Album Review – Oceans of Slumber / Where Gods Fear to Speak (2024)

Posted on by
Reply

One of the must-see names of the Progressive Rock and Metal scene returns with their sixth full-length album, sounding like a dystopian western or a post-apocalyptic survival movie.

More than a decade has passed since the release of Aetherial, the debut album by Houston, Texas-based Progressive Metal/Rock band Oceans Of Slumber, and a lot has changed since then for this “Dark Cinematic Metal” outfit. After recruiting Cammie Gilbert (now Gilbert-Beverly) in 2014, the crew’s trajectory took a natural, upward tilt, fueled by the hugely positive response received by second album, Winter, released in 2016. Monuments to a restless creative spirit, the band’s third, fourth and fifth albums, The Banished Heart (2018), Oceans Of Slumber (2020) and Starlight and Ash (2022), raised the stakes ever higher. Recorded at Estudios Audiovision, produced, mixed and engineered by Joel Hamilton at Studio G, mastered by Maor Appelbaum at Maor Appelbaum Mastering, and displaying a classy artwork by Giannis Nakos of Remedy Art Design, their sixth full-length opus, titled Where Gods Fear to Speak, sees the band exploring new heights, therefore sounding even tighter and more compelling than before, proving why vocalist Cammie Beverly, guitarists Alex Davis and Chris Kritikos, bassist Semir Ozerkan and drummer Dobber Beverly have become a reference in the style.

The album kicks off with the darkly embracing title-track Where Gods Fear to Speak, where the heaviness in the guitars by Alex and Chris make a stunning paradox with the powerful vocals by Cammie, blending Progressive and Groove Metal with the obscurity and heaviness of Doom Metal, followed by Run From the Light, featuring guest vocals by the one and only Mikael Stanne of Swedish melodeath legends Dark Tranquillity, another avalanche of intricate guitar lines, harsh and clean vocals, and the always groovy beats by Dobber, sounding like several songs in one. Then a smooth intro boosted by minimalist background synths evolves into a beautiful ballad titled Don’t Come Back From Hell Empty Handed, where Cammie obviously steal the spotlight with a phenomenal vocal performance, whereas Wish is another solid tune by the band showcasing the always massive beats by Dobbie supported by the classic bass lines by Semir. And Cammie will steal your heart in the captivating tune Poem of Ecstasy, presenting the band’s trademark hybrid of Progressive Rock and Metal in a beyond thrilling way.

The Given Dream presents hints of R&B added to the band’s core rock essence, feeling very delicate yet profound and somber, with once again all background elements sounding beautifully haunting; while I Will Break the Pride of Your Will is even more experimental and progressive than its predecessors, with Alex and Chris taking the lead with their stylish riffs. In Prayer we face the dark and evil harsh roars by the iconic frontman Fernando Ribeiro of Moonspell clashing in great fashion with Cammie’s embracing, delicate vocals, with all acoustic elements making the song even more detailed and complete, followed by The Impermanence of Fate, showcasing another jaw-dropping vocal performance by Cammie to the classy sound of the piano by Dobber, who also hammers his drums, exploding into sheer savagery while sounding like classic Death Metal in a multi-layered and bold aria of heavy music. And lastly, we have their stunning rendition of Wicked Game, originally recorded by Chris Isaak in the 1989 album Heart Shaped World (check the original version HERE), a more than gorgeous icing on the cake to close the album on a perfect note.

“This album is a dystopian western or a post-apocalyptic survival movie, somewhere between The Handmaid’s Tale, The Dark Tower and Cormac McCarthy,” states Dobber. “The whole idea is that Where The Gods Fear To Speak is a movie, and we’ve written the soundtrack. If the world was taken over, like in movie The Book Of Eli, and Gary Oldman had found the Bible and the true power of it, and he was wielding the power of the lord over everybody, those people that were maybe just into their traditional spiritualism or people that were not religious at all, they would be the defectors, so the record is written from the viewpoint of the defectors. The ending credits are our version of ‘Wicked Game’ by Chris Isaak. We wanted to take it back to when the music in movies set the tone for everything.” Hence, if you want to join Oceans of Slumber in this thrilling cinematic ride, you can follow the band on Facebook and on Instagram, subscribe to their YouTube channel, listen to all of their beautiful albums on Spotify, and of course purchase their new album by clicking HERE or HERE. Where Gods Fear To Speak proves that Oceans Of Slumber will not let the occasional setback put them off their creative stride, and I personally can’t wait to see what’s next to one of the must-see names of the progressive scene worldwide.

Best moments of the album: Where Gods Fear to Speak, Poem of Ecstasy, The Impermanence of Fate and of course Wicked Game.

Worst moments of the album: I Will Break the Pride of Your Will.

Released in 2024 Season of Mist

Track listing
1. Where Gods Fear to Speak 6:25
2. Run From the Light 5:15
3. Don’t Come Back From Hell Empty Handed 8:28
4. Wish 3:53
5. Poem of Ecstasy 6:33
6. The Given Dream 3:36
7. I Will Break the Pride of Your Will 5:27
8. Prayer 5:03
9. The Impermanence of Fate 6:20
10. Wicked Game (Chris Isaak cover) 5:26

Band members
Cammie Beverly – vocals
Alex Davis – guitars
Chris Kritikos – guitars, synths
Semir Ozerkan – bass
Dobber Beverly – drums, piano

Guest musicians
Mikael Stanne – vocals on “Run From The Light”
Fernando Ribeiro – vocals on “Prayer”

Album Review – Blighted Eye / Agony’s Bespoke (2024)

Posted on by
Reply

Behold this monumental, hour-long work of Progressive and Blackened Death Metal made in the United States, heavily inspired by the 2018 Australian film The Nightingale.

A monumental, hour-long work of Progressive and Blackened Death Metal, the breathtaking Agony’s Bespoke, the brand new album by Seattle, Washington-based outfit Blighted Eye, marks a new height for the band’s growing skills of songwriting and storytelling. Mixed and mastered by Alex Sedin at Ghostalgy Prods, and displaying a stunning artwork by Caelan Stokkerman, the new opus by Kyle Chapman on vocals and guitars, Christopher Jones also on the guitars, Ben Gassman on bass, and John Devos on drums is heavily inspired by the 2018 Australian film The Nightingale, telling a similarly tragic story. Highlighting the transformative power of violence and the ultimate futility of revenge, the album seeks to explore the lasting emotional and psychological impact of trauma, being highly recommended for fans of Opeth, Swallow the Sun, and Dissection.

Cryptic, melodious sounds arise from the underworld in the opening track Tragoedia, with the deep vociferations by Kyle walking hand in hand with the pounding drums by John, also presenting delicate yet visceral riffs for our total delight, and flowing into the just as demonic and grim The Wounding, with Kyle and Christopher extracting sulfurous riffs from their axes supported by the menacing bass by Ben. In Enmity invites us all to bang our heads in total darkness together with the band in a well-balanced fusion of Melodic and Progressive Death Metal tailored for admirers of the genre, with Kyle roaring with endless anger until the very end; whereas serene, embracing sounds kick off the beautiful Howls From Beyond the Mist, with their caustic riffs, harsh gnarls and crushing drums sounding amazing. Then investing in a more direct, visceral Black Metal sonority the band will pulverize us all in A Feast for Worms, spearheaded by the classic drumming by John and the always sharp growls by Kyle.

Pallid brings to our avid ears almost nine minutes of heavy, sluggish and somber sounds, presenting elements from Doom Metal in the guitars by Kyle and Christopher, and even stronger vibes in John’s drums; and after the short and sweet interlude Nightingale, the band brings forth a Melodic Black and Death Metal feast titled A Reverent Stillness, where all instruments sound thunderous and visceral and with their guitars, bass and drums once again offering Kyle everything he needs to haunt our souls with his devilish roars. Finally, like the soundtrack to a Stygian horror movie we have the title-track Agony’s Bespoke, presenting the band’s trademark heaviness intertwined with grim passages. Moreover, the guitar work by Kyle and Christopher is once again superb, sounding heavy and very melodic at the same time, with endless progressiveness flowing from the bass lines by Ben while at the seven minute mark it all morphs into an overdose of epicness, putting a classy ending to the album.

Just like in the 2018 movie that inspired the album, power, violence, revenge and trauma are the main ingredients in the music by Blighted Eye in Agony’s Bespoke, and you can get to know more about the band and how they turned all that darkness into amazing metal music on Facebook and on Instagram, listen to more of their ruthless creations on YouTube and on Spotify, and grab a copy of their caustic new album from the Beyond The Top Records’ BandCamp or webstore. As you listen to the album from start to finish, you’ll clearly witness how a tragic story can become so compelling through the power of heavy music, inspiring Blighted Eye to keep crushing our souls for many years to come with their meaningful and extremely heavy creations.

Best moments of the album: Tragoedia, A Feast for Worms and Agony’s Bespoke.

Worst moments of the album: None.

Released in 2024 Beyond The Top Records

Track listing
1. Tragoedia 7:22
2. The Wounding 5:59
3. In Enmity 7:05
4. Howls From Beyond the Mist 7:03
5. A Feast for Worms 6:13
6. Pallid 8:48
7. Nightingale 1:05
8. A Reverent Stillness 6:18
9. Agony’s Bespoke 11:06

Band members
Kyle Chapman – vocals, guitars
Christopher Jones – guitars
Ben Gassman – bass
John Devos – drums

Album Review – Groza / Nadir (2024)

Posted on by
Reply

Driven by emotion, anger and sadness, this German Black Metal horde will strike you like a lightning storm to the sound of their thrilling new album.

Groza, or “Гроза” in Cyrillic, which means “lightning storm”, “horror” or “disgust” in a few Slavic languages, are an up-and-coming Black Metal band formed in 2016 in Mühldorf am Inn, Bavaria, Germany, crafting a sound driven by emotion, anger and sadness, combining searing melodies, raging blast beats and melancholy induced clean guitar passages into a melodic, dynamic blend, which is exactly what you’ll get in their new album Nadir. Recorded, edited, mixed and produced by the band’s own founder P.G., mastered by David Pilz, and with the guitars re-amped by Georg Traschwandtner, the new album by the aforementioned P.G. on lead vocals, bass, guitars, orchestration and samples, U.A. on lead guitars and backing vocals, and T.H.Z. on drums is perfect for fans of Harakiri For The Sky, Mgla, Uada, and Alcest, delivering dark and melodic music for our avid ears.

The atmospheric, haunting intro Soul : Inert sets the stage for the trio to darken our minds and souls with Asbest, a powerful Melodic Black Metal tune with progressive and experimental nuances where P.G. roars with tons of anger in his blackened heart supported by the thunderous beats by T.H.Z., not to mention how metallic their riffs sound and feel. Then we have Dysthymian Dreams, the first single of the album, offering our avid ears eight minutes of Black Metal magic led by the sharp, piercing guitars by P.G. and U.A., or in other words, it’s a brutal yet melodic and enfolding aria of darkness by Groza. Equal. Silent. Cold. keeps the atmosphere burning to the sound of P.G.’s infernal vociferations while the drums by T.H.Z. exhale old school Black Metal, resulting in one of the most ferocious and detailed songs of the album; and it’s time for a nine-minute musical journey through the most obscure corners of the mind in Deluge, reminding me of some of the most recent creations by Gaerea, with their riffs and blast beats mercilessly devouring our rotten souls. Lastly, featuring J.J. & M.S. of bands like Kard and Harakiri for the Sky, we have Daffodils, a beyond dense, multi-layered and pensive Black Metal aria with lots of elements from Post-Black Metal and Atmospheric Black Metal, where the drums by T.H.Z. sound sensational throughout the entire song and with all agony and despair flowing from the last part of the song being absolutely climatic and piercing.

The music by Groza is haunting, mesmerizing, evil and ethereal all at once, and Nadir is the perfect depiction of the band’s musical power, talent and focus. Hence, don’t forget to give such a distinct horde a shout on Facebook and on Instagram, to stream their music on Spotify, and of course to purchase a copy of the flammable Nadir from their own BandCamp page, from AOP Records, from Napalm Records, from Indiemerchstore, from MVD Entertainment, or click HERE for all digital platforms. Because Groza do not just play Black Metal – they take Black Metal to new and exciting heights.

Best moments of the album: Dysthymian Dreams and Equal. Silent. Cold.

Worst moments of the album: None.

Released in 2024 AOP Records

Track listing
1. Soul : Inert 1:21
2. Asbest 6:54
3. Dysthymian Dreams 8:10
4. Equal. Silent. Cold. 6:59
5. Deluge 9:18
6. Daffodils 9:53

Band members
P.G. – lead vocals, bass, guitars, orchestration, samples
U.A. – backing vocals, lead guitars
T.H.Z. – drums

Guest musicians
J.J. and M.S. – vocals on “Daffodils”
“Bandhouse” crew – choir on “Daffodils”

Concert Review – Signs of the Swarm (Lee’s Palace, Toronto, ON, 09/01/2024)

Posted on by
Reply

Simply relax and enjoy an evening out in the greatest city in Ontario with five amazing bands in a frenzy of circle pits and moshing.

***Review and photos by Keith Ibbitson of Metal Paparazzi***

OPENING ACTS: A Wake In Providence, 156/Silence, Ov Sulfur and Cane Hill

An evening out in the greatest city in Ontario with even better weather than the last few concerts we have been to. Fall weather is much cooler and makes for a great comfortable concert without the hot humid stench of sweat . The smell of crisp air filled with pumpkin spice from every store along Bloor Street in Toronto is great and with that the venues are cooler in terms of air quality inside, making it a perfect time to take some awesome death and metalcore bands.

Lee’s Palace is the venue tonight where five amazing bands have come together to whip us up in a frenzy of circle pits and moshing. First band of the night is  A WAKE IN PROVIDENCE, aka AWIP, who has recently release the album I Write To You, My Darling Decay. Hailing from NYC this band is spearheaded by vocalist Adam Mercer, guitarist Dandre Tyre, bassist Anthony Adipietro, and drummer Jesse Mcenneny. I am not familiar with this band as its my first time hearing them and let me be honest I was not a fan of early deathcore but this band has got me listening to them. Awesome performance great music and a ton of groovy bass and drumming.

Our first short intermission while they switch up bands gives us time to check out the merch tables and gets some drinks from the bar, or just simply go outside and enjoy a smoke or the now legal weed. Next up is 156/SILENCE. Hailing from The Steel City of Pittsburgh, in the state of Pennsylvania, United States, this metalcore band consists of vocalist and bassist Mike Ernst, guitarist Jimmy Howell, drummer Zac Dranka and vocalist Aleks Pihl. They have a great sound and are tight, great stage presence and can get the crowd hyped up.

Another line change is happening and outside I go to chat with friends and other photographers, plus chatting to the promoter Noel Peters of Inertia Entertainment. I always enjoy chatting to Noel about his business and bringing the best bands to our city. The third band of the night was OV SULFUR. Hailing from my favorite place in the world, Sin City Las Vegas, Nevada, This band has been to Toronto this year three times and I’ve captured them every time  The first time I saw them was at the Phoenix Concert Theatre when they opened for some huge bands and they had me hooked. The band consists of vocalist Ricky Hoover, guitarist Chase Wilson, bassist Ding and drummer Leviathan. This deathcore band has a ton of energy and powerful delivery of sound, they will knock you into another dimension if not careful in the circle pits. If you have never seen this band I don’t know what you’re waiting for, get to a venue and see for yourself.

Another short break and CANE HILL was up; this band hailing from New Orleans, Louisiana, in the United States. This metalcore institution consists of Elijah Witt on vocals, James Barnett on the guitar, Ryan Henriques on bass and Devin Clark on drums. This quartet is also new in my listening experience and they are awesome to see live. Elijah is a great frontman delivering guttural and soft vocals while getting the crowd all horny, and by that I mean he was asking the crowd if they were horny or alive. I think the crowd spent a lot of energy on the first three bands and when he said that the crowd came alive again with circle pits and crowd surfers.

SIGNS OF THE SWARM

The last break of the night was much needed as the venue was getting hot from the near sold out venue. It was time for the headliner, another band from The Steel City area of Pittsburgh, Pennsylvania, SIGNS OF THE SWARM. This deathcore band is made up of vocalist David Simonich, drummer Bobby Crow, bassist Michael Cassese and guitarist Carl Schulz. They have five studio albums with the release of their fifth album Amongst the Low & Empty. This band gets better and better every time I have seen them and it’s been two times this year. Their performance on and off the stage is top notch, friendly people with great showmanship, and if you ever get a chance to see them live do it. Also, if you see them hanging out during their tour, strike up a conversation.

This slideshow requires JavaScript.

Metal Chick of the Month – Corinne Cardinal

Posted on by
Reply

We are ready to die, Corinne!

Sons of Odin, can you hear the call of our metal lady of this month of September? If your answer is yes, then I’m sure you’ll have a very good time here on The Headbanging Moose with our humble tribute to Corinne Cardinal, also known as Korrinn or Crook, a multi-talented singer, voice actor and vocal coach who’s making a name for herself in the Canadian scene as the frontwoman for Montreal, Quebec-based Melodic Black/Folk Metal horde Valfreya, proudly waving the flag of Québécois metal high in the sky wherever she goes and hypnotizing us all with both her clean and guttural vocals. She takes no prisoners in her quest for heavy music, leading Valfreya into glory ride, and of course you’re more than invited to stand side by side with Corinne and her henchmen in the battlefield after knowing a little bit more about her life and career.

Born on August 20, 1986 in the charming city of Montreal, Quebec, in Canada, Corinne is not just the founder, main composer and vocalist of Valfreya, but she’s also a voice actor for La Fabrique de Monstres (or The Monster Factory), and a singer for the Growlers Choir, just like one of our most recent metal ladies Maude Théberge, showing how united the Québécois scene is. Not only that, she has also studied classical singing and instrumental composition, does graphic design, and of course she applies all those elements to her work with Valfreya. Her talent seems to be infinite, which translates into first-class heavy music when a new Valfreya album is unleashed upon humanity for our total delight.

After exploring choir singing during her formative years, Corinne, who’s a mezzo-soprano, undertook her studies by enrolling at Cégep Saint-Laurent and obtained her college degree in classical singing in 2007, perfecting her instrument with many teachers between 2007 to 2015 like Cécile Gendron, Mark Pedrotti, Christine Lemelin and Colette Boky, and pursuing a bachelor’s degree at UQAM in music (artistic performance concentration) in 2015. During her studies there, she developed a varied lyric repertoire and sings in more than eight different languages (Russian, Czech, German, Italian, Latin, Catalan, French and English), obtaining her diploma in December 2018. Finally, in 2020 she obtained her Estill Voice Training certificates one and two, and if you have no idea what that means, this course pertains to parts of the anatomy singers can exercise conscious control on to modify their sound.

After founding Valfreya back in 2009, merging the metal genre with classical and folk, Corinne started to develop different vocal techniques, matching guttural singing with opera and pop, which culminated with her joining the aforementioned Growlers Choir back in 2019, plus collaborations with many artists as a performer or composer the likes of Léa Dupuis, Augury, and Jeff Marcoux. That expertise also opened several doors to vocal acting out of specialized fields into voices for creatures and monsters in video games and film, including Resident Evil 7 (Capcom), Helix Season 1 (Syfy), Soul Blade (Namco, Project Soul), Rainbow Six Siege: Operation Chimera (Ubisoft), Tomb Raider: Shadow of the Tomb (Eidos Montréal), and Guardians of the Galaxy (Eidos), and also led to her founding in 2019 La Fabrique de Monstres alongside Sébastien Croteau and Jeffrey MacDermott, working in the sound design of hundreds of monsters and creatures over twenty or so video games, films and television series.

Corinne started studying for her musicologist’s master’s degree at Université de Montréal in 2020, wishing to analyze vocal techniques in metal music, precisely to identify the process of vocal production permitting control on specific structures of the vocal apparatus linked to guttural metal singing, with her ultimate goal being to produce the first pedagogical treaty on metal singing in English and French. In addition, Corinne is also a member of diverse research groups such as OICRM and ACTOR Project, and one of the rare vocal coaches who’s able to teach metal singing (both growl and fry) in Quebec.

As already mentioned, Corinne founded Melodic Black/Folk Metal horde Valfreya back in February 2009 in Montreal, with the band’s name being influenced by one of the names of Óðinn, Valföður (Old Icelandic for “Father of the Slain”) and Freyja, the Vanic deity, sister of Freyr. Valfreya deals with themes such as Norse mythology, Pagan gods, life, death, and legends, having released their debut EP First Chronicles in 2010, followed by their first full-length album Path to Eternity in 2012, the EP Acoustic Chronicles in 2013, and the full-length albums Promised Land, in 2017, and more recently Dawn of Reckoning, earlier this year, not to mention the band was also feature in the 2011 Galy Records compilation Trois-Rivières Metalfest 11 with the song Deity’s Grace. The band currently formed of our metallic diva Corinne on vocals together with Graz’zt and Erik on the guitars, Abhor on bass, Dommar on drums, and Eva Doucet De Leon on the violin has already played hundreds of concerts across Canada and the United States, and if you want to enjoy their amazing music you can find all of their releases on BandCamp, on Spotify, or by clicking HERE.

This slideshow requires JavaScript.

Corinne is much more than just the band’s frontwoman, having also been responsible for the music, lyrics, arrangements, artwork and layout in their 2012 album Path to Eternity, the artwork, layout, cover art and lyrics in their 2017 album Promised Land, and the layout in their most recent album Dawn of Reckoning. Hence, if you want to have an absolute blast with Corinne and her Valfreya, apart from the aforementioned sources like BandCamp and Spotify, you can enjoy their official videos on YouTube for the songs Le Périple, The Rise, Odin’s Fury, Confront Immensity, Ocean’s Assault, and My Everlasting Star, as well as several unofficial footage of the band kicking some ass live.

Besides her career with Valfreya, Corinne also played keyboards and did backing vocals between 2008 and 2010 for a Montreal, Quebec-based Melodic Black Metal band named Vehemal, albeit she didn’t record anything official with the band; and did the live vocals with Canadian Progressive/Experimental Death Metal band Bookakee a few years ago. She can also be seen as a guest musician for a few interesting bands in the past few years, as for example doing additional vocals in the song Impending Apocalypse, from the 2020 EP Repaying Evil with Evil, by Canadian Death/Thrash Metal/Deathcore musician Jeff Marcoux; vocals in the 2017 single La pluie noire, by Canadian Black/Doom Metal band Lacrimae Mortalium; and more recently additional vocals in the songs Welcome, Immuration and Resilience, from the 2023 album Maladaptive Daydreaming, by Canadian Melodic Death/Gothic Metal band Sanguine Glacialis. Moreover, she was also responsible for the layout in the 2012 EP Deviated Inner Spectrum, by Canadian Technical/Melodic Death Metal act Pronostic, under the curious moniker of “Crapule”.

Lastly, as pretty much any metal lady hailing from Canada, Corinne is crazy for animals, having several pets from different species. For instance, in one of her interviews during the pandemic, she said she had at that time three fishes named Super Nova, Galaxy and Comet, five rats named Wicca, Gandalf the White, Zelda, Bouda and Titite (which means Tiny-tiny), and also a cat named Saroumine. As you might have already notice, the inspirations she takes for the music by Valfreya also have an impact on the names of her pets, which in my opinion is simply awesome. She mentioned she enjoys taking her rats to places like stores, parties, family reunions, chilling with friends, and so on, also saying that especially during the pandemic all of her pets brought a lot of joy and comfort as she couldn’t live in an empty house. She also said that all of her pets don’t seem to care about the fact she practices her music at home, and that whenever she’s on tour with Valfreya, it’s either her boyfriend or her sister who usually takes care of them for her. If you want to know more about such an amazing musician and animal lover, you can visit her own website (including a look at her impressive resume), and stay tuned for all news about Valfreya, because if by any chance they take your city by storm, don’t waste a single second and go check the powerful vocals by one of the most talented women of the current Canadian metal scene.

Corinne Cardinal’s Official Facebook page
Corinne Cardinal’s Official Instagram
Corinne Cardinal’s Official YouTube channel
Valfreya’s Official Facebook page
Valfreya’s Official Instagram
Valfreya’s Official YouTube channel

Album Review – Various Artists / Surrender to Death: A History of the Atlanta Metal Underground Vol. 1 (2024)

Posted on by
Reply

Get ready for a night of fierce metallic sounds born in sweaty nightclubs, packed house parties, and DIY warehouse shows, a retrospective of the Atlanta metal underground from 1982 to 1999.

Deep from the vaults, Boris Records and Deanwell Global Music are unleashing the vinyl and digital versions of Surrender to Death: A History of the Atlanta Metal Underground Vol. 1, a retrospective of the Atlanta metal underground from 1982 to 1999. Spanning two decades of local bands, studio projects, and touring heavyweights, Surrender to Death showcases over 20 bands, ranging from the early days of traditional Heavy Metal to gory basement Death Metal to second-wave Black Metal, far from the better-known scenes in the Bay Area and New York and Florida. Over half a decade in the making, featuring original recordings sourced directly from the bands  (with all tracks remastered from various sources by Jessica Thompson Audio), and displaying a sick artwork by Brian Warner (aka Esayde or Total Weirdoh), this ass-kicking compilation will give you a glimpse of the Atlanta metal scene’s depth and its awesome and sometimes truly bizarre takes on the genre and all of its sub-genres.

Side A of the first vinyl starts way back in 1982 with Strangers, the opening track of the self-titled album by Messendger, presenting a great fusion of Heavy Metal and Hard Rock where the trio delivers fierce riffs and beats, and with their vocal lines also sounding electrifying; followed by Lucifers Eyes, by Fortnox, another beast from 1982 offering us all a powerful blast of old school Hard Rock. Fast forward a few years to 1990 and we face the Power/Thrash Metal by Atlanta’s own Ghost Story, with the song What Few Even Dare, from their 1990 demo The Image and the Reality, also presenting hints of Death and Speed Metal in its riffs and drums, whereas in 1988 a Thrash Metal band form Georgia called Necropolis released the album Contemplating Slaughter, and from that album we have the song Waters of Lathe, showcasing the amazing raspy vocals by Keith Charron.

It’s time to kick off side B of vinyl number one with Rock You, by MX, another old Heavy Metal/Hard Rock outfit from Georgia from the early 80’s, delivering sheer adrenaline and electricity through their fiery riffs and unrelenting attitude, and let’s continue our journey though the 80’s with Sinister Angel and the song Street Light Glamour, from their 1984 self-titled EP, where you can sense elements from early Judas Priest in their sound as well as harsher thrash and death nuances. Then in 1991 the Augusta, Georgia-based Heavy/Power Metal band Legion released the album Darkness, and from that album comes Evil Mind, with a sensational vocal performance by Loy Mitcham, followed by Reflected Fear, by Kinetic Dissent, more inclined to classic Thrash Metal, a song from their 1987 demo The Fall of Individualism, bringing forward an amazing guitar work by Stephen Danyo. In the song Til Death Do Us Part, from the 1989 demo Overloaded, by Dark Overlord, the music exhales the same rebelliousness from the early days of Exodus, or in other words, it’s a fantastic option to slam into the pit like a true metalhead, while Metal Merchants, from the 1985 cult album Tales of Terror, by Hallows Eve, is an explosion of Thrash and Speed Metal led by frontman Stacy Andersen, also perfect for some sick mosh pits.

Unblessed, one of the first Death Metal bands from Georgia, kicks off side A of the second vinyl with When it Bleeds it Pours, from their 1998 demo, already blasting that harsh, vicious sound that became a staple in today’s Death Metal scene, whereas Sixteenth Chamber, released in the 1995 demo Oh Come All Ye Faithful… Tonight We Feast, by Lestregus Nosferatus, presents those truly evil vocals we love in extreme music, not to mention the heaviness of their riffs. We’re then treated to Pray to Death, by ROT, from the 1990 demo Diabolus (The Unholy Rot), offering our putrid ears more of Atlanta’s own blend of classic Death Metal to inspire us all for some vigorous headbanging, followed by Avulsion with the song Inexorable Suffering, from their 1994 demo of the same name, enhancing the city’s ferocity in the scene, sounding slow, evil and, therefore, definitely not recommended for the lighthearted. Gates Of Emptiness, from the 1997 demo Twilight Eternal, by Dawn of Orion, is an overdose of classic Death Metal, with the harsh vociferations by Myke Jamison sounding insane, and things get even darker in Metaphorical Ithaca, by Haborym (a Hebrew synonym for Satan), mixing Black and Death Metal in an utterly demonic chant from their only demo released in 1995.

Finally, side B of the second vinyl brings to us all The Righteous Shall Fall, by Tragic Demise, displaying one of the most primeval sounds of the entire compilation, sounding like creatures arising form the pits of the underworld while again showcasing classic Death Metal beats for our total delight. Then the band Demoncy blasts a more Black Metal-inspired sound in Winter Bliss, from their 1999 album Joined in Darkness, with their Stygian, cryptic harsh vocals and a beyond raw sound quality giving it a more-than-infernal vibe. Necroflesh then offers a brutal slab of old school Death Metal in Scream, from their 1997 demo, where their guitars sound as caustic and sharp as possible; followed by the song Synthesis of Rebirth, taken from the 1996 demo of the same name by Procostimus, another band blending Death and Black Metal in their music where Greg King shows no mercy for our souls with his grim vocals and drums. Darkened Skies, the second band deeply rooted in old school Black Metal, delivers their share of obscurity and evil to the masses like a creature lurking in the dark in Reign of Radulescu, before Vastion, one of the first Technical Death Metal bands from Atlanta, crushes us all like insects in Ensuring Your Death, from their 2000 album Closed Eyes to Nothing, sounding absolutely wild and bestial until the very last second.

Part of “Georgia Historical Metal Archive Series” by Deanwell Global Music and volume 2 of “Atlanta Metal Underground Archive Series” by Boris Records, Surrender to Death can be described as a night of fierce metallic sounds born in sweaty nightclubs, packed house parties, and DIY warehouse shows, and you can experience all those decades of first-class music made in Atlanta by purchasing a copy of the album from the Boris Records’ BandCamp page, from Deanwell Global Music’s BandCamp page, or by clicking HERE, and let me tell you the package that those guys put together is brilliant, including the double-vinyl (available in four different color options) with a gatefold jacket, an 11×17 double-sided insert containing bios and photos of each band, a sticker, random repro band flyers, and an 18×24 full color poster. This is heavy music, this is Atlanta, and I honestly can’t wait for the next volume in this beautiful tribute to one of the most prolific scenes of the North American underground.

Best moments of the album: Kinetic Dissent – Reflected Fear, Dark Overlord – Til Death Do Us Part, Dawn of Orion – Gates Of Emptiness, Procostimus – Synthesis of Rebirth and Vastion – Ensuring Your Death.

Worst moments of the album: None.

Released in 2024 Boris Records/Deanwell Global Music

Track listing
1. Messendger – Strangers 5:44
2. Fortnox – Lucifers Eyes 3:44
3. Ghost Story – What Few Even Dare 4:28
4. Necropolis – Waters of Lathe 5:23
5. MX – Rock You 3:48
6. Sinister Angel – Street Light Glamour 4:16
7. Legion – Evil Mind 3:25
8. Kinetic Dissent – Reflected Fear 3:26
9. Dark Overlord – Til Death Do Us Part 2:56
10. Hallows Eve – Metal Merchants 3:21
11. Unblessed – When it Bleeds it Pours 4:34
12. Lestregus Nosferatus – Sixteenth Chamber 3:47
13. ROT – Pray to Death 3:40
14. Avulsion – Inexorable Suffering 3:41
15. Dawn of Orion – Gates Of Emptiness 2:58
16. Haborym – Metaphorical Ithaca 3:39
17. Tragic Demise – The Righteous Shall Fall 3:33
18. Demoncy – Winter Bliss 3:47
19. Necroflesh – Scream 3:56
20. Procostimus – Synthesis of Rebirth 4:44
21. Darkened Skies – Reign of Radulescu 3:15
22. Vastion – Ensuring Your Death 2:19

Album Review – Gaerea / Coma (2024)

Posted on by
2

One of the torchbearers of present-day Black Metal arises yet again from the underworld, erupting with intensity, casting forth black ashes over the world with their superb new album.

Behind black shrouds of obscurity and desolation, the performers of Porto, Portugal-based Black Metal entity Gaerea deliver their odes in cascading maelstroms of aggression and beauty, having rapidly distinguished themselves from the thousands of bands toiling away in the underground. Now in 2024, just two years since Mirage was released, Gaerea are back in action, erupting with intensity, casting forth black ashes over the world yet again with their new album, titled Coma. Recorded by Miguel Tereso at Redbox Studios, mixed and mastered by Miguel Tereso at Demigod Studios, and displaying a cryptic artwork by Nathan Lorenzana, the stunning new album by those faceless and nameless ghouls beautifully helps the band emerge from the underground scene, ascending towards a permanently lasting position at the head of the table.

The opening track The Poet’s Ballet already presents Gaerea’s undisputed ability to blend the smoothest, most serene sounds with the harsh and devilish essence of Black Metal, with the song’s Atmospheric Black Metal start suddenly exploding into sheer madness and agony; then investing in a more contemporary Melodic Black Metal sonority we’re treated to Hope Shatters, sending shivers down our spines to its darkly vociferations of the song’s poetic lyrics (“In the heart of the jungle / Where shadows dance and bleed / A beautiful chaotic melody / Where depravity finds its seed”), and they continue to slash their axes in Suspended, supported by classic drums in another feast of Portuguese Black Metal magic. World Ablaze brings to the table more of their cryptic, eerie lyrics (“To be set free, at the end of his days / Into a world ablaze / With wonder in his eyes, he takes a deep breath / For a fleeting moment, a dance with life’s depth”) while the music exhales pure Gaerea, followed by the title-track Coma, a song that will pierce your rotten soul to the sound of infernal roars, bass and drums in a lecture in Black Metal.

In Wilted Flower the band once again delivers a multi-layered, gripping overdose of Atmospheric and Melodic Black Metal, with those mysterious entities extracting piercing riffs from their guitars for our total delight, keeping the album enfolding and mesmerizing, whereas those Portuguese creatures bring forward another burst of melancholy and darkness entitled Reborn, with the band’s strident riffs matching perfectly with their rhythmic beats, also offering moments of violence and insanity in paradox with its more ethereal passages. And one of the torchbearers of present-day Black Metal keeps delivering their unique blend of classic extreme music with tons of experimentations in the six-minute aria Shapeshifter, with its Doom Metal elements enhancing its obscure vibe; while the second to last blast of Stygian sounds by Gaerea comes in the form of Unknown, starting in a serene yet heavy manner to classic bass lines, resulting in one of the songs that should sound amazing if played live. Finally, closing such captivating album of Black Metal we’re treated to Kingdom of Thorns, with their intricate drums and stylish riffage turning it into a must-listen aria for admirers of the genre.

Within Coma’s ten tracks lies an individual narrative, each with its own tale to unveil. Collectively, they blend nuances of aggression, tranquility, solitude, and fervor, and you can experience all that by following Gaerea on Facebook, Instagram and YouTube, by streaming their unparalleled discography on Spotify, and obviously by clicking HERE and purchasing your favorite version of their amazing new album. Because Coma is indeed an emotional gateway to a dark Black Metal scene, a guide to salvation, pain, despair and letting go, moving up, into the blackness that is above, as Gaerea are the answer, the only answer.

Best moments of the album: Hope Shatters, Coma, Reborn and Kingdom of Thorns.

Worst moments of the album: None.

Released in 2024 Season of Mist

Track listing
1. The Poet’s Ballet 7:39
2. Hope Shatters 4:05
3. Suspended 5:02
4. World Ablaze 3:29
5. Coma 5:19
6. Wilted Flower 5:50
7. Reborn 3:51
8. Shapeshifter 6:24
9. Unknown 4:24
10. Kingdom of Thorns 4:45

Band members
*Information not available*

Album Review – Typhonian / The Gate of the Veiled Beyond (2024)

Posted on by
Reply

This unrelenting German entity will crush your damned soul with their newborn spawn, a phenomenal journey rooted in the old school Death Metal sound.

Where most bands are content reveling in the sound of the glory days of early 90’s Death Metal, Ulm, Baden-Württemberg, Germany-based band Typhonian has not only beautifully reimagined it with blackened elements laced with the classic Swedish and Finnish melodies, but they are also attempting to take that sound ahead in the most logical manner. Displaying a classic artwork by Juanjo Castellano Rosado, their new opus titled The Gate of the Veiled Beyond goes a step further compared to their 2021 EP The Cosmic Pendulum of Time and their debut album Beneath the Streams of Life, adding more progressive and atmospheric elements, a phenomenal music journey that’s evidently rooted in the old school Death Metal sound metamorphosing gradually and finally taking on a gleaming, breathtaking form and ascending, all carefully crafted by M. W. Styrum on vocals, Prometheus on the guitars, Typhon on the guitars and orchestrations, Charybdis on bass, and Thanatos on drums, being highly recommended for fans of Edge of Sanity, Unanimated, Necrophobic, Dismember, Desultory, Unleashed, and Evocation, among several others.

Just hit play and the atmospheric intro Celestial Salvation will transport us all to the dark world ruled by Typhonian before the band begins hammering our souls in Cosmic Throne, with the massive beats by Thanatos walking hand in hand with the powerful riffs by Prometheus and Typhon, not to mention how deep the guttural vocals by M. W. Styrum sound, flowing into the straightforward Death Metal attack titled Primal Deceptive Light, with the caustic riffage by the band’s guitar duo inviting us all to slam into the circle pit like true maniacs. Then bringing elements of Doom Metal to their sound, plus cryptic background orchestrations, the band fires the short and sweet Crimson Rivers, where once again M. W. Styrum sounds demonic on vocals; whereas another atmospheric, Stygian start gradually evolves into the heavy-as-hell, devilish aria The Gatekeeper, with Charybdis and Thanatos making the earth tremble with their respective bass and drums, also presenting elements from Atmospheric Black and Death Metal in their bold and dense sound.

Towards the Chamber of the Omnipresent Mind carries a beautiful name for a fast, acid and thunderous aria by Typhonian, with the guitars by Prometheus and Typhon exhaling heaviness and despair while M. W. Styrum keeps roaring and barking the song’s obscure words nonstop, and Typhonian brings forward a menacing fusion of Death Metal with Doom and Epic Metal entitled A Glimpse at the Starless Ocean, where Thanatos takes the lead with his crushing beats and fills, accompanied by the scorching riffs and solos by Prometheus and Typhon. Lastly, you better be prepared for a 20-minute ethereal, harsh and hypnotic musical voyage titled Cath’un – The Gate of the Veiled Beyond, flowing majestically to the demolishing drums by Thanatos before a sinister break permeates the air for quite some time, until all explodes into an imposing feast of Death Metal sounds, with M. W. Styrum’s vociferations adding an extra touch of insanity to their already wicked music, resulting in a stunning sonic beast by the quintet to conclude their infernal mass.

With the visionary The Gate of the Veiled Beyond release, Typhonian have more than just outdone themselves; they have surpassed expectations for the style as a whole. Hence, don’t forget to give them your best guttural shout on Facebook and on Instagram, to stream their music on Spotify, and of course, to purchase their imposing new album from their own BandCamp page, as well as from Transcending Obscurity Records (main store, BandCamp, EU store, and US store), or click HERE for all things Typhonian. Those talented German metallers are not your average Death Metal band, delivering a breathtaking amalgamation of styles that will leave you completely disoriented after all is said and done in The Gate of the Veiled Beyond, all in the name of first-class extreme music.

Best moments of the album: Primal Deceptive Light, Towards the Chamber of the Omnipresent Mind and Cath’un – The Gate of the Veiled Beyond.

Worst moments of the album: None.

Released in 2024 Transcending Obscurity Records

Track listing
1. Celestial Salvation 0:44
2. Cosmic Throne 4:06
3. Primal Deceptive Light 4:48
4. Crimson Rivers 3:35
5. The Gatekeeper 7:06
6. Towards the Chamber of the Omnipresent Mind 4:46
7. A Glimpse at the Starless Ocean 5:39
8. Cath’un – The Gate of the Veiled Beyond 19:21

Band members
M. W. Styrum – vocals
Prometheus – guitars
Typhon – guitars, orchestrations
Charybdis – bass
Thanatos – drums

Album Review – Agrypnie / Erg (2024)

Posted on by
Reply

This German Progressive and Post-Black Metal force is back with its seventh studio album, their most aggressive album to date where every instrument attacks from every angle.

Founded in 2004 by songwriter Torsten, who is also active in the bands Nocte Obducta, Theotoxin, and Suel, as well as other musical projects, Groß-Gerau, Hesse, Germany-based Progressive/Post-Black Metal act Agrypnie has developed into a significant force in the Black Metal scene over the years. Now in 2024 the duo formed of the aforementioned Torsten on vocals, guitars, bass, keyboards and programming, and Flo (Benighted, Schammasch) on drums returns with their seventh studio album, titled Erg, Agrypnie’s most aggressive album to date where every instrument attacks from every angle, almost overwhelmingly so if not for the clear and cutting recording and the band’s enviously sharp execution. Recorded, mixed and mastered by Phil Hillen and Torsten at SU-2 Studio, and with artwork and photography by Marco Klein of syn2, Erg displays considerable daring and depth, as while “Black Metal” in foundation, the album’s songwriting crests and crashes with kaleidoscopic wonder and cathartic urgency alike.

Featuring guest vocals by Phil Jonas (of Secrets of the Moon and CRONE), Aus rauchlosem Feuer (“from smokeless fire”) is atmospheric and enfolding from the very first second, evolving into a Black Metal beast led by the scorching roars and riffs by Torsten while Flo hammers his drums nonstop, followed by Meer ohne Wasser, or “sea without water”, offering sluggish Doom Metal-infused beats and riffs while also exploding into sheer obscurity and madness, with Flo once again dictating the pace with his Black Metal beats. Then we have Sturm, or “storm”, with guest vocals by Edmond Karban aka Hupogrammos (of Dordeduh), venturing through the realms of pure Atmospheric Black Metal and with Torsten sounding like a metal machine armed with all his instruments; whereas the Stygian, grim interlude Blut – Teil I, or “blood – part I”, sets the tone for Blut – Teil II (“blood – part II”), featuring guest vocalist P.G. (of Groza), bringing forward another round of their trademark Post-Black Metal boosted by the intricate and visceral drumming by Flo.

The second half of the album begins with a song just as multi-layered and vile as its predecessors, titled Entität, or “entity”, with Torsten embellishing the airwaves with his classy riffs and bass lines, or in other words, it’s a very detailed song that will inspire us all to bang our heads nonstop together with the duo, exploding into the Black Metal attack titled Stunde des Wolfes (“hour of the wolf”), where the duo extracts the harshest, most piercing sounds form their instruments, and with Torsten delivering some devilish vociferations until the very end. Geister, or “ghosts”, is very experimental and atmospheric for the most part of it, with only its last part being Agrypnie’s core sound, but of course it’s still a very good song; whereas lastly the duo will rip our souls apart with the amazing Unter Sand, or “under sand”, offering our avid ears an avalanche of strident riffs, classic blast beats and anguished vocal lines, ending the album on a climatic and introspective note.

Rich sonically and in emotion, majestic even when plumbing the depths of melancholy, Erg is a tour de force of wide-screen Black Metal regardless of “progressive” or “post-” appellations. Hence, don’t forget to give Torsten and Flo a shout on Facebook and on Instagram, staying up to date with their news and tour dates, to subscribe to their YouTube channel and to check them out on Spotify for more of their music, and to grab your copy of Erg from AOP Records in Europe and in the US, from Napalm Records, from MVD Entertainment (US only), or from several digital platforms by clicking HERE. It’s a known fact that Agrypnie’s eighth studio album is already in the works, and it will be interesting to see their musical evolution form Erg to their upcoming release. Until then, simply give Erg countless spins, and let the fulminating music by Agrypnie embrace you in pitch black darkness.

Best moments of the album: Aus rauchlosem Feuer, Entität and Stunde des Wolfes.

Worst moments of the album: Geister.

Released in 2024 AOP Records

Track listing
1. Aus rauchlosem Feuer 7:28
2. Meer ohne Wasser 7:02
3. Sturm 6:00
4. Blut – Teil I 2:06
5. Blut – Teil II 5:16
6. Entität 7:24
7. Stunde des Wolfes 6:04
8. Geister 5:32
9. Unter Sand 6:46

Band members
Torsten – vocals, guitars, bass, keyboards, programming
Flo – drums

Guest musicians
Phil Jonas – vocals on “Aus rauchlosem Feuer”
P.G. – vocals on “Blut – Teil I” and “Blut – Teil II”
Edmond Karban – vocals on “Sturm”

Album Review – Buryfication / Gallows Rise (2024)

Posted on by
Reply

Let the gallows rise to the sound of the infernal debut by one of the must-see new names of the Finnish extreme music scene.

Featuring eight tracks in less than 30 minutes, following a thematic route from steady and thrashy riffing to manic blackened brutality where death is always present, the pulverizing Gallows Rise, the debut album by Tampere, Finland-based  Blackened Death/Thrash Metal five-piece unit Buryfication, will undoubtedly crush your soul with its undisputed violence and heaviness. Recorded by Mikko Koskinen, mixed by Matti Mäkelä, and mastered by Jon Sjolin at Experitone, Gallows Rise is a precious gem of the underground carefully brought into being by frontman Marko Ala-Kleme, guitarists Tommi Kolehmainen and Henri Kyllästinen, bassist Pasi Bunda, and drummer Mikko Koskinen, paving a very exciting path ahead of such an amazing up-and coming band.

Get ready to be crushed like a putrid insect already in the opener The Plague, a demented creation by the band where Marko’s deep guttural walks hand in hand with the razor-edged, evil riffs by Tommi and Henri, and continuing to destroy everything and everyone that dares to cross their path we have Supreme Being, where Mikko is ruthless with his classic Death Metal beats and fills, supported by the rumbling bass by Pasi. An overdose of brutality, gore and violence flows from all instruments in the headbanging Human Cattle, with the guitars by Tommi and Henri exhaling sulfur, therefore inviting us all to slam into the circle pit like demonic creatures; and while Cannibal Corpse have the classic “Make Them Suffer”, those Finnish metallers offer us all the just as infernal Let Them Suffer, a lecture in modern-day Death Metal led by the inhumane growls by Marko, not to mention the song’s wicked guitar solos.

It’s then pedal to the metal as the band doesn’t have time to fool around, delivering a visceral onrush of Blackened Death Metal titled Year Zero where Mikko’s blast beats match perfectly with the devilish roaring by Marko, and inspired by the most demented names of the scene including Cannibal Corpse, Disloyal, Diabolizer and Immolation, the title-track Gallows Rise will hit you hard in the head to the striking riffs and solos by the band’s dynamic guitar duo. The quintet still has a lot of hellish fire to burn in Trails of Blood, a massive, dense and evil composition showcasing Marko’s trademark roars and the always killer drumming by Mikko; whereas featuring guest vocals by Matti Mäkelä of Corpsessed, closing this excellent album of sheer brutality we’re treated to Haunted, Enslaved, Devoured, with all riffs and solos adding an extra touch of aggression and insanity to their music, resulting in a stunning aria of violence.

Buryfication are definitely one of the must-see new names of the Finnish extreme music scene based on the music found in Gallows Rise, or in other words, a force to be reckoned with that will add even more heaviness to their already demented local scene, and you can stay in touch with those promising musicians by following them on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming their sick creations on Spotify, and of course by purchasing their incendiary debut opus from BandCamp. It’s time to join Buryfication in their quest for extreme music, and let the gallows rise!

Best moments of the album: Let Them Suffer, Year Zero and Haunted, Enslaved, Devoured.

Worst moments of the album: None.

Released in 2024 Kvlt und Kaos Productions

Track listing
1. The Plague 3:23
2. Supreme Being 3:03
3. Human Cattle 3:30
4. Let Them Suffer 3:43
5. Year Zero 4:15
6. Gallows Rise 3:56
7. Trails of Blood 2:36
8. Haunted, Enslaved, Devoured 4:00

Band members
Marko Ala-Kleme – vocals
Tommi Kolehmainen – guitar
Henri Kyllästinen – guitar
Pasi Bunda – bass
Mikko Koskinen – drums

Guest musician
Matti Mäkelä – vocals on “Haunted, Enslaved, Devoured”