A “magickal” music journey to the golden years of rock and metal, reminding us all why we love those electrifying sounds so much.
In these times where trends seem to come and go on an almost monthly basis, sometimes it’s never more satisfying than to simply sit back and rock out. And that’s exactly what Norwegian Hard Rock/Rock N’ Roll power trio Magick Touch will make you do with their highly anticipated second full-length album, entitled Blades, Chains, Whips & Fire, a beyond exciting follow-up to their critically acclaimed debut endeavor Electrick Sorcery, released in 2015. In other words, there are no tricks, no special effects nor any other type of shenanigans in Blades, Chains, Whips & Fire, just three skillful musicians declaring all their passion for classic rock and metal through their music.
Formed in 2014 in Bergen, a southwestern coastal town in Norway, Magick Touch are HK Rein on guitar and vocals, Christer Ottesen on bass and vocals, and Bård Nordvik on drums, blending in their music several elements from the most classic forms of Heavy Metal and Rock N’ Roll with a strong focus on the synchronicity between their vocal lines and the slashing power of their guitar riffs. This Norwegian trinity of rock will take you on a journey to the golden years of rock music through the 10 electrifying tunes featured in Blades, Chains, Whips & Fire, always reminding you why you love the gripping sounds of rock so much in your life.
And the Rock N’ Roll running through their veins becomes latent in the opening track, the upbeat Under The Gun, bringing the purest form of rockin’ riffs and the high-pitched, electrified vocals by HK, with the bass punches by Christer knocking us out within seconds, and keep banging your freakin’ heads nonstop and raising your beers to the soulful guitar lines by HK in The Great Escape, while Bård keeps pounding his drum kit mercilessly. Following such electrified start to the album we have Midnite Sadusa and its Cat Scratch Fever-inspired main riff, an ode to 70’s and 80’s Rock N’ Roll where Christer and Bård are responsible for creating a massive wave of rumbling tones perfect for the classic vocals by HK. Put differently, this is one of those songs that would have been an all-time classic if written 30 years ago.
Leaning towards more contemporary Hard Rock with hints of the sonority by bands like Nickelback and Breaking Benjamin (but also showcasing the band’s old school core essence), Believe In Magick is a song tailored for dancing together with your boyfriend or girlfriend at a rock n’ roll party; whereas the roaring bass by Christer takes the lead in this potent fusion of Southern Rock, Stoner Metal and Hard Rock titled Polonium Blues, which will certainly please all fans of the golden years of Southern Rock. In Siren Song we’re treated to a thrilling intro that keeps growing in intensity until groovy Rock N’ Roll fills our ears, presenting sharp guitar lines with psychedelic elements while the vocal lines sound hard and heavy just the way we all love in rock music. And speeding up their pace, Magick Touch deliver a flammable rockin’ chant named Lost With All Hands, with its guitar and bass slashing our brains while the beats by Bård don’t let us stop dancing for a single second.
Slowing down again and bringing elements from Blues Rock to their sonority, the band offers us After The Fire, a radio-friendly composition with a solid drumming and a catchy rhythm, despite losing its grip after a while, followed by Electrick Sorcery, the second to last Hard Rock comet by Magick Touch and, more important than that, their personal tribute to 70’s and 80’s Rock N’ Roll and Heavy Metal, showcasing amazing performances by all band members (especially HK with his passionate vocals and spot-on riffs), and with its backing vocals adding an extra touch of awesomeness to the overall result. Furthermore, the last part of the song is absolutely fantastic, with the band paying homage to KISS, Judas Priest, AC/DC, Dio, Motörhead and other rock and metal idols through the song’s clever lyrics. At long last we have a song which name could have been easily used by Manowar in one of their songs, the title-track Blades, Chains, Whips & Fire, a mid-tempo heavy-as-hell hybrid of pure Rock N’ Roll with the most rumbling form of Southern Rock and Metal, also displaying an amazing chorus accompanied by the lowering bass by Christer and the slow, steady and fierce beast by Bård, even presenting some Iron Maiden-ish moments effectively inserted throughout its faster and more complex passages.
I guess I don’t need to say you should definitely let your rockin’ heart be touched by the electrifying and magical waves crafted by Magick Touch in Blades, Chains, Whips & Fire, and in order to do that simply go visit their Facebook page, YouTube channel, Spotify and SoundCloud for news, tour dates, videos and, above all that, first-class Rock N’ Roll. Blades, Chains, Whips & Fire, which is already on sale through several online stores such as the band’s own BandCamp page, the Edged Circle Productions’ webstore (in CD or LP format) and the Season of Mist’s webstore, as well as on Amazon, on iTunes or at Discogs, doesn’t aim at revolutionizing rock and metal music. Quite the contrary, Magick Touch’s main goal with their new album is simply to remind the whole world how awesome our good old Rock N’ Roll is and will always be, and the band not only nailed it, but they also provided us all a “magick” soundtrack to our days and moments on the road, at work, at school or anywhere else good music is needed.
Best moments of the album: Under The Gun, Midnite Sadusa and Electrick Sorcery.
Worst moments of the album:After The Fire.
Released in 2018 Edged Circle Productions
Track listing 1. Under The Gun 2:53
2. The Great Escape 2:56
3. Midnite Sadusa 3:39
4. Believe In Magick 3:36
5. Polonium Blues 4:17
6. Siren Song 4:30
7. Lost With All Hands 3:13
8. After The Fire 4:10
9. Electrick Sorcery 4:26
10. Blades, Chains, Whips & Fire 6:18
Band members HK Rein – guitar, vocals
Christer Ottesen – bass, vocals
Bård Nordvik – drums, vocals
An excellent album of brutal and technical Death Metal conceptually focused on Qlipoth, metaphorical shells which represent evil spiritual forces in the Jewish mysticism.
As the first review of 2018 from The Headbanging Moose to you, our dear metalheads, here comes Italian Death Metal four-piece beast Hellish God armed with their pulverizing debut full-length album titled The Evil Emanations, showcasing 10 tracks of top-notch unrelenting Death Metal, following their 2016 EP Impure Spiritual Forces. Featuring current and former members of Antropofagus, Imposer and Mindful Of Pripyat, this excellent Italian squad was formed in 2015 in Campobasso, a city and commune in southern Italy, with the intent to play savage and satanic Death Metal influenced by the classic late 90’s sound, and I should say they more than succeed in their mission with The Evil Emanations.
Displaying a classic artwork by Indonesian artist Adi Dechristianize, The Evil Emanation is conceptually focused on Qlipoth, metaphorical shells which represent evil spiritual forces in the Jewish mysticism, with its instrumental parts being influenced by bands like Krisiun, Azarath and Abhorrence. “It has many facets, both compositional and conceptual but the composition process was totally spontaneous and homogeneous. Of course, I can say I am very proud of the final result! It sounds compact and extremely true, authentic…”, said frontman Tya about the album, with drummer Luigi Contenti complementing that idea by saying that “this album is the natural evolution of Impure Spiritual Forces, it sounds very natural, effective and damn old school! If compared to the previous work its most obscure component is totally exalted!”
The special effects by guest Mario Seaone set the tone for the whole album in the phantasmagoric intro Kelim Shattering Illumination, before a violent onslaught of Death Metal led by the demonic growler Tya begins, the very technical and impactful Qlipoth, with the low-tuned bass by Stefano Malgaretti sounding infernal while Luigi delivers sheer brutality through his blast beats. After such amazing start, the band keeps bringing chaos and devastation to our minds with a fantastic display of extreme music titled Anti-Cosmic Decree, with the sick guitar riffs by Michele Di Ioia living up to the legacy of old school brutal Death Metal, not to mention the pulverizing job done by Luigi on drums; followed by The Hindering Ones, a full-bodied tempest of gruesome sounds and beats where Tya distills more of his deep guttural gnarls, reminding me of the classic sonority by Brazilian metal masters Krisiun, therefore becoming an excellent choice for crushing your spine into the circle pit.
Hellish God truly know how to create total havoc and at the same time sound harmonious and technical, as we’re able to witness in Tagimron Is Summoned, with Michele and Stefano providing some Cannibal Corpse-inspired lines with their strings while Tya growls deeper and deeper as the music evolves. And if your brain is still somehow attached to your skull after such insane headbanging tunes, it’s time to be completely demolished by those Italian metallers in Burning The Infidel, offering our avid ears three minutes of old school Death Metal with the band’s contemporary twist, boosted by a sick guitar solo by guest musician Rangel Arroyo. In the instrumental bridge Choronzonic Hellfire, wicked noises open the gates of hell for the berserk Agitator Shall Be Triumphant!, with Luigi spearheading the band’s sonic onrush while Tya continues to bark like a rabid beast. Furthermore, Michele fires some old school riffs and solos to make this solid exhibit of Technical Death Metal even more thrilling.
Before all is said and done in The Evil Emanations, Hellish God still have a couple of tormenting hymns to slash our ears, starting with I Am Belial, a short and extremely heavy tune with its demented rhythm being effectively boosted by Tya’s infernal growls and the crushing sound of Luigi’s drums. In other words, this is exactly what extreme metalheads like us are always searching for in Death Metal. And lastly, their final blast of insanity comes in the form of a five-minute Death Metal extravaganza titled Marching With The Accuser, where Michele’s guitar and Stefano’s bass are in total sync, consequently building a menacing wall of cutting sounds until the music flows to a climatic grand finale. Needless to say, when the song is over you’ll feel absolutely disoriented and eager for more of the music by Hellish God.
It’s time to face the evil spiritual forces featured in The Evil Emanations by paying a visit to Hellish God on Facebook, and by purchasing the album (which by the way can be enjoyed in its entirety on YouTube) through their own BandCamp page, as well as through the Everlasting Spew Records’ BandCamp page or webstore in regular CD format or as a CD + shirt bundle. If Hellish God were capable of delivering such high level of professionalism and brutality already with their first full-length release, can you imagine how sensational and cataclysmic they will sound in their future albums? Yes, my friends, Death Metal is doing more than fine in Italy, no doubt about that.
Best moments of the album: Anti-Cosmic Decree, The Hindering Ones and I Am Belial.
Worst moments of the album: None.
Released in 2018 Everlasting Spew Records
Track listing 1. Kelim Shattering Illumination 1:04
2. Qlipoth 4:33
3. Anti-Cosmic Decree 3:11
4. The Hindering Ones 4:03
5. Tagimron Is Summoned 4:02
6. Burning The Infidel 2:59
7. Choronzonic Hellfire 0:27
8. Agitator Shall Be Triumphant! 2:36
9. I Am Belial 2:15
10. Marching With The Accuser 5:24
Band members Tya – lead vocals
Michele Di Ioia – rhythm & lead guitars, backing vocals
Stefano Malgaretti – bass guitar, backing vocals
Luigi Contenti – drums
Guest musicians Rangel Arroyo – lead guitars on “Burning The Infidel”
Mario Seaone – effects on “Kelim Shattering Illumination”
There’s nothing better than revving up the engines of 2018 with the thunderous sound blasted by one of the meanest and most humble bassists in contemporary Thrash Metal, a woman who not only kicks some serious ass with her roaring bass guitar, but who’s also an accomplished Extreme Metal vocalist, growling and gnarling like a beast anywhere she goes for our total delight. With that said, please welcome as our first metal chick of the year the stunning and electrifying Brazilian musician Fernanda Lira, better known as the lead singer and bassist for Brazilian all-female Thrash Metal power trio Nervosa. And you better be ready, because Fernanda will accelerate your heart and mercilessly rock you like a hurricane with all her passion for heavy music, her devilish screams and, above all, the groovy wallops of her mighty bass.
Fernanda B. Lira was born on September 9, 1989 in São Paulo, one of the world’s most populous cities with over 20 million inhabitants in its metropolitan area, having discovered her love for heavy music and for playing bass guitar at the age of 13, being influenced by her father, who was also a bass player (and with whom she remembers “jamming” with his acoustic guitar or “playing drums” on the leather couch as a child while he played) and a huge fan of bands like KISS and Venom, and by her biggest idol since childhood, Iron Maiden’s one and only Steve Harris. Furthermore, she never attended classes to learn how to play bass, always using her instincts and utter dedication to develop her skills as a musician, blending all that with her endless energy and aggressiveness to make her playing style truly unique. And despite deciding she wanted to be in a band when she was around 15 years old, Fernanda undertook several other endeavors before becoming (and even when she was already) the frontwoman for Nervosa, as for example studying journalism at Faculdade Cásper Líbero (the oldest journalism school in Latin America), working as an English teacher, and presenting a show called Heavy Nation on Rádio UOL together with her friend Julio Feriato from 2012 until 2015, among other projects.
Highly inspired by the aforementioned Steve Harris and by other renowned bassists such as Geezer Butler, Steve Di Giorgio, Geddy Lee, Ron Royce and Markus Grosskopf, our badass Fernanda eliminated the use of picks and dedicated herself to playing with her fingers, also trying to take down from the bass the function of only “marking” the rhythm of the music. Moreover, regarding her vocal inspirations, Fernanda has always tried to learn how to sing by imitating her metal idols Tarja Turunen, Michael Kiske and Geoff Tate; however, after she started working with more aggressive vocal-inspired bands, she began to migrate to a different style of singing, leaning towards a similar style used by extreme music singers Tom Araya (the iconic vocalist and bassist for Thrash Metal behemoths Slayer) and Schmier (from Teutonic Thrash Metal legends Destruction).
Before joining Nervosa, Fernanda was part of two other Brazilian metal bands, both hailing from the city of São Paulo, those being the all-female Heavy Metal act Hellgard (who played more melodic material the likes of Helloween and Edguy), from 2008 to 2009, and Thrash/Death Metal group HellArise, from 2009 to 2011, playing bass and doing some backing vocals, as well as playing bass live for a comedy Heavy Metal band known as Detonator e as Musas do Metal (which translates as “Detonator and the Muses of Metal”), in 2012. She recorded two demos in her pre-Nervosa era with those bands, one being a three-track demo with Hellgard titled Rise of a Kingdom, in 2009, and a four-track demo with HellArise named Human Disgrace, in 2010, with the title-track being re-recorded and re-released in 2016 already without Fernanda on bass. Apart from Hellgard, HellArise and obviously Nervosa, Fernanda was a guest musician for two distinct metal bands from Brazil in the past few years, Post-Black/Doom Metal act Fanttasma and Thrash Metal titans Torture Squad, and in both cases she acted as a guest vocalist, leaving her menacing bass guitar “dormant”, for lack of a better word. You can enjoy her potent vocals in the songs Metropolis and Life Is War, from Fanttasma’s 2013 album Another Sleepless Night, as well as in their 2014 single Voodoo, and in Torture Squad’s 2013 release Esquadrão de Tortura (throughout the entire album) and in their cover version for Coroner’s Divine Step, released as a bonus track for their 2017 opus Far Beyond Existence. And last but not least, she’s also featured in the song Carcaça de Outro Alguém, together with a band called Fire Strike, as part of a tribute album to the cult Brazilian Horror Punk band Zumbis do Espaço; in a partnership with Brazilian guitarist and producer Denis Di Lallo in a song called Struggle to Survive; and in countless live performances with distinct bands and musicians, like for example playing Slayer’s all-time classic Black Magic with Brazilian Thrash/Death Metal band Desaster.
It’s finally time to talk a little about her career with Nervosa, one of the most promising bands not only in Brazilian metal but in the entire world of Thrash and Death Metal. After quitting her previous bands, our raven-haired growler was already searching for an all-female thrash act when she met guitarist Prika Amaral, who already had Nervosa as a project and was in pursuit of a bassist and singer to bring the band into being, which ended up happening in 2010. And Nervosa have been on a roll since their inception, releasing their debut EP titled Time of Death, in 2012, followed by the full-length albums Victim of Yourself, in 2014, and more recently the underground masterpiece Agony, one of the top 10 metal albums of 2016 from our list. From all those three flammable releases by Nervosa, you can slam into the circle pit together with Fernanda and the girls to the songs Masked Betrayer, Death, Hostages and Guerra Santa (with a nice explanation of what this song is all about by Fernanda herself). As a matter of fact, in one of her interviews, our ass-kicking bassist explained in more details the concept behind Guerra Santa, which is Portuguese for “holy war”. According to Fernanda, this song “talks about all the intolerance that goes on when the subject is religion. Although this is not like a Black Metal song talking against God, Jesus or any religion because I totally respect people’s beliefs. So, this song is not against religion but against the way religion can be harmful sometimes; I mean, religions should be preaching about love, respect, being kind to the next of kin, doing good stuff but sometimes they preach about intolerance against like sexual orientation, races, other cultures – destroying temples of other religions – so what kind of good they bring?”
When asked about the fast and growing success of a relatively young band like Nervosa, Fernanda mentioned that metal is always renewing itself, and everything that’s new in metal, such as three girls playing furious and aggressive Thrash Metal like Nervosa, ends up catching a lot of attention from metalheads all over the world. In addition, she believes that, as part of the process, in some years that’s going to become more natural with more and more girls getting involved with metal. In my humble opinion, I strongly believe their music is what’s really driving their success in the heavy music scene, especially when Nervosa are performing live, and you can get a very good taste of their crushing thrash live in several videos on YouTube, such as the songs Time of Death at Estúdio Showlivre in 2012 in Brazil; Justice Be Done at Seis Tercios Sesiones in Colombia in 2014; Masked Betrayer, Victim of Yourself and Nasty Injury at Ao Vivo no Casarão in Brazil in 2013; and in distinct full live performances like their 2016 concerts in Bulgaria and Serbia, and in special their demolishing concert at Rock Al Parque in 2017, arguably the largest free rock festival not only in Colombia but in the entire continent. And Fernanda loves that life on the road and being on stage, having already visited a lot of different countries and cities, despite the fact she never has enough time to walk around and get to know more about the place she’s playing that night nor about its culture or people.
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As expected, Fernanda has already been asked numerous times how it feels to be an all-female band and about the growing importance of women in metal music. She said that, at the end of the day, we’re all metalheads nurturing the same passion and admiration for Heavy Metal. She complemented by saying she doesn’t really care about being gendered, because in her opinion being called an all-female Thrash Metal band is just a way to describe a specific genre, like Folk Metal, Black Metal, and so on, given the fact that there aren’t many known bands like Nervosa in the market, and although it was a little difficult in the beginning because they’re playing an extreme style dominated by men in a sexist country like Brazil, people are changing their view of women in metal, supporting them, respecting them and encouraging other women to play heavy music. Moreover, she said there’s still a long way to go regarding this matter because there are many conservative metalheads that do not fully accept girls playing heavy music yet, but that’s something metal as a subversive kind of music can certainly change, with fans of heavy music being in their majority very open-minded, intelligent and cultural people. In addition to that, Fernanda said she has always felt like playing only with girls, as she has always dreamed about that and has always been inspired by girls in metal. All her previous bands were all-female groups, and she knew that it was something new that would help her and her bands stand out in metal.
Another interesting topic discussed by our charming growler in some of her interviews is the usage of the Portuguese language in her lyrics, something you can easily find in other heavy music styles like Punk Rock and Hardcore, with amazing bands like the unparalleled Ratos de Porão applying the Portuguese language to their music almost to perfection, but that’s not very common in Thrash, Death and Black Metal. Although Nervosa have two songs in Brazilian Portuguese, those being Urânio em Nós (from Victim of Yourself) and Guerra Santa (from Agony), she said she has always listened to metal in English despite the fact she was born and lives in Brazil, obviously due to the fact most major metal bands sing in English, and that writing lyrics in English is much more natural and easier for her than in Portuguese. And besides, she believes that the English language helps her spread her opinion and ideas much better than Portuguese to a wider audience worldwide (despite the fact that nowadays it’s quite easy to translate anything in any language), making people think, debate, agree or disagree about the topics and subjects contained in her lyrics.
And closing our small tribute to the talented Fernanda, when asked about what her recommendations are for bands that are starting their career in heavy music, she said the best option in the beginning is for the bands to promote their music in their homeland, focusing on what’s around them first before going for bigger markets like the USA and Europe. Nervosa have hundreds of thousands of Facebook and Instagram likes, but most of them come from their fanbase in Brazil and the rest of South America. She strongly believes it’s essential to have a huge support from where you come from, with the only issue in their own case being the fact that it’s really hard to make heavy music in Brazil due to the lack of money, opportunities and support from the media. However, as an obstinate metalhead that she is, she believes in the power and unity of metal fans in Latin America, who are always buying albums, merchandise and attending concerts with more intensity than in other parts of the world, being proud of the scene and proudly carrying the flag of Brazilian metal anywhere she goes with Nervosa. And that, my friends, is how you join professionalism and passion in the best possible way.
“All of my best stories and memories are because of metal. I was born and raised in metal. So, all my boyfriends, all my friends, and experiences are related to metal. That’s why I’m so intense on the stage, I feel like I’m living the dream.” – Fernanda Lira
“We sort of find that music tames the beast, you know.” – Malcom Young
It’s that wonderful time of the year again, and I’m obviously not talking about Christmas and the holiday season. In a year where we lost so many talented and important musicians in rock and heavy music for various reasons, including Malcolm Young (AC/DC), Chris Cornell (Soundgarden), Chester Bennington (Linkin Park), Trish Doan (Kittie), Martin Eric Ain (Celtic Frost), Warrel Dane (Nevermore, Sanctuary), John Wetton (Uriah Heep), David Zablidowsky (Adrenaline Mob, Trans-Siberian Orchestra), Chuck Mosley (Faith No More) and Cherry Taketani (Okotô, Hellsakura, NervoChaos), among several others, not to mention the end of the unmatched Black Sabbath, who we were able to witness live one last time during their farewell tour The End, only the freshness and energy flowing from brand new metal music can give us hope, not allowing Heavy Metal and Rock N’ Roll to die as many like to prophesy every single year.
Having said that, it’s time to blow our goddamn speakers with The Headbanging Moose’s Top 10 Hard Rock/Heavy Metal Albums of 2017, excluding EP’s, best of’s and live albums, taming the beast inside us all as wisely said by AC/DC’s heart and soul Malcolm Young (R.I.P.). And as 2017 was the year of bands that cannot be considered dinosaurs in metal (or at least not yet), such as Trivium and Mastodon, that certainly points to a bright future ahead for Heavy Metal with their recent releases because, as you know, we won’t have behemoths like Iron Maiden, Judas Priest and Metallica kicking ass on stage forever. By the way, this was definitely a fantastic year for Mastodon, who not only released one of the best albums of 2017, the excellent Emperor of Sand, but they also had some extra energy to burn with the classy EP Cold Dark Place, which by the way is part of our top 10 EP’s of the year (as you’ll see after our top 10/20 list). Alright, without further ado, turn up the volume and enjoy our 2017 list… LET THERE BE ROCK!
1. Trivium – The Sin and the Sentence (REVIEW) A superb album full of fast and intricate riffs, poetic lyrics, a sensational new drummer and, above all, the return of Matt’s trademark screams.
Best song of the album: Betrayer
2. Kreator – Gods Of Violence (REVIEW) We shall praise the best Teutonic Thrash Metal institution of all time, as the gods of violence come alive.
Best song of the album: Totalitarian Terror
3. Blaze Bayley – Endure And Survive (REVIEW) The indomitable Blaze Bayley returns with the second installment of Infinite Entanglement, his most ambitious project to date.
Best song of the album: Blood
4. Mastodon – Emperor of Sand (REVIEW) Follow the inspirational story of a desert wanderer who has been handed a death sentence in this excellent album of Progressive Metal.
Best song of the album: Word to the Wise
5. Accept – The Rise of Chaos (REVIEW) Let total chaos and destruction rise to the sound of the brand new album by the unstoppable Teutonic masters of Heavy Metal.
Best song of the album: Analog Man
6. Moonspell – 1755 (REVIEW) An orchestral and emotional concept album that will take you to the year when a giant earthquake destroyed the city of Lisbon.
Best song of the album: Todos Os Santos
7. Striker – Striker (REVIEW) Canadian Heavy Metal has never been more vibrant and rapturous than this.
Best song of the album: Born To Lose
8. Divine Element – Thaurachs Of Borsu (REVIEW) Witness the passage of a soldier through various levels of consciousness about the reality of war and human society.
Best song of the album: Thaurachs Of Borsu
9. Torture Squad – Far Beyond Existence (REVIEW) Don’t cross the path of one of the most respectful bands from the Brazilian Thrash and Death Metal scene.
Best song of the album: Blood Sacrifice
10. Solitary – The Diseased Heart of Society (REVIEW) Four veteran thrash metallers canalizing all the hatred, degradation and perversions of our modern-day society into their music.
Best song of the album: Architects of Shame
And here we have the runner-ups, completing the top 20 for the year:
11. Karkaos – Children Of The Void (REVIEW)
12. Prometheus – Consumed In Flames (REVIEW)
13. Battle Beast – Bringer Of Pain (REVIEW)
14. Terrifier – Weapons of Thrash Destruction (REVIEW)
15. Body Count – Bloodlust (REVIEW)
16. Dzö-nga – The Sachem’s Tales (REVIEW)
17. Cradle of Filth – Cryptoriana – The Seductiveness of Decay (REVIEW)
18. Cannibal Corpse – Red Before Black (REVIEW)
19. Infernäl Mäjesty – No God (REVIEW)
20. Katharos XIII – Negativity (REVIEW)
As aforementioned, we also have for you this year our Top 10 EP’s of 2017, ranging from the most rebellious form of Deathcore to the most melodic type of Symphonic Metal, from visceral Doom Metal to demonic Black Metal, and so on. In addition, those bands hail from all four corner of the earth, proving once again that it doesn’t matter where you go you’ll always be able to find first-class metal music, including all of its genres and subgenres, to please your avid metallic ears.
1. Primal Age – A Silent Wound (REVIEW)
2. Sinners Moon – Far Beyond The Stars (REVIEW)
3. Aversio Humanitatis – Longing for the Untold (REVIEW)
4. Loathfinder – The Great Tired Ones (REVIEW)
5. Ljosazabojstwa – Sychodžańnie (REVIEW)
6. Lorn – Arrayed Claws (REVIEW)
7. Jupiter Hollow – Odyssey (REVIEW)
8. Dö – Astral: Death/Birth (REVIEW)
9. Mastodon – Cold Dark Place (REVIEW)
10. Afire – Afire (REVIEW)
Do you agree with our list? What are your top 10 albums of 2017? If you want to check another awesome list, I highly recommend Antichrst Magazine’s Top 10 Albums of 2017 (Editorial Staff), a great online publication that we at The Headbanging Moose also contribute to on a regular basis. Also, don’t forget to tune in to Timão Metal every Tuesday on Rádio Coringão for a blazing fusion of metal and soccer, and to The Headbanging Moose Show every Thursday on Midnight Madness Metal e-Radio for the best of underground metal from all over the world!
Metal Xmas and a Headbanging New Year! See you in 2018!
Actually, before all is said and done, here’s for you the 2017 Christmas single from Norwegian Melodic Power Metal project Aldaria called When The Time Has Come, featuring several renowned guest musicians such as Ralf Scheepers (Primal Fear), Yannis Papadopoulos (Beast In Black), Lars Rettkowitz (Freedom Call) and Morten Gade Sørensen (Pyramaze), among others, with 100% of all income of this single being donated to Cancer Research. “This is a very important cause for me, as I lost my mother to this horrible disease in 2010. The single will be available across all streaming and digital platforms, and on Aldaria’s official webstore, where you will get a special edition with a lossless audio file, instrumental, high resolution cover art, and lyrics”, commented guitarist Frode Hovd, the mastermind behind Aldaria. Let’s all support such important cause!
The most dangerous and relentless demons of heavy music return with another crisp, visceral and fun album of present-day Metalcore.
As I said in our Metal Chick of the Month dedicated to the Butcher Babies in October 2016 celebrating three years of The Headbanging Moose, frontwomen Heidi Shepherd and Carla Harvey definitely know how to properly rumble, and now with the release of Lilith, their third full-length album, this Los Angeles-based Metalcore act spearheaded by those two gorgeous growlers more than cements their name in modern metal music. And don’t get fooled by their stunning looks, as Heidi and Carla can rip your heart out in the blink of an eye, just to show you how visceral and vibrant their music is.
After the release of the excellent Take It Like A Man, in 2015, an album that’s utterly entertaining from start to finish, fans of the Butcher Babies kept wondering if Heidi and Carla, together with Jason Klein on bass, Henry Flury on guitars and newcomer Chase Brickenden on drums would be able to deliver the same amount of aggressiveness and electricity that led them to play alongside giants like Marilyn Manson, Danzig, Rob Zombie and Cradle of Filth since the band’s inception, and for our total delight Lilith not only kicks some serious ass, but it also brings a more melodic side of the Butcher Babies that add an extra layer of intricacy and quality to their always fun compositions.
Now simply hit play and feel the metallic riffs by Henry crushing your skull before the dynamic duo Heidei and Carla begin their growling feast in Burn the Straw Man, not only a circle pit-generator with a catchy chorus and pure rage flowing from all instruments, but also a fantastic choice for opening their live concerts in full force. Following that flawless start we have the title-track Lilith, bringing their trademark ferocity infused with more melodic lines (mainly found in their cleaner vocals), with Chase proving why he was chosen to be the band’s new drummer; and Headspin, an almost-radio-friendly tune presenting a heavy but extremely sexy rhythm that will put you to dance and sing along with the band. Moreover, as a “bonus” the song got a lustful official video that deals with virtual reality (aka virtual sex) that’s definitely worth a watch. And in Korova the band gets back to a more underground Metalcore sonority, with Henry, Jason and Chase doing a solid job by supporting the screams by Carla and Heidi, all boosted by the song’s absolutely addictive chorus.
The beyond electrified #Iwokeuplikethis offers pure madness blasted by the entire band, with Chase sounding beastly on drums while our charming screamers fire some demented gnarls and deep growls nonstop. Things slow down a bit in The Huntsman, a dark Metalcore semi-ballad with hints of Alternative and Groove Metal which never really takes off despite the awesome rumbling bass lines by Jason, but everything returns to normal (if the Butcher Babies can be called “normal”) in Controller, a song that can be considered “old school Butcher Babies” by presenting all elements that made them famous in heavy music. Furthermore, its groovy and metallic tones are tailored for jumping up and down and breaking our necks headbanging with the band. And Oceana is another shot of insanity by Heidi and Carla, with the first firing her more strident screeches while the latter keeps growling deeper and deeper. In addition, Henry nails it with his crisp riffs, increasing the impact of the song to our ears.
In Look What We’ve Done we have more of their more melodic and commercial version (which means it should receive some decent air play in several radio stations), with both girls kicking ass with their potent clean vocals. And although they’re also great when singing smoother songs, I personally prefer their more enraged mode like what happens in POMONA (Shit Happens), a song that will cause some serious bruises inside the circle pit. Both girls sound demented throughout the entire song led by the frantic riffs and beats by Henry and Chase, respectively, turning it into one of the best songs of the whole album. And Underground and Overrated, the closing tune in Lilith, will pierce your ears with Henry’s cutting guitar riffs and solos and Heidi and Carla’s hellish screams. This is what I would call a “festival song”, being more than perfect for those open air festivals that happen all over Europe and North America during the summer.
Lilith might be known as a dangerous demon of the night who is sexually wanton (and who steals babies in the darkness), but from now on she will also be known as the Butcher Babies’ bitch, because no woman in metal can top Heidi and Carla in terms of stamina, fury and passion for the more alternative side of Heavy Metal. If I were you, I would certainly keep an eye on their Facebook page for their tour dates to promote Lilith (which by the way can be purchased through several different platforms, and if you’re lucky enough you might be able to find the Japanese edition with five sick bonus tracks), because as a guy that has already seen Heidi, Carla & Co. live I can assure you their concerts are insanely enjoyable. And needless to say, the Butcher Babies will keep on rocking and showing their love for heavy music until the end as true metalheads that they are.
Best moments of the album: Burn the Straw Man, Headspin, #Iwokeuplikethis and POMONA (Shit Happens).
Worst moments of the album:The Huntsman.
Released in 2017 Century Media
Track listing 1. Burn the Straw Man 4:05
2. Lilith 3:27
3. Headspin 3:32
4. Korova 4:05
5. #Iwokeuplikethis 3:01
6. The Huntsman 3:06
7. Controller 3:04
8. Oceana 3:32
9. Look What We’ve Done 3:35
10. POMONA (Shit Happens) 3:13
11. Underground and Overrated 3:59
Japanese Edition bonus tracks 12. Beer Drinker & Hell Raisers 2:54
13. They’re Coming To Take Me Away 3:16
14. Don’t Give A Fuck 2:22
15. Crazy Horses 2:55
16. Pussy Whipped 2:32
Band members Heidi Shepherd – vocals
Carla Harvey – vocals
Henry Flury – guitar
Jason Klein – bass
Chase Brickenden – drums
The six pricks from Hell are back in town, hic sunt the motherfuckers.
This is one of those bands that, as soon as you listen to their flammable music for the very first time, you become addicted to their electricity and rebellious attitude, especially if you’re already a huge fan of the sound by bands like the Misfits, Social Distortion, the Ramones, Minot Threat and so on, but with a heavier and more melodic approach. I’m talking about Italian Melodic Death Metal six-piece wolf pack 5 Star Grave, who have just released a Rock N’ Roll party-catalyst entitled The Red Room, an album that will surely put you to dance, bang your head, slam into the pit, drink a few beers and do everything else we love so much in heavy music. In other words, the six pricks from Hell are back in town, hic sunt the motherfuckers, and there’s nowhere to run, nowhere to hide from them.
Formed in 2005 in Cuneo, a city and comune in Piedmont, Northern Italy, under the name Ground Zero, changing to 5 Star Grave in 2007, the band already released in their decade of existence the full-length albums Corpse Breed Syndrome, in 2008, and Drugstore Hell, in 2012, as well as a single with a cover version for one of the biggest hits by the Ramones, the classic Pet Sematary, before releasing The Red Room now in 2017. Bringing forth a weird and fun combination of several styles like traditional Heavy Metal and Punk Rock with industrial atmospheres, the band comprised of frontman Claudio Ravinale (who’s also the lead singer for Death Metal act Disarmonia Mundi and Industrial Metal outfit The Silverblack), bassist Andrea Minolfi, guitarists Thierry Bertone and Alessandro Blengino, keyboardist Hervè De Zulian and drummer Domenico Fazzari aims at charging the listener with their relentless hardcore/horror punk-influenced metal highly inspired by the golden years of 80’s metal and shock rock, which they more than achieve with The Red Room.
Wicked noises are suddenly joined by the slashing riffs by Thierry and Alessandro in the opening track, beautifully titled Hic Sunt The Motherfuckers, with Hervè and his keys giving it a futuristic aura. Moreover, this amazing tune brings forward the two main characteristics of Melodic Death Metal, those being aggressiveness and harmony, helping the band in breaking down the walls in fantastic fashion. Following that superb start we have the also whimsical and modern Eat You Alive, where Claudio screams like a maniac supported by the potent backing vocals by Andrea, not to mention the song’s fiery guitar solos and catchy chorus; and Once Upon A Time, with Claudio sounding even more demented on vocals, enhancing the song’s impact while Domenico smashes his drums with tons of dexterity, being highly recommended for admirers of modern and alternative music.
The Ballad Of The Vampire is not a ballad at all, but an ode to the fusion of Heavy Metal, Punk Rock and Hardcore blasted by bands like the Misfits, a fast-paced and electrifying hymn showcasing great performances by Claudio and Domenico that will set their live concerts on fire without a shadow of a doubt, while in Alice the keys by Hervè make it sound more melodic and consequently less violent than the other tunes, but still a heavier-than-usual version of punk music perfect for an insane rockin’ party with its guitars burning our ears nonstop. And adding progressiveness to their high-octane Rock N’ Roll sonority, 5 Star Grave offer us Through The Eyes Of The Monster, where Thierry and Alessandro steal the spotlight with their sick riffs while Hervè brings a touch of lunacy with his synths. Put differently, it’s quite impossible to stand still to this explosion of modern metal music.
And those guys definitely know how to blend the music by the Misfits with modern Metalcore like what can be seen in He Never Died, which means you should start banging your head and screaming together with the band as the party doesn’t have a time to end. In Hell On Heels, a mid-tempo rockin’ tune with hints of Southern Rock, we have an acoustic intro as a variation to their trademark rowdy sounding, and at this point of the album you’ll realize 5 Star Grave cannot craft bad music; whereas For Better Or Worse sounds like the soundtrack to a demented circus act, again inspired by old school punk and metal. In addition, the strident sound of guitars increases the song’s temperature quite a bit, with Domenico taking the lead with his spot-on beats. And before all is said and done we have a semi-ballad entitled There Is No Heaven, which despite presenting their rumbling sounds and growls is slightly below the rest of the album in terms of creativity. Actually, to be fair I wouldn’t consider that a problem at all, as the other songs of the album are way too awesome.
In a nutshell, grab your leather jacket, your fighting boots, make sure the beer is crisp and cold, put on your warrior makeup or mask, and join the uncontrollable party held by 5 Star Grave in The Red Room by following them on Facebook, by listening to their music on YouTube, SoundCloud and Spotify, and by purchasing this excellent album of modern metal music on BandCamp, on iTunes or on Amazon. And after having The Red Room on your hands, simply hit play and get the party started, motherfuckers.
Best moments of the album: Hic Sunt The Motherfuckers, The Ballad Of The Vampire and Through The Eyes Of The Monster.
Worst moments of the album:There Is No Heaven.
Released in 2017 Sliptrick Records
Track listing 1. Hic Sunt The Motherfuckers 4:14
2. Eat You Alive 4:17
3. Once Upon A Time 3:58
4. The Ballad Of The Vampire 1:43
5. Alice 4:03
6. Through The Eyes Of The Monster 3:39
7. He Never Died 3:00
8. Hell On Heels 4:16
9. For Better Or Worse 4:36
10. There Is No Heaven 4:20
Band members Claudio Ravinale – vocals
Andrea Minolfi – bass, vocals
Thierry Bertone – guitars
Alessandro Blengino – guitars
Hervè De Zulian – synth
Domenico Fazzari – drums
A short, dark and acid sample of the new phase by an up-and-coming Brazilian Extreme Metal duo, pointing to a bright future ahead of them.
Forged by bassist Filipe Salvini and guitarist Lucas Duarte in 2009 in the city of São Carlos, in the state of São Paulo, Brazil, and being deeply rooted in classic extreme music styles, Brazilian Black/Death Metal act Aske has been making a name for themselves since their inception due to the high quality and originality of their music, playing in several local festivals and being invited to record the opening song for a Brazilian music program named Arte Extrema (with the single “Alcoholic Audition”). Now in 2017 Aske kick off a new phase in their career with a very cohesive and obscure EP named Broken Vow, pointing to a bright future ahead for the duo.
After releasing their debut demo in 2009 named A Dawn to Ruin, followed by another demo titled Scars from the Whip in 2014 and their first full-length album Once…, releases in 2015, Aske return with a different sonority due to a considerable lineup change, but still extremely loyal to their foundations in Broken Vow. The artwork in their new EP was conceived by photographer and designer Ayla de Lilith and bassist (and now also vocalist) Filipe Salvini himself, who commented that “our band has been through a short period of adaptation in the past few months, and we thought a new release with a few original songs would be a nice way to keep ourselves honest in our production process and ideal for us to get ready for a bigger future”. Recorded, mixed and mastered by Eugenio Stefane at 1979 Estúdio, Broken Vow brings to us metallers three brand new songs by Aske, a cover song for an underground classic by American group Pentagram, and a remastered version to one of their previous songs, released in 2016, as a bonus track, and as unique as all tracks in the EP might sound they all make sense when put together as you’ll be able to see.
The groovy and piercing guitars by Lucas ignite the dark and melodic tune Meadows in Shade, a solid display of underground Death and Black Metal where Filipe showcases his vocal abilities as the band’s new growler, delivering anger and obscurity with his raspy gnarls, whereas the blast beats and cutting riffs in the kick-ass Death Metal onslaught Menschwerdung (German for “incarnation”) will penetrate deep inside your mind, sounding truly bestial and aggressive from start to finish. Furthermore, Filipe increases the savagery flowing from his growling while at the same time punching us in the head with his bass lines. Then in Broken Vows we’re treated to a more metallic and modern version to one of Pentagram’s cult songs(check the original version HERE), where both Filipe and Lucas are precise with their strings, and with Filipe also powerfully darkening the original vocal lines by the iconic Bobby Liebling.
Mardi Gras, the first single released in this new phase of the band, is another heavy-as-hell blast of Death Metal with some more Stygian elements from Black Metal, with highlights to the pounding riffs by Lucas. And, as aforementioned, as a bonus we have the audio of the official video for the song Übermensch (German for “superman”), originally released in their 2016 album Once… with previous lead singer Paulo Roberto still on vocals (as well as Luciano Galhardo on guitars and Renato Lourenço on drums). As a matter of fact, although their past formation feels more blackened than their current sonority, in my humble opinion both “versions” of Aske sound amazing.
What are you waiting for to know more about Aske? Go check what this Brazilian duo is up to on Facebook, listen to their music on YouTube, and buy your copy of Broken Vow (which can be enjoyed in full on Spotify) at the band’s own BandCamp page (and soon at the Sangue Frio Records’ webstore). After such strong EP, let’s wait and see what Filipe and Lucas will have for us next, and by that I mean we can surely expect a high-quality full-length album of extreme music hailing from Brazil, no doubt about that.
Bending the genre boundaries and creating a unique musical journey in the spirit of classic progressive albums of the 70’s, this Finnish act returns from a four-year hiatus to offer us all their music in its most uncompromising form.
As a nice Christmas gift to all readers of The Headbanging Moose, I have for you today Denial/Survival, the fourth full-length album by Finnish Progressive Black Metal trinity Antipope, whose music is according to the band itself a free expression of whatever styles, themes or moods might be needed to relate the particular message to the listener. Although the band is considered by many as Black Metal, the name Antipope stands for liberation from any and all dogmas and renouncement of intellectual and ideological authorities, being the soundtrack for self-discovery, death and rebirth.
Formed in 2004 in the city of Oulu, the band comprised of founder Mikko Myllykangas on vocals, electric and acoustic guitars, bass guitar and programming, Antti J. Karjalainen on guitars and Tuska E. on drums returns from a four-year hiatus with Denial/Survival, presenting their characteristic style of bending the genre boundaries and creating a unique musical journey in the spirit of classic progressive albums of the 70’s. Combining elements of Extreme Metal, Melodic Death Metal and even a bit of Flamenco, and featuring an imposing artwork by Finnish artist Tiina Kaakkuriniemi, Denial/Survival will offer you the music of Antipope in its most uncompromising form, and I’m sure you’ll have a good time while listening to such diverse album of extreme music.
In the opening track, titled Waters Below, we already face the multi-layered music by the trio, with an instrumental beginning that goes on for about two minutes before devastation arrives through the hellish growls by Mikko in a rhythmic and epic display of modern Black Metal; followed by Flat Circle, which presents hints of Atmospheric Black Metal infused in their more straightforward Scandinavian Extreme Metal. Moreover, Tuska does a solid job going from a more progressive style to visceral blast beats that live up to the legacy of Black Metal. And in the title-track Denial/Survival the band speeds up their pace and distills their venom through their austere words (“I woke up in the land of denial / It’s true the guilt is all you care for / Seeing you and the rest of your kind / Wallowing in self-pity and mutual rape”) in a true headbanging hymn perfect for cracking your spinal cord, which obviously translates into one of the top moments of the album.
The ominous, darkened instrumental bridge Der Sadist sets the tone for the even more obscure Black Metal chant Hunt, with the mid-tempo beats by Tuska being effectively blended with the crisp guitar lines by Antti, sounding more introspective and melancholic than the rest of the album. Then get ready to be smashed by the futuristic and melodic (but still very raw) onrush of extreme music named True Anarchist, sounding at times like Marilyn Manson, with Antti once again firing his captivating riffs, before the atmospheric and ominous creation Mindlessness Meditation brings forward cavernous bass lines by Mikko, who darkly declaims the song’s cryptic lyrics.
An Unconditional Ritual to Summon the Prince of Darkness, a slow-paced chant that could actually be used to summon an evil entity, presents words that sound and fell infernal (“This is how it begins, the last phase / A thousand step descent into the unknown / The words extend the rays of light / From the shadows a new mind”), whereas in Tragic Vision we can feel their music growing in intensity as time passes by, with Mikko and Antti making a great guitar duo by blasting some wicked riffs. Furthermore, the whole song has a touch of epicness that makes it very exciting to listen to, not to mention Tuska’s galloping beats in perfect sync with his bandmates’ stringed weapons. And as the closing song of the album Antipope deliver what is also the longest of all tunes, entitled Resolution, which could easily be used in the soundtrack for a slasher flick or a Tarantino-style movie, helping the album stand out among other extreme bands for its versatility and innovative approach.
I’m certain that, after listening to Denial/Survival, you’ll be more than curious to know more about Antipope and their distinct career, and in order to do that simply go check what Mikko & Co. are up to on Facebook, watch to their classy videos on YouTube and listen to their music on Spotify, and purchase the album through their BandCamp page or on iTunes. There’s nothing better than celebrating Christmas with some nice extreme music made in Finland, a country where Santa Claus is supposed to live (in the cold and charming Lapland, the largest and northernmost region of the country), so don’t waste your time and go show your support to this very interesting underground act. Well, if you don’t do so, I guess Santa will have to cross “somebody’s” name from his list next year.
Best moments of the album: Denial/Survival, Hunt and Tragic Vision.
Worst moments of the album:Flat Circle.
Released in 2017 Antipope/TCM Entertainment
Track listing 1. Waters Below 5:25
2. Flat Circle 5:40
3. Denial/Survival 5:06
4. Der Sadist 3:22
5. Hunt 7:08
6. True Anarchist 4:23
7. Mindlessness Meditation 4:34
8. An Unconditional Ritual to Summon the Prince of Darkness 5:29
9. Tragic Vision 4:25
10. Resolution 7:13
Band members Mikko Myllykangas – vocals, electric and acoustic guitars, bass guitar, programming
Antti J. Karjalainen – guitars
Tuska E. – drums
Close your eyes and enjoy the first of two sister albums by this talented American band, introducing you to their unique fusion of groove-oriented sounds and captivating storytelling lyrics.
Playing a mix of groovy, moody, syncopated metal and more upbeat, accessible rock tunes inspired by bands like Periphery, Animals as Leaders and TesseracT, American Progressive Rock/Metal metallers The Earth And I (also known as TEAI, pronounced /tay/) are releasing their debut full-length album, titled The Candleman, the first of two sister albums (with the second one, named The Curtain, being scheduled for an early 2018 release). Featuring seven tracks through the course of 35 minutes, The Candleman will not only introduce you to the world of TEAI, but present to you in great fashion their unique music heavily focused on a fusion of groove-oriented sounds and captivating storytelling lyrics.
Formed in 2013 in the city of Warwick, New York, in the United States by guitarists Daniel Siew and Liam Zintz-Kunkel, drummer Suss Mackenzie and bassist Nick Petromilli, who were later joined by neo-soul vocalist Kendyle Wolven in 2017, TEAI aim at filling a serious need in the Progressive Metal world for non-operatic female vocals with The Candleman and The Curtain. Displaying a minimalist and classy artwork designed by the band’s own guitarist Daniel Siew, The Candleman definitely succeeds in bringing that vocal variation desired by TEAI to their metal music, effectively helping the band make a name for themselves in underground Progressive and Groove Metal.
The beautifully-titled atmospheric intro The Lake Under the Desert warms up the listener for the groovy and thunderous I. CGMTC (Life in the Sunset Zone), a powerful tune where Daniel, Liam and Nick create a wave of rumbling sounds with their strings, setting the stage for the mesmerizing vocals by Kendyle to shine brighter than the sun. Moreover, the song brings moments of hope flawlessly blended with passages full of anger, resulting in a full-bodied Progressive Metal experience for our senses enhanced by its poetic lyrics (“In the harbor, / the ship had turned to stone. / They watched from the Belfry, / long bones, and cold and unsound, / their skin drawn tight / over emaciated forms.”). Then in II. Little Frames, a more obscure, introspective creation by TEAI, the fiery Kendyle keeps blasting her potent vocals in a beautiful paradox with the harsh growls by Nick, with the musicality alternating between more technical Progressive Metal and rowdy Groove Metal. Put differently, simply close your eyes and let this feast of contrasting sounds penetrate deep inside your soul.
In the interesting And Now for a Slight Departure the band adds elements from Ska and Punk to their music, creating an upbeat vibe led by the high-pitched vocals by Kendyle and the rhythmic and precise beats by Adam, resulting in what can be considered a more “radio-friendly” version of TEAI; while in Sugar High they get back to a darker sonority, with Daniel, Liam and Nick once again doing an amazing job with their axes, sounding like the bastard son of Dream Theater with Evanescence, but also presenting elements from Alternative Metal and Hard Rock to spice things up a bit.
Then as a break from all their groovy and wicked sounds TEAI offer us all a serene ballad named The Hollow Deluge, with Kendyle passionately (and effectively) declaiming its pensive words (“I stand before the most cloudy of waters. / I survey the scene with reserved apprehension. / There’s something not right here, like I’ve been here before. / It’s strangely familiar. / It’s almost uncomfortably comfortable.”), all boosted by the electricity that rises in the last part of the song, flowing into a climatic ending. And as the icing on the cake we have Skies Like Fences, bringing forward over 7 minutes of intricate drumming, metallic and extremely groovy bass lines, flammable guitar solos, deranged growls and endless energy, or in other words, an extravaganza of Progressive Metal once again led by Kendyle and her charming voice.
You can enjoy The Candleman in its entirety on YouTube or on Spotify, follow TEAI on Facebook, and buy your favorite version of the album through the band’s own BandCamp or webstore (in digipak or MP3 format, as well as on iTunes and on Amazon. In a nutshell, TEAI set the bar really high for themselves with The Candleman, but of course if they keep doing what they’re capable of in The Curtain next year, which is delivering high-end metal with a strong progressive vein, I’m sure all of us fans of Progressive Metal will be more than happy when their second album is released, just like how we are now with The Candleman.
Best moments of the album: I. CGMTC (Life in the Sunset Zone) and Skies Like Fences.
Worst moments of the album: None.
Released in 2017 Independent
Track listing 1. The Lake Under the Desert 0:56
2. I. CGMTC (Life in the Sunset Zone) 4:34
3. II. Little Frames 8:35
4. And Now for a Slight Departure 4:05
5. Sugar High 4:06
6. The Hollow Deluge 5:01
7. Skies Like Fences 7:37
Band members Kendyle Wolven – lead vocals
Daniel Siew – guitar, vocals
Liam Zintz-Kunkel – guitar
Nick Petromilli – bass, vocals
Adam Susskind – drums
An electrifying lesson in how to set (devil) fire to a Rock N’ Roll party by five indomitable British musicians.
It’s said that some of the greatest bands of our time have been forged on the road, and British Melodic Hard Rock act Devilfire is no exception to that, brought into being in Birmingham, England during a studio session in 2013 when producer and singer Alex Cooper (Shy, Spike of the Quireboys, Ginger) was working with Uli Jon Roth drummer Lars Wickett, revealing to him his plan for a Birmingham-based Melodic Rock band. After 3 years of planning and writing, things finally fell into place in 2016, when the band (at that time known as Devilstar) was offered to open for Tarja Turunen during her Eastern European tour in the beginning of 2017, blasting their flammable music to rock and metal fans from places like Hungary, Romania, Greece and Turkey, as well as to a sold out festival crowd at Hard Rock Hell AOR 2017 in the UK as the icing on the cake.
And the year of 2017 couldn’t have been better for this five-piece act formed by Alex Cooper on vocals, Baz Blackett and Kieran Topp on the guitars, Dan Bate on bass and Lars Wickett on drums, as they’re ready to conquer the world with their debut album Dark Manoeuvres, released in the beginning of October. Mixed by acclaimed producer Romesh Dodangoda (Motörhead, Bring Me The Horizon, Bullet For My Valentine) and co-produced by Romesh and Devilfire frontman Alex Cooper at Long Wave Studios in Cardiff, Dark Manoeuvres is a mammoth 13-track album calling on several distinct influences with a darker melodic sound, pushing the boundaries of Rock N’ Roll while at the same time remaining loyal to their British roots.
Rock N’ Roll is in the air with the smooth sonic waves blasted by Devilfire in the opening tune Ready For War?, an excellent business card delivered by the band presenting an 80’s-inspired vibe led by the passionate, raspy vocals by Alex, followed by She’s Like Fire, a born-to-be-a-classic of underground Hard Rock where they speed up (and spice up) things considerably, perfect for dancing the night away with whoever you want to the sound of its catchy chorus and the precise beats by Lars. More melodic and romantic, (In and Out of Love) All of the Time is a potent display of classic 80’s Hard Rock, a song for all rockin’ girls out there energized by the fiery guitars by Baz and Kieran; whereas Waiting For a Rockstar, a mid-tempo chant with a fun story told by Alex, brings hints of symphonic elements in the background to make it even more impactful, turning it into a serious candidate for becoming one of the band’s biggest hits.
In Lay It On the Line, a semi-ballad with the band’s characteristic approach, we’re treated to harmonious guitars and beats while Alex keeps firing his sharp vocal lines, reminding me of some of the old tunes by Motley Crüe, Bon Jovi and Poison, among other classics, while Kill Your Love is another awesome composition by this talented quintet, sounding faster and more violent than its predecessors (but still very melodic). Hence, this fantastic song could be played on any radio station all over the world, showcasing addictive vocals and soulful guitar solos and, therefore, being captivating form start to finish. Tear Me Apart is that kind of generic ballad that, despite having its good moments, is below the rest of the album in terms of creativity and complexity, albeit still displaying the band’s trademark guitar solos and overall solid melody. Fortunately, the band gets back on track in God Give Me Vengeance, a song to do the famous “air-drumming” together with Lars due to its catchy rhythm, presenting a fusion of modern Hard Rock with old school Rock N’ Roll boosted by touches of symphonic sounds.
Baz and Kieran are joined by Dan and his bass for an onrush of slashing strings and rumbling sounds in Devil In Your Eyes, tailored for fans of old school Hair Metal and Hard Rock, before the entire band comes crushing with the underground hit (You Gotta) Revolution, blending the classic sonority of bands like Van Halen with the rebelliousness of Motley Crüe, with Lex being flawlessly supported by the song’s elegant and potent backing vocals. Put differently, if Devilfire don’t play this song live, we riot. Anyway, She’s Always On the Run is another average ballad that doesn’t do any good nor any harm to the album, feeling like filler despite being one of their first ever songs recorded; however, for our total delight their upbeat musicality returns in great 80’s fashion in A Thousand Times, a song that made me think that if I didn’t know it was recorded now in 2017, I surely might have thought it was recorded back in 1980 something by a veteran Hard Rock band, mainly due to its beyond classic combination of vocals and backing vocals. And lastly we have the melancholic Somehow, which in my humble opinion is how the band should always sound when writing ballads, avoiding being cheesy or predictable. Quite the contrary, it’s very introspective, pleasant and deep, and consequently an interesting way to conclude the album without being literally electrified, but still feeling electrifying.
How can you put your hands on such top-tier album of Hard Rock, you might be asking yourself, right? Well, that’s easier than you can imagine, as Dark Manoeuvres is on sale at the band’s webstore, on iTunes or on Amazon. And in order to show your proper support to Alex, Lars and Co., simply go check the band’s Facebook page, YouTube channel and Spotify for news, tour dates and all other things Devilfire. Dark Manoeuvres is a lesson in how to set fire to any Rock N’ Roll party in the world, and if I were you I wouldn’t miss that celebration for anything.
Best moments of the album: She’s Like Fire, Waiting For a Rockstar, Kill Your Love and (You Gotta) Revolution.
Worst moments of the album:Tear Me Apart and She’s Always On the Run.
Released in 2017 Independent
Track listing 1. Ready For War? 3:07
2. She’s Like Fire 3:22
3. (In and Out of Love) All of the Time 3:33
4. Waiting For a Rockstar 4:10
5. Lay It On the Line 5:09
6. Kill Your Love 3:51
7. Tear Me Apart 4:00
8. God Give Me Vengeance 4:52
9. Devil In Your Eyes 3:10
10. (You Gotta) Revolution 4:58
11. She’s Always On the Run 3:49
12. A Thousand Times 4:31
13. Somehow 2:59
Band members Alex Cooper – vocals
Baz Blackett – guitar
Kieran Topp – guitar
Dan Bate – bass
Lars Wickett – drums
In these times where trends seem to come and go on an almost monthly basis, sometimes it’s never more satisfying than to simply sit back and rock out. And that’s exactly what Norwegian Hard Rock/Rock N’ Roll power trio Magick Touch will make you do with their highly anticipated second full-length album, entitled Blades, Chains, Whips & Fire, a beyond exciting follow-up to their critically acclaimed debut endeavor Electrick Sorcery, released in 2015. In other words, there are no tricks, no special effects nor any other type of shenanigans in Blades, Chains, Whips & Fire, just three skillful musicians declaring all their passion for classic rock and metal through their music.
Slowing down again and bringing elements from Blues Rock to their sonority, the band offers us After The Fire, a radio-friendly composition with a solid drumming and a catchy rhythm, despite losing its grip after a while, followed by Electrick Sorcery, the second to last Hard Rock comet by Magick Touch and, more important than that, their personal tribute to 70’s and 80’s Rock N’ Roll and Heavy Metal, showcasing amazing performances by all band members (especially HK with his passionate vocals and spot-on riffs), and with its backing vocals adding an extra touch of awesomeness to the overall result. Furthermore, the last part of the song is absolutely fantastic, with the band paying homage to KISS, Judas Priest, AC/DC, Dio, Motörhead and other rock and metal idols through the song’s clever lyrics. At long last we have a song which name could have been easily used by Manowar in one of their songs, the title-track Blades, Chains, Whips & Fire, a mid-tempo heavy-as-hell hybrid of pure Rock N’ Roll with the most rumbling form of Southern Rock and Metal, also displaying an amazing chorus accompanied by the lowering bass by Christer and the slow, steady and fierce beast by Bård, even presenting some Iron Maiden-ish moments effectively inserted throughout its faster and more complex passages.
THE HEADBANGING MOOSE 