Album Review – Paradise Lost / The Plague Within (2015)

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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.

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paradise lost-the plague withinWhen 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.

paradise lostThe 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

Album Review – Deadly Circus Fire / The Hydra’s Tailor (2015)

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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?

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hydra cover 1500x1500 pxDescribed 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.

DCFMore 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

Album Review – Dissector / Grey Anguish (2015)

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These Russian metallers are here to help you soothe your anguished yearning for high-quality Heavy Metal.

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DISSECTOR_frontAre you looking for some fresh heavy music that combines the melody from Power Metal with the anger and rebelliousness of Thrash Metal? You might then enjoy the music by Russian Power Thrash/Death Metal Dissector and their first full-length album, entitled Grey Anguish. As a matter of fact, this is not exactly the first release by this talented act from St. Petersburg, Russia, but a sort of resurrection from a very active band made famous in the northeast part of Russia between 1992 and 2002.

In this new phase of the band, which started in 2006, Dissector have already released three EP’s named Cry For Me (2007), Subhuman (2014) and An Angel with No Home (2015), as well as some compilations. However, it’s now with Grey Anguish that they aim at cementing their name in the modern era of Heavy Metal. Based on the creepy artwork created by Pablo Antonov one can say they’re on the right path, but it’s when the music starts that this keen instinct brought forth by the album imagery becomes even stronger.

After the ominous futuristic intro Catastrophe Point by keyboardist Max Delmar, it’s time for the title-track Grey Anguish to present to the listener a modern and dense musicality by Dissector. Besides, it’s interesting to observe how lead singer Yan can sound so aggressive but at the same time very melodic, and how drummer Andrey “Circle” is very precise with his beats, enhancing the song’s Thrash Metal vibe. And blending Death Metal, Hard Rock and Stoner Rock, we have the melancholic tune Deadline Pressure, where the dark taste of the lyrics ends up being its core element, followed by Sinking In Disgrace, a song inspired by old school Metallica and Megadeth where the band offers a fast and harmonious tune perfect for mosh pits and crowd surfing, with highlights to the guitar lines by Yan while Andrey pounds his drums nonstop.

Perhaps due to its name, Delicately Yours is a lot more melodic, boosted by hints of Doom and Gothic Metal. Recommended for fans of slower and more introspective metal music, it’s a dark song, of course, but it’s obvious that the message the band wanted to send required a smoother sounding. The next song, Subhuman, gets closer to what Trivium have been delivering in their most recent albums, focusing on catchy riffs while the other instruments (including vocals) make sure the level of energy remains high. And Hide Away is a compelling song that reminds me of some compositions by Paradise Lost due to its strong Doom-ish vein and thoughtful lyrics, which turn it into a gloomy anthem.

dissectorNow fasten your seatbelt because my favorite of all tracks, An Angel With No Home, is Thrash Metal at its best, as vicious and fierce as it’s supposed to be, with the vocals by Yan sounding awesome while Oleg and Andrey keep the atmosphere really violent. Right after that beauty, focusing on a musicality closer to modern Thrash Metal we have The World For the Few, where the smoothness of the melody gets more attention than its heaviness and where the pace is suited for fans of less violent metal; and the resonant bass lines and a Punk Rock/Thrash Metal attitude of Even Me, which is quite the opposite of the previous track where the band only cares about being vicious and merciless. Moreover, Yan gets more aggressive than usual, as nicely “requested” by the music.

Closing the regular set of songs, Keep My Trust sounds as if the band wanted to give us a break from so much violence. It’s a beautiful ballad featuring the delicate vocals by special guest Mirla, from Russian Gothic Metal band The Lust, and guitarist Alex Bolotov. By the way, the vocal duo between Yan and Mirla is incredible, giving an amazing balance between darkness and light to this reflective tune. As a bonus track, the band offers an instrumental demo version of “Deadline Pressure”, a special treat for us to admire their skills behind their instruments.

The best way to know more about this excellent Russian group is by visiting their Facebook or VKontakte pages, by listening to their music at their SoundCloud page, and by purchasing Grey Anguish at their BandCamp page. In other words, go soothe your anguished yearning for high-quality Heavy Metal with Dissector, a band with an enormous potential who is evidently looking into the future with their modern and exciting music.

Best moments of the album: Sinking In Disgrace, An Angel With No Home and Keep My Trust.

Worst moments of the album: The World For the Few.

Released in 2015 Worldlessness Records

Track listing
1. Catastrophe Point (intro) 0:45
2. Grey Anguish 4:02
3. Deadline Pressure 3:22
4. Sinking In Disgrace 3:35
5. Delicately Yours 5:27
6. Subhuman 4:10
7. Hide Away 4:23
8. An Angel With No Home 3:47
9. The World For the Few 4:34
10. Even Me 3:30
11. Keep My Trust (feat.The Lust) 5:23

Bonus track
12. Deadline Pressure (No Voice Mix) 3:21

Band members
Yan – guitars, vocals
Oleg – bass
Max Delmar – keyboards
Andrey “Circle” – drums

Additional musicians
Mirla – female vocals on “Keep My Trust”
Alex Bolotov – guitar on “Keep My Trust”

Metal Chick of the Month – Masha Scream

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Славься, Русь, Земля моя!

We all agree that pretty much any Russian girl could be one of Victoria’s Secret’s best top models. What some of us don’t know is that many of those сексуальная women are also very talented artists, such as our Heavy Metal babe this month, the awesome Masha Scream, the founder, vocalist and main songwriter of Russian Epic Pagan Metal band Arkona (or Аркона, in Russian).

Born on January 9, 1983 in the Russian capital Moscow, Masha Scream’s real name is Maria Arkhipova (or Мари́я Архипова, in Russian). Although her musical influences and background come mainly from Pagan Metal, Black Metal and Folk Metal, Masha has mentioned in many interviews that Arkona is not just a music band, especially in regards to her creative process. There’s a lot of experimentation and development in the music created by Masha, in order to present to people her view of the world and what is in her soul, which means that basically nothing limits her in this process. According to Masha herself, “I’m inspired by life and all depends on the situation around me. Every my song is an emotional flash or pain about something.”

To date, Masha has already recorded with Arkona seven full-length studio albums and one EP, which are Vozrozhdeniye (2004), Lepta (2004), Vo Slavu Velikim! (2005), Ot Serdtsa K Nebu (2007), Goi, Rode, Goi! (2009), Stenka Na Stenku EP (2011), Slovo (2011), and Yav (2014), as well as three live albums called Zhizn Vo Slavu (2006), Noch Velesova (2009) and Decade of Glory (2013). A very curious fact happened on March 11, 2010, when a short clip of the song Yarilo, from the album Goi, Rode, Goi!, was featured on the St. Patrick’s Day episode of the U.S. version of the TV series The Office. The scene shows three janitors, who are probably Russian, entering the office with the song playing while the workers were still there, forced to work late.

Apart from Arkona, Masha has also recorded one full-length album with Russian Black Metal band Nargathrond, named Inevitability (2004); and was also the lead singer for Russian Doom/Power Metal band Slavery, that time as Masha Arhipova, during the year of 2000.

Masha has also appeared as a guest musician in many different bands and projects, and that was not only in Russia. To name a few, her powerful voice can be enjoyed on Russian Folk Metal band Svarga‘s first two albums (Ogni na Kurganah, from 2005, and There, Where Woods Doze…, from 2007), on Slovakian Folk Black Metal band Ancestral Volkhves‘ second studio album Perun Do Vas!!!, from 2008, on Russian Folk/Pagan Metal band Alkonost’s album The Path We’ve Never Made, from 2006, and on Russian Folk/Black Metal band Rossomahaar’s album The Reign of Terror, from 2010, among others.

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All that creativity and passion for music is also represented in Masha’s life by the incredible amount of different music instruments she can play. She doesn’t only sing extremely well, but she also plays keyboards, percussion, tambourine, komuz, acoustic guitars, shaker, and since 2002 she’s been also playing the Shaman’s drum. Our Russian diva also mentioned in one of her interviews that despite not being into politics at all, she truly loves the long and very complicated history of her country, especially its nature. This can be seen in any of Arkona’s videos, such as Slavsia, Rus, Liki Bessmertnykh Bogov and Zov Pustyh Dereven, where she’s in total contact with the four classical elements of nature, and in her lyrics always full of passion for all Russian and nature things. In my opinion, these are the key points that make Masha and her music so unique and captivating in the world of Heavy Metal, and something very few people are able to imitate or replicate in such a sublime (and aggressive) way.

Thereat,  not even the fact that Arkona’s music is totally sung in Russian has stopped Masha and her bandmates from conquering the world: the band has already been to different parts of the world to show their mighty music, including countries such as Germany, Sweden, Belgium, USA, Canada, Brazil, England, Italy, Portugal and many others. Among all of their tours and concerts, Masha mentioned that one of Arkona’s craziest experiences happened in the beginning of 2013 when the band went on the amazing 70,000 Tons of Metal cruise to the Caribbean, as one of the 40 attractions playing during the four-day cruise. “There were 4,000 people on board, a buffet and so many interesting things! We had a cabin with access to the ocean, and I was even lucky enough to see flying fish through the window.”, she said.

Of course nothing is perfect: Masha is married to her fellow band member Sergei “Lazar” Atrashkevich, with whom she has two children, so you can already stop dreaming about winning her heart and be satisfied by just admiring her beauty and her stunning music.

Masha Scream’s Official Facebook page
Masha Scream’s Official Twitter
Masha Scream’s Official VKontakte
Arkona’s Official Facebook page

“You don’t need to regret about what you have done because it’s part of your life and also part of you. You just need to remember your mistakes and to not make them again in the future!” – Masha Scream

The Metal Moose Show – Episode 2015-06-30

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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 German Death Metal band Misanthrope Monarch, Slovak Melodic/Symphonic Black Metal band Down To Hell and Finnish Melodic Post-Metal band Ovenizer (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. Methane – Spit On Your Grave
2. Withering Soul – In Absence
3. On Top – Go Crazy
4. Xul – Tomb Of Tyrants
5. Zygena – The Phoenix Effect
6. Trepidation – Take A Chance
7. Smackhandle – New Disease
8. Saturate – Compromise
9. Nobodys Straight – Autopsie
10. Nevermind The Riot – Sacrifice
11. Misanthrope Monarch – Father Sin And The Hollow Spirit
12. Knights Of The Remnant – Black Rose
13. Beauty In The Suffering – Reveille
14. Arch Demon – Broken
15. Gravil – Beyond Reprieve
16. Sacrificial Blood – The Nightmare Has Returned
17. Siren – Fire And Blood
18. Moshnix – Fresh Metal
19. Down To Hell – Pán Vetra, Búrky A Mrakov
20. My Life’S Despair – A Caress Of Stars
21. Ovenizer – Satan’s Washing Machine
22. Cosmic Waste – You’Re Not Allowed

Click HERE to listen to this week’s episode on Spreaker.

Metal Moose Radio YouTube | Spreaker | Mixcloud

Album Review – Nex Carnis / Obscure Visions of Dark (2015)

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The flesh might be dead already, but the rise of Death Metal in Iran has just begun.

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ArtworkLet’s be honest and acknowledge that none of us know much about the Heavy Metal scene in Iran due to many well-known reasons, mostly related to the country’s religious and cultural barriers. In fact, if you check the list of Iranian metal bands on the Encyclopaedia Metallum: The Metal Archives website, I’m sure you won’t recognize most of the names on the (extremely short) list. Fortunately, it seems that the tide is turning, Iranian metallers are now enjoying a higher level of liberty and, therefore, providing the world their share of heavy music, which is the case with old school Death Metal Nex Carnis.

After releasing their first demo in 2012 entitled Death of the Flesh, which by the way is the translation of the name of the band from Latin, and after some hurdles such as not being able to find a fitting drummer in the local scene, this talented Tehran-based group wants to show the world they’re ready to spread their evil wings and reach new heights with their debut ful-length album, the thunderous Obscure Visions of Dark. And if you’re a fan of that raw old school Death Metal perfect for having your brain melted after headbanging like crazy, you should definitely give these guys a shot.

The fuckin’ brutal opening track Darkened Rites of Existence, which is composed of two parts named “Part 1: Visions” and “Part 2: Labyrinth”, is very similar to what Brazilian Death Metal masters Krisiun do, just to give you an idea of how destructive the music by Nex Carnis is. Vocalist Asto Vidatu sounds like a wild beast with his growls, and it’s impressive how progressive the music is to an old school Death Metal band. In addition to that, what can I say about the infernal devastation caused by drummer Jirka “Jurgen” Zajíc during the last part of the song and the wicked guitar solo by guest musician Disguster? Anyway, with a macabre intro, Cryptic Depths of Unlight mixes the best elements from Death and Thrash Metal in a sick performance by all band members, with highlights to Incruent for leading all the breaks and variations with his morbid guitar riffs and solos.

3540353203_logoDissolution in Vortex of Sanity, which intro has that metallic guitar shredding we enjoy so much, offers the listener pure old school Death Metal where downright violence is its core factor. Not only that, Incruent and Jurgen provide all the necessary support for Asto Vidatu to keep roaring the song’s interesting lyrics, turning it into one of the top moments of the album. Following all that insanity we have Descent into Ethereal Realms, another song split in two parts (“Part 1: Entrance” and “Part 2: Transmigration”) where you can sense the influences of Morbid Angel, Slayer, Cannibal Corpse and other Thrash/Death Metal icons, but with an aerial atmosphere due to the content of its lyrics. And pay attention to the song after around four minutes, varying between a sonic blast perfect for a wild circle pit and a slower and more obscure rhythm that aims at being truly unearthly, consequently making the entire song even more entertaining.

Nex Carnis need only five seconds to begin pulverizing every living creature that crosses their path in Abolishing Rancid Thrones of Deceit, probably the most traditional of all tunes in terms of rhythm and heaviness. However, Incruent and Jurgen get a lot progressive and innovative in some instances, adding a lot of value to the final result, as well as the guitar solo by guest musician Rafael Barros. Besides, due to the maximum speed imposed by Jurgen on drums, the second half of the song flirts with Black Metal, yet another interesting variant present in their music. And lastly, these skilled Iranian death metallers don’t seem to get tired at all, firing huge doses of morbidity in Murky Pits of Time. This might sound stupid, but does anyone have some lozenges for Asto Vidatu? He will need those after snarling so deeply and intensely for almost seven minutes. Also, kudos to guest musician Jacek Hiro for providing the music some “tranquility” with his excellent guitar solo, just before the song reaches its apocalyptic ending.

In summary, Obscure Visions of Dark is a very solid Death Metal album that goes a little beyond the traditional boundaries of that specific type of metal, giving the listener not only another excellent option in the world of extreme music but also a unique opportunity to know more about the Heavy Metal scene in Iran. You can check the band’s official Facebook page for more updates on their releases and tour dates, and purchase their debut album at the Nightbreaker Productions webstore. The flesh might be dead as the name of the band states, but the rise of Death Metal in Iran seems to be in good hands if Nex Carnis keep delivering such high-end music throughout the years.

Best moments of the album: Darkened Rites of Existence and Dissolution in Vortex of Sanity.

Worst moments of the album: None.

Released in 2015 Nightbreaker Productions

Track listing
1. Darkened Rites of Existence 5:21
2. Cryptic Depths of Unlight 5:56
3. Dissolution in Vortex of Sanity 4:39
4. Descent into Ethereal Realms 6:39
5. Abolishing Rancid Thrones of Deceit 4:21
6. Murky Pits of Time 6:55

Band members
Asto Vidatu – vocals
Incruent – guitars, bass
Jirka “Jurgen” Zajíc – drums

Guest musicians
Jacek Hiro – guitar solo on “Murky Pits of Time”
Rafael Barros – guitar solo on “Abolishing Rancid Thrones of Deceit”
Disguster – guitar solo on “Darkened Rites of Existence”

Album Review – Gorgoroth / Instinctus Bestialis (2015)

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One of the most controversial Black Metal bands in the world delivers some truly bestial instincts in the form of gruesome and elaborate extreme music.

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instinctus bestialisNorwegian Black Metal is more than just a subgenre of Heavy Metal: it’s a renowned and very respectable movement that has been helping redefine the scope of extreme music, expanding its boundaries to a whole new level that’s not comprised of just the music itself, but of a wide variety of contentious topics such as religion, murder and ideology. If you don’t know much about it, I strongly recommend you watch the amazing documentary entitled Until the Light Takes Us (2008) to better understand the importance of this infamous musical subculture to society. And it doesn’t matter if you’re a fan of Black Metal or not, you must listen to Norwegian black metallers Gorgoroth to understand how all that controversy and darkness translates into music.

Formed in 1992 by the only original member remaining, Infernus, and named after the dead plateau of evil and darkness in the land of Mordor, from J. R. R. Tolkien’s fantasy novel The Lord of the Rings, Gorgoroth are releasing now in 2015 their ninth full-length studio album, the venomous Instinctus Bestialis. It’s important to say this is their first album to feature vocalist Atterigner and, more important than that, it’s indeed a solid addition to their polemic career, corroborating their status as one of the most influential Black Metal bands in history.

It’s simply amazing how violently the album starts with the opening track Radix Malorum, with its blast beats crushing our heads from the very first second while Atterigner shows why he was chosen by Infernus to be the new devilish voice of Gorgoroth. Following that ravage we have more infernal Black Metal in Dionysian Rite, with highlights to the great work on guitars by Infernus and to the demonic performances by Atterigner and Asklund with their vocals and drums, respectively. Moreover, I’m pretty sure most of the fans of the music by Gorgoroth will love the ominous Blackened Doom vibe present in the last part of the song.

gorgorothThe blasphemous and devastating Ad Omnipotens Aeterne Diabolus can be considered the most complete song of the album, showcasing a touch of melancholy, a beautiful melody, and of course that expected (but always awesome) visceral explosion of Black Metal. Asklund is kicking ass on drums once again, whilst Infernus keeps mastering the art of dark riffs and solos. And when the lyrics include screams such as “Hail Satan!”, you know you’re facing some good deranged music, right? Anyway, the short and direct Come Night is yet another melodic tune that doesn’t forget to be as satanic as Black Metal usually is, and despite not being the most creative song in the world it’s still very enjoyable; followed by Burn in His Light, where hints of Blackened Death Metal and even some progressiveness add a fresh taste to it. Besides, the robust background foundation by Bøddel and Asklund leave plenty of room for infernus to deliver more awesome riffs, increasing the song’s quality.

In one of the top moments of the album, Rage, its heavy guitar lines bring forth a wrathful Blackened Death Metal vibe, reminding me of the superb musicality found in The Satanist, the lasts masterpiece by Behemoth. This is a great addition to Gorgoroth’s weaponry and something they should be doing more in future releases, in my humble opinion. Kala Brahman, which has different meanings in Mithology depending on the culture but it’s usually a sea monster, an evil spirit or the supreme god to bring death and disease to mankind, presents a dense and obscure sonority enhanced by an atmosphere that couldn’t be more perverse and by an avalanche of traditional blast beats by Asklund. And the last track of the album, Awakening, doesn’t slow down at all, once again flirting with Blackened Death Metal and therefore resulting in a very rhythmic and imposing composition.

In summary, after all these years of controversy, depravity and radicalism, Gorgoroth prove they still got it, delivering a consistent work that sounds much more cohesive than many of their previous releases. To be fair, the addition of elements from genres such as Blackened Doom and Blackened Death Metal, rather than just sticking to raw old school Black Metal, was undoubtedly the right decision by Infernus and his horde in this album, truly expressing the most bestial instincts deeply entrenched inside the human being in the form of gruesome and elaborate Extreme Metal.

Best moments of the album: Dionysian Rite, Ad Omnipotens Aeterne Diabolus and Rage.

Worst moments of the album: Come Night.

Released in 2015 Soulseller Records

Track listing
1. Radix Malorum 3:14
2. Dionysian Rite 4:05
3. Ad Omnipotens Aeterne Diabolus 5:45
4. Come Night 2:41
5. Burn in His Light 4:02
6. Rage 4:03
7. Kala Brahman 5:23
8. Awakening 2:07

Band members
Atterigner – vocals
Infernus – guitars
Bøddel – bass
Asklund – drums

Album Review – Absconditus / Kατάβασις (2015)

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An obscure descent to the underworld in the form of extreme music by a talented Occult Black Metal act from France.

Rating5

IVR041 Absconditus_Katabasis_1600pxIn Greek mythology, Kατάβασις (pronounced “katabasis”) means a descent to the underworld, and that is exactly what you will feel while listening to the debut full-length album by French Occult Black Metal band Absconditus. By the way, the name of the band comes from Latin, meaning “occult” or “hidden”, which perfectly represents their musicality, lyrics and everything else. In other words, if you have the nerve to face such a cryptic band piercing your mind with their dark and deranged music, you may ultimately relish a distinct experience in Extreme Metal.

Founded in 2010 by guitarist/songwriter Loxias upon the ashes of French Cult Black/Death Metal band Borgia, Absconditus offer solid and dissonant melodies enhanced by hints of melancholy, drama and introspective tension, with Kατάβασις being the the initiatic path that one has to walk in order to gain freedom and mastery over existence in a demiurgic world, according to the band. Not only that, the whole album is sung entirely in French. Do you think this is already too much information to absorb? Well, wait until you read the rest of this review and, of course, listen to the entire album, and you’ll see this is just the beginning.

An intro that goes on for over three minutes like Prologue à l’Agonie (or “prologue to agony”, in English) gives you an idea of the obscure voyage that’s about to start. What begins in a slow and dark way suddenly becomes a massacre full of melancholy, setting the stage for the macabre Mystagogie des Limbes (“limbo mystagogy”), or the principles, doctrines, and practices of mysticism, powered by its beautiful lyrics (“L’effroi illumine ma voie, je perçois la ruine en eminence / Un oremus cristallin s’élève vers les cieux / La dualité de ma noblesse fait écho à la décadence des ages / Dans l’ascension vertigineuse de mon âme captive”) amidst an atmosphere generated by Blackened Doom. Is there a way vocalist Aliexagore could have sounded more desperate than this? Moreover, in my opinion its riffs somehow transport the listener to Norway due to their strong Black Metal-ish feeling.

3540396969_logoElegeía (Confession au Cénotaphe), or “elegy (confession at the cenotaph)”, which means an “empty tomb” or a monument erected in honour of a person or group of people whose remains are elsewhere, brings forth a huge amount of darkness and disgrace, including a draconian invocation performed by Aliexagore, Loxias and Guillaume Pingard. Drummer Anderswo shows he’s an extremely technical musician whose skills contribute to add extra layers of violence and intricacy to the musicality, while Loxias seems to be hypnotized by the dark side, delivering truly demonic lines. And get ready for the ending climax of the song, it is outstanding. Darkening their sonority a bit more we have Exultet – L’Aurore Schismatique (“exultet – schismatic dawn”), the hymn of praise sung, ideally by a deacon, before the paschal candle during the Easter Vigil in the Roman Rite of Mass. It varies from atmospheric Doom Metal to pure Black Metal, with Aliexagore sounding even more satanic than in the previous tracks and with the addition of considerable dosages of progressiveness thanks to the talent of the musicians involved, as if Mastodon became a Black Metal act.

Hybris au Bord du Précipice (“hybris at the border of the precipice”), with the word “hybris” meaning extreme pride or self-confidence, is yet another exhibit of despair and chaos, and even if you don’t speak French you will love those lyrics (“Je partage le destin du fils de Prométhée / Sans assumer la puissance de l’affront / La semeuse d’étoiles attend mon retour / Nourrissant les espoirs de la vermine affamée”). The music itself is comprised of Occult and Progressive Black Metal professionally put together, where Loxias tries some new techniques that elevate the magnitude of the music, with highlights to the last part of the song being some kind of downward spiral to the depths of hell. And lastly, Le Nouvel Astre (“the new star”) is an instrumental outro as sinister as the intro, a dark but beautiful ending where the amazing guitar lines by Loxias are perfectly complemented by the complex beats by Anderswo.

Featuring an at the same time beautiful but eerie artwork by British artist Bethany White, Kατάβασις, which can be purchased at the I, Voidhanger Records BandCamp page, exhales darkness and complexity, making it a recommended choice for your extreme music collection. If a downward journey to the underworld is part of your plans, let this occult French act help you with the soundtrack.

Best moments of the album: Elegeía (Confession au Cénotaphe) and Hybris au Bord du Précipice.

Worst moments of the album: None.

Released in 2015 I, Voidhanger Records

Track listing
1.Prologue à l’Agonie 3:30
2.Mystagogie des Limbes 8:46
3.Elegeía (Confession au Cénotaphe) 9:24
4.Exultet – L’Aurore Schismatique 8:39
5.Hybris au Bord du Précipice 7:56
6.Le Nouvel Astre 3:09

Band members
Aliexagore – session vocals
Loxias – guitars, bass
Anderswo – drums

The Metal Moose Show – Episode 2015-06-23

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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 Swedish Black Metal band Dys Inbunden and Italian Hard Rock band Roadless (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. Wrath Of Mot – Inflicted
2. Hobo – Black Moon
3. Between Falls – Love Me Hate Me
4. Zion Road – Searching For You
5. The Muted Pitch – Plummet
6. Specules – Smudge
7. New Day Dawn – Runaway
8. Embers Rise – New Life
9. Destruction Of Mankind – Justify
10. Arson City – City Of Fire
11. Armagore – What A Sh*t
12. Border Wars – Darkness Falls
13. Sovereign Council – The Human Condition
14. Ikillya – Not Dead Yet
15. Dys Inbunden – Draconigena
16. Vermillion Road – Your Throne
17. Vermillion Road – Tread On Me
18. Osculum Infame – Ocean Of Worms
19. Roadless – Hot Mamma
20. Titans Eve – War Path
21. Dryvr – Shadow Spade
22. Esotherisst – In Winters Arms

Click HERE to listen to this week’s episode on Spreaker.

Metal Moose Radio YouTube | Spreaker | Mixcloud

Concert Review – System Of A Down (Molson Canadian Amphitheatre, Toronto, ON, 06/19/2015)

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The most incredible Armenian squad in the world tore down the house with the recording of their first ever live album on a beautiful night in Toronto.

OPENING ACT: Craig Gass

If you’re not from Toronto or have never been to the spectacular Molson Canadian Amphitheatre, the only advice I have is that you should really take public transportation such as the Go Train to get there, because driving downtown Toronto especially during the end of spring and during the whole summer, when there are thousands of events happening at the same time in the city, is absolutely nuts.

Anyway, I’m not really sure if this can be called an opening act, but stand-up comedian and impressionist Craig Gass (and not comedian Rob Mailloux as it was announced a few days before the event) did a pretty good job in my opinion warming up an insane crowd avid for heavy music in what can be called a perfect day in terms of weather. For you who didn’t know him, he’s famous for lending his voice to the TV show American Dad!, for his impersonation of the unparalleled actor Al Pacino, and for being in several TV shows such as The King of Queens, Sex and the City and Law & Order. You can view his full career profile HERE.

Back to his performance, as I said he was way better than everyone at the venue could have expected, with his jokes being actually funny, his speech being very organic and with a nice flow, and his impersonation of Al Pacino being indeed amazing. To be fair, I don’t know if an opening band could have had a better response from the crowd than what happened to Craig. He was a excellent choice, and I hope that kind of “surprise” happens again in a near future with other major bands. Not to mention he had an ace up his sleeve when he simply mentioned that the Armenian-American Alternative Metal heroes every single metalhead, alternative or simply fan of good music was waiting for were about to record their first ever official live album right here in Toronto!

SYSTEM OF A DOWN

IMG_0440It was around 9pm when the wicked performance by System Of A Down started, tearing down the house with their unique mix of Heavy Metal, Hard Rock, Rock N’ Roll and other hundreds of music genres, creating something special only those guys are truly capable of crafting. The band showed all their love for Toronto with a flawless performance, and the fans at the venue responded back singing, screaming and jumping up and down nonstop to each and every song of their extensive setlist composed of over 25 songs.

The excellent Deer Dance already ignited the electricity among all fans, but it was when they started playing fan-favorites like Aerials, B.Y.O.B. and Revenga that things got really interesting. In Aerials, for instance, I don’t remember seeing a single soul not singing it together with Serj, Daron, Shavo and John. And talking about Mr. Serj Tankian, he perfectly incorporates the “less is more” spirit by not wearing any flashy or special clothes, not trying to steal the spotlight nor anything like that, but by only singing, dancing and having an awesome time on stage with the other band members and all the SOAD fans.

There isn’t much to say about the 100% fiery songs Bounce, Psycho (this one featuring snippets from “I Feel Love” by Donna Summer and “You Spin Me Round” by Dead Or Alive) and Chop Suey! Those songs are made to jump as high as you can and that’s what everyone did, including this guy here writing this review. In addition, it was pretty cool to witness over 15,000 people singing its beautiful lyrics with the band (“I don’t think you trust / In my self-righteous suicide / I cry when angels deserve to die”), including a group of four friends right in front of me who were having the time of their lives during the entire concert, drinking lots of beers and smoking everything they could.

IMG_0444Other songs that deserve some special recognition were one of my favorites of their arsenal, Toxicity (also featuring a snippet from “You Spin Me Round”, by the way); the ballad Lonely Day were thousands of lighters helped Mr. Daron Malakian and the fans give it a special touch while singing it in unison; and also Daron making fun of the stupid lyrics in the also frantic Cigaro. However, for me the most memorable song of their setlist was also my favorite song by SOAD, Prison Song. Just its intro with Serj whispering “They’re trying to build a prison…” already makes my blood run wild, but it was when they changed its lyrics as a tribute to their Torontonian fans, with Daron singing “I buy my crack, my smack, my bitch right here in TORONTO”, that their performance reached a whole new level. Simply amazing.

Last but not least, as the sound quality at the Molson Canadian Amphitheare is beyond perfect, I was able to carefully listen to the powerful sound delivered by drummer John Dolmayan and especially by bassist Shavo Odadjian. That guy is a beast on the bass guitar, not only supporting the performances by Serj and Daron but also offering the fans his own special rumbling lines for the delight of fans of heavier stuff. Unfortunately, after the also classic Sugar was over it was time to go back home, extremely satisfied with the concert that had just finished and knowing we’ll soon be able to watch everything again when their first ever live DVD is released. Hey man! Look at me rockin’ out, I’m on the videooooooo!

Setlist
1. Mind (Intro)
2. Deer Dance
3. Tentative
4. Aerials
5. Soldier Side (Intro)
6. B.Y.O.B.
7. Revenga
8. Soil
9. Darts
10. Radio/Video
11. DDevil
12. Needles
13. Hypnotize
14. Bounce
15. Suggestions
16. Psycho
17. Chop Suey!
18. Lonely Day
19. Question!
20. Lost in Hollywood
21. Honey
22. Forest
23. Suite-Pee
24. Prison Song
25. Cigaro
26. Toxicity
27. Sugar

Band members
Serj Tankian – vocals, keys
Daron Malakian – guitar, vocals
Shavo Odadjian – bass
John Dolmayan – drums