Album Review – Ringworm / Seeing Through Fire (2023)

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Cleveland’s own Hardcore, Death and Thrash Metal masters are ready to kill armed with their ninth studio album, pushing the band up into the frontrunners of modern metallic talent.

Ever since emerging from the Cleveland underground, the unrelenting American Death/Thrash Metal/Hardcore horde Ringworm has garnered the immediate attention of all types of heavy music fans, always displaying endless ferocity and, consequently, always fascinating metalheads with their unorthodox melodies for over 30 years. Now in 2023 the band formed of James ‘Human Furnace’ Bulloch on vocals, Matt Sorg and Mike Lare on the guitars, and Ed Stephens on bass has just unleashed their ninth studio album, titled Seeing Through Fire, the follow-up to their 2019 installment Death Becomes My Voice. Recorded, mixed and mastered by Noah Buchanan at Mercinary Studios, Seeing Through Fire showcases the abundant complexities in the music by Ringworm and pushes the band up into the frontrunners of modern metallic talent, being highly recommended for fans of Integrity, Earth Crisis, Converge and American Nightmare, among others.

The title-track Seeing Through Fire is utterly harsh and infuriated from the very first second, with James’ vocals exhaling despair and aggressiveness amidst a hurricane of Thrash Metal and Hardcore crafted by his bandmates, resulting in the perfect way to start such sick album. There’s no time to breathe as their feast of pulverizing sounds goes on in Carved in Stone, where the guitars by Matt and Mike will penetrate deep inside your skin and burn your muscle tissue mercilessly in the name of the darkest form of Hardcore you can think of. Then let’s all slam into the circle pit together with ringworm to the sound of the high-octane No Solace, No Quarter, No Mercy, a lecture in modern-day Thrash Metal with Hardcore elements spearheaded by the brutal vocals by James, followed by Death Hoax, sounding like some of the most insane creations by Slayer from their Divine Intervention and Undisputed Attitude albums, with the song’s fierce blast beats matching perfectly with the rabid roars by James. And the band continues their path of destruction in Thought Crimes, another frantic, sharp and caustic tune showcasing more of the scorching riffs by Matt and Mike.

The second half of the album begins in full force with Unavoidable Truth, bringing to our avid ears more of the band’s infernal fusion of Thrash Metal and Hardcore while Ed keeps hammering his bass nonstop, bringing an extra touch of groove and heaviness to the music; and if you think those American metallers would slow down anytime, you’re absolutely wrong, as they keep speeding things up and inviting us into the pit in House of Flies, with James growling rabidly supported by the wicked riffs and solos by the band’s guitar duo. You Want It To is another feast of Death and Thrash Metal infused with Hardcore nuances where Ed’s bass sounds thunderous, not to mention the song’s demented drums; and let’s keep banging our heads in the name of evil in Mental Decontrol, with James bursting his lungs screaming while Matt, Mike and Ed are ruthless armed with their axes. There’s no mercy for our souls in the demonic Power and Blood, an incendiary lecture in Thrash Metal and Hardcore by Ringworm that will smash you like an insect, with James once again stealing the spotlight with his sick, visceral growls; whereas closing Seeing Through Fire we have the outro Playing God, which is not bad but another ferocious tune would have added more taste to the album.

“We wanted to go with a slightly different approach and look than the previous records, it’s a new era for us,” explained James. “It’s a little bit of a return to our roots, you have those moments every so often where you wanna get back to your comfort zone, but at the same time you want to expand that comfort zone. On the production side, we definitely wanted something that was raw, more in your face, and way more sonically abrasive than the last several albums. Vocally it’s the same approach on every record, my voice is just a hammer, and every song looks like a nail to me.” Hence, if you want to experience all that raw, massive violence blasted by Ringworm in Seeing Through Fire, you can stream the album in full on YouTube and on Spotify, and of course grab a copy of it by clicking HERE or HERE. Don’t forget to also follow the band on Facebook and on Instagram, and to subscribe to their YouTube channel for more of their insane music. As aforementioned, Seeing Through fire is at the same time modern and old school, showing how the band knows what they do, staying loyal to their foundations without forgetting to always move forward in their career, and to always invite us for some action inside the circle pit.

Best moments of the album: No Solace, No Quarter, No Mercy, House of Flies and Power and Blood.

Worst moments of the album: Playing God.

Released in 2023 Nuclear Blast

Track listing
1. Seeing Through Fire 3:17
2. Carved in Stone 2:49
3. No Solace, No Quarter, No Mercy 3:09
4. Death Hoax 2:51
5. Thought Crimes 2:53
6. Unavoidable Truth 2:41
7. House of Flies 2:56
8. You Want It To 2:02
9. Mental Decontrol 2:29
10. Power and Blood 2:39
11. Playing God 3:09

Band members
James ‘Human Furnace’ Bulloch – vocals
Matt Sorg – guitar
Mike Lare – guitar
Ed Stephens – bass

Guest musician
Daniel Mongrain – guitar solo on “Death Hoax”

Concert Review – UADA (Lee’s Palace, Toronto, ON, 09/13/2023)

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An atmospheric (and long) night of extreme music spearheaded by the best Melodic Black Metal band of the current scene beautifully darkened the skies of Toronto and the hearts of the metalheads in the city.

OPENING ACTS: A Flock Named Murder, Unreqvited, Cloak and Ghost Bath

There have been countless rock and metal concerts in Toronto since the end of the European summer festivals, and that’s having its toll on the attendance of those concerts as no one has enough time and money to support all those bands when they bring their live performances to the city. That was the case last night when A FLOCK NAMED MURDER, UNREQVITED, CLOAK, GHOST BATH and the mighty UADA took the cozy Lee’s Palace by storm on a night of darkness, blasphemy, deep emotions and truly atmospheric heavy music during their Crepuscule North America 2023. Well, although the show wasn’t even close to be sold out, there were till several brave headbangers at the venue to support those incredible bands, and let’s always keep in mind that we’re talking about the underground of the underground, with zero support from the regular media.

Shortly after the doors at the venue opened at 7pm, Toronto, Ontario-based Black/Death/Post-Metal act A FLOCK NAMED MURDER kicked off the night’s black mass with their short but extremely powerful set, spearheaded by the band’s vocalist and guitarist Ryan Mueller. Having released to date the 2018 album An Appointed Time and the 2022 single Garden of Embers, which I’m pretty sure they played last night (and once again, it’s so hard to keep track of any setlist from almost all underground bands), the quartet put on a solid performance for the crowd, already inspiring some decent headbanging among the attendees. Their music is great and deserves a listen without a shadow of a doubt, and you can do so by visiting their BandCamp page or also by going to Spotify. Needless to say, if they ever play in your city, don’t miss the chance to witness this up-and-coming extreme music horde from Toronto.

Band members
Ryan Mueller – vocals, guitars
Mike Binns – guitars
Mike Wandy – bass
Cam Mueller – drums

Some people (including myself) were a little worried with the number of bands playing last night, as no one knew for sure what time the night was going to end. However, the quality of the music played by all groups was fantastic, which was also the case for the Stygian performance by  Ottawa, Ontario-based Atmospheric Post-Black Metal/Shoegaze/Ambient act UNREQVITED. Although Unreqvited is the solo project of vocalist and multi-instrumentalist William Melsness (also known as 鬼, which means “ghost” in Chinese), the band’s live lineup is formed of William alongside guitarist Victor Forest, bassist Robin Parsons and drummer Alec Curren, and let me tell you that those four guys kicked some serious ass on stage, resulting in a very pleasant surprise for anyone who was not familiar with their music. By the way, Victor and Robin had a fantastic onstage performance, mesmerizing the crowd with their somber sounds. I like to say that the type of music played by Unreqvited is a lot more emotional than heavy or obscure, and you can sense all that by enjoying their 2021 album Beautiful Ghosts and their 2022 single Perpetual Green of the Willow Groves, both available on BandCamp and on Spotify. Needless to say, I hope I can see Unreqvited live again sooner than later.

Band members
William Melsness (鬼) – vocals, guitars
Victor Forest – guitars
Robin Parsons – bass
Alec Curren – drums

It was getting late for a Wednesday night, but who cares? After a quick break it was time for Atlanta, Georgia’s own Black Metal/Black N’ Roll horde CLOAK to bring the energy and fire of their new album Black Flame Eternal to the stage of Lee’s Palace in the most metallic of all concerts of the night. Scott Taysom, Max Brigham, Billy Robinson and Sean Bruneau took no prisoners in their quest for extreme music, blasting our ears with several devilish and frantic tunes including the incendiary Seven Thunders and Black Flame Eternal, inspiring the crowd to raise their horns in the name of evil nonstop, and proving why they’re one of the must-see names of the current Black Metal scene. Just like what said about the previous bands, you can find their music on BandCamp and on Spotify, and if UADA are visiting your city make sure you get to the show early to catch the pulverizing concert by the guys from Cloak.

Band members
Scott Taysom – vocals, guitars
Max Brigham – guitars
Billy Robinson – bass
Sean Bruneau – drums

I think it was already past 10pm when Minot, North Dakota-based Depressive/Post-Black Metal entity GHOST BATH began their sinister and neck-breaking concert. Still promoting their 2021 album Self Loather, the band led by the charismatic vocalist and guitarist Nameless darkened the atmosphere at Lee’s Palace considerably, with their three-guitar attack formed of Nameless together with Tim Church and John Olivier sounding absolutely amazing from start to finish. Apparently they had a few minor sound issues in the beginning of their performance, which might explain the delay in their concert to start, but nothing that would bring any harm their onstage blackened party. All of their albums, including of course their latest offering, are available on BandCamp and on Spotify, so do not waste a single second and go check their insane creations, getting ready to praise darkness and melancholy whenever Ghost Bath invade your damned city.

Band members
Nameless – vocals, guitars
Tim Church – guitars
John Olivier – guitars
Josh Jaye – bass
Chris Piette – drums

UADA

What happens when a concert that was supposed to have started at 10:45pm, which is already late, has a 40-minute delay? Exactly, people start to get back to their homes because of several reasons like catching the last subway or train home, or having to wake up really early to work or go to school. That was basically the main issue with the flawless and beyond atmospheric performance by Portland, Oregon-based Melodic Black Metal titans UADA, resulting in some gaps in the floor section that didn’t look nice, but that didn’t change the fact UADA were fantastic on stage either. Having released their new masterpiece Crepuscule Natura just the Friday before the concert, such uncanny horde formed of vocalist and guitarist Jake Superchi, guitarist Kevin Bedra, bassist Nate Verschoor and drummer Trevor McClain was on absolute fire from start to finish, making everyone who could stay until the very end of their concert extremely happy and satisfied.

The smoke, the dim lights, and the band’s dark and menacing outfits that make it impossible to see their faces (plus of course the incense and the stunning setup of their merch table) are crucial elements of their live performances, and although photographers like my friend Keith Ibbitson of Lower Eastside Photography don’t really like that type of ambience as it gets tough to take clear photos, in the end everything works perfectly and has a reason to be there. From the very first notes of the explosive The Purging Fire, UADA already showed everything they got and their deep passion for dark music. After such hypnotizing start, they had a microphone issue during Snakes & Vultures that seemed to have driven Jake a little upset (which is totally understandable), but the crowd knew it wasn’t the band’s fault at all and enjoyed the song to the fullest even with that minor incident.

The title-track to their 2020 album, the breathtaking Djinn, might be my favorite UADA song to date, and seeing it being played live again (after seeing them opening for Rotting Christ earlier this year) was a thing of beauty, this time sounding and feeling even more powerful, followed by the also imposing and multi-layered In the Absence of Matter. However, it was when they played their two new songs The Dark (Winter) and Retraversing the Void that things got even more majestic, with the quartet playing those songs to perfection and inspiring everyone at the venue to bang their heads nonstop together with them, just to show how powerful their new album is. And finally, closing their cryptic performance they offered our avid ears their already classics Cult of a Dying Sun and Black Autumn, White Spring, putting an epic finale to a night that was extremely long, but at the same time extremely enjoyable. I can’t wait to see UADA again live, hopefully not so late at night due to my other commitments, but to be honest, who cares? Seeing what’s in my humble opinion the best and most innovative band of the current Melodic Black Metal scene kicking ass on stage is worth the effort, and may those mysterious guys return to Toronto for another metallic assault sooner than we can say “UADA”!

Setlist
The Purging Fire
Snakes & Vultures
Djinn
In the Absence of Matter
The Dark (Winter)
Retraversing the Void
Cult of a Dying Sun
Black Autumn, White Spring

Band members
Jake Superchi – vocals, rhythm guitars
Kevin Bedra – lead guitars
Nate Verschoor – bass
Trevor McClain – drums

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Album Review – Violent Life Violent Death / Break. Burn. End. (2023)

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The demonic new album by these North Carolina-based Metalcore and Deathcore heavyweights takes the band’s sound to a whole new level of intensity, resulting in their most assaultive effort yet.

Sometimes violence is the answer. That’s exactly what you’ll get in Break. Burn. End., the incendiary first full-length opus by Charlotte, North Carolina-based Metalcore/Deathcore heavyweights Violent Life Violent Death, following up on their critically acclaimed EPs The Color of Bone (2020), Sadness Rains (2019), Come, Heavy Breath (2018), and V-EP (2016). Mixed and mastered by Kyle Dameron at Rareform Recordings, and featuring a Stygian artwork by Mark De Gruchy, the new album by vocalist Scott Cowan, guitarists Joseph Benham and Daniel Knight, bassist Justin Campbell, and drummer David Holquin takes the band’s sound to a whole new level of intensity, resulting in their most assaultive release since their inception in 2016 and, therefore, placing the album as a must-listen for fans of the more metallic form of Hardcore blasted by Hatebreed, Every Time I Die, Zao, A Life Once Lost and Ringworm, among others.

A dark and cryptic intro ignites the visceral metal feast titled Weapon of Pain, with Scott already delivering his demonic gnarls while David crushes his drums in the name of old school Hardcore, not to mention how austere the riffs by Joseph and Daniel sound; and more of the band’s acid fusion of Metalcore with Hardcore and Death Metal is offered to us all in The Snapping of Teeth, a neck-breaking extravaganza by VLVD that will keep your blood boiling while Scott sounds utterly demonic on vocals. Then grim, devilish guitar sounds kick off the also obscure Deceit Welcomed by Blind Grace, exploding into the band’s trademark heavy music spearheaded by the unstoppable drums by David, supported by the always groovy bass by Justin; whereas the band shows no mercy for our damned souls in Devastation on the Tip of the Tongue, a pulverizing Metalcore and Deathcore onrush perfect for slamming like a beast inside the circle pit, with Scott once again delivering an inhumane performance on vocals. After such infernal tune, they keep the adrenaline flowing in The Light Behind, offering two minutes of pure savagery where Joseph and Daniel alternate between scorching riffs and more melodious lines.

The title-track Break. Burn. End. brings to our avid ears one minute of eerie noises and a wicked narration, working as a demonic interlude to the bestial Saying Your Name is to Choke on Ash, another circle pit feast that will explode your ears to the infernal growls by Scott and the classic blast beats by David, with Justin once again sounding thunderous armed with his bass. There’s no sign of slowing down for those ruthless metallers, with Maintain the Quiet being the perfect depiction of how technical yet brutal and vile their music can be, sounding absolutely pulverizing and thrilling from start to finish; followed by Heaven so Far Away, the second to last breath of evil by VLVD, starting in a more somber, phantasmagorical way before evolving into a rumbling feast of harsh roars, slashing riffs and pounding drums (albeit not as electrifying as its predecessors); and there’s time for one final dive into the mosh pit together with VLVD in Come Armageddon, with the Punk Rock and Hardcore-fueled beats by David speeding things up considerably, offering Scott all he needs to burst his lungs screaming before the song ends in a truly visceral note.

In a nutshell, the guys from VLVD did it again, bringing forward in Break. Burn. End. their undisputed amalgamation of Hardcore with more traditional metal styles in great fashion. Hence, you can get in touch with the band directly on Facebook and on Instagram for news, tour dates and so on, subscribe to their YouTube channel for more of their caustic music and videos, stream their venomous creations on Spotify, and of course grab a copy of Break. Burn. End. From the Innerstrength Records’ BandCamp page, from Apple Music, or from Amazon. This world is broken, burning, and soon coming to its inevitable end, and there’s nothing better than the music offered by VLVD in their newborn opus to guide us through our violent lives into our (most probably) violent deaths.

Best moments of the album: The Snapping of Teeth, Devastation on the Tip of the Tongue and Maintain the Quiet.

Worst moments of the album: Heaven so Far Away.

Released in 2023 Innerstrength Records

Track listing
1. Weapon of Pain 3:24
2. The Snapping of Teeth 2:58
3. Deceit Welcomed by Blind Grace 1:58
4. Devastation on the Tip of the Tongue 2:09
5. The Light Behind 2:25
6. Break. Burn. End. 1:07
7. Saying Your Name is to Choke on Ash 2:18
8. Maintain the Quiet 2:14
9. Heaven so Far Away 3:04
10. Come Armageddon 3:07

Band members
Scott Cowan – vocals
Joseph Benham – guitar
Daniel Knight – guitar
Justin Campbell – bass
David Holquin – drums

Album Review – Warcrab / The Howling Silence (2023)

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UK’s own Death and Doom Metal bulldozer is back in action with their strongest effort to date, having progressed into a faster, crustier direction while still remaining loyal to their doomed roots.

Just when you thought the music by UK-based Doom/Sludge Metal titans Warcrab was getting slower and sludgier, they do the unexpected and bring in Death Metal influences in a huge way in their demolishing new opus, titled The Howling Silence, the follow-up to their critically acclaimed albums Scars of Aeons and Damned In Endless Night. And that Death Metal approach is not even presented in the form of a thick, ponderous blend of the two styles; instead, the band currently formed of Martyn Grant on vocals, Geoff Holmes and Leigh Jones on the guitars, Dave Symonds on bass and Rich Parker on drums has shedded the extra weight that was holding them down and have progressed into a faster, crustier direction. Displaying a sinister artwork by Feltnan Art, The Howling Silence effortlessly switches between the band’s two predominant styles as and when the music demands it rather than having a monotonous and predictable sound, while still remaining loyal to their doomed roots.

The quintet wastes no time and begins shaking the foundations of earth in Orbital Graveyard, a thunderous fusion of Death, Doom and Sludge Metal where Martyn roars and barks manically accompanied by the pounding drums by Rich; followed by Titan of War, another Stoner and Sludge Metal attack spearheaded by the crushing riffs by Geoff and Leigh while Dave hammers his bass in the name of heaviness, and the music flows majestically until the very last second for our vulgar delectation. After such imposing tune we’re treated to Black Serpent Coils, a neck-breaking extravaganza that showcases all the power of the riff, blending the band’s sound from their previous records with a more contemporary sonority, and the final result is yet again superb, whereas their harsher, more visceral vein explodes in the Death Metal-fueled tune Sword of Mars, led by the venomous growls by Martyn while the band’s guitar duo gives a lesson in riffs and solos. Put differently, simply get into the pit and crush your spinal cord to the sound of such pulverizing chant.

After such devastating aria, it’s time for a darker, more introspective creation by Warcrab named As the Mourners Turn Away, starting in a lugubrious way highly inspired by classic Doom Metal and Blackened Doom, with Rich taking the lead with his sluggish beats in almost nine minutes of total darkness; and that Stygian aura goes on in Sourlands Under a Rancid Sun, with the low-tuned, menacing bass by Dave paving the path for his bandmembers to smash us all in a great display of Death and Doom Metal, not to mention how devilish Martyn’s roars sound and feel. Lastly, the band offers our avid ears the 10-minute title-track Howling Silence, a Death, Doom and Sludge Metal voyage presenting sharp, caustic riffs, tribal drums and an absolutely cryptic atmosphere, or in other words, it’s a bestial creation that lives up to the legacy of the most infernal form of Doom Metal imaginable, with Geoff and Leigh being flawless armed with their axes from start to finish, ending the album on a grim, vile manner.

This British bulldozer of extreme music is waiting for you on Facebook to crush your soul with news, tour dates and so on, and on Spotify to haunt you for all eternity with their dense and somber creations. Also, don’t forget to grab a copy of the pulverizing The Howling Silence from their own BandCamp page, as well as from the Transcending Obscurity Records’ webstore as a digipak CD (also available in their European store) or as a very special digipak CD + shirt bundle. The Howling Silence is Warcrab at the peak of their creative prowess; they are back and better than ever before, and you’re more than invited to join them in their feast of death and doom.

Best moments of the album: Titan of War, Sword of Mars and Howling Silence.

Worst moments of the album: None.

Released in 2023 Transcending Obscurity Records

Track listing
1. Orbital Graveyard 4:07
2. Titan of War 5:54
3. Black Serpent Coils 5:30
4. Sword of Mars 4:31
5. As the Mourners Turn Away 8:55
6. Sourlands Under a Rancid Sun 5:51
7. Howling Silence 10:41

Band members
Martyn Grant – vocals
Geoff Holmes – lead guitars
Leigh Jones – rhythm guitars
Dave Symonds – bass
Rich Parker – drums

Album Review – UADA / Crepuscule Natura (2023)

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One of the rising stars of the current Melodic Black Metal scene returns with their majestic fourth album, unleashing upon us five sonic vessels providing all their memorable hooks, tasteful leads and riding blasts in their distinct style.

Ever since the cloaked Pacific Northwest band appeared on the music radar back in 2014, Portland, Oregon-based Melodic Black Metal horde UADA has always been electrified by both polar worlds. Within the stretch of three albums as well as dense and triumphant live shows across the globe, they have not only spiked the map of extreme metal music but their unrelenting touring schedule and unbridled will to push forward into new horizons has also earned them a reception in all the extremes imaginable, be it worship or spite. Now in 2023 the band formed of Jake Superchi on vocals and guitars, Kevin Bedra also on the guitars, Nate Verschoor on bass and Trevor McClain on drums is unleashing upon humanity their fourth full-length opus, titled Crepuscule Natura (or “nature’s twilight” from Latin), the stunning follow-up to their 2020 masterpiece Djinn. Mixed and Mastered by the band’s own Jake Superchi at Obsidian Spells, and once again displaying an ethereal and occult artwork by Kris Verwimp, Crepuscule Natura offers five metallic vessels within the impressive span of 41 minutes, easily creating a sonic and aesthetic bridge between the band’s 2016 debut Devoid of Light and their 2018 sophomore effort Cult of a Dying Sun, only to forge onward upon the relentless path set forth with Djinn, providing all their memorable hooks, tasteful leads and riding blasts in their distinct style while balancing their epic surging melodies with powerful spurts of aggression.

The opening tune The Abyss Gazing Back is absolutely melodic and hypnotizing from the very first second, with Jake roaring the song’s devilish words (“In the light of Lucifer’s fire I am but a shadow of God: / No sanctity below, nor divinity behind. / Cast out; fallen and risen, here is where I continue my maraud: / For all within ourselves is what we must find. / Grandest gateways illuminate before me, through my own embodiment of thought: / Expanding endlessly in the caverns of the mind”) while his bandmates generate a beyond thrilling Black Metal atmosphere. Then we have the title-track Crepuscule Natura, even more imposing and multi-layered, blending the finesse of Melodic Black Metal with the rawness and savagery of classic Black Metal. Furthermore, Nate sounds bestial on bass accompanied by the infernal drumming by Trevor, resulting in a darkened voyage that will leave you completely disoriented after all is said and done; and the dirty bass by Nate kicks off the beautiful The Dark (Winter), with Jake and Kevin piercing our ears with their stylish riffs in a headbanging extravaganza by UADA that will explode your senses during their live performances.

The initial riffage by Jake and Kevin will embrace you mercilessly for all eternity in Retraversing the Void, inspiring you to keep moving your head sideways (just like what the band likes to do when they’re on stage blasting their sonic magic). It’s a fantastic depiction of modern-day Melodic Black Metal by those skillful American musicians,  not to mention how precise Trevor is behind his drums, all spiced up by another pulverizing vocal performance by Jake. Last but not least, a wild howl ignites the breathtaking 12-minute aria Through the Wax and Through the Wane, again bringing forward the band’s darkly poetic lyrics (“My moon is air / and my star of fire, / below I burn / so my ashes may continue higher / Oh, coldest night / grant me clearest sight / to grow out of your shadow / and be exposed in your searing light”) and their trademark dense, thunderous sounds, with Jake and Kevin sounding flawless armed with their Stygian axes. Moreover, it feels like three or four songs in one so intricate and detailed it is, venturing through the realms of Atmospheric and Melodic Black Metal with a grandiose background and an enfolding vibe, and with Trevor once again kicking some ass on drums, dictating the pace until the song’s climatic, apotheotic finale.

In Crepuscule Natura, which is already available for a full and detailed listen on YouTube, we face a band that’s on absolute fire, ready to unleash the marrow of Blackened Heavy Metal and to show us all why they’re known as the “haunted”. Hence, don’t forget to start following those incredible musicians on Facebook and on Instagram for news, tour dates (like their highly anticipated upcoming concert in Toronto next week) and other nice-to-know details about the band, as well as to stream all of their superb albums on Spotify, and above all that, to purchase a copy of Crepuscule Natura from their own BandCamp page or from the Eisenwald Records webstore (including the exclusive limited die-cut slipcase CD edition + music download card for the album + silver artwork patch bundle), or click HERE for all things UADA. The evolution in the music by UADA since their debut album is a thing of beauty, allowing us to witness with Crepuscule Natura the birth of new fan favorites while their craft remains grandiose, mythical and triumphant.

Best moments of the album: Crepuscule Natura, Retraversing the Void and Through the Wax and Through the Wane.

Worst moments of the album: None.

Released in 2023 Eisenwald Records/Obsidian Spells

Track listing
1. The Abyss Gazing Back 7:50
2. Crepuscule Natura 6:38
3. The Dark (Winter) 7:31
4. Retraversing the Void 7:44
5. Through the Wax and Through the Wane 12:03

Band members
Jake Superchi – vocals, rhythm guitars
Kevin Bedra – lead guitars
Nate Verschoor – bass
Trevor McClain – drums

Concert Review – Hatebreed (The Danforth Music Hall, Toronto, ON, 09/05/2023)

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The city of Toronto let the hate flow through its veins and destroyed everything together with the American juggernauts of Hardcore on a beyond hot and fun night.

OPENING ACTS: Jesus Piece, Vein.FM and Terror

What’s the best thing to do when you’re in the middle of a heat wave, with temperatures over +40oC and a scorching sun to burn you alive? Attending a metal concert, of course! And the city of Toronto had the pleasure of hosting the bands JESUS PIECE, VEIN.FM, TERROR and HATEBREED at The Danforth Music Hall this Tuesday during the Rise of Brutality 20th Anniversary Tour 2023, where Hatebreed are celebrating 20 years of their classic album The Rise of Brutality. I honestly thought that the venue was going to feel like a sauna, because that was the case when Kreator and Sepultura played there a few months ago, but apparently the organizers knew that the heat was way too strong outdoors and decided to crank up the AC to the lowest temperature possible, making it quite comfortable inside for all of the concert goers. You probably saved some lives by doing that! Good job!

As traffic wasn’t too crazy yesterday, all fans had a lot of time to enjoy a few beers and buy some merch between the doors opening at 6pm and the first band of the night, Philadelphia, Pennsylvania-based Hardcore/Metalcore/Sludge Metal act JESUS PIECE, kicking off their concert at 7pm. Spearheaded by the unstoppable frontman  Aaron Heard, the band put on a very entertaining concert from start to finish, blending songs from their new album …So Unknown with their older material, already inspiring the crowd to create a massive circle pit where most kids looked like they were squirrels who had a few cans of Red Bull, moving around like rabid creatures. I just couldn’t catch the names of the songs, mainly because whenever Aaron was talking to the crowd his mic sounded a little muffled, but if you’re curious to know more about such explosive band you can find all of their wicked creations on Spotify.

Band members
Aaron Heard – vocals
David Updike – guitars
John DiStefano – guitars
Anthony Marinaro – bass, backing vocals
Luis Aponte – drums

That mosh pit madness, with everyone following the lesson taught by the mighty Exodus in the classic “Toxic Waltz”, that being “so don’t be a dunce and dance like a runt, just throw your elbows with good friendly violent fun”, continued during the concert by Boston, Massachusetts-based Hardcore Punk/Metalcore outfit VEIN.FM. Having released the album This World Is Going To Ruin You last year, the band formed of Anthony DiDio on vocals, Jeremy Martin on the guitars, Jon Lhaubouet on bass and Matt Wood on drums showed no mercy for our souls, crushing their instruments nonstop and, therefore, inviting the crowd to keep moving wildly as if each person in the pit was fighting some sort of “invisible man”. It was a fun and vibrant show that definitely warmed up all Hatebreed fans at the venue, and if you want to enjoy the music by such talented band at home, in your car, at work, at school, at the gym or anywhere else, you can find those guys on BandCamp and on Spotify. Once again it was impossible to catch the names of the songs played, but that’s just a minor detail as their live performance was awesome.

Band members
Anthony DiDio – vocals
Jeremy Martin – guitar, backing vocals
Jon Lhaubouet – bass, backing vocals
Matt Wood – drums

Quickly after Vein.FM finished their show, it was time for Los Angeles, California’s own Hardcore legends TERROR to burn down The Danforth Music Hall with another insane performance, turning the floor section into a massive circle pit where the kids were once again moving like crazy creatures. Frontman Scott Vogel was the main responsible person for that mosh pit madness, as he kept asking the crowd to keep moving around, to keep doing some sick crowd surfing and so on, and let’s say his requests were promptly answered by everyone inside the pit. Playing songs from their latest album, their 2022 beast Pain into Power, including the amazing title-track, plus some of their old school material, those Californians showed Toronto everything they got, and the temperature inside the venue went up considerably due to all the action going on while Terror continued to distill their flammable Hardcore on stage. I’ve already place in another concert review the links to where you can stream their music, but as they’re really cool guys here we go again with the links to their BandCamp and Spotify, and if they ever visit your hometown, don’t think twice and go join the band to unleash some first-class Hardcore terror, alright?

Band members
Scott Vogel – vocals
Martin Stewart – guitar
Jordan Posner – guitar
Chris Linkovich – bass
Nick Jett – drums

HATEBREED

The break between Terror and Bridgeport, Connecticut-based Hardcore Punk/Metalcore titans HATEBREED was a little longer than the previous ones for obvious reasons, allowing everyone at the venue to go buy some merch (in case they hadn’t done so already), grab a few beers, smoke a cigarette and have a quality chat with their friends, and all those things energized the crowd to the point that the iconic Jamey Jasta kept repeating how much he loves Toronto, being visibly impressed with the rowdy reaction during each song from their amazing setlist. Playing songs form their entire discography, including the classics Last Breath (dedicated to the memory of the deceased The Black Dahlia Murder frontman Trevor Strnad), Driven by Suffering, Tear It Down, Straight to Your Face, Doomsayer, and Confide in No One, the band put on an electrifying show that pleased all fans of their unique fusion of Hardcore with Thrash Metal, Punk Rock and other heavy styles.

My only complaint (and of Keith Ibbitson of Lower Eastside Photography, as well as all other photographers at the venue) was the dim lighting used for all four bands, which is becoming something quite common in most shows not only in Toronto, but everywhere. It’s getting tough to see the bands on stage with clarity, but of course, it’s nothing that would stop the fans from enjoying the shows. Well, it is what it is, and when you have a band like Hatebreed on stage let’s admit we must be really aware of our surroundings due to all the mosh pit action going on, leaving us with not a lot of time to actually pay attention to the stage, right? Jokes aside, it was a true pleasure seeing Wayne Lozinak and Frank Novinec kicking some ass with their guitars while Chris Beattie and Matt Byrne made the venue shake with their insanely heavy kitchen, keeping everyone more than entertained until the very end, with lots of fists and horns in the air, lots of screaming, and the endless insanity inside the circle pit led by the demented vocals by Jamey. Now it’s just a matter of waiting for Hatebreed to return to Canadian lands to destroy everything once again, and I bet everyone who attended their concert last night will be there again to celebrate their undisputed Hardcore music.

Setlist
Tear It Down
Straight to Your Face
Destroy Everything
A Lesson Lived Is a Lesson Learned
Empty Promises
To the Threshold
Live for This
Voice of Contention
Looking Down the Barrel of Today
Beholder of Justice
This Is Now
Perseverance
Driven by Suffering
Confide in No One
Last Breath (Dedicated to Trevor Strnad)
Doomsayer
Smash Your Enemies
Another Day Another Vendetta
I Will Be Heard

Band members
Jamey Jasta – vocals
Wayne Lozinak – lead guitar, backing vocals
Frank Novinec – rhythm guitar, backing vocals
Chris Beattie – bass
Matt Byrne – drums

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Album Review – Cryptopsy / As Gomorrah Burns (2023)

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And Gomorrah will burn to the sound of the incendiary new album by one of the fiercest Death Metal bands to ever rise from the Canadian scene.

Known as one of the fiercest Death Metal squads to ever rise from the Canadian scene since the band’s inception in the distant year of 1992, Montreal, Quebec-based Technical Death Metal juggernauts Cryptopsy are back to pummel our collective senses anew with their eighth studio album, the infernal As Gomorrah Burns, their first record in over 10 years. Produced, mixed and mastered by the band’s own by guitarist Christian Donaldson, with additional mixing by Dominic Grimard (who’s also their touring bassist), and displaying a stunning artwork by Italian painter Paolo Girardi, As Gomorrah Burns pits the Biblical story of Sodom and Gomorrah against the modern-day Internet, with its stories based on real-life incidences such as online stalkers, cults, misinformation, isolation and intimidation showing how it’s both the birthplace of invention and a cesspool of exploitation, therefore proving why the band formed of vocalist Matt McGachy, guitarist Christian Donaldson, bassist Olivier Pinard and drummer Flo Mounier will forever be one of the references in the history of Canadian Death Metal.

The massive, ruthless drum attack by Flo sets the tone in Lascivious Undivine while Matt roars like a true beast in the name of Technical and Brutal Death Metal. It’s a bit generic, though, but a decent start to the album; and they keep destroying their instruments in In Abeyance, with Matt barking the song’s wicked lyrics nonstop (“Boom / I was promised a utopia / I’ve been silenced and isolated / Cast aside human garbage / Tortured monotonous futile existence / Another day, yet another pointless trip”), whereas Godless Deceiver sounds very technical yet violent and frantic just the way we like it in Death Metal. Furthermore, Christian’s riffage sounds absolutely mental accompanied by the metallic slabs by Olivier armed with his bass, followed by Ill Ender, a fantastic creation by the quartet presenting an amazing job by Christian and Olivier with their stringed axes, consequently adding a lot of groove and insanity to the overall result (not to mention how demented Flo is behind his drums once again).

Flayed the Swine showcases a band that’s once again extremely technical and vile, with the song exhaling madness through its lyrics (“Blasted little rotting pick / Egotistical asshole / This puny little mongrel / I will put an end to this / This simple-minded shit”), whereas their grim and thunderous metal attack continues in full force in The Righteous Lost, with Olivier stealing the spotlight with his menacing, in-your-face bass jabs, keeping the album at an insane level of aggressiveness and intricacy. Obeisant is another hellish hurricane of Death Metal sounds spearheaded by the unstoppable blast beast by Flo and the deep, inhumane growls by Matt, a song beyond perfect for heading into the circle pit for some high-quality action, flowing into the closing tune Praise the Filth, offering us all almost six minutes of total darkness and rage where Christian and Olivier are once again flawless with their stringed weapons. Put differently, we face nonstop adrenaline flowing from all instruments, putting a heavy and pulverizing ending to As Gomorrah Burns.

“We are back,” said frontman Matt McGachy. “I want our fans to know we’re more than a legacy band. Yes, we have had massive cult favorite albums – like None So Vile – but we are creating modern and relevant extreme music 30 years later. We’re so proud of As Gomorrah Burns, and we can’t wait for you to hear it!” Hence, if you want to stay updated with all things Cryptopsy and let the guys know how much you love their music, you can get in touch with them on Facebook and on Instagram, subscribe to their YouTube channel and stream more of their music on Spotify, and of course purchase a copy of the breathtaking As Gomorrah Burns from their BandCamp page or by clicking HERE. Having said all that, let Gomorrah burn to the incendiary new album by one of the torchbearers of Canadian death!

Best moments of the album: In Abeyance, Ill Ender and Obeisant.

Worst moments of the album: Lascivious Undivine.

Released in 2023 Nuclear Blast

Track listing
1. Lascivious Undivine 3:50
2. In Abeyance 2:56
3. Godless Deceiver 3:40
4. Ill Ender 4:19
5. Flayed the Swine 4:25
6. The Righteous Lost 4:16
7. Obeisant 3:52
8. Praise the Filth 5:50

Band members
Matt McGachy – vocals
Christian Donaldson – guitars
Olivier Pinard – bass
Flo Mounier – drums

Album Review – Djinn-Ghül / Opulence (2023)

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An uncanny duo from the US and Venezuela will attack your senses with their third full-length opus, flitting between full-on Death Metal brutality and jaw-dropping futuristic and mechanized sounds.

Less than two years following the release of their critically lauded EP Mechalith, industrialized Experimental/Brutal Death Metal/Deathcore unit Djinn-Ghül unleashes their third full-length album, entitled Opulence, building on their previous material while taking things to new levels of extremity. The international duo formed of Venezuelan vocalist Junior “Pat” Patiño (Voraraephilia) and American multi-instrumentalist Grant Nachbur (Auricular Insemination, Nephrectomy) has been evolving and perfecting their sound with each consecutive release since their inception in 2016, with their new album effectively flitting between full-on Death Metal brutality and jaw-dropping futuristic and mechanized sounds with impressive cohesion. Mixed and mastered by Pat himself, and displaying a sick acrylic painting as the album’s artwork by Chinese artist Guang Yang, Opulence showcases a dynamic slab of industrialized Death Metal with a crushing power that will debilitate as much as adrenalize you, resulting in their most chaotic yet refined material to date.

Haunting and atmospheric, the opening tune God Lymph will pierce your soul with the band’s hybrid of several extreme styles, with Grant’s crushing drums and phantasmagorical keys permeating the air until everything explodes into violence and insanity with Pat roaring like a demon, whereas the hammering bass and caustic riffs by Grant will demolish your senses in Xobek, a lecture in Blackened Deathcore with some industrial and electronic elements in the background to give it an even more venomous vibe. Their industrialized vein keeps pulsing in Ghola, with Pat’s inhumane growling complementing the infernal atmosphere crafted by Grant, followed by the title-track Opulence, featuring Jordan James of Disentomb on vocals, bringing forward the demented beats and scorching riffs by Grant while the song’s background elements will beautifully darken your soul. Then featuring guest vocalist Alex Marr, the duo’s horror-inspired sounds keep disturbing the minds of the lighthearted in the pulverizing Pseudosapien, where Grant’s bass and drums generate an avalanche of sheer heaviness until the very end.

Sara Crow lends her voice as a guest in Mother, another short and sweet blast of their Experimental Death Metal sounds infused with Deathcore and classic Death Metal nuances; however, it never really takes off, sounding more like an interlude of sorts. Their next guest vocalist is Phlegeton of Wormed, with more of their mechanized, futuristic keys being offered to us in Fruitless Grasp, before the music turns into a demonic feast of devilish screams, piercing guitars, infernal beats and rumbling bass lines. There’s still more from such talented duo to haunt your damned soul for all eternity in Garden of Jaws (It Sees Too Much), blending the most violent elements from Brutal Death Metal with their more experimental and industrialized vein, and with Pat sounding absolutely evil on vocals; flowing into the closing tune Grave Vessel, where the duo clearly sends a message of chaos and darkness through their electrified sounds and noises, not to mention Grant is once again ruthless behind his drums, ending the album on a beyond somber mode.

The vicious Opulence, which is available in full on YouTube and on Spotify, is certainly not recommended for the lighthearted, which is exactly what such ruthless American/Venezuelan duo wanted to achieve with their music. Hence, don’t forget to give Djinn-Ghül a shout on Facebook and on Instagram, to subscribe to their YouTube channel, and above all that, to purchase a copy of their newborn beast from their own BandCamp page, from the Vicious Instinct Records’ BandCamp page, from Apple Music, or from Amazon. In other words, Opulence is heavy, caustic, futuristic and melodic, all at the same time, effectively cementing Djinn-Ghül as one of the most interesting names of the modern extreme music scene.

Best moments of the album: Xobek, Pseudosapien and Garden of Jaws (It Sees Too Much).

Worst moments of the album: Mother.

Released in 2023 Vicious Instinct Records

Track listing
1. God Lymph 3:47
2. Xobek 2:13
3. Ghola 2:49
4. Opulence 3:13
5. Pseudosapien 3:21
6. Mother 2:40
7. Fruitless Grasp 4:29
8. Garden of Jaws (It Sees Too Much) 3:25
9. Grave Vessel 2:37

Band members
Junior “Pat” Patiño – vocals
Grant Nachbur – all instruments

Guest musicians
Jordan James – vocals on “Opulence”
Phlegeton – vocals on “Fruitless Grasp”
Sara Crow – vocals on “Mother”
Alex Marr – vocals on “Pseudosapien”

Album Review – Primal Fear / Code Red (2023)

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Like a phoenix arising from the ashes, the Teutonic masters of Power Metal are back in action with their thirteenth opus, a hard-hitting metal lesson and living proof of the healing power of music.

The phoenix arising from the ashes is a much-cited motif in cultural history; it seldom fits as well as it does with the triumphant return of Esslingen, Germany-based Power Metal masters Primal Fear armed with their thirteenth studio opus, titled Code Red, the follow-up to their critically acclaimed 2020 album Metal Commando. Recorded and mixed by Sebastian Roeder, Mitch Kunz and Ralf Scheepers at Backyard Studios, mastered by Jacob Hansen at Hansen Studios, and displaying a triumphant eagle of steel rising from the ashes in the artwork, which could definitely represent the rebirth of our beloved Mat Sinner, who almost lost his life a couple of years ago, Code Red is a hard-hitting metal lesson and living proof of the healing power of music and the brotherhood behind the riffs where vocalist Ralf Scheepers, bassist (and survivor) Mat Sinner, the triple guitar phalanx of Tom Naumann, Alex Beyrodt and Magnus Karlsson, as well as drummer Michael Ehré, blast us with a zeitgeisty manifesto that provides eleven essential arguments of why power metal will simply never go under.

Their Power Metal feast begins in full force with the headbanging Another Hero, where Ralf already showcases all his vocal range, not to mention the song’s catchy, singalong chorus (“Where is the savior who shows us the way / We need a guide back to sanity / In times like these without piece of mind / We need someone who stops this inhumanity / Another hero”); whereas Bring That Noise (originally called “The Flood” when details of the album were revealed) sounds even more melodic thanks to the great guitar job done by Magnus, Alex and Tom with their incendiary riffs and solos. Needless to say, it should work perfectly if played live. The second single of the album released a few weeks ago, the mid-tempo tune Deep in the Night, focuses on the power of the riff while Michael keeps pounding his drums with tons of precision, followed by Cancel Culture, where we face modern-day words roared by Ralf (“Into the circus of life we were pushed out of nowhere / Growing, maturing and loving and hating the game / Saddle the horse for a future that’s basically unknown / We procreate, viciate, twisting the facts without shame / Manipulating”) in almost seven minutes of classic, hammering Heavy and Power Metal for the masses. And those German metallers invest in a fun and vibrant Hard Rock and Rock N’ Roll vibe in the dancing and thrilling Play a Song, showcasing striking riffs and the always rumbling bass lines by the one and only Mat Sinner, proving why heavy music will always have a healing power for all of us metalheads.

It’s then time for a more introspective, darker song titled The World Is on Fire, with the band’s guitar triumvirate once again distilling their sharp and caustic riffs for our total delight. Put differently, it’s classic Primal Fear with no shenanigans spearheaded by Ralf’s trademark soaring vocals. Acoustic guitars then set the tone in Their Gods Have Failed, before the music evolves into a Doom Metal-infused sound that reminds me of some of the best Black Sabbath songs with Dio on vocals; whereas another epic intro explodes into sheer Power Metal magic in Steelmelter, with Magnus, Alex, Tom and Mat kicking some serious ass armed with their stringed weapons, making it clear why Primal Fear always thrive when they focus on a more straightforward sonority. They keep blasting their instruments in great fashion in Raged by Pain, where Ralf will pierce your ears with his high-pitched screams, resulting in another strong contender to be part of their upcoming live performances. The band slows things down and brings forward a power ballad titled Forever (by the way, one more ballad named “Forever” in the rock and metal world), a decent song where Ralf steals the spotlight as usual, although not as good as all of their other ballads form previous albums. Last but not least, those Teutonic rockers get back on track with their metallic, razor-edged Power Metal in Fearless, led by the classic beats by Michael and, therefore, positioning it as an excellent tune for some vigorous headbanging.

In a nutshell, Code Red (which is available for a full listen on YouTube and on Spotify) represents much more than just another powerful album in their undisputed career; it’s an inspiring and emotional opus for everyone who follows Primal Fear and was extremely worried about the health and the fate of the band’s mastermind Mat Sinner. Fortunately, the gods of metal seem to be on Mat’s side, allowing him to be the band’s own phoenix and get back in action alongside his loyal bandmates to provide us with more of their electrifying Heavy Metal. Hence, don’t forget to give the guys form Primal Fear a shout on Facebook and on Instagram, and to grab your copy of another incendiary blast of heavy music by those German metallic eagles from the Atomic Fire Records website or by clicking HERE. A lot of people thought this Power Metal steel eagle was dead and gone after what happened with Mat, but of course they were absolutely wrong, and Code Red is among us to remind us why they’ve been one of the most powerful names of the scene since their inception back in the 90’s. As they say in their new album, when the whole world feels wrong, just play a song (by Primal Fear)!

Best moments of the album: Bring That Noise, Play a Song, The World Is on Fire and Steelmelter.

Worst moments of the album: Forever.

Released in 2023 Atomic Fire Records

Track listing
1. Another Hero 4:59
2. Bring That Noise 4:49
3. Deep in the Night 5:47
4. Cancel Culture 6:48
5. Play a Song 4:15
6. The World Is on Fire 5:01
7. Their Gods Have Failed 7:23
8. Steelmelter 4:46
9. Raged by Pain 3:22
10. Forever 5:12
11. Fearless 5:29

Band members
Ralf Scheepers – vocals
Mat Sinner – bass, backing vocals
Magnus Karlsson – guitars, keyboards
Alex Beyrodt – guitars
Tom Naumann – guitars
Michael Ehré – drums

Metal Chick of the Month – Lady IX

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On the Isle of Vanaheim grant me one last poisoned kiss…

Dark. Mysterious. Delicate. Unique. These are just some of the words that can be used to describe our metal lady of the month of September, and after reading more about her I’m sure several other words related to beauty and darkness will come to your mind. Well, to be honest, there isn’t a lot of information about her personal life anywhere, just to show you how cryptic she is and how she likes to keep her fans curious to know more about her life and her work. No one knows her real name, but we can all call her by her alter-ego Lady IX, the mesmerizing frontwoman and songwriter for Belgian Gothic/Doom Metal outfit Hyldr, who’s also an aspiring writer and the author of the Hyldr Chronicles, a lover of YA books (aka young adult fiction) and audiobooks, and above all that, a lover of your blood. Yes, you read it right, so you better get ready to enter the Stygian realm of Lady IX and her Hyldr here on The Headbanging Moose because, as you might have noticed, there’s no turning back after she sinks her fangs in your jugular.

It’s absolutely unclear if Lady IX was born in Wales, in Belgium or anywhere else, nor if she actually resides in Brașov, a city in the Transylvania region of Romania ringed by the Carpathian Mountains, which would make total sense based on her obscure and hypnotizing persona. What we know is that it was back in 2021 when Lady IX decided to form the Gothic/Doom Metal beast Hyldr, focusing on an emotional approach to morbid themes inspired by her own book, the aforementioned Hyldr Chronicles, using it as a template for the band’s song concepts. By the way, the name Hyldr is a reference to a Valkyrie that one character, a Japanese woman who ends up in the middle of a Viking turmoil, wishes she could become in the book, presenting elements of the supernatural combined with doses of Greek tragedy.

Currently formed of our diva Lady IX on vocals, keyboards, lyrics and songwriting alongside guitarists VI and Jean Dark, bassist Wôde, and drummer Saïko, Hyldr take the listener on an unforgettable musical adventure, bringing to our avid ears a captivating fusion of sounds inspired by both cinematic and operatic works, crafting a realm that fans cannot resist. Having released so far the singles Heart of Soil and Your Frozen Chest, plus their debut full-length opus Order of the Mist, all in 2022, the band conjures a treat for fans of Paradise Lost, Moonspell, Ghost, Draconian, Saturnus, and others who appreciate the ominous beauty of Gothic and Doom Metal. For instance, Order of the Mist (which title refers to rulers of the underworld in Nebelwood Forest where the shape-shifting Huldra folk have the power to bring back the dead) offers our damned souls eight distinguished tracks that are sometimes haunting and hypnotic, sometimes epic and melodic, including the two aforementioned songs Heart of Soil and Your Frozen Chest, as well as Nibelungen and The Blade Of Gold. Furthermore, the band is already gearing up for the future, having already composed the sequel to Order of the Mist while they’re at the same time looking for a label to help them spread their caustic fusion of Gothic and Doom Metal worldwide.

Speaking of the song Nibelungen, where they venture into the depths of their genre to create a truly hypnotic piece and where Lady IX seamlessly blends into the mesmerizing excerpts from Fritz Lang’s cinematic masterpiece Die Nibelungen, it’s not just a stunning fusion of visual darkness and enchanting music inspired by the magnificent work of Richard Wagner’s Der Ring des Nibelungen, but Lady IX and the rest of the band also hope that the fans connect with the official video for the song in a significant way, especially given its relevance in today’s world. “I hope that our fans and new ones will be curious enough to perhaps go and find the original film and watch it. Such an old movie in black and white must be daunting to a lot of people, but this sort of cinematographic relic really is worth the effort,” commented Lady IX about the song and the video, also offering a playful proposition. “We also would like the fans to crowdfund a remake of the entire film with all Hyldr band members playing the main roles! A worldwide financial success awaits!” Hence, you can enjoy Nibelungen and all other songs and videos from Hyldr directly from Spotify, from BandCamp, or from Youtube.

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Now switching gears a little from music to literature, let’s talk about the inspiration for the existence of Hyldr, Lady IX’s own Hyldr Chronicles, a YA science fantasy horror book fully written by our beloved diva of darkness. In this YouTube playlist, Lady IX reads the ghostly yet relaxing audiobook by the fire, chapter by chapter, and tells the gory folktale of a young woman from Otarunai in Japan who has an uncanny ability to see the dead and sometimes communicate with them. One traumatic day, she is torn from her troublesome coastal village and finds herself trapped in a world where sinister Norse mythology becomes a harsh reality. Before new chapters are read or written, Lady IX will occasionally allow her loyal Huldra listeners of the Hyldr Chronicles to join in interactively by choosing paths for the characters to take. By the way, the specific order of the songs in the album Order of the Mist does not follow the chronology of the Hyldr Chronicles, but slices the story up “like a dissected corpse” as mentioned by the band. “All our songs are connected, distilling a larger story,” said Lady IX about the uniqueness of her book and her band’s new album.

Her official YouTube channel, as well as the official YouTube channel for Hyldr, are actually full of other surprises the likes of Hyldr Chronicles. For example, there’s a playlist called Ghostly Choirs, where you can enjoy the harrowing singing from the Hyldr Chronicles by Lady IX; another one named Order of the Mist Vocal Autopsy, where Lady IX’s vocals are put under a microscope from the album Order of the Mist; and one named Lady IX Songs, where you can enjoy a variety of videos with Lady IX including our diva singing the song My Bones To The Sea, by Harakiri for the Sky. As you can see, despite the fact that there are almost zero details about Lady IX’s personal life available online, her music, her creations and her passion for everything that’s dark and gothic are easy to find, taking you on a one-way journey to the deep and somber lair ruled by our hypnotizing metal lady and her Hyldr.

Lady IX’s Official Facebook page
Lady IX’s Official Instagram
Lady IX’s Official YouTube channel
Hyldr’s Official Facebook page
Hyldr’s Official Instagram
Hyldr’s Official YouTube channel