Album Review – Ratos de Porão / Necropolítica (2022)

The iconic João Gordo and his crew show no mercy for the absolute disaster that’s the current Brazilian government, bringing to us all a true masterpiece of Punk Rock and Hardcore.

If you take a quick look at the current political, economic and environmental situation in Brazil, you’ll notice things are not going well. Quite the contrary, the whole situation is Brazil is beyond delicate and catastrophic, and that’s the main reason as to why São Paulo, Brazil-based Hardcore/Punk Rock veterans Ratos de Porão have just released the fantastic Necropolítica, or “necropolitics” in English, their thirteenth studio album and their first since the 2014 album Século Sinistro. Known for their rebelliousness and acid lyrics since their inception in the distant year of 1981, vocalist João Gordo, guitarist Jão, bassist Juninho and drummer Boka show absolutely no mercy for the nasty, disastrous government of Brazilian president Jair Bolsonaro throughout the entire album, dealing with topics such as the rising far-right movement in the country, the countless deaths during the Covid-19 pandemic, and the strong negative impact of the influence of the country’s evangelical church in all of the decisions taken by Bolsonaro and his horde of ignorants, all wrapped up by a sinister artwork designed by Rafael Gabrio, who intentionally made it very similar to Black Sabbath’s cult cover for Sabbath Bloody Sabbath, as personally requested by João Gordo himself.

The sound of a dying patient using a mechanical ventilator kick off the absolutely vicious Alerta Antifascista (“anti-fascist alert”), where Boka smashes his drums ruthlessly offering João Gordo exactly what he needs to vociferate the song’s austere lyrics, whereas Aglomeração (“agglomeration”) is a freakin’ awesome Punk Rock and Hardcore creation by the quartet where Jão is on absolute fire with his demented riffs, or in other words, simply slam into the circle pit and “pray for Jesus” to protect you in there (without a mask, of course). More melodic and dancing than its predecessors, Passa Pano Pra Elite (“cover up for the elite”) is an excellent option for their live performances where the bass jabs by Juninho complement Jão’s solos flawlessly, followed by the title-track Necropolítica (“necropolitics”), a fast and furious extravaganza that matches perfectly with the current actions of the Brazilian government, with João Gordo blasting his trademark roars nonstop. It’s almost like a new “national anthem” for the country, which can also be said about Guilhotinado em Cristo (“guillotined in Christ”), offering us all another round of their old school Punk Rock and Hardcore with Thrash and Death Metal elements while Boka once again hammers his drums like a beast.

The band once again adds hints of Rockabilly to their core sonority (and the final result is brilliant) in O Vira-Lata (“the mutt”), with Jão and Juninho being yet again in absolute sync with their stringed weapons while João Gordo sends all his “love” to Bolsonaro and his hideous family. G.D.O. actually means “gado”, the Portuguese word for “cattle” which is how the followers of Bolsonaro are called, and the music gets back to a more frantic, demented sonority while João Gordo talks about how harmful all fake news spread by those idiots can be to the society; followed by Bostanágua, or “bosta na água” (“shit in the water”), a play word with Bolsonaro’s name, a straightforward, in-your-face Hardcore tune where João Gordo keeps barking rabidly while Boka dictates the song’s electrifying pace. Entubado (“intubated”) is a song about the horrible situation that happened in the city of Manaus, in the middle of the Amazon, where due to a total lack of support from the government several people sadly died without oxygen during the peak of the Covid-19 pandemic, and the music is not only brutal but perfectly depicts all that despair; and lastly, Neonazi Gratiluz, with “gratiluz” being the combination of the words “gratitude” and “luz”, or “gratitude” and “light”, is a way to refer to the Brazilian white supremacist elite who believes they’re better than everyone else and who keep sending “good vibes” to everyone (when in fact they’re not). Needless to say, Jão slashes his guitar in great fashion accompanied by the classic beats by Boka throughout the entire song, culminating in the perfect conclusion to such meaningful album.

It doesn’t matter if you don’t understand a single word in Portuguese, Necropolítica is a must-listen for any fan of heavy music, and you can enjoy the album in full on Spotify, as well as show your total support to Ratos de Porão by following them on Facebook and on Instagram, and by purchasing their newborn beast from their own webstore or by clicking HERE. To be honest, based on the endless crimes committed by Bolsonaro and his henchmen and all the garbage he vomits everyday to the press, I think Ratos de Porão might need to record parts II, III, IV, and so on of Necropolítica, which despite being really sad news for Brazil as a country, it’s a good thing for the world of Punk Rock, Hardcore and Heavy Metal. Hopefully the evil Bolsonaro won’t be re-elected this year and Ratos de Porão can get back to their less obscure lyrics in their future albums, but we must all admit Necropolítica is a masterpiece of Brazilian rock music that will always remind us of the dark times Brazil is living right now.

Best moments of the album: Aglomeração, Necropolítica, O Vira-Lata and Neonazi Gratiluz.

Worst moments of the album: Absolutely none.

Released in 2022 Shinigami Records

Track listing
1. Alerta Antifascista 3:31
2. Aglomeração 2:29
3. Passa Pano Pra Elite 3:42
4. Necropolítica 2:32
5. Guilhotinado em Cristo 3:09
6. O Vira-Lata 3:39
7. G.D.O. 2:08
8. Bostanágua 2:08
9. Entubado 4:10
10. Neonazi Gratiluz 4:06

Band members
João Gordo – vocals
Jão – guitars
Juninho – bass
Boka – drums

Album Review – Holocausto Canibal / Crueza Ferina (2022)

The legendary Portuguese purveyors of extremity celebrate 25 years of existence with a new opus featuring 19 tracks of flesh rending Brutal Death Metal and skin flaying Grindcore.

Featuring 19 tracks of flesh rending Brutal Death Metal and skin flaying Grindcore, Crueza Ferina, meaning “ferocious cruelty”, is the sixth full-length album from legendary Portuguese purveyors of extremity, pioneers of brutality, Porto-based horde Holocausto Canibal, highly recommended for fans of Haemorrhage, Nasum, Lay Down Rotten and Cliteater, among others. Utterly unstoppable and completely irresistible, Crueza Ferina was produced and engineered by João Ribeiro and mastered by Brad Boatright at Audiosiege Mastering Studio, sounding absolutely devastating from start to finish while adorned in the shocking image of a dead pig killed in a barbaric ritual of traditional slaughter. Far from their sadistic imaginations turning to the torture of animals though, vocalist Orca, guitarist António C., bassist Z. Pedro and drummer Diogo P. have embraced a vegan philosophy, with Z. Pedro telling Loud Magazine in a recent interview that “for us, the only blood we continue to accept to see is human”.

Over one minute of an infernal screeching pig ignites the opening tune Ad Bizarrem Morem before the band begins hammering their instruments in such demented intro, setting the tone for Êxodo Mortuoso, or “deadly exodus”, featuring guest guitars by Robert Vigna of Immolation, a lecture in Brutal Slammin’ Death Metal led by the inhumane gnarls by Orca and the razor-edged riffs by António. Epicédio Madrigaz (“madrigaz epic”) is as pulverizing as its predecessor where Diogo sounds bestial behind his drums, offering Orca exactly what he needs to crush our souls with his deep guttural, whereas Sinaxe do Sepúlcro Tafófobo (“synax of the taphophobic sepulcher”) lives up to the legacy of old school Grindcore with a D-Beat Crust touch, showcasing a sensational performance by António with his incendiary axe. Then drinking from the same fountain as Cannibal Corpse in their early days, Z. Pedro blasts his bass manically making the earth tremble together with Diogo’s massive beats in Ancestrais Ritos Hipóxicos (“ancestrals hypoxic rites”), and it’s time to slam into the circle pit in the name of Grindcore to the sound of Apresto Executório (“executive preparatory”), with António once again slashing our ears with his riffage. Diogo takes the lead one more time in the venomous Aniquilação Suídea (“swine annihilation”), sounding absolutely heavy and devastating from start to finish while spiced up by Orca’s visceral growling, followed by Ávida Tragação (“avid gulp”), keeping the album at a high level of dementia and gore and being perfect for breaking your neck headbanging like a true beast. And Congregação da Flama Felídea (“congregation of the felid flame’) is yet another fast and furious creation by Holocausto Canibal where Diogo sounds utterly possessed behind his drums accompanied by the ass-kicking guitars by António.

Psicótico Interlúdio (“psychotic interlude”) is an instrumental bridge that provides Orca with a break before he comes back ripping in Anátemas Nefandos (“nefarious anathemas”), bringing forward less than 40 seconds that will certainly crush your cranial skull so heavy and frantic it is; while Esquartejado em Segundos (“quartered in seconds”) is even shorter and more brutal than the previous songs with its 25 seconds of sheer savagery. In Prenúncios da Vingança Cavicórnea (“harbingers of cavernous revenge”) the band is back to their streak of “longer” songs, with Diogo’s blast beats hitting you in the head mercilessly, and there’s no time to breathe as the band continues their sonic devastation in Suprema Dominância Taurina (“supreme taurine dominance”), with António, Z. Pedro and Diogo being in a beyond blackened sync while the song’s ending sounds like the soundtrack to a gore flick. The band darken the skies with the truculent Campas do Negro Breu (“pitch black graves”), offering us all Brutal Death Metal at its finest spearheaded by the flammable riffage by António while Orca keeps vociferating the song’s evil words like there’s no tomorrow; and Girândolas da Agonia Profunda (“whirlwinds of deep agony”) is as deranged and heavy as it can be, showcasing another round of sheer brutality blasted by Z. Pedro and Diogo with their demonic kitchen, followed by Miasmas Onanizantes (“onanizing miasmas”), another song that lasts for less than a minute but that is enough for Holocausto Canibal to smash us all with their infuriated sounds. António leads his bandmates with his metallic riffs in Quérulo dos Finados (“kerulus of the dead”), a song that will certainly leave you completely disoriented after all is said and done, and the venomous bass jabs by Z. Pedro dictate the rhythm in the closing tune Sortilégio da Perversão (“perversion spell”), less puissant than the rest of the album but still brutal and grim.

If you think you have what it takes to face the brutality, heaviness and grind blasted by Holocausto Canibal throughout their hellish new album, you can purchase it from the Selfmadegod Records’ BandCamp or webstore as a regular CD or as a CD + shirt bundle, adding an extra touch of violence and gore to your personal collection. Hence, don’t forget to also follow those Portuguese butchers on Facebook and on Instagram for news, tour dates and other nice-to-know info about their career and their music, and to stream all of their wicked creations on YouTube and on Spotify. Put differently, brace yourselves for impact and let’s celebrate 25 years of utter extremity with Holocausto Canibal to the sound of their visceral new album, as the band remains as unflinching and uncompromising as ever.

Best moments of the album: Êxodo Mortuoso, Aniquilação Suídea, Congregação da Flama Felídea and Campas do Negro Breu.

Worst moments of the album: Psicótico Interlúdio and Sortilégio da Perversão.

Released in 2022 Selfmadegod Records

Track listing
1. Ad Bizarrem Morem 2:42
2. Êxodo Mortuoso 2:13
3. Epicédio Madrigaz 1:27
4. Sinaxe do Sepúlcro Tafófobo 2:23
5. Ancestrais Ritos Hipóxicos 0:57
6. Apresto Executório 1:11
7. Aniquilação Suídea 3:10
8. Ávida Tragação 1:26
9. Congregação da Flama Felídea 1:25
10. Psicótico Interlúdio 2:00
11. Anátemas Nefandos 0:38
12. Esquartejado em Segundos 0:25
13. Prenúncios da Vingança Cavicórnea 1:21
14. Suprema Dominância Taurina 1:35
15. Campas do Negro Breu 3:14
16. Girândolas da Agonia Profunda 1:14
17. Miasmas Onanizantes 0:51
18. Quérulo dos Finados 1:49
19. Sortilégio da Perversão 3:30

Band members
Orca – vocals
António C. – guitar
Z. Pedro – bass
Diogo P. – drums

Guest musician
Robert Vigna – guitars on “Êxodo Mortuoso”

Metal Chick of the Month – Kristina Vega

Save me, for the punishment of my head…

Let’s turn up the heat here at The Headbanging Moose in this month of June and properly kick off the summer season in the Northern Hemisphere with a metal lady that will absolutely stun you with her powerful vocals and onstage presence. A metal singer and vocal coach known for her work with bands the likes of Born In Exile, SerapiS, and Cobra Spell, she has a fantastic vocal range that allows her to sing not only metal but pretty much any music style, which explains why she’s becoming more and more famous, respected and admired in the current music scene. I’m talking about the multi-talented Kristina Vega, also known as Kris Vega, carrying the flag of Catalan metal wherever she goes armed with her fulminating voice. I bet you’re eager to know more about such skillful musician as much as Kris is waiting for you to join her in her quest for heavy music.

Born and raised in Barcelona, Spain, Kris had her first contact with metal music when she was only eight years old, more specifically a Rammstein song which she has tattooed on her arm (which we’ll talk about shortly). When she was 16 she had a band called MOTH (which didn’t last for too long according to Kris herself), she also spent five years with a Japanese music group where she used to write music and do the guttural vocals, then three more years with a Blues band, and another metal group called Lunes 12. However, Kris had to take a break from music for a while, getting back in action in the metal scene after seeing an ad asking for a vocalist for a local band. It didn’t take long for Born In Exile to take its desired shape and form, catapulting our diva to stardom right after the band’s first release. Furthermore, growing up in the golden years of Nu Metal helped her to detect all her registers, to play with different techniques of singing and to find her way as a vocalist, having also thoroughly studied how harsh vocals, textured voice and hyper-compression techniques work in order to reach different types of sound. A formed vocal coach by Rodrigo Llamazares at Vocal Studio (a specialist in vocal coaching for teachers), she actually started studying electric bass at the age of 14, and two years later she recorded her first album as a bass player and a guttural vocalist.

Formed in 2012 in Barcelona by drummer JuanMa Ávila and guitarists Carlos Castillo and Rodrigo Baez (all from the band Corelyn) with the goal of creating a project with progressive influences inside Heavy Metal that would please fans of bands the likes of Symphony X, Opeth, Dream Theater, Rush, Myrath, Leprous and Circus Maximus, among others, the unstoppable Melodic Progressive Metal outfit known as Born In Exile has been on a roll since its inception, all of course multiplied by one thousand after Kris joined the band in August 2015 with her melodic, raspy and soaring vocals, having recorded with the band their debut opus Drizzle of Cosmos, in 2017, which by the way led the band to play at Barcelona Rock Fest in 2018, their sophomore album Transcendence, in 2020, and an EP titled Live at Vampire Fest, in 2021. Kris mentioned in one of her interviews that she recorded a cover version for Queen’s “The Show Must go On” as a reply to the band’s ad where they were searching for a new vocalist, followed by a short meeting with JuanMa and Carlos, and both were absolutely mesmerized by her vocals, which you can enjoy in all its glory in songs such as Fields On Fire, The Lighthouse of the Haunted Keeper, Enchantress, One More Line, Ziggurat, Revenant and Torch.

Apart from her career with Born In Exile, our talented diva can also be seen blasting her unparalleled vocals with the bands Cobra Spell, Uneven Frame and SerapiS, as aforementioned. As a matter of fact, Kris has just started her stint with Cobra Spell, the Dutch Heavy Metal/Hard Rock outfit led by guitarist Sonia Anubis (Burning Witches, Crypta), having replaced the band’s original vocalist Alexx Panza about a month ago, and although she hasn’t recorded anything in the studio yet with the band you can already enjoy her visceral vocals with Cobra Spell on the road, as she’s now touring with the band despite the extremely short time to rehearse with them. It’s not clear if Barcelona-based Nu Metal project Uneven Frame is still active as there are no news from the band since 2020, but it would definitely be interesting to see what Kris can do in a more alternative style (and you can take a listen at their demos on their YouTube channel); and regarding Progressive Metal project SerapiS, recently formed by Kris together with guitarist Joaco Luís (Mollitiam, Born In Exile), you can enjoy the band’s first three singles on Spotify, or go to YouTube to be stunned by Act I: Defiance, Act II: Dissidence, and Act III: Wistfulness, pointing to a very interesting future ahead of them.

Our multi-talented Kris can also be seen as a guest vocalist for the songs Our Demise, from the 2021 album The Harbour in Me, by Spanish Symphonic Power Metal act Embersland, and The Breathless Season Bane, from the 2021 album Portraits, by Spanish Atmospheric Black Metal horde Perennial Isolation; and as a metal vocal coach at the Metal Academy School of Music, the first school completely devoted to Heavy Metal and Hard Rock founded in 2017 in Barcelona, and as a voice actress for The Monster Factory, a Montreal, Canada-based company specialized in the conception of voices for monsters, zombies, aliens and many more creatures in the video game and film industries provided by metal vocalists the likes of our unstoppable diva.

Highly influenced by a wide variety of styles, from bands like Tool, Arch Enemy, Opeth, Leprous, Slipknot and Jinjer to vocalists like Freddie Mercury and Mónica Naranjo, Kris has already performed in over 500 concerts, singing not only Heavy Metal and Hard rock, but also Blues, Soul, Death, Progressive and Experimental Metal, proving not only how skillful she is, but also how experienced she already is in the music industry. As mentioned, having listened to her first metal song at the young age of eight, more specifically the song Klavier, from the album Sehnchust by Rammstein, thanks to the father of one of her neighbours, Kris quickly moved on to other bands and artists such as Linkin Park, Slipknot, Machine Head, System of a Down, Otep and Arch Enemy, being right now a huge fan of Jinjer, In This Moment, Gojira, Opeth, Devin Townsend, Myrath and Twelve Foot Ninja. When asked if she listens to any bands that she considers some sort of “guilty pleasure”, Kris mentioned Nino Bravo, from her childhood years, Azul y Negro, from her teens, and Evanescence, when she was in her 20’s. In addition, when questioned if she prefers Nightwish or Epica, she said she doesn’t really enjoy their voices, being a much bigger fan of stronger vocals the likes of Jinjer and Battle Beast.

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An avid reader of everything surrounding the voice anatomy, Kris is also writing a book to help singers who are just starting their careers and trying to find their own voice, focusing on all obstacles a vocalist might find along the way as for example not being told what’s working and what’s not, which by the way happened to her in the beginning of her career. She believes anyone can sing as long as it represents your own voice and delivers the desired message, always working not only her students’ voices but also their fears, their landscapes and so on, trying to transfer as much courage and strength to all of them during her classes.

It was right after the release of Drizzle of Cosmos that Kris and her bandmates from Born In Exile began touring on a more professional level, having played in different countries and festivals, such as Barcelona Rock Fest. She mentioned that when the band received an email informing they were selected to open that festival she almost cried of pure joy, also saying their performance at the festival was one of the most memorable moments of her life so far. She mentioned in one of her interviews how difficult it is to perform onstage for a massive festival crowd, the importance of being mentally prepared, and the energy shared with the crowd. Still talking about touring, Kris said that she loves to play alongside renowned bands as everything feels a lot more professional, and that although organizing tours (especially outside of Spain) is a lot of work, all that effort is definitely worth it.

As a prominent woman in Heavy Metal, Kris commented on how she sees the role of women in the current metal scene and the type of treatment she receives from men. She mentioned that despite a few bad experiences and situations in her career, one of the most beautiful things in her life is the fact she’s extremely well treated by her bandmates, who support her in everything and the whole feminist movement. However, she believes women in metal should stop fighting against each other for different reasons and realize that they’re stronger when united, saying it’s important to stop thinking like a man and avoid at all costs using sexist words and expressions that are stuck inside our minds thanks to the way we’re taught those things by our society. Moreover, Kris also faced some criticism and sexism when she decided to move from her hairdresser job (which she had been doing since she was 15) to pursue her career in music. She used to listen to things such as being a vocalist or working with music doesn’t pay your bills, doesn’t put food on the table, that she should get a “real” job, and so on, but that didn’t stop her from becoming the awesome vocalist she is today.

Regarding the metal scene these days, she said she thinks the musical landscape is unfair, complaining about an empty venue for an excellent band that goes all the way from Australia to Spain, for example, which is frustrating for the musicians involved. In addition, she said she would like to encourage all bands to have more respect and companionship among themselves, and to see more support to local bands by inviting them to open for the foreign headliners, just like what happened to Born In Exile during Barcelona Rock Fest where the band might have played for only 30 minutes, but according to Kris herself it was good enough to show the crowd what they got. And to be honest, even if they had played for only five minutes that would have been more than enough for the metalheads at the festival to witness how amazing the music by Born In Exile is and how powerful Kris’ vocals are, always singing about love, pain, real-life experiences and other related topics, therefore adding an extra personal touch to her thrilling performance.

As aforementioned, Kris is an accomplished vocal coach, offering vocalists not only from Barcelona but from all around the world different options to work with her, including more basic, free courses through the Metal Academy School of Music, or intensive online and in-person courses (which you can get more details by contacting her by email), and she’s waiting for you to begin a very productive and fun partnership in the name of rock and metal music. By the way, you can also click HERE to check all of her official links where you can get to know more about Kris and her career. Lastly, in case you decide to take vocal classes with Kris and it starts to rain, that might be a very good sign, and the reason for that is quite funny. When she was asked about something curious that has already happened with Born In Exile, she said that every time the band is about to do something important, it rains, it doesn’t matter if it’s the recording of a new album, signing with a record label, playing at a famous venue, or anything else. In other words, let’s join the incendiary Kristina Vega in her quest for heavy music, and may the rain fall down on us for many decades to come together with such inspiring musician.

Kristina Vega’s Official Facebook page
Kristina Vega’s Official Instagram

Kristina Vega’s Official Twitter
Born In Exile’s Official Facebook page
Born In Exile’s Official Instagram
Born In Exile’s Official YouTube channel
Born In Exile’s Official Twitter

Album Review – Sleepers’ Guilt / What Remained (2022)

Dealing to a large extent with questions about the end of humanity as we know it, this Melodic Death Metal from Luxembourg begins a new era in their career with their thrilling and furious sophomore effort.

Hailing from Dippach, a commune and small town in south-western Luxembourg that is part of the canton of Capellen, Melodic Death Metal outfit Sleepers’ Guilt is back in action with their sophomore opus, entitled What Remained, marking the beginning of a new era in the band’s career with the debut of their new frontwoman Sany Faihrmann. Recorded, mixed and mastered by the band’s guitarist Marc Froehling, What Remained deals to a large extent with questions about the end of humanity as we know it and the challenges we might face in the near or more distant future, all that without being a concept album according to the band itself.  In addition to the classical instrumentation and the usual samples, Sany and Marc, together with their bandmates Chris T. Ian also on the guitars, Philip Rio Ries on bass and Ben Thuy on drums, dare to experiment with more exotic instruments, such as bouzoukis, mandolins, didgeridoos, and cellos, among others, to give the arrangements more opulence, while at the same time the music never loses its heaviness and always demands the listener’s attention.

Futuristic sounds ignite the band’s metal machine in the opening track Posthuman, with Philip and Ben dictating the rhythm with their heavy kitchen while Sany roars nonstop like a true she-demon, whereas Chris and Marc continue to extract sheer electricity from their axes in Wrath of Gods, another Melodic Death Metal extravaganza showcasing all the band’s heaviness, talent and passion for extreme music. As the name already says, Eye of the Storm is indeed a metallic storm by the quintet with Sany’s roars leading her bandmates into the eye of “you know what”, with the band’s guitar duo delivering classic riffs and solos for our total delight, therefore keeping the album at a high level of insanity. Let’s keep banging our heads to the pounding drums by Ben in Freedom Undone, a neck-breaking tune where Sany’s screams sound like a devilish version of Overkill’s Bobby “Blitz” Ellsworth; and slowing things down a bit it’s time for the somber Ultimate Sin, not as powerful as the rest of the album but still very melodic, with Chris and Marc showcasing a great performance with their riffs and solos.

Train of Thoughts feels like a heavier, more devilish version of the Melodic Metal played by Stratovarius, with Sany delivering a dark and thrilling vocal performance by roaring deeply accompanied by the classy beast by Ben; and get ready for 10 minutes of high-quality Melodic Death Metal made in Luxembourg with Tides of Fate, starting in a serene, melancholic way before morphing into an experimental sonority and exploding into the band’s core sound with an epic touch, with Sany delivering her usual she-wolf growls while her bandmates keep the atmosphere as dense and electrifying as possible, not to mention their soulful, striking guitar solos. Then blackening their core essence considerably it’s time for the almost pure Death Metal onrush titled Pyre, also bringing to our ears elements from Groove Metal thanks to the amazing job done by Philip and Ben with their respective bass punches and venomous beats. Last but not least, Sleepers’ Guilt offer us all the Arch Enemy-inspired tune The Remains, with hints of the music played by Soilwork and In Flames while Chris and Marc are on fire armed with their guitars, providing Sany all she needs to gnarl like a creature form the abyss.

You can start following such promising name of the Luxembourger metal scene on Facebook and on Instagram, staying up to date with all things Sleepers’ Guilt, and also watch their videos and  stream all of their creations on YouTube and on Spotify. Furthermore, above all that, don’t forget to show them your utmost support by purchasing the excellent What Remained by clicking HERE. In a dystopian world, humanity is on the brink of extinction and the machines have taken over. But is it really the machines, or rather those who control the machines? And is there life outside the dystopian illusions, in solitude, amid an exhausted, repellent nature? Simply hit play in What Remained and let the band answer those questions to you, while of course you keep banging your head nonstop to their venomous music.

Best moments of the album: Wrath of Gods, Train of Thoughts and Pyre.

Worst moments of the album: Ultimate Sin.

Released in 2022 Independent

Track listing
1. Posthuman 4:23
2. Wrath of Gods 4:19
3. Eye of the Storm 6:39
4. Freedom Undone 5:52
5. Ultimate Sin 4:29
6. Train of Thoughts 6:04
7. Tides of Fate 10:15
8. Pyre 7:17
9. The Remains 9:24

Band members
Sany Faihrmann – vocals
Chris T. Ian – guitars
Marc Froehling – guitars
Philip Rio Ries – bass
Ben Thuy – drums

Album Review – Nafrat / Veins EP (2022)

This Singaporean horde returns after a hiatus with a new EP, exploring darker atmospheric soundscapes coupled with their familiar blistering style of Blackened Death Metal.

Mixed and Mastered by Zoteng at Masterplan Studio and displaying an obscure artwork by the band’s own bassist Firdaus Kadir, Veins is the brand new three-track EP by Singapore-based Dissonant/Technical Death Metal horde Nafrat, following up on their 2018 full-length opus Abnegation after the band went on a hiatus due to personal reasons. Formed in 2003 and currently comprised of Han Shah on vocals and guitars, Iskandar Zul also on the guitars, the aforementioned Firdaus Kadir on bass and Islam Falmi on drums, Nafrat venture through new territories in their new EP with the exploration of darker atmospheric soundscapes coupled with the familiar blistering style of Blackened Death Metal that they produced in previous releases, turning such short and sweet record into a must-listen for fans of bands the likes of Hate Eternal, Immolation and Svart Crown.

Sinister sounds permeate the air in the Stygian instrumental intro Veins, dragging our souls to the obscure realms ruled by Nafrat before the quartet begins hammering our heads with In Absentia, a brutal, malignant Death Metal onrush spearheaded by the venomous beats by Islam while Firdaus extracts rumbling tones form his bass, all of course spiced up by the visceral guttural by Han in a solid, straight-to-the-point display of the band’s core sonority. Then more of their primeval, tribalistic music comes in the form of Oculus, with the guitars by Han and Iskandar decimating our ears while Islam sounds like a demented beast on drums, feeling absolutely bestial from start to finish with Han roaring deeply just the way we like it in Death Metal. Put differently, this might be a very good sign of what to expect from Nafrat in their upcoming releases.

You only need 12 minutes of your time to let Nafrat crush your cranial skull with their music by either streaming the EP in full on Spotify or by purchasing it from their own BandCamp page (or click HERE for all locations where you can buy or stream the album, among other cool links). In addition, let’s show our support to underground metal made in Singapore by giving the guys from Nafrat a shout on Facebook and on Instagram, showing them how much we appreciate their devilish music. Veins might be short in duration but the quality of the music found in it is outstanding, which leaves me wondering what those Singaporean metallers will bring to our avid ears next, especially if they release a full-length album, always in the name of our good old Death Metal.

Best moments of the album: Oculus.

Worst moments of the album: None.

Released in 2022 Independent

Track listing
1. Veins 2:02
2. In Absentia 4:31
3. Oculus 4:59

Band members
Han Shah – vocals, guitars
Iskandar Zul – guitars
Firdaus Kadir – bass
Islam Falmi – drums

Album Review – Depressed Mode / Decade of Silence (2022)

One of the most interesting names of the underground Finnish scene returns to action after almost 13 years with a brand new album of stunning and symphonic Doom Metal.

Established in Pori, a city and municipality on the west coast of Finland, in 2005 by vocalist and composer Otto Salonen, the amazing Symphonic Death/Doom Metal act known as Depressed Mode is set to release their long-awaited third full-length album Decade of Silence, almost 13 years after ..for Death.., released in 2009. Recorded by the band’s guitarist Teemu Heinola and the aforementioned Otto Salonen at Ansa Studio, mixed by the same Teemu, and mastered by Mika Jussila at Finnvox Studios, Decade of Silence will bring a humungous dosage of symphony and doom to your avid ears, showcasing all the talent and passion for heavy music by Otto and Teemu together with their bandmates Henri Hakala on bass and Iiro Aittokoski on drums.

Death Walks Among Us is sinister and obscure from the very first second, with the orchestrations by Otto giving it a cinematic vibe while his deep guttural will haunt your damned souls for all eternity, all spiced up by the vicious riffs by Teemu. Then featuring Veronica Bordacchini of Fleshgod Apocalypse as a guest vocalist, Endless November starts in the most lugubrious way possible, evolving into a sluggish, phantasmagorical Doom Metal song with Blackened Doom nuances, not to mention all symphonic elements sound and feel majestic; whereas back to a heavier and more symphonic mode it’s time for Iiro to dictate the pace with his pounding drums in Dissociation of the Extinguished Mind, featuring a guest guitar solo by Jarkko Kokko of Mors Principium Est. Veronica is back in As the Light Dims, another bold, multi-layered creation by Depressed Mode that starts in a serene way to the sounds of the piano and cello, offering our ears nine nocturnal minutes of stunning Doom Metal.

Just as imposing and grim as its predecessors,  Parasites of Mind explodes into a brutal fusion of Symphonic and Death Metal led by the venomous riffs by Teemu and the inhumane roars by Otto, smashing your cranial skull without a single drop of mercy, whereas drinking from the darkest fountain of Doom Metal you can think of, Kaamos (Land of Winter) brings forward the pounding beats by Iiro and the crushing riffs by Teemu, penetrating deep inside your soul while more of their sluggish, grim sounds permeate the air in Serpents, with sheer darkness flowing from both Otto’s vocals and Henri’s hammering bass. Eternal Darkness is another stunning creation featuring Veronica’s mesmerizing vocals, with the orchestrations by Otto sounding beautifully haunting while Iiro pulverizes his drums in a lesson in Symphonic Doom Metal. Finally, prepare your senses for 12 minutes of atmospheric passages, darkened skies and endless heaviness in the form of Aeternus, where Otto’s deep guttural brings a touch of Blackened Doom to the overall result, flowing darkly until its climatic and Stygian ending.

In a nutshell, the guys from Depressed Mode definitely know how to blend the heaviness of Doom Metal with the finesse of symphonic and orchestral music, and Decade of Silence is not only the perfect representation of that stunning fusion of sounds, but also a beyond strong comeback by those Finnish metallers. Hence, don’t forget to follow the band on Facebook and on Instagram to know more about their music, to stream all of their wicked creations on Spotify, and of course to purchase Decade of Silence from the band’s own BandCamp page or from the Inverse Records webstore sooner than you can say “doom”. After over a decade of silence it’s a pleasure to witness the return of such interesting name of the underground Finnish scene, and let’s hope that we don’t need to wait another ten years to listen to more of their awesome music.

Best moments of the album: Endless November, Eternal Darkness and Aeternus.

Worst moments of the album: Serpents.

Released in 2022 Inverse Records

Track listing
1. Death Walks Among Us 5:53
2. Endless November 7:43
3. Dissociation of the Extinguished Mind 6:56
4. As the Light Dims 8:58
5. Parasites of Mind 6:39
6. Kaamos (Land of Winter) 6:16
7. Serpents 5:50
8. Eternal Darkness 5:46
9. Aeternus 12:09

Band members
Otto Salonen – vocals, orchestrations
Teemu Heinola – guitars
Henri Hakala – bass
Iiro Aittokoski – drums

Guest musicians
Veronica Bordacchini – vocals on “Endless November”, “As the Light Dims” and “Eternal Darkness”
Jarkko Kokko – lead guitars on “Dissociation of the Extinguished Mind”

Album Review – Sijjeel / Salvation Within Insanity (2022)

From the morbid purgatory that lies between the edge of sanity and the shores of madness comes a vicious Death Metal entity bringing forth disease, destruction and death.

From the morbid purgatory that lies between the edge of sanity and the shores of madness comes the furious, brutal Death Metal of a vicious entity known as Sijjeel. Hatched in the desert sands of Saudi Arabia nearly a decade ago, more specifically in 2013 in the city of Damman, the capital of the Eastern Province, the eyes of Sijjeel soon turned to Europe to find the warped souls that could complete the three-headed beast, with vocalist Floor Van Kuijk (Carnifloor, Focal Dystonia, Korpse) and bassist Lukas Kaminski (Stillbirth, Placenta Powerfist) being chosen to join guitarist Hussain Akbar and bring forth disease, destruction and death. Mixed and mastered by Floor himself at GLDCHN Studios, and displaying a hellish artwork by Indonesian artist Rudi Gorgingsuicide, the hellbound tour de force of terror Salvation Within Insanity is the first full-length effort by such demented trio, following up on the insanity found in their 2020 debut EP Cyclopean Megaliths and, therefore, being highly recommended for admirers of Defeated Sanity, Incinerate and Twitch Of The Death Nerve, among other bands that worship brutality above all things in heavy music.

The thunderous, menacing bass by Lukas will hammer your head mercilessly in the opening track Isolation Behind Unrealism, bringing forward pure, unfiltered Death Metal for lovers of the genre, with Floor barking rabidly amidst the band’s sonic devastation, whereas Inverted Contentment in Salvation is a beyond infernal display of the band’s ruthless aggression in the form of Death Metal, with Hussain firing razor-edged riffs from his axe while the programmed (but very organic) drums sound like a stone crusher. There’s not a single second of peace as those metallers keep pulverizing our ears in The Affliction of Deteriorating Minds, another solid display of Brutal Slammin’ Death Metal by the trio spearheaded by the sick guttural by Floor; and get ready to be smashed like an insect by the bludgeoning riffs and drums by Hussain in Mental Paralysis, also showcasing tons of progressiveness and groove flowing from Lukas’ demented bass jabs.

The trio continues to crush our senses in Climbing Into the Abyss, exhaling brutality, rage and speed, with Hussain once again displaying a spot-on job done on the guitar, and the music gets darker and more infernal as time goes by ending in a thrilling manner. Then they show no mercy for our souls with the fulminating Departing from Human Nature, where we’re treated to the demented beats by Lukas while Floor roars deeply nonstop, resulting in the epitome of the band’s brutality and gore; and their second to last explosion of vile Death Metal, entitled Indignation Overcame Me, brings forward endless savagery thanks to the infernal riffage by Hussain, smashing their sonic weapons like true beasts in the name of extreme music. Lastly, intricate, Stygian sounds ignite the closing hurricane Inflection to Thee Smut, offering us all another very good reason to slam into the circle pit, with Floor’s inhumane growls walking hand in hand with the blast beats by Lukas.

You can get to know more about Sijjeel, their tour dates, plans for the future and so on on Facebook and on Instagram, and of course in order to support the underground you should definitely purchase a copy of Salvation Within Insanity from Comatose Music’s BandCamp page or webstore. Relentless and absolutely punishing from start to finish, Salvation Within Insanity is indeed a fantastic display of Extreme Metal made in Saudi Arabia, proving once and for all our beloved metal music knows no barriers, inviting people from all over the world to slam into the pit and to raise our horns to bands like Sijjeel forever and ever. That’s how Death Metal is supposed to be, and if the band keeps firing albums like Salvation Within Insanity in the coming years such intense genre will get even stronger than what it already is.

Best moments of the album: Inverted Contentment in Salvation, Mental Paralysis and Departing from Human Nature.

Worst moments of the album: None.

Released in 2022 Comatose Music

Track listing
1. Isolation Behind Unrealism 4:31
2. Inverted Contentment in Salvation 3:14
3. The Affliction of Deteriorating Minds 3:49
4. Mental Paralysis 4:04
5. Climbing Into the Abyss 4:33
6. Departing from Human Nature 3:25
7. Indignation Overcame Me 4:18
8. Inflection to Thee Smut 6:04

Band members
Floor Van Kuijk – vocals
Hussain Akbar – guitar, drum programming
Lukas Kaminski – bass

Concert Review – Nervosa & Destruction (Lee’s Palace, Toronto, ON, 05/01/2022)

The German butchers of Thrash Metal struck back in another diabolical night of heavy music in the city of Toronto.

OPENING ACTS: VX36 and Sunlord

There’s nothing better than ending another fun weekend and getting ready for a cold and rainy Monday than a night of pure Thrash and Death Metal, and that’s exactly what several Torontonian metalheads were able to enjoy last night at Lee’s Palace thanks to the ruthless Diabolical North American Tour 2022, with the bands VX36, SUNLORD, NERVOSA and the iconic DESTRUCTION offering their fans exactly what they needed to slam into the pit and raise their horns nonstop. The first band to hit the stage was Geyserville, California-based Thrash/Groove Metal band VX36, led by vocalist and guitarist Nate Klug, who inspired all thrashers at the venue to bang their heads to great songs such as Satan’s Fury and Blood War. That was an excellent start to the night, and I just wish the band had new material to present as everything they played, despite being awesome, was from over seven years ago I believe.

Band members
Nate Klug – vocals, guitar
Gage Higgins – lead guitar, vocals
Nick Altenburg – bass
John Lorence – drums

After a really, really quick break, it was time for Jackson Heights, New York’s own Heavy/Speed Metal trio SUNLORD to kick some ass on stage. Comprised of vocalist, guitarist and founder Alfonso Ferrazza, bassist Ashely Wells and drummer Lamar Little, the band delivered a solid show including the fun songs Forbidden Witch and Turn Me Loose, with Lamar stealing the spotlight with a beyond professional and thrilling performance behind his drums, adding an extra touch of groove and heaviness to the band’s music. In the end, Sunlord might not be as thrash as the other bands from the night, but they definitely proved why they were chosen to open for Nervosa and Destruction with their energy and passion for heavy music.

Band members
Alfonso Ferrazza – vocals, guitars
Ashely Wells – bass
Lamar Little – drums

NERVOSA

Finally, after years and years waiting, I was able to see for the first time ever the all-female thrashing machine NERVOSA pulverizing everything and everyone live on stage. One of the most multinational bands of the current metal scene, as the band is now formed of Spanish frontwoman Diva Satanica, Brazilian guitarist and founder Prika Amaral, Italian bassist Mia Wallace and Greek drummer Eleni Nota, the quartet was infernal with their fusion of Death and Thrash Metal from start to finish, with the stunning Diva Satanica not only showcasing a breathtaking vocal performance, but her stage presence was also a thing of beauty. Still promoting their 2021 opus  Perpetual Chaos, Nervosa made a lot of awesome noise playing songs the likes of Kill the Silence, Masked Betrayer, Into Moshpit, Guided By Evil and Under Ruins, as well as my favorite ones of the night, Genocidal Command, Time to Fight and Rebel Soul, where not only Diva Satanica was flawless on vocals, but Prika, Mia and Eleni were also smashing their instruments in great fashion. I just wish the girls had some time to interact with their fans at their booth (which apparently was reduced to just a few random items as their shirts couldn’t be delivered on time), but again, what really matters is what they do on stage, and they more than succeeded by inflicting that nice pain in our necks due to all headbanging involved.

Band members
Diva Satanica – lead vocals
Prika Amaral – guitar, backing vocals
Mia Wallace – bass
Eleni Nota – drums

DESTRUCTION

Another short break and there they were, German Thrash Metal institution DESTRUCTION, ready to show everyone at Lee’s Palace what old school thrash is all about. Anything I say about the band’s frontman and mastermind Schmier won’t be enough to depict his energy, his charisma and his onstage performance, kicking ass from the very first second and showing absolutely no mercy for our souls armed with his metallic bass and raspy vocals. Blending classics the likes of Nailed to the Cross, Born to Perish, Mad Butcher, Thrash Till Death, Bestial Invasion and The Butcher Strikes Back with songs from their recently released album Diabolical, including the amazing title-track and the pulverizing No Faith in Humanity, Schmier and his henchmen Damir Eskić and Martin Furia on the guitars and Canadian beast Randy Black on drums gave a lecture in Thrash Metal to their fans, showing why they’ve been alive and kicking since their inception in the distant year of 1983. By the way, close to the end of the show, Schmier had some very nice words to say about a guy that was present at the venue who was their first ever North American fan, being the first person in the US and Canada to purchase their 1984 demo Bestial Invasion of Hell. That was a really cool moment, and that guy, who was not too far from where I was standing, seemed deeply touched by such amazing tribute by one of his favorite bands of all time. That’s pure Thrash Metal, and after all was said and done (already past midnight, by the way), we were all certain those Teutonic metallers will return to destroy Toronto once again in a not-so-distant future.

Band members
Schmier – vocals, bass
Damir Eskić – lead guitars
Martin Furia – guitars
Randy Black – drums

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Album Review – Azaab / Summoning the Cataclysm (2022)

An earthquake of different influences blended together through proficient musicianship by an up-and-coming Pakistani Death Metal horde.

Formed in 2016 in Islamabad, the capital city of Pakistan, out of love for both old school and modern Death Metal, the up-and-coming five-piece horde known as Azaab (which is pronounced “aa-zaab” and translates roughly as “calamity”) is proudly unleashing upon humanity their excellent debut effort, entitled Summoning the Cataclysm, highly recommended for admirers of the music by Morbid Angel, Decapitated, Nile and Abysmal Dawn, among many more. Recorded, mixed and mastered by the band’s own guitarist Shahab Khan at Fractal Flow Studios, and displaying a demonic artwork by Ardha Lepa, Summoning the Cataclysm is an earthquake of different influences blended together through proficient musicianship by the aforementioned Shahab Khan on the guitars together with Saad Latif on vocals, Afraz Mamoon also on the guitars, Waqar Ghayas on bass and Adhytia Perkasa on drums, as well as a handful of guest musicians including former and current members from Death, Chthe’ilist, First Fragment and Worm, with the album’s lyrical themes spanning topics such as horror, politics, human nature, the end of days, war and even sci-fi.

The somber, acoustic guitars by Shahab and Afraz in the intro Pandemonium Twilight set the stage for Azaab to smash our senses in Carbon Plague, featuring additional vocals by guests Nick Mkhl (Brutal Sphere) and Aissam El Hassani (Vile Utopia), with Adhytia hammering his drums in the name of Death Metal while Saad roars deeply like an inhumane creature. More of their Technical and Progressive Death Metal is offered to us all in A Hollow Pact, where once again the band’s guitar duo extracts sheer electricity from their axes supported by the unstoppable bass jabs by Waqar, whereas Preachers of Hate is absolutely heavy and menacing from the very first second, with the guttural roars by Saad penetrating deep inside your mind mercilessly in a first-class fusion of modern-day Technical Death Metal with the band’s own Pakistani twist.

Featuring a sick guitar solo by guest Bobby Koelble (Death), it’s time for more savagery, gore and hatred by Azaab in When Worlds Collide, where Adhytia sounds infuriated behind his drum  accompanied by the always metallic bass by Waqar; and Shahab and Afraz deliver incendiary, crushing riffs in The Infernal Citadel, with a guitar solo by guest Phil Tougas (Chthe’ilist, First Fragment, Worm) this time, inviting us all to slam into the pit to their pulverizing Death Metal. Then a serene, acoustic intro explodes into sheer brutality in Trophies of Flesh, where all band members add tons of progressiveness to their core sonority, therefore turning it into the most intricate of all songs of the album. Azaab still have a lot of fuel to burn offering us all their venomous rendition for Decapitated’s The Empty Throne (check the original version HERE), showcasing an amazing job done by Saad on vocals, followed by B.L.O.O.D.B.O.R.N, a hellish, demolishing creation by the quintet with Adhytia sounding like a stone crusher on drums while Shahab and Afraz keep slashing our ears with their ass-kicking riffage and solos.

This unrelenting, vile horde hailing from Pakistan is waiting for you on Facebook and on Instagram to crush your senses with their top-of-the-line Death Metal, and of course if you want to show your total support to the underground you can purchase Summoning the Cataclysm from the band’s BandCamp page or from the Satanath Records’ BandCamp page (or click HERE for different locations where you can buy or stream the album). After all is said and done, Azaab were not joking when they said they had something for all types of Death Metal fans with their debut opus, as Summoning the Cataclysm indeed brings an amalgamation of elements from the past, present and future of Death Metal, all of course sounding very cohesive and as brutal as it can be for our total delight, positioning Azaab as one of the most interesting name of the Pakistani scene and, consequently, paving a fantastic road ahead of those death metallers.

Best moments of the album: Carbon Plague, Preachers of Hate and B.L.O.O.D.B.O.R.N.

Worst moments of the album: A Hollow Pact.

Released in 2022 Maxima Music Pro/Satanath Records

Track listing
1. Pandemonium Twilight 2:04
2. Carbon Plague 4:11
3. A Hollow Pact 4:39
4. Preachers of Hate 3:58
5. When Worlds Collide 4:49
6. The Infernal Citadel 5:02
7. Trophies of Flesh 4:11
8. The Empty Throne (Decapitated cover) 4:34
9. B.L.O.O.D.B.O.R.N 4:40

Band members
Saad Latif – vocals
Shahab Khan – guitars
Afraz Mamoon – guitars
Waqar Ghayas – bass
Adhytia Perkasa – drums

Guest musicians
Bobby Koelble – guitar solo on “When Worlds Collide”
Phil Tougas – guitar solo on “The Infernal Citadel”
Nick Mkhl – vocals on “Carbon Plague”
Aissam El Hassani – vocals on “Carbon Plague”

Album Review – Konvent / Call Down the Sun (2022)

Denmark’s own Doom Metal institution returns with a masterful sophomore offering, doubling down on the band’s songwriting talent and brutal, heavy sound.

Two years after taking the entire Doom and Heavy Metal scene by storm with the release of their boisterous debut full-length album Puritan Masochism, Copenhagen, Denmark’s own Death/Doom Metal institution Konvent returns with a sophomore offering entitled Call Down the Sun that doubles down on the band’s songwriting talent and brutal, heavy sound. Recorded and mixed by Lasse Ballade at Ballade Studios, mastered by Brad Boatright at Audiosiege Studio, displaying a Stygian artwork by Mads Berg, and undoubtedly inspired by recent dark times, the ongoing pandemic and cancellation of live performances, the new album’s thunderous apocalyptic sound is impossible to escape, with the four-piece entity formed of Rikke Emilie List on vocals, Sara Helena Nørregaard on the guitars, Heidi Withington Brink on bass, and Julie Simonsen on drums unleashing hurricanes of Blackened Death and Doom Metal upon us all, sounding even more pissed-off, fast-paced and pitch-black than ever.

The cryptic words barked by Rikke (“Climb into the distance / Aiming for the price / Seeking a device / Climb into the distance / High”) are the main ingredient in the sluggish and atmospheric Into the Distance, darkening the skies to the slow and steady beats by the talented Julie, whereas Sara and Heidi hammer their stringed weapons mercilessly in Sand is King, sounding utterly perfect for breaking your neck headbanging in the name of doom, not to mention Rikke’s roars get even more demonic and obscure. Julie continues to deliver her trademark tribal beats in In the Soot, another solid fusion of Death and Doom Metal where Sara’s Black Sabbath-inspired riffs will penetrate deep inside your lost soul; and Stygian clouds keep blocking all sunlight in Grains, with Heidi providing those low-tuned bass lines we darkly love so much while Sara keeps slashing her axe in great fashion for our total delight.

And the reverberating bass by Heidi kicks off the superb Fatamorgana, with its somber, poetic lyrics being powerfully vociferated by Rikke (“Time to venture out again through the sand to Neverend / Every step is poorly cast / Leave them in the past / Forever, the orb is a guide / Endeavour from morning till night”) while the music flows flawlessly in a lecture in contemporary Doom Metal, all spiced up by its cult-like backing vocals, morphing into a massive, sinister instrumental Interlude for the also venomous Never Rest, bringing forward the quartet’s undisputed heaviness spearheaded by another brutal work done by Julie on drums, with Rikke once again haunting us all with her inhumane, deep gutturals. Then adding hints of Stoner and Sludge Metal to their core sonority, it’s time for the thunderous Pipe Dreams, where the synchronicity between Sara and Heidi is superb form start to finish as usual. Lastly, we’re treated to Harena, perhaps the band’s deepest and most detailed composition of all time. The melodic but extremely sharp riffs by Sara are a thing of beauty, supported as always by the demolishing kitchen by Heidi and Julie while Rikke roars from the bottom of her blackened heart, resulting in a stunning, dense and climatic ending to the album.

Such delicious masterpiece of Death and Doom Metal can be fully appreciated on YouTube and on Spotify, but of course I highly recommend you purchase your favorite copy of the album by clicking HERE, adding an amazing touch of darkness to your private collection. Also, don’t forget to follow the girls from Konvent on Facebook and on Instagram, staying up to date with news, their plans for the future and their tour dates, and I’m more than sure that watching Konvent playing live might be a fantastic experience. Who knows, maybe one days they’ll tour across Canada? Anyway, having said all that, let’s all call down the sun to the undisputed doom played by those four Danish metallers, and enjoy their beyond sweet companionship in darkness for all eternity.

Best moments of the album: Sand is King, Fatamorgana and Harena.

Worst moments of the album: In the Soot.

Released in 2022 Napalm Records

Track listing
1. Into the Distance 5:23
2. Sand is King 4:12
3. In the Soot 4:52
4. Grains 6:05
5. Fatamorgana 5:54
6. Interlude 2:00
7. Never Rest 5:39
8. Pipe Dreams 4:05
9. Harena 7:13

Band members
Rikke Emilie List – vocals
Sara Helena Nørregaard – guitars
Heidi Withington Brink – bass
Julie Simonsen – drums