Tag Archives: death metal

Album Review – Chainsword / Blightmarch (2021)

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These vicious Polish troopers are ready to spread the flames of war and conflict in a death and doom inferno armed with their brutal debut opus.

Founded in 2016 in Warsaw, Poland with the sole purpose of waging war, a five-men Death Metal squad known as Chainsword is ready to spread the flames of conflict in a death and doom inferno armed with their debut opus, entitled Blightmarch, living up to the legacy of renowned acts the likes of Unleashed, Bolt Thrower and Benediction, among several other Death Metal giants. Mixed, mastered and reamped by Haldor Grunberg at Satanic Audio, and displaying an old school, warlike artwork by Argentinian draftsman and painter Wilson Germán Arrieta, Blightmarch will invite you to head into the battlefield alongside vocalist Herr Brummbär, guitarists Sarin Spreizer and Herr Hornad, bassist Wutender Ente and drummer Herr Feldgrau, turning into ten first-class Death Metal tunes all the darkness, hatred and violence of war.

And those troopers are ready to pulverize us all with their heavy artillery in the opening tune Ost Front 1943 – Stalingrad, where Herr Brummbär vociferates like a demonic entity while Herr Feldgrau blasts his drums in great Death Metal fashion, kicking off the album on an infernal note; whereas in Spinehammer the band’s guitarists Sarin Spreizer and Herr Hornad fire unrelenting Thrash and Death Metal riffs for our total delight, resulting in a fulminating tune perfect for slamming into the pit (not to mention Herr Brummbär sounds even more demented on vocals), followed by Horus, the Chosen Son, where we’re treated to austere words barked by Herr Brummbär (“The foundation of terror / The shadow of torment / When hate consumes / the souls of man / It now is my mission / My final conquest / The right hand of chaos / That I become”) accompanied by the thunderous kitchen by Wutender Ente and Herr Feldgrau. More of the sick riffage by Sarin Spreizer and Herr Hornad permeates the air in the obscure Death Metal hymn Ost Front 1942: Moskau, with the rhythmic beats by Herr Feldgrau inviting us all to crack our necks headbanging like maniacs, and another Stygian wall of sounds smashes our senses in the vile Dead Hand Call, where Chainsword’s guitar duo not only keeps delivering sheer violence through their riffs, but also through their sick solos.

Bringing elements from Thrash and Groove Metal to their core malevolence, Chainsword will destroy anyone who crosses their path in Exterminatus, a lesson in Death Metal showcasing a brutal drumming by Herr Feldgrau amidst tons of groove and harmony blasted by the band’s stringed trio, and there’s no time to breathe as they continue their ode to violence and war in Daemonculaba, a true headbanger where Herr Brummbär roars and growls manically, always supported by the visceral riffs and bass jabs by his bandmates. Then featuring guest guitarist Cheesy Dude (aka Piotr Sadza of Belzebong and Weedpecker) and guest vocalist Nun (aka Lech Kowal of Sun No More), the title-track Blightmarch is as vile and demonic as its predecessors, keeping the album at a high level of animosity, whereas their war-like Death Metal keeps crushing our skulls in Dreadquake Mortar, sounding heavier-than-hell and demented from start to finish, with Herr Brummbär stealing the spotlight with his grim guttural lines. Lastly, we face 06.08 9:15, with the name of the song representing the date and time when the American B-29 bomber Enola Gay dropped an atomic bomb on the Japanese city of Hiroshima, August 6, 1945 at 9:15am. Musically speaking, it’s another old school, vicious Death Metal onrush to end the album in the heaviest and darkest way possible.

In case you’re curious to know how Chainsword’s hybrid of Death Metal and war sounds in Blightmarch, you can stream the album in its entirety on YouTube and on Spotify, but of course if you consider yourself a true Death Metal soldier you should definitely purchase the album from Chainsword’s BandCamp page, from the Godz ov War Productions’ BandCamp page or webstore, or from Apple Music. Also, in order to properly enlist in their army of extreme music, simply follow them on Facebook and on Instagram for more of their music, news, tour dates and everything else surrounding Chainsword in the battlefield. Having said that, what are you waiting for to put your dirty hands on such pulverizing album of Death Metal made in Poland? Let’s all join the attack!

Best moments of the album: Spinehammer, Exterminatus and Daemonculaba.

Worst moments of the album: Horus, the Chosen Son.

Released in 2021 Godz ov War Productions

Track listing
1. Ost Front 1943 – Stalingrad 4:03
2. Spinehammer 3:30
3. Horus, the Chosen Son 4:24
4. Ost Front 1942: Moskau 4:19
5. Dead Hand Call 3:37
6. Exterminatus 4:56
7. Daemonculaba 4:31
8. Blightmarch 3:42
9. Dreadquake Mortar 3:51
10. 06.08 9:15 5:15

Band members
Herr Brummbär – vocals
Sarin Spreizer – guitar
Herr Hornad – guitar
Wutender Ente – bass
Herr Feldgrau – drums, vocals

Guest musicians
Cheesy Dude – guitars on “Blightmarch”
Nun – additional vocals on “Blightmarch”

Album Review – Sintax / Nano 3000 (2021)

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It’s time to celebrate mankind’s downfall to the sound of the brand new opus by this Israeli thrashing squad, telling stories of technologies rising against us all.

After years of performing all across Israel on their own ticket and alongside international acts, keeping Jerusalem’s metal scene alive and kicking, members of local cult bands the likes of Showrchtsechaye and DeuSphera decided to come together to form a Thrash and Groove Metal beast named Sintax back in 2013, delivering a strong punch of groove and a unique raw energy with each one of their sick compositions. Now in 2021 the band comprised of Yehi Zaken on vocals, Roi Illouz and Yoav Gruper on the guitars, Slava Kishka on bass and Adam Levit on drums have just released their sophomore effort, titled Nano 3000, offering the listener an avalanche of old school metal music combined with a modern production and sound. Mixed and mastered by Mark Mynett at Mynetaur Productions and displaying a futuristic artwork by Nadav Halevi, Nano 3000 tells stories of technologies rising against us and a dystopic prophecy taking in the subjects of anarchy, politics, religion, philosophy, war, sex and more, all embraced by an endless dosage of visceral and acid Thrash Metal.

Like a demented grinding machine, the band begins their Groove Metal attack in Skeleton Scale, with the riffage by Roi and Yoav sounding utterly pulverizing while Yehi vociferates rabidly, therefore resulting in the perfect welcome card by the band in their new album. And more of their fusion of the madness of Pantera with the heaviness of Fear Factory is offered to us all in Reefers Sting And Honey, also presenting hints of the early days of Sepultura, and with the frantic and demonic beats by Adam providing Yehi all he needs to growl like a true beast; whereas in Most Hated Man In The Universe the band gets back to a more traditional Thrash Metal sonority, where the brutal sounds blasted by Roi, Yoav and Slava with their stringed axes will pierce your minds, not to mention the song’s pounding, neck-breaking drums and sick backing vocals. Then we face strident riffs and rumbling bass punches in Sight Got Past, morphing from a more melodic vibe to pure adrenaline and rage with Yehi once again roaring and growling nonstop, accompanied by the visceral beats by Adam.

The title-track Nano 3000 sounds and feels highly inspired by 90’s Groove and Industrial Metal, but without abandoning the band’s thrashing core sound of course, with Adam being infernal as usual on drums while Roi and Yoav extract sheer electricity from their guitars; and the menacing bass by Slava ignites another violent yet very melodic feast of riffs and beats titled Shooting Stars, perfect for jumping up and down with the boys from Sintax and slamming into the pit with your metal buddies. Then after a short and wicked intro we’re treated to the fulminating Death and Thrash Metal hurricane Lethal And Armed, where Yehi continues to lead his horde of thrashing maniacs with his deranged screams while Roi and Yoav slash our minds with their metallic riffage, and a massive wall of sounds will smash your cranial skull in the closing tune Lunchtime Funeral, presenting sick guitar solos and bass punches by the band’s stringed warriors from start to finish. Furthermore, when it’s over, I bet you’ll be begging for more of Sintax’s thrashing music.

After listening to Nano 3000, not only you’ll realize how powerful the music by Sintax can be, but also that the Israeli metal scene seems to be getting stronger and stronger, with bands like Sintax proving once and for all first-class metal music is simply everywhere. Hence, let’s show our support to those talented metallers by purchasing their new album from Dead Pulse, Apple Music or Amazon, by streaming the full album as many times as you want on Spotify, by following them on Facebook and on Instagram for news, tour dates and other shenanigans, and by subscribing to their YouTube channel for more of their demented music and videos. We all know that the future of mankind doesn’t look so good right now, and that the advancements in technology are not exactly bringing tons of benefits for us mere mortals, so why not celebrate the end of our existence to the sound of the top-of-the-line Thrash Metal blasted by Sintax in Nano 3000? At least that way we’ll definitely go out with a bang.

Best moments of the album: Reefers Sting And Honey, Most Hated Man In The Universe and Lethal And Armed.

Worst moments of the album: None.

Released in 2021 Sliptrick Records

Track listing
1. Skeleton Scale 4:08
2. Reefers Sting And Honey 2:54
3. Most Hated Man In The Universe 3:51
4. Sight Got Past 3:47
5. Nano 3000 4:24
6. Shooting Stars 5:17
7. Lethal And Armed 3:45
8. Lunchtime Funeral 4:14

Band members
Yehi Zaken – vocals
Roi Illouz – guitar
Yoav Gruper – guitar
Slava Kishka – bass
Adam Levit – drums

Album Review – Juggernaut / La Bestia (2021)

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Let’s slam into the circle pit to the sound of the brand new album of old school Thrash Metal by these four talented and unstoppable beasts hailing from Brazil.

Born in the year of 2005 in the Brazilian city of Blumenau, in the state of Santa Catarina, Thrash Metal outfit Juggernaut has just unleashed upon humanity their third full-length opus, entitled La Bestia, or “the beast” in English, offering fans of bands like Death, Sadus and Destruction a very good reason to slam into the circle pit to the sound of its eight unrelenting tracks infused with Progressive Rock and Metal influences. Recorded, mixed and mastered by Edgar Maccoppi at Edgar Maccoppi Áudio Estúdio, La Bestia began to take its shape and form back in 2017 with a very noble goal of providing us fans an honest album of the purest renowned Santa Catarina Thrash Metal you can think of with a lot of participation in the writing and composing process by all members, those being Cicero on vocals, Célio Jr. on the guitars, Valda on bass and Alefer on drums, and let me tell you that the final result lives up to its hype, sounding as fast, heavy and technical as our good old Thrash Metal demands.

The classic beats by Alefer kick off the thrashing metal madness TerrorISIS Squad, with Cicero’s vocals bringing hints of Black and Death Metal to their music, feeling absolutely inspired by the golden years of our beloved Thrash Metal, followed by Puppets of Society, as fast and demented as the opening track, where Célio Jr. continues to slash his stringed axe mercilessly while Valda and Alefer make the earth shake with their thunderous kitchen in an old school, in-your-face and massive display of their passion for heavy music. There’s no time to breathe as those Brazilian headbangers keep blasting sheer aggression in Hollow Surface, where Célio Jr. and Valda add their share of progressiveness to the overall result accompanied by the breaks and variations provided by Alefer’s beats, whereas investing into a blend of a galloping rhythm and a pure thrashing sonority we’re treated to Man of a Thousand Faces, with Cicero’s raspy roars and gnarls being exactly what’s needed to talk about all the lies, deceive and hate featured in the song’s lyrics.

Then it’s time for the quartet to hammer our cranial skulls once again with the Progressive Thrash Metal tune Human Template, keeping their core rebelliousness intact and therefore bringing into being a very entertaining and intricate mosh pit feast, not to mention Valda’s sick bass punches; and never tired of delivering 80’s Thrash Metal to us fans, Célio Jr. takes the lead with his classic riffs and solos in Useless Generation, while Alefer alternates between bestial moments and more complex passages on drums. The fulminating title-track La Bestia represents everything Juggernaut stands for, sounding violent, groovy and rebellious form start to finish, with its more progressive start morphing into a neck-breaking, venomous vibe where Cicero roars a mix of Portuguese and Spanish words to discuss about all issues found in Latin America such as slavery, hunger and crime, before the quartet offers us a cover version for Starship’s hit single We Built This City, from their 1985 album Knee Deep in the Hoopla (and you can check the original version HERE), with the band turning such upbeat pop hymn into a true headbanger where they managed to maintain the original song’s core essence while adding their own thrashing touch to it.

You can have a very good taste of what Thrash Metal made in Santa Catarina is all about by streaming the full album on YouTube and on Spotify, but of course if I were you I would definitely buy a copy of it from the band’s own BandCamp page, from Apple Music or from Amazon, showing your utmost support to the Brazilian underground scene. In addition, don’t forget to give Juggernaut a shout on Facebook and on Instagram, and to subscribe to their YouTube channel, to know more about the music by those talented thrashers from Brazil. The thrashing beast carefully brought forth by Juggernaut is ready to attack, and you better get ready because things inside the band’s sick circle pit are about to get beyond serious.

Best moments of the album: Puppets of Society, Human Template and La Bestia.

Worst moments of the album: Useless Generation.

Released in 2021 Independent

Track listing
1. TerrorISIS Squad 4:40
2. Puppets of Society 4:46
3. Hollow Surface 4:30
4. Man of a Thousand Faces 3:57
5. Human Template 4:15
6. Useless Generation 4:46
7. La Bestia 5:32
8. We Built This City (Starship cover) 3:34

Band members
Cicero – vocals
Célio Jr. – guitars
Valda – bass
Alefer – drums

Album Review – DSKNT / Vacuum γ-Noise Transition (2021)

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One of the most unique projects of the Swiss metal scene returns in full force with a reality-destroying album that takes shape as a dark and multidimensional hallucination deep into reality’s most cryptic and terrifying truths.

Fully conceived, recorded, produced and mastered by the band itself within the confines of their own studio, the brand new album by Swiss Black Metal monstrosity DSKNT, the horrific Vacuum γ​-​Noise Transition, can be seen as a devouring nightmare of omnipotent sonic annihilation conceived at the most liminal edges of sanity, pushing the boundaries of Experimental Metal further and further. Formed in 2013 in Sion, a city in the southwestern Swiss canton of Valais, DSKNT first emerged in 2017 out of total obscurity in their native homeland with an unexpected and insanely crushing self-recorded debut album titled PhSPHR Entropy, but it’s now in 2021 that vocalist Quasar and multi-instrumentalist Asknt are ready to pulverize our senses with Vacuum γ​-​Noise Transition, a reality-destroying album that takes shape as a dark and multidimensional hallucination deep into reality’s most cryptic and terrifying truths, embraced by a primeval yet darkly futuristic artwork by AntïGraphic.

Eerie and cryptic from the very first second, the disruptive and atmospheric noises from the intro Spin set the stage for DSKNT to crush our minds in Deconvolution J/ψ [Part I], with Asknt smashing his guitars and drums mercilessly in great Black Metal fashion while Quasar vociferates the song’s otherworldly words manically, sending an austere message to mankind (“Bend the Origins. Destructurate. / Behind the sporadic affliction of Negated, the utter halogenic radiance. / Crawling mechanics of void disturbance. / Degenerating. Ravenous partial reconfiguration of abscond deity.”). After such infernal and experimental start, it’s time for the duo to keep hammering our souls in Transition K0 [Part I], showcasing infernal blast beats and fills, countless breaks and variations and an endless sense of dementia, all spearheaded by the inhumane roars by Quasar in order to make things even more hellish and dissident.

There’s no time to breathe as DSKNT’s thunderous sounds keep permeating the air in the Death and Black Metal extravaganza Θ-Noise – Phase Shift, presenting elements from Avantgarde Black Metal in the piercing riffage blasted by Asknt; whereas an absolute feel of despair impregnates each and every instrument in the also noise-fueled aria Transition Ω- [Part II], where the duo continues to mix the past, present and future of extreme music, resulting in a wicked and fulminating sound that could be labeled as “Apocalyptic Black Metal”. Then get ready for a 9-minute dissonant Black Metal voyage together with DSKNT entitled Deconvolution Ξ*0 [Part II], sounding and feeling noisy and distorted from the very first second, with Quasar’s demonic gnarls walking hand in hand with the hurricane of riffs, bass jabs and beats brought forth by Asknt. Put differently, it couldn’t have sounded more tormenting nor more austere than what it already does, darkly morphing into the vile outro Spore, as dissonant as the album’s intro, putting the perfect “full circle” conclusion to such entertaining album of extreme music.

The music by DSKNT is all around us, and you can experience such distinct metal voyage by purchasing Vacuum γ​-​Noise Transition from a vast array of locations including the band’s own BandCamp page, the Sentient Ruin Laboratories’ BandCamp page or webstore, Apple Music, Season of Mist (CD and cassette), Midheaven Mailorder, Cargo Records, and ebullition.com, or simply stream it as many times as you want on Spotify. Needless to say, you should also start following DSKNT on Facebook and on Instagram to stay up-to-date with all things surrounding this insane project, including new music, new videos and tour dates. And after knowing more about DKSNT and their disturbing creations, you’ll then realize metal music can go much further than the boundaries and limits you’re accustomed to.

Best moments of the album: Θ-Noise – Phase Shift and Deconvolution Ξ*0 [Part II].

Worst moments of the album: None.

Released in 2021 Sentient Ruin Laboratories

Track listing
1. Spin 3:03
2. Deconvolution J/ψ [Part I] 7:38
3. Transition K0 [Part I] 6:39
4. Θ-Noise – Phase Shift 5:59
5. Transition Ω- [Part II] 7:20
6. Deconvolution Ξ*0 [Part II] 9:17
7. Spore 3:23

Band members
Quasar – vocals
Asknt – all instruments

Album Review – Aversed / Impermanent (2021)

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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.

Worst moments of the album: Malaise.

Released in 2021 Independent

Track listing
1. Natsukashi 5:29
2. Close My Eyes 5:35
3. Laboratory 4:13
4. Impermanent 6:45
5. Abandoned 6:21
6. Solar Sea 7:36
7. Malaise 5:52
8. Spiraling 6:27
9. Nightshade 8:35

Band members
Haydee Irizarry – vocals
Sungwoo Jeong – guitars
Alden Marchand – guitars
Peter Albert de Reyna – bass
Jeff Saltzman – drums

Guest musicians
Patrick Logue – orchestrations
Eden Rayz – cello

Metal Chick of the Month – Tanya Beickert

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Take my guiding hand, take my guiding hand with you…

As the winter snow is starting to melt in the Northern Hemisphere, let’s turn up the heat even more here on The Headbanging Moose with another humble tribute to a woman who definitely knows how to set fire to heavy music with her unparalleled roars and clean vocals, showcasing a wide vocal range that’s not easy to find out there, allowing her to sing in pretty much any style from Metalcore to classic Heavy Metal, from Progressive Metal to Melodic Death Metal, and so on. I’m talking about Tanya Elizabeth Beickert, better known as Tanya Beickert, the stunning frontwoman for Long Island, New York-based Progressive Death Metal act Monochromatic Black, an up-and-coming metal entity that will put you to bang your head nonstop while at the same time offering fresh, innovative and intricate music for your avid ears. And let me tell you that after knowing more about our talented metal lady of this month of March and her awesome band, you’ll undoubtedly get addicted to her voice and to the pulverizing music by one of the most interesting new bands of the current American scene.

In case you know nothing about Monochromatic Black, the band was founded in January 2018 by vocalist and lyricist Tanya Beickert, guitarist and songwriter John Gribbin, and drummer and songwriter Eddie DeCesare, all seasoned musicians who had been in other previous projects in the scene, most notably Eddie’s previous band Painted In Exile, when their bands at the time were all gradually slowing down, joined on stage by guitarist Dan Rivera and bassist Arthur Erb (both found by Tanya through social media) to complete the five-piece live group. Whether it’s financial, creativity, shows or whatever decisions that need to be made, Tanya said John, Eddie and herself all come together and try to always do what’s best for the band (by the way, Tanya and John have been friends for years through their old bands), which is one of the main reasons why their music sounds so cohesive and melodic. When asked how she would define their sound, she said their genre could be considered Progressive Death Metal with Metalcore influences and even some Black Metal nuances, meshing a lot of different metal genres to keep things interesting.

There’s no denying of the talent of each band member, but it’s Tanya’s she-wolf, aggressive vocals that truly give their already brutal music an extra edge, with her soft, clean vocals also adding an extra touch of finesse to the overall result, displaying her broad vocal range and, consequently, supporting the band’s atmospheric vein. If you want to explore in more detail the metal realm ruled by Tanya and her henchmen and listen to some of their vibrant and meaningful creations, you can find Monochromatic Black on Facebook, on Instagram, on Twitter, on YouTube and on Spotify, and also purchase their music and merch from their own BandCamp page and Big Cartel. If you want to have your mind blown by the visceral yet enthralling vocals by Tanya (and also enjoy her stunning looks, of course), you can take a very good look and listen at the official videos for the songs Warmth of the Sun, Phosphenes, The Herd, and their newest single Abbadon, or simply have a blast with their debut EP Pneuma in its entirety. There are also some very interesting interviews online with Tanya and the rest of the band, like this one for The Mosh Network where they answered some questions about how the band got started, how they write their music, and what sets them apart from other bands, among other topics, to give you an even better view of the importance of Monochromatic Black to the current underground scene.

Although Tanya acknowledges the similarities between her band and iconic acts like Jinjer and Entheos, bands which Monochromatic Black are usually compared to by fans, and of course that are a huge influence for Tanya herself, she said she doesn’t want her band to be compared to just other female-fronted bands, though, saying they have their own sound and that they want to be admired that way. In order to be on the same level as the aforementioned bands, she said Monochromatic Black have been working hard nonstop from day one, taking the whole project as serious as it can be, always touring, making new music and videos, and working hard to achieve all of their goals. Regarding her own personal influences in music, she mentioned bands like A Perfect Circle, Sikth and After the Burial as some of her top metal acts of all time, with her biggest influences as a singer varying depending on her vocal style. For instance, for clean vocals she’s a huge fan of Maynard James Keenan of A Perfect Circle and Tool, Jimmy Gnecco of Ours, Jeff Buckley (R.I.P.), and Michael Lessard of The Contortionist, while her harsh vocals are influenced by Travis Ryan of Cattle Decapitation, and Anthony Notarmaso of After the Burial. In addition, she mentioned in one of her interviews that the different past projects all members of Monochromatic Black have been in and their personal experiences have surely helped them in the long run, but it’s hard to pinpoint the one that had the biggest influence in the making of Pneuma.

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In regards to touring, due to the obvious restrictions imposed to stop the spread of COVID-19 there aren’t any upcoming concerts scheduled for Monochromatic Black in the next few months, but that doesn’t mean Tanya and the boys are not getting ready for hitting the road once all this madness is finally over. They will focus on the United States at first for obvious reasons, but based on the quality of their music and how fans from all over the world really love that style of metal music I’m sure we’ll see the band kicking some serious ass in foreign lands soon enough. Also, despite the fact Monochromatic Black is fairly new to the scene, as mentioned Tanya and her bandmates are seasoned musicians, having played with countless bands from the New York Death Metal scene and being open to playing alongside all local bands like The Machinist, Internal Bleeding, Dehumanized, Pyrexia and so on. In order to get ready to kick some ass on stage with her powerful voice, Tanya  mentioned she warms up beforehand by screaming the alphabet in low, mid and high screams, and to keep her voice fit she practices as much as possible all the time (not to mention she also took a few vocal lessons years ago).

Our skillful growler was also asked in some of her interviews to give more details about the writing process and meaning of Monochromatic Black’s debut effort, where she said that Pneuma is a concept album that walks the listener through, starting from rock bottom to finally rising to the top, as everyone has different struggles and experiences and the album is just one journey written about that. She also said together with her bandmates that their unique sound came naturally as they all write and bring material to the table, meeting up twice a week while writing on their own time and shaping the songs on the spot together, with no planned out idea, just what they sound like when they come together. She also commented a little about two of the songs featured in Pneuma, more specifically Phosphenes and Dream Catcher; while she mentioned that Phosphenes for her is about losing your confidence, inner peace or who you truly are as a person to someone extremely negative or abusive, she said that her favorite song of the album is Dream Catcher, simply because it goes from serene to eerie to brutal all in one track.

Lastly, when asked about how she sees the band in the coming years, she said that hopefully they’ll already be headlining professional level tours and releasing more records (and stay tuned as their new opus is about to hit the market in the coming year or so), a combination which as you can see seems to be the biggest passion of all band members. Hence, you can check some awesome video interviews online with Tanya (either alone or together with the rest of Monochromatic Black) to not only learn more about such promising American act, but to also see how humble, focused and entertaining the entire band is, as for example Tanya’s interview on The Metal Magdalene with Jet international radio broadcast on Metal Messiah Radio, where she talks about some of her main influences, about her clean and guttural vocals, about Pneuma and about the future of the band; and an interview to Showbiz Music where the band talks about their “preshow rituals”. Also, you might not know about this, but Monochromatic Black are affiliated with Blakhart Coffee in their mission in helping wildlife, with a portion of the sales from their branded coffee, “Monochromatic Black Roast” NY Style Dark Ground, going to a local non-profit organization. Having said that, what are you waiting for to join Tanya and the boys in their quest for metal music and wildlife, while at the same time enjoying some high-quality coffee? I’m sure Tanya would love to see us all metalheads supporting a very noble cause, raising our horns while she growls and screams the lyrics to her insanely good and heavy creations.

Monochromatic Black’s Official Facebook page
Monochromatic Black’s Official Instagram
Monochromatic Black’s Official Twitter
Monochromatic Black’s Official YouTube channel
Monochromatic Black’s BandCamp page
Monochromatic Black’s Big Cartel

“I think what makes us stand out is the genre we play. It’s all different genres and energy combined into one and a lot of people have noticed that which is awesome.” – Tanya Beickert

Album Review – Wojtek / Does This Dream Slow Down, Until It Stops? EP (2021)

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Bang your heads in total isolation to the sound of the new EP by this Italian Sludge Metal entity, offering us all four austere songs born from the boredom and frustration of two lockdowns.

Wojtek is a basic, Polish male name. Wojtek is also a Syrian bear who fought in the Battle of Cassino, during World War II, carrying crates of ammunition and roaring at enemies. And Wojtek is also a Padua, Italy-based band born in May 2019, playing a heavy and raw fusion of Sludge and Doom Metal, and who have just released their third EP curiously titled Does This Dream Slow Down, Until It Stops?, offering fans of heavy music four austere songs born from the boredom and frustration of two lockdowns. Comprised of vocalist Mattia Zambon, guitarists Morgan Zambon and Riccardo Zulato, bassist Simone Carraro and drummer Enrico Babolin (who was also the producer of the album), Wojtek dig deeper into their favorite topic, that being human misery, in each of the four tracks of the EP, with the mixing and mastering by Mattia Bonafini, the cryptic artwork by the band’s own guitarist Riccardo Zulato and the logo by View From The Coffin adding an extra touch of darkness, rage and despair to the band’s venomous metal music, therefore living up to the legacy of the most primeval form of Sludge Metal.

In the opening track Catacomb we’re treated to wicked lyrics growled by Mattia (“Grow my fears / Is this town real? / Drill my ears / Endless pain I feel / Whenever you whisper I break / Every inch of my muscles will shake”) while his bandmates blast their instruments with tons of rage and aggressiveness from the very first second in an infernal display of contemporary Sludge Metal, and Enrico continues to add his share of animosity to their rebellious music through his Thrash and Death Metal beats in Desensitized, with Morgan and Riccardo slashing their strings mercilessly. Put differently, this is a neck-breaking, violent tune that reeks of progressiveness and obscurity. Then an instrumental and absolutely atmospheric horror movie-inspired interlude entitled Rednetrab (or “bartender” backwards) will send shivers down your spine before those Italian metallers come crushing one last time with their dirty and Stygian sounds in XX Years, a beyond disturbing creation where the bass punches by Simone will hit you right in the face while Mattia vociferates rabidly à la Mike Patton, bringing to our ears a flawless hybrid of Hardcore and modern-day Stoner and Sludge Metal tailored for admirers of the genre.

If you’re curious to know more about Wojtek and their wicked creations, you can start following the band on Facebook and on Instagram right away, and grab your copy of Does This Dream Slow Down, Until It Stops?, which is by the way available for a full listen on YouTube and on Spotify, from several locations including the band’s own BandCamp page, the Ripcord Records’ BandCamp page, the Teschio Dischi’s BandCamp page, the Violence In The Veins’ BandCamp page, and Apple Music. In the end, it looks like this never-ending pandemic has been extremely fruitful for the guys from Wojtek, inspiring them to turn their inner darkness and frustrations into first-class doom and, consequently, offering us all another good reason to keep banging our heads while in total isolation from society.

Best moments of the album: Desensitized and XX Years.

Worst moments of the album: None.

Released in 2021 Ripcord Records/Shove Records/Teschio Dischi/Fresh Outbreak Records/Violence In The Veins

Track listing
1. Catacomb 4:37
2. Desensitized 5:02
3. Rednetrab 4:08
4. XX Years 5:31

Band members
Mattia Zambon – vocals
Morgan Zambon – guitars
Riccardo Zulato – guitars
Simone Carraro – bass
Enrico Babolin – drums

Album Review – Vox Mortis / Avignam Jagat Samagram (2021)

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The Indonesian rabid dogs of Death Metal are ready to attack in their visceral 13-track debut opus packed with aggressive riffs and intense blast beat while at the same time raising awareness about animal welfare.

Mixed and mastered by Indonesian musician Muhamad Ridho Leonard (of bands like Choria, Infitar and Kill Athena), who’s also the session guitarist in the album under the moniker Rsharsh, Avignam Jagat Samagram is the debut opus by Indonesian Death Metal act Vox Mortis (which translates from Latin as “the voice of the dead”), containing 13 visceral songs packed with aggressive riffs and intense blast beat while at the same time raising awareness about animal welfare. Formed in 2020 in Jakarta, Indonesia’s massive capital sitting on the northwest coast of the island of Java, by vocalist Doni Herdaru Tona (of Funeral Inception, Bloody Gore, Kerangkenk and more), bassist Donirro and drummer Achmad Mustaid (of Vomitology and Funeral Inception), Vox Mortis will pulverize your senses with Avignam Jagat Samagram, attacking you like a feral beast while sending a very important (and obviously dark) message about how animal cruelty is helping to drive our society to its abominable and inevitable end.

Rev up your engines as total annihilation is about to start in Sadisfaction, with Achmad crushing his drums ruthlessly while the guitars by Rsharsh will slash your ears like a sharp razor blade. In other words, it’s brutal and technical Death Metal for the masses, which is also the case in Forever No To Dog Meat, a Brutal Slamming Death Metal chant made in Indonesia where the band tries to uncover the dark side of dog meat trade circulation and the cruelty behind it until it is served as food, with Doni sounding like a creature from the abyss with his guttural growls; followed by the title-track Avignam Jagat Samagram, just as bestial and pulverizing as the previous songs, with the addition of some background orchestrations making it even more diabolical and with Donirro and Achmad being on fire with their rumbling bass and blast beats. Their fusion of old school Death Metal with epic music goes on in Bayar Dendam Balas Hantam, where Donirro delivers some Alex Webster-inspired bass jabs while Achmad keeps hammering his drums furiously; and talking about human abusive behavior and animal cruelty, it’s time for the trio to get back to a rawer and more visceral sonority in Primata Durjana, where Doni keeps barking like a deranged dog (which makes total sense) accompanied by the demented kitchen by his bandmates. Then vile and aggressive from the very first second, Mati! Mati! Mati! Is another solid display of savagery in the form of Death Metal spearheaded by the thunderous drums by Achmad.

In Tetes Darah Pecundang the band adds elements of Groove Metal to their usual sonic madness, but of course always loyal to their vile roots, with Doni’s growls walking hand in hand with the stone crushing beats by Achmad, whereas leaning towards the Death Metal played by Cannibal Corpse in their most recent albums the band fires the obscure and groovy Torture 365, presenting an amazing job done by Donirro with his sick bass while Rsharsh’s riffs overflow violence. There’s no time to breathe as Ronta Semesta begins in full force, led by the infernal drumming by Achmad and the always wicked roars by Doni, and also no sign of things slowing down as Vox Mortis keep demolishing our senses in Di Atas Altar Tradisi, with Doni vociferating manically while Rsharsh brings wrath to the music with his riffage. After a wicked intro the band comes back with their fusion of Death Metal and Deathslam in the form of Friends Not Food, where the bass by Donirro sounds more metallic and vicious as the music progresses, and the band delivers a fast and hellish Death Metal sonority that’s pretty good by itself, but that of course lacks Doni’s evil roars, in the instrumental Ode Untuk Sang Jendral. Lastly, how about a sick tribute to the one and only Morbid Angel with Chapel of Ghouls/Immortal Rites, both taken from their 1989 classic album Altars of Madness? You can check the original versions for Chapel of Ghouls and Immortal Rites on YouTube and see for yourself that Vox Mortis’ tribute lives up to the darkness of the original songs.

If you want to know more about those relentless Indonesian death metallers and their quest for animal rights, you can start following them on Facebook and on Instagram, subscribe to their YouTube channel and stream more of their music on Spotify, and sooner than you think purchase their excellent and devastating debut album from their own BandCamp page, from the Necropsy Records webstore and from the Rapture Records webstore. The album’s aggressive album art, designed by the talented Indonesian musician and illustrator Adi Christianize (Dechristianize Art), is the perfect depiction of the music by Vox Mortis, where a beastly, monstrous dog is finally unleashed from his chains and is ready to seek revenge against mankind, exactly how the Death Metal by those Indonesian rabid dogs sound. It’s visceral, violent and thrilling from start to finish, just the way we fans of extreme music love it, and I personally can’t wait to see what’s next for such promising band from “The Emerald of the Equator.”

Best moments of the album: Forever No To Dog Meat, Avignam Jagat Samagram and Torture 365.

Worst moments of the album: Ode Untuk Sang Jendral.

Released in 2021 Cerberus Productions/Necropsy Records/Rapture Records

Track listing
1. Sadisfaction 4:02
2. Forever No To Dog Meat 3:17
3. Avignam Jagat Samagram 4:09
4. Bayar Dendam Balas Hantam 3:58
5. Primata Durjana 3:17
6. Mati! Mati! Mati! 2:51
7. Tetes Darah Pecundang 3:55
8. Torture 365 3:54
9. Ronta Semesta 3:37
10. Di Atas Altar Tradisi 3:50
11. Friends Not Food 3:49
12. Ode Untuk Sang Jendral (Instrumental) 5:00
13. Chapel of Ghouls/Immortal Rites (Tribute to Morbid Angel) 3:52

Band members
Doni Herdaru Tona – vocals
Donirro – bass
Achmad Mustaid – drums

Guest musician
Rsharsh – guitars (session)

Album Review – Orecus / The Obliterationist (2021)

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Behold the rebirth of an amazing Swedish act armed with their first full-length album, drawing influences from the riff-focused modern-era Death Metal together with the aggression of its older counterpart.

Founded in 2011 in Stockholm, Sweden and having released an EP titled Conclusion in 2016, but re-ignited as a band in 2020, Melodic Death Metal unity Orecus draws influences from the riff-focused modern-era Death Metal together with the aggression of its older counterpart, forming a clear path between sheer brutality and clever songwriting. Comprised of Philip Grüning on vocals, Elias Ryen-Rafstedt and Francis Larsson on the guitars, and Martin Maxe on bass, Orecus are set to release their first full-length opus entitled The Obliterationist, showcasing the band’s capability to create uncompromising Modern Death Metal that both grooves and reeks havoc, spiced up by the pristine re-amping, mixing and mastering by Buster Odeholm of Impact Studios and enfolded by a dark and aggressive artwork by Jorden Haley, who has already worked with bands the likes of Daath and The Agony Scene.

Elias and Francis begin slashing their guitars mercilessly in The Obliterationist while Philip roars the song’s austere lyrics like a true beast (“There’s money to be made in reeking havoc / When our leaders slaughter for personal gain / Provoking the underdogs / Until their fates are sealed”) in a vicious display of modern-day Melodic Death Metal; and hammering drums are accompanied by the low-tuned, metallic bass by Martin in Distress Signal, a good headbanging tune where Philip’s growling gets deeper and more demonic than before, also presenting elements from classic Death and Groove Metal. Then investing in a more contemporary sonority by adding hints of Metalcore to their already infernal sound, the band fires the venomous The Destruction Path, where the strident riffage by Elias and Francis will pierce your mind like a bullet, whereas featuring guest vocalist Chad Kapper (Frontierer) we’re treated to Blodvite, displaying industrialized sounds and endless electricity flowing smoothly from all instruments. Moreover, it’s impressive how they can sound technical but at the same time extremely dark and heavy, and it’s time to crush our spinal cords into the circle pit to the sound of Omnipotent, a brutal Melodic Death Metal composition where sheer violence and rage exhale from the band’s riffs, bass jabs and drums nonstop.

Supported by the spot-on guest vocals by Fredrik Söderberg (Soreption), the bass by Martin sounds and feels beyond visceral in Below The Threshold, while the band’s guitar duo cuts our skin deep with their demonic shredding accompanied by Philip’s inhumane gnarls, and they continue their Melodic Death Metal onrush with the also heavy and dark Unborn, Reborn, showcasing an amazing job done by both Elias and Francis in absolute sync with the song’s intricate beats. Then the deep guttural roars by Philip will haunt your soul in the bludgeoning tune My Manifest, presenting their trademark Melodic Death Metal guitars intertwined with a somber atmosphere and endless savagery. In Become The Nihilist the band shows why they’re never tired of blasting obscurity and rage from their sonic weapons, albeit not as vibrant as its predecessors and sounding a bit generic after a while. It’s still heavy-as-hell, though, setting the tone for Extinct, bringing to our ears one last round of their Stygian words barked by Philip (“I’ve caught a glimpse of what’s to come / A sinking world / Suffocated by submissive views / The deafening silence speaks volumes”) while the music remains as demented as possible, not to mention how thunderous Martin sounds on bass.

The ruthless guys from Orecus are waiting for you on Facebook, on Instagram and on Spotify to show you exactly what they got, and of course in order to provide them your utmost support you can purchase The Obliterationist from their own BandCamp page, from Apple Music or from Amazon, adding such intense album of Melodic Death Metal to your personal and vile collection. As already mentioned, Orecus offer us fans of extreme music a fantastic fusion of old school and modern-day Death Metal with endless aggression, heaviness and intricacy in The Obliterationist, and let’s hope that their newborn spawn is just the first step in this new phase of their career, keeping the flames of underground Swedish Melodic Death Metal burning high and bright for many years to come.

Best moments of the album: The Obliterationist, The Destruction Path and Below The Threshold.

Worst moments of the album: Become The Nihilist.

Released in 2021 Violent Groove

Track listing
1. The Obliterationist 4:42
2. Distress Signal 3:23
3. The Destruction Path 4:08
4. Blodvite 3:32
5. Omnipotent 4:27
6. Below The Threshold 3:57
7. Unborn, Reborn 5:06
8. My Manifest 3:52
9. Become The Nihilist 3:39
10. Extinct 4:27

Band members
Philip Grüning – vocals
Elias Ryen-Rafstedt – guitars
Francis Larsson – guitars
Martin Maxe – bass

Guest musicians
Chad Kapper – vocals on “Blodvite”
Fredrik Söderberg – vocals on “Below The Threshold”

Album Review – Demon King / The Final Tyranny EP (2021)

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This newly formed demonic trio aims to be one of the reigning champs of the Death Metal world with their fulminating and very technical debut EP.

Formed in 2019 in the city of Nashville, Tennessee, in the United States, Blackened Death Metal outfit Demon King is the comeback project of prominent original Enfold Darkness guitarist Matt Brown after stepping away from playing music for a number of years, now joined by technical wizards Malcolm Pugh (Inferi, A Loathing Requiem, Entheos) on bass and Jack Blackburn (Inferi, Enfold Darkness, Vital Remains) on drums. Together, this incredibly talented trio aims to be one of the reigning champs of the Death Metal world in the coming years, starting their path of devastation with their debut EP titled The Final Tyranny. Mixed by Zack Ohren at Castle Ultimate Productions, mastered by Justin Shturtz at Sterling Sound, and displaying an infernal artwork by renowned artist Justin Abraham, The Final Tyranny is strongly recommended for fans of Abigor, Arsis, Dimmu Borgir, Naglfar, Necrophagist and Old Man’s Child, among many others, providing the listener 17 minutes of undisputed dexterity, violence and rage.

We must admit Blackened Death Metal always brings us amazing, poetic lyrics, which is exactly the case in the opening track Tyrannical Reign of the Deceiver (“For ages the world did hold the coming of one / Which would usher in the era of din / And the chieftains they called upon disorder as order / Their ally for the clasp within / Multitudes surrender to him as their god”), while Jack sounds like a stone crusher from hell on drums and Malcolm hammers his metallic bass nonstop, resulting in an explosion of sounds that’s as technical and infernal as it can be. Then a sinister intro will darken the skies before the trio comes ripping with their hard-hittingTechnical Death Metal in Invoking the Spirit of Chaos, where Matt not only roars like a demonic entity, but his hellish riffage adds an extra touch of dementia to the music; and it’s time for more lunacy in the form of Technical and Blackened Death Metal in Transmutation of the Artilect, with Malcolm and Jack being absolutely thunderous and menacing with their beats and bass jabs while Matt continues to gnarl and scream rabidly in a perfect fusion of intricacy and heaviness. Lastly, even more obscure than its predecessors, The Watcher, Wreathed In Flame is a ruthless display of modern-day aggressiveness and fury, with the demonic drums by Jack being beautifully supported by the demented strings by both Matt and Malcolm, not to mention how piercing Matt’s guitar solos sound and feel.

This short and sweet display of unrelenting Blackened Death Metal by Demon King is available for purchase by clicking HERE, or from other retailers such as Amazon and Record Store Day. Also, don’t forget to follow those insane metallers on Facebook and on Instagram, and to stream their sick creations on Spotify, showing your utmost support to this newborn force of the extreme music scene. Across its four dense tracks, The Final Tyranny deftly combines and shifts on a dime between Technical Death Metal, Black Metal, and Melodic Death Metal in order to create a sound of their own, also pointing to a very interesting future ahead of the trio and, therefore, inspiring fans of Death Metal from all over the world to keep slamming into the circle pit while Matt, Malcolm and Jack show us exactly what to do when armed with their sharp instruments and their blackened hearts and souls.

Best moments of the album: Tyrannical Reign of the Deceiver and Transmutation of the Artilect.

Worst moments of the album: None.

Released in 2021 The Artisan Era Records

Track listing
1. Tyrannical Reign of the Deceiver 3:51
2. Invoking the Spirit of Chaos 4:16
3. Transmutation of the Artilect 4:31
4. The Watcher, Wreathed In Flame 5:04

Band members
Matt Brown – vocals, guitars
Malcolm Pugh – bass
Jack Blackburn – drums