Album Review – Isenmor / Shieldbrother (2020)

As the dawn of battle approaches, let’s join Isenmor’s shield wall and drink to glory together with such talented Gewyrdelic Folk Metal band to the sound of their breathtaking new album.

After four battle-worn years of work, countless setbacks and even greater victories, the long-awaited debut full-length from Baltimore, Maryland-based Gewyrdelic Folk Metal band Isenmor, beautifully titled Shieldbrother, has finally seen the light of day, delivering tales of glory, sorrowful tales of woe and of course an “obligatory” Folk Metal drinking song, showcasing an incredible evolution in the sound crafted by Nick Schneider on lead vocals and violin, Tim Regan on the guitar, Mike Wilson on bass, Jon Lyon on keys, and newcomers Pete Lesko on lead guitar, Mark Williams on violin and David Spencer on drums compared to their 2015 EP Land of the Setting Sun. Produced by Mike Wilson, Mark Williams and Tim Regan, mixed by Tim Regan and mastered by Dan Swanö at Unisound, the album offers the listener a breathtaking blend of metal, orchestral and folk music, combining intricate violin leads and rich vocal harmonies with a strong guitar-driven Folk Metal base inspired by the stalwarts of the genre including Týr, Ensiferum and Eluveitie, bringing to life the history and legends of the Anglo-Saxon and Germanic peoples while inviting us all to join the band’s shield wall and drink to glory with them.

Isenmor’s dual violin attack begins in full force with Battle Scarred, with Nick already screaming manically while Mike and David make the earth tremble with their respective bass jabs and classic beats in an awesome hybrid of Viking and Folk Metal, whereas the title-track Shieldbrother sounds even more infuriated and vicious, with its lyrics reeking of Viking Metal (“Kin by blood and kin by shields / Strong stones set in a fleshen wall / Ring oaths kept in foot torn earth / Blood binds sealed among thirsting dust”) while also showcasing an amazing guitar work done by both Pete and Tim. And the strident violins by Nick and Mark dictate the rhythm in the dark Mount Badon, a sluggish and somber creation by Isenmor where all vocals and backing vocals exhale melancholy. It’s indeed a well-crafted ballad, albeit not as inspiring as the rest of the album, and those American Vikings get back to their trademark violin-infused metal madness by blasting the thrilling Furor Teutonicus, once again presenting a fantastic sync between Nick’s demented roars and David’s unstoppable drums.

Drink to Glory is one of those fast, short and extremely fun compositions that will inspire all fans of Viking, Folk and Epic Metal to drink a pint of mead while slamming into the circle pit, with Nick and Mark being on fire with their violins accompanied by Mike’s rumbling bass, and we’re treated to more of their adventurous lyrics (“In the deep dark wild you wander / Far from home amidst the trees / Suddenly you smell a stench that / Leaves you weak and on your knees”) in Kings of the Cold Mountains, boosted by their frantic music while the keys by Jon bring balance to all the aggressiveness flowing from the band’s riffs and beats. Then get ready to headbang to Wanderlust, another classic Vindlandic Viking Metal tune where Nick’s growls are nicely supported by all backing vocals, slashing riffs and their undisputed violin extravaganza, followed by a breathtaking 17-minute musical journey entitled Sigurd’s Song, changing its shape and form as the adventure progresses, with their violins “crying” majestically nonstop while the band also brings to our ears hellish roars, old school Viking Metal beats, harmonious background keys and endless epicness, ending the album in the most exciting way possible.

This fun, action-packed, violin-infused voyage through the lands of Viking and Folk Metal can be streamed in its entirety on Spotify, but of course I highly recommend you purchase the album from the band’s own BandCamp page, from Apple Music, or from Amazon, and don’t forget to also follow the band on Facebook and on Instagram, as well as subscribe to their YouTube channel for more of their vibrant metal music. As the dawn of battle approaches, let’s show our utmost support to Isenmor by joining their shield wall, becoming part of their tales of war, glory and death, and remaining always eager for more of their beer drinking, prancing and fighting music like the amazing collection of battle hymns offered to us all in Shieldbrother.

Best moments of the album: Shieldbrother, Furor Teutonicus and Drink to Glory.

Worst moments of the album: Mount Badon.

Released in 2020 Independent

Track listing
1. Battle Scarred 5:11
2. Shieldbrother 6:35
3. Mount Badon 4:06
4. Furor Teutonicus 4:42
5. Drink to Glory 2:44
6. Kings of the Cold Mountains 3:17
7. Wanderlust 3:49
8. Sigurd’s Song 17:15

Band members
Nick Schneider – lead vocals, violin, mandolin on “Kings of the Cold Mountain” and “Drink to Glory”
Pete Lesko – lead guitar
Tim Regan – guitar, vocals, additional keys and sequencing
Mike Wilson – bass, vocals, additional rhythm guitar, acoustic guitar on “Wanderlust” and “Sigurd’s Song”, mandolin on “Kings of the Cold Mountain”, additional keys and sequencing
Mark Williams – violin
Jon Lyon – keys, vocals
David Spencer – drums

Guest musicians
Carter Cassedy – additional lead guitar
Keith Williams – cello on “Sigurd’s Song”

Album Review – Naglfar / Cerecloth (2020)

One of Sweden’s most infernal Black Metal hordes has finally returned from their respite, ferocious and hungry with their seventh full-length opus.

It has been eight long years between releases for Umeå, Sweden’s Black Metal nihilists Naglfar, but despite the wait the band hasn’t been resting on their laurels. Like any slumbering beast, Naglfar have returned from their respite, ferocious and hungry with their seventh full-length album Cerecloth, bringing their usual destruction to fans all around the world. Recorded and mixed by the band’s own guitarist Marcus E. Norman at Wolf’s Lair Studio, mastered by Dan Swanö at Unisound, and featuring a cadaverous artwork by Jan Kristian Wåhlin, the underlying musical and lyrical themes of Cerecloth were succinctly and confidently described by guitarist Andreas Nilsson as “the usual death and destruction”. Currently formed by the aforementioned guitarists Andreas Nilsson and Marcus E. Norman, as well as frontman Kristoffer W. Olivius and guests A. Impaler (aka Alex Friberg) from Firespawn on bass and Efraim Juntunen from Guillotine and Persuader on drums, Naglfar sound tighter and more Stygian than ever in Cerecloth, positioning the album as one of the best releases of the year in the world of extreme music.

Cryptic, eerie noises from the depths explode into Naglfar’s infernal Black Metal in the opening track Cerecloth, where Efraim proves why he was chosen to join the band in this album while Kristoffer vociferates from the bottom of his blackened heart nonstop. In other words, what a fantastic start to the album, and continuing to pave their path of obscurity and horror the band fires the classic Norwegian Black Metal hymn titled Horns, with both Andreas and Marcus sounding utterly hellish with their riffs and solos while A. Impaler’s bass punches darkly reverberate in the air. Then thunderous bass sounds and a phantasmagorical atmosphere kick off the heavy-as-hell Like Poison for the Soul, where the acid words growled by Kristoffer will burn your ears (“So my path is chosen / No more false affinity / The time has come to leave / Your worth are the equivalent of a dead insect to me / Indifference be my name”) in a lesson in old school Black Metal with melodic nuances.

Vortex of Negativity is another hurricane of darkened riffs, blast beats and endless violence led by the strident guitars by Andreas and Marcus, supported by the pulverizing drums by Efraim and, therefore, being tailored for fans of the genre, whereas in Cry of the Serafim the band blends the piercing sounds of the early days of Norwegian Black Metal with contemporary Melodic Black Metal, with Kristoffer sounding inhumane with his gnarls and roars, all boosted by the intricate beats by Efraim. After such demonic onrush of sounds we have The Dagger in Creation, a bestial tune offering us all pure, undisputed Black Metal that will pulverize your senses spearheaded by the razor-edged riffs by the band’s infernal guitar duo, while A. Impaler and Efraim generate a sonic earthquake with their respective weapons.

A Sanguine Tide Unleashed brings to our putrid ears one more round of infuriated lyrics (“Men of Isa / Your end is fucking nigh / Like a surging wave we come for you / With murder in our eyes / Vermin filth / Bastard sons of the virgin whore / You’re the plague that walk upon this earth / And we are the cure / A sanguine tide unleashed”) while the music follows that same austere and aggressive pattern, with the metallic riffs and bass punches blasted by the band providing Kristoffer all he needs to thrive with his visceral growling. Then doomed guitars and the anguished gnarls by Kristoffer are the main ingredients in the sluggish and obscure Necronaut, slightly below the rest of the album in terms of punch and creativity, followed by the closing chant Last Breath of Yggdrasil with its over six minutes of utterly demolishing and darkened sounds, with all band members putting their damned hearts and souls into this Black Metal extravaganza, resulting in a one-way voyage to the pits of the underworld and also ending in the most disturbing way possible.

It’s indeed a dark pleasure to see that veterans like Naglfar still have so much electricity, darkness and passion for Black Metal inside them, not selling out nor sounding weak or uninspired at all. Quite the contrary, what they accomplished in Cerecloth truly deserves our appreciation, turning the album into one of the best Black Metal releases of 2020 as already mentioned without a shadow of a doubt. Hence, don’t forget to follow such distinguished Swedish horde on Facebook and on Instagram, and to grab your desired copy of Cerecloth by clicking HERE. Andreas couldn’t have been more spot-on when he said the album would bring forward Naglfar’s usual death and destruction, exactly the way we all like it in extreme music, and may the absolute awesomeness of Cerecloth fuel this Swedish institution to keep burning our souls with their undisputed Black Metal sooner than we can imagine, as I don’t think fans of Black Metal have what it takes to wait for another eight excruciating years for a new Nagflar’s album.

Best moments of the album: Cerecloth, Like Poison for the Soul, A Sanguine Tide Unleashed and Last Breath of Yggdrasil.

Worst moments of the album: Necronaut.

Released in 2020 Century Media Records

Track listing
1. Cerecloth 4:05
2. Horns 4:38
3. Like Poison for the Soul 6:31
4. Vortex of Negativity 5:02
5. Cry of the Serafim 4:25
6. The Dagger in Creation 5:07
7. A Sanguine Tide Unleashed 3:54
8. Necronaut 3:29
9. Last Breath of Yggdrasil 6:30

Band members
Kristoffer W. Olivius – vocals
Andreas Nilsson – guitar
Marcus E. Norman – guitar

Guest musicians
A. Impaler – bass (session)
Efraim Juntunen – drums (session)

Album Review – Voorhees / Chapter Two (2020)

A Death Metal quartet from France arises from their graves once again with more of their demolishing music inspired by old school horror movies.

If you’re a true metalhead and at the same time a fan of old school horror movies from the 70’s to the 90’s, you’ll have an absolute blast with the music found in Chapter Two, the first full-length opus by a French Death Metal unity that goes by the name of Voorhees. Formed in 2017 in Metz, a city in France’s northeastern Grand Est region, the band comprised of Chris on vocals and guitars, Sébastien “Seb” Valbrecq on lead guitars, Fred on bass and Will on drums obviously had their name, logo and everything else inspired by the one and only Jason Voorhees, the main character from the Friday the 13th franchise, with their old school Death Metal being highly recommended for admirers of the sonic devastation blasted by renowned acts such as Death, Cannibal Corpse, Massacre and Obituary. Having released their debut EP entitled Chapter One on Friday the 13th, October 2017, this talented slasher squad once again chose the iconic date to release Chapter Two, on Friday the 13th, March 2020, dedicating pretty much each one of the eight songs of the album to a specific movie. Recorded by the band’s own drummer Will (known for his work as Willy Lang with French Doom/Death Metal one-man act Nosphares), mixed by Dan Swanö at Unisound, and featuring a classic and visceral artwork by Fabrice Romo (Kaos Obscure Art), Chapter Two is the perfect soundtrack for your horror flick night.

Inspired by the Wes Craven movies The Hills Have Eyes (one of my favorite slasher flicks of all time), the opening track The Lucky Ones Die First exhales pure, undisputed Death Metal form the very beginning, with Chris and Seb doing a great job with their unstoppable riffage while Will smashes his drums in great fashion, followed by My Horror Event, drawing inspiration from the movie Creepshow, directed by George A. Romero in 1982 and with script by Stephen King. Putting the pedal to the metal, the band adds hints of Thrash Metal to their insane riffs in this wicked tune while Chris keeps barking like a true beast, not to mention Fred’s rumbling bass punches, whereas in Evil To Come, largely inspired by the movie The Day of the Beast (or “El Día de la Bestia” in Spanish), directed by Alex de la Iglesia in 1995, we’re treated to more classic Death Metal the likes of Unleashed and Obituary, resulting in the perfect choice for cracking your skull headbanging or for slamming into the circle pit. And in The Will To Kill, their musical representation of the movie Henry, Portrait of a Serial Killer, directed by John McNaughton in 1986, a somber start evolves into a mid-tempo, dark sonority led by Fred and Will with their thunderous weapons, while Chris vociferates the songs words deeply and rabidly.

The cryptic voice by Charles Manson kicks off I’m The Man Who Became God, a gruesome, headbanging Death Metal extravaganza re-recorded from their first EP where Chris and Seb sound truly infernal on the guitars, accompanied by Will’s putrid and classic beast and fills, setting the tone for Voorhees II, obviously inspired by the second chapter of the Friday the 13th franchise, directed by Steve Miner in 1981. It’s time to brutally slam into the pit to the sound of this frantic and berserk composition, may favorite of the album by the way, where Will is at the same time groovy and demented on drums and with the band’s stringed trio slashing our minds and ears with their razor-edged riffs and sick bass lines. Then we have Reanimated, originally supposed to be a song inspired by the movie Re-Animator and finally turned into an almost instrumental “tribute” to the evil characters that are Jason, Leatherface, Michael Myers and Freddy Krueger, who always resurrect at the end. Will and Fred generate a menacing atmosphere perfect for Chris to growl and bark like a horror movie monster, all spiced up by Seb’s classic guitar solos, and closing the album it’s time for more obscurity and aggressiveness in the form of Death Metal with the climatic Into Darkness, a crushing, mid-tempo tune led by Will’s fierce beats while Chris keeps vociferating and roaring nonstop, and after all is said and done you’ll feel absolutely disoriented without a shadow of a doubt.

Voorhees’ horror movie-inspired Old School Death Metal feast can be appreciated in full on YouTube and on Spotify, but of course if you want to show your true support to the band (and avoid a visit of Jason Voorhees himself to your home) you should purchase the album from several locations such as the band’s own BandCamp page, the Great Dane Records’ BandCamp page or webstore, Apple Music or Discogs. In addition, don’t forget to follow them on Facebook and to subscribe to their YouTube channel, filling your ears with that traditional Death Metal sonority we all love so much with no shenanigans nor any artificial elements added to it. Will they continue their path of violence and bloodshed with several more chapters in the form of metal albums inspired by each one of the Friday the 13th movies? Only time will tell, but based on the high quality of the music found in Chapter Two I’m sure it won’t take long for the quartet to arise from their graves once again to haunt our damned souls.

Best moments of the album: My Horror Event, Voorhees II and Reanimated.

Worst moments of the album: None.

Released in 2020 Great Dane Records

Track listing
1. The Lucky Ones Die First 4:34
2. My Horror Event 3:44
3. Evil To Come 5:12
4. The Will To Kill 5:09
5. I’m The Man Who Became God 6:39
6. Voorhees II 3:31
7. Reanimated 5:14
8. Into Darkness 5:11

Band members
Chris – vocals, guitars
Sébastien “Seb” Valbrecq – lead guitars
Fred – bass
Will – drums

Album Review – Aposento / Conjuring the New Apocalypse (2020)

Behold the insane new album by one of the biggest names of the underground Spanish scene, featuring ten original tracks of brutal and powerful Old School Death Metal.

Featuring ten original tracks of brutal and powerful Old School Death Metal made in Spain, Conjuring the New Apocalypse is the brand new opus by Logroño-based veteran horde Aposento, their third full-length album following up on the path of sheer devastation, heaviness and obscurity of the excellent Bleed to Death, released in 2017. Crushing the minds and the souls of anyone who dares to cross their path since their inception in 1990, the band comprised of Mark Bersek on vocals, Manolo Sáez and Eduardo Martínez on the guitars, Manu Reyes on bass and Gabri Valcázar on drums (who I believe has just left the band now in 2020) sounds beyond violent in Conjuring the New Apocalypse, a visceral album of Death Metal recorded and mixed by Dan Díez at Track Stereo Studios and mastered by Dan Swanö at Unisound, also displaying a demonic artwork by Naroa Etxebarría and, obviously, being highly recommended for admirers of the relentless music blasted by giants such as Suffocation, Cannibal Corpse, Sinister, Deicide and Malevolent Creation.

Devastation and fury flowing from all instruments in Liber al Vel Legis (or “The Book of the Law”, the central sacred text of Thelema allegedly written down from dictation mostly by renowned English occultist Aleister Crowley), a classic Death Metal tune where Gabri is absolutely infernal with his blast beats and with Mark barking the song’s lyrics rabidly. Then we have Heretics by the Grace of God, as fast and furious as the opening track, with Manolo and eduardo firing their Cannibal Corpse-like riffs while Manu and Gabri keep the atmosphere dense and primeval with their vicious bass jabs and beats, respectively; whereas Kadosh – Spitting on the Trisag is a true headbanging, extreme chant led by the hellish vociferations by Mark supported by Manolo’s and Eduardo’s fantastic guitar work, not to mention Gabri’s intricate and at the same time vile drumming.

Samhain – The Night of Ignis Fatuus beings to our ears more demolishing sounds blasted by the quintet, with Mark’s deep guttural roars adding an extra touch of aggressiveness to the music while Manolo, Eduardo and Manu go utterly mental with their stringed weapons; and once again inspired by the early days of Cannibal Corpse the band offers us all a neck-breaking Death Metal feast titled Akerbeltz, where the riffage and solos by Manolo and Eduardo will lacerate your ears mercilessly. After such Death Metal tempest it’s time for Aposento to hammer our heads ruthlessly in Noli me Tangere (or “touch me not”, the Latin version of a phrase spoken, according to John 20:17, by Jesus to Mary Magdalene when she recognized him after his resurrection), a lesson in old school Death Metal with a modern (and Spanish) twist spearheaded by Gabri and his unstoppable beats and fills, all spiced up by the inhumane growling by Mark. And never tired of bringing forth infernal sounds, they keep the album at a high level of ferocity in Vamachara – The Left Hand Path, a very detailed and well-balanced Death Metal extravaganza showcasing classic riffs and smashing beats for our vulgar delectation.

The insanely heavy (and consequently awesome) shredding by Manolo and Eduardo dictates the rhythm in Revelation777, a lecture in traditional Death Metal featuring the always berserk drums by Gabri and one of the most Stygian performances by Mark, resulting in the perfect choice for crushing your skull into the circle pit, followed by The Dweller on the Threshold, another excellent option to snap your neck headbanging together with those Spanish metallers, with the strident guitar riffs and solos by Manolo and Eduardo bringing even more dementia to their already venomous sound. And last but not least let’s slam into the pit one last time like true metalmaniacs in Doomsday – The Metanoia of Redemption Process, exhaling pure Death Metal with Gabri smashing his drums vigorously while Mark roars in great fashion, pulverizing everything and everyone that’s still alive after such avalanche of heavy-as-hell songs.

In summary, the raw and primeval Death Metal masterfully crafted by Aposento in Conjuring the New Apocalypse will undoubtedly please any diehard fan of the genre, presenting all elements that make such distinct style so extreme, gruesome and violent, and if you want to show your support to underground Death Metal simply follow the band on Facebook and purchase your copy of one of the best Death Metal albums of the year hands down from Xtreem Music’s BandCamp or webstore, as well as from Apple Music or Amazon. Aposento have been nothing but fantastic since their inception 30 years ago, always precise and obstinate in what they do, and if you don’t like what they have to offer you in the vile Conjuring the New Apocalypse, maybe you’re not that “dauntless and extreme metalhead” you’ve always bragged about.

Best moments of the album: Liber al Vel Legis, Samhain – The Night of Ignis Fatuus and Revelation777.

Worst moments of the album: None.

Released in 2020 Xtreem Music

Track listing
1. Liber al Vel Legis 3:55
2. Heretics by the Grace of God 3:34
3. Kadosh – Spitting on the Trisag 3:31
4. Samhain – The Night of Ignis Fatuus 2:34
5. Akerbeltz 4:05
6. Noli me Tangere 3:23
7. Vamachara – The Left Hand Path 4:03
8. Revelation777 4:33
9. The Dweller on the Threshold 3:30
10. Doomsday – The Metanoia of Redemption Process 2:48

Band members
Mark Bersek – vocals
Manolo Sáez – guitars
Eduardo Martínez – guitars
Manu Reyes – bass
Gabri Valcázar – drums

Album Review – Aephanemer / Prokopton (2019)

Blending the fury and harmony of Scandinavian metal with symphonic elements, here comes a French Melodic Death Metal unity ready to show the world what they got with their sophomore album.

If you’re a fan of modern-day Melodic Death Metal the likes of Arch Enemy, The Agonist, In Flames and Soilwork, I’m sure you’ll love the music found in Prokopton, the sophomore full-length album by French metallers Aephanemer. Blending the fury and harmony of the traditional Scandinavian sound from the Gothenburg scene with several distinct symphonic and epic elements, this talented French four-piece army will captivate your senses with the potency, speed and intricacy found in each one of the eight tracks of their brand new opus, positioning them as one of the most interesting and promising names not only of the current metal scene in their homeland France, but anywhere else in the world where the modernity and specially the intensity of Melodic Death Metal are truly appreciated.

Formed in 2013 in Toulouse, capital of France’s southern Occitanie region, as a one-man band by guitarist Martin Hamiche to release six instrumental pieces inspired by his Scandinavian Melodic Death Metal heroes (with the 2014 EP Know Thyself being forged of those six songs), Aephanemer, which is the merger of the French words “éphémère” (ephemeral) and “fânée” (folded), have been making a name for themselves since becoming a full-bodied group in 2015 when vocalist and guitarist Marion Bascoul, bassist Anthony Delmas (replaced by Lucie Woaye Hune in 2017) and drummer Mickaël Bonnevialle joined Martin in his quest for heavy music. Featuring a classy artwork by Niklas Sundin (Cabin Fever Media), mixed by Dan Swanö (Unisound AB) and mastered by Mika Jussila (Finnvox Studios), Prokopton is an amalgamation of everything the band stands for and what we can expect from them in the future, sounding as exciting as it can be from start to finish.

An epic, Arch Enemy-inspired intro morphs into a more symphonic version of Melodic Death Metal led by Martin’s razor-edged riffs and Marion’s demonic roars in the title-track Prokopton, flowing flawlessly like an arrow high in the sky until its grand finale; whereas  background orchestrations set the tone for the also inspiring The Sovereign, where Mickaël dictates the rhythm with his precise beats while Marion, Martin and Lucie offer the listener a feast of flammable sounds. Epicness keeps flowing from their music in Dissonance Within, another dense, multi-layered composition bringing the best elements from Symphonic and Melodic Death Metal where Marion growls its rebellious lyrics like a she-demon (“Time to fight, no backing down / For I will have no rest until my skill prevails / Disembodied, a whistling sound / The singing of my blade ravages the plain”), and flirting with Symphonic Black Metal at times, Snowblind is a fun headbanging extravaganza with highlights to the pounding drums by Mickaël and another thunderous performance by Marion on vocals, not to mention the song’s majestic atmosphere.

At Eternity’s Gate is an instrumental bridge the likes of Gamma Ray and Arch Enemy that sets the stage for the thrilling Back Again, perfect for slamming into the pit and enjoying a cold pint of beer while the quartet crushes our heads with their instruments, with the band’s stringed trio being in absolute (and totally awesome) sync. In the very progressive, intricate and exciting Bloodline, Marion takes the lead with her Black Metal-like gnarls while the rest of the crew doesn’t let the electricity go down, firing stunning guitar riffs and solos, thunderous bass punches and smashing beats. And last but not least, in the dark and imposing If I Should Die poetry flows majestically form its lyrics (“Maybe it is going to take me nowhere / But I reckon not having to go anywhere / I don’t keep any illusion to hold dear / I just need to be ready to disappear / Void comes from the self alone / Fear from what we believe we own / Stoics across time give an advice / May death be daily before our eyes”) while all band members showcase their refined skills, resulting in a hybrid of a metal opera with the devastation of extreme music.

In a nutshell, Aephanemer are ready to take you on a fun and thrilling music journey through the realms of contemporary Melodic Death Metal with Prokopton, and all you have to do to join them is following the band on Facebook, subscribe to their YouTube channel, and obviously purchase their new album directly from their BandCamp page or from iTunes or Amazon, where by the way the album comes with instrumental versions for each and every song as a beyond special bonus from the band to you. Mr. Martin Hamiche had a dream when he started Aephanemer, and now based on the high quality of the music found in Prokopton we can say without a shadow of a doubt that dreams not only do come true, but sometimes they also kick some serious ass for our total delectation.

Best moments of the album: The Sovereign, Dissonance Within and Bloodline.

Worst moments of the album: None.

Released in 2019 Primeval Records

Track listing
1. Prokopton 5:13
2. The Sovereign 5:17
3. Dissonance Within 6:12
4. Snowblind 4:24
5. At Eternity’s Gate 2:55
6. Back Again 5:50
7. Bloodline 5:29
8. If I Should Die 9:08

Band members
Marion Bascoul – vocals, rhythm guitar
Martin Hamiche – lead guitar
Lucie Woaye-Hune – bass
Mickaël Bonnevialle – drums