If you want to get more information about any of the bands featured at The Metal Moose Show, simply Google the band and/or the song name to find their official website and Facebook page and, more important than that, attend their live concerts and buy their music. Here at The Headbanging Moose you can also find detailed reviews of many other excellent underground bands. Support your local bands… AND FOLLOW THE MOOSE!
On The Metal Moose Show this week:
1. Sanity’s Edge – Reticent Screams
2. Sensory Defect – Burning Empty Sky
3. The Violet Hour – Take Your Shot
4. The Wake Within – Far From Home
5. Outside The Shadows – Tongues Of Fire
6. The Dead XIII – Lay Siege To Hell
7. Tango Down – Charming Devil
8. Billion Dollar Man – Vultures
9. Ashes To Ashes – Ballad Of The Wolf
10. Throne Of Eden – Tombstone Lullaby
11. Lobotomy Kit – The Fool Of Mine
12. Armagore – What A S**t
13. Ring Leader – Web Of Pain
14. Spirit Descending – Delirium
15. Via – Affliction Tweak
16. Black Space Riders – Universal Bloodlines
17. Withering Soul – The Dreadful Echo
18. Defect Designer – Corpsewatcher
19. Season Of Ghost – Quantum
20. The Venomous Pinks – Never Say Never
21. Occult 45 – Priest Feast
22. Helgardh – Ethereal Dawn
23. Five Decade Faint – Two Worlds
24. Deadfire – Hounds Of Justice
Click HERE to listen to this week’s episode on Spreaker.
Grab your bayonet, your hand grenades and your combat helmet, because it’s time to go to war to the music by this excellent Death Metal band from Finland.
The term “shrapnel”, used to represent fragments of a bomb, shell or other object thrown out by an explosion, has its origin in the early 19th century, named after Major General Henry Shrapnel (1761–1842), a British artillery officer whose experiments culminated in the design and development of a new type of anti-personnel artillery shell used until World War II. However, since 2007 it can also be used to describe the straightforward war-themed Death Metal by Finnish quintet Shrapnel Storm, a band highly influenced by icons such as Bolt Thrower and Obituary who above all relies on brutality, respect for traditions and groove to shape their own sounding.
Founded in the city of Tampere, Finland and singing almost exclusively about war and fighting, “The Old School Death Metal Bulldozer” as the band itself likes to say has already released four demos since its inception, but it’s now in 2015 that they’re finally ready to strike and conquer the world of heavy music with their debut full-length album, the violent and elaborate Mother War. If you are a fan of visceral Death Metal supported by a meaningful and electrifying concept, you’ll have an amazing time going to war with Shrapnel Storm.
The intro Casus Belli, which starts to the sound of that infamous siren from World War II, is the perfect example of how detailed their music and lyrics are. This is a term of war and politics, an expression that comes from Latin used to describe an act that justifies war. For instance, the Soviet Union staged the artillery shelling of the Russian village of Mainila and blamed Finland for the aggression, using it as a “casus belli” for the Winter War (1939-1940). Interesting, isn’t it? But let’s get down to business with the raw and gruesome Carpet Bombing, where lead singer Ville “Ykä” Yrjölä starts firing his growls while the rest of the band presents their sonic weapons. In addition, its guitar riffs are so dirty (in a good way) to the point they sound like a real war instrument.
The amazing tune Detracked will make you bang your fuckin’ head due to its modern and fresh rhythm, but keeping that inner ferocity needed in Death Metal. Drummer Mikko Orava leads the attack backed up by the sick guitar lines by Aki Laaksola and Tohtori Mäkitalo, turning it into one of the best tracks of the entire album. Following that raid we have the short and blustering Combat High, where hints of Thrash Metal make the final result even more enjoyable and the asperity of the musicality is perfect for the message sent. By the way, this song focuses a lot more on its lyrics than on the music itself, like if they were trying to convert the words of most soldiers in the world into sonorous rage (“Like many before me / I will go down eventually / But before the time is nigh / I will take as many as I can”).
And this nonstop war machine from Finland delivers another solid track tailored for fans of the mid-tempo Death Metal by Obituary and Deicide, entitled Calling of the Void, with the bass lines by Petri Saarenma sounding clearer and more metallic, followed by Warfiend, with highlights to its badass intro and to its sharp riffs and bass lines. Moreover, the harsh growls by Ykä get closer to what Max Cavalera used to do with Sepultura in classic albums like Arise and Beneath the Remains. Darker and more melodic than its predecessors, the title-track Mother War provides the listener awesome lyrics about the passion mankind has for all things war (“Athena, guide us to victory / In assault led by the valkyries / Freyja, if we die in battle, welcome us to your halls / Mother war, we are your rising storm”), with the old school guitar riffs and solos by Aki and Tohtori boosting the song’s overall electricity.
The fast and rhythmic To Each Battle showcases a great cataclysmic vibe with interesting breaks and variations and absurdly angry vocal lines by Ykä, and I’m pretty sure its powerful atmosphere will generate some sick mosh pits if this song is played live. Then we have the high-quality combination of Death and Thrash Metal in Radars Down, where Mikko unleashes his inner beast on drums and with some of the riffs reminding me of the all-time classic “Seasons in the Abyss” by Slayer, giving the song a more melancholic touch; and finally themore introspective and progressive Rising Storm, where some sort of dark energy emanates from all instruments and vocal lines. Its lyrics might look harmless at first sight, but we all know how frightening they are (“Deserted streets, all the windows barred / On the borders the men stand in guard / Women and children hidden beneath the ground / Waiting in terror for that siren to sound”), not to mention its final piano passage full of sorrow, closing the album as if the war was over at last.
If you’re a true Death Metal soldier and enjoyed the impetuous music by Shrapnel Storm, go enlist yourself at their Facebook page, check their SoundCloud and ReverbNation pages, and purchase your copy of Mother War at Levykauppa Äx or at the Witches Brew webshop. As the peace treaty seems to be coming to an end, you better grab your bayonet, your hand grenades and your combat helmet, because it’s time to fight side by side with these talented Finnish death metallers.
Best moments of the album:Detracked, Combat High and To Each Battle.
Worst moments of the album:Calling of the Void.
Released in 2015 Witches Brew
Track listing 1. Casus Belli 1:20
2. Carpet Bombing 3:15
3. Detracked 4:22
4. Combat High 2:27
5. Calling of the Void 3:39
6. Warfiend 4:15
7. Mother War 5:09
8. To Each Battle 3:48
9. Radars Down 3:56
10. Rising Storm 6:08
Band members Ville “Ykä” Yrjölä – vocals
Aki Laaksola – guitar, vocals
Tohtori Mäkitalo – guitar
Petri Saarenma – bass
Mikko Orava – drums
Guest musicians Zachary Hietala – guitar solo on “Radars Down”
Aadolf Virtanen – piano on “Rising Storm”
Put your horns up and slam into the pit with one of the best and most entertaining Canadian Thrash Metal bands of all time.
What would happen if a hybrid of Anthrax and Testament was born inside a frantic circle pit during a Toxic Holocaust concert, and from that day on this deranged metallic creature had Exodus as its mentor to teach it a fuckin’ lesson in violence? That, my headbanging friends, is the most suitable depiction of Canadian Thrash N’ Roll band Reanimator and their brand new album, the badass mosh pit-generator Horns Up, a flammable parade of vintage Thrash Metal that will leave you completely disoriented so intense and fun it is. In other words, it’s like trying to take the bull by the horns, but having your ass kicked instead and feeling completely satisfied with that.
Since the creation of the band in Montreal, Canada in 2005, Reanimator dug an important place in the Quebec scene, offering an incendiary feast of old school Thrash Metal seasoned with modern elements. After some lineup changes and after releasing a demo, a couple of EP’s and their first full-length album entitled Ignorance Is No Excuse (2009), it was about time for our society to be smashed one more time with the thunderous music by these talented Québécois metallers. The only question I have in mind is if the band was named after the 1985 cult movie Re-Animator, which in case you don’t know it I suggest you go watch it right now. As this classic film is a gory and hilarious variation on the Frankenstein story, it makes sense for the band to use its name due to their undeniable ability of resuscitating that Thrash Metal from the 80’s we all love so much.
Arising from the hellish realms of Thrash Metal, the opening track Electric Circle Pit will throw you into an electric circle pit of awesomeness due to its Anthrax-inspired riffs, creating a cool and energetic vibe where the harsh and powerful vocals by Patrick Martin will get into your head in a very good way. And while some people wait to be caught in a mosh, others simply rush for it like what happens in Rush For The Mosh, an old school Thrash Metal anthem with a Hardcore/Punk Rock atitude, sounding like many classics from the 80’s. Moreover, drummer Francis Labelle doesn’t let the party slow down with his beats, while guitarists Ludovic Bastien and Joel Racine are two unstoppable machine guns of riffs and solos.
The next track, Tempted By Deviance, is perfect for that most traditional form of circle pit, like the one fans “worship” during the unparalleled classic “Toxic Waltz” by Exodus. The whole band is kicking fuckin’ ass, with highlights to the vibrant bass lines by Fred Bizier and to the excellent chemistry between Patrick’s lead vocals and the backing vocals. To put it simply, if they don’t add this song to their setlist, we riot. Anyway, Thieves Of Society presents to the listener a modernized version of Thrash Metal from the Bay Area, in special its metallic riffs and rhythm, with the guitar solos halfway through it being like a journey back to the golden age of Thrash Metal. Then it’s time to slam into the pit with the nonstop monster known as The Abominautor: this is one of those songs where you go crazy slamming, screaming and drinking together with the band, yet another mandatory tune to their live performances. In addition, its guitars and bass lines are beyond tough, beautifully complemented by its amusing lyrics (“Born and raised in outer space / Came down to earth to kill posers / Decontaminating the human race / Ain’t got no pity for those losers”).
and it’s not over yet, motherfuckers, as Reanimator keep dilacerating our souls with The Mosh Master, a Thrash Metal onslaught where the heavy artillery imposed by Francis behind his drum set and the Rob Dukes-like hardcore vocals by Patrick will hit you in the head like a fuming panzer; followed by Still Sick, a song where their passion for heavy music gets even clearer when you see there’s no sign of slowing down at all, and I can imagine the level of devastation its basic but solid as hell instrumental is capable of causing live. Sounding like a (superb) tribute to old school Anthrax, Off With Their Heads is the type of song that would put a huge smile on Scott Ian’s face, mainly due to its sing-along lyrics, catchy riffs and fist-pumping chorus, before Mock A Mockingbird, the most Rock N’ Roll of all tracks, closes this excellent album. The bass guitar by Fred sounds a lot more vibrant, and we have to admit its last part gets pretty interesting with the hints of progressiveness and feeling provided by all musicians.
If you want to go head to head with this raging thrashing bull, go check their official Facebook page, their awesome videos on their YouTube channel, and buy Horns Up at their Big Cartel or BandCamp pages. What are you waiting for, you piece of “thrash”? Put your horns up and slam into the pit to the music by Reanimator, undoubtedly one of the best and most entertaining Thrash Metal acts from the Canadian scene.
Best moments of the album:Electric Circle Pit, Tempted By Deviance, The Abominautor and The Mosh Master.
Worst moments of the album:Mock A Mockingbird.
Released in 2015 Independent
Track listing 1. Electric Circle Pit 4:16
2. Rush For The Mosh 2:45
3. Tempted By Deviance 4:56
4. Thieves Of Society 4:36
5. The Abominautor 3:24
6. The Mosh Master 2:48
7. Still Sick 4:27
8. Off With Their Heads 3:31
9. Mock A Mockingbird 4:38
Band members Patrick Martin – vocals
Ludovic Bastien – guitar
Joel Racine – guitar
Fred Bizier – bass
Francis Labelle – drums
If you want to get more information about any of the bands featured at The Metal Moose Show, simply Google the band and/or the song name to find their official website and Facebook page and, more important than that, attend their live concerts and buy their music. Here at The Headbanging Moose you can find detailed reviews of Russian Power Thrash/Death Metal Dissector and British Progressive Rock/Metal band Deadly Circus Fire(just click on the links below to read the reviews). Support your local bands… AND FOLLOW THE MOOSE!
On The Metal Moose Show this week:
1. New Tenants – Battlecry
2. Moondark – Concealing The Light
3. Souline – Rise Up
4. Dissector – Keep My Trust
5. Deadly Circus Fire – House Of Plagues
6. Skies Turn Black – Cold
7. Arrival Of Autumn – Shadows
8. Xander Demos – Under A Darkened Sky
9. Wonderheim – Villan
10. Twelve Years Driven – Devils Way
11. Snake Eyes – Shadow Warriors
12. Mick James – I Don’t Fight Fair
13. Stahl Gorthal – Infernal Wrath
14. Dark Before Dawn – Wasted
15. Count Your Dead – Poetic Lies
16. Alice Sweet Alice – Blood Roses
17. Those Made Broken – Long Range
18. Deadpan – Life Olympic Games
19. Shadowburn – Crashing
20. Concrete Swine – Darkness
21. Vesperia – Iron Saga
22. Edge Of Paradise – Break Away
Click HERE to listen to this week’s episode on Spreaker.
Let the depraved Death Metal by this Turkish group puncture your ears until your metallic brains splatter with rapture.
When you put the words “inhuman” and “depravity” together in the same sentence, you know the final result is not going to be gracious at all. Add to that the intense sound of vicious Death Metal, and you get as a result Inhuman Depravity, an unstoppable Turkish metal act ideal for diehard fans of Dying Fetus, Morbid Angel, Suffocation and many other old school extreme bands, who will mercilessly crush you like an insect with their disturbing uproar.
Formed in Istanbul, Turkey in late 2013, probably in the depths of a dark and fetid catacomb or at an abandoned slaughterhouse teeming with rotting corpses, and after releasing their first demo a few months later based on the theme that gives the band’s name, “depravity”, it’s now time for those Turkish death metallers to release their debut full-length album, beautifully entitled Nocturnal Carnage By The Unholy Desecrator. And you better get ready, because things are about to get as gory as the most demented slasher movies you might have seen in your life.
With an intro that’s supposed to be a serial killer calling his lawyer and telling him about his killing spree in a mix of fear and madness, Exhuming The Creator For Own Expediency opens this excellent album like a demonic beast unleashed upon humanity, especially due to the deep and infuriated growls by vocalist Yunus Efe. Not only that, it feels like drummer Eren Gursoy wants to kill someone with his beats so sick they are. Do you think you can survive for over 30 minutes of this type of immoral music? Because their gory old school Death Metal attack keeps destroying our souls in Dismembered and Buried Instincts, with highlights to the pulverizing riffs by guitarist Murat Sabuncu while Eren adds lots of interesting breaks amidst his choleric drumming.
The next tune, Condemned To Monotheistics, reminds me of ancient Cannibal Corpse from the Chris Barnes-era due to the metallic bass lines by Kaan Yildar and the gruesome growls by Yunus. Besides, I was trying to find the lyrics to this song just to get more details on the message the band wanted to send to the listener, but unfortunately couldn’t find them anywhere. Well, who cares? Let’s just bark together with Yunus and enjoy the band’s bestiality, which is also the case in Rise of Vengeance By Bloody Torment, even faster and more diabolical than its predecessors. Kaan and Eren are on their “hulk mode”, and although it’s hard to keep up with their speed and malevolence you will love this song if you’re devoted to Death Metal to the second power.
The initial growl by Yunus in Apocalyptic Mass Murder Oath is a warning: this song is going to be absolutely fuckin’ brutal. It’s an amazing display of inhumanity, proving the name of the band was not chosen in vain, and I have no idea how the band members can be so in sync while playing such devastating music. The same can be said about the next track, Bloodthirst of Sinners, where the low-tuned bass lines and riffs give it an extra touch of darkness, making it the perfect soundtrack for a slaughter. This is the type of song that makes you wonder if any normal person can survive a nonstop circle pit to the sound of Inhuman Depravity. And just when you think there will be some moments of peace or silence they strike back with their extreme musicality in Carnivorous Offering, with highlights to the sick drum fills by the talented beast Eren and to the song’s beautiful and barbaric ending.
In Slain Dissection Abuse you realize they’re really trying to melt your brain with their music in a flawless exhibit of how cruelty, torture and gore can be translated into brutal and technical Death Metal. It’s my favorite of all tracks, where Murat and Eren once again steal the show with their combination of dark riffs and nonstop beats. And finally we have Salvation Through Bloodvomit, one of the “cutest” song names I’ve ever seen, ending the album on the same demonic level it started. Furthermore, Yunus is not simply snarling this time, he’s regurgitating the song’s putrescent lyrics inspired by the sonic warfare established by the rest of the band.
If you want to acquire this ruthless lecture in bloodshed and perdition, featuring a kick-ass artwork by Indonesian artist Rian Oktanto, go to the official Coyote Records Web Shop, to their Digital Store on BandCamp or to Big Cartel to grab your copy of Nocturnal Carnage By The Unholy Desecrator. Put differently (and in a much more lethal way), let the depraved Death Metal by Inhuman Depravity puncture your ears until your metallic brains splatter with rapture. This is what authentic Death Metal has always been about.
Best moments of the album:Exhuming The Creator For Own Expediency, Apocalyptic Mass Murder Oath and Slain Dissection Abuse.
Worst moments of the album: None.
Released in 2015 Coyote Records
Track listing 1. Exhuming The Creator For Own Expediency 4:01
2. Dismembered and Buried Instincts 3:16
3. Condemned To Monotheistics 3:36
4. Rise of Vengeance By Bloody Torment 3:36
5. Apocalyptic Mass Murder Oath 3:38
6. Bloodthirst of Sinners 3:09
7. Carnivorous Offering 3:05
8. Slain Dissection Abuse 3:41
9. Salvation Through Bloodvomit 3:44
Band members Yunus Efe – vocals
Murat Sabuncu – guitars
Kaan Yildar – bass
Eren Gursoy – drums
Beautiful classical music for headbangers by a promising Doom Death/Gothic Metal band from Argentina.
Arising from the city of Córdoba, Argentina, Doom Death/Gothic Metal band Lanthanein are releasing their first EP entitled Nocturnálgica, which is not only a good preview of their upcoming debut album Lágrimas (or “tears”, in English), but also an excellent option for fans of dusky and thoughtful music. Formed in early 2015 by soprano Marilí Portorrico and multi-instrumentalist Juan Mansilla (also known as A.N.XIIIU.X), this is a promising metal project that will help elevate the name of Argentina in the world of heavy music.
The music by Lanthanein is beautifully inspired by the drama of classical music and the sound of the 90’s, surrounded by powerful orchestrations and delicate vocals. This interesting fusion of styles, accentuated by the professionalism and passion of the musicians involved, ends up generating a dense ambience and a magnificent balance between darkness and light, therefore making the whole experience of listening to Nocturnálgica a lot more memorable. And, of course, the uniqueness of all songs being sung in Spanish, their mother tongue.
Just the intro of the opening track, Lágrimas De Luna (“tears of moon”), is already enough to showcase how Gothic their music is. The female vocals by Marilí seem inspired by divas such as Tarja Turunen and Vibeke Stene, while the instrumental blends elements from Lacrimosa and classical music, creating a deep and embracing atmosphere which becomes even stronger during the song’s gentle piano passages.
The growls by A.N.XIIIU.X introduce us to the title-track Nocturnálgica, an amazing Doom/Gothic Metal exhibit with highlights to its intense lyrics (“Agreste paisaje el de este día / en que la fortuna fue ausente, / el silencio cruel fue de muerte / Agreste la noche que se aproxima / fecundando sueños con tragedia”) and to the great teamwork by the operatic, harsh and choir voices. Moreover, the orchestrations complement the song in a beautiful and compelling way, turning it into a delightful soundtrack of sorrow.
A Orillas Del Silencio (“on the shores of silence”) is a very obscure and passionate tune which rhythm reminds me of some of the biggest classics by Gothic Metal icons Tristania. It focuses on its orchestral side a lot more than its metallic one, which ends up emphasizing another excellent vocal performance by Marilí. And last but not least, closing the EP we have more agony in Lacrimosa Et Gementem (Latin for “weeping and moaning”), where love (in the form of the gentle vocals by Marilí) and torment (portrayed by the power of the backing vocals and choir) are united by the band’s cohesive musicality. In my opinion, this is hands down the best track of the EP, leaving us eager for more of their music in their upcoming full-length album.
In summary, the interesting Noturnálgica, available at the band’s official BandCamp page, is highly recommended for all types of singers, fans of classical music and, of course, metalheads in pursuit of heavy music where melancholy and tranquility are its main elements. In other words, what Lanthanein offer us all is a heavier version of classical music tailored for headbangers but without overdoing any of its core aspects, remaining loyal to the foundations of Gothic Metal while at the same time adding their own touch and experiences to it, something we always expect from emerging bands no matter what type of music they play.
Best moments of the album:Lacrimosa Et Gementem.
Worst moments of the album: None.
Released in 2015 Independent
Track listing 1. Lágrimas De Luna 5:07
2. Nocturnálgica 4:05
3. A Orillas Del Silencio 5:40
4. Lacrimosa Et Gementem 6:09
Band members Marilí Portorrico – female voice and choir
A.N.XIIIU.X – guttural, tenor, guitars and bass
The metallic coven instituted by one of the most important Extreme Metal bands of all time keeps haunting our world with their thrilling and malevolent music.
I don’t understand why some people are so skeptical when British Extreme Metal behemoths Cradle of Filth are about to release a new album. Despite some very few letdowns, and I’m not talking about entire albums but just one or another song, Dani Filth and his sinful horde have always delivered first-class dark music, where the combination of symphony, heaviness, controversial themes and intricate and deranged lyrics goes beyond what almost all metal bands in the world can do. And now joining their collection of perversity, which includes masterpieces such as Cruelty and the Beast, Midian, Damnation and a Day and Godspeed on the Devil’s Thunder, we have Hammer Of The Witches, the eleventh studio album in their distinguished career and, more important than that, another solid display of black magic by one of the most important extreme bands from the past decades.
The album is named after the Malleus Maleficarum, a medieval document of guidelines regarding the persecution and torture of witches, just for you to have an idea of how obscure Hammer Of The Witches is. In regards to the artwork, designed by Latvian artist Arthur Berzinsh, Dani mentioned in one of his interviews that it is “a lavish walk-through of the lyricism, drawing on rich renaissance themes and displaying them in beautiful-yet-unsettling scenarios. Half of the detailed pieces are totally original for the release, others are Berzinsh classics cunningly tailored to the themes of the album, which are themes rife with heady witchcraft, be it persecution, retribution or unfettered spiritual liberation. The female form is rampant throughout the artwork, unashamedly displayed in its classical rendition of beauty… and horror.” In my humble opinion, that stylish explanation summarizes not only the imagery, but also the music found in the album. You can also see Dani giving more details about it in this official interview on YouTube.
Is there a better way to start a Cradle of Filth album than with one of their traditional intros, like Walpurgis Eve? This is already a good sign that the album will be kick-ass, which is confirmed when the havoc begins in Yours Immortally…, a song that perfectly represents the mix of raw Black Metal and traditional Heavy Metal only Dani & Co. can provide us. In addition, while Dani delivers his trademark high-pitched demonic screams, Martin “Marthus” Škaroupka keeps improving his importance in the bestial sounding crafted by the band. Enshrined In Crematoria has its good and bad moments, the good ones happening when they speed up the rhythm and the guitar riffs by Richard Shaw and Marek “Ashok” Šmerda lead an awesome sonic attack, whereas its slow parts sound too bland and generic; followed by Deflowering The Maidenhead, Displeasuring The Goddess, with its musicality containing elements from Midian and The Manticore and Other Horrors boosted by some crazy guitar solos. Moreover, I guess I don’t need to say Dani is by far one of the best lyricists of all time (“Religion caw epistles / Twisted laws extend their thristles / A crown to justify / Our place atop this hellbound carriage”), and Lindsay Schoolcraft not only delivers some wicked keyboard notes but her smooth and powerful voice also adds a lot of passion to the song.
Blackest Magick In Practice showcases a beautiful and melancholic start, focusing on Symphonic Gothic Metal without losing the band’s characteristic ferociousness. Its guitar riffs couldn’t sound more amazing, and Dani’s vocals sound great during the entire track, it doesn’t matter if he’s simply screaming like a demon or delivering his deeper dark growls. Then the band offers us the calm but somber intro The Monstrous Sabbat (Summoning The Coven), right before the title-track Hammer Of The Witches comes ripping with its imposing sounding where the keyboards by Lindsay get a lot more focus. It’s the most symphonic of all tracks so far, an awesome feast of the Symphonic Black Metal that longtime fans of the band learned to love. I have to say the initial “electronic” seconds in Right Wing Of The Garden Triptych (check the uncensored version of the official video HERE, it’s much better than the censored one on YouTube) scared the hell out of me especially because this was the first single released, but fortunately that was just a quick intro as the music itself is simply outstanding, varying from sheer brutality to gentle piano passages. Dani is absolutely on fire with his diabolic screams as well as Marthus and his wicked blast beats, not to mention the band’s Stygian lyrics being a delight for fans of devilish music as always (“Unforgiving proof accrual begs this cruel rebirth / A living fuel for the blaze of renewal, razing the earth / Pariahs and Messiahs of the highest worth / Fodder for the denizens of risen, hissing Hell”).
It’s not a true Cradle of Filth release without a ghoulish song about vampires, and in Hammer Of The Witches that comes to light (or darkness) in The Vampyre At My Side, an old school Cradle of Filth tune where you can feel the music rising to its climax amidst rawer moments in which the guitar riffs get thrashier than usual. Do I need to say anything about yet another excellent performance by Dani and Marthus? Anyway, the organ intro in the next song, Onward Christian Soldiers, generates a somber atmosphere perfect for the dense and violent exhibit of modern Extreme Metal that follows. This is one of the best tracks of the album (if not the best), a stunning epic composition with lots of variations where its riffs remind me of some of their songs from the brilliant Dusk… and Her Embrace. And finally, Blooding The Hounds Of Hell is a more-than-suitable symphonic outro to close all the stories told throughout the album, transpiring sorrow and darkness.
You can choose your version of the album at the Nuclear Blast webstore, but if I were you I would definitely purchase one of the special editions that come with two bonus tracks, King Of The Woods and Misericord, as they’re both savage and erotic. Based on the magnificent witchcraft found in Hammer Of The Witches, it looks like the metallic coven instituted by Cradle of Filth, who are in their best shape of the past few years, will keep haunting our world with their thrilling music for many years to come.
Best moments of the album:Yours Immortally…, Right Wing Of The Garden Triptych, The Vampyre At My Side and Onward Christian Soldiers.
Worst moments of the album:Enshrined in Crematoria.
Released in 2015 Nuclear Blast
Track listing 1. Walpurgis Eve 1:29
2. Yours Immortally… 6:00
3. Enshrined In Crematoria 5:46
4. Deflowering The Maidenhead, Displeasuring The Goddess 6:59
5. Blackest Magick In Practice 6:50
6. The Monstrous Sabbat (Summoning The Coven) 1:51
7. Hammer Of The Witches 6:28
8. Right Wing Of The Garden Triptych 5:54
9. The Vampyre At My Side 5:45
10. Onward Christian Soldiers 6:59
11. Blooding The Hounds Of Hell 2:10
Deluxe Edition bonus tracks 12. King Of The Woods 6:17
13. Misericord 6:19
Band members Dani Filth – lead vocals
Richard Shaw – guitars
Marek “Ashok” Šmerda – guitars
Daniel Firth – bass
Lindsay Schoolcraft – female vocals, keyboards
Martin “Marthus” Škaroupka – drums
If you want to get more information about any of the bands featured at The Metal Moose Show, simply Google the band and/or the song name to find their official website and Facebook page and, more important than that, attend their live concerts and buy their music. Here at The Headbanging Moose you can find detailed reviews of Canadian Progressive Metal band id. and Iranian Death Metal bandNex Carnis (just click on the links below to read the reviews). Support your local bands… AND FOLLOW THE MOOSE!
On The Metal Moose Show this week:
1. Up Against It – Eye For An Eye
2. The Violet Hour – Insatiable
3. Symbolic – Suffering
4. Martyr – Afterlife
5. From Ashes To New – Downfall
6. Crawl – Crawl
7. Ciriac – The Separation Phase
8. Ancestral – Trust
9. Adorn The Wicked – I Cant Believe In You
10. Black Magic – Emerald Green
11. Falling From Grace – Blind Belief
12. Bearstorm – Americanus
13. Never A Hero – Kramer
14. The Ghoolz – Atomic Grave
15. id. – Sagittarius A
16. Offensive Ground – Drained
17. Nex Carnis – Dissolution In Vortex Of Sanity
18. From The Wolves – Ghost
19. Nine Miles South – Fingernails
20. Astrixion – Sepsis
21. Astrixion – Sinner Of Flesh
Click HERE to listen to this week’s episode on Spreaker.
They’re the most amazing plague within the world of Doom and Gothic Metal, and they’re back with more of their unique dark music.
When the band in question are British Gothic/Doom Metal icons Paradise Lost, we all must forget about that disposable Goth teen attitude that infests thousands of websites, TV programs, YouTube channels and alternative nightclubs. These guys don’t need all those shenanigans to craft the darkest and most melancholic sounding you can think of, and they’ve been doing that with their faces “clean” for decades, releasing masterpieces such as Draconian Times and Icon. This is Doom Metal for grown-ups, and a true pleasure to listen to anytime of the day.
Now once again Mr. Nick Holmes and his crew offer us all their doomed excellence in The Plague Within, the 14th studio album in their stupendous career. Everything in the album was meticulously put together, from the album art to its obscure lyrics, without losing that raw feeling that made them famous worldwide two decades ago. If you think their previous album, Tragic Idol (2012), was a strong release, you’ll probably enjoy this new one as well, as it keeps up with the same level of complexity and deepness, but of course always providing the listener some fresh and exquisite elements to differentiate it from their other albums.
No Hope in Sight is a great tune to open the album, where its first few seconds take us back to the 90’s when Paradise Lost were rising to stardom. I believe everyone, including myself, loves how Nick can deliver some growls and his deep dark clean vocals at the same time, and of course those superb heavy riffs accompanied by the slow beats which are exactly what diehard fans of the band wanted to hear. Speeding up things a bit we have the excellent Terminal, with highlights to its truly obscure lyrics (“I can hope as silence and torture grows / The violence we now condemn infests our inner souls”) and to the amazing guitar duo by Greg Mackintosh and Aaron Aedy, enhancing the musicality to Blackened Doom (with even the vocals by Nick getting darker than usual). In An Eternity of Lies, an orchestral intro turns into a beautiful display of melancholy and hate, and as much as I enjoy guttural vocals, in my opinion Nick’s clean voice sounds simply perfect in this song.
The lyrics from the following song, Punishment Through Time, are perfect for the sounding provided by the band (“Neglect afraid to say / Repentance awaits / Rejected jaded decayed / A vengeance awaits”), and it’s practically impossible not to get thrilled by this tune. I see it as a modern version of the music in Draconian Times, boosted by the awesome riffs and solos by Greg and Aaron. And if you love when Paradise Lost let their doomed side take control of the music you’ll go crazy with Beneath Broken Earth, where Nick’s vocals are so demonic you might even feel disturbed with them, with highlights to the low-tuned bass lines by Steve Edmondson and the constant and dark beats by Adrian Erlandsson. Furthermore, the lugubrious shadow doesn’t give any sign of going away with Sacrifice the Flame, another beautiful composition of sorrow and pain led by the powerful voice by Nick. Long story short, it’s slow and soulful, and that’s all we need from Paradise Lost to have a good time.
When Victim of the Past starts just as somber as the previous tunes, you will notice how dark the second half of the album is, with the atmosphere created by the keyboard notes being amazingly gruesome while the rest of band delivers some solid obscure lines. However, Paradise Lost get a lot faster and heavier in Flesh from Bone, an old school Doom Metal tune with imposing lyrics (“See the righteous fall at the rise of the damned, denied / See others crawl in the hour demand and fight”), and when a band has a superb musician like Adrian on drums they can range from the slowest Doom Metal to the most bestial Black Metal flawlessly. Letting their Stoner Rock/Metal vein arise, Cry Out is an awesome pub-fighting song which will make you headbang and raise your beer to the band for sure, with the addition of an 80’s Gothic touch to make the whole experience even better. And lastly, the masters of the genre deliver the most traditional Doom Metal in Return to the Sun, where its symphonic/choir intro is a work-of-art and every element contained in the entire song is thoroughly connected. It doesn’t matter whether you prefer the harsh vocals by Nick or the funereal drums by Adrian, if you don’t fall in love for this song forget about Doom Metal, because that’s definitely not your cup of tea.
The deluxe edition of this beautiful album comes with three interesting bonus tracks: Fear of Silence, Never Look Away and Victim of the Past (which is a live recording of an orchestral version of the original song, by the way), and you can also enjoy or even study all its lyrics HERE. As long as Paradise Lost keep releasing strong albums like this one, maintaining the fires of darkness alive, they will always be the awe-inspiring plague within the world of Doom and Gothic Metal.
Best moments of the album:Terminal, Punishment Through Time, Sacrifice the Flame and Return to the Sun.
Worst moments of the album:Victim of the Past.
Released in 2015 Century Media
Track listing 1. No Hope in Sight 4:54
2. Terminal 4:28
3. An Eternity of Lies 5:58
4. Punishment Through Time 5:13
5. Beneath Broken Earth 6:09
6. Sacrifice the Flame 4:42
7. Victim of the Past 4:29
8. Flesh from Bone 4:19
9. Cry Out 4:31
10. Return to the Sun 5:44
Deluxe Edition bonus tracks 11. Fear of Silence 3:59
12. Never Look Away 5:17
13. Victim of the Past (Orchestral Version) 5:13
Band members Nick Holmes – vocals
Greg Mackintosh – lead guitar
Aaron Aedy – rhythm guitar
Steve Edmondson – bass guitar
Adrian Erlandsson – drums
What are you waiting for to put your hands on one of the best and most professional Progressive Metal albums from the past few years?
Described by renowned British magazine Metal Hammer as “one of the most imaginative and formidable” Progressive Rock/Metal bands available in the market today, London-based four-piece group Deadly Circus Fire will blow your mind with the high-end fusion of raw metallic riffs and complex melodies found in their brand new album entitled The Hydra’s Tailor, telling you stories and invading your psyche in a brilliant way. And especially if you’re addicted to innovative bands such as Tool and Mastodon, the music by these British guys is mandatory to your collection.
Formed in early 2009 in the UK, the band released a self-titled EP in 2010 and their first full-length album The King and the Bishop in 2013, both receiving excellent feedback from fans and critics due to the band’s unique progressiveness and melodic lines. In addition, they’ve already supported Welsh Alternative Metal/Hardcore Punk band Skindred on one of their European tours, counting it among their career highlights so far. Of course, nothing would have been possible if the musicians involved weren’t as skilled as they are, because in the end the music itself is what really matters, don’t you agree?
Now turn up the volume and you’ll feel the reverberation inside your mind while lead singer Adam Grant declaims some thoughtful words in the excellent intro In Darkness We Trust, right before Animal hits you like a bullet to the head so progressive and heavy it is. I love those songs where you can clearly listen to the powerful sound of a bass guitar, and the low-tuned lines by bassist Mike Enort are spot-on. Fans of Tool will go crazy with this song, as well as with Where It Lies, where its acoustic notes open the gates for more creativity and intricacy, providing the listener a good balance between heavier riffs and smoother vocals, closer to what Mastodon do but with a Metalcore touch. Not only that, a Dream Theater-ish voyage was chosen by the band to conclude the song, and once again kudos to Mike for a superb job with his bass guitar.
Victim, which starts in a truly wicked way, showcases powerful riffs by the amazing guitarist Save Addario while drummer Paul Igoe smashes his drums with so much talent it’s hard to explain it in just a few words. Besides, the sounding of bass and drums during the guitar solo is at the same time complex and pleasant, turning the song into one of the best moments of the album. And their vision of a devilish opera couldn’t sound more obscure and interesting than in Devil’s Opera, where Progressive Metal is flawlessly blended with Sludge Metal and tons of groove. I would love to see them replicating that sonority live one day, that should be great.
More Americanized than all previous tracks, especially the vocals by Adam, Rise Again is an excellent choice for an alternate rock n’ roll radio station, with the duo Save and Mike giving a progressive lesson with their strings. It’s heavier than lots of Death and Thrash Metal bands I know, with its second half being one of those weird trips that musicians like the guys from Deadly Circus Fire always have an awesome time playing. Then we have the calm instrumental intro Martyrs, introducing the listener to the superb House of Plagues, which despite starting in a very groovy way it morphs into a creepier and more violent tune, especially the vocals by Adam when he screams “Lies, lies, lies!”. Although totally insane and progressive, it’s at the same time an easy listen, with its lyrics matching perfectly with every single second of it.
Aeden is perhaps one of the most complete examples of Progressive Groove Metal you can find, with highlights to its wicked guitar lines enhanced by the complexity imposed by Paul on drums. Moreover, pay attention to how the chorus goes from smooth to harsh in a matter of seconds. The title-track The Hydra’s Tailor has a great atmosphere with a strong Doom-ish vein, and its melancholic lyrics guide the music to a heavy ending, followed by Turning the Tide, which proves once again that despite most songs surpass the 6-minute barrier that doesn’t mean they get tiring at all. The band yet again focuses on a musicality similar to the work done by Mastodon, in special the outstanding heaviness generated by Save and Mike with their guitar and bass lines. And guess what? The last track (and also the longest of all) entitled Universe is another feast of progressiveness and talent, where its semi-acoustic beginning marvellously evolves to a much darker sounding. You can sense the music is about to “explode” anytime but somehow the band intelligently prevents it from happening, holding (almost) all their anger inside and transmitting that excruciating pressure to the listener.
To be fair, it’s hard to find the right words to describe such complex and cunning music. With that said, in order to get more details about this work-of-art, you should check the band’s Facebook page or SoundCloud, and also listen to a promo of the album on YouTube. And if you’re more than convinced of the band’s capacity and are eager to buy The Hydra’s Tailor, simply go to iTunes or to the Musicarchy Media webstore to lay your metal hands on one of the best and most professional Progressive Metal albums from the past few years.
Best moments of the album:Animal, Victim, House of Plagues and Universe.
Worst moments of the album:The Hydra’s Tailor.
Released in 2015 Musicarchy Media
Track listing 1. In Darkness We Trust 2:32
2. Animal 4:25
3. Where It Lies 6:44
4. Victim 6:02
5. Devil’s Opera 3:49
6. Rise Again 7:31
7. Martyrs 1:46
8. House of Plagues 6:44
9. Aeden 5:20
10. The Hydra’s Tailor 3:59
11. Turning the Tide 6:07
12. Universe 7:43
Band members Adam Grant – vocals
Save Addario – guitars
Mike Enort – bass guitar, vocals
Paul Igoe – drums
If you want to get more information about any of the bands featured at The Metal Moose Show, simply Google the band and/or the song name to find their official website and Facebook page and, more important than that, attend their live concerts and buy their music. Here at The Headbanging Moose you can also find detailed reviews of many other excellent underground bands. Support your local bands… AND FOLLOW THE MOOSE!
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