Sully Erna and his henchmen will light up your sky to the sound of their thrilling (but unfortunately) final studio album.
Produced and engineered by Andrew Mudrock, mastered by Ted Jensen at Sterling Sound, and mixed by Dave Fortman, the excellent Lighting Up the Sky is not only the eight studio album by Boston, Massachusetts-based Alternative Rock/Metal titansGodsmack, released five years after their last studio album When Legends Rise (therefore making it the longest gap between two of their studio albums), but it’s also the final one by vocalist and guitarist Sully Erna, guitarist Tony Rombola, bassist Robbie Merrill and drummer Shannon Larkin. And let me tell you that if that’s it for Godsmack at least in terms of releasing new albums, they’re definitely going out with a bang.
Sully blasts his Moog synthesizer to generate a magical atmosphere in You and I, kicking off the album on a high note and delivering classy Hard Rock led by the groovy bass by Robbie, whereas Red White & Blue can be considered their tribute to their homeland, also presenting an amazing guitar job done by Sully and Tony, inspiring us all to raise our fists while Shannon smashes his drums in the best rockin’ way possible. In the first single of the album, the trademark Godsmack tune Surrender, we face their usual acid lyrics (“You’ve always told me / That you know me / But you don’t really know me at all / You just played me and betrayed me / And showed no sympathy at all”) amidst a pure Rock N’ Roll sound, and the quartet doesn’t let the energy level go down by offering more of their electrifying music in What About Me, showcasing another solid kitchen by Robbie and Shannon. And Sully takes care of all acoustic guitars, drums and keyboards in Truth, a beautiful ballad overflowing melancholy and passion.
Back to their more visceral mode we have Hell’s Not Dead, blending elements from Southern Rock and Metal to their core essence and sounding very catchy and vibrant. Needless to say, it will work perfectly if played live during their upcoming tour, while in Soul on Fire the lyrics couldn’t have been more Rock N’ Roll (“In the end / There will come a time my friend / I’m gonna break you wide open / I didn’t see this side unfolding / Hey, I can’t wait for you to make up your mind / I need to take you every time / I’m self destructing”), with the quartet once again kicking some ass with their incendiary sonic weapons in a lecture in modern-day rock music. Let’s Go is perhaps the most generic of all songs, including its instrumental parts and lyrics, albeit it still carries the band’s characteristic sonority in it, whereas exhaling the purest form of the music by Godsmack we can think of, Best of Times is a journey back in time to their early days led by the classic beats by Shannon and the piercing riffage by Tony. The second ballad from the album, titled Growing Old, sounds very introspective and dark thanks to another stylish performance by Sully not only on vocals but also on the piano; and closing the album we have the title-track Lighting Up the Sky, showcasing a fantastic stringed duo by Tony and Robbie, adding endless groove and harmony to the music. In other words, Godsmack definitely know how to hypnotize us with their catchy riffs and lyrics, and this is a really good example of that.
“We’ve enjoyed decades of doing this and we’ve sacrificed a lot of time. But the reality is – and I say this with zero ego – we’re at 27 top 10 (Mainstream Rock Airplay) singles, 12 No. 1s (including ‘Surrender’ from the new album). We could pull three or four more off this new record – it’s a strong record, we feel. That means we could do back-to-back nights in an arena, play 15 songs each night and never play the same single, let alone deep cuts. That’s a helluva place to get to…so you think, how much more do we need?,” commented the band about Lighting Up the Sky (and you can see more details about that HERE), which is available for a full listen on YouTube and on Spotify. Moreover, you can also start following the band on Facebook and on Instagram (if you don’t already do so), subscribe to their YouTube channel for more of their music and videos, and of course purchase their thrilling new album by visiting their official website or by clicking HERE. The band already said that although this is their last studio album they’ll keep touring for the foreseeable future, but of course after listening to Lighting Up the Sky several times already I’ll surely miss new music by Godsmack. Well, at least I can always light up the sky to the sound of all of their creations, including their last and amazing album, right?
Best moments of the album:You and I, Red White & Blue, Soul on Fire and Lighting Up the Sky.
Worst moments of the album:Let’s Go.
Released in 2023 BMG
Track listing 1. You and I 5:16
2. Red White & Blue 4:04
3. Surrender 3:40
4. What About Me 3:55
5. Truth 4:33
6. Hell’s Not Dead 4:50
7. Soul on Fire 4:05
8. Let’s Go 5:40
9. Best of Times 3:36
10. Growing Old 5:01
11. Lighting Up the Sky 4:46
Band members Sully Erna – vocals, guitar, Moog synthesizer on “You and I”, acoustic guitars, drums and keyboards on “Truth”, backing vocals, organ and piano on “Growing Old”
Tony Rombola – lead guitar
Robbie Merrill – bass
Shannon Larkin – drums
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
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”
So sin ‘til you win, let your demons out! Lady Lightbringer!
It’s time for a true metal opera this February on The Headbanging Moose, courtesy of our multi-talented metal lady of the month. A metal vocalist, poet, vocal coach and musician best known for being the frontwoman and composer for American Symphonic Metal band Seven Spires, among several other amazing metal bands and projects, Adrienne Elizabeth Catli Cowan, who goes by her stage name of Adrienne Cowan, will mesmerize you with her unique vocals, both extreme and classic Heavy Metal clean vocals. In other words, she can sing pretty much any type of metal and non-metal music, from the Symphonic Metal of Seven Spires to Death Metal, Deathcore and Dark Jazz, and I’m sure you’ll have an absolute blast with Adrienne after knowing more about the life and career of such skillful artist.
Born on January 28, 1995 in Houston, the most populous city in Texas and the fourth most populous city in the United States, Adrienne is formally trained in classical and most contemporary styles as a graduate of both Berklee College of Music (with a degree in Music Composition) in Boston, Massachusetts and the Academy of Contemporary Music in the UK, although she was also self-taught in both extreme clean vocals for many years before finally finding a perfect vocal coach in Swedish singer David Äkesson. Her connection with music started a lot earlier than that, though, as since she was a child she was already taking part in choirs and taking piano lessons, performing in musicals and then entering music school, and from there starting to compose her music and to expand her knowledge and skills, especially as a singer. For instance, Adrienne had her first performance as a vocalist at the age of three at an event at the church her family attended, beginning her piano lessons after that at the age of six and being mainly into choir and darker popular musicals such as Phantom of the Opera throughout elementary and middle school. Not only that, her parents pulled her out of high school so that she could attend a music school full-time, so through that show of support she already had a good feeling about her potential skills.
When she was still living in England, in 2012, Adrienne was making demos by herself for a dark and theatrical project she had yet to debut, and after moving back to the United States in 2013 she met Jack Kosto in a bookstore in her first week at Berklee and told him about her project and songs. From there Seven Spires were born, with all band members having extensive musical knowledge and studies, therefore drawing on their backgrounds to express themselves musically without limits of genre or technique. Seven Spires released their first album in 2014, the EP The Cabaret of Dreams, with all of its songs representing half of their 2017 full-length opus Solveig, where not only Adrienne was responsible for all vocals, keyboards, lyrics and songwriting, but also for the production and vocal engineering, showcasing all her talent and professionalism. After Solveig, the band released the full-length albums Emerald Seas, in 2020, and Gods of Debauchery, in 2021, and if you want to enjoy all of the band’s epic creations you can find Seven Spires on Spotify and on YouTube, where you can also have a visual orgasm with their official videos for the songs Lightbringer, Succumb, The Unforgotten Name, The Cabaret Of Dreams, Drowner Of Worlds, Bury You, The Paradox, This God Is Dead, Silvery Moon, The Cursed Muse, and Dare To Live, as well as some live footage, making of’s, behind the scenes and other awesome videos by Adrienne and her crew.
Apart from her career with Seven Spires, you can also find Adrienne and her powerful vocals in distinct bands and projects such as International Power Metal band Light & Shade, with whom she recorded the vocals for the 2016 album The Essence of Everything; International Power Metal/Hard Rock band Sascha Paeth’s Masters of Ceremony, with whom she recorded the vocals (and piano for one track) in the 2019 album Signs of Wings; and American Symphonic Deathcore band Winds of Plague, with whom she recorded the keyboards and backing vocals in the 2017 album Blood of My Enemy. In addition, Adrienne was also part of American Melodic Heavy Metal band FirstBourne from 2016 to 2018, having recorded the vocals and keyboards in their 2016 album Riot and in the 2017 acoustic single Home, and of Frontiers All Stars in 2020 and Riot Underground between 2012 and 2013.
You can also find her singing and playing live with German Symphonic Power Metal band Avantasia since 2018, with American Heavy Metal band Mike Kerr from 2015 until 2018, and with American Power/Thrash Metal band Sonic Pulse. Not only that, Adrienne was also a guest musician in an array of bands and projects, those being vocals for the song I Declare War from the 2020 album The Journey, by German Melodic Death Metal band Deliver the Galaxy; vocals for several songs from the 2021 album The Metal Opera by Magnus Karlsson, by Swedish Symphonic/Melodic/Power Metal band Heart Healer; vocals for the song My Guide My Hunger from the 2018 album As Above So Below, by Italian Melodic Death Metal band Hell’s Guardian; vocals for the song The End of Innocence from the 2017 album Reflections, by American Neoclassical Heavy Metal artist Jimi Mitchell; vocals for the song Mammoth from the 2017 album Pianometal, by American Symphonic/Progressive Metal artist Kyle Morrison; vocals for the song The Truth of the Lion from the 2015 album The Truth of the Lion, by Mike Kerr; harsh and clean vocals for the songs Conjunction of Souls and The Restitution from the 2020 album Pile of Priests, by American Progressive Death Metal band Pile of Priests; vocals for the song Let It Go from the 2018 album Re-Animated, by Italian Power Metal band Trick or Treat; and vocals and lyrics for the 2018 album Lights in the Murk, by Italian Symphonic Black Metal band Yass-Waddah. Do you want more? Because our she-wolf was also responsible for the songwriting for the song Hold Tight from the 2016 EP Dirty Lyxx, by American Heavy Metal/Hard Rock band Dirty Lyxx, and she also sung vocals in Black Science’s Freedom (Or Die Trying), featured in the outro of one Camp Camp episode, and sang both a duet with Casey Lee Williams in the RWBY Volume 6 credits song Nevermore, and in the song War of Volume 7. Adrienne has also been a part of the Freelance Orchestra in their RTX 2016 (where to her surprise she ended up in the RWBY music panel) and 2018 concerts, plus Anime Boston 2018, and you can always have a great time watching her own videos on her official YouTube channel.
Adrienne got into the world of metal music around the age of 11 when her uncle showed her Metallica and Scorpions, but it wasn’t until she found out about musicians the likes of Alexi Laiho, Janne Wierman and Yngwie Malmsteen that she really started to feel at home listening to Heavy Metal. She mentioned it appealed in some way to her classical background, and watching live Children of Bodom videos was quite inspiring. However, she’s not only into metal, but showcases a wide variety of influences in her life. “I’m not a one-dimensional person – I’m a human – so I’m allowed to like other stuff”, she said in one of her interviews. “I’m not a huge K-pop fan or anything, but I really like good pop writing. From a technical standpoint, as a songwriter, I’m like: damn, good for you guys. And there’s a certain sassy energy – it just speaks to me in a way that a lot of metal doesn’t.” Another influence on our beloved diva as a writer are painters of the Romantic period, with German painter Caspar David Friedrich and Russian painter Ivan Aivazovsky being two of her main inspirations. “I’m also a big fan of (the English composer) Edward Elgar – he does this piece called ‘Sospiri Op. 70,’ which is the most beautiful thing, it sounds like the pain of falling in love. It was something I listened to a lot when we were writing this record. And of course, Chopin,” she said, also finding inspiration under night skies and in the darker depths of the human condition to write her lyrics. Adrienne also nurtures an amazing openness with her fans on social media, which she credits to her experience as a My Chemical Romance fan back when she was younger. “This one interview with them came out, and I remember one of the guys in the band saying basically, ‘We say these things in our music, we are a bunch of fucked up guys, and it helps our fans know… you’re not alone.’ That really made me feel less alone when I was a sad teenager, and then when I grew up into a sad adult, I thought, damn, I could be that for somebody else.”
Regarding her singing style, technique and how she maintains her vocal cords in great shape, Adrienne mentioned in one of her interviews that she likes to meditate before shows and uses her instincts to decide what she’ll sing or scream either high or low. “The low death metal style is more present and more grounded and more angry and earthier in a way. The higher black metal screams are more spiritually pitched or spiritually empty — when there’s black metal themes and nihilistic lyrics, of course I’m probably going to scream with that high tone”, said Adrienne. In addition, when she was enrolled at The Academy of Contemporary Music at the age of 16 she joined an after-school club where all metalhead students gathered to jam on a new song every week, opening her eyes to the rest of the metal world and challenging her to vocally try different styles of each subgenre of metal. She also mentioned that she has studied many techniques of singing including theatrical belting, Speech Level Singing, bel canto and even some throat singing, with the hardest part being unlearning things previous teachers had told her in order to properly approach whatever new technique she was learning, and with the very high Power Metal “scream” being one of the styles that took her the longest to develop. In order to maintain her vocal health, she mentioned that she basically has to just mind her sleep and hydration levels, trying to stay out of the direct blast of heaters or air conditioners, and trying not to get sick or allergic. However, at the end of the day, even dehydrated or sick the show must go on, which forced her to develop alternate techniques to sing through sickness.
A huge fan of Lord of the Rings, all forms of art, Gothic style, cheesy Sci-Fi, vampire shows, coffee and fantasy games, Adrienne enjoys mountain hikes, spending time by any shore, and playing JRPG’s (Japanese Role-Playing Games) and games with friends between her musical ventures. “After a long tour, I like to sit at home and sleep in my own bed, play video games, maybe think about going out… If I get to go on a little holiday or something, I love road trips and anywhere remote with alpine forests and quiet waters. Wyoming is great for this, as are many spots on the West Coast. Anything to get me away from people and out of my regular world,” commented Adrienne, who despite being very fond of animals cannot take care of a dog or cat due to her lack of space and time to do so. And when asked which hobbit from Lord of the Rings she would choose to be part of her band for the rest of their days, she provided a curious and fun answer to that. “Either Sam or Pippin, I think. Because I think I’m a Frodo, and I need a support system like Sam. But also I need a Pippin to just make me laugh all the time no matter what, and just help lighten the mood, and tell me to eat my carrots and mushrooms.”
Last but not least, our raven-haired vocalist also had a few interesting words to say about the whole pandemic and how it has been impacting her life on the road with Seven Spires. “All of this resulted in connecting more with our fans online. So although it’s super frustrating to not know exactly when we’re going to be able to play live again, we have found a way to do the online equivalent of hugging people at the merch table and listening to their stories,” said Adrienne, who also mentioned she keeps working hard to entertain and stay in touch with her fanbase, also teaching online, private vocal lessons and running a weekly workshop on everything from orchestration to arranging to songwriting techniques, all of which you can find on Linktree and on Patreon. “Mostly I teach tools for people to be able to express what they have in mind, and I teach from a really emotional standpoint.” And if you want to know more about Adrienne, her likes and dislikes, her inspirations and so on, there are countless interview online with her such as this one to Rock Titan or this one called RichardMetalFan Interviews! Ep. 33: Adrienne Cowan of Seven Spires/Winds of Plague/Avantasia, where she talks about her journey with music from where she started until now. Having said all that, what are you waiting for to let Adrienne reach deep inside your heart and take you on a breathtaking musical voyage to the sound of her stunning vocals?
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.
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.
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.
An up-and-coming American entity is ready to conquer the world of heavy music with their debut album, presenting their own struggles with anxiety and depression reflected on the backdrop of environmental collapse on Earth.
Let’s all celebrate this year’s International Women’s Day with the first-class metal music blasted by Boston, Massachusetts-based female-fronted unity Aversed in their debut full-length opus entitled Impermanent, the ass-kicking follow-up to their 2011 self-titled EP and their 2016 EP Renewal. Mixed and mastered by Christian Donaldson at The Grid Productions, produced by the band’s own guitarist Alden Marchand, and displaying a sick artwork by Adam Burke at Nightjar Illustration, Impermanent illustrates the unique approach to songwriting by frontwoman Haydee Irizarry, guitarists Sungwoo Jeong and Alden Marchand, bassist Peter Albert de Reyna and drummer Jeff Saltzman with nine diverse compositions full of catchy hooks and vast melodies, pivoting from Melodic Death Metal towards a nuanced balance of Blackened and Orchestral Melodic Metal. “The album presents our own struggles with anxiety and depression reflected on the backdrop of environmental collapse on Earth. However, like the changing mind, we present this inevitable human destruction as a chance for a beautiful rebirth, a chance for new life to flourish. We attempted to portray this imagery by combining the violence of death and black metal with the lighthearted beauty of rock & roll, blues, and classical,” commented the band about their newborn beast.
A melancholic intro quickly explodes into a venomous Melodic Death Metal feast entitled Natsukashi, a Japanese word used when something evokes a fond memory from your past, also presenting hints of classic Death and Black Metal while Jeff takes the lead with his unstoppable beats, accompanied by the razor-edged guitars by Sungwoo and Alden and, therefore, resulting in a beyond perfect way to start the album. Then we have Close My Eyes, bringing to our ears a very pleasant and melodious vibe where Haydee steals the show with both her piercing clean vocals and her she-wolf roars, living up to the legacy of renowned acts such as Arch Enemy and The Agonist, not to mention the amazing job done by the band’s guitar duo once again; followed by Laboratory, where we’re treated to very entertaining lyrics declaimed by Haydee (“Ten thousand years ago / the blossom of mankind / sprung forth unto Earth / a civilized mistake / Machines to woo thy mind / and spin it into exquisite design / separated from nature / we transcend into gods”) amidst a neck-breaking, demented Death Metal sound where Peter and Jeff make the earth tremble with their infernal kitchen. And putting the pedal to the metal the quintet offers the frantic and austere title-track Impermanent, with Jeff’s crushing drums walking hand in hand with the hellish screams by Haydee.
After such imposing tune, a smooth and serene intro and the background sound of waves kick off the thrilling Abandoned, alternating between more melodic Metalcore moments and sheer savagery, with Sungwoo’s and Alden’s riffs cutting our skin deep, whereas blending their core sonority with Progressive Death Metal, they bring forward the intricate, multi-layered Solar Sea, where Haydee keeps growling nonstop (and obviously stunning us all with her amazing voice), while Peter blasts his bass with tons of intricacy and rage. In Malaise the band invests into a more straightforward, in-your-face sound while still presenting their most melodic side, with the band’s guitar duo, accompanied by the bass jabs by Peter, generating a dense and strident atmosphere from start to finish; and Aversed will blow your mind with the epicness and violence flowing from Spiraling, a metallic and insane extravaganza where Jeff sounds utterly bestial behind his drums while Haydee keeps embellishing the airwaves with her piercing clean vocals and devilish growls. And lastly, it’s time for more of their fusion of Melodic Death Metal with Progressive Metal and Metalcore in Nightshade, once again presenting furious riffs and beats intertwined with the demented roars by Haydee, growing in intensity until fading into an ethereal finale.
After taking several listens to Impermanent, I must say that such awesome, multi-layered album of modern metal music will certainly become a (and sorry about the bad joke) permanent part of my daily metal playlist, and I highly recommend you also add it to yours by purchasing it from the band’s own BandCamp page, where you can by the way acquire a fantastic bundle containing a shirt, a double-sided hoodie, a CD in jewel case and the LP version of the album, or from Apple Music, showing your absolute support to one of the most promising and hardworking bands of the current American scene. Hence, don’t forget to also follow the guys and girl from Aversed on Facebook and on Instagram for news and tour dates, and to subscribe to their YouTube channel for more of their kick-ass videos, helping to keep the fires of the underground burning bright. In the end, Aversed did a superb job with Impermanent, paving an exciting path ahead of them in the melodic and progressive landscape while at the same time offering something fresh to admirers of the fusion of aggressiveness and harmony. And if this is just their first album, I can’t imagine how far the band can go in a not-so-distant future.
Best moments of the album: Natsukashi, Laboratory and Nightshade.
A ruthless Death Metal entity is back from its putrid grave with a brand new album after 16 years to spread their filthy and immoral music to all four corners of the earth.
After sixteen years of absolute silence, Boston, Massachusetts-based sickest perverts Goratory are finally back with a brand album of degenerating, grinding and schizoid Technical and Brutal Death Metal entitled Sour Grapes, reigniting their path of devastation initiated with their 2000 demo Wrestling with Feces and that was interrupted in 2004 with their third full-length opus Rice on Suede. Mixed and mastered by the band’s own drummer Darren Cesca at House of Grind Studios, with the vinyl mastering being handled by Carlo Altobelli at Toxic Basement Studios, and displaying a psychedelic artwork by Tony Koehl, Sour Grapes is tailored for admirers of the gory and depraved death blasted by Malignancy, Cryptopsy, Gorgasm and Pillory, among others, showing why lead singer Adam Mason, guitarist Alan Glassman, bassist Zachary Pappas and the aforementioned Darren Cesca decided to come back from their putrid grave after so many years to spread their filthy and immoral music to all four corners of the earth once again.
Get ready to be bombarded with blood and feces by this evil horde of extreme music in Rat King, undoubtedly a bestial, sick and depraved display of Brutal Death Metal perfect for kicking off the album, with Darren being infernal on drums while Adam barks and vomits the song’s wicked words manically. Then demented vociferations and endless insanity will haunt your souls in Losing Streak, an ode to gory and grim Death Metal where Alan shreds his axe with tons of violence accompanied by the fretting bass punches by Zachary, and there’s no sign of the band slowing down or making things lighter in I Shit Your Pants; quite the contrary, it’s another feast of heavy-as-hell riffs and beats, showcasing the band’s dynamism, refined technique and passion for sheer brutality, followed by Bottom Feeder, where Goratory will smash your head to pieces to the sound of the unstoppable blast beats by Darren and the metallic bass by Zachary. Moreover, what the hell are those lyrics (“I recall it all in flashes. / What was left unconsumed is now ashes. / Power turned to powder. / Rice on my Suede socks? Chop you into pieces and puree you into sauce.”)?
Adam keeps growling and snarling like a rabid creature while his bandmates exhale aggression and progressiveness through their vicious instruments in Evolutionary Wart, displaying a great fusion of Technical and Brutal Death Metal, and you might not believe this but Goratory managed to sound even more violent and thunderous in The People’s Temple, highly recommended for fans of both Death Metal and Grindcore, with Zachary being on fire with his Alex Webster-inspired bass lines. The quartet then offers their personal tribute to Seth Edward Putnam (1968 – 2011), the founder, vocalist and occasional guitarist of American Grindcore act Anal Cunt, titled Seth Putnam Was A Sensitive Man, bringing forward distinguished lyrics (“Fuck you cause you’re dead, / Now you’re giving Satan head. / Force fed demon splooge, / Loads of jizz inside of you, / Bukkake in a Putnam stew.”) amidst a sonic demolition that would put a huge and sick smile on Seth’s face. And lastly we have Back To The Grinding Machine, originally released as “Into The Grinding Machine” on their 2001 album Sexual Intercorpse, with the 2020 version maintaining the core malignancy, depravity and fury from the original one, with Alan and Darren making a venomous duo with their pulverizing riffs and beats.
Goratory’s vicious and brutal comeback can be better appreciated in its entirety on YouTube and on Spotify, but of course in order to show your support to those sick bastards don’t forget to grab your copy of Sour Grapes from the Everlasting Spew Records’ BandCamp page or webstore (in CD format or as a special CD + LP + shirt bundle), as well as from IndieMerchstore, from Apple Music or from Amazon. In addition, why don’t you give the guys from Goratory a shout on Facebook and follow them on Instagram? I’m sure that by doing those things you’ll inspire Adam, Alan, Zachary and Darren to keep blasting their demented music for many years to come instead of going into dormant mode once again, keeping our world as vile, insane and putrid as it can be.
Best moments of the album: I Shit Your Pants, Bottom Feeder and The People’s Temple.
Worst moments of the album:Losing Streak.
Released in 2020 Everlasting Spew Records
Track listing 1. Rat King 3:07
2. Losing Streak 3:35
3. I Shit Your Pants 2:58
4. Bottom Feeder 3:04
5. Evolutionary Wart 3:14
6. The People’s Temple 3:00
7. Seth Putnam Was A Sensitive Man 3:07
8. Back To The Grinding Machine 4:09
Band members Adam Mason – vocals
Alan Glassman – guitars
Zachary Pappas – bass
Darren Cesca – drums
Transcending genre norms, the new opus by this amazing Progressive Black Metal band from Boston showcases an epic world that will surely be loved by all types of metalheads.
Formed in the grimy artist spaces of Rugg Road in Boston, Massachusetts, in the United States in 2013 by vocalist and guitarist Keenan Carroll and guitarist Samuel “Goose” Willgoose, later enlisting bassist Phill Gelinas and drummer Christopher Narainen to complete the line up and hit the road, the unrelenting Progressive Black Metal unity Lord Almighty continues to play a crushing mix of Black Metal blasts and Rock N’ Roll melodics in their newborn opus entitled Wither, the follow-up to their 2015 full-length album Paths. Recorded by Goose himself at Murder Box Studios, mixed by Phillip Cope at Jam Room, mastered by Brad Boatright at Audiosiege, and featuring a Stygian cover Art by Adam O’Day, Wither transcends genre norms, showcasing an epic world that will surely be loved by all types of metalheads. “Wither is an album that really was written over a few years. There were plenty of experiences along the way that continued our descent into madness. It was a hazy time looking through smoke and double vision. Conceptually we had a lot of different emotions and life experiences that culminated to what you hear. If you listen hard enough, you might even hear the crackle of the fire in our building where we lived or the cops pounding on the doors. Or maybe even the dreams in which we envisioned when we found ourselves without homes,” commented the band about their new album.
Their sonic onrush of sounds begins in full force with the opening track Cry of the Earth, where Christopher already presents his heavy artillery while the guitars by both Keenan and Goose bring a thrilling fusion of Black Metal and Punk Rock to the music, building an instant connection with the also progressive, multi-layered Sundown, with their strident guitars and intricate beats providing Keenan all he needs to vociferate with tons of anger, alternating between more rhythmic moments and sheer brutality. After such exciting start to the album, the quartet invests into a classic Black Metal sonority, offering our ears Mercy, with Phill and his Marduk-inspired bass punches adding an extra touch of evil to the overall result, sounding imposing and grim from start to finish and suddenly morphing into a incendiary tune titled Rise, where the Jazz-ish guitars by Keenan and Goose grow in intensity until exploding in a bestial Progressive Black Metal feast led by the crushing beats by Christopher. Then we have V, an instrumental intermission spearheaded by Christopher’s tribalistic beats, setting the tone for the neck-breaking and utterly progressive Despite, showcasing devilish riffs and solos, low-tuned bass lines and the always hellish growls and snarls by Keenan, also bringing forward hints of classic Heavy Metal and Rock N’ Roll, therefore demonstrating all the band’s versatility and range.
Stifled is another one of their cryptic instrumental creations, this time offering our ears a somber atmosphere and background voices, keeping everything as dark and heavy as possible before they come crushing our spinal cords with the Doom Metal-infused aria titled Adrift, also adding a touch of Atmospheric Black Metal to the song’s already pulverizing sound. Moreover, all band members are on fire throughout the entire song, exhaling obscurity and hopelessness; and after some inspired jamming the quartet fires the demonic Black Metal extravaganza entitled Hour By Hour, where Keenan and Goose sound beyond infernal with their razor-edged riffs, not to mention Goose’s blazin’ guitar solo. Their second to last blast of malignancy comes in the form of the title-track Wither, bringing forward their core progressiveness with Phill’s bass jabs hammering our heads mercilessly in a vicious display of contemporary Melodic Black Metal, whereas closing the album the band brings forth the also strident and piercing Hooded Three. The song actually takes longer than expected to take off, but when it does it’s another display of brutality by Lord Almighty with the thrashing riffs by the band’s guitar duo inspiring us all to slam into the pit.
The beyond progressive and demolishing creations found in Wither can be better appreciated in full on YouTube, but of course as usual if you want to truly demonstrate your support to the guys from Lord Almighty and keep the fires of underground extreme music burning bright forever and ever, go check what the band is up to on Facebook and on Instagram, subscribe to their YouTube channel, stream more of their music on Spotify, and above all that, grab your copy of their sulfurous new album from their own BandCamp page or webstore. As already mentioned, Wither is not only a very cohesive and vibrant album of extreme music, but it also translates into Black Metal all obscure experiences from each band member in their own descend into madness, which means you should definitely use the entire album as the soundtrack to your own downward spiral into the pits of the underworld. I’m sure the band would love to be part of that unique experience in your damned life.
Best moments of the album: Sundown, Rise and Hour By Hour.
Worst moments of the album:Hooded Three.
Released in 2020 Independent
Track listing 1. Cry of the Earth 3:51
2. Sundown 4:05
3. Mercy 2:31
4. Rise 4:20
5. V 0:51
6. Despite 3:43
7. Stifled 1:34
8. Adrift 3:55
9. Hour By Hour 3:57
10. Wither 4:49
11. Hooded Three 5:11
Band members Keenan Carroll – vocals, guitars
Samuel “Goose” Willgoose – lead guitars
Phill Gelinas – bass
Christopher Narainen – drums
Although my drive from Toronto to Ottawa on Thursday was a complete shit due to the nasty rain and all the trucks spraying tons of water on my windshield, that didn’t turn my energy level down not even a bit for the concert that was about to happen on Friday. I was really pumped to see what’s probably the best modern Rock N’ Roll bands available out there, the almighty Volbeat and the incendiary Godsmack, kicking some serious ass on stage at Richcraft Live (I honestly have no idea what that name means) at the Canadian Tire Centre. It was my first time at that venue and I must say it’s indeed a great place to watch a concert or a sports event, but unfortunately getting there is not that easy unless you drive, take a taxi or Uber to the venue, which ends up inflating the parking costs considerably.
Anyway, fans were still arriving at the venue when Los Angeles-based Hard Rock act STITCHED UP HEART began their short but effective performance, spearheaded by the beautiful Mixi on vocals. If you have no idea about what type of music Stitched Up Heart play, let’s say it’s a fusion of the contemporary Hard Rock played by Godsmack with Evanescence and Marilyn Manson, and the final result is very entertaining. It was a beyond solid warm-up for the main attractions of the night, and a very good welcome card from the band to us fans of rock music here in Canada, as I don’t actually remember seeing them anywhere around here before this tour opening for Volbeat and Godsmack. In other words, go to their official website for more information about the band, where they’re playing, where to buy their music, and so on, as those guys (and girl, of course) are definitely worth a shot.
Setlist This Skin
Catch Me When I Fall
Lost (feat. Sully Erna)
Band members Mixi – vocals
Merritt – guitar
Randy – bass
Decker – drums
After a short break, and with the Canadian Tire Centre already occupied by thousands of fans from different parts of Canada and the United States, it was time for Danish rockers VOLBEAT to bring to Ottawa their undisputed Rock N’ Roll infused with Heavy Metal nuances, proving once again that Copenhagen-based quartet is not one of the biggest names in the current Rock N’ Roll scene in vain. Still promoting their 2016 album Seal the Deal & Let’s Boogie, but just about to release a brand new album (for our total delight), the band comprised of Michael Poulsen on vocals and rhythm guitar, Rob Caggiano on lead guitar, Kaspar Boye Larsen on bass, and Jon Larsen on drums set the venue on fire with their fast and melodic riffs and beats, and of course, endless electricity (despite the fact that Mr. Poulsen was visibly fighting some sort of cold or flu).
From the first few notes from the excellent The Devil’s Bleeding Crown to the closing moments from the already classic Still Counting, Volbeat delivered what’s expected from them, inspiring all fans from the floor section to ignite some fun (and furious) circle pits, especially during their most metallic songs such as A Warrior’s Call, 16 Dollars, Doc Holliday and Seal the Deal. Also, I think I’ve already mentioned this before, but it’s always impressive to witness how powerful and precise Mr. Caggiano is on the guitar, elevating the band’s sonority to new heights since entering the band in 2013. In addition, one song that I was extremely happy they played was Hallelujah Goat, one of my favorite Volbeat songs of all time due to its energy and heaviness, potentialized by Rob’s amazing technique and feeling. And before I forget, the band also played a brand new song for the first time ever in Ottawa, the 40-second Punk Rock tune Parasite, which albeit being extremely short it was well received by all fans who were paying attention at the moment, because you know, 40 seconds are not enough not even for a quick bathroom break. In a nutshell, I know that I just saw Volbeat live and that I’ll see them again with Slipknot, Gojira and Behemoth soon here in Toronto, but they’re so good live I cannot wait, and besides, their concerts are never long enough for them to play all of their classics.
Setlist The Devil’s Bleeding Crown
Sad Man’s Tongue (with Ring of Fire intro)
A Warrior’s Call / I Only Want to Be With You
Let It Burn
Dead but Rising
Seal the Deal
Band members Michael Poulsen – vocals, rhythm guitar
Rob Caggiano – lead guitar
Kaspar Boye Larsen – bass guitar
Jon Larsen – drums
It was close to 9:45pm when the lights went out, a fun mashup of classic rock songs started playing from the amps, and finally GODSMACK hit the stage with their unique mix of Alternative Rock and Heavy Metal. I confess I don’t think their 2018 album When Legends Rise is one of their best efforts to date; quite the contrary, it’s relatively weak compared for example to their previous album, the fantastic 1000hp, released in 2014, but Sully Erna and his henchmen are so amazing in what they do they managed to turn all of the songs they played from their new album, those being When Legends Rise, Say My Name, Unforgettable, Under Your Scars and Bulletproof, into truly amazing moments of their performance. By the way, as explained by Sully during the concert, inspired by their own song Under Your Scars, Godsmack have recently founded The Scars Foundation to help raise awareness of the mental health issues that so many are faced with today. Needless to say, donate and show your support to such important and noble cause.
Getting back to the concert, I have to say that even if they played bad music the whole thing would still have been at least great, as all the fire and other special effects on stage added a lot of energy to their performance. But, of course, Godsmack do not play bad music, and fantastic songs like 1000hp (my favorite of the night), Cryin’ Like a Bitch and Whatever put a huge smile on the faces of every single fan watching their concert. Furthermore, there were three very distinct moments that let’s say “surprised” most fans due to their uniqueness, those being their dark and enthralling performance of their all-time hit Voodoo, the interesting Batalla De Los Tambores (or “battle of the drums”, if you know nothing in Spanish) between Sully and the extremely talented drummer Shannon Larkin, and the Rock N’ Roll party established on stage when Rob Caggiano and the entire Stitched Up Heart joined them on stage for a cover version of AC/DC’s classic Highway to Hell.
In the end, after Godsmack played their heavier-than-hell hit I Stand Alone, all fans left the Canadian Tire Centre extremely satisfied, hoping the band doesn’t take another abysmal time to return to Canadian soil. On the other hand, if you live in Canada and missed Godsmack, I feel really sorry for your soul. A band like that is always busy, always touring the world, and they don’t have a lot of empty spot to fill out with Canadian dates. Well, don’t cry like a bitch if you missed it, simply stay tuned to their upcoming tours and do like the rockin’ citizens from Ottawa, whenever you hear the words “Volbeat” or “Godsmack”, put on your black shirt, you leather jacket and get ready to rumble like there’s no tomorrow with one of the best and most electrifying bands of the not-so-new generation of rock and metal music.
Setlist When Legends Rise
Say My Name
Keep Away (Moon Baby Outro)
Cryin’ Like a Bitch
Batalla De Los Tambores
Under Your Scars
Highway to Hell (AC/DC cover)
I Stand Alone
Band members Sully Erna – vocals, guitar
Tony Rombola – lead guitar
Robbie Merrill – bass
Shannon Larkin – drums
Kneeling at my feet, encased in black sheaths of ecstasy… Fulfill your deepest desire to submit to me…
It’s time to set fire to The Headbanging Moose with a woman that’s perhaps the most eccentric, distinct and explosive of all metal chicks who have already embellished our pages through the years. She’s not only a professionally trained actress, dancer, singer, performer and an internationally recognized model in the Gothic and fetish genres, having been featured in several publications and websites, but also an activist and the frontwoman for an American metal act that blends the heaviest and most obscure elements from Gothic, Black and Death Metal. If you have absolutely no idea who that woman is, I bet you’ll be stunned by her talent, beauty and passion for music and arts in general. Having said that, let’s cut to the chase and begin our humble tribute to our last metal lady of 2018, the unstoppable and dauntless Lilith Astaroth (also known as Goddess Lilith), lead singer for Boston, Massachusetts-based metal entity Sorrowseed. In other words, are you ready for total chaos and anarchy with Lilith?
Born on October 31, 1997 in Cambridge, just outside of Boston, Massachusetts, in the United States, Lilith loves music from the bottom of her heart, having started her musical pursuits at the age of five when she learned to play the piano. At the age of fourteen, she began to teach herself how to play the guitar, and in the following year she started her first band, curiously named Satan’s Kids, a Grunge and Rock N’ Roll project inspired by the music from icons like Marilyn Manson, Nirvana and Pantera. And Lilith received a lot of criticism in her early days as a singer, as people kept saying she sounded “like a guy” and that she should start singing “like a normal person”. However, despite that continuous criticism, including being kicked out of a band for “screaming too much”, she refused to change her vocal style and kept working hard for several years, until Sorrowseed came along in 2009 after numerous failed band attempts.
Her style of singing combines low guttural growling and high-pitched shrieking, being often compared to famous extreme vocalists like Dani Filth and Angela Gossow, but also exploring after 2010 a more operatic style in the soprano range, like in her 2011 cover version for the classic Christian Woman, by Type O Negative (I guess all women who succumbed to the dark side of music are admirers of the deceased Peter Steele). A true lover of cybergoth, steampunk and latex fashions, Lilith explores her sexuality while creating music at the same time, offering her fans a full-bodied experience during her live performances and on her videos. Using a combination of inhalation and exhalation screams, she is able to produce a vast array of sounds with her voice, turning each live show into a ferocious display of intensity. Since the beginning of her career, she has released several solo works and has lent her voice and performed live with many different projects throughout New England including Sorrowseed, Mostri and Pandora’s Toybox, always loyal to the Doom, Death, Industrial and Gothic Metal styles. Her biggest inspirations when writing and composing music are quite straightforward and interesting. Lilith was very clear and honest when saying that hatred, or unbridled hatred for humanity and its ignorance, always inspire her to write music, as her day-to-day experiences with other human beings gave her plenty of reason to be angry much of the time. Obviously all that hatred and anger couldn’t be better represented than the flammable fusion of Extreme Metal styles from all her bands and projects.
In regards to her most famous project, American Melodic Doom Metal band Sorrowseed, Lilith formed the band in 2009 in Boston highly influenced by bands like Amorphis, Behemoth, Cradle of Filth, Dimmu Borgir, Emperor, Satyricon and Therion, singing about controversial topics like the Apocalypse and anything related to the total annihilation of mankind, as well as spreading stories of madness, death, destruction, dark mythology and horror to the masses, all embraced by the band’s obscure musicality. As a matter of fact, the band started in 2008 by Josh Carrig, of Pandora’s Toybox, evolving to its desired shape and form only in 2010, with the concept behind the band being based on the story of two characters, the Reaping Willow and the Scarab Prophet. Lilith obviously portrays the Reaping Willow, who was once the nature Goddess, Demeter. Over time, she watched humankind’s pollution, ignorant destruction and environmental abuse overcome the earth. She wept for the ignorance of mankind, becoming enraged with madness and, as a consequence, transforming into the Reaping Willow who, along with the Scarab Prophet, is set upon the destruction of mankind, unleashing apocalyptic terror onto humanity. The band has already released one EP titled Portents, in 2009, and four full-length albums since their inception, those being The Extinction Prophecies (2011), Descent of the Scarab Prophet (2012), Dread Sylvan Summonings (2012), and Nemesis Engine (2013), including incendiary songs like Ocean Scorn (and you can always listen to their albums and obviously purchase them from their own BandCamp page). Working as a way for Lilith to channel her powerful feelings into something creative and non-destructive, as she’s always been very much about vengeance, wrath, and destruction, Sorrowseed kick some serious ass live as you can see in their performance during the Damsels of Darkness Tour playing the song Arcana (of the Lich Queen), with their first ever concert happening at the launch party of 420Mass.com during the 2010 Boston Freedom Rally.
You can also find Lilith lending her beautiful and devilish voice to several distinct bands and projects in the world of heavy music, such as doing vocals for Chilean/American Thrash/Death Metal band Angor from 2014 to 2015, and for American Blackened Death Metal band Coffin Birth starting in 2016. She also worked as a guest vocalist in the song Bloodborne Penance, from the 2016 album The Bowels of Chaos, by Coffin Birth; in the song Halle Ravine, from the 2017 album The Sachem’s Tales, by American Atmospheric Black Metal band Dzö-nga; and in the song The Black Feathered Vixen, from the 2013 EP Unleash the Inferno, by American Death Metal one-man band Eric Pellegrini. There are other projects which are not as “clear” as the ones listed above, such as her involvement as the lead singer of Nemesis Engine, a hybrid of ex-Sorrowseed and ex-Theogonia members which was actually a code name used for the revamped Sorrowseed lineup, as well as her participation with other bands including a Melodic Death Metal band (with use of electric violin) with former bandmate Chris Adamcek and Rachel Zuckerman named Akashic Shadow, in 2012, and an upcoming collaboration with Melodic/Progressive Death Metal act Solemn Vision, from New York.
As aforementioned, Lilith is not only a regular vocalist and musician, but also an actress focused on the underground and independent scene. It was in 2009 when she began exploring the world of acting, starting with taking courses from Harvard University, doing extra work for major films, and landing minor roles in independent films such as God of Vampires, Nun of That, Heaven and Hell, Legless and Scrooge in the Hood. She has also appeared on NESN as a ring girl for Boston Boxing, has done several interviews in the cosplay documentary Cosplayer Nation, appeared on NBC’s The Dr. Keith Show to talk about safety as a public figure on the internet, and appeared several times in the reality-based web series Quiet Desperation. You’ll also find Lilith in many different music videos as an actress, such as When Steel and Bone Meet, by Goatwhore; Misbegotten Candy, Down in the Mire, and Slaves to the Sleigh, by Pandora’s Toybox; Runnin From Jesus, by Matalon; and Babylon Train, by Desar.
Furthermore, you can take a look at her her IMDb profile to see in detail all B-movies, shorts and TV series she’s been featured, like playing a character named Petunia Pete Sawyer in the 2017 comedy-horror movie Groundhog. In addition to that, Lilith has also attended a good amount of public events through the years, like doing public speaking in different editions of the annual Boston Freedom Rally and the Philadelphia Freedom Festival Benefit, as well as constantly improving her acting skills by taking several training sessions and courses like Introduction to Acting and Advanced Acting from Harvard University, in 2009, Acting Shakespeare and Introduction to Public Speaking also from Harvard University, in 2010, and private classes in C.O.R.E. Acting, in 2013. Do you think that’s already a lot for just one person? Well, you better be prepared, because there’s still a lot more to come.
If you haven’t noticed yet, Lilith is also an internationally recognized professional model, having shot in different exotic locations ranging from Iceland to Montreal, Ireland, Costa Rica, London, Germany and Italy, as well as all over the United States, with some of her favorite runway events being the Montreal Fetish Weekend Fashion Show, and the New Designer’s Fashion Show of New England. A versatile model with 8 years of experience and a wide variety of looks, ranging from classic pinup, swimsuit, Gothic, cosplay, fantasy, fetish, sci-fi, horror, among many others, Lilith has already done event hosting, art modeling, spokesmodeling, living art, bodypainting, being a Ring Girl, Go-Go dancing, and modeling for some of the edgiest latex designers emerging in the fetish fashion scene. However, when asked which career out of music, modeling, dancing and acting she would like to pursue the most, our devilish goddess said music is what she’s really focused on (as we all know, screaming is something that has always been very natural to her), but she also truly wants to pursue professional acting to the fullest. Acting is according to Lilith herself the most challenging of all activities because there’s always room for improvement with anyone, but finding appropriately paying work in modeling and dancing is the most challenging thing she’s been facing on a regular basis. In addition, maintaining a healthy balance of all those activities and responsibilities is not an easy task at all (by the way, she’s also a LMT – Licensed Massage Therapist, an activist for cannabis legalization, animal rights, and preservation of nature, and a reiki master), but as a great and very efficient multi-tasker she is, nothing stops Lilith from always moving forward in her life and career.
One very important topic to Lilith is her utmost support to the legalization of marijuana, and she has a very strong opinion about what should be done in this case. In one of her interviews, she said that people need to focus the war on drugs against the real problems, like pills, which originate with drug companies, and crime which is funded in large part from marijuana. In her own words, Lillith said that “no one is making pills at home – they come from drug companies with bad policies, operating under bad laws with bad inventory and bad control, they have huge lobby groups that let them get away with this and pills have become one of the most major problems in America.” She complemented by saying that she personally would rather not put any chemicals in her body or take the risk of becoming addicted to a chemical, and she has found that she doesn’t need to take those risks, because marijuana helps alleviate her health issues. “We need to take ‘the money’ out of the illegal marijuana equation; by legalizing and regulating we would lower the prices by lowering the value (the price is artificially propped up by its illegal status), and this would take a big bite out of the pocketbook that funds guns and harder drugs, and open the door to affordable, safe and legal medical marijuana.”
When asked in one of her interviews about the current music scene in the United States and what has changed since she started her career in 2009, Lilith said that it actually hasn’t changed much, despite an increase in the number of metal bands in her area, New England, which according to Lilith herself is at the same time a good and a bad thing because some of those bands are very talented, but others are just terrible. She also said there are some bands she’s a good friend of, such as Faces of Bayon, Matalon, Abnormality, AbSynthe, Necrophiliac Meat Circus, Fever Vein and Voices of the Dead, among others, and that she loves to meet and work with bands that play a similar style to hers because those are not only easier to keep in touch, but to also play more shows together. And last but not least, when asked how important her fans are to her, she was pretty straightforward saying that without fans there would be no one to perform for. She does her best to treat her fans well and hook them up with good prices and merch, and communicate with them every day through her website and all her social media. That being said, I guess no one can complain at all that Lilith is a lazy or an arrogant person; quite the contrary, although we all know how unique she is, the world of metal music definitely needs more women with the same attitude, stamina and passion as the multi-talented Lilith Astaroth.
“Since I was young, I’ve always been the center of attention. My parents were always sticking a camera or video camera in my face, so I got used to it early. It wasn’t until I was 15, however, that I decided I wanted to front a band. Oddly enough, it was Nirvana that inspired me to find this path. I taught myself how to play guitar and formed my first band shortly thereafter.” – Lilith Astaroth
A dark, aggressive and extremely technical opus of Blackened and Melodic Death Metal by a four-headed American beast, sounding as pulverizing as extreme music can be.
Forged in 2014 in the fires of Portsmouth, New Hampshire, in the United States as a solo project of vocalist and multi-instrumentalist Ryan Beevers (Solium Fatalis), who’s by the way a student at the highly prestigious Berklee College Of Music, but currently located in Boston, Massachusetts, Blackened Melodic Death Metal four-piece squad Unflesh has been on a roll since their inception, having already released an excellent EP in 2016 titled Transcendence to Eternal Obscurity (which featured the astounding German drummer Hannes Grossmann as a session musician), followed by their new and insanely heavy and entertaining album Savior. Featuring a beautiful and menacing artwork by Brazilian artist Junki Sakuraba, Savior will strongly appeal to fans of the unparalleled music by bands such as Dissection, Necrophagist, Emperor, Fleshgod Apocalypse and Dimmu Borgir, among others, placing the band comprised of the aforementioned Ryan Beevers on vocals and guitar, Chris Gardino (Pathogenic, Wolfsmyth) on the guitar, Peter De Reyna (Seven Spires) on bass and Chris Dovas (Seven Spires) on drums as one of the most promising names of the current underground scene.
Ryan Beevers himself had a few words to say regarding Savior, giving more details on the direction he wanted to follow with his brainchild. “I’ve always thought of the band as having a kind of mixed sound of 90’s black metal and more technical death metal bands. Since the band started I just called us “Extreme Metal” because it’s a broader label. I never thought the sound of the band would be described as just black metal or death metal. When the first EP “Transcendence to Eternal Obscurity” came out, most people seemed to identify the sound as technical death metal. This album is one more step forward in molding the sound of Unflesh, musically and lyrically the ‘Savior’ album is a lot darker and more aggressive than our previous EP,” said Ryan about his new opus, one that he definitely should be proud of, and one we should all thank him for providing to us, avid metalheads.
An eerie piano intro grows in intensity until progressiveness and sheer devastation invade our senses in the opening track Savior, thanks to the fulminating riffs by Ryan and Chris Gardino as well as the bestial drumming by Chris Dovas. In other words, it’s a dense and intricate depiction of modern-day Progressive and Melodic Death Metal, and a fantastic welcome card by the entire band. Following such breathtaking beginning we have Bestowal of Decay, bringing an avalanche of groove and complexity, being even more demonic than the opening tune with Ryan sounding hellish and demented on vocals, all complemented by some sick guitar solos and some ass-kicking, classic Death Metal lyrics (“The great fade of all life in the dawn / A blissful perception of the fathomless darkness obtained / Primeval scriptures deciphered before the mortal eyes / By forsaken powers of Unanimation / Unveiled”); and their destructive but very harmonious onrush of Black and Death Metal goes on in Final Writhe, an incendiary tune led by the mesmerizing riffs and solos by both Ryan and Chris Gardino, with Chris Dovas showing no mercy for his drum set while Peter brings density and darkness to the music with his unstoppable punches.
More rhythmic and presenting what’s perhaps the most intricate and thrilling beats of the entire album, always supported by Peter’s thunderous bass, Erosive Devotees presents an enraged Ryan growling and screaming nonstop, turning it into one of the top moments of the album, whereas in The Eradication Commenced the band fires more of their electrifying Blackened and Melodic Death Metal with no sign of slowing down at all. Quite the contrary, the band’s stringed trio is on fire from start to finish, slashing our ears beautifully while Chris Dovas adds hints of Doom and Black Metal to his beats and fills. And Caliginous is an even more progressive and melodic tune by Unflesh, with Ryan gnarling in perfect sync with the guitar lines and beats blasted by the rest of the band. Put differently, you can break your neck headbanging or simply close your eyes and enjoy the complex music waves of this multi-layered extravaganza. Either way, you’re going to have an awesome time.
Then a pulverizing display of dexterity and rage waits for us in Desecration of Light, a circle pit-catalyst with all ingredients we love in contemporary Extreme Metal where Chris Dovas will crush your skull with his demonic beats, while Ryan and Chris Gardino have an exciting guitar duel with their wicked riffs and solos, before a superb guitar solo introduces us to another scorching hot voyage through the realms of violence and progressiveness in Disintegration God, ending with another gorgeous guitar solo until everything fades into ethereal sounds, with its classic lyrics being the icing on the cake (“And the somber thrives as animation subsides / When all designed under a star descends into infinity / Predestined fall, all-encompassing fade of life / It corrodes away before the throne of Death / And into its sacred lore”).
In order to let Unflesh penetrate deep inside your mortal flesh with the top-tier metal music found in Savior, simply pay them a visit at their Facebook page and YouTube channel, and buy your copy of the album form their own BandCamp page or webstore, as well as from iTunes, Amazon and CD Baby. The monstrous beast known as Unflesh is more menacing, violent and cohesive than ever, and I’m sure not only the band’s talented originator is happy with the devastating potential of his infernal spawn, but also anyone else who loves the perfect fusion of aggressiveness, feeling and technique in extreme music.
Best moments of the album: Bestowal of Decay, Erosive Devotees and Desecration of Light.
Worst moments of the album: None.
Released in 2018 Independent
Track listing 1. Savior 5:04
2. Bestowal of Decay 5:23
3. Final Writhe 5:13
4. Erosive Devotees 5:22
5. The Eradication Commenced 5:13
6. Caliginous 5:17
7. Desecration of Light 4:26
8. Disintegration God 5:35
Band members Ryan Beevers – vocals, guitars
Chris Gardino – guitars
Peter De Reyna – bass
Chris Dovas – drums
Anthony Lusk-Simone – additional orchestral elements