Album Review – Disturbed / Divisive (2022)

David Draiman and his henchmen are back with a blistering angry album, bringing to our avid ears ten tracks of visceral, unfiltered Disturbed throughout its 38 minutes of duration.

With over 17 million records sold worldwide, Chicago, United States-based Heavy/Alternative Metal giants Disturbed have just released their eighth studio album, entitled Divisive, following up on their 2015 critically acclaimed album Immortalized and their 2018 not-so-acclaimed effort Evolution. As early as October 2020, frontman David Draiman stated that he wanted the new Disturbed album to be “blisteringly angry”, considering everything going on in the world with the pandemic, and let’s say the band more than succeeded in that with Divisive. Produced, mixed and engineered by Drew Fulk and mastered by Ted Jensen at Sterling Sound, the album puts the band comprised of the aforementioned David Draiman on vocals, Dan Donegan on the guitar, John Moyer on bass and Mike Wengren on drums back on track, bringing to our avid ears ten tracks of visceral, unfiltered Disturbed throughout its 38 minutes of duration.

The opening track Hey You will already kick you in the head with its direct and inspiring lyrics vociferated by David (“Hey you / Have you had enough of it? / How the blind are leading the blind / Hey you / Are you angered enough / Do you feel confined / Are you losing your mind”), while the music exhales classic Disturbed for our total delight; whereas Mike hammers his drums mercilessly in the dark and heavy Bad Man accompanied by the rumbling bass by John in another display of the band’s trademark Alternative Metal. Then we have the title-track Divisive, which should work amazingly when played during their live concerts with David spearheading his henchmen with another solid vocal performance, being perfect for some fierce headbanging (not to mention how awesome Dan’s guitar solo sounds). And even heavier and more dynamic, Unstoppable presents a bestial performance by Mike on drums once again while David’s soaring vocals walk hand in hand with the slashing riffage by Dan, sounding very exciting from start to finish, whereas the metallic bass by John builds a strong base for David to roar in Love to Hate, a straightforward tune by Disturbed that feels like it was taken from one of their classic albums.

Feeding the Fire leans towards the band’s more recent albums like Immortalized, with David investing in deeper, more melancholic vocals, resulting in a fist-raising tune to the classic beats by Mike and the always incendiary riffs by Dan. After that, the band fires the beautiful Don’t Tell Me, inspired by guitarist Dan Donegan’s divorce from his wife of 18 years and featuring the iconic American singer Ann Wilson (best known as the lead singer of Heart), where an introspective start to the clean vocals by David evolves into a stunning dark ballad. Furthermore, their vocal duet is superb, overflowing passion and feeling, while the rest of the band makes sure the music remains heavy and touching until the very end. Get ready to jump up and down with Disturbed in the electrifying Take Back Your Life, bringing to our ears modern-day Alternative Metal with a straightforward chorus and a groovy instrumental, and if you want groove and heaviness you’ll have a blast to the sound of Part of Me, with John and mike generating a reverberating ambience perfect for David’s raspy vocals. And finally, we have Won’t Back Down, a great tune to close the album offering us all more of Disturbed’s undisputed heavy music, and I’m sure it will also inspire fans to raise their fists with the band if played live.

In summary, David Draiman and his henchmen did an excellent job with Divisive, especially if you compare it to Evolution, reigniting that amazing level of energy found in most of their previous albums, and you can enjoy that in all of its glory on YouTube and on Spotify, or simply purchase your favorite version of the album by clicking HERE. Moreover, Disturbed can also be found on Facebook, Instagram and YouTube for news, tour dates and more of their thrilling music. Although the name of the album is Divisive, I doubt it’s going to cause disagreement or hostility between people (as per the word’s own definition); quite the contrary, it doesn’t matter if you’re a longtime Disturbed fan or a newcomer to their rockin’ realm, you’ll certainly have a lot of fun while listening to such powerful album by an unstoppable band that continues to shine as one of the most important rock and metal groups of the past few decades.

Best moments of the album: Hey You, Unstoppable, Don’t Tell Me and Part of Me.

Worst moments of the album: None.

Released in 2022 Reprise Records

Track listing
1. Hey You 4:28
2. Bad Man 3:22
3. Divisive 3:58
4. Unstoppable 3:58
5. Love to Hate 3:36
6. Feeding the Fire 4:19
7. Don’t Tell Me 4:31
8. Take Back Your Life 2:58
9. Part of Me 3:53
10. Won’t Back Down 2:52

Band members
David Draiman – vocals
Dan Donegan – guitar
John Moyer – bass
Mike Wengren – drums

Concert Review – Cradle of Filth (The Opera House, Toronto, ON, 06/04/2022)

Existence might be futile, but witnessing Cradle of Filth live in Toronto every single time they come to the city is more than essential.

OPENING ACTS: Phantom High and Frayle

I always find it truly impressive how the traffic to get in and out of Toronto during the spring and summer seasons, mainly when the weather is clear and the temperatures are above +20oC, is multiplied by a thousand or more, making it impossible to arrive wherever you have planned on time. That’s the main reason why it took me hours to get to The Opera House this Saturday for the Existence Is Futile Tour with the bands PHANTOM HIGH, FRAYLE and the almighty CRADLE OF FILTH (not to mention American Thrash Metal act Misfire, who are missing part of the tour due to Covid-19 related issues), and because of that I sadly missed most of the awesome concert by Toronto’s own Glamcore/Death Pop/Alternative Metal outfit PHANTOM HIGH. Anyway, the few minutes of their performance I was able to witness were excellent, with their frontwoman Peril Erinyes showcasing all her talent, charisma and passion for what she does. I hope I can see them again in a not-so-distant future as their music and onstage performance are outstanding, and next time I promise I’ll beat traffic (even if that’s humanly impossible).

Band members
Peril Erinyes – vocals
Seven Six – guitars
Greg Shier – guitars
Faraz Jabbari – bass
Joey Prolx – drums

After a (very) quick break it was time for Cleveland, Ohio-based Doom Metal/Occult Rock band FRAYLE to kick some ass onstage with their massive, low-tuned, sluggish sounds, spearheaded by the angelic vocals by their stunning frontwoman Gwyn Strang, who by the way grew up on the east coast of Canada in the province of New Brunswick (which is why she said “I’m home” to the crowd several times during their performance). Playing a mix of songs from their awesome 2020 album 1692 plus a brand new song entitled Treacle & Revenge, from their upcoming album Skin & Sorrow (to be released on July 7), Gwyn and the boys put on a mesmerizing show, with Sean Bilovecky extracting sheer electricity from his guitar while bassist Eric Mzik and drummer Pat Ginley added endless heaviness and groove to the music. Nobody was capable of taking their eyes off Gwyn during their entire set, as not only she was at the same time the personification of good and evil, but her minimalist, delicate vocals and moves were a thing of beauty. There weren’t any mosh pits for obvious reasons, but everyone at The Opera House loved what Frayle had to show us, and Toronto is waiting for Gwyn to “return home” whenever she wants with her whimsical music.

Band members
Gwyn Strang – vocals
Sean Bilovecky – lead guitar
Eric Mzik – bass
Pat Ginley – drums

CRADLE OF FILTH

The last time I saw the unparalleled CRADLE OF FILTH was at the same venue back in 2019, before all this Covid-19 madness hit the world and still with Lindsay Schoolcraft on keyboards, and as you can see from their 2019 setlist only two songs were the same this Saturday, those being Nymphetamine (Fix) and Her Ghost in the Fog, with everything else being either based on their 2021 ass-kicking opus Existence Is Futile, such as Existential Terror, How Many Tears to Nurture a Rose? and Necromantic Fantasies, or some welcome surprises the likes of Nocturnal Supremacy, I Am the Thorn, A Gothic Romance (Red Roses for the Devil’s Whore) and Lustmord and Wargasm (The Lick of Carnivorous Winds). Was it better, the same or worse than their 2019 performance? Well, I don’t like to compare concerts, as I strongly believe each performance has its own taste, its own details and its own energy, but what I can say is that Dani and his horde were as electrifying as expected, inspiring the fans at the venue to slam into the nonstop circle pits (even if you’re on a power mobility scooter) while screaming together with the band in the name of evil.

Most fans of course had an absolute blast with classics such as the aforementioned Nymphetamine (Fix) and the closing song Her Ghost in the Fog, but I might say their new songs Crawling King Chaos and Us, Dark, Invincible sounded simply superb live, proving once again how alive the band is and that we can expect at least a few more decades of pure filth from those devilish metallers. Dani, Ashok, Daniel Firth and Marthus were on fire as usual, but I must mention how powerful the performances by guest guitarist Donny Burbage (of Melodic Death/Folk Metal act Æther Realm) and the gorgeous keyboardist Zoë Marie Federoff (of Symphonic Metal act Catalyst Crime) were as well, translating into an even more incendiary concert by one of the trailblazers of Symphonic Extreme Metal. As a Cradle of Filth fanboy I think they should return to Toronto next week already, but of course I think all fans who attended another memorable concert by Dani and his crew will be more than happy to wait another year or so for the band to come to our beloved city again. The traffic back home was just as bad as when I was going to the concert, but who cares? It’s CRADLE OF FUCKIN’ FILTH, a metal institution that deserves all our admiration, and if next time they come to Toronto I have to walk 40km to get there, so be it.

Setlist
The Fate of the World on Our Shoulders
Existential Terror
Nocturnal Supremacy
Lilith Immaculate
I Am the Thorn
Crawling King Chaos
Nymphetamine (Fix)
A Gothic Romance (Red Roses for the Devil’s Whore)
How Many Tears to Nurture a Rose?
Scorched Earth Erotica
Us, Dark, Invincible
Portrait of the Dead Countess
Lustmord and Wargasm (The Lick of Carnivorous Winds)
Necromantic Fantasies
Her Ghost in the Fog

Band members
Dani Filth – lead vocals
Marek “Ashok” Šmerda – guitars
Donny Burbage – guitars
Daniel Firth – bass
Zoë Marie Federoff – female vocals, keyboards
Martin “Marthus” Škaroupka – drums

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Concert Review – Gojira & Deftones (Budweiser Stage, Toronto, ON, 05/22/2022)

A great night of Progressive, Groove and Alternative Metal in Toronto almost ruined by the total lack of organization and respect for customers by Live Nation.

INTRODUCTION: No VOWWS, and a massive headache caused by Live Nation

The only word I can use to start this review is “nightmare”. All the happiness from the moment I knew Australian Death Pop duo VOWWS was not opening for GOJIRA and DEFTONES at the Budweiser Stage, which meant more Gojira for me, simply vanished when I arrived at the venue and saw the massive line formed for what the so-called organization decided to do to reassign seats based on a “first come first serve” basis that absolutely NO ONE was informed beforehand. I bought floor tickets because I hate seats, and to my surprise I was assigned to seats at the 200 level. It’s like ordering a pizza but receiving a burger instead because “the pizza is over”, right? Not only that, seats at the Budweiser Stage are AT LEAST 40-50% cheaper than floor tickets, so not only I got a burger, but it was one 50% cheaper than the pizza I paid for. Live Nation is the sole responsible for such mess when they decided to move the concert from the RBC Echo Beach (which is basically a huge floor section with no seats) to the Budweiser Stage, and if you’re pissed off just like I am, I highly recommend you submit a huge complaint about the whole situation by EMAIL to Live Nation including your order details, screenshots of your tickets and anything else you might want to send them. This is absolutely ridiculous, and we should receive some sort of refund for their total lack of organization and respect for their customers.

GOJIRA

Moving on to the concerts, although I was completely disappointed and pissed off with our stupid seats, at least France’s own Progressive/Groove Metal masters GOJIRA were capable of reducing my stress considerably with another flawless performance in the city. Mixing some of their classics such as Backbone, Stranded, Flying Whales and Silvera with songs from their latest album Fortitude, including the fantastic Born for One Thing and Amazonia, the quartet comprised of the Duplantier brothers Joe and Mario, plus bassist Jean-Michel Labadie and guest guitarist Aldrick Guadagnino  of KLONE (as Christian Andreu returned home to be present with his first newborn child), inspired the fans in the floor section (not in the seats, of course, which made me even more furious) to jump up and down and slam into the circle pit nonstop during their longer set as VOWWS wasn’t there, as mentioned. Mario is a beast behind his drums, proving why he’s a reference to any rock and metal drummer these days, while also interacting with the audience all the time and throwing lots of drumsticks to the fans during the entire concert. To the floor section fans, of course.

Setlist
Born for One Thing
Backbone
Stranded
Flying Whales
The Cell
Love / Remembrance
Hold On
Grind
Silvera
L’enfant Sauvage
Amazonia
The Gift of Guilt

Band members
Joe Duplantier – vocals, guitar
Christian Andreu – guitar
Jean-Michel Labadie – bass
Mario Duplantier – drums

DEFTONES

After a somewhat lengthy break, it was time for Sacramento, California-based Alternative Metal trailblazers DEFTONES to mesmerize their loyal and supportive fans with a long and very dynamic setlist that traveled through all of their albums until their most recent opus Ohms, released in 2020. Songs like Be Quiet and Drive (Far Away), Swerve City, Change (In the House of Flies) and my favorite of the night, My Own Summer (Shove It), drove the crowd crazy and, for the ones who could make it to the floor section (and sorry for repeating this a thousand times, but I’m really pissed off with what Live Nation did to me and to so many others), the whole concert turned into a massive rock and metal party spearheaded by the band’s charismatic frontman Chino Moreno. And what to say about their lighting? It was a thing of beauty, adding an extra touch of insanity and passion to their solid performance. I’m beyond certain Deftones will return to Toronto several times due to the standing ovation they received from the fans when the concert was over at the Budweiser Stage this Sunday, and hopefully next time EVERYONE who bought GENERAL ADMISSION tickets can actually be in the floor section to jump and enter the circle pits freely without being stuck in a tiny, very uncomfortable and, above all that, unsolicited chair.

Setlist
Pompeji (outro)
Genesis
Rocket Skates
Prayers/Triangles
Royal
Be Quiet and Drive (Far Away)
My Own Summer (Shove It)
Tempest
Swerve City
Digital Bath
Knife Prty
Beware
Sextape
Diamond Eyes
Rosemary
Bloody Cape
Change (In the House of Flies)
Ohms

Encore:
Lotion
7 Words

Band members
Chino Moreno – lead vocals, rhythm guitar
Stephen Carpenter – lead guitar
Lance Jackman – rhythm guitar, backing vocals
Fred Sablan – bass, backing vocals
Frank Delgado – keyboards, turntables, samples
Abe Cunningham – drums

Album Review – Through The Noise / Tragedies EP (2022)

This talented Swedish Post-Hardcore and Nu Metal outfit is back in action with an inspiring three-track EP, pointing to an exciting musical direction prior to their next full-length album.

Vocalist Jowl Nyberg, guitarists Victor Adonis and Marcus Skantz, bassist Martin Lingonblad and drummer Peter Liwgren, collectively known as Lund/Malmö, Sweden-based Post-Hardcore/Nu Metal outfit Through The Noise, are back in action now in 2022 with a brand new EP entitled Tragedies, following up on their highly acclaimed 2019 album Dualism. During the Covid-19 lockdowns the band was unable to tour; however, there was plenty of time to write new material and they wrote a bunch of new songs, and after some careful consideration they decided that it would be best to release an EP before a full-length album, so they tracked three songs which make up Tragedies. Produced by Robert Kukla at Obsidian Recording Studios, Tragedies showcases a more sinister and heavier side of Through The Noise, appealing not only to the band’s current fanbase but also to anyone in search for fresh and vibrant heavy music.

The quintet arises from the underworld with a fusion of Alternative Metal and darker elements in Tantalus, bringing forward poetic lyrics rabidly declaimed by Jowl (“Perpetually trapped / Lost sense of time / Eternal damnation / Cursed with temptation”) and an amazing job done by Peter with his crushing drums, while Victor and Marcus add tons of heaviness to the music with their refined riffage. And Peter keeps hammering his drums in Aktaion, with all whimsical background elements making a thrilling paradox with the metallic bass by Martin and the raspy roars by Jowl, being therefore perfect for banging your head and jumping up and down with the band in the name of heavy music. Lastly, in Lamia we’re treated to another round of their wicked words (“Aggression bottled up from past transgressions / Disfigured, tormented by the pain / Forever haunted by my heinous actions / A victim, forced by godly hands”) supported by the visceral hybrid of Alternative Metal and Hardcore blasted by the quintet, making us eager for more of their music in a not-so-distant future.

You can get in touch with the talented guys from Through The Noise and know more about the band, their tour dates and plans for the future on Facebook and on Instagram, subscribe to their YouTube channel for more of their music and videos, steam their entire catalog on Spotify, and of course purchase your copy of Tragedies by clicking HERE, showing your utmost support to the Swedish underground. Nobody truly knows what will happen to the world of music in the coming months due to this never-ending Covid-19 madness, but at least we can rest assured the fires of heavy music will keep burning thanks to hardworking bands like Through The Noise, and based on the heaviness and melodies offered to us in Tragedies I can’t wait to see how their next full-length album will sound. It will be awesome, no doubt about that.

Best moments of the album: Tantalus.

Worst moments of the album: None.

Released in 2022 Eclipse Records

Track listing
1. Tantalus 3:55
2. Aktaion 4:41
3. Lamia 3:24

Band members
Jowl Nyberg – vocals
Victor Adonis – guitar
Marcus Skantz – guitar
Martin Lingonblad – bass
Peter Liwgren – drums

Album Review – Infected Rain / Ecdysis (2022)

One of the most prominent bands of the current Metalcore scene returns with an incendiary new album, showcasing their own metamorphosis while blending extreme, progressive groove with dark, haunting melodies.

Since forming in 2008, Chișinău, Moldova-based Progressive Modern Metal outfit Infected Rain has become one of the most exciting new acts in the heavy music world, with multi-talented frontwoman Elena “Lena Scissorhands” Cataraga emerging as one of the fastest-rising leading ladies of the genre. Now, after amassing a slew of new fans since the release of their acclaimed albums Asylum (2011), Embrace Eternity (2014), 86 (2017), and more recently Endorphin (2019), the band redefined themselves with their highly anticipated follow-up opus, the futuristic rebirth entitled Ecdysis. Currently comprised of the aforementioned Lena Scissorhands together with guitarists Vadim “Vidick” Ojog and Serghei Babici, bassist Vladimir Babici and drummer Eugen Voluta, Infected Rain showcases their own metamorphosis in Ecdysis while blending extreme, progressive groove with dark, haunting melodies. Produced by Voluta Valentin, Ecdysis successfully demonstrates the ultramodern brutality from Melodic Death Metal and Metalcore without sacrificing emotion and melody, displaying a new layer of Infected Rain that longtime followers and new fans alike will embrace.

Futuristic waves permeate the air in the opening track Postmortem Pt. 1, a song that flawlessly represents the band’s current sound with Lena starting her she-wolf vocal attack accompanied by the metallic bass by Vladimir; whereas Fighter is modern-day Metalcore at its finest, sounding heavy, ethereal and sinister at the same time with the band’s guitar duo Vidick and Serghei slashing their stringed axes in great fashion. And Vladimir and Eugen keep hammering their respective bass and drums in Longing, another puissant Metalcore extravaganza where Lena alternates between her beastly roars and her mesmerizing clean vocals, followed by Goodbye, a solid tune by Infected Rain bringing forward their trademark riffs, bass lines and pounding drums. Featuring the one and only Heidi Shepherd of Butcher Babies, the stunning The Realm of Chaos “was inspired by the massive depression we all lived in 2020. Dedicated to the lost nation and confused society we live in,” commented Lena herself. Musically speaking, it’s a fierce exhibit of the band’s core sonority with Lena and Heidi being on absolute sync from start to finish; and let’s keep banging our heads together with Lena and the boys in Everlasting Lethargy, with its second half lacking an extra kick, albeit still being a very entertaining song.

Lena’s sexy and whimsical vocals will penetrate deep inside your psyche in These Walls, supported by the disruptive guitar lines by Vidick and Serghei. It should sound amazing if they decide to add it to their live performances, I might say, and more of their unparalleled music comes in the form of Showers, with Lena once again stealing the spotlight with a spot-on vocal performance, not to mention all of the song’s stunning background elements. Then electronic sounds kick off the dancing tune November, evolving into a violent display of Metalcore by the quintet with the razor-edged sound of the guitars bringing an extra touch of darkness to the overall result; whereas blending hints of Groove Metal to their core essence it’s time for the visceral Never the Same, also presenting smooth, gentle passages to the gorgeous clean vocals by Lena and, therefore, resulting in a multi-layered creation that will please all fans of the band. Nine, Ten is one of Infected Rain’s trademark dark ballads, offering us all a hypnotizing sound flirting with New Wave music while making the band’s Alternative Rock and Metal vein pulse stronger, sounding beautiful and enfolding until the very last second. Finally, Postmortem Pt. 2 intentionally closes the circle in Ecdysis, continuing the more atmospheric path of the previous song and focusing on Lena’s passionate vocals while also presenting the heaviness of pure Metalcore thanks to the crushing beats by Eugen and the thunderous bass by Vladimir.

Lena and the boys are waiting for you on Facebook, on Instagram and on VKontakte to know what you think about Ecdysis, which is by the way available for a full listen on YouTube and on Spotify. Also, don’t forget to subscribe to their YouTube channel for more of their sick videos, making of’s and so on, and above all that, to grab your copy of their incendiary new opus by clicking HERE. As already mentioned, Infected Rain nailed it with Ecdysis by smoothly blending the brutality and rage of heavy music with gentle nuances of electronic and futuristic sounds, placing them as one of the most prominent names of the current Metalcore scene and, therefore, pointing to an even more exciting road ahead of such distinguished Moldovan band.

Best moments of the album: Fighter, The Realm of Chaos and Never the Same.

Worst moments of the album: Everlasting Lethargy.

Released in 2022 Napalm Records

Track listing
1. Postmortem Pt. 1 4:59
2. Fighter 5:05
3. Longing 5:14
4. Goodbye 5:28
5. The Realm of Chaos 3:44
6. Everlasting Lethargy 4:13
7. These Walls 4:01
8. Showers 4:29
9. November 4:00
10. Never the Same 3:00
11. Nine, Ten 5:17
12. Postmortem Pt. 2 5:16

Band members
Elena “Lena Scissorhands” Cataraga – vocals
Vadim “Vidick” Ojog – guitars
Serghei Babici – guitars
Vladimir Babici – bass
Eugen Voluta – drums

Guest musician
Heidi Shepherd – vocals on “The Realm of Chaos”

The Year In Review – Top 10 Hard Rock/Heavy Metal Albums of 2021

“I wanted to play drums because I fell in love with the glitter and the lights, but it wasn’t about adulation. It was being up there playing.” – Charlie Watts

And there goes another year without a single metal concert in Canada. Another year full of uncertainties, fears, polarization, restrictions, and everything else we “love” so much. I honestly don’t know what to say about 2021 apart form the fact it was undoubtedly much better than 2020, but that means nothing considering the total nightmare that 2020 was. We lost a lot of huge names in the rock and metal scene such as Joey Jordison, Dusty Hill, Mike Howe, Johnny Solinger, Marsha Zazula, Alexi Laiho, John Hinch, John Lawton, Charlie Watts and Hank Von Hell, among many others. Tons of festivals including Download, Wacken Open Air, Hellfest, Bloodstock Open Air, Sweden Rock Festival and Dynamo MetalFest were scheduled to return this year after the 2020 editions of those festivals were cancelled due to the COVID-19 pandemic, but unfortunately Sweden Rock, Hellfest, Download and Wacken Open Air were once again cancelled. With that said, why do we metalheads still believe in a better future? Is it because, despite all adversities, our favorite bands released some of their best albums from the past few years?

Hence, as new lockdowns are being imposed upon us in a never-ending pandemic loop, there’s not much we can do but enjoy The Headbanging Moose’s Top 10 Hard Rock/Heavy Metal Albums of 2021, excluding EP’s, best of’s and live albums, keeping us sane until this madness is finally over. Or maybe I should say if it will be over one day, of course. There’s a bit of everything for all types of fans, from classic Heavy Metal to the brutality of Death Metal, from the modern nuances of Melodic Death Metal to old school Thrash Metal, and so on, and in my humble opinions one of the most interesting facts about several albums launched in 2021 is their duration, with many of those surpassing the one hour barrier such as Senjutsu, Helloween, Persona Non Grata, Existence Is Futile and Blood on Blood, not to mention the over four hours of music from the Lordiversity boxset, which for me proves how much the bands responsible for those albums love their fans by offering them a lot of new music to enjoy during such difficult times. I would say that even if there are ZERO metal albums launched in 2022, we’ll still have a lot of great music to enjoy throughout the year thanks to all the amazing records released in 2021, don’t you agree?

1. Iron Maiden – Senjutsu (REVIEW)
Behold another masterpiece by the one and only Iron Maiden with its 82 minutes of tactics, strategy, war, resilience and determination.
Best song of the album: Hell on Earth

2. Helloween – Helloween (REVIEW)
A dream come true for all generations of “Happy, Happy Helloween” fans from all over the world.
Best song of the album: Skyfall

3. Trivium – In the Court of the Dragon (REVIEW)
It’s time to join Trivium in the court of the dragon to the sound of their magnificent new opus.
Best song of the album: Like a Sword Over Damocles

4. Exodus – Persona Non Grata (REVIEW)
Don’t be a “persona non grata” in the world of heavy music and get into the circle pit to the sound of this newborn thrashing beast.
Best song of the album: Lunatic-Liar-Lord

5. Cannibal Corpse – Violence Unimagined (REVIEW)
State of the art Death Metal played with passion and breathless precision by the most violent and unrelenting band of all time.
Best song of the album: Surround, Kill, Devour

6. 1914 – Where Fear and Weapons Meet (REVIEW)
Ukraine’s own doom infantry is back into the battlefield with another masterpiece, telling the gruesome tales of World War I.
Best song of the album: Pillars of Fire (The Battle of Messines)

7. Motorjesus – Hellbreaker (REVIEW)
Let’s drive through the fires of hell together with one of the best bands from the German rock and metal scene.
Best song of the album: Hellbreaker

8. Nervosa – Perpetual Chaos (REVIEW)
A deadly and thrashing lesson in perpetual chaos by four metalheads hailing from Brazil, Italy, Spain and Greece
Best song of the album: Time to Fight

9. Gojira – Fortitude (REVIEW)
Let’s all face up the world to the sound of the new masterpiece by one of the most dynamic bands of the current metal scene.
Best song of the album: Amazonia

10. Blaze Bayley – War Within Me (REVIEW)
The man who will live for a thousand years is back, inspiring us all to fight the war within us and to take our future in our own hands.
Best song of the album: Pull Yourself Up

And here we have the runner-ups, completing the top 20 for the year:

11. Running Wild – Blood on Blood (REVIEW)
12. Lordi – Lordiversity (REVIEW)
13. Cradle of Filth – Existence Is Futile (REVIEW)
14. Diabolizer – Khalkedonian Death (REVIEW)
15. Angelus Apatrida – Angelus Apatrida (REVIEW)
16. Moonspell – Hermitage (REVIEW)
17. Lutharo – Hiraeth (REVIEW)
18. Unflesh – Inhumation (REVIEW)
19. Scarlet Aura – Genesis of Time (REVIEW)
20. Coiled Around Thy Spine – From The Ashes (REVIEW)

In addition to all that, let’s bang our heads with our Top 10 EP’s of 2021 to prove once and for all that not all great albums of the year have to be so long. The EP’s from this list are simply awesome, showcasing the band’s talent and their ability to sound epic even if the music lasts for only a few minutes.

1. Eonian – The Nomad (REVIEW)
2. Lady Beast – Omens (REVIEW)
3. The Agonist – Days Before the World Wept (REVIEW)
4. Tantivy – Eyes in the Night (REVIEW)
5. Grale – AGITACIÓN (REVIEW)
6. Bouquet of Dead Crows – Hemispheres Part 2: Cerebral (REVIEW)
7. Kadavereich – Radiance Of Doom (REVIEW)
8. Wolvencrown – A Shadow Of What Once Was (REVIEW)
9. Juliet Ruin – Dark Water (REVIEW)
10. Black Hole Deity – Lair Of Xenolich (REVIEW)

Do you agree with our list? What are your top 10 albums of 2021? Also, don’t forget to tune in every Tuesday at 10pm BRT on Rádio Coringão to enjoy the best of classic and underground metal with Jorge Diaz and his Timão Metal, and every Thursday at 8pm UTC+2 on Midnight Madness Metal e-Radio for the best of underground metal with The Headbanging Moose Show! And if you lost some or most of our special editions of The Headbanging Moose Show, including our Top 20 Underground Albums of 2021 – Parts I and II, go to our Mixcloud page and there you have hours and hours of the best of the independent scene, sounds good?

Metal Xmas and a Headbanging New Year! See you in 2022!

And before I go, I’ll leave you with some touching words by Mr. Lordi and his crew of monsters…

Something something blah blah to you
All the sincere wishes come true
I put vengeance on my wish list
And that’s what Santa brought
So have a merry something and a happy blah blah blah

Album Review – Bouquet of Dead Crows / Hemispheres Part 2: Cerebral EP (2021)

The second half of Hemispheres is finally among us, showcasing a more Post-Rock side of one of the most interesting names of the current British scene.

When two become one. That’s the story behind the EP’s Hemispheres Part 1: Celestial, released last year, and Hemispheres Part 2: Cerebral, recently brought into being, which together form a single entity named Hemispheres by Cambridge, UK-based Sci-Fi Alternative Rock and Metal act Bouquet of Dead Crows. Originally written as one album but released in two parts mainly because of the COVID-19 pandemic, Hemispheres combines big riffs with big melodies and shifting time signatures, with Celestial showcasing a more punkish and upbeats vibe, while Cerebral leans towards Post-Rock. Recorded at the Parlour Studios, produced by Neil Haynes and displaying a classy artwork by Stewart Harris from Stewart Harris Designs, just like the 2020 EP, Cerebral continues to showcase all the talent and attention to detail by vocalist Antoinette Cooper, guitarist Neil Bruce, bassist Karen Gadd and drummer Andrew Coxall, putting a dark and very melodic ending to Hemispheres that will please all fans of our good old rock music.

Neil begins extracting serene notes from his guitar accompanied by the steady beats by Andrew in Idle Thoughts before Antoinette delivers her trademark, smooth vocals for our total delight in a great display of Post-Rock with progressive elements; then putting the pedal to the metal the band fires the dancing and heavy tune Standing at the Precipice, bringing forward their Alternative Metal vein with Neil and Karen being on fire with their respective riffs and bass lines, not to mention how visceral the drums by Andrew sound. In One More Sunrise the band gets back to a more gentle and enfolding sonority, presenting a charming atmosphere crafted by all four band members spearheaded by the stunning vocals by Antoinette, followed by The Longest Road, a fantastic ballad where they invest in a more melancholic sound by blending their core Alternative Rock with Post-Rock nuances, and with Neil doing a beautiful job on the guitar as usual. Lastly, get ready for over nine minutes of classy Rock N’ Roll in the form of Somewhere in the Static, where Antoinette sounds majestic supported by the strident guitars by Neil and the rumbling kitchen by Karen and Andrew, flowing smoothly and flawlessly until the very last second.

The second part of Hemispheres can be better appreciated in its entirety on YouTube and on Spotify, and of course if you want to add Cerebral (and Celestial) to your collection of rock albums you can purchase it from their own BandCamp page, from Apple Music or from Amazon, or simply grab the full Hemispheres album by clicking HERE or HERE. In addition, don’t forget to give Antoinette, Neil, Karen and Andrew a shout on Facebook and on Instagram, and to subscribe to their YouTube channel for more of their stylish music. Now that Celestial and Cerebral are finally united and Hemispheres has reached its final shape and form, I’m eager to know what’s next in the career of one of the most interesting names of the current British rock scene, and based on what they have already offered us with their latest releases I’m sure their next endeavor will be just as awesome.

Best moments of the album: Standing at the Precipice and Somewhere in the Static.

Worst moments of the album: None.

Released in 2021 German Shepherd Records

Track listing
1. Idle Thoughts 4:20
2. Standing at the Precipice 2:29
3. One More Sunrise 4:17
4. The Longest Road 5:36
5. Somewhere in the Static 9:48

Band members
Antoinette Cooper – vocals
Neil Bruce – guitars
Karen Gadd – bass, backing vocals
Andrew Coxall – drums, synths, programming, backing vocals

Metal Chick of the Month – Haydee Irizarry

Blame the witch! Shame the witch! Hang the witch!

As the days are getting shorter and colder in the Northern Hemisphere, let’s warm things up here at The Headbanging Moose this November with the incendiary vocals and performance of our metal lady of the month, the multi-talented Haydee Irizarry, or Haydée Irizarry if you prefer. Vocalist for Melodic Groove/Death Metal act Carnivora, vocalist, multi-instrumentalist and composer for Alternative Rock/Metal project Zahra Lux, and vocalist and composer for her own solo project, not to mention her six years as the vocalist for Melodic Death Metal outfit Aversed, Haydee owns a very potent and dynamic voice, delivering a wide range of styles that go from smooth, clean vocals to deep and visceral growls, positioning her as one of the most interesting names of the current American underground scene. Having said that, are you ready to know a little more about Haydee, her bands and projects, her influences, and her passion for all types of music?

Born on February 28, 1995 in Chicago, Illinois, in the United States, but currently residing in Salem, Massachusetts, and of Mexican and Puerto Rican descent, Haydee graduated in 2013 from Lincoln Park High School in Chicago and then moved on to study jazz, classical and contemporary music writing and production at the Berklee College of Music in Boston, Massachusetts that same year, where she also became the lead singer for her classmates’ band Aversed. However, before we start talking about her professional career in music, let’s take a step back and go all the way to her childhood years, more specifically to when she was only four years old. At that age, Haydee received a keyboard that ignited her interest in studying and writing songs on the piano, while her grade school was a Lutheran school that introduced hymnals and sight reading to her and prompted her to join choirs at the age of eight, when she realized she had a natural talent and love for singing that was undeniable and she knew she wanted to be a vocalist. Not only a vocalist, but a metal vocalist, as while she remembers her family listened to everything from Redding’s soul to their Latin culture’s salsa when she was a kid in Chicago, she also became enchanted by Rock N’ Roll and Heavy Metal. When asked what attracted her to the harder stuff, she said metal offered release and salvation as she struggled with her parents’ divorce, an abusive brother and her mental health. “When I was getting started, I really connected to the aggression because of all the things I was feeling at the time,” she explained. “I was feeling a lot of dark, intense things that I didn’t really quite know how to express outside of music.” Then at the age of 16 she joined the Chicago School of Rock so she could perform and develop as a performing frontwoman, having also studied guitar, piano and bass through private teachers, and through that plus her choral experience she achieved many honors and had the ability to play Lollapalooza and many other local festivals in Chicago. She learned pop, rock, jazz, blues, metal and so on, all of which directed her to the Berklee College of Music, as already mentioned.

Since 2017, Haydee has been the voice of American Melodic Groove/Death Metal act Carnivora, with whom she has already recorded three singles, those being Bogdweller, in 2019, Witch City, in 2020, and more recently Hypnogenic, featuring guests Jon Donais (Anthrax, Shadows Fall) and Matt Bachand (Shadows Fall, Act Of Defiance). The band’s guitarist Cody Michaud believes Haydee is helping Carnivora evolve in a more sophisticated, more accessible, less testosterone-fueled direction, helping them transition their sound from Metalcore and Melodic Death Metal to a more groove-oriented Heavy Metal with Death Metal influences. “If you’re a fan of folk music, there’s folk metal, and there’s symphonic metal,” commented Haydee in one of her interviews. “It doesn’t have to be the Cookie Monster screams. It isn’t always aggressive. It can be very beautiful.” She also explained how she ended up becoming the band’s new vocalist a few years ago. “I had met the Carnivora members at an early Aversed gig and we had become friends and performed with each others bands’ many times. They were interested in transitioning their style and believed my vocal skills and personality was compatible and here we are!”

Speaking about Boston, Massachusetts-based Progressive/Melodic Death Metal act Aversed, Haydee was the band’s vocalist from 2015 until September 1, 2021, having recorded with the band their 2016 EP Renewal and the full-length opus Impermanent earlier in 2021, not to mention the live album Abandoned in Charlestown, released in August 2021. You can enjoy Haydee kicking some ass with Aversed in the official videos for the songs Laboratory, Impermanent, and Close My Eyes, or simply click HERE to enjoy the album in its entirety. When asked how she was invited to join Aversed, she said the band had been active since 2009, before she lived in Boston, and as she was attending Berklee College of Music she had met many local metal musicians and bands and had been referred to be their new vocalist and joined them in 2015. In addition, Haydee mentioned that she had studied gutturals before joining them and it proved to be a great transition to practice performing the new technique that she had been developing.

Apart from her time with Carnivora and Aversed, our beloved vocalist has also lent her beautiful voice to an array of distinct bands through the years, with the first ever metal band she was officially in, called Ephemeral Sunrise, being a huge learning experience as she was able to get a taste of where she needed to grow and what the local scene was like. Another amazing project she’s currently involved with is called Zahra Lux, which translates to “beautiful light” or “flower light”, combining classical, rock and blues music to form one heavy and delicate musical experience featuring gorgeous piano lines, soulful vocals and orchestral arrangements. “Before I went down the surprising road of melodic death metal and guttural vocals I had thought that I would strictly be a blues and heavy metal vocalist that would sound more like Evanescence, and other female fronted rock and metal bands,” said Haydee, having already released under her Zahra Lux project the EP’s The Deam (2018) and Rosewater (2020), and more recently the single Say No More, in August this year.

You can also enjoy Heydee’s powerful vocals in other bands and projects, such as Symphonic/Progressive Power Metal band Widows Rite, with whom she recorded the album Volume 1 back in 2018, and Queen Boudicca Metal Opera. Haydee has also been a guest in distinct albums by excellent underground bands, those being vocals on the song Shutter, from the 2020 EP Eulogy by American Gothic/Death/Doom Metal band Autumn’s Ashes; vocals on Per Erebus, from the 2018 album Per Erebus ad Astra by American Blackened Thrash Metal band Graviton; vocals as “The Soldier” on Terror of the Cybernetic Space Monster, from the 2018 album Terror of the Cybernetic Space Monster by American Power Metal band Helion Prime; and vocals on A Gathering of Storms, from the 2018 album Genetically Engineered to Enslave, by American Death Metal band Solium Fatalis.

As aforementioned, Haydee grew up listening to all kinds of music such as blues, classic rock, classical, and Latin music, but when the music in question is our beloved Heavy Metal her main influences range from Joe Duplantier of Gojira and Alissa White-Gluz of Arch Enemy to all classic metal vocalists such as Dio, Ozzy and Rob Halford. Her first ever record which introduced her to heavy music was Fallen, by Evanescence, when she was eight years old, taking her down the rabbit hole that would eventually lead her to find Judas Priest, Black Sabbath and all of the icons of early metal, also delving into the early punk scene. Nowadays you can find pretty much anything on her playlist including Chelsea Wolfe, Bjork, Black Sabbath and At The Gates, as well as “guilty pleasures” such as Katy Perry, Sia and Lady Gaga, as long as it’s well-written pop music, of course. When asked which three songs would be perfect for someone listening to her for the first time, Haydee mentioned her cover versions for Sia’s Everyday is Christmas and Arch Enemy’s As The Pages Burn, plus Aversed’s Renewal, because they are diverse and represent her as she is now, still growing but slowly establishing a strong voice within the music industry. By the way, if you want to see how wide Haydee’s range can be and how eclectic her taste for music is, you can take a shot at her cover versions for Iron Maiden’s Hallowed Be Thy Name, Alanis Morissette’s Uninvited, Leonard Cohen’s Chelsea Hotel, and Prince’s Purple Rain, among several others on her personal YouTube channel.

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Absolutely engaged in the music no matter which band she’s in, Haydee not only has an incendiary voice, but her onstage performance is just as flammable and electrifying, earning her a few unique nicknames including Haydee the Hyena, Metal J.Lo and Metal Selena. “I love the Metal Selena and Metal J.Lo because I like to embrace my culture,” she said, “like wearing my hoops.” Furthermore, she mentioned in one of her interviews the importance of understanding R&B and classical music to become a better metal vocalist. “Both styles have extreme soul and depth that is definitely important in metal music in both style and vocal delivery. Having experienced performing many different songs with different stories and intentions I have a large understanding of what level of emotions, strength, and movements to deliver to any song to make it as effective as it can be. I couldn’t do that if those many styles had not molded my range to be the way it is now as well. Every life and musical experience finds itself in each new performance that you share and it’s really wonderful.”

Regarding touring, Haydee said that she dreams of touring the world with Carnivora and of being able to make a living from her art without having to work a day job. having already played in many small to large stages in a wide variety of local bars and clubs, she would also love to play some major festivals the likes of Maryland Death Fest, NAMM and SWSW, and return to Chicago Open Air, a festival that holds a spot in her heart. “At Chicago Open Air 2017 Aversed and I had performed on the last day alongside acts such as Slayer, Behemoth, and Ozzy Osbourne to name a few. Nearing the end of Ozzy’s set our tour bus crew was giving the band a last call to get on the bus or else it was leaving without us! My phone has been dead and I didn’t know. By the grace of the metal gods I ran into my band mates while I was getting a pretzel and ran back with them. Everyone was there besides our guitarist Sungwoo Jeong. After an awful 10 minutes of frantic calling, searching, and figuring out a way for him to fly back to Boston on his own, we searched the bus one last time and found he’d been asleep the whole time. I had immense luck and Sungwoo cracked us all up and it made one hell of a story.” In addition, her first metal experience as a vocalist was the Iron Maiden vs. Judas Priest show at the Chicago School of Rock in 2011, a huge moment for her because it had really transitioned her from a bedroom performer to a real one, pushing her to keep doing it.

As Carnivora is now a female-fronted metal band, Haydee was asked her opinion about the role of women in the current metal scene. She said that the face of metal is shifting a lot towards women, but the metal community still has a lot to learn and that can be frustrating, mainly because bands with female lead singers often get lumped together even if they’re creating radically different sub-styles, although she’s fine with the label “female-fronted metal”. In addition, she said that as a growing force, women get a lot of attention that may not be given as frequently to an all-male group because there is something different brought to the table that is intriguing. Women have the same depth and aggression as men, and to have an artistic platform to display that (as well as their delicate nature) is a new and amazing thing. The only disadvantage that she sees is the play on sexism and creating sex appeal that purposefully overshadows or interferes with the platform for ones natural talent. “Women work hard to do what they do and they do not need to hide behind sex appeal to be respected for their time, talent, and work. Knowing that and showing that is important,” commented Haydee.

Last but not least, Haydee also provided her comments about things that she learned recording new music during the COVID-19 pandemic, starting by saying how important it was for her to put a strong focus on songwriting, something that we all know cannot be done properly when the musician is on the road most of the time, saying the simplicity of “one-on-one” writing with guitarist Cody Michaud allowed them to present something more refined to the rest of the team. Secondly, she mentioned how hard the entire band worked on the recording process of their demos, saying she pushed herself to knock out vocal takes and stacked harmonies. Then Haydee moved on to talking about their jam sessions, how important it was for them to get back to practicing together as soon as it was safe to meet up, and how tighter their playing got after that, followed by how important it was to release new music during the pandemic even without being able to tour during that time. And last but not least, she mentioned a fun game Carnivora had during the video shoot for Hypnogenic, the first time they had to load in and get together since everything shut down, where each band member had to wear their newest Vans shoes acquired during quarantine and compare them. Let’s say this is indeed a very healthy competition for a group of metalheads eager to get back on the road, and those shoes are beyond awesome for any trip or for a demanding activity like kicking ass on stage, and we cannot wait to see Haydee and Carnivora eating our flesh alive during their upcoming concerts.

Haydee Irizarry’s Official Facebook page
Haydee Irizarry’s Official Instagram
Haydee Irizarry’s Official Twitter
Haydee Irizarry’s Official YouTube channel
Carnivora’s Official Facebook page
Carnivora’s Official Instagram
Carnivora’s Official Twitter
Carnivora’s Official YouTube channel

“The face of metal is shifting a lot towards women and women from all different countries that look so different. It’s awesome to be a part of that change.” – Haydee Irizarry

Album Review – Head of Jeddore / How to Slaughter a Lamb (2021)

Do you know how to slaughter a lamb? If not, let these three Canadian metallers teach you that to the sound of their intense and frenetic debut album.

3.5rating

head-of-jeddore-how-to-slaughter-a-lamb-2021Made up of vocalist Friendly Rich Marsella (Friendly Rich, The Lollipop People) and guitarists Greg Dawson (Olde, Grale) and Billy Curtis (The Abandoned Hearts Club, Cunter), and featuring an array of special guests the likes of Damian Abraham (Fucked Up), Kenny Bridges (Moneen), Greg Wright (Shatterpoint) and Luke Roberts (Gargoyl), Brampton, Canada-based newest metal supergroup Head of Jeddore is ready to kick some ass with their debut album entitled How to Slaughter a Lamb, offering up a slab of sophisticated mayhem for fans of Mr. Bungle, System of a Down and the (more adventurous) Melvins. Recorded, mixed and mastered by Greg himself at BWC Studios, How to Slaughter a Lamb brings to our ears an intense and frenetic metal attack, tapping into a wide variety of musical influences that goes from Stoner and Doom Metal to more modern styles such as Groove and Alternative Metal, while staying fierce and fiery throughout its 31 minutes of music.

The title-track How to Slaughter a Lamb kicks off at full speed with Mr. Marsella delivering demented vocal lines à la Mike Patton while Billy and Greg fulminate our ears with their rockin’ riffs, and more of their sonic insanity comes in the form of Into the Well, bringing elements of the Progressive and Groove Metal blasted by bands like Gojira and Mastodon and with its intricate and visceral drums adding an extra touch of aggressiveness to the overall result. Back to a more straightforward, in-your-face mode, the trio offers our ears the groovy The Age of Entitlement, where once again Billy and Greg feed Marsella with everything he needs to vociferate like a rabid creature; whereas sick guitar riffs and solos will pierce your mind without a single drop of mercy in The Tragedy Network, while we face at the same time a humongous amount of rage and lunacy through the band’s classic beats and vocals. And slowing things down a bit and adding elements from Alternative Metal to their core sonority, it’s time for another wicked musical voyage with Head of Jeddore titled Let Me Rot, where Marsella is once again bestial on vocals.

The trio continues to haunt our damned souls with their high-octane fusion of rock and metal styles in Kathmandu, reminding me of the early days of System Of A Down, with Billy and Greg giving a lesson in how to pulverize their stringed weapons, while Blood Waltz is another demolishing, awesome composition by those Canadian metallers offering us all a hybrid of Stoner and Doom Metal with Progressive Metal that will certainly please any fan of good music worldwide. Then showcasing a Children of the Grave-inspired riff it’s time for Marsella to growl and roar manically once again in The Old Man and the Sea, a song that will certainly put you to bang your head nonstop together with the band; and their Mastodon vein arises one more time in Peepholes and Moles, also presenting hints of the sick creations by Faith No More, not to mention the kick-ass riffs by the band’s talented guitar duo beautifully accompanied by the song’s hammering drums. And finally, a Death Metal-inspired gnarl ignites the closing tune The Bake Sale, before all hell breaks loose one last time inviting us all to slam into the circle pit until its vile and sluggish grand finale.

head-of-jeddore-2021In summary, if you consider yourself a true explorer of the world of rock and metal music, you should definitely give the guys from Head of Jeddore a shot. This talented Canadian act offers in their new album everything you can imagine in terms of creativity, heaviness, insanity and more, positioning them as one of the best new names of the Canadian scene. Hence, don’t forget to show them your love by following them on Facebook and on Instagram to stay up to date with all things Head of Jeddore, and even more important than that, by purchasing a copy of their sick new album by clicking HERE. And who knows, maybe one day those metallers from the Great White North will actually teach you how to slaughter a lamb.

Best moments of the album: How to Slaughter a Lamb, Kathmandu and Blood Waltz.

Worst moments of the album: None.

Released in 2021 Independent

Track listing 
1. How to Slaughter a Lamb 2:59
2. Into the Well 3:20
3. The Age of Entitlement 3:07
4. The Tragedy Network 2:41
5. Let Me Rot 4:05
6. Kathmandu 3:18
7. Blood Waltz 2:06
8. The Old Man and the Sea 3:08
9. Peepholes and Moles 3:09
10. The Bake Sale 3:23

Band members
Friendly Rich Marsella – vocals
Billy Curtis – guitar
Greg Dawson – guitar

Guest musicians
Damian Abraham – vocals
Tyler Semrick-Palmateer – vocals, guitar
Luke Roberts – vocals, guitar, bass
Greg Wright – guitar
Kevin Theodoropolus – vocals
Matt Nimmo – vocals
Brandon McColl – guitar
Kenny Bridges – vocals, guitar
Shane Drake – vocals
Erik Hughes – bass, vocals
Steve Mitchell – vocals, guitar

Album Review – Pentral / What Lies Ahead of Us (2021)

This multi-talented metal unity from Brazil is ready to embellish the airwaves with their excellent new album, aiming at making the world a better place to live.

3.5rating

pentral-what-lies-ahead-of-us-2021Brazilian Heavy Metal unity Pentral, which by the way is Latin for “spirit”, mixes many sorts of global influences in their music while at the same time trying to honor the groove, unique harmonies, atmosphere and melody found in Brazilian music. Comprised of brothers Victor Lima (vocals and guitars) and Vagner Lima (drums), as well as Joe Ferry (bass), three Brazilians whose passion for rock music is only rivalled by their desire to make an album which contributes towards making the world a better place to live, the band has just released the excellent What Lies Ahead of Us. Produced by Pentral and Tim Palmer, mixed by Tim Palmer, mastered by Justin Shturtz and featuring a stunning artwork by Heidi Taillefer, the album travels through the realms of progressive and alternative music flawlessly, inspired by classic sounds from the 70’s, 80’s and 90’s. “The album was recorded during the COVID-19 pandemic and it was a huge challenge wearing face masks almost every time. There was tension and fear among the musicians and engineers of getting infected. Besides that, the songs are not “straight”. Pentral uses a lot of uncommon and odd time signatures and harmonies, so it was pretty hard to record the final version of the tracks. Atmosphere, harmony, melody, groove and a strong message to make people think. For the band, this is what music is all about,” commented Victor about the recording process.

The hypnotic voices by guests Isabella Trindade and Ivan Teixeira will captivate your senses before Pentral come crushing in Silent Trees, with Victor’s epic vocals walking hand in hand with the classic beats by Vagner, sounding very detailed, smooth and progressive, whereas again traveling through the realms of Progressive Rock and Metal the trio brings into being the thrilling All My Wounds, where Victor is on fire with his wicked riffage accompanied by the low-tuned, rumbling bass by Joe. Then blending the heaviness and modernity of Alternative Metal with their core sonority we’re treated to the incendiary Disconnected, with Vagner once again kicking some ass with his intricate beats; while slowing things down a bit the band delivers a somber intro in Letters From Nowhere, evolving into a dark Progressive Rock extravaganza led by Victor’s stylish guitar lines. And in Aiming For The Sun we face poetic lyrics declaimed by Victor (“Wake up, back from dawn of the dead / Many yearned for your head / Unfair forgive the ones / Who sent you there as they will drag / Themselves beneath instead / Get out at once and run”) while the music offers our avid ears an electrifying hybrid of traditional Heavy Metal and Progressive Rock.

It’s time to sit down, relax and enjoy the serene ballad A Gift From God, where Victor steals the spotlight with his passionate vocal performance, keeping the atmosphere as ethereal and mesmerizing as possible until the very last second, while the thunderous bass punches by Joe ignite the multi-layered, epic tune No Real Colour In Souls, offering our ears over eight minutes of awesomeness in the form of progressive beats, slashing riffs and cryptic vocals, living up to the legacy of 70’s and 80’s rock and metal, with the guitar solos by Victor being the icing on the cake. Then more of their dynamic and atmospheric mix of rock and metal comes in the form of The Shell I’m Living In, exploding into a more aggressive sound thanks to the enraged vocals by Victor and the pounding beats by Vagner, followed by Are You Satisfied?, where the metallic bass by Joe brings the groove to the music and with Victor delivering soulful vocals and guitar lines accompanied by the progressive drumming by  Vagner. It goes on for way too long, though. Finally, closing the album the band offers another musical voyage through the realms of Progressive and Alternative Rock and Metal entitled The Law, with its acoustic guitars adding an extra touch of finesse to the overall result.

pentral-2021You can listen to What Lies Ahead of Us in its entirety on Spotify, but of course I highly recommend you purchase a copy of the album by clicking HERE, therefore showing your true support to Brazilian underground rock and metal. In addition, don’t forget to follow the trio on Facebook and on Instagram for news, tour dates and other nice-to-know details about the band, and to subscribe to their YouTube channel for more of their classy music and beautiful videos. After all is said and done, it’s a pleasure witnessing a band like Pentral not only delivering awesome music to our ears, but even more important than that, offering us all meaningful music, trying to make the world a better place for all of us as already mentioned through their distinguished compositions, and by doing that I’m sure they’ll win the hearts of rock and metal fans from all over the world, inspiring the trio to keep moving forward and embellishing the airwaves with their music for many years to come.

Best moments of the album: All My Wounds, Aiming For The Sun and No Real Colour In Souls.

Worst moments of the album: Are You Satisfied?

Released in 2021 Independent

Track listing
1. Silent Trees 7:13
2. All My Wounds 4:29
3. Disconnected 4:37
4. Letters From Nowhere 6:53
5. Aiming For The Sun 5:52
6. A Gift From God 5:53
7. No Real Colour In Souls 8:28
8. The Shell I’m Living In 4:06
9. Are You Satisfied? 7:54
10. The Law 8:43

BandCamp bonus tracks
11. Silent Trees (Radio Edit) 4:47
12. Aiming For The Sun (Radio Edit) 4:02

Band members
Victor Lima – vocals, electric and acoustic guitars
Joe Ferry – bass
Vagner Lima – drums

Guest musicians
Tim Palmer – additional guitars, tambourine and keyboards
Ivan Teixeira – keyboards
Yaniel Matos – cello
Isabella Trindade and Ivan Teixeira – voices on “Silent Trees”