Blending their core Melodic Metal with folk influences, Rexoria released their debut EP in 2016, entitled Moments Of Insanity, followed by another EP in 2017, The World Unknown, both presenting what this talented Swedish band is capable of. However, it’s now with their first full-length album, elegantly named Queen Of Light, that fans of the more melodious side of Heavy Metal will be able to experience a full-bodied, detailed blast of the classy music crafted by Rexoria, heavily inspired by the golden years of Heavy Metal and spiced up by nuances of contemporary Power and Folk Metal. Put differently, if you’re crazy for Scandinavian Metal the likes of Stratovarius and Nightwish, you might have found your next addiction in heavy music.
The movie-inspired intro The Land in Between transports the listener to the whimsical and unknown world of Rexoria, with the guitar duo comprised of Jonas Gustavsson and Cristofer Svensson opening the gates for the harmonious vocals by Frida to welcome us all to the first song of the album, titled Stranded, a precise fusion of Melodic and Symphonic Metal highly inspired by bands like Epica and Nightwish; followed by the title-track Queen of Light, feeling even more imposing and melodic and also bringing elements from the classic Heavy Metal played by Doro, or in other words, it’s 80’s metal with a catchy chorus and electrifying riffs and beats where you can sense the amazing smell of epicness and power that permeates the air throughout the whole song. And leaning towards modern Folk Metal we have Voice of Heaven, with the keyboards by Frida generating a gentle ambience while the rest of the band makes sure the sounding remains as metal as it can be.
Way to Die is another stylish tune that effectively combines the more trenchant elements of Heavy Metal with the elegance and delicacy of symphonic and operatic music, with Frida once again having a remarkable performance with her potent voice. After such high-end display of heavy music we’re treated to a passionate, melancholic and gripping ballad named Song by the Angels, again taking us back to 80’s Heavy Metal with pure romance flowing from all instruments, especially the guitars by both Jonas and Cristofer which add tons of feeling and electricity to the overall result, whereas in Next Generation old school guitar riffs are in perfect sync with the precise beats by drummer Martin Gustavsson, not to mention the song’s fiery guitar solos and the epic vibe that supports the band from start to finish. The next tune, entitled The Saviour, offers more of Rexoria’s traditional metal lines with hints of Folk Metal and 80’s Hard Rock, with Jonas and Cristofer displaying all their passion for Melodic Metal by delivering smooth lines with their instruments and building the stage for Frida’s vocals to shine once again.
Hurricane is perhaps the most Heavy and Power Metal of all songs of the album (and definitely the most inspiring one), which is something you can already expect taking into account its name, showcasing an accelerated rhythm led by the potent drumming by Martin while Frida steals the spotlight yet again with her resonant vocal lines. Now think about an epic tune with a serene background led by the stunning vocals of a female warrior? That’s exactly what you’ll get in My Spirit Will Run Free, a song that can’t get any more 80’s than that, before the closing act You’ll Be Alright brings more of the band’s traditional musicality, with Jonas, Cristofer and Martin providing a beyond solid support for Frida to mesmerize us one last time, and when the song is over you’ll simply realize there’s nothing bad or out of place in the entire album.
You can purchase Queen Of Light at several online stores such as Pride & Joy Music, Nuclear Blast, Ginza.se and Bengans, as well as on iTunes and on Amazon, and remember you can always keep track of all things Rexoria through their official Facebook page, and listen to their music on YouTube and on Spotify. Then after having Queen Of Light on your hands, you’ll finally be allowed to enter the fantastic world of Melodic Metal ruled by Rexoria and let those four Swedish metallers guide you on a journey through the waves of harmonious and elegant Heavy Metal.
Best moments of the album: Queen of Light, Song by the Angels and Hurricane.
Worst moments of the album: None.
Released in 2018 Pride & Joy Music
Track listing
1. The Land in Between 1:40
2. Stranded 4:49
3. Queen of Light 4:18
4. Voice of Heaven 4:43
5. Way to Die 4:16
6. Song by the Angels 5:36
7. Next Generation 4:18
8. The Saviour 4:44
9. Hurricane 4:53
10. My Spirit Will Run Free 5:11
11. You’ll Be Alright 5:37
Band members Frida Ohlin – vocals, keyboards
Jonas Gustavsson – guitar, bass
Cristofer Svensson – guitar
Martin Gustavsson – drums
Blending elements from progressive and symphonic music with the most obscure side of Extreme Metal, all enfolded by majestic orchestrations, here come Rise of Avernus with their heaviest and darkest opus thus far.
Eigengrau (German: “intrinsic gray”, lit. “own gray”; pronounced [ˈʔaɪ̯gn̩ˌgʁaʊ̯]), also called Eigenlicht (Dutch and German: “own light”), dark light, or brain gray, is the uniform dark gray background that many people report seeing in the absence of light.
Since their inception in 2011, Australian Dark Orchestral Death/Doom Metal horde Rise of Avernus has been making a name for themselves throughout the metal community with their unique style blending elements from progressive and symphonic music with the darkest side of Extreme Metal, all enfolded by majestic orchestrations. Within the short time since the release of their 2012 debut EP, they’ve followed a relentless touring schedule, supporting some major international acts such as Apocalyptica, Enslaved, Eluveitie, Prong, Septicflesh, Fleshgod Apocalypse, Rotting Christ and Sigh along the way. Now in 2018 it’s time for this Sydney-based blackened squad to spread their devilish wings all over the world once again with Eigengrau, their fourth studio release and, more important than that, their heaviest and darkest opus thus far.
Featuring a Stygian artwork by world renowned artist Seth Siro Anton (aka Spiros Antoniou from Septicflesh), Eigengrau is the experience of seeing a deep grey shade in the total absence of visible light, or what one may refer to as a “perfect darkness.” Upon this canvas, an individual can project their subconscious, their processes, their anxieties and their fears. Thematically, Eigengrau explores the fluidic nature of these self-created experiences, how they can be shaped and how they may change at the point of one’s own death. Other tracks go on to explore the intricacies of personal realities, influenced by external factors or via spiritual and religious indoctrination. The nature of self-realization and being forced to confront weakness to overcome it. The distinct sound of the album reflects these altered states, oscillating between delicate movements and nightmarish grandiosity.
And Rise of Avernus’ nightmare of tenebrous and imposing sounds begin in full force in the opening track Terminus, showcasing a movie-inspired start before becoming a majestic fusion of the extreme music by bands like Cradle of Filth, Dimmu Borgir, Behemoth and Necronomicon with a raw Death Metal twist. Furthermore, Ben VanVollenhoven, the (black) heart and soul of the band, sounds insanely infernal on vocals, as well as Andrew Craig and his thunderous drums. Following such fantastic beginning we have Ad Infinitum (or “to infinity”), a neck-breaking, symphonic tune led by the atmospheric keys by Mares Refalaeda where Ben once again brings sheer darkness to the musicality with his demonic voice, resulting in a flawless combination of Atmospheric and Symphonic Black Metal.
Then we have a movie score-inspired beginning to yet another venomous feast by Rise of Avernus titled Gehenna, showcasing a beautiful but still obscure mid-tempo rhythm led by the guitars by Ben, who also provides a powerful performance with both his harsh and clean vocals (not to mention how awesome all orchestrations are); while Eigenlicht offers the listener almost eight minutes of a descent into the pitch black crypts of Hades, presenting smooth guitar lines by Ben and the always gripping keys by Mares, with the atmospheric break halfway through it being a thing of beauty. To sum up, this is Symphonic Black Metal at its finest, with the whole music ending in dense and ferocious fashion for our total delectation. And there’s’ still a lot more to go in Eigengrau, with tribal beats igniting another sonic extravaganza named Tempest, where Ben sounds more hellish and cavernous than before while Andrew and Mares fill all empty spaces with their burning instruments, resulting in a flawless mix of orchestral and heavy music.
Forged in Eidolon brings forward an ominous intro rising from the pits of hell directly into your mind, with the spectral orchestrations and keyboards by both Ben and Mares imprisoning your soul in the metallic realm of evil reigned by Rise of Avernus. Then serene sounds are joined by a wave of sublime orchestrations in Mimicry, creating the perfect ambience for the demonic growls by Ben and enhanced by the astounding keys by Mares. And as the closing act to this impressive album we have Into Aetherium, a wondrous composition that starts with almost three minutes of an instrumental blast of melancholic and obscure Symphonic Black Metal before all hell breaks loose, darkening our thoughts and hearts during its eight minutes of duration. Led by the bestial drums by Andrew, this fiendish hymn sets the perfect landscape for Ben to continue his path to the underworld, gnarling like an evil entity until the song’s mesmerizing and grandiose ending.
What are you waiting for to show your support for Rise of Avernus and purchase your copy of Eigengrau, one of the best extreme albums you can find out there, blending the aggressiveness of Death, Doom and Black Metal with the finesse and epicness of orchestral music? Eigengrau is available through Rise of Avernus’ own BandCamp page or Big Cartel (where by the way you can also find an album + patch + shirt bundle and an album + patch + pin + shirt + canvas/artwork bundle), as well as through the Aural Music webstore as a regular CD format or as a very special woodbox edition, if all of those versions of the album are still in stock, of course (which I doubt due to the insanely high quality of the music in question). Also, don’t forget to pay a visit to Rise of Avernus on Facebook for news, tour dates and other nice-to-know details about the band, and to listen to more of their classy music on YouTube. This is not only the band’s boldest, darkest and heaviest release to date, as aforementioned, but a lesson in extreme music that will certainly figure among the best metal albums of 2018 not only at The Headbanging Moose, but in several other publications all over the world where dark music always prevails.
Best moments of the album: Terminus, Eigenlicht, Tempest and Into Aetherium.
Worst moments of the album: None.
Released in 2018 Code666
Track listing
1. Terminus 5:43
2. Ad Infinitum 4:54
3. Gehenna 5:59
4. Eigenlicht 7:33
5. Tempest 4:51
6. Forged in Eidolon 5:56
7. Mimicry 3:53
8. Into Aetherium 8:03
Band members Ben VanVollenhoven – vocals, guitar, orchestrations
Mares Refalaeda – vocals, keyboards
Andrew Craig – drums, percussion
Behold the rise of the masked fearsome foursome of modern American metal and their bloodthirsty, action-packed debut album.
Comprised of current and former members of rock and metal renowned acts such as Machine Head, Ill Niño, Soulfly and Upon A Burning Body, here comes American Horror Metal masked supergroup Terror Universal, who have been unstoppable since the band’s inception back in 2014, having released their debut EP Reign of Terror in 2015 and shared the stage alongside heavy hitters including Korn, Asking Alexandria, Papa Roach and Fear Factory, among others. Now in 2018 those masked marauders are set to release their debut full-length album Make Them Bleed via minus HEAD Records, an album that can undoubtedly be considered the musical equivalent of a slasher film due to its aggressiveness, tension, lunacy and obviously the distinctiveness and eccentricity of each of the band’s bizarre members.
Snapping from moments of intense sonic bloodletting into menacing melodic mayhem, before creeping back into the shadows to do it all over again, the fearsome foursome Plague on vocals, Thrax on the guitar, Diabolus on bass and Massacre on drums live up to the legacy of modern-day American Alternative and Groove Metal the likes of Slipknot, Mushroomhead, Five Finger Death Punch, Deftones, Disturbed and so on. Produced by the band’s own members and mixed by Eddie Wohl (Smile Empty Soul, Fuel, Ill Niño, 36Crazyfists), Make Them Bleed will become the soundtrack to your most wicked nightmares, blasting your senses with its avalanche of heavy and metallic sounds and noises.
And the monstrous quartet kicks off their freak show of metal with a ferocious tune titled Passage of Pain, where Diabolus and Massacre make sure the ambience remains as heavy, menacing and obscure as possible with their rumbling bass and drums, respectively, while Plague screams and shouts like a true beast. Then in Welcome to Hell (which you can also watch as a guitar playthrorugh and as a bass playthrough on YouTube) Plague sounds utterly enraged, while Thrax transforms his guitar into a bloodthirsty weapon, resulting in the perfect depiction of modern extreme and alternative music made in the USA; followed by Spines, where an electronic-ish intro quickly evolves into a very dark and melodic sonority that could easily be played on any radio station, but still feeling extremely heavy. Featuring guest musician John Moyer (Disturbed) on bass, this can be called “a love song crafted by monsters”, sounding somehow romantic and violent at the same time.
Taking their animosity to a much higher level, Terror Universal bring forth the title-track Make Them Bleed, with the amazing low-tuned punches by Diabolus making the whole song more impactful. Moreover, its neck-breaking rhythm is effectively boosted by Plague’s demented growls, turning it into their personal hymn of sheer rage against everything and everyone, perfect for “spreading the violence” and “fucking the world” as Plague himself screams during the song. Then in Through the Mirrors they engage in their most Slipknot/Stone Sour-inspired mode, with the sick beats by Massacre guiding the musicality while Plague fires his crisp, acid vocals, not to mention Thrax and his cutting riffs; followed by the excellent Dig You A Hole with its gripping pace and vocal lines, enhanced by the fierce circus-like beats by Massacre and the song’s spot-on backing vocals. This is definitely one of the best new Alternative/Nu Metal songs you can find out there, making us bang our heads like maniacs without even noticing together with those four masked beasts.
Featuring the unstoppable Tony Campos (Fear Factory, Ministry, Soulfly, Static-X) on bass, who ends up giving the overall sound an Industrial Metal-like vibe with his crushing bass lines, Dead on Arrival is an excellent option for the band’s live performances to make everyone jump up and down together with them, whereas Into Darkness offers the listener another blast of their modern-day Horror Metal, albeit not as exciting as the rest of the album. Let’s say that it’s not a bad tune, but those freaks of nature sound way too “docile” in this case. On the other hand, their most savage and bestial mode arises in a great explosion of Groove and Thrash Metal named Your Time Has Come, with Thrax and Diabolus leading the carnage with their razor-edged strings, before Piece by Piece concludes the album like a bulldozer, with its metallic sounds penetrating deep inside our ears while Plague alternates between growling like a demon and firing his keen clean vocals.
In summary, if you enjoy modern American metal with an extra dosage of insanity and fury, all wrapped up by the grim and monstrous faces of Terror Universal, you’ll certainly have a good time listening to the music from Make Them Bleed. You can face those four creatures from hell anytime through their Facebook page and YouTube channel, and purchase your copy of the album through their BandCamp page, through their Pledge Music page, on iTunes or on Amazon. Just make sure you’re in good shape and ready to rock to the sound of Terror Universal because, you know, you won’t be dealing with regular people, but with rabid monsters of modern metal eager to taste your blood.
Best moments of the album: Welcome to Hell, Make Them Bleed and Dig You A Hole.
Worst moments of the album:Into Darkness.
Released in 2018 minus HEAD Records
Track listing
1. Passage of Pain 3:57
2. Welcome to Hell 3:41
3. Spines (feat. John Moyer) 3:18
4. Make Them Bleed 3:32
5. Through the Mirrors 4:10
6. Dig You A Hole 4:35
7. Dead on Arrival (feat. Tony Campos) 3:34
8. Into Darkness 4:17
9. Your Time Has Come 3:21
10. Piece by Piece 3:06
Band members Plague – vocals
Thrax – guitars
Diabolus – bass
Massacre – drums
Guest musicians John Moyer – bass on “Spines”
Tony Campos – bass on “Dead on Arrival”
Norwegian Romantic Black Metal one-man army Minneriket is the work of vocalist and multi-instrumentalist Stein Akslen, who created the project back in 2014 for as much a philosophical and spiritual channeling as a musical outlet. Drawing on influences as various as punk and goth yet steeped in the intensity of the early Norwegian Black Metal scene, Minneriket, which translates as “the kingdom of memories”, is honest and real, reflecting both self and society, knocking down barriers and ignoring taboos, breathing new life into the genre in a completely uncompromising manner. After the releases of the albums Vargtimen in 2015, Stjerner, speil og svartebøker… in 2016, and more recently the Burzum tribute From the Veins of a Nearly Dead Boy in 2017 (which officially received inclusion on the Vikernes Burzum website), Minneriket returns in full force, unleashing upon humanity the project’s latest opus Anima Sola.
Then disturbing sounds permeate the air in I am the Serpent Son, a song tailored for lovers of the darkest form of Norwegian Extreme Metal where Stein uses his voice in an otherworldly way to distill its stylish lyrics (“I submit to your beauty and wisdom / I will learn all your black arts / Mother Lilith! / See to all my needs / so that I may grow and conquer this world”). And there’s not a single second of peace or hope in over seven minutes of extreme music in Between Infinity and Melancholy, where Stein keeps firing his blistering guitar lines and enraged vociferations, with the musicality feeling extremely raw and primeval, but still very polished due to the above average production of the album. Then in Det lyset jeg ikke kan se (or “the light I cannot see”), also featuring Fredrik Rex, we face over 13 minutes of a descent into the pits of hell full where thunderous bass punches and steady beats steal the spotlight for the first three minutes, before a sonic onrush of traditional Black Metal lacerates our minds mercilessly. In addition, Stein and his Minneriket don’t let our souls rest not even during the atmospheric break in this full-bodied blackened aria, proving how precise he is with his instruments.
THE HEADBANGING MOOSE 