Concert review – SmugglerRok 2024 (Laurin Kenttä, Lieto, Finland, 08/02/2024 & 08/03/2024)

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Great names of the Finnish music scene were the guests of honor in the party that celebrated the 10th edition of SmugglerRok in Lieto, Finland.

SmugglerRok 2024 in Lieto, Finland, was a true celebration of Finnish music and culture, marking a milestone with its 10th edition. Held over two days on August 2nd and 3rd, the festival brought together some of Finland’s most beloved artists and bands, offering an eclectic mix of genres from blues and rock to heavy metal. The event highlighted the rich musical heritage of the country and created an unforgettable experience for fans, with performances that ranged from intimate and soulful to electrifying and high-energy.

DAY 1: August 2nd, Friday

ARTTU WISKARI
Arttu Wiskari opened the festival with his signature blend of blues, pop, and rock, showcasing his nearly 20-year career in the Finnish music scene. One of the mentors on The Voice of Finland, Arttu brought his experience and charisma to the stage, surprising the crowd with a special guest appearance by Anssi Kela during the final song, creating a memorable moment for all in attendance.

ANSSI KELA
Anssi is a celebrated figure in Finnish rock and folkrock and continued the afternoon with a setlist that spanned his long career, including his solo albums. His performance of songs from the iconic Nummela album, one of Finland’s best-selling records, resonated deeply with the crowd. Kela‘s soulful guitar work and emotive vocals were a highlight of the festival.

JUHA TAPIO
Juha Tapio brought a jazzy twist to the festival, supported by a brass section that added depth to his pop-rock set. Juha’s engaging performance reached a peak when he ventured into the crowd, connecting with fans in a heartfelt way. His interaction with Brazilian fans, even greeting them in Portuguese, was a delightful surprise, adding a personal touch to his show.

MAIJA VILKKUMAA
Maija Vilkkumaa, often hailed as the Queen of Finnish Rock, delivered a high-energy performance packed with her greatest hits. With a career spanning nearly 35 years, Maija’s stage presence was undeniable, and the audience’s enthusiasm reflected their appreciation for her timeless rock anthems. Her band was tight, enhancing the powerful vibe of her set.

KOTITEOLLISUUS
The first day of Smugglerrok ended with a heavy dose of hard rock from Kotiteollisuus. The band, hailing from Lappeenranta and known for their intense sound, delivered a robust performance. Frontman Jouni Hynynen led the charge with powerful vocals and guitar riffs, leaving the crowd exhilarated.

DAY 2: August 3rd, Saturday

UNIKLUBI
The second day of SmugglerRok kicked off with Uniklubi, who brought their alternative rock sound to the festival. This year is also a special one to the band as they are celebrating 20 years since the release of the album “Rakkautta ja piikkilankaa”. The set was nostalgic and powerful, with “Huomenna” standing out as an emotional high point that united the crowd in a collective moment of reflection and connection.

ERJA LYYTINEN
Erja Lyytinen, the reigning Queen of Finnish Blues, dazzled with her exceptional guitar skills and commanding stage presence. Known internationally and acclaimed as “The Best Guitarist of the Year” by the European Blues Awards in 2017, Lyytinen delivered a masterclass in blues, seamlessly blending technical prowess with soulful performances, leaving the audience in awe.

MICHAEL MONROE
The legendary frontman of Hanoi Rocks brought some great energy to the festival! At 62, Monroe’s boundless energy was infectious, as he performed both classics and tracks from his solo career, including his latest album “I Live Too Fast to Die Young”. His dynamic performance included climbing the stage structure and mingling with fans, proving his status as a rock icon. Kudos to his roadie who didn’t have a moment of rest – in a blink of an eye, Michael can be anywhere on stage or in the middle of the crowd!

JARKKO AHOLA
Jarkko Ahola offered a diverse set, blending covers of classic hits with his own material. Known for his powerful vocals, Ahola revisited his metal roots with two of Teräsbetoni favorites, “Orjatar” and “Taivas Lyö Tulta”, and performed some undeniable rock classics songs from Queen, Scorpions, Whitesnake and Pet Shop Boys, and more, showcasing his versatility and range.

BATTLE BEAST
Closing the festival was Battle Beast, one of Finland’s leading contemporary metal bands. They delivered a powerhouse performance that had the audience chanting along to hits like “Circus of Doom” and “King for a Day”. Their set was the perfect ending to a festival that celebrated Finnish music in all its glory, leaving fans energized and asking for more metal.

WHOLE LOTTA 70’S & ULLANLINNAN ELVIS
In addition to the main stage performances, the secondary stage at Smugglerrok Festival also buzzed with excitement thanks to the local bands Whole Lotta 70’s and Ullanlinnan Elvis. These bands kept the energy high during breaks from the main stage, entertaining the crowd with timeless rock classics from around the world and Finland. Their sets were a perfect complement to the festival’s atmosphere, ensuring there was never a dull moment between the acts.

The 10th edition of SmugglerRok was nothing short of legendary. Once again the festival brought life, rhythms, lights and smiles to the little city of Lieto. The blend of legendary artists, rising stars, and local talents created an atmosphere of unity and celebration. As the final notes faded and the crowd dispersed, there was a shared feeling of fulfillment and anticipation for what next year’s festival might bring.

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Album Review – Ignobleth / Voidspawn Sacrifice EP (2024)

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This young and restless Italian Black Metal trio is ready to wage war upon us armed with their violent debut offering.

Born from the need to bring to mortals the truest war spirit, Northern Italy-based Black/Death Metal horde Ignobleth, whose young members are only 16 and 17 years old, merges fast and frenetic riffs and blast beats to slow and macabre sections in order to create a sinister and obscure atmosphere. Now in 2024 it’s time for vocalist and bassist Bloodlord Ixiataaga, guitarist Nex VII, and drummer Kommander Baal to crush our damned souls with their debut EP Voidspawn Sacrifice, offering us all 15 minutes of what they like to label as “War Metal” in a fun and vibrant album nicely recorded at Atomic Arts Studios and co-produced with Sulphur Music.

The ominous intro Golgotha VII will take you to the Stygian world ruled by Ignobleth, darkening your putrid souls before they attack you with Bestial Witchery, a venomous Black Metal extravaganza that sounds taken from the glory of the 80’s and 90’s, although the band members were all born in the 2000’s, and where Bloodlord Ixiataaga’s gruesome vocals sound demonic while always accompanied by the ruthless riffs by Nex VII. Then adding elements of Doom Metal to their already infernal sonority it’s time for the cryptic, sulfurous Omen Of A Nuclear Spell, with Kommander Baal taking the lead with his sluggish and heavy-as-hell beats. Lastly, back to a more visceral, demented sound, the band brings forth the Black Metal onrush Wrathful Eradication, inviting us all to worship Satan while slamming into the circle pit to their solid fusion of Black and Death Metal, spearheaded by the guttural roars by Bloodlord Ixiataaga.

The infernal trio formed of Bloodlord Ixiataaga, Nex VII and Kommander Baal is waiting for you in their Stygian lair on Facebook and on Instagram, where you can get more details about their underground black masses (also known as live performances), and you can definitely put your dirty hands on Voidspawn Sacrifice by purchasing it from the Masked Dead Records’ BandCamp or webstore. It’s really cool to see fresh young blood crafting high quality Black Metal, paving a great future ahead of the band and the genre, and may those talented Italian musicians keep waging war with more of their caustic music in the form of several thrilling albums like their debut EP in the coming years.

Best moments of the album: Bestial Witchery.

Worst moments of the album: None.

Released in 2024 Masked Dead Records/Sulphur Music

Track listing
1. Golgotha VII (Intro) 1:25
2. Bestial Witchery 4:30
3. Omen Of A Nuclear Spell 5:44
4. Wrathful Eradication 3:43

Band members
Bloodlord Ixiataaga – vocals, bass
Nex VII – guitars
Kommander Baal – drums

Album Review – 1349 / The Wolf and The King (2024)

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Oslo, Norway’s own horde 1349 is back with their eight studio offering, the latest sortie in their infinite crusade for the legacy of Black Metal.

A band formed with a unified vision and specific purpose, to maintain the legacy of Black Metal, Oslo, Norway’s own horde 1349 is unleashing upon humanity this year their eighth studio opus, titled The Wolf and The King, the latest sortie in that crusade. Recorded, produced, mixed and mastered by Jarrett Prichard at Amper Tone Studio  and New Constellation R.M.P., and displaying a striking cover Art by Jordan Barlow (reflecting the album’s chronological position in 1349’s discography, as the artwork and lyrics are filled with references to number eight, the number of infinity), the new demonic offering by frontman Ravn, guitarist Archaon, bassist Seidemann and drummer Frost sees the band harnessing the primordial energy of Black Metal’s decade-defining second wave and channeling it through ancient mysteries and the relentless global chaos of the 2020’s, with the album title coming from a classic alchemical allegory, where a wolf devours a king, then the wolf is devoured by flames, and a new king rises from the ashes.

Classic evil Norwegian sounds permeate the air in the opener The God Devourer, with Frost already hammering his drums manically while Ravn roars and growls nonstop, resulting in the perfect soundtrack for some vigorous headbanging in pitch black darkness; whereas continuing their demonic path to the underworld it’s time for Ash of Ages, with the caustic riffs by Archaon being nicely complemented by the thunderous bass by Seidemann. On a side note, they’re already playing it on their live shows (like the one in Toronto in May this year), and it sounds incredible. Then Frost’s devilish machinery keeps adding endless heaviness to 1349’s music in Shadow Point, a solid, in-your-face Black Metal extravaganza by the quartet, followed by Inferior Pathways, one of the most infuriated of all songs, with the entire band sounding ruthless, in special Archaon with his scorching riffs and Ravn with his inhumane, otherworldly gnarls.

The menacing bass by Seidemann kicks off Inner Portal, a demonic feast by 1349 overflowing madness, obscurity and rage, with Frost once again blasting his drums with great Black Metal fury; and investing in an even more demented, furious sonority we’re treated to The Vessel and The Storm, a lecture in Black Metal by those Norwegian blasphemers where Ravn’s harsh, caustic vociferations will penetrate deep inside your damned soul. Obscura is kind of a confusing song where all instruments seem to be “too much”, albeit Ravn still showcases all his vocal potency, keeping the song as grim as possible, and closing another successful black mass by 1349 we have almost six minutes of infernal music in the form of Fatalist, with Frost’s tribal beats and Ravn’s deep roaring sending shivers down our spines, growing in intensity and obscurity to the crushing sounds blasted by all band members until its Stygian finale.

“When I first heard about alchemy when I was young, it was people turning metal into gold,” commented Ravn. “Further down the road, through various literatures and magical practices, I realized that what you’re turning into gold is metaphorical. It’s about personal development, basically. You want to be the best you can be, and that’s what we try to do as well. We try to top ourselves, to kill our egos in order to grow as persons. If you don’t do that, you will die. You will not rise from the ashes.” These words by Ravn beautifully depict what you’ll find in The Wolf and The King, available from the band’s own BandCamp page, as well as from Season of Mist in the US or worldwide (or simply click HERE), and you can also stay updated with all things 1349 on Facebook and on Instagram, and stream more of their undisputed Black Metal on Spotify. As number eight represents infinity, we can say that The Wolf and The King will undoubtedly echo the band’s Black Metal for all eternity, leaving us all eager for more 1349 in the near future, always ready to succumb to their black magic.

Best moments of the album: Ash of Ages, Inferior Pathways and The Vessel and The Storm.

Worst moments of the album: Obscura.

Released in 2024 Season of Mist

Track listing
1. The God Devourer 5:10
2. Ash of Ages 5:27
3. Shadow Point 3:40
4. Inferior Pathways 4:28
5. Inner Portal 5:08
6. The Vessel and The Storm 5:15
7. Obscura 3:44
8. Fatalist 5:51

Band members
Ravn – lead vocals
Archaon – guitars, backing vocals
Seidemann – bass, backing vocals
Frost – drums

Album Review – Phaëthon / Wielder of the Steel (2024)

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An up-and-coming UK Epic Heavy Metal band strikes with their debut album, an eight-song herald of metal reverence and majesty delving into the profound impact of narratives on humankind – be it of gods, superstitions, or outright lies.

Formed in 2020 in London, England with the distinct goal of delivering ripping old school Heavy Metal of the epic persuasion, the incendiary outfit Phaëthon emerged on the metal underground with their 2020 debut EP Sacrifice Doth Call. Now in 2024, the band formed of vocalist Vrath, guitarist Decado, bassist Aees and drummer Oskarath brings forth monumental classic metal on their first full-length, Wielder of the Steel, a masterclass in metal glory. Recorded, mixed and mastered by Tom Dring at The Arch Recording Studio, and displaying a stunning artwork by German artist Scheinlichter (aka Stefan Bleyl), Wielder of the Steel is an eight-song herald of metal reverence and majesty that will no doubt appeal to fans of Manowar, Mercyful Fate, Bathory and Cirith Ungol, delving into the profound impact of narratives on humankind – be it of gods, superstitions, or outright lies – extending beyond the confines of Greek mythology.

Soldiers, grab your swords, shields and hammers and head into the battlefield to the sound of Eternal Hammerer, where the riffs by Vrath and Decado will inspire you to bang your heads nonstop in an old school Heavy Metal party with a beautiful epic vibe, flowing into the six-minute aria Vanguard of the Emperor, led by the galloping bass and drums by Aees and Oskarath, respectively, therefore resulting in the perfect soundtrack for a violent battle against all evil. Then leaning towards classic Heavy Metal taken directly from the 80’s we have For the Greater Good of Evil, where Vrath delivers solid, deep vocal lines while his bandmates craft an electrifying sound tailored for raising our horns in the air; whereas Tolls of Perdition is a more cadenced, grim creation by the quartet which lacks more energy, although its Doom Metal elements sound heavy and vile.

Back to a more vibrant sonority, the band offers another warrior-like metal hymn titled Blasphemers, with the soaring vocals by Vrath matching perfectly with all riffage, bass lines, beats and fills. In other words, no one can stand still to its power and electricity; and their Epic Heavy Metal attack goes on in the headbanging tune Forgotten Gods, where Oskarath once again takes the lead with his pounding drums. After that, old school riffs and tribal beats ignite the second to last song, titled Phaëthon Must Fall, with Vrath leading his metal brigade with his inspiring vocals in another song that sounds like it was taken directly from the glory of the 80’s. And last but not least, let’s embark on a 10-minute metal journey in the title-track Wielder of the Steel, starting in a serene, soothing manner to the passionate vocals by Vrath, gradually evolving into a galloping onrush of traditional Heavy Metal where Aees and Oskarath sound amazing with their groovy kitchen.

Weaving a sonic and narrative journey through eras of valor and conflict, empires lost to time, and epic tales of defiance and ambition, all laying bare the eternal juxtaposition between mankind’s hubris and his indomitable spirit, Wielder of the Steel is a must-have for admirers of the style, and you can purchase your copy of the album on BandCamp or from the Cruz Del Sur webstore as a CD, a black LP, or a transparent blue MLT 100 LP. Also, don’t forget to join the band and their epic battles on Facebook and on Instagram, keeping up to date with all things Phaëthon. Those UK metallers are wielding the steel in the name of Epic Heavy Metal in their first full-length album, and you’re more than invited to fight side by side with them to the sound of their inspiring creations.

Best moments of the album: Eternal Hammerer, For the Greater Good of Evil and Blasphemers.

Worst moments of the album: Tolls of Perdition.

Released in 2024 Gates of Hell Records

Track listing
1. Eternal Hammerer 3:31
2. Vanguard of the Emperor 6:15
3. For the Greater Good of Evil 3:34
4. Tolls of Perdition 7:08
5. Blasphemers 4:08
6. Forgotten Gods 4:34
7. Phaëthon Must Fall 4:02
8. Wielder of the Steel 9:45

Band members
Vrath – vocals, guitar
Decado – guitar
Aees – bass
Oskarath – drums

Album Review – God Dethroned / The Judas Paradox (2024)

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These Dutch Blackened Death Metal legends are back to offer up their latest sacrifice, delving deep into the catacombs of religion.

Delivering the goods since their inception in the distant year of 1990, Dutch Blackened Death Metal legends God Dethroned have returned to offer up their latest sacrifice, their new album The Judas Paradox. Recorded and mixed by Henri Sattler at Woodland Park, and mastered by Tony Lindgren at Fascination Street Studios, the new album by vocalist and guitarist Henri Sattler, guitarist Dave Meester, bassist Jeroen Pomper, and drummer Frank Schilperoort delves deep into the catacombs of religion, drawing inspiration from mythology from all over the world, taking the listener on a thrilling, thought-provoking journey from Christian history to Greek mythology, complete with layers of dark, heavy riffs and nuanced classical touches.

The title-track The Judas Paradox kicks off the album on a melodic and grim note, with Henri already vociferating rabidly supported by the enfolding instrumental pieces by his bandmates while Frank dictates the pace with his classy Black Metal beats and fills, whereas the first single of the album, titled Rat Kingdom, brings to our ears a harsh and acid dosage of their trademark Black Metal, with the piercing riffage by Henri and Dave sounding wicked from start to finish. The Hanged Man presents four minutes of sulfurous extreme music for our total delight, with the vile beats by Frank walking hand in hand with the rumbling bass by Jeroen, flowing into the cinematic interlude Black Heart, setting the stage for the pulverizing Asmodeus, offering everything we learned to love in their caustic Black Metal, from the harsh roars by Henri to the blast beats by Frank, not to mention their riffs and bass lines exhale pure Black Metal magic, embracing us all in pitch black darkness.

Kashmir Princess is one more doomed, devilish aria by this iconic Dutch horde where their guitars sound melodic yet demonic, providing Henri with all he needs to roar in a vile manner, and investing in a more direct and traditional Black Metal sound led by the infernal growls by Henri we have Hubris Anorexia, a song perfect for darkening the skies in the name of evil. The next song, titled The Eye of Providence, is not a very strong tune, lacking the same energy of the rest of the album albeit still sounding grim and evil; whereas back to a more frantic, demented Black Metal sonority, it’s time for Henri to burst his lungs screaming supported by his bandmates’ hellish sounds in Hailing Death. They still have a lot of (demonic) fuel to burn in Broken Bloodlines, a headbanging, impactful Black Metal onrush where the sound of their guitars will embrace your damned soul before dragging you to the underworld for all eternity; and their black mass reaches its conclusion with the also disturbing War Machine, bringing forward one last blast of their trademark Black Metal where Henri darkly declaims the song’s eerie words in great fashion.

As already mentioned, the new album by the almighty God Dethroned is indeed a musical voyage to the darkest corners of religion, and you can let their music consume your rotten soul by following the band on Facebook and on Instagram, including of course their sulfurous tour dates, by streaming all of their vast catalogue on any streaming service like Spotify, and above all that, by purchasing your favorite copy of The Judas Paradox by clicking HERE. God Dethroned once again take no prisoners in their quest for extreme music with The Judas Paradox, and while the church continues to destroy our already corrupt and decaying world, those Dutch metallers will keep drawing inspiration from everything that’s evil about religion to open our eyes and our minds to all that to the sound of their venomous music before it’s too late.

Best moments of the album: Rat Kingdom, Asmodeus and Hubris Anorexia.

Worst moments of the album: The Eye of Providence.

Released in 2024 Reigning Phoenix Music

Track listing
1. The Judas Paradox 6:02
2. Rat Kingdom 3:39
3. The Hanged Man 4:02
4. Black Heart 0:50
5. Asmodeus 3:33
6. Kashmir Princess 4:48
7. Hubris Anorexia 3:37
8. The Eye of Providence 3:34
9. Hailing Death 5:28
10. Broken Bloodlines 3:23
11. War Machine 3:58

Band members
Henri Sattler – vocals, guitars
Dave Meester – lead guitars
Jeroen Pomper – bass
Frank Schilperoort – drums

Album Review – Gutvoid / Breathing Obelisk EP (2024)

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One of the best still-young Death Metal entities from Canada challenges you to stand before their Breathing Obelisk.

Since their formation in 2019, the ascent of Toronto, Canada’s Death Metal entity Gutvoid has been nothing if not meteoric. From their 2019 debut EP Astral Bestiary to their 2022 full-length opus Durance of Lightless Horizons, the band churned forth a world-eating metal of death that duly devoured the listener whole. Currently formed of Brendan Dean on vocals and guitars, Daniel Bonofiglio also on the guitars, Justin Boehm on bass, and D.W. Lee on drums, the band is unleashing upon us their brand new 31-minute EP Breathing Obelisk, a grim and visceral creature embraced by the otherworldly artwork by Marcio Blasphemator that will surely cement their status as one of the best still-young Death Metal entities around.

Those four demented metallers transport us to their Stygian realm with their minimalist notes in Swamp Consumed, gradually evolving into a darkened Death Metal entity to the visceral roars by Brendan and the hammering drums by D.W. Lee, presenting elements from Doom Metal and Blackened Doom embedded in their core (and evil) essence, whereas For We Are Many, the first single of the album (which they played live with Tomb Mold and Horrendous in Toronto), is a lecture in Progressive Death Metal sounding dissonant, intricate and disturbing, with Brendan and Daniel making an amazing guitar duo while Justin supports them with his menacing bass (not to mention it’s easy to sense elements from Brendan’s Fathomless Ritual in the riffs). Let’s then embark on one more cryptic, grim voyage together with Gutvoid in When The Living Dome Opens, again presenting their trademark vociferations, low-tuned, groovy bass lines and pounding drums, sounding dark and evil until the very end; and the last song of the EP, entitled Shodar, offers us all seven minutes of solid, melodic and visceral Death Metal led by the strident riffs by Brendan and Daniel, an awesome headbanging feast by the quartet where Brendan continues to deeply gnarl like a demonic entity.

After all is said and done, Gutvoid challenge you to stand before their Breathing Obelisk, and you can do that by following them on Facebook, Instagram and YouTube, by listening to their wicked music on Spotify, and by purchasing a copy of their new EP from Blood Harvest’s BandCamp page or webstore as a CD, a MLP or a cassette. In other words, do you think you have what it takes to face Gutvoid’s menacing and caustic Breathing Obelisk?

Best moments of the album: For We Are Many and Shodar.

Worst moments of the album: None.

Released in 2024 Blood Harvest

Track listing
1. Swamp Consumed 9:50
2. For We Are Many 5:51
3. When The Living Dome Opens 7:20
4. Shodar 7:03

Band members
Brendan Dean – vocals, guitars
Daniel Bonofiglio – guitars
Justin Boehm – bass
D.W. Lee – drums

Album Review – Born Of A Bastard King / Eviscerate EP (2024)

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A real pro mental health band from Down Under offers a solid fusion of old school Death Metal, 2000’s Groove Metal and Hardcore in their debut EP.

Inspired by the older sounds of the 90’s and 2000’s plus present-day heavy music, Born Of A Bastard King are a South East Melbourne, Australia-based band that utilizes old school Death Metal, 2000’s Groove Metal and Hardcore to create a unique sonic experience, which is exactly what you’ll find in their debut EP titled Eviscerate. Formed of Nick Apthorpe on vocals and bass, Scott Masson (of bands previously reviewed by The Headbanging Moose like Klendathu, Apocalyptian and He Who Seeks Vengeance) on the guitars, and Kye Bradbury on drums, Born Of A Bastard King are a real pro mental health band, as there’s no bravado or power dynamic hassles that they have all experienced through previous bands, resulting in a fun and uncompromising record tailored for fans of Obituary, Slipknot, DevilDriver, Trivium, Sepultura and Soulfly, among several others.

Scott showcases his new passion for the riff in the opener Erosion, supported by the massive bass by Nick and the crushing drums by Kye, a straightforward Death Metal attack by the trio perfect for some vigorous headbanging; and the bass by Nick keeps reverberating in Starve the Sun, another demented tune by the band that presents all elements we love in Death and Groove Metal with a strong Hardcore vibe. Their rage and aggression keep flowing majestically in Blood Poisoning, with the vile roars by Nick walking hand in hand with the unstoppable riffs by Scott, followed by Juarez, a neck-breaking extravaganza where Kye shows no mercy for his drums, delivering crushing beats nicely complemented by the stringed attack by his bandmates. Nick’s metallic bass kicks off the also heavy and furious Skin Walker, delivering an overdose of Death Metal boosted by his own deep gnarls and the always caustic riffs by Scott, whereas lastly, Scott, Kye and Nick bring to our avid ears the austere, grim Trespasser, offering more of their harsh sounds spearheaded by the enraged growls by Nick.

If you love to explore the underground, you should definitely give the guys from Born Of A Bastard King a shout on Facebook and on Instagram,  staying up to date with their news and tour dates (in special if you live Down Under, of ocurse), and stream their debut EP in full on Spotify and on other streaming platforms. Scott, Nick and Kye are having a very good time with Born Of A Bastard King, and I’m sure you will too once you hit play and let the solid music found in their caustic and sharp debut effort flow through your metallic mind and veins, inspiring you to bang your head nonstop like there’s no tomorrow together with those talented musicians.

Best moments of the album: Starve the Sun and Blood Poisoning.

Worst moments of the album: None.

Released in 2024 Independent

Track listing
1. Erosion 3:53
2. Starve the Sun 3:48
3. Blood Poisoning 3:28
4. Juarez 2:43
5. Skin Walker 4:54
6. Trespasser 4:00

Band members
Nick Apthorpe – vocals, bass
Scott Masson – guitars
Kye Bradbury – drums

Album Review – Pneuma Hagion / From Beyond (2024)

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This auditory Texan Black and Death Metal onslaught returns with their new and brutal album, exploring Lovecraftian ideas of horrifying extra-dimensional entities forcing their way into the causal universe by infecting the minds of humans.

The auditory Black and Death Metal onslaught hailing from Texas and known as Pneuma Hagion, which is Greek for “Holy Spirit”, is about to unleash upon humanity their third full-length album, titled From Beyond, a relentless barrage of down tuned brutality that will resonate deep with the darkest chords of your soul. Mixed and mastered by Mike G, with the vinyl master being taken care of by Carlo Altobelli at Toxic Basement Studios, and displaying a stylish cover art by English poet, painter, and printmaker William Blake (1757-1827), the new album by the monstrous duo R. on vocals, guitars and bass, and S. on drums explores Lovecraftian ideas of horrifying extra-dimensional entities forcing their way into the causal universe by infecting the minds of humans. Each song is from the perspective of some malevolent entity of unfathomable nature trying to influence the world of mortals and trying to infiltrate our universe in order to cause its ultimate destruction.

The opener Harbinger Of Dissolution sounds groovy and infernal from the very first notes, with R. delivering an overdose of aggression through his riffs and vocals supported by the classic blast beats by S., while Resurrected Abominations is a lesson in old school, primeval Death Metal by the duo, with their Cannibal Corpse-inspired riffs and beats turning it into the perfect soundtrack for some sick mosh pit action. Lurking Beyond Time And Space offers another two and a half minutes of sheer animosity and heaviness led by the cadaverous roars by R., who also hammers his guitar and bass mercilessly nonstop; and the duo keeps haunting our damned souls in Those Who Obey, a Death Metal onrush tailored for fans of the genre showcasing a brutal and evil performance by S. on drums. It’s then time to break our necks headbanging to the caustic riffs by R. in The Temple Fires, bringing forward a beyond heavy sound boosted by the deep guttural by R., exploding into sheer madness halfway through it.

Then investing in a much more demented and visceral sonority the duo will pierce our cranial skulls with Aeon, a thunderous tune overflowing groove with the infernal drums by S. providing R. with exactly what he needs to bark and growl like a beast, and there’s no time to breathe in The Light of Long-Dead Stars, another pulverizing aria of classic Death Metal spearheaded by the hellish roars and caustic riffs by R. There are two more demonic chants to go, starting with All Worlds Enslaved, where the duo once again destroys our frail bodies with their dense and fierce sounds, with S. sounding inhumane on drums as usual, therefore adding even more violence to their music. Finally, get ready to be smashed like a putrid insect in the closing tune Archon, offering their characteristic aggression led by the demented drums by S. while R. continues to vociferate in the name of extreme music.

In a nutshell, From Beyond is thick, raw, crushing and unfiltered aggression made in Texas, and Pneuma Hagion are definitely waiting for you on Facebook to join them in their malevolent realm of Death Metal. Also, don’t forget to stream their music on Spotify, and obviously to show them all your support by purchasing their wicked new album by clicking HERE (physical) or HERE (digital). In other words, the otherworldly entities depicted in From Beyond are ready to take over our rotten world, and the Death Metal by Pneuma Hagion is exactly what they need as the soundtrack to their upcoming apocalyptic strike.

Best moments of the album: Resurrected Abominations, Aeon and Archon.

Worst moments of the album: Lurking Beyond Time And Space.

Released in 2024 Everlasting Spew Records

Track listing
1. Harbinger Of Dissolution 2:43
2. Resurrected Abominations 2:51
3. Lurking Beyond Time And Space 2:25
4. Those Who Obey 2:57
5. The Temple Fires 2:54
6. Aeon 2:49
7. The Light of Long-Dead Stars 2:48
8. All Worlds Enslaved 2:51
9. Archon 2:03

Band members
R. – vocals, guitars, bass
S. – drums

Album Review – Knightsune / Fearless (2024)

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These Spanish rockers attack again with their sophomore album, retaining the elements of melody and power from their previous work while also showcasing an evolution in both composition and production.

Retaining the elements of melody and power present in the band’s previous work while also showcasing an evolution in both composition and production, Fearless, the brand new album by Zaragoza, Aragon, Spain-based Heavy/Power/Speed Metal act Knightsune emerges with a harder, rawer, and more forceful approach, marking a significant progression for the band. Produced and mixed by Miguel A. Riutort at Psychosomatic Studio, with vocals produced by Israel Ramos at Dante Music Studios, mastered by Jacob Hansen at Hansen Studios, and displaying a classic artwork by Colombian artist Felipe Machado Franco, the new album by vocalist Victor Alcalá “Kendoru”, guitarists Victor V. Gairhald and Diego Alastruey “Alas”, bassist Carlos Vicente, and drummer Rubén Castrillo integrates elements of Groove, Progressive and Melodic Death Metal into their core sound rooted in Heavy, Power and Thrash Metal, turning it into a must-listen for fans of modern-day heavy music.

The riffs by Victor and Alas will take you to a world of pure Heavy Metal in the title-track Fearless, accompanied by the hammering drums by Rubén, while Kendoru’s vocals soar high just the way we like it in this type of music. A Sky Full Of Ghosts is another classic Power Metal tune made in Europe, with Rubén once again dictating the pace with his fierce and intricate beats, whereas a calm and serene start suddenly explodes into another powerful sonority in Twilight Of The Heroes, offering our ears fast-paced, no-shenanigans metal music led by the classic vocals by Kendoru. Rubén keeps hammering his drums in Under One Sound, an electrifying creation by the band showcasing endless stamina and the always classy riffs and solos by Victor and Alas; followed by The Pain I Leave, featuring guest Memphis Jiménez, starting in a serene manner to the melancholic vocals by Kendoru who makes an amazing vocal duet with Memphis in a charming ballad by the band.

Then featuring guest vocalist  Elisa C. Martín (Hamka, Dark Moor), Forever is a more straightforward Power Metal tune by those Spanish rockers, with the guitars by Victor and Alas being nicely supported by the rumbling kitchen by Carlos and Rubén, followed by Pistols At Dawn, a galloping composition that doesn’t add much to the album, although it still brings forward the band’s solid instrumental pieces and vocal lines. Back to a more vibrant, breathtaking sound it’s time for Purple & Green, where the riffage by the band’s guitar duo matches perfectly with the unstoppable beats by Rubén; and almost nine minutes of epic passages, thunderous bass lines, crushing drums and striking vocals are offered to us all in The Island, with Victor and Alas speeding things up with their ass-kicking riffs, blending all their influences the likes of Iron Maiden, Judas Priest, Stratovarius and so on. Last but not least, the band brings forward an avalanche of classic Power Metal with tons of Melodic Metal nuances in Not Over, featuring guest vocals by Herbie Langhans (Steel Rhino, The Lightbringer of Sweden), putting a beyond electrifying ending to the album.

Kightsune are on absolute fire in Fearless, and you can join them in their quest for heavy music by following them on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming their music on Spotify, and of course by purchasing their new album from their BandCamp page or from Art Gates Records as a CD + shirt + signed postcard bundle, a CD + girlie shirt + signed postcard bundle, or as a CD + hoodie + mug + signed postcard bundle. Those Spanish rockers are not afraid of experimenting with different rock and metal elements in their new album, and let’s hope they keep on doing that in their upcoming releases as the final result in Fearless is definitely exciting.

Best moments of the album: Fearless, Under One Sound and Not Over.

Worst moments of the album: Pistols At Dawn.

Released in 2024 Art Gates Records

Track listing
1. Fearless 7:01
2. A Sky Full Of Ghosts 4:52
3. Twilight Of The Heroes 7:40
4. Under One Sound 4:48
5. The Pain I Leave 5:17
6. Forever 5:05
7. Pistols At Dawn 6:26
8. Purple & Green 5:29
9. The Island 8:53
10. Not Over 4:03

Band members
Victor Alcalá “Kendoru” – vocals
Victor V. Gairhald – guitar
Diego Alastruey “Alas” – guitar
Carlos Vicente – bass
Rubén Castrillo – drums

Guest musicians
Memphis Jiménez – vocals on “The Pain I Leave”
Elisa C. Martín – vocals on “Forever”
Herbie Langhans – vocals on “Not Over”