Tag Archives: death metal

Album Review – Winterhymn / Blood & Shadow (2016)

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If your fearless heart claims for top-notch Epic Folk Metal, you’ll definitely enjoy this excellent compilation of songs perfect for your mead-drinking and mud-fighting parties.

Rating4

Blood&Shadow_FrontAlthough I couldn’t see Pagan/Folk Metal squad Winterhymn kicking ass live during Paganfest America Part V here in Toronto in 2014 due to traffic issues (as you can read HERE), I went after their music to get to know more about this American sextet, and let me tell you I was impressed with the energy, passion and creativity flowing from their symphonic and progressive compositions. With that said, I guess I don’t need to mention how excited I got when I received their brand new album for review, the melodious Blood & Shadow, right?

Since their inception in 2009, these folk metallers from Cincinnati, Ohio have been bringing the epicness of Celtic and Scandinavian Folk sounds to the United States, starting with their 2011 debut album Songs for the Slain until this year’s Blood & Shadow, also sharing the stage with renowned names like Eluveitie, Turisas, Chthonic, Arkona and many others. Featuring a beautiful and sanguinary artwork by Irish artist Vasilis Zikos, reflecting a scene from Winterhymn’s personal mythos (which the album is entirely based upon), Blood & Shadow is the soundtrack for drinking lots of mead and getting in random fights in the mud around a bonfire, all embraced by the undeniable talent of four brave lads and two stunning maidens.

Blending elements from Folk and Black Metal with hints of Power Metal, the melodic battle chant Blood of the Moon kicks off the album on a high note by bringing forward a very epic rhythm with highlights to the mesmerizing sound by violinist Umbriel, followed by Dream of Might, which leans towards pure Folk Metal. Albeit slower than the opening track, it still offers a high dosage of epicness, with the vocals by lead singer and guitarist Draug being perfectly complemented by the pounding drums by Valthrun and the once again incredible violin sounds by Umbriel. And the outstanding Pagan Metal composition Blood Burner is one of those songs tailored for fans of vicious battle chants who love to slam into the circle pit with a pint of cold beer in hand, with Draug and Varrik providing some exciting riffs and solos while Valthrun doesn’t let the amazing energy in the music go down.

Less violent and with a more progressive flow (but still very impactful), Legacy in Flames offers lyrics about the everyday life of a warrior nicely declaimed by Draug and bassist Alvadar (“We hunt our prey / With our last breath / By the sanguine moon / Through realms of death / So curse our name / You’ll be slaughtered all the same / Your legacy in flames”), with its last part being highly recommended for prancing around a fire pit with a pint of mead; whereas The Summoning displays a higher focus on Death Metal guttural vocals while instrumental is purely Folk Metal, a good balance that works well for a while but that unfortunately falls flat close to the end of it. Seafarer, a “Middle Earth-inspired song”, is a semi-acoustic ballad where violin and acoustic guitars generate the perfect atmosphere for Draug and his clean vocals, a soulful break from the band’s traditional battle hymns before Silenced by the Northern Winds gets back to brutal folk music with Draug leading the band’s onrush with his imposing growls, boosted by an excellent guitar solo to properly conclude this thrilling tune.

zGroup (22)In Shadow We Ride, another classic Folk Metal tune by Winterhymn, offers the listener slower beats and a fighting vibe, with its second half getting slightly heavier and, consequently, adding some extra flavor to the overall result (especially the potent bass lines by Alvadar). And in Huntsman, a serene intro morphs into brutal Pagan Metal, with its lyrics being everything a fan of this type of music loves (“They marched across the Iron Jaw with sword and helm / Seeking fabled woodland doorways to the twilight realms / The proudest of their captains are now hunted like boars / Their banners lie in gory pools upon the forest floor”). Moreover, all instruments sound potent and sharp, accrediting it to be one of the best songs of the new album for their live performances.

The final triad of Folk Metal in Blood & Shadow begins with the electrifying The Wolf’s Head, where Death and Power Metal elements arise. The song’s riffs and solos, together with the precise drumming by Valthrun, set the music on fire, with both guttural and clean vocals and the background sonority crafted by Umbriel and Exura on violin and keyboards, respectively, being absolutely outstanding. Into the Depths shows the whole band still has enough fuel for more Epic Pagan Metal, which after a solid intro gets heavier than almost everything from the album, not to mention the heroic singing by Draug. And lastly, Umbriel dictates the rhythm through her fast and melodious violin in The Chosen End, where all band members unite to provide the listener a full-bodied composition overflowing courage, passion and pain, a climatic ending for such a professional album.

If your courageous heart claims for top-notch Epic Folk Metal, go check Winterhymn’s Facebook page, as well as their YouTube channel and ReverbNation page, and don’t forget to buy their new album at the SoundAge Productions’ webstore, at the band’s BandCamp page, on iTunes or on Amazon. As aforementioned, there’s no better way to get drunk with mead and engage into mud-fighting than to the sound of such an amazing band like Winterhymn.

Best moments of the album: Blood Burner, Silenced by the Northern Winds and The Wolf’s Head.

Worst moments of the album: The Summoning.

Released in 2016 SoundAge Productions

Track listing
1. Blood of the Moon 3:48
2. Dream of Might 3:59
3. Blood Burner 3:19
4. Legacy in Flames 4:51
5. The Summoning 4:12
6. Seafarer 3:20
7. Silenced by the Northern Winds 6:53
8. In Shadow We Ride 4:47
9. Huntsman 5:23
10. The Wolf’s Head 3:39
11. Into the Depths 6:25
12. The Chosen End 4:31

Band members
Draug – vocals, lead guitar
Varrik – guitar
Alvadar – bass, backing vocals
Exura – keyboards
Umbriel – violin
Valthrun – drums

Album Review – Diabolizer / Apokalypse MCD (2016)

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A short and violent soundtrack to apocalypse delivered by a promising Death Metal band forged in the scorching fires of Turkey.

Rating4

diabolizer_apokalypse_coverThe already scorching fires of Kadıköy, a large cosmopolitan district of Istanbul, Turkey, are about to become even more incandescent due to the release of the excellent MCD entitled Apokalypse, forged in the pits of hell by a relentless Death Metal entity known as Diabolizer. Formed in 2012, this apocalyptic horde is comprised of members from Decaying Purity, Engulfed, Deggial and Godslaying Hellblast, among others, all prominent bands from the Turkish underground scene, with a sole purpose of worshiping destruction and punishing any living creature that dares to confront them with their decimating Death Metal.

This thrilling MCD contains five brand new compositions by the Diabolizer crew and two tracks from their very limited 2012 promo Shadows Of Impending Decimation, as a bonus to all true supporters of good old Death Metal. Not only that, in order to give a proper face to their music, Diabolizer recruited Polish illustrator Robert A. von Ritter (Armagh, Ragehammer) for the artwork and Polish artist Piotr Kurek of Mentalporn (Ulcer, Embrional) to take care of the design of the album, and the final result is obviously amazing, representing in images all the fury and melody found in Apokalypse.

Diabolizer come crushing with their loud and infernal Death Metal from the very first second of the opening track, Process the Void, with lead singer Abomination sounding like a raving bulldozer while drummer Aberrant delivers pure hatred through his drums. After listening to this amazing showcase of Extreme Metal made in Turkey, you’ll start wondering if there’s a way they could sound even more furious than this. Well, those Turkish metallers actually answer that question with the superb Death Metal chant Condemned to Burn in Hell, where they masterfully unleash hell with Mustafa and Ewan pounding their strings and Abomination going from the deepest guttural to enraged high-pitched screams in an solid and demonic way.

And there’s absolutely no sign of Diabolizer slowing down in Temple of Demonic Torments, where Aberrant keeps showing off his tremendous skills as a drummer whereas Mustafa and Ewan once again fire their aggressive but melodious riffs and solos, followed by Blood Aesthetics Dictated,  with Abomination commanding this sonic onslaught by bursting his lungs out. This is brutal Death Metal with highlights to its barbaric rhythm and relentless riffage, and get ready to feel your entire body soaring after banging like a wild beast to this demented tune.

diabolizerInspired by the musicality found in most albums by the iconic Cannibal Corpse and blended with elements of contemporary Black Metal, Hammer of Diabolization (such a beautiful name for a song) offers the listener some interesting tempo changes and lots of variations to its intensity, a breathe of “sulfuric” air that ends up providing a humongous extra dosage of electricity to the overall result. In regards to the two bonus songs taken from their 2012 promo, I bet you can imagine they are as demolishing as the new songs if you haven’t heard them yet. Beneath the Skullthrone and Descend into Desolation are both exceptional Death Metal songs, with the latter being more brutal and, therefore, more gripping.

In order to get in touch with Diabolizer, simply go check their Facebook page, and if you want to purchase a digital copy of Apokalypse you can find it for sale at their BandCamp page. In case you’re an old school metal fan and prefer a physical copy of the album, the MCD is available in two versions: a regular jewel case CD with an 8-page booklet and a limited edition (100 copies) of jewel case CD branded with serigraphy print and patch. If Diabolizer were capable of delivering such a high level of violence and hatred in only a few songs like what we can see in Apokalypse, I wonder what will happen when they finally release their first full-length album upon humanity. Maybe we’ll witness the ultimate “soundtrack to apocalypse”, don’t you think?

Best moments of the album: Condemned to Burn in Hell and Hammer of Diabolization.

Worst moments of the album: None.

Released in 2016 Third Eye Temple

Track listing
1. Process the Void 4:57
2. Condemned to Burn in Hell 2:58
3. Temple of Demonic Torments 4:34
4. Blood Aesthetics Dictated 4:37
5. Hammer of Diabolization 5:34

Shadows Of Impending Decimation (Promo 2012) bonus tracks
6. Beneath the Skullthrone 4:34
7. Descend into Desolation 4:57

Band members
Abomination – vocals
Mustafa – guitars
Ewan – guitars
Alican – bass
Aberrant – drums

Album Review – EvnaR / E.V.N.A.R. (2016)

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Two high-skilled Spanish brothers and their loyal Slovenian sledgehammer deliver a lesson in Blackened Death Metal, spreading darkness and destruction all over the world through their purely demonic and extremely refined technique.

cover artworkConceived in the minds of Spanish blood brothers R.M. (vocals) and J.M. (guitars) before founding Black/Death Metal band Between the Frost in 1993, and reignited in 2010 with the help of the impressive Slovenian drummer Robert Kovačič (Belphegor, Obduktion, Nothnegal), Blackened Death Metal act EvnaR is releasing their debut full-length opus, curiously entitled E.V.N.A.R., with the main objective of spreading darkness and destruction all over the world through their purely demonic and extremely refined technique, which will certainly please all fans of Behemoth, Belphegor and God Dethroned, among others.

The pitch-black artwork by Spanish artist César Valladares, whose pencils are also seen in the artworks for bands like Asphyx, Balmog and Graveyard, with the Reaper sitting on his throne waiting for the doomed to take unholy communion with him, not only represents the desire of the brothers to have a more primitive cover art based in the classic concept of the Grim Reaper, but it’s also a precise depiction of the unrelenting Blackened Death Metal discharged by this exciting band from Tarragona, Catalonia. As one final (but important) detail before all hell breaks loose, E.V.N.A.R. was recorded with a lot of patience and dedication for one year in different studios in Spain and Slovenia, being finally mastered by multi-instrumentalist and producer Tore Stjerna at Necromorbus Studio in Sweden, just to give you an idea of how crisp and ear-splitting the compositions by EvnaR sound.

The sharp and fast riffs by J.M. ignite the Blackened Death Metal extravaganza named Blasphemia Manifesta, a feast of extreme music from the netherworld where R.M. personifies the song’s demonic lyrics through his gruesome growling (“Darkness unites us beyond / All human will / We should be strong as the evil in whom believe / Denial praises / Utter darkness / This is our grim black cult, grim black cult of death”), while in Contemptus Vitæ we are able to witness why Robert was the perfect fit for the band, delivering complex and vicious beats and fills. Furthermore, the whole song leans towards pure Black Metal due to its frantic speed and to the hellish sound of the guitar by J.M., an extra hint of devastation to an already solid composition.

Then we have a fantastic composition from hell entitled Infinite Dark Hatred, which name epitomizes its sounding. There’s a gargantuan amount of hate and despair in R.M.’s vocals, barking like a rabid demon most of the time, whereas the intricacy found in the drumming by Robert gets closer to what we can normally find in more progressive heavy music. In Death In The Air (Stench Of The Slain), rumbling bass lines are quickly followed by more satanic riffs and bestial beats, getting even more blackened than the previous tracks and, consequently, resulting in a nonstop havoc highly recommended for fans of old school Black Metal with a more melodic approach. If you’re a true fan of guttural vocals, I bet you’ll be screaming the chorus together with R.M. every single time you listen to this amusing chant.

band photoKing Of The Grand Uruk has as its main ingredient its epic lyrics about a powerful entity of darkness (“Two parts god, one part man / King of the Grand Uruk / The envy of the gods / Carved his story in stone / Dreams and visions fighting both / Against demons and men”), which will surely grab the attention of any listener avid for a good storyline behind a sonic chaos. Musically speaking, it’s another potent blast of extreme music, where not a single space is left empty, and if you know Robert from his previous bands you can imagine how astonishing his drumming sounds in this savage composition. And embracing total fuckin’ darkness, the Spanish brothers and their loyal Slovenian sledgehammer deliver traditional Black Metal with the most poisonous elements from Death Metal in Torment of the Damned, showcasing an amazing combination of metallic riffs and rhythmic beats.

Conceived In Fire provides a quick break for us to recover our energies in the form of acoustic guitars and less devastating riffs, but that’s obviously for a very short while as their menacing sounding returns to torment our souls ruthlessly. Furthermore, the complexity displayed through the guitar lines by J.M. will put a smile in the face of any guitarist who loves extreme music or even the ones who have never had any contact with the furious uproar of Blackened Death Metal. And last but not least, it looks like EvnaR have absolutely no mercy on our souls based on the demented tune that closes the album, named My Cremation, where the unstoppable beats blasted by Robert complement the hurricane of darkness led by J.M., while R.M. keeps vociferating his putrid words vigorously.

Although it might have taken a considerable amount of time for EvnaR to become a reality in the world of extreme music, every second was worth the wait thanks to the brilliant job done by this power trio when recording E.V.N.A.R., and in order to know more about their blasphemous and cataclysmic music, go check their Facebook page and get your copy of E.V.N.A.R. at their BandCamp page, at The Vinyl Division’s BandCamp page, or at Discogs. I won’t be surprised if I see this album among several rankings listing the top releases of 2016, it doesn’t matter if it will be on a list built by an entity specialized in extreme music or not, so compelling the content of the entire album is.

Best moments of the album: Blasphemia Manifesta, Death In The Air (Stench Of The Slain) and My Cremation.

Worst moments of the album: None.

Released in 2016 Winter Demons/The Vinyl Division

Track listing
1. Blasphemia Manifesta 2:52
2. Contemptus Vitæ 3:49
3. Infinite Dark Hatred 4:36
4. Death In The Air (Stench Of The Slain) 3:25
5. King Of The Grand Uruk 3:10
6. Torment Of The Damned 4:44
7. Conceived In Fire 6:10
8. My Cremation 2:44

Band members
R.M. – vocals
J.M. – guitars
Robert Kovačič – drums

Album Review – Ulcer / Heading Below (2016)

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Trenchant riffs, bestial vocals and wicked beats overflowing from the third full-length installment by a band from Poland that has always been loyal to the foundations of Death Metal.

Rating5

ulcer-heading-below-frontThree years after the release of Grant Us Death, the implacable Polish Death Metal squad Ulcer strikes again with their third full-length album, entitled Heading Below, which will certainly drag you down to the underworld with its 50 minutes of devastating old school Death Metal in the vein of Swedish classics. Bursting with trenchant riffs, bestial vocals and wicked beats while dealing with topics like hate, anti-religion and death, this is a highly recommended albums for fans of the genre, and also an album that effectively solidifies Ulcer’s career not only in Poland, but anywhere in the world where Death Metal is respected and admired.

Formed in 2006 in the city of Lublin (around 200km southeast of the capital Warsaw) and featuring members from established bands such as Blaze of Perdition, Abusiveness, Deivos and Dira Mortis, Ulcer can be considered one of the (relatively) new European bands with the strongest loyalty to the roots of Death Metal, keeping their sounding as raw and aggressive as possible, but with the addition of distinct elements from other subgenres of Extreme Metal to keep the music always fresh and exciting. If the name of the band is not enough to prove you how vile and gruesome the music in Heading Below is before you hit play, take a good look at the austere cover art by Polish artist Piotr Kurek of Mentalporn (who was responsible for the artwork for another Polish Death Metal band  recently reviewed by The Headbanging Moose, the also excellent Embrional) and you’ll then realize it’s brutal Death Metal we’re talking about, and nothing else.

How else could a good Death Metal album start than with some eerie noises suddenly exploding into sheer inhumanity? That’s the opening track, named Down Below, a sonic thunder that will crush you mercilessly led by the demolishing riffs by guitarist Lucass and Mścisław, with hints of Black Metal inserted into the musicality to darken the final result even more. In Fiends Forever, melodious but fierce guitar lines open the gates for the bestial vociferations by frontmen D. and Angelfuck and the heavy beats by drummer Vizun, until the song’s Cannibal Corpse-inspired ending; whereas Sights To See presents ruthless Death Metal with hints of Hardcore and Black Metal, which obviously enhances the song’s savageness. D. and Angelfuck are once again a dynamic duo of destruction, spearheading one of the best and most devastating moments of the album for sure.

All In Vain is one of those songs where an epic intro morphs into blasting metal with huge doses of anger, with Vizun being the band’s unstoppable stonecrusher while bassist Szwed provides the low-tuned creepy lines we love in extreme music, all embraced by a somber atmosphere. As aforementioned, Ulcer definitely know how to grab the best elements from other subgenres of heavy music, as for example the Doom Metal-ish vibe that complements the ferocity of their Death Metal in the elegantly fast and furious The Phantom Heart, another brutish hymn perfect for some sick mosh pits. You Called, We Came is a direct Death Metal composition tailored for diehard fans of boisterous extreme music, with absolutely no magic ingredients added to its formula but old school destruction. Moreover, Lucass and Mścisław fire exactly what the music demands through their devilish guitars. On the other hand, despite presenting some good moments (like the guitar solo halfway through it), Miscarriage’s Lullaby is way below the quality found in the rest of the album.

UlcerphotoThe mid tempo Death Metal chant Howl Of The Jackal sounds very old school, obscure and hellish, with both vocalists offering precise guttural howls and harsh screams while the rest of the band smashes their instruments manically. Yet again, an ominous aura boosts the song’s vileness and, consequently, it’s overall quality, elevating it to the status of one of the best composition in Heading Below. Lastly, the bold and demonic 9-minute aria Enshrouded In Nothingness begins by displaying the darkest form of Blackened Doom you can think of, with its disturbing sonority being fairly different from the rest of the album. In addition, the second part of the song becomes a blend of Death and Symphonic Black Metal, always getting back to its original sluggish rhythm until its desolating conclusion, showing how versatile the band can be without affecting their Death Metal core.

Heading Below can be purchased at the Arachnophobia Records’ BandCamp page or webstore, and more details about the reverberating Death Metal by Ulcer can be found at their Facebook page and SoundCloud. As I said in the beginning of this review, Heading Below will help Ulcer cement their path to success without a shadow of a doubt due to its high level of energy, violence and devastation, keeping the demonic fires of Death Metal alive for the total delight of lovers of a type of heavy music that always takes the word “heavy” to a new limit.

Best moments of the album: Sights To See, The Phantom Heart and Howl Of The Jackal.

Worst moments of the album: Miscarriage’s Lullaby.

Released in 2016 Arachnophobia Records

Track listing
1. Down Below 6:04
2. Fiends Forever 5:46
3. Sights To See 4:29
4. All In Vain 6:09
5. The Phantom Heart 6:16
6. You Called, We Came 4:14
7. Miscarriage’s Lullaby 4:47
8. Howl Of The Jackal 5:12
9. Enshrouded In Nothingness 9:06

Band members
D. – vocals
Angelfuck – vocals
Lucass – guitars
Mścisław – guitars
Szwed – bass
Vizun – drums

Album Review – Circle Of Indifference / Welcome To War (2016)

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A solid album by a multi-cultural band that invites us all to go to war to the sound of their sharp Melodic Death Metal.

Rating5

CIRCLE OF INDIFFERENCE - Welcome to War cover artAfter listening to the brand new concept album by Melodic Death Metal band Circle Of Indifference, entitled Welcome To War, you might not believe in what I’m going to say about this interesting project recommended for fans of bands like Death and Carcass. Founded in 2013 by Swedish multi-instrumentalist Dagfinn Övstrud in the city of Hönö, Sweden, and having already released their debut album Shadows of Light, in 2014, Circle Of Indifference are a band where none of its members have ever met in person. I’m not joking. Apart from the band’s mastermind Dagfinn on guitars, bass and additional keyboards, Circle Of Indifference are Brandon L. Polaris on vocals directly from Belgium, Tyler Teeple on lead guitars representing Canada, and Kostas Vassilakis, a member of Progressive Death/Thrash Metal band Infravision, from Greece, on keyboards and drums. They use the Internet to communicate with each other, share their thoughts and ideas, record their separate parts in their respective homes, and everything is put together at the end of the recording process.

And although those four metallers are distant around 12,000km from each other in total, the final result is really good, sounding a lot more organic than many regular bands I know. The concept of the album, which presents the lives of two soldiers in World War II on either side of the conflict, starting from their enlistment at the early stages up until they come face to face during a battle at the end, helped the band members to stay focused and follow the same path while writing their parts of the music. The beautiful and melancholic cover art by Turkish digital artist and musician Aybars Altay, who resides in Germany and has already worked with another one of the bands reviewed at The Headbanging Moose (the excellent Norwegian Progressive Death/Black Metal act Maahlas), complements the intensity of the music in Welcome To War, putting a “face” to the story told by Dagfinn and his multi-cultural army.

Without further ado, it’s time to head to the battlefield to the sound of Conscription, bringing forward the heaviness of traditional Death Metal with the modernized atmosphere of Melodic Death Metal, not to mention how perfectly guitar riffs and keyboards complement each other. It’s a bit odd the name of the following song, Einbehrufung (Conscription), is the German translation for the title of the opening track, with its warlike ambience “torturing” the souls of the two main characters. In addition, the growls by Brandon L. Polaris lean towards old school Death Metal, reminding me of the vocals by Johnny Hedlund (Unleashed). Then a gloomy intro kicks off From This I Depart, before the amazing guitars lines by Dagfinn and the progressive drumming by Kostas suddenly fill all spaces in the music, getting more melodic than both previous tracks.

CIRCLE OF INDIFFERENCE band photoThe storyline gets more and more exciting as it progresses, with the kick-ass Menschenmörder (Murderer Of Man), one of the most exciting moments of the album, also presenting a dark intro that evolves to a modern and heavy chant. Furthermore, the guitars by Dagfinn transpire electricity, effectively supporting the song’s lyrics about the torments inside the mind of a soldier (“Inside, a sea of mixed emotions that I still hide / I cannot show them what I really feel / Outside, I wear a mask of brutal terror untied / I cannot show them what I really feel / Inside”). The title-track Welcome To War begins by blasting some loud shots and explosions, giving the sense that we’re in the middle of a battle, with its straightforward Melodic Death Metal sounding working extremely well.  In other words, Circle Of Indifference keep it simple and the final result is awesome, with highlights to the additional layers brought forth by keyboards and backing vocals.

In Kein Entkommen (No Escape), which presents a solid mix of harsh growls and clean vocals, Kostas maintains the energy at a high level with his unstoppable beats, while Tyler, who is beyond superb with all his guitar solos throughout the entire album, might have reached a new level of finesse in this tune. The second to last war anthem by Circle Of Indifference, named Veil Of Despair, offers a more modernized approach than usual, while yet again another great duo of guitars and keyboards lead the musicality. Moreover, Brandon’s voice sounds more polished in this case, maybe due to the song’s sharper sonority, therefore expanding the sonic range of the band. The last track, Ein Akt Der Güte (An Act Of Kindness), is obviously an epic conclusion to the story told so far, with the exciting keyboards by Kostas once again adding fire to the music, as well as the mesmerizing riffs by Dagfinn. The lyrics to the song couldn’t be more realistic, with Brandon declaiming a soldier’s final words full of sorrow and anger (“As I rest against the wall / I take a breath and close my eyes / The British soldier takes my hand / I feel at peace it’s time to die / It’s time to die”).

As previously mentioned, how they managed to be so concise even with each band member being located in distinct parts of the world is beyond my knowledge, but that’s absolutely irrelevant when the final product sounds as compelling as Welcome To War. This is another great example of how heavy music unites us all, no matter where we come from, and if you want to know more about Circle Of Indifference go check their Facebook page, YouTube channel (where the full album is available for a listen) and SoundCloud page, with Welcome To War being on sale at the band’s BandCamp page, on iTunes and on Amazon. I guess their only “problem” right now might be finding a way to get together for live performances, because if there’s one thing that those gigantic distances didn’t stop those guys from doing was creating powerful and dynamic Melodic Death Metal.

Best moments of the album: Menschenmörder (Murderer Of Man), Welcome To War and Ein Akt Der Güte (An Act Of Kindness).

Worst moments of the album: Einbehrufung (Conscription).

Released in 2016 Records Of Indifference

Track listing
1. Conscription 4:33
2. Einbehrufung (Conscription) 5:26
3. From This I Depart 5:35
4. Menschenmörder (Murderer Of Man) 5:05
5. Welcome To War 6:28
6. Kein Entkommen (No Escape) 4:22
7. Veil Of Despair 5:04
8. Ein Akt Der Güte (An Act Of Kindness) 7:45

Band members
Brandon L. Polaris – vocals
Dagfinn Övstrud – guitars, bass, additional keyboards
Tyler Teeple – guitar solos
Kostas Vassilakis – keyboards, drums

Concert Review – Wacken Metal Battle Canada Final (The Opera House, Toronto, ON, 06/11/2016)

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One Canadian Band to rule them all, One Canadian Band to find them. One Canadian Band to bring them all, and in Wacken Open Air bind them.

INTRODUCTION: ONE BAND TO RULE THEM ALL!

wacken metal battle_canada_final2016If you were at the charming The Opera House in Toronto this Saturday, June 11, you were able to witness the future of Canadian Metal in pursuit of a sacred placed among the Gods of Metal at the 2016 edition of Wacken Open Air, which will be held during the first week of August this year. Five amazing bands made in Canada showcased all their skills and passion for heavy music during the final and decisive round of the fourth annual edition of Wacken Metal Battle Canada, but only one of them secured a spot in the most important metal festival in the world. Do you want to know which band was crowned the kings of the night?

This year, guest judges Noel Peters (Inertia Entertainment), Sarah Lutz (Metal Blade Canada), Darryl Hurs (Indie Week), Chris Gonda (PureGrainAudio.com), Tim Henderson (Bravewords.com), Andrew Epstein (Zombitrol Productions) and Glenn Fricker (Spectre Media Group) had the difficult mission to decide who would play at Wacken Open Air this August, but before I get into more details, let me say it’s impressive how well organized Wacken Metal Battle is in Canada, it doesn’t matter the city or the qualifying round. With over 100 independent Canadian metal bands from the cities of Toronto, Hamilton, London, Ottawa, Montreal, Winnipeg, Saskatoon, Regina, Calgary, Edmonton and Vancouver, and after 27 qualifying rounds, 9 semi-finals and the national final this Saturday, all we can say in a huge THANK YOU to everyone involved in this awesome project, with a special thanks to my friend Jon Asher (Asher Media Relations) for letting me be part of this. And now, let’s get ready to rumble!

DISTORTHEAD

IMG_1433

DistortHead @ The Opera House, Toronto, ON, 06/11/2016

The first group to hit the stage, at around 8pm, was Melodic Death Metal/Metalcore band DistortHead, from Montreal, Quebec, who were obviously the Quebec Final winners this year. With all band members elegantly wearing lumberjack shirts, DistortHead fired a good mix of modern and groovy metal music the likes of The Black Dahlia Murder and Suicide Silence with the more ferocious sound of old school Death Metal, which translated into a solid and unstoppable performance by this talented quintet. Lead singer Phil Ranger led his troop during the entire setlist, demanding some furious circle pits from the fans at the venue and, as any proud Québécois, made good usage of “Bill 101” to teach the audience how to curse in French. If brutal Melodic Death Metal is your cup of tea, go check their BandCamp page, where you can enjoy their 2014 album Invasive Species in its entirety.

Band members
Phil Ranger – vocals
Vincent Rousseau – guitar
Alex Guindon – guitar
Felix Bourcier – bass, backing vocals
Max Arseneau – drums

PYRAMID THEOREM

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Pyramid Theorem @ The Opera House, Toronto, ON, 06/11/2016

In my opinion, one of the best things in any Wacken Metal Battle round is the variety of sounds you can listen to within a short span of time, getting truly paradoxical at times, but as awesome as usual. That was confirmed when Progressive Hard Rock act Pyramid Theorem began their psychedelic and electrifying performance. Those Torontonians, who were the Ontario Final 2/2 winners, sounded so professional, polished and in sync it’s hard to believe they do not have an agreement with a record label yet. Take a listen at the excellent tunes Outlaw for Good and Drive and you’ll see what I’m talking about. The crowd was excited during the whole show, mainly due to the thrilling performance by the dynamic duo Christian Di Mambro (vocals and bass) Sam Ermellini (guitar and vocals), who didn’t stop interacting with the audience for a single second while at the same time displaying their refined techniques on stage. Some of the guitar solos by Sam were simply outstanding.

Band members
Christian Di Mambro – vocals, bass
Sam Ermellini – guitar, vocals
Stephan Di Mambro – synths, guitar, vocals
Vic Dee – drums, percussion

THE MOUNTAIN MAN

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The Mountain Man @ The Opera House, Toronto, ON, 06/11/2016

Fans of the relentless music by icons such as Lamb of God, Whitechapel, Gojira and Pantera definitely had an awesome time during the performance by Vancouver-based five-piece act The Mountain Man, who blasted a nice fusion of Melodic Death Metal and Groove Metal, proving why the band was the B.C. Final winner. The whole festival seemed to be turning into “the night of the frontmen”, with lead singer Parker Lane keeping up with the vocalists from both previous bands with his unique screams and endless energy on stage. We have to give a round of applause to those guys, coming all the way from the other side of the country, paying all expenses from their own pockets, and still having enough strength to kill on stage. If you want to know more about their music, you can listen to their debut EP entitled Bloodlust at their BandCamp page, and if by any chance the band members themselves read this, please send us the EP for a detailed review.

Band members
Parker Lane – vocals
Tyson Tambellini – guitar
Jordan Orr – guitar
Tevyn Pacey – bass
Ryan McCreedy – drums

PROFANER

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Profaner @ The Opera House, Toronto, ON, 06/11/2016

After a quick break and another cold beer, it was time for Melodic Death/Thrash Metal band Profaner to distill their acid metal music upon the audience. Hailing from the city of Hamilton, around 70km southwest of Toronto, the Ontario 1/2 Final winners didn’t waste time and started kicking ass on stage from the very first notes of the opening song of their setlist. If you visit their BandCamp page, you’ll be able to listen to a few songs they played this Saturday, such as the awesome Marked For Death, and see how good and violent those guys are. Guided by the uncontrollable frontman Anthony “Tooty” Tuttolomondo, Profaner showed everyone at the venue how old school brutal music is done, with the blazing riffs by guitarists Jason Crook and Pat Rogers, together with the boisterous drumming by Craig Piggot, being the recipe for success in heavy music. I loved their music and charisma, and so did the vast majority of the fans at The Opera House. A good sign of the band’s future, don’t you agree?

Band members
Anthony “Tooty” Tuttolomondo – vocals
Jason Crook – guitar, backing vocals
Pat Rogers – guitar
Rusty – bass
Craig Piggot – drums

TALES OF THE TOMB

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Tales Of The Tomb @ The Opera House, Toronto, ON, 06/11/2016

There was still a lot more to come Saturday night, even with the clock getting closer to (or past) midnight, with the unique Psychological Horror/Death/Murder Metal brutally fired by Edmontonian metallers Tales Of The Tomb, who stood tall as the Prairie Final winner band. With lead singer Connor Adams, guitarist Corey Skerlak and bassist Bryn Herbert growling like possessed beats, Tales of The Tomb crushed the audience with their music inspired by icons such as Dying Fetus and Bloodbath, and the dark and gory vibe of classic slasher films. Those guys unleashed hell upon The Opera House, playing songs from their debut EP named Volume One: Morpras, as you can listen to at their BandCamp page. Nonstop violence is always fun in extreme music, and in the case of Tales Of The Tomb that enjoyment is multiplied by a thousand due to their demonic screeches and bestial riffs. In other words, a highly recommended band for fans of vicious Extreme Metal.

Band members
Connor Adams – vocals
Tres Thomas – guitar
Corey Skerlak – guitar, vocals
Bryn Herbert – bass, vocals
John Thomson – drums 

SPECIAL GUEST HEADLINERS: CRIMSON SHADOWS

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Crimson Shadows @ The Opera House, Toronto, ON, 06/11/2016

And before that incredible night of Canadian Metal was over, we were treated to the Epic Death/Power Metal by special guest headliners Crimson Shadows, winners of the first edition of Wacken Metal Battle Canada in 2013, and also crowned the Metal Battle international winners at Wacken Open Air that same year. Well, the epic devastation crafted by these talented Torontonians, mixing the speed and intricacy of Dragonforce and Rhapsody with the vileness and heaviness of Children of Bodom, sounded even more potent on stage, with highlights to the excellent performance of newcomer Paul “Ablaze” Zinay with his harsh screams, and especially Mr. Greg Rounding with his fantastic riffs, solos and clean vocals. If you know nothing about Crimson Shadows, I suggest you take a listen at the high-end battle hymns Rise to Power and Braving the Storm, which were played to perfection during their electrifying concert. I believe that whenever Rise to Power is played, if you do not start singing it together with Crimson Shadows, raising your fists in the air, drinking a pint of beer and getting ready to die in the battlefield, you’re not a honorable warrior.

Band members
Paul “Ablaze” Zinay – vocals
Ryan Hofing – guitar
Greg Rounding – guitar, vocals
Alex Snape – bass
Cory Hofing – drums

AND THE WINNER IS…

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Profaner – 2016 Wacken Metal Battle Canada Winner

…everyone that attended the event this Saturday, especially the bands and the amazing crew that helped that metal celebration become true! Unfortunately, only one band could win the tournament and head to Wacken Open Air in August, but all five bands were simply amazing and deserve our humble recognition for keeping the fire of Canadian Metal alive. Congratulations to runner-ups DistortHead, who won a bunch of cool stuff from PureGrainAudio.com and Los Cabos Drumsticks that will be very beneficial to their career, and in special to the 2016 Wacken Metal Battle Canada winners PROFANER! YOU GUYS KICK ASS!

As previously mentioned, Crimson Shadows went to Wacken Open Air and won the international battle in 2013, and in 2015 Vesperia (who were there on Saturday to pass the crown to Profaner) re-lived that success by once again bringing the first place from Germany to Canada. Now it’s time for Profaner to show to the craziest metal fans in the entire world who will attend the festival in August how awesome Canadian Metal is. If you want to have a good overview of what happens to all independent bands while at Wacken Open Air, I recommend you watch the movie Wacken 3D – Louder Than Hell, from 2014. But that’s just in case you’re not going to join Profaner in their thrilling quest in Teutonic lands, of course.

Album Review – Slitherum / Godbox Suicide (2016)

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A Dark Metal album that beautifully represents all the diversity, radiance and finesse of the Greek culture, crafted by a power trio ready to conquer the world of heavy music.

Rating4

frontIn order to properly celebrate the 300th album review by The Headbanging Moose, let’s go back to a country that has always played a very important role in the history of immigration to Canada, especially during the early 20th century, building a healthy and flourishing relationship with “The Great White North”. Known for their incomparable history, rich cuisine and astonishing landscapes, Greece has always been a place where past, present and future meet, creating a distinct atmosphere not found anywhere else in the world, and the same can be said about their multilayered music as you’ll be able to see in Godbox Suicide, the debut full-length album by Gothic/Industrial Metal act Slitherum.

Amazing groups from the Hellenic Republic such as Diablery, Primeval Mass and Defision have already had their powerful music reviewed at The Headbanging Moose, not to mention the iconic Rotting Christ, all of them shaping their own style by blending elements from different genres and subgenres of rock and heavy music similarly to what Slitherum offer us in their new album. Formed in 2015 in the city of Athens, the power trio comprised of Nick Marinos on vocals, Giannis Kalamatas on guitars, bass and synths, and Antonis Kanaras on drums will take you on a journey through the realms of obscure and melodic music, showcasing all their skills and their passion for Dark Metal.

Godbox suicide starts with Λεχωνα (pronounced “Lechona”), which is Greek for a woman who has just given birth, an atmospheric intro that “gives birth” to the album and sets the tone for Feet, presenting a groovy sounding with the resonant bass lines by Giannis building the perfect ambience for the devilish growls by Nick. Not only it sounds like a hybrid of Moonspell and early In Flames, but it’s quite interesting how they add pure Hard Rock elements amidst the havoc generated by their Death and Black Metal vein, creating a fresh and solid sonority.

The title-track Godbox Suicide offers the listener slightly more melodic lines in a journey back to the 80’s, mainly due to the Type O Negative-inspired vocals by Nick. This is one of those top-notch Gothic Rock and Metal tunes tailored for lovers of the dark side who enjoy dancing facing the wall (if you know what I mean), with highlights to its powerful solos and extremely catchy chorus; whereas Vulnus, the Latin word for wound or injury, is another thrilling Gothic Metal composition with vocals leaning towards Black and Doom Metal, being melancholic, sorrowful and venomous. In addition, the spot-on Doom Metal beats by Antonis boost the song’s impact on the listener, making the whole experience of listening to Slitherum a lot more pleasant.

slitherumKeyboards bring forward an electronic vibe before Antonis smashes his drums in the awesome Industrial Metal chant Mother, with Nick going from the deepest low vocals to the harshest screeches while Giannis keeps kicking ass with his riffs and solos. After listening to this song, you’ll realize how much those Greek guys simply love all the alternative and obscure subgenres of heavy music and how elegantly and passionately they mix all their main influences into their musicality.

Before Godbox Suicide is over, Slitherum have another blast of their dark music entitled Child, a mesmerizing and atmospheric power ballad led by its strong bass lines and synths where Nick has a great performance declaiming the song’s cryptic lyrics, sometimes sounding like the weird creations by Faith No More (which just proves how versatile Slitherum are). And then the wicked composition Cure concludes the album in the darkest way possible, working almost as a regular outro but with extra layers added to it, including some eerie vocal lines in the background.

This up-and-coming Greek band can be found on Facebook and on YouTube, and Godbox Suicide can be purchased at Discogs as a CD or as a special vinyl version. Godbox Suicide is not only an album that beautifully represents all the diversity, radiance and finesse of the Greek culture, but also an album that will help this talented band go places and spread their peculiar metal music throughout the entire world.

Best moments of the album: Feet, Godbox Suicide and Mother.

Worst moments of the album: Cure.

Released in 2016 Independent

Track listing
1.Λεχωνα (“Lechona”) 3:31
2.Feet 3:13
3.Godbox Suicide 3:23
4.Vulnus 4:12
5.Mother 2:42
6.Child 5:00
7.Cure 4:35

Band members
Nick Marinos – vocals
Giannis Kalamatas – guitars, bass, synths
Antonis Kanaras – drums

Album Review – ZØRORMR / The Aftermath EP (2016)

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Enjoy these six powerful and distinct Black Metal chants that together bring to a conclusion the first era in the history of this excellent extreme project from Poland. Arise ZØRORMR, Arise!

Rating5

coverAs today is June 6, 2016 (or 6/6/16), the eleventh edition of the world-famous International Day of Slayer, there’s nothing better than relishing this date with a good dosage of dark and heavy music, and the chosen soundtrack for such a distinct celebration this year by The Headbanging Moose is the six-track diabolical EP entitled The Aftermath, meticulously crafted in the dark shadows of Opole, a city located in southern Poland, by Black Metal one-man army ZØRORMR. Born on the ruins of a dark ambient project named I.A. Serpentor in the beginning of 2010, ZØRORMR already released the albums Kval (2010), HIS (2013) and Corpus Hermeticum (2015), with The Aftermath closing the first era in the history of this excellent project led by Polish artist and multi-instrumentalist Moloch.

Featuring a hellish artwork by Russian artist Timur Khabirov and with the support of guest musicians Przemysław “Quazarre” Olbryt on lead guitar and Icanraz on drums (both from Polish Symphonic Black/Death Metal act Devilish Impressions), The Aftermath consists of four tracks recorded during the Corpus Hermeticum session (with 3 of them never heard before), produced by Arek “Malta” Malczewski (a longtime producer for Blackened Death Metal titans Behemoth), as well as two bonus tracks from the HIS and Kval sessions. The music itself is a hybrid of the works by bands like Rotting Christ, Naglfar and other important names fom extreme music, being also heavily inspired by Heavy Metal from the 80’s.

A heavy storm announces darkness has arrived in The Last Judgement, a classy Black Metal composition with hints of Doom Metal and symphonic elements that kicks off the EP on a high note. Moloch vigorously leads this black mass with his demonic growls and riffs, while Icanraz displays all his skills by blending an occult and tribal drumming with traditional Black Metal blast beats. The Crawling Chaos presents another smooth intro that evolves to lugubrious Black Metal, enhanced by an additional layer of intricacy comprised of interesting Blackened Doom elements, which help the band craft a disturbing and demonic ambience. In addition to that, the infernal screams by Moloch will torture your soul, whereas Quazarre does an outstanding job with his precise guitar solos.

molochThe Adversary is yet again a solid and dense composition offered to the listener by this incredible Polish project, with the sick drumming by Icanraz generating an amazing uproar for Moloch to spill his somber vociferations upon us. And there’s no place to hide from ZØRORMR, as all that heaviness and vileness goes on in the title-track, the grim The Aftermath. Moloch definitely knows how to craft gripping intros to his creations, with the song’s obscure rhythm together with its beautiful piano notes resembling a dark funeral march. In other words, this is an instrumental song that could easily be used as the soundtrack of a demented horror movie.

The first bonus tack, entitled Arise Cthulhu, Arise!, goes full Black Metal, presenting a disquieting musicality perfect for fans of old school extreme music. Every single moment of the song is filled with malevolence and causticity, which is obviously a good thing in Black Metal and, consequently, turns this chant into the best of all six tracks in The Aftermath. Lastly, the second bonus track Zørormr, which carries the name of the band, brings forward sharper riffs and a cutting sonority, concluding the EP in a thrilling way. Despite being another instrumental track by ZØRORMR, it’s fairly different from “The Aftermath” due to the Thrash and Death Metal hints added to it, showcasing the wide musical range Moloch is capable of reaching with his music.

In summary, not only the music found in The Aftermath keeps up with the creations of the biggest Extreme Metal icons from Poland, but it also provides an accurate and outright epitome of everything ZØRORMR have already provided to the world of heavy music, as well as what to expect from this striking project by Moloch in the future. In case you want to follow the “evilution” of ZØRORMR, go check their Facebook page, YouTube channel and SoundCloud page, and if you want to buy a copy of The Aftermath you can find it for sale at the Via Nocturna’s webstore or BandCamp page. Arise ZØRORMR, Arise!

Best moments of the album: The Adversary and Arise Cthulhu, Arise!

Worst moments of the album: None.

Released in 2016 Via Nocturna

Track listing
1. The Last Judgement 6:29
2. The Crawling Chaos 5:15
3. The Adversary 2:54
4. The Aftermath 3:53

Bonus tracks
5. Arise Cthulhu, Arise! 3:27
6. Zørormr 3:01

Band members
Moloch – vocals, guitars, bass, keyboards

Guest musicians
Przemysław “Quazarre” Olbryt – lead guitar
Icanraz  – drums

Album Review – The Hypothesis / Origin (2016)

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A complete lineup change and almost four years to conclude an album? In the case of these Finnish metallers, it was definitely worth the wait.

Rating4

The_Hypothesis_cover_2400After what happened with Guns N’ Roses and their controversial album Chinese Democracy (2008), whenever a band suffers significant lineup changes and takes a good amount of time to release an album, people get really skeptical about the final result. Fortunately, that’s not the case with Finnish Modern Melodic Metal band The Hypothesis, who after a complete change in their lineup and four years locked in the middle of a dark forest of Viitasaari, in Central Finland, are finally releasing their debut full-length album, entitled Origin, an excellent display of modern and melodic heavy music.

Formed in the city of Kouvola, Finland in 2009, but currently based about 130km to the southwest of that, in the capital Helsinki, The Hypothesis have already built a solid reputation in Melodic Death Metal, playing in renowned festivals such as Nummirock and Qstock, and sharing the stage with names like Swallow The Sun, Scar Symmetry, Wolfheart and Before The Dawn. And that’s after having released only one EP, named Nightshade, back in 2010. And now, without further ado, it’s time to hit play and start moshing with those Finnish metallers.

Right from the first few notes in Shades to Escape, you’ll notice how much they love futuristic keyboard noises, providing a sound that’s very harmonious and polished as usual, but always as violent as this type of music demands. In addition, frontman Antti Seppälä offers sharp and harsh growls nicely complemented by some clean vocals to give more balance to the song, with the powerful riffs and solos by both guitarists Juuso Turkki and Asko Sartanen filling all the spaces left. Leak, an old school Melodic Death Metal with hints of Metalcore, sounds less experimental and a lot heavier and more vicious, with the precise drumming by Waltteri Väyrynen enhancing the electricity found in the music; while End of Your Days somehow “takes off” from where the opening track stopped, with Antti going on with his furious screams and both guitars blasting some awesome riffs, all supported by the song’s background keyboards and the intricate bass lines by Markku “Neissu” Ruuskanen.

The_Hypothesis_promopic_largeOnce again exhibiting a futuristic and metallic aura, Scarface is a decent composition that unfortunately doesn’t live up to the energy found throughout the rest of the album, with its rhythm sounding a bit confusing (or maybe too progressive compared to what the other songs offer). Exit puts the band back on track with its high level of violence and nonstop action, boosted by an amazing guitar solo by guest musician Daniel Freyberg. Moreover, Markku can’t stop pounding his thunderous strings in this modern and melodic Death Metal chant tailored for fans of the genre, and almost immediately they connect it to Atonement, another song presenting potent riffs and high-end solos by Juuso and Asko where Antti showcases some clean vocals before going back to his demonic mode.

In Eye for an Eye, the rhythmic beats by Waltteri craft the perfect sonic tornado for Antti to fire desperate and harsh vocal lines in the best song of the album. This is how a Melodic Death Metal band should always add progressive elements to their musicality, not to mention its yet again flawless keyboard notes. On the other hand, Weak Story, despite its instrumental pieces being as good as the rest of the album (in special its guitar solos), brings forward out-of-place clean vocals that sound taken from a generic Metalcore song. And closing the album we have the interesting instrumental song Second Chance, where the modern elements added to its polished production turn it into a nice experimental voyage in Melodic Death Metal. Besides, you can pretend to be Antti and add your own lyrics and vocals to it, how about that? Or you can simply relax and relish the beautiful guitar riffs and rumbling bass lines offered by the band during the whole song as well.

This up-and-coming band from Finland can be found on Facebook and on YouTube, and you can purchase Origin at the Inverse Records’ webshop, on iTunes or on Amazon. It might have taken almost four years for The Hypothesis to conclude their first full-length record, but after listening to it you’ll realize it was definitely worth the wait thanks to all the energy and passion those guys put into the making of the album.

Best moments of the album: Leak, Exit and Eye for an Eye.

Worst moments of the album: Scarface and Weak Story.

Released in 2016 Inverse Records

Track listing
1. Shades to Escape 4:20
2. Leak 4:25
3. End of Your Days 4:47
4. Scarface 3:51
5. Exit 3:34
6. Atonement 3:28
7. Eye for an Eye 4:46
8. Weak Story 4:03
9. Second Chance (Instrumental) 4:43

Band members
Antti Seppälä – vocals
Juuso Turkki – guitar
Asko Sartanen – guitar
Markku “Neissu” Ruuskanen – bass
Waltteri Väyrynen – drums

Guest musician
Daniel Freyberg – guitar solo on “Exit”

Album Review – Burial / Unholy Sedition (2016)

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Profane, rebellious and vicious music for all diehard lovers of Black Metal, piercing your ravenous ears directly from the UK.

Rating5

CD DigiPak 4 Panel 1 TrayThe good old city of Manchester, England might be known worldwide by the everlasting rivalry between Manchester City and Manchester United, two of the biggest soccer teams in the world, but since 2005 the city has also become a synonym to extreme music due to the scalding Blackened Death Metal forged by an up-and-coming power trio that goes by the name of Burial. After releasing a demo in 2008 named Shadowed by Satan, the EP Dissidence in 2010 and more recently their debut full-length album Beneath the Light in 2013, those black metallers are back with their second opus, entitled Unholy Sedition, a must for lovers of Black Metal, nuns, beer and Satan.

Fans of the music played by bands like Satyricon in their early days will have a great time listening to what this underground British act is capable of offering, being visceral but extremely technical at the same time. In addition, if you already know Burial you’ll notice a slight change in their musicality from their previous album, dropping part of the Death Metal sound and delivering an all-out Black Metal assault. In case this is your first contact with the band, get ready for 30 minutes of brutality in the form of the short, fast and devastating tunes found in Unholy Sedition. You won’t regret being blasted by the band’s ferocious music, I should say.

After a quick distorted intro, the opening track Infernal Spirit brings forward brutal Black Metal led by the bestial beats by drummer David Buchan, while lead singer and bassist Derek Carley varies his vocals from devilish screams to cavernous growls; and without a break they start firing the following tune, entitled Malevolent Possession, displaying some pulverizing riffs by guitarist Richard Barraclough. Not only that, even when they slow down a bit during this enraged song their heaviness remains at an outstanding level. Their malignancy keeps flowing in Satanic Immolation, a sick Black Metal song with hints of Death Metal where it’s amusing how violent the band can get in less than three minutes, with Derek’s vocals sounding exactly as many old school Black Metal vocalists.

Burial Band photoIn the high-speed havoc Coven of Death, David is unstoppable behind his drums, providing Richard the support he needs to craft his blazing riffs before we’re treated to Nothing Awaits, where a Blackened Doom-inspired intro powered by the gruesome vociferations by Derek suddenly explodes into vile Black Metal, with highlights to the metallic guitar lines by Richard. This is perhaps their best song to date, an excellent composition sounding as three distinct songs in one, and therefore showcasing the band’s highly developed abilities with their instruments. And in the rhythmic and dense Defile The Sacrament, right after a somber intro that goes on for almost two minutes, we have a furious fusion of Black and Death Metal with Derek barking like a rabid beast.

Cast To The Flames can be considered the most old school Black Metal of all tracks with the blast beats by David being its guiding “star”, never letting the level of dark energy go down; whereas Beyond Redemption seems to be the most Death Metal of all mainly due to the deep guttural growls by Derek, with its beats at the speed of light demolishing everything and everyone that stands in their way. Before Uholy Sedition comes to its end, Burial offer us all more of their putrid growls and a heavy atmosphere in the Black Metal hymn Devoured By The Earth, displaying sheer violence and gore in the form of music with highlights to the groovy and boisterous drumming by David. And lastly, we have the remarkably short but sensational Extreme Metal anthem Nun Fucking Black Metal, which not only has a beautiful name but also pays homage all things Black Metal, concluding the album on a high note with amazing performances by all band members.

In case you want to know more about the music by Burial, go visit their Facebook or ReverbNation pages, and if you’re interesting in putting your hands on a copy of Unholy Sedition, you can find the album for sale at the UKEM Records’ BandCamp page or webstore (it’s out of stock according to the website, though), or at the band’s official Big Cartel page, where you can also find a nice exclusive bundle including a physical copy of the album and a T-shirt for a very decent price. It’s profane and rebellious Black Metal for diehard lovers of the genre, and also a great option for newcomers to get introduced to the world of extreme music.

Best moments of the album: Satanic Immolation, Nothing Awaits and Nun Fucking Black Metal.

Worst moments of the album: None.

Released in 2016 UKEM Records

Track listing
1. Infernal Spirit 3:03
2. Malevolent Possession 4:00
3. Satanic Immolation 2:22
4. Coven Of Death 2:07
5. Nothing Awaits 3:35
6. Defile The Sacrament 4:14
7. Cast To The Flames 2:55
8. Beyond Redemption 3:57
9. Devoured By The Earth 3:47
10. Nun Fucking Black Metal 1:12

Band members
Derek Carley – vocals, bass
Richard Barraclough – guitar
David Buchan – drums