Hailing from Boston, Massachusetts, The Relentless (Drums), The Hammer (Guitar), The Channeler (Vocals), and The Watcher (Bass), collectively known as Malleus, have returned with a debut album of Black/Speed Metal spite by the name of The Fires of Heaven, which will see the light of day on both CD and LP through the Armageddon Label.
Opening with the soft violin and cello tones of The Tempest, Malleus soon gets down to the business at hand of angry, snarling Black Metal with a hugely abrasive Speed Metal influence on the riffs and the vocals. Breakneck drumming, gnarly bass tones and raw, aggressive vocals all plough a forward furrow of steady, barely controlled violence, whilst the riffs plunge and rise with alacrity and vehemence.
Tracks such as Beyond the Pale have a more workmanlike quality, not plodding but more methodical in the delivery of the drums and guitar leads, though the vocal work stays particularly vociferous throughout the whole album.
Other tracks such as The Prophetess rely on savage bass leads and marauding drum tones to create a more volatile and aggressive sound, and it’s here that Malleus truly come alive and pull your attention firmly into what they are creating. During the second half of the album the tracks get a lot lengthier, allowing Malleus to explore their sound more as well as giving each component more time to showcase themselves. This is particularly noticeable for the bass play during The Fires of Heaven which has a far more prominent sound and meshes well with riffs that have a slight brooding quality to them.
The Fires of Heaven then is an album that grows on you, and is definitely back end heavy in terms of intensity of tracks towards the latter half of the album and in terms of creativity.
Best moments of the album: The intro is an impressive and misleading start to the album. Also Prophetess and The Fires of Heaven for the snarling bass tones.
Worst moments of the album: Nothing really.
Released in 2023 by Armageddon Label
Track listing 1. The Tempest 1:34
2. A Dark Sun Rises 4:11
3. Beyond The Pale 5:33
4. Prophetess 3:54
5. The Fires Of Heaven 7:33
6. Into The Flesh 3:48
7. Awakening 8:01
8. Mourning War 9:34
Band members
The Channeler – vocals
The Hammer – guitar
The Watcher – bass
The Relentless – drums
Guest musicians Kris Force – violin in “The Tempest”
Jackie Perez Gratz – cello in “The Tempest”
This UK-based Sci-Fi inspired Technical Death Metal entity will crush your senses with their brand new 14-minute EP from outer space.
A Sci-Fi inspired Technical Death Metal band formed in 2011 in Peterborough, a cathedral city in the ceremonial county of Cambridgeshire, England, Lost Brethren are unleashing upon us a pulverizing EP titled Dimensional Rift, following up on their 2019 full-length opus The Abduction. Mixed and mastered by Stefano Morabito at 16th Cellar Studio and displaying a futuristic artwork by Moga Alexandru of Kogaion Art, the four-track EP continues to deliver the characteristic heaviness, intricacy and fury from the band’s four full-length albums, showcasing all the dexterity by vocalist Adam Brown, guitarist Adrien Crozet, and guitarist and bassist Ant Deane, with the demolishing support of Polish drummer Krzysztof Klingbein (10 Plagues, Deathspawn) as a guest musician.
A wicked, very entertaining intro about extraterrestrial forms suddenly explodes into the band’s furious Death Metal in Terrestrial Ashes, with Adam roaring like an otherworldly creature supported by the crushing drums by Krzysztof, feeling absolutely demolishing yet extremely technical. And Adrien and Ant distill all their dexterity and passion for heavy music armed with their strident riffs and solos in Intergalactic Reprisal, kicking some ass form start to finish while inviting us all to slam into the pit; whereas the title-track Dimensional Rift takes their unrelenting Technical Death Metal to a whole new level spearheaded by the deep guttural by Adam and the always inhumane beats by Krzysztof, not to mention how striking and incendiary their guitars sound once again. Lastly, we face another three-minute metal attack titled Nefarious Reign, with their intricate riffage bringing even more dementia to the overall result, or in other words, it’s in-your-face, no shenanigans Technical Death Metal from outer space.
In summary, Lost Brethren are ready to kick your freakin’ arse with their newborn 14-minute beast, and if you want to show those UK death metallers your utmost support you can follow them on Facebook and on Instagram for news, tour dates and so on, stream all of their infernal creations on Spotify, and of course purchase Dimensional Rift from their Big Cartel as a CD or as a special CD + T-shirt bundle, as well as from Apple Music. The combination of Sci-Fi and Death Metal always brings to our ears some amazing music, and Lost Brethren seem to have mastered that art with all of their releases, including of course their vibrant new EP.
Do you know what happens when the Land of the Rising Sun, the Land of the Morning Calm, the Land of Fields, and the Elongated Country are combined in the name of heavy music? Well, the result is our metal lady of the month of March, and I’m sure you’ll fall in love with her beautiful vocals, stunning looks and undeniable charisma after knowing more about a woman who perfectly unites Japan, South Korea, Poland and Sweden in her blood. Her real full name is Akane Okamoto-Kaminski, but everyone knows her by her stage name of Akane Liv, the multi-talented frontwoman of Japanese Symphonic Power Metal band Liv Moon, owner of a unique voice that will bring warmth to your soul during the last month of winter in the northern hemisphere without a shadow of a doubt.
Born on August 24, 1978 to a Polish-Swedish father and a Korean-Japanese mother in Gothenburg, a major city in Sweden situated off the Göta älv river on the country’s west coast, Akane Liv was actually raised and educated in the ultramodern yet traditional Japanese capital Tokyo. After graduating high school, she joined Takarazuka Revue, an elite Japanese all-female theatre troupe introduced to her by her aunt who was already a fan of the project (and she took Akane Liv there for the first time when she was still in elementary school), having performed with the company for six years before departing, enrolling at a small international college in Oxford, England. Whilst in England, Akane Liv took lessons in classical singing and performed at the 2004 edition of the Beckenham Music Festival, where she was named the Singer of the Year and, therefore, attracted a lot of attention worldwide. Despite being accepted to the prestigious Royal Academy of Music, she didn’t study there for long. Following a solo recital in Poland, she returned to Japan in 2005, where she continued to perform, graduating from Takarazuka Revue and meting producer Tatsuya Nishiwaki, leading to the founding of Liv Moon in 2009 while also releasing music under her own name, Akane Liv. Furthermore, when questioned about the main reasons why she left Takarazuka Revue the first time, Akane Liv mentioned that after seeing how musicals work in other parts of the world she felt that Takarazuka Revue was a dream world where she had to stay in character and wear makeup and costumes all the time, something very demanding for her.
Needless to say, there’s no Liv Moon without Akane Liv and vice-versa, with our metal lady being the heart and soul of the band since their inception in 2009. Currently formed of our diva Akane Liv together with Tatsuya Nishiwaki on keyboards, Masaki on bass, Kentaro on the guitars, Hideki Harasawa on drums, and Saori Hoshino on the violin, Liv Moon play beautiful Symphonic Power Metal dealing with topics such as tragedy, poetry, love and dark romanticism, having already released the full-length albums Double Moon (2009), Covers – Scream as a Woman (2010), Golden Moon (2011), Symphonic Moon (2012), The End of the Beginning (2012), and more recently Our Stories (2022), as well as a compilation called The Best of Liv Moon (2015), the EP R.E.D (2016), and a series of live albums and videos, those being Liv Moon Club Show Golden Moon (2011), Liv Moon Club Show 2012 “Symphonic Moon” – Black Night (2012), Liv Moon Club Show 2012 “Symphonic Moon” – White Night (2012), Liv Moon Club Show 2012 “Symphonic Moon” – White Night & Black Night (2012), and Liv Moon Live 2012 “The End of the Beginning” (2013). If you want to have a taste of the music by Liv Moon, you can enjoy the official videos for Escape, Never… and El Dorado on YouTube, or simply stream all of their releases on Spotify.
As aforementioned, our beloved diva also has her own solo project since 2013, simply named Akane Liv, having released her debut album titled Liv back in 2014. From that album, you can enjoy Akane Liv’s mesmerizing vocals in songs such as Night Parade, Summer Shadow, and Hikari, where you can easily see how she managed to blend international rock and pop music with Japanese pop. Apart from that, you can find Akane Liv as a guest vocalist in the songs Angel of Salvation, from the 2012 album by the same name by Japanese Neoclassical Power Metal act Galneryus; Incredible Bass Show, from the 2013 album Psycho Daze Bass by Japanese Heavy Metal/Shred project Masaki; Alone, from the 2010 album Crying Stars – Stand Proud!, and Chaotic Reality, from the 2019 album Vorvados, both by Japanese Neoclassical Power Metal project Syu; and Poison Eyes, from the 2013 album Devils in the Dark by Japanese Melodic Power Metal/Shred project Takayoshi Ohmura.
This slideshow requires JavaScript.
A huge fan of Queen and Bon Jovi, playing songs such as Livin’ On A Prayer to cheer herself up, our diva mentioned in one of her interviews that she opened her eyes and ears to Symphonic Metal after listening to The Phantom of the Opera on the radio in a taxi while she was studying in England. She said that everyone in that musical showcased a powerful voice, saying she was moved by that, and also mentioning that The Phantom of the Opera has a strong rock vibe even among musicals, with its bass and drums sounding truly heavy. She also said that she doesn’t think Symphonic Metal and Takarazuka Revue are too different, because when she sings Symphonic Metal she also play various characters, sometimes even a different one every four or five minutes when a new song comes up (as opposed to Takarazuka Revue, where she used to play only one character for one hour or two), as Symphonic Metal has a stronger theatrical element than most metal styles. For instance, she mentioned that the role of Madame Red in Black Butler is a character that she couldn’t have created if she hadn’t invested in a darker and heavier world with Liv Moon, as that was a character full of jealousy, passion, affection and all kinds of emotions that are common to most women, whereas on the Liv Moon side, she wants her fans to have a very theatrical experience as if they were watching a theater group like Takarazuka Revue.
Having played a male role during a considerable amount of time with Takarazuka Revue, Akane Liv believes that the project’s appeal is that it expresses men and women of all ages as one single gender, with all of its gorgeous costumes making the whole experience of watching it even more compelling. Perhaps the only “issue” she had during her time with Takarazuka Revue was that she often sang only low notes despite being a good soprano, albeit that also helped her build her own layers when singing with Liv Moon. Lastly, despite being an accomplished singer and performer, Akane Liv said she still feels a little shy when she has to speak in front of an audience instead of singing, which by the way happens to several amazing artists out there, as after all is said and done, we’re all humans and we all have our fears, weaknesses and flaws, right? And being not just a great vocalist and artist, but above all that, an amazing person, is what turned Akane Liv into one of the most interesting names of the current Japanese music scene, as well as into our beloved metal lady this month.
Let’s embark on a bitterly cold journey together with a new Sludge and Doom Metal band from Arkansas to the sound of their debut opus, a concept record about a primitive nomad chasing a baby mammoth from the herd.
Hailing from Little Rock, the capital of Arkansas, in the United States, the up-and-coming Sludge/Doom Metal trio Mammoth Caravan is unleashing upon humanity their bitterly cold and grim debut opus, entitled Ice Cold Oblivion, a concept record about a primitive nomad chasing a baby mammoth from the herd. Recorded, mixed and mastered by Jason Tedford at Wolfman Studios, and displaying a sinister artwork by the band’s own drummer Robert Warner, Ice Cold Oblivion will smash your head with the power of the riff, masterfully brought into being by the aforementioned Robert Warner alongside vocalist and bassist Brandon Ringo and guitarist Evan Swift, being therefore recommended for admirers of the dirtiest side of Sludge, Stoner and Doom Metal.
Get ready for a heavy and thunderous Sludge and Stoner Metal voyage in the title-track Ice Cold Oblivion, with the dirty bass by Brandon complementing the massive, sluggish beats by Robert in great fashion, whereas featuring guest vocals from Mat Johnson of Second Life, Evan extracts sheer heaviness form his riffs in Nomad, a lecture in contemporary Doom Metal perfect for headbanging like a true metal bastard. Then a pensive, melancholic start gradually evolves into another Sludge Metal aria entitled Petroglyphs, where Brandon and Evan are in a Stygian sync armed with their stringed axes, not to mention how deep and evil the roars by Brandon sound and feel; and the rawness and obscurity of Evan’s riffs will keep haunting your soul in the instrumental Megafauna, while Robert dictates the song’s venomous pace with his hammering drums in another solid and thrilling explosion of Sludge and Doom Metal for the masses. The tribalistic beats by Robert ignite their second to last blast of obscurity titled Periglacial, with Brandon and Evan quickly joining him with their respective bass lines and riffage, while also presenting Ghost-like vocals by Brandon, and lastly the trio offers our putrid ears almost 11 minutes of sluggish beats, dirty rockin’ guitars and low-tuned bass jabs in Frostbite, very detailed and electrifying from the very first second, with the music being mesmerizing, rich and demonic until the very end, therefore putting a climatic conclusion to the album.
In case you’re eager to put your hands on such solid feast of doom, you can purchase Ice Cold Oblivion from the band’s own BandCamp page, from Apple Music or from Amazon, and don’t forget to also give the guys from Mammoth Caravan a shout on Facebook and on Instagram, and to stream their album in full on Spotify. In summary, Ice Cold Oblivion has everything you can ask for in a Sludge and Doom Metal album, taking you on a bitterly cold, grim journey that will leave you eager for more of the music by this talented American trio in the coming years.
A two-piece Canadian band will take you on an introspective journey to the sound of their new album, a cold embrace of Post-Metal colliding with Ambient Drone meant to be dark and depressing.
A two-piece Sludge/Drone/Post-Metal band formed in 2015 by former members of Alaskan and Stay Here, those being Gary Thibert on vocals, guitars and bass, and Deniz Güvenç on vocals, drums, piano and synths, in Ottawa, Canada’s capital located in the east of southern Ontario, They Grieve hope that their music fills a niche not quite like other Post-Metal acts who are currently active, and their first full-length opus, titled To Which I Bore Witness, is a clear step up for them. Engineered and mixed by Topon Das at Apartment 2 Recording, mastered by Dave Williams at Eight Floors Above, with additional piano recorded by Alex Jakimczuk at Uppercut Studios, and displaying a stylish artwork and design by Pascale Arpin, the album takes the form of an introspective journey, meant to be depressing, while the listener is confronted with sad, loud music that’s not meant to cross into anger, a cold embrace of Post-Metal colliding with Ambient Drone recommended for fans of The Body, Cult of Luna and Bell Witch.
A slow build grows in intensity until all hell breaks loose in Wither, showcasing melancholic, grim lyrics (“Failure knows no bounds and makes its home here within me / Endless is the night of its becoming / Nothing returns / Cower, collapse, wither”) while the sluggish beats by Deniz make an interesting paradox with his own synths. Then investing in a sinister Sludge/Doom Metal sound, the duo will hammer our heads and pierce our minds with their dirty riffs and pounding drums in Under the Weight, also showcasing a phantasmagorical passage to the synths by Deniz, sounding heavy and atmospheric from start to finish; whereas If Light Should Appear is another seven-minute ode to darkness and doom where Gary is devilish with his raw riffs and low-tuned bass, resulting in the perfect depiction of what Atmospheric Sludge Metal is all about. The title-track To Which I Bore Witness will drag your damned soul to endless darkness while the duo roars in anger and pain, again showcasing their slow and steady guitar lines and drums, being therefore not recommended for the lighthearted. After such intense and Stygian tune, it’s time for a soothing instrumental interlude titled Guided, with its minimalist sounds setting the tone for Weakness, presenting deep, melancholic lyrics (“I am bound to only the quiet call of ruin / And weakness holds me / Weakness alone holds me”) while the music is as atmospheric, savage and obscure as possible until the very end.
In case you want to know more about Gary, Deiz and their They Grieve, and therefore show them all your admiration and support, you can start following the duo on Facebook and on Instagram for news, tour dates and so on, stream more of their music on Spotify, and above all that, purchase To Which I Bore Witness from the Silent Pendulum Records’ BandCamp page or webstore, or simply by clicking HERE. “This album, both lyrically and musically, tries to capture the uncomfortable juxtaposition between weakness and weight. We are constantly trying to express the ways in which the ugliness and decay we see in the world sets itself down and plants its roots inside of us – how the weight of the world transforms into our own weakness once it has done so. We try to capture this feeling of juxtaposition and tension within the music itself by oscillating between ambient, textural drones and heavy, doom-laden riffs,” commented the duo about their newborn spawn, an album that will certainly cement their name among the best bands of the current Post-Metal scene worldwide.
Best moments of the album:Under the Weight and To Which I Bore Witness.
Worst moments of the album: None.
Released in 2023 Silent Pendulum Records
Track listing 1. Wither 7:12
2. Under the Weight 7:23
3. If Light Should Appear 7:00
4. To Which I Bore Witness 6:43
5. Guided 3:18
6. Weakness 8:01
Band members
Gary Thibert – vocals, guitars, bass
Deniz Güvenç – vocals, drums, piano, synths
Immerse your soul into an interconnected series of historical tragedies brilliantly expressed by one of the best Black Metal duos of the current scene in their newborn masterpiece.
After giving us a taste of what’s to come with their stunning 2020 EP in Plague Hymns, Sacramento, California-based Black Metal duo Sarcoptes (whose name is a genus of mites, by the way) brings us their highly awaited sophomore full-length opus Prayers to Oblivion, their strongest album since their inception in 2008, bringing forward everything they’ve promised and more. Displaying a dark, wicked artwork by Adam Burke of Nightjar Illustration, the album presents an immaculate blend of Black and Thrash Metal laced with atmospheric bits for further emphasis as both near 15-minute epic songs and shorter ones carefully brought into being by Garrett Garvey on vocals and drums, and Sean Zimmerman on the guitars, bass and keyboards, with the help of Bobby Koelble (Death, Azrael, Expedition Delta, Leviathan Project) as a guest lead guitarist. Each of the songs follows an interconnected series of historical tragedies in chronological order brilliantly thought and expressed by the duo, from the events of World War I to the Vietnam War, offering fans of Emperor, Immortal and early Satyricon, among several others, an intense, balanced and absorbing album that keeps the listener riveted due to the constantly changing patterns and structures.
As the rain falls down, Garrett and Sean initiate their sonic attack blasting their instruments mercilessly in Trenches, with Garrett roaring the song’s dark lyrics in great fashion (“Dig the trenches / Dig your own graves / A vile panorama / Of human misery / A series of follies / Spurred on by greed”) in a 14-minute lecture in grim and furious Black Metal. In Spanish Flu, more of their Stygian lyrics are offered to us all (“Choking, gasping, blackish blue / Clamor, the church bells ring / Miasmic horror, Spanish flu / Fly with death’s black wings”) while Sean extracts pure evil and hatred from his guitar and phantasmagorical keys, morphing into the 13-minute beast titled Dead Silence, where the blast beats by Garrett walk hand in hand with the epic keys by Sean, also presenting the duo’s trademark riffage and venomous guttural roars. It’s definitely another must-listen creation for admirers of both old school and modern-day Black Metal, and it’s impressive how the duo can craft songs that last for four, five or fifteen minutes and sound amazing in all cases, which is exactly what’s offered to us in Tet, exhaling violence thanks to the amazing job done by Garrett on drums, who also growls like a demon supported by Sean’s sulfurous riffs. Finally, how about another multi-layered, somber and majestic 14-minute aria to close the album on a fiery note? That’s what we’ll all get in Massacre at My Lai, with Garrett vociferating rabidly while Sean kicks ass once again armed with his stringed weapons and eerie keys, flowing majestically until the song’s climatic and atmospheric finale.
In a nutshell, Prayers to Oblivion is dark, sinister, evil and majestic, offering us all everything we love in Black Metal and more, and if you want to put your hands on such precious gem of extreme music you can buy the album from the band’s own BandCamp page, from the Transcending Obscurity Records’ webstore by clicking HERE or HERE, from Apple Music, or from Amazon. In addition, don’t forget to also follow such talented American duo on Facebook and on Instagram for all things Sarcoptes, and to stream all of their wicked creations on Spotify. As mentioned, Prayers to Oblivion is undoubtedly Sarcopte’s most powerful and impactful work to date, flawlessly turning different tragedies in the history of mankind into first-class Black Metal, and I can’t wait to see what’s next for such brilliant duo.
Best moments of the album:Trenches and Dead Silence.
Worst moments of the album: None.
Released in 2023 Transcending Obscurity Records
Track listing 1. Trenches 13:56
2. Spanish Flu 4:21
3. Dead Silence 13:01
4. Tet 5:07
5. Massacre at My Lai 14:15
Band members
Garrett Garvey – vocals, drums
Sean Zimmerman – guitars, bass, keyboards
Behold this infernal storm of Blackened Thrash Metal by a one-man army from Scotland, heavily inspired by witchcraft and the supernatural while also deeply rooted in his Scottish origins.
Crowned “Scotland’s king of the arcane mosh” by Metal Hammer magazine, Aberdeen-based Blackened Thrash Metal one-man army Hellripper, the brainchild of vocalist and multi-instrumentalist James McBain (Lock Howl, Lord Rot, Rats of Reality), aims to invoke the quintessential Black N’ Roll sound by mixing influences from classic 80’s Black Metal records with a more modern edge, heavily inspired by witchcraft and the supernatural while also deeply rooted in his Scottish origins, and always using the landscape and historical events as a backdrop for his lyrics and imagery. Now in 2023 it’s time for Hellripper to kill once again with Warlocks Grim & Withered Hags, the project’s third studio album, establishing a new threshold of excellence and raising the bar further over its 2020 album The Affair of the Poisons. Recorded and mixed by James himself at Coronach Studios, mastered by Damian Herring at Subterranean Watchtower Studios, and displaying a sick artwork by Adam Burke of Nightjar Illustration, the album is undoubtedly James’ most personal and diverse work to date, bringing the landscapes and legends of the Scottish Highlands to life in a beyond fantastic way.
James wastes no time and begin his sonic massacre in The Nuckelavee, delivering sheer electricity and rage through his riffs and blast beats in a demolishing fusion of Black and Thrash Metal for admirers of the darkest side of music, and the party is just starting as James has endless fuel to burn, bringing to our ears more of his acid roars and riffs in I, The Deceiver, sounding brutal yet very melodic; whereas the title-track Warlocks Grim & Withered Hags, featuring the majestic bagpipes by guest Antonio Rodríguez, blends James’ passion for extreme music with his Scottish roots in a very compelling manner, with his riffs and beats walking hand in hand with his visceral screams. As you all know, a beautiful song name requires an even more beautiful sound, and that’s exactly what James has to offer us all in Goat Vomit Nightmare, being frantic, sulfurous and blasphemous from the very first second, not to mention his thrashing riffs and solos are simply fantastic.
Featuring Joseph Quinlan (Desert Heretic) on lead guitars and additional vocals by Marianne, James takes no prisoners in his quest for violence and blood in The Cursed Carrion Crown, where his vocals get more and more demented as the music progresses, therefore blasting endless aggression for our vulgar delight. Joseph is back in The Hissing Marshes, where it’s impressive how James was able to blend the music by Motörhead and The Exploited to perfection. Moreover, his work on bass and drums is superb throughout the entire song, all spiced up of course by his devilish growling, whereas in Poison Womb (The Curse of the Witch) we face the last guest solo by Joseph, with the music being as fast and infernal as the rest of the album, or in other words an ode to all things 666, or a “lovely” song perfect for a “romantic” moment with your significant other. Last but not least, we’re treated to over eight minutes of pure hell and sulfur titled Mester Stoor Worm, perhaps the most Black Metal of all songs (which is obviously a good thing) where James is yet again spot-on with his screams, riffs and demented beats.
You can enjoy all the fury, speed and energy of the Blackened Thrash Metal played by Hellripper by following James and his Scottish beast on Facebook and on Instagram, by subscribing to his YouTube channel and by streaming his music on Spotify, and above all that, by purchasing the phenomenal Warlocks Grim & Withered Hags from his own BandCamp page, from his official EU store as a CD or an LP, or simply by clicking HERE or HERE. Hellripper is absolutely fast, loud and uncompromising, with Warlocks Grim & Withered Hags being a contemporary masterpiece of extreme music that deserves a listen from any living being that enjoys some good old Black Metal with a powerful Rock N’ Roll attitude. So keep calm, listen to the superb new opus by Hellripper, and all hail the goat!
Best moments of the album:Goat Vomit Nightmare, The Cursed Carrion Crown, The Hissing Marshes and Mester Stoor Worm.
Worst moments of the album: None.
Released in 2023 Peaceville Records
Track listing 1. The Nuckelavee 5:47
2. I, The Deceiver 4:55
3. Warlocks Grim & Withered Hags 7:14
4. Goat Vomit Nightmare 3:15
5. The Cursed Carrion Crown 5:47
6. The Hissing Marshes 3:51
7. Poison Womb (The Curse of the Witch) 3:43
8. Mester Stoor Worm 8:31
Band members James McBain – vocals, all instruments
Guest musicians Joseph Quinlan – additional lead guitars on “Poison Womb (The Curse of the Witch)”, “The Cursed Carrion Crown” and “The Hissing Marshes”
Marianne – additional vocals on “The Cursed Carrion Crown”
Antonio Rodríguez – great highland bagpipes on “Warlocks Grim & Withered Hags”
It’s time to embark on an exciting journey to experience a world of sound never heard before in the universe of the German masters of Symphonic Metal.
The time has finally come to dive into new adventures. Six years after the release of Theater of Dimensions, Bielefeld, Germany-based Symphonic Metal masters Xandria are finally back in action with a brand new opus, titled The Wonders Still Awaiting, the eighth studio album in their career, and the first to feature the Greek goddess Ambre Vourvahis on vocals, Rob Klawonn on the guitars, Tim Schwarz on bass, and Dimitros Gatsios on drums, alongside the band’s mastermind Marco Heubaum. Mixed and mastered by Jacob Hansen, and displaying a stylish artwork by Zacarias Guterres, The Wonders Still Awaiting presents 13 tracks in total, clocking at over one hour of music, sounding harder, darker and more epic than all of their previous efforts while holding an intimate setting and range of emotions at the same time. Next to a 40-piece classical choir, authentic Celtic instruments represented by renowned musicians as well as delicate violin and cello contributions, the album is topped by the Bulgarian National Radio Children’s Choir, which marks the first collaboration of this kind in the band’s history.
Gentle keys kick off the opening tune Two Worlds, evolving into a Symphonic Metal feast led by the classy riffs by Marco and Rob and, of course, the striking vocals by Ambre. It’s indeed a beautiful way to start their metallic voyage, whereas Dimitrio pounds his drums accompanied by the rumbling bass by Tim in Reborn, alternating between heavy moments and gentle passages, sounding absolutely solid from start to finish. Then we’re treated to You Will Never Be Our God, featuring the one and only Ralf Scheepers (Primal Fear) as a guest vocalist, making a powerful duo with Ambre supported by her bandmates with their precise riffage, bass lines and beats, followed by the title-track The Wonders Still Awaiting, also showcasing a perfect sync between Ambre and the band’s guitar duo, exhaling epicness and adventure. After that, it’s time for a fast and thrilling Symphonic Metal aria titled Ghosts, with the band’s groovy kitchen formed of Tim and Dimitrio kicking some serious ass, and Your Stories I’ll Remember, a charming ballad with touching lyrics declaimed by Ambre (“I have walked this path with you until you’ve gone on your own / And I hope you’ve heard me still when I have said farewell / You will always be a part of what I have become / And whenever I close my eyes I think back of this time”). Then we have My Curse Is My Redemption, presenting another serene start with stylish background elements, flowing smoothly to the stunning vocals by Ambre.
Illusion Is Their Name is another heavy and thunderous Symphonic Metal beast by Xandria, one of the best songs of the album thanks to its endless electricity, piercing riffs and blast beats, followed by another mesmerizing ballad led by Ambre entitled Paradise, with Marco’s and Rob’s minimalist guitar lines adding an extra touch of darkness to the overall result. Let’s all bang our heads together with Xandria in Mirror of Time, uniting their past, present and future in a fierce and entertaining way, sounding and feeling very detailed and dense until the very last second, and there’s no sign of the band slowing down as they bring forward another full-bodied, intense song titled Scars, with its orchestrations walking hand in hand with Ambre’s passionate vocals. Their second to last aria, titled The Maiden and the Child, embellishes the airwaves with a symphonic and vibrant sonority, with Dimitrio dictating the song’s inspiring pace while their guitars overflow heaviness and potency, before their musical journey ends with Astèria, offering poetic, epic lyrics declaimed by Ambre (“I came from far away to save my soul / To flee this war I have always known / Followed paths away from this / The guns, the suffering / This is not the homeland that we need / Bleeding in vain”) while her bandmates generate a wall of symphonic and orchestral sounds that elevates the album’s impact and reach considerably, or in other words, it’s a fantastic story told by Xandria through their music.
Rich in different styles and genres, the excellent The Wonders Still Awaiting comes close to a movie score, sending its listener on an exciting journey to experience a world of sound never heard before in the universe of Xandria. Hence, you can experience all that by streaming the full album on YouTube and on Spotify, and of course by purchasing your favorite version of the album by clicking HERE or HERE. It’s indeed great to see a band like Xandria getting back on track after such turbulent times in their career, and I’m sure the band would love to hear your thoughts on their new music on Facebook and on Instagram, and don’t forget to also subscribe to their official YouTube channel. Let’s all hope that Xandria have finally reached their desired and, more important than that, stable shape and form, because after seeing what Ambre can do for the band they simply cannot afford to lose her. It would be a total disaster, I might say. Anyway, at least for now Xandria are not only alive and kicking, but their new album will undoubtedly become a reference in the genre, inviting us all to join them in epic adventures only Symphonic Metal can provide us with.
Best moments of the album:You Will Never Be Our God, Ghosts, Illusion Is Their Name and Astèria.
Worst moments of the album:My Curse Is My Redemption.
Released in 2023 Napalm Records
Track listing 1. Two Worlds 7:08
2. Reborn 5:13
3. You Will Never Be Our God 5:11
4. The Wonders Still Awaiting 4:59
5. Ghosts 5:26
6. Your Stories I’ll Remember 6:21
7. My Curse Is My Redemption 5:03
8. Illusion Is Their Name 5:07
9. Paradise 5:02
10. Mirror of Time 6:41
11. Scars 4:07
12. The Maiden and the Child 4:54
13. Astèria 9:08
Band members Ambre Vourvahis – vocals
Marco Heubaum – guitars, keyboards, programming, backing vocals
Rob Klawonn – guitars
Tim Schwarz – bass
Dimitrio Gatsios – drums
Guest musicians Ralf Scheepers – vocals on “You Will Never Be Our God”
Ally Storch – violin, cello
Johannes Schiefner – uillean pipes
McAlbi – low whistle
Luki Knoebl – orchestral arrangements
Bulgarian National Radio Children’s Choir – choir
This Scottish Death Metal institution returns with their most aggressive album to date, once again bringing the fight but in a bigger way than ever.
Having already released four furious records and having toured with the likes of Kataklysm, Aborted, Misery Index, Machine Head, Hatebreed and Decapitated, to name a few, Glasgow, Scotland-based Technical Death Metal entity Man Must Die is back in action with their most aggressive album to date and their first full-length album in almost ten years, The Pain Behind It All, following up on their 2019 EP Gagging Order and their 2013 full-length opus Peace Was Never an Option. Known and praised for their highly energetic music style, with early releases containing elements of Technical Death Metal, Melodic Death Metal and even influences from old school Hardcore Punk, but currently showcasing much more melodic elements coupled with a Deathgrind-based sound, the band formed of vocalist Joe McGlynn, guitarists Alan McFarland and Mike Allan, bassist James Wright, and drummer Tony Corio is once again bringing the fight but in a bigger way than ever armed with their new album, always dealing with religion, murder, death, hate and warfare in their lyrics, usually written in a very violent fashion.
The sinister and short intro O.C.D sets the stage for Man Must Die to smash our cranial skulls with Patterns In The Chaos, a pulverizing display of Death Metal with Deathcore nuances with Tony going berserk behind his drums while Joe roars and gnarls nonstop for our vulgar delectation, whereas the title-track The Pain Behind It All brings forward sheer heaviness directly to our faces, with the band’s guitar duo Alan and Mike sounding visceral armed with their axes, not to mention the song’s eerie background ambience. It’s pedal to the metal with the band being on fire in In The Hour Before Your Death, a frantic, heavy-as-hell Death Metal extravaganza led by the always demolishing beats by Tony while their guitars keep exhaling absolute hatred, followed by Clickhate, another boisterous tune by those Scottish death metallers where the level of fury and animosity flowing from all instruments is gargantuan, with Joe bursting his lungs growling like a beast.
After such intense first half of the album, it’s time for a darker song entitled Enabler, a decent mid-tempo feast of Technical Death Metal spearheaded by the piercing riffage by Allan and Mike; and back to their most vicious mode, the band will pulverize our ears in Bring Me The Head Of The King, taking their violence to a whole new level while Joe vociferates the song’s catchy lyrics in great fashion. Get ready for six minutes of anguished passages, thrilling riffs and endless obscurity in War Is My Will, with James blasting his rumbling bass while Tony completes their evil kitchen with his pounding drums, followed by the instrumental interlude Alone In A Crowded Room, soothing our souls for a little less than two minutes before the band comes ripping with their final sonic attack entitled Who Goes There?/I.F.F, a lecture in Death Metal infused with elements from Deathcore, Hardcore, and even hints of Punk Rock. Put differently, it’s impossible to stand still to this venomous sonic hurricane, inspiring us all to slam our damned bodies into the circle pit.
The ruthless squad of Man Must Die is waiting for you on Facebook and on Instagram with news, tour dates and other great information about the band and their music, and of course you can stream all of their pulverizing creations on Spotify. The Pain Behind It All, available for purchase from the Distortion Music Group’s webstore as a CD or a vinyl, as well as from Apple Music or Amazon, is as aforementioned Man Must Die’s strongest and most obscure album to date, positioning the band as one of the torchbearers of the current Scottish metal scene and, therefore, leaving us eager for more and more of their flammable music in the coming years.
Best moments of the album:Patterns In The Chaos, In The Hour Before Your Death, Bring Me The Head Of The King and Who Goes There?/I.F.F.
Worst moments of the album:Enabler.
Released in 2023 Distortion Music Group
Track listing 1. O.C.D 0:33
2. Patterns In The Chaos 4:38
3. The Pain Behind It All 5:01
4. In The Hour Before Your Death 4:11
5. Clickhate 4:07
6. Enabler 5:57
7. Bring Me The Head Of The King 3:33
8. War Is My Will 5:57
9. Alone In A Crowded Room 1:45
10. Who Goes There?/I.F.F 4:13
Band members Joe McGlynn – vocals
Alan McFarland – lead guitars
Mike Allan – guitars
James Wright – bass
Tony Corio – drums
An up-and-coming Canadian Deathcore beast will embrace your soul with its debut metal opera, revolving around the classic story of Dante and his descent into hell.
The solo side project of Canadian guitarist and bassist Kyle Prusky, with the support of Canadian vocalist Adrian Parcioaga, the newborn Deathcore entity Apollo has just released its debut concept EP, titled A Divine Comedy, revolving around the classic story of Dante and his descent into hell split into five distinct acts. Produced by Kyle and Adrian themselves, mixed and mastered by Kyle, displaying a classy artwork by Adrian, and featuring guests Alex Rudinger on drum programming, Layne Murdoch on the guitars, and Lucas de la Rosa on keyboards, the album is according to the duo a Progressive Death Metal opera, unabashedly dynamic and ever-shifting, taking the listener on a cathartic journey through breakdowns, growls and aggressive riffs, therefore being recommended for fans of Slice the Cake, Between the Buried and Me and Rivers of Nihil.
The gentle keys by Lucas kick off the first act of the EP, I: Dark Woods, exploding into a dark and pensive Metalcore extravaganza where Adrian’s roars match perfectly with all of the song’s Stygian elements, morphing into a Deathcore attack titled II: Abandon All Hope, where Kyle is on fire with his piercing riffs and metallic bass, consequently resulting in a violent, headbanging tune tailored for admirers of the genre with over six minutes of adrenaline, fury and heaviness flowing nonstop. Following such epic tune we have the melodic III: Interlude, with the guitar solo by Layne creating a stunning paradox with Lucas’ piano, flowing into IV: Deeper, Darker, blending elements from Deathcore and Metalcore with Progressive Metal nuances. Furthermore, Kyle once again slashes his guitar in great fashion while the drums programmed by Alex couldn’t have sounded more organic, presenting several layers, passages and climatic moments. Lastly, closing the EP we face the imposing V: Ascendance, where Kyle kicks some ass armed with his guitar and bass in a lesson in Deathcore supported by the always venomous screams by Adrian, resulting in a neck-breaking conclusion to properly send Dante to hell.
“This EP has been in the works for a long time, and I could not be happier with the result. This EP is for those who have ever doubted themselves, have fallen apart to the demons in their head, felt like giving up, and needed guidance. Don’t give up. Keep fighting. Keep climbing. Trust the ones who stick by your side. Eventually, you’ll find your path. Every single choice, every note, and vocal take was absolutely deliberate and meant to evoke a specific response. Throughout the journey, the listener will be presented with soaring melodic solos, somber but beautiful keys that guide the self to introspection, crushingly heavy 8-string guitars, pounding drums, and vocals that dance with the music like a soliloquy to an audience of one,” commented a proud Kyle about his newborn beast, and if you want to show him all your support you can stream the EP in full on YouTube and on Spotify, grab a copy from Apple Music, and also follow the project on Facebook, on Instagram, and on YouTube. There’s nothing better than enjoying some first-class heavy music while witnessing Dante’s descent into the pits of the underworld, and Kyle and his Apollo more than succeeded in that with their striking debut effort.
Best moments of the album:II: Abandon All Hope and V: Ascendance.
Band members
Adrian Parcioaga – vocals
Kyle Prusky – guitars, bass
Guest musicians Alex Rudinger – drum programming
Layne Murdoch – guitar solo on “I: Dark Woods”, “II: Abandon All Hope”, “III: Interlude” and “IV: Deeper, Darker”
Lucas de la Rosa – keys on “I: Dark Woods”, “II: Abandon All Hope”, “III: Interlude” and “IV: Deeper, Darker”
***Review by Luke Hayhurst, writer for Morbid Wings (Print) Zine, VM Underground Fanzine and Doom-Metal.com***
Other tracks such as The Prophetess rely on savage bass leads and marauding drum tones to create a more volatile and aggressive sound, and it’s here that Malleus truly come alive and pull your attention firmly into what they are creating. During the second half of the album the tracks get a lot lengthier, allowing Malleus to explore their sound more as well as giving each component more time to showcase themselves. This is particularly noticeable for the bass play during The Fires of Heaven which has a far more prominent sound and meshes well with riffs that have a slight brooding quality to them.
THE HEADBANGING MOOSE 