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 a detailed review of Swedish Groove Death Metal band Chugger (just click on the link below to read the review). Support your local bands… AND FOLLOW THE MOOSE!
On The Metal Moose Show this week:
1. Born N Raised – King Hate
2. Crows Cage – American Monster
3. Darkest Era – Elohim
4. Empire Falling – Guilty
5. Gravel Hitch – Transformed
6. Memory Of A Melody – Phantoms And Shadows
7. Steel Gypsy – Direction
8. The Crimson Veil – Embers Before Ashes
9. The Muted Pitch – Plummet
10. Vehement Animosity – Entropy
11. Wilt – The Elder
12. Chugger – Human Plague
13. Deathtronic – Anno 1423
14. Electric Revolution – Here We Go
15. VHS – Hairspray And Bloodspray
16. Barren Earth – Frozen Processions
17. Horrific Disease – Newborn Reapers
18. Threatpoint – Careful What You Wish For
19. Lynchpin – God Complex
20. Kerosene – Lie
21. XUL – Battle Storm
Click HERE to listen to this week’s episode on Spreaker.
If you have never, ever in your entire life heard or seen anything about the jaw-dropping, unusual and skillful Japanese goddess Dr. Mikannibal, the saxophonist and also one of the lead singers of Japanese Black/Avant-garde Metal band Sigh, you have no idea of what you’re missing. Furthermore, nothing that you will read here is fake or made-up: Dr. Mikannibal is indeed a unique performer, and I dare you to find another woman so off-the-wall in music, even in the weird realms of Industrial, Gothic and especially Black Metal. For instance, she loves to record topless, has the odd habit of eating bugs and also enjoys drinking blood. Do I need to say more?
Our electrifying Asian bombshell, whose real name is Mika, was born on January 23 in the city of Sendai-shi (also known as “The City of Trees”) in Miyagi, Japan, located around 350km from the capital Tokyo. Dr. Mikannibal is in a long-term relationship with Sigh’s multi-instrumentalist Mirai Kawashima, and although she suffered a miscarriage three months into pregnancy in 2013, in April 2014 she took the stage of Inferno Metal Festival in Oslo, Norway with “Baby’s In Here” written on her belly. I wasn’t able to find anything online about her pregnancy after that, so let’s hope that Mika and Mirai had a beautiful and healthy baby together (which is probably what happened) and are now enjoying their parenthood to the sound of heavy music.
Named one of the “Sexiest Women in Metal” by Revolver Magazine, the title of Doctor added to her stage moniker is far from being jest, as she actually has a Ph.D. in Physics and still finds time to work as a scientist at her home in Florida, where she has been living for the past few years. Moreover, as expected from any person that’s at the same time a scientist and a black metaller, Dr. Mikannibal is an atheist (as well as Mirai) and whenever the band sings about hell she said in one of her interviews there’s no religious meaning behind it. It’s simply a representation of human beings going through hell, describing those scenes through their music.
In regards to her music career, Dr. Mikannibal has been playing saxophone since she was 12, being able to play the alto, tenor and baritone sax. She mentioned all are basically the same and she does that to add more power to her music, although it’s more difficult than playing just the alto sax, of course. However, it wasn’t until she joined Sigh that she took her saxophone skills to the studio and on stage at a professional level. Before joining Sigh she only did vocals for different metal bands, starting with indie Japanese Melodic Death Metal band 29Jaguar, with whom she recorded the demo 29Anger in 2005, and Japanese Melodic Thrash/Death Metal band Providence.
Dr. Mikannibal joined Sigh back in 2007, having already recorded with the band the following albums: A Tribute to Venom EP (2008), Scenes from Hell (2010), The Curse of Izanagi EP (2010), the split album Swine of Hades (2011), and more recently In Somniphobia (2012) and Graveward (2015). From all those releases, the only one where our metal goddess did not play her wicked saxophone was A Tribute to Venom EP, but anyway you can enjoy her devilish vocals in their cover versions for the Black Metal classics Countess Bathory,Black MetalandWitching Hour. If you want to take a listen at her skills as both the vocalist and saxophonist of Sigh, a few suggested songs are The Transfiguration Fear and Far Beneath The In-Betweenand Kaedit Nos Pestis. Lastly, after joining Sigh, she recorded sax and vocals in the 2012 album Worms in the Keys by international Avant-garde Rock/Metal project Self Spiller, and was also a guest saxophonist on track Boiled In Hell Broth & Grave Dust (Intro), from the 2010 album The Murder of Jesus the Jew by British Experimental Black Metal band The Meads of Asphodel, and on A Hollow Bridge, from the album Mapping the Moment with the Logic of Dreams by Romanian Progressive Black Metal band Bloodway. Apart from her career as a musician, Dr. Mikannibal has also ventured in the world of journalism, as for example her interview with At The Gates vocalist Tomas Lindberg in Tokyo, Japan on August 5, 2013 for the Metal Moment podcast.
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Nonetheless, it’s on stage that our sexy doctor really stands out with her lunatic vocals and ferocious saxophone playing, her skimpy lingerie, skirts and dresses, and of course her infamous hot wax bath. Yes, that’s exactly what you have in your mind right now: a provocative Asian girl dripping hot wax from candles all over her attractive body. Check these two videos on YouTube where you’ll be able to see how wild she’s when performing live, the first playing the song The Soul Grave at the Roadburn Festival in Tilburg, Netherlands in 2013, and the second showing you her hot wax bath in Taipei, Taiwan in 2012. Isn’t she adorable?
But wait, there’s still a lot more to talk about our fearless diva: because she loves her pet lizards (or geckos) and was really curious as to what they eat, she started to gather more details on bug eating, attended a “bug eating party”, learned how to cook roaches and other bugs properly and voilà! There you have a sexy bug-eater woman! Oddly enough, Dr. Mikannibal explained everything she does is not meant to attract the attention of anyone. “Some people in Japan traditionally eat grasshoppers. In the north part of Japan, they eat bugs. Eating roaches is not common in Japan, but it’s not a made-up story to get attention. It’s just something I do.”, she said in one of her interviews.
Obviously, a woman like that who wears such revealing see-through outfits in front of thousands of people has to be very comfortable with her body and appearance. She accepts and embraces the idea of being a sex symbol, although such distinction is not one of her main goals in her career. Not only that, when our gorgeous Nipponese lady is about to record anything new at home or in the studio, she does that topless (yes, topless!), simply due to the fact that she feels a lot more comfortable that way as she hates sweating a lot. She mentioned once the first thing she does when she arrives home is taking off her clothes, saying that’s something very natural and pleasant for her. Well, I guess there are lots of people who would love to attend the recording sessions by Sigh and be face-to-face in the studio with Dr. Mikannibal, one of the most remarkable women in contemporary Extreme Metal.
“I do wear sexy costumes, and I wear less clothes than other metal chicks do in other bands. It’s not intentional. I don’t do it to try and get attention from men. I just wear what I wear because I like it. I love myself, my looks and my body, and I like to show it off on stage. That’s the whole idea.” – Dr. Mikannibal
Spread your black wings and fly away to the dark realms of Death Metal constructed by these excellent Belarusian metallers.
The Republic of Belarus is usually known for its enchanting culture, its pristine forests and nature, and obviously for its historical importance as part of the imposing Soviet Union. However, the country has been turning into a mandatory stopover in recent years for fans of heavy and complex music, as previously seen with Progressive Death Metal band Irreversible Mechanism and now with Deathcore/Death Metal newcomers Dzhatinga, who are releasing in 2015 their debut full-length album Black Wings.
Hailing from the city of Minsk, Belarus, like their countrymen from Irreversible Mechanism, the band was formed just earlier this year by brothers Alexey Krapitsky (vocals, guitar) and Dmitry Krapitsky (bass), but their music sounds so solid and professional it feels like they’ve been on the road for a good time already. Furthermore, another interesting fact about Black Wings is that the way the songs (or “acts”) are named and sorted gives the idea the album is a theatrical play, which is reinforced by the ominous and beautiful artwork by Belarusian artist Elena Zharkova. And don’t expect to find any clean singing in the entire album, as Dzhatinga is a lot heavier than almost all Metalcore, Deathcore and Melodic Death Metal bands you might know.
The eerie intro Into The Abyss kicks off Black Wings by setting the stage to the extremely heavy Act I: Faith Devourer, which I personally wouldn’t call Melodic Death Metal but a more modern version of Death Metal, with the outstanding production of the album enhancing the impact of each instrument. Not only Alexey Krapitsky is a talented guitarist, but the way he uses his voice as an eldritch instrument, going from deep guttural to maniacal screams, truly adds a lot of kick to the song. Keeping the level of aggression high, Act II: Neverwhere showcases a futuristic sounding with an old school vibe and tons of brutality, not to mention the excellent guitar lines by Alexey Krapitsky and Alexey Yalovsky, followed by Act III: Bearpaw, an amazing tune that sounds like a heavier version of the Industrial Metal played by Fear Factory. Its lyrics might be simple but are indeed very precise (“My fur is like armor, my claws like blades. / The colour of your hope was lost in the shades. / Show me your fear, give me your life! / Your turn to die!”), and the additional harsh vocals by the awesome singer Anastasia Palamar (Exist M), being sexy and beastly at the same time, turn it into the best act of Black Wings in my opinion.
Passion To Kill (Prelude) is even more obscure than the album intro, being the perfect bridge from the first three acts to the following three, starting with a groovy massacre named Act IV: Their Knock, with highlights to the great job done by drummer Denis Kozyrev by adding hints of progressiveness to the music with his intricate beats, and to the vocals by Alexey Krapitsky, slightly more guttural than before. Then we have Act V: Seasoned With Pain, a hefty assault of Groove and Death Metal focused on its cannibalistic/vampirical lyrics (“Your flesh, your blood is so sweet for me. / My teeth are sharp. They will make you free. / Your taste is so subtle, so delicious. / Your heart and your brain is seasoned with your pain.”), and finally Act VI: Black Wings, featuring additional harsh vocals by Vitaly Shalak (Stanmarsh, Andrea Gail), where Dzhatinga keep devouring our souls with their wicked musicality despite being more introspective than the other acts, with the resonant bass lines by Dmitry guiding the song to its desolate ending.
In order to spread your black wings and fly away to the dark world constructed by Dzhatinga and their music, go visit their Facebook page, VKontakte and in special their SoundCloud page, where you can listen to Black Wings in its entirety and enjoy some high-end Death Metal directly from Belarus, a country that, as aforementioned, is gaining more and more significance and respect in the world of heavy music.
Best moments of the album:Act II: Neverwhere and Act III: Bearpaw.
Worst moments of the album: None.
Released in 2015 Independent
Track listing 1. Into The Abyss (Intro) 1:13
2. Act I: Faith Devourer 3:49
3. Act II: Neverwhere 3:54
4. Act III: Bearpaw (feat. Anastasia Palamar) 4:11
5. Passion To Kill (Prelude) 1:21
6. Act IV: Their Knock 4:12
7. Act V: Seasoned With Pain 3:41
8. Act VI: Black Wings (feat. Vitaly Shalak) 4:31
Band members Alexey Krapitsky – vocals, guitar
Alexey Yalovsky – guitar
Dmitry Krapitsky – bass
Denis Kozyrev – drums
Guest musicians Anastasia Palamar – additional harsh vocals on “Act III: Bearpaw”
Vitaly Shalak – additional harsh vocals on “Act VI: Black Wings”
If the sonic cataclysm brought forth by this demented Italian band doesn’t wake you up, you should definitely go see a doctor.
In case you’re having one of those sluggish and monotonous days that seem to last for the whole eternity, I have the perfect remedy to cure your boredom and make you feel so electrified you’ll even start banging your head against the wall in exultation. Open up some space in your room or wherever you are, take a deep breath, do some good stretching and finally hit play and enjoy Wings of Decadence, the brand new music havoc by Italian Black/Thrash Metal act Extirpation.
Bred in the darkest catacombs of Milan, Italy in July 2009, Extirpation have been growing in the underground scene with each of their releases, gaining some considerable recognition internationally and therefore leading them to start playing outside the Italian territory in countries such as Switzerland, France, Belgium and Romania. Judging by the speed and heaviness found in Wings of Decadence (including the sick old school artwork designed by their own vocalist/bassist Darak), I believe we can all have a very good idea of how cataclysmic their concerts around Europe might be.
Extirpation open the album with a merciless massacre entitled Controlled By Rage, where its razing riffs build a raw and obscure sounding enhanced by the harsh vocals by Darak (who actually sounds like an enraged goblin) and by drummer Elia smashing his drum set like there’s no tomorrow with a Punk Rock/Hardcore vibe added to his beats. If you don’t go into shock after listening to this ode to dementia, you’ll have your spinal cord smashed by Thrash The Enemy, a visceral Thrash Metal tune straight to your face where Eros and Magikk make sure their riffs and solos keep puncturing your ears without rest, followed by Sick Life, a brutal Thrashcore/Goregrind feast darkened by its deranged vocals, perfect for slamming into the most insane mosh pits you can imagine.
Oath Of The Death, with its amazing infernal intro, offers the listener sheer devastation blending Black, Death and Thrash Metal with the meanest and most disturbing form of Punk Rock possible, not to mention the hot streak of destruction Darak and Elia are on; while Desires of Dust, despite slowing things down a bit, is still dark and putrid, with highlights to another devilish performance by Darak. And get ready for humongous dosages of hardcore riffs and bestial beats and growls in Consumed System, which not only keeps up with the musical consistency found in all previous tracks, but also presents guitar lines that are perhaps the closest to the purest form of Black Metal you will find in the whole album.
Not a single moment of peace or tranquility is present in Fall in The Dark: it’s violence taken to the extreme, where Elia continues his belligerent onslaught on drums while the rest of the band keeps breathing fire through their instruments and harsh vocals. The same can be said about Daily Struggle, an unrelenting display of Blackened Thrash Metal blended with Hardcore and Death Metal highly recommended for the soundtrack of the apocalypse, which makes me wonder how many people will have serious injuries if they slam into the pit whenever this immoderate tune is played live. In the short and sweet Eternal Moments, they truly sound like a band formed by evil entities like orcs or trolls shredding everything to pieces so inhuman it feels, maybe one of the most carnivorous tunes I’ve ever heard, before the title-track Wings of Decadence closes the album sounding as if the music is coming from the pits of hell, with Darak barking like a demon while the entire band is simply destroying whatever crosses their path with a mix of heaviness, feeling and anger.
In summary, the music in Wings of Decadence might be too harsh or pugnacious for the majority of the society we live in, but for fans of old school Black and Thrash Metal it’s indeed a bundle of joy with its ten hellish chants. You can get more details about the music by Extirpation at their Facebook page, and you can find their new album for sale at their BandCamp page or at the Nightbreaker Productions webstore. And if even after taking a listen at Wings of Decadence you still find yourself yawning of tiresomeness, I’m sorry but you should desperately see a doctor.
Best moments of the album:Thrash The Enemy, Oath Of The Death and Daily Struggle.
Worst moments of the album:Desires of Dust and Wings of Decadence.
Released in 2015 Nightbreaker Productions
Track listing 1. Controlled By Rage 3:35
2. Thrash The Enemy 2:43
3. Sick Life 4:08
4. Oath Of The Death 3:24
5. Desires of Dust 2:48
6. Consumed System 3:45
7. Fall in The Dark 4:03
8. Daily Struggle 2:50
9. Eternal Moments 1:58
10. Wings of Decadence 4:42
Band members Darak – vocals, bass
Eros – guitars
Magikk – guitars
Elia – 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 Austrian Melodic Death Metal band Mandatory and Paraguayan Symphonic Metal band Pergana (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. Blackheart Gospel – Wasteland America
2. Ainrail – Rural Sludge
3. Arreat – Frostburn
4. Autumn Stay – Ghost
5. Era – To The Grave
6. False Hope Fades – Break
7. Gathering After Ashes – Angels Take Flight
8. Mandatory – For The World To See
9. Motherfaster – The Nymph And The God
10. Octave Jaw – Never Free
11. Never Mind The Riot – Sacrifice
12. Pergana – Return To Innocence
13. Raftree – The Eyes You Hide
14. Sin Of Apathy – Never Forgive
15. Stahl Gorthol – Infernal Wrath
16. The Desolate – The Great Departure
17. Standing Ovation – Gravity Beats Nuclear Permafrost
18. The Crawling – The Right To Crawl
19. Dead City Crown – Seed Of Rain
20. Doll Skin – Lets Be Honest
21. Triumph Under Fire – No More
22. Viggenblot – From Flames Anew
Click HERE to listen to this week’s episode on Spreaker.
These amazing Northern Irish metallers continue their symphonic path to stardom with their delightful and elaborate debut full-length album.
Just like thousands of other fans of Symphonic Power Metal (and good music in general) from all over the world, I’m glad to see it didn’t take too long for Northern Irish metallers Selene to come back in action with the release of their first full-length album, entitled The Forgotten. It’s always a pleasure to witness the evolution and success of a hardworking band such as Selene, who translate all their passion for heavy music into ravishing tunes tailored for admirers of the combination of heartwarming female vocals and intricate riffs, accompanied by a unique symphonic aura in the background.
Formed in Northern Ireland in 2013, Selene released their debut EP named Among the Frozen in 2013, and more recently another EP entitled Paradise Over, in 2014, which I had the pleasure of reviewing as you can check by clicking HERE. By the way, on its first week of release, Paradise Over became the 3rd best selling metal release worldwide on BandCamp, and has since been featured heavily on a number of radio stations worldwide (including our friends from The Metal Moose Radio). However, it’s now with The Forgotten that these talented musicians are truly shaping up their style, adding layers of complexity and creativity to their already solid music for an even more consistent result.
The opening track, Dorian, is undoubtedly an excellent start to the album, showcasing all the skills of the musicians involved. The great performance by Shonagh Lyons in this song is enhanced by the atmosphere created by the rest of the band, with highlights to the powerful keyboards by guitarist/keyboardist John Connor. Paradise Over is the first of the three songs from their 2014 EP to feature on the album, being once again one of the best songs in my opinion, and the same words I used in the review to the EP are still valid. And Never-Ending Silence is a gentle and passionate heavy ballad where Shonagh takes the spotlight with her smooth vocals, never exaggerating on her tone or emotions while John provides his classic guitar lines full of feeling, not to mention the song’s beautiful chorus.
But that’s just the beginning of The Forgotten, as there’s still a lot more symphony and electricity to come as in the melodic Not Enough, another track from their 2014 EP where it’s impossible not to get touched by its warmness, followed by Fade Away, the last of the “old” EP songs and a potent chant for fans of Symphonic Metal with drummer Cameron Åhslund-Glass simply kicking some serious ass. Sweetest Dreams, a lovely ballad full of passion and melancholy, offers the listener beautiful piano passages, intense guitar lines and the always gentle vocals by the pretty Shonagh; while Blind presents a strong influence from bands such as Nightwish and Within Temptation, being considerably faster and more melodic than all previous tracks and flirting with modern Hard Rock with the addition of symphonic elements. It’s indeed very exciting from start to finish, yet again displaying a catchy chorus for all of us to sing along with the band.
In Our Story, a nimble and heavy intro expands into a blend of symphony and speed, with the duo John/Cameron doing a superb job with their riffs and beats in total sync. And the band’s characteristic keyboards and heavy riffs keep penetrating our souls in Blood, an amazing composition by John and his crew where not only its rhythm is exciting, but also its guitar solos and vocal lines help turn it into one of the best of all songs in the entire album (if not the best one). Then we have Memories, the most “medieval” tune in The Forgotten, sounding like a chant to be sung while prancing around the fire pit due to all the Celtic and Scandinavian elements added to the musicality, and finally Piano Black, their boldest composition to date with almost 10 minutes of pure Symphonic Metal, featuring all those classic background effects, a choir, heavy riffs and vigorous beats, until its last part fades away into melancholy. In addition, Shonagh’s performance is beyond pleasant in this epic tune, proving why she was chosen by John to be the voice of Selene.
To sum up, The Forgotten lives up to all the complexity and excitement found in traditional Symphonic Metal, and it will surely feature among the top metal albums on BandCamp and anywhere else where honest music is appreciated, just like what happened with Paradise Over. You can get more details about Selene at their Facebook page, listen to their music at their YouTube channel, and above all, purchase The Forgotten at their BandCamp page. And when you’re there, pay some good attention as there are a few different versions of the album available such as the awesome Special Edition Digipak, which comes along with a digital download code for 23 (twenty-three!) bonus tracks, including an instrumental version of the whole album, orchestral versions of 9 tracks and also 3 tracks re-recorded from their 2013 EP Among the Frozen. What else can you ask for, Mr. or Ms. Symphonic Metal?
Best moments of the album:Paradise Over, Never-Ending Silence and Blood.
Worst moments of the album:Our Story.
Released in 2015 Independent
Track listing 1. Dorian 4:54
2. Paradise Over 3:31
3. Never-Ending Silence 3:50
4. Not Enough 5:03
5. Fade Away 5:04
6. Sweetest Dreams 3:56
7. Blind 4:21
8. Our Story 4:43
9. Blood 4:15
10. Memories 4:30
11. Piano Black 9:30
Band members Shonagh Lyons – vocals
John Connor – guitar, keyboards
Thomas Alford – bass
Cameron Åhslund-Glass – drums
If you let the infernal and malevolent music by this amazing Portuguese duo reach your heart, there’s no coming back.
Let’s end this week on a high note with the flammable Black Metal by the talented Portuguese duo Tod Huetet Uebel, and I must assure you that you won’t be the same after listening to what they have to offer. By the way, the name of the band is the German for “death guards evil”, a more than suitable caption for the disturbing music you’ll find in their debut full-length album, entitled Malícia(the Portuguese word for “malice”). If you had no idea of how demonic music can be in Portugal, you better get ready for the heartless war found in this album.
Created from the very essence of hatred in 2012, Tod Hueted Uebel define their music as “a post-traumatic Black Metal experience” that “will leave mental bruises and scars in those who dare listen to the torments that dwell within”. Well said, guys. That perfectly summarizes Malícia, an album that will please fans of the darkest Black Metal you can imagine. Featuring an amazing 6-panel digipak with artwork by French artist/musician Valnoir (Metastazis), the level of wickedness and laceration in the album is not for the ordinary metal fan, making it a demanding listen for those who are not used to the atrocities of extreme music.
In the opening track, eccentrically named XIII (and get used to that, because all songs have names based on Roman numerals), a sinister intro flows into a diabolical sounding built upon modern Black Metal but without losing its traditional viciousness and speed. Multi-instrumentalist Daniel C. is responsible for crafting the music in all tracks, offering singer Marcos M. the perfect ambience for his anguished growls, and let me tell you this dynamic duo will darken your spirit already on the first track of the album (which is always the main goal in Black Metal, of course). And darkness is here to stay based on the nonstop violence and vileness delivered in I, where Marcos M. keeps disgorging his putrid snarling, unnerving your mind in a disquieting 9-minute first-rate aria of malignancy for lovers of classic Extreme Metal with a desolating and melancholic ending that obviously gets back to a sonic havoc before the song is actually over.
Their anger just grows in XII, where Daniel C. is simply bestial on drums and guitars, delivering sick riffs and demonic beats and fills perfect for the harsh vocals by Marcos M., with another short break for the listener to take a deep breath before diving back into the musical twilight engendered by Tod Huetet Uebel. Moreover, their lyrics in Portuguese are as evil, poetic and awesome as possible (“Quero morrer, ser inverso ao amanhecer / Quero perecer, na demora da tua obra / Sinto-me leve, disperso ao corroer / Do sentimento que vos mantém / Amantes a ninguém”, which would translate to English as “I want to die, be reverse at dawn / I want to perish, in the lateness of your work / I feel light, scattered as I corrode / From the feeling that keeps you / Lovers to no one”), increasing the impact of their music.
XX VIII XXI is an instrumental tune that feels like a fiendish entity penetrating our flesh, working as an intro to the barbaric IX, where the initial scream by Marcos M. sounds inhuman while the instrumental parts continue their onslaught of darkness. It’s sheer Black Metal that will please all fans of the genre, making it extremely easy and interesting to feel all the pain and grief stemming from their ghoulish vocals. III might be the shortest of all tracks, but it surely delivers everything a good Black Metal chant needs, being precise, berserk, melodic and lugubrious, with Marcos M. with his growls and howls and Daniel C. with his lancinating riffs generating an ode to hopelessness and evil. Besides, when they sing in English their lyrics are no less complex and beautiful, proving how talented this duo is (“Blood Libels of regal contempt / Dichotomy of essence and paragon of woe / The face of things to come / Burn this flesh oh dying light / In thy untold furnace of quintessence / Aether of malignant perfection”). Lastly, presenting elements from Doom Metal and Blackened Doom, the hindmost opus in Malícia, entitled V, is definitely the most nerve-racking of all. This time, Daniel C. focuses on mesmerizing and grievous notes while Marcos C. sounds like he’s being dragged down to hell, and I dare you to survive its 8 minutes without feeling totally uncomfortable or distressed in the end.
In summary, if you consider yourself a genuine adorer of the most perverse and heinous forms of Black Metal, I highly recommend you go after the music by Tod Huetet Uebel, available at their BandCamp and at the Caverna Abismal Records BandCamp. This sharp and impressive duo from Portugal is brilliantly cementing their dark path in the world of Extreme Metal, and in case you let their infernal music reach your heart, I must warn you that there’s no coming back.
Best moments of the album:I, XII and III.
Worst moments of the album: None.
Released in 2015 Caverna Abismal Records
Track listing 1. XIII 5:49
2. I 9:00
3. XII 7:20
4. XX VIII XXI 1:15
5. IX 7:05
6. III 5:30
7. V 8:00
Band members Marcos M. – vocals
Daniel C. – all instruments
If you loved Chronicles of the Immortals – Netherworld, this second and ultimate part of one of the most remarkable concept albums in the history of heavy music will certainly blow your mind.
Any strong narrative demands a proper conclusion, one that will make your heart beat faster and give you some welcome goosebumps, leaving you stunned by its climatic upshot and completely eager for more of it. What German Progressive Metal virtuosi Vanden Plas offer in Chronicles of the Immortals – Netherworld II, the second and ultimate part of their brilliant concept double-album Chronicles of the Immortals – Netherworld, goes beyond that in terms of quality and excitement, and you’ll have a blast following those talented metallers on their journey through the dark and admirable realms of the netherworld.
As aforementioned, the album is a sequel to their superb 2014 release Chronicles of the Immortals – Netherworld, once again based on Die Chronik Der Unsterblichen, by author Wolfgang Hohlbein. Featuring another beautiful artwork by French artist Stan Decker (even more awesome than the one from the previous album, in my humble opinion) and a magnificent choir supporting the music played by Vanden Plas, there’s nothing in Chronicles of the Immortals – Netherworld II that doesn’t look or sound spectacular, elevating it together with the first part to the status of one of the most remarkable concept albums in the history of heavy music.
I highly recommend you take a listen at the first part before moving on to this album, because Vision 11even – In My Universe is a precise continuation to “Vision 10n – Inside” in terms of its musicality and the development of the storyline. I just find it more symphonic and progressive than most songs from the first album, which in this case is exactly what the album demands, with Andy Kuntz continuing his vocal lecture for lovers of his type of voice. In Vision 12elve – Godmaker’s Temptation, we have an eerie start to another solid tune, a heavy and progressive ballad full of emotions with a huge focus on its atmosphere and especially on its powerful chorus, while Vision 13teen – Stone Roses Edge proves how incredible Vanden Plas can sound when they speed up their rhythm and beats. This is for me the best of all songs from both albums, with the electricity provided by the keyboards by Günter Werno and the guitar riffs and solos by Stephan Lill being truly outstanding, not to mention another flawless performance by Andy.
And get ready for Vision 14teen – Blood of Eden, a fantastic 13-minute composition divided in three distinct parts that complement each other magically. Its first piece, entitled “All Love Must Die”, presents for the first time in the album the gentle female vocals by German singer Julia Steingass, who was also a guest musician in Chronicles of the Immortals – Netherworld; then the second piece named “The Rite” gets more theatrical and fiery, therefore becoming a lesson in Progressive Metal by Andy and his crew; before “This Is the Night” concludes this epic song in a classy and thrilling way. The following tune, Vision 15teen – Monster, showcases another guest vocalist, Falk Leidemer from German band Tentacle Attack, who is responsible for the guttural vocals in this very cohesive and symphonic composition, with highlights to the always growing level of passion and darkness during the whole song.
Perhaps Vision 16teen – Diabolica Comedia can be considered one of the most complex and unusual songs of their career, with its orchestrations blending perfectly with the band’s heavy notes. Moreover, Günter once again takes the spotlight with his precise keyboard notes and undeniable talent. After such a freakish trek, it’s time to relax to the pleasant heavy ballad Vision 17teen – Where Have the Children Gone, where the strong performances by all band members provide the song what it needs to captivate the listener from start to finish.
In the excellent Vision 18teen – The Last Fight, Vanden Plas deliver a mix of Progressive Metal and traditional Heavy Metal, with its keyboards setting fire to the musicality and the excitement brought forth by the instrumental pieces and the choir truly boosting the overall quality of the music. Put differently, simply savor the experience of closing your eyes and letting this unique musical madness take you away to a different world. And finally, with the choir guiding the music to its climax (and consequently the whole album and story), the symphonic and theatrical Vision 19teen – Circle of the Devil presents the stunning Julia back to help Andy close the album majestically, working pretty much as a sequel to “Vision 14teen – Blood of Eden”. In the end, I bet several fans will cry tears of joy when the last notes of the song fade away.
To sum up, as I said already, there isn’t anything in Chronicles of the Immortals – Netherworld II that doesn’t surpass the boundaries of awesomeness, from its consistent and fully developed storyline to the outstanding music skills by all musicians involved. The only unanswered question from the entire album is that if Vanden Plas will be capable of delivering anything better or at least at the same level of quality as both Chronicles of the Immortals – Netherworld albums, but let’s leave it for their future releases. For now, we should simply relish the full-bodied music contained in this music saga, joining this amazing Progressive Metal band in their quest for conquering not only the netherworld depicted in the albums, but the entire world we live in.
Best moments of the album:Vision 13teen – Stone Roses Edge, Vision 14teen – Blood of Eden and Vision 18teen – The Last Fight.
Worst moments of the album: None.
Released in 2015 Frontiers Records
Track listing 1. Vision 11even – In My Universe 6:25
2. Vision 12elve – Godmaker’s Temptation 5:05
3. Vision 13teen – Stone Roses Edge 6:38
4. Vision 14teen – Blood of Eden (I. All Love Must Die / II. The Rite / III. This Is the Night) 13:17
5. Vision 15teen – Monster 7:40
6. Vision 16teen – Diabolica Comedia 6:37
7. Vision 17teen – Where Have the Children Gone 4:42
8. Vision 18teen – The Last Fight 7:33
9. Vision 19teen – Circle of the Devil 7:59
Band members Andy Kuntz – vocals
Stephan Lill – guitars
Günter Werno – keyboards
Torsten Reichert – bass
Andreas Lill – drums
Guest musicians Julia Steingass – female vocals on “Vision 14teen – Blood of Eden” and “Vision 19teen – Circle of the Devil”
Falk Leidemer – harsh vocals on “Vision 15teen – Monster”
Christian Köbler, Manuel Lothschütz – backing vocals, choir
Sarah Bohnert, Heike Dechert, Julia Hach, Stephan Hugo, Lisana Hunsinger, Jutta Mitschke, Ines Pawlowski, Charlotte Seeger, Johannes Zimnol – choir
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. Black Mamba – Tooth Ache
2. Mindflair – Theater Of The Absurd
3. Darkest Era – An Dagda
4. Silent Line – Embrace The End
5. Psycoprism – Defiance
6. Them – Forever Burns
7. Trigger – Destroy Your Minds
8. Unchained Horizon – Lose Control
9. Horsebastard – If Something Am, Then Have Happen
10. From Ashes To New – Downfall
11. Mobday – Jester
12. Phaneron – Tasteless
13. Return To Zero – Venom
14. Stabbing Back – New Disease
15. Sylvattica – Reanimated
16. Trigant – Wolves
17. Accursed – Oaken Wave
18. Munkie Gun – Hollow
19. Helleborus – Colored Spores Of Yuggoth
20. Circleswith – Wings
21. Heart Avail – Broken Fairytale
Click HERE to listen to this week’s episode on Spreaker.
Surrender to the dark side of Thrash Metal, offered to you by one of the most promising Scandinavian bands of the past few years.
Although the year of 2015 is almost coming to its end, it seems there are still tons of awesome metal bands with considerable amounts of fuel to burn, providing us fans unbounded reasons to keep banging our heads nonstop like maniacs. This is precisely the case with Norwegian Blackened Thrash Metal desecrators Vingulmork, who before the curtains of this chaotic year close are releasing their cataclysmic debut full-length album entitled Chiaroscuro. The name of the album might be the junction of the Italian words “chiaro” (clear or bright) and “oscuro” (dark), but don’t expect to find any light in their music. It’s sheer darkness, architected in such a thrilling and virulent way you’ll be mercilessly knocked out like Ronda Rousey before the album is over.
Forged in 2012 at the very depths of Oslo, Norway, Vingulmork released their debut EP named The Long March at the beginning of 2014, but it’s now with Chiaroscuro that this talented quartet aims at conquering the world of heavy music with their inhumane combination of the unquestioned verve from Thrash Metal with the evildoing and perversity of Black Metal. If you hold true passion for the music by bands such as Skeletonwitch, Old Man’s Child and Dissection, the music by Vingulmork (which translated from Old Norse means “the forest of fescues”) brings forward all the elements needed to foster that darkest side of yours.
And Vingulmork don’t give you a single second to breathe before their sonic devastation begins in the magnificent Collapse and Rebuild, a brutal composition that summarizes their music style by blending the riveting riffs from Thrash Metal with the obscure growls from Black Metal. In addition, Frontman Jostein Stensrud Køhn sounds like he’s possessed by an evil entity so aggressive his vocals are, while drummer Simen Kandola delivers beats inspired by the greatest drummers from the Bay Area Thrash. As destructive as the opening track, Hold Your Ground provides an accelerated feeling as if a heart attack is about to come, with guitarist Martin Kandola offering the listener his evil-inspired riffs amidst pure Thrash Metal music. And that’s just the beginning of Chiaroscuro, my friends.
Don’t get deceived by the calm acoustic intro from the chant beautifully entitled (I Am) The Darkness You Can Touch, as it quickly morphs into a dark sounding with elements of Death Metal that will violently kick you in the head. Jostein growling like a demon, together with some interesting breaks leading into some pure Black Metal moments and its lugubrious lyrics (“I will lay waste to your sense of belief / Replace all pleasure with anguish and grief / I will demolish all ways to control / I will take hold of and bury you”), turn this ode to obscurity into one of the top moments of the album without a shadow of a doubt. In The Haunting, the band delivers a melodic and ferocious onslaught of metallic music in less than 3 minutes, reminding me of the high-octane Thrash/Death Metal by Skeletonwitch, while Old Hate flirts with Melodic Death Metal but with extra dosages of wickedness added to the sounding, not to mention the great job done by Martin with his sick guitar riffs accompanied by the intricate bass lines by Steffen Grønneberg.
With an enraged Simen on drums, their dark metal machine keeps rolling and smashing everyone and everything in From Promise, a straightforward tune that will ignite some serious mosh pits during their live performances, with highlights to the beyond bestial vocals by Jostein, and don’t stop banging your head or slamming into the pit because Vingulmork offer us all Painting Lives, another insane track where there’s even time for a catchy chorus that will stick into your mind for a long period of time (“Every moment counts / And everything amounts / To pull apart is not an art / And so we count all that amounts”).
The two last arias in Chiaroscuro are just as nefarious as the rest of the album, starting with the striking White Dress, Black Heart, with yet another demented performance by the entire band, in special by Jostein and Simen. This is at the same time the most Thrash Metal and the most Death Metal of all tracks, which obviously elevates its quality to a whole new level of carnage, also presenting thoughtful lyrics that make total sense if you know how harsh the winter can be (“The winter is grinding knives / It will take another life / Cutting through frozen flesh / Claims a mark in every bone”). And closing this top-notch album we have their most obscure and disturbed tune, It Will Suffice, where the band definitely embraces darkness by showcasing their strongest Black/Doom Metal vein. A lesson in extreme music by this incredible Norwegian act, where the music cuts like a sharp razor until it fades away into a melancholic and demonic finale.
To get a taste of what Vingulmork have to offer in Chiaroscuro, you can visit their Facebook page or take a listen at the official album preview by Crime Records, but I’m pretty sure you’ll almost instantly go grab your copy of the album at the Crime Records webstore or at CD Baby. Forget about the never-ending war between darkness and light, simply surrender to the dark side of Thrash Metal offered to you by one of the most promising Scandinavian bands of the past few years. You will not repent that.
Best moments of the album:Collapse and Rebuild, (I Am) The Darkness You Can Touch and White Dress, Black Heart.
Worst moments of the album: None.
Released in 2015 Crime Records
Track listing 1. Collapse and Rebuild 3:38
2. Hold Your Ground 3:17
3. (I Am) The Darkness You Can Touch 5:24
4. The Haunting 2:36
5. Old Hate 2:59
6. From Promise 3:29
7. Painting Lives 3:34
8. White Dress, Black Heart 2:23
9. It Will Suffice 5:45
Band members Jostein Stensrud Køhn – vocals
Martin Kandola – guitar
Steffen Grønneberg – bass
Simen Kandola – 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 a detailed review of Swedish Groove Death Metal band Chugger (just click on the link below to read the review). Support your local bands… AND FOLLOW THE MOOSE!
THE HEADBANGING MOOSE 