Tag Archives: doom metal

Album Review – Mammoth Caravan / Ice Cold Oblivion (2023)

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Let’s embark on a bitterly cold journey together with a new Sludge and Doom Metal band from Arkansas to the sound of their debut opus, a concept record about a primitive nomad chasing a baby mammoth from the herd.

Hailing from Little Rock, the capital of Arkansas, in the United States, the up-and-coming Sludge/Doom Metal trio Mammoth Caravan is unleashing upon humanity their bitterly cold and grim debut opus, entitled Ice Cold Oblivion, a concept record about a primitive nomad chasing a baby mammoth from the herd. Recorded, mixed and mastered by Jason Tedford at Wolfman Studios, and displaying a sinister artwork by the band’s own drummer Robert Warner, Ice Cold Oblivion will smash your head with the power of the riff, masterfully brought into being by the aforementioned Robert Warner alongside vocalist and bassist Brandon Ringo and guitarist Evan Swift, being therefore recommended for admirers of the dirtiest side of Sludge, Stoner and Doom Metal.

Get ready for a heavy and thunderous Sludge and Stoner Metal voyage in the title-track Ice Cold Oblivion, with the dirty bass by Brandon complementing the massive, sluggish beats by Robert in great fashion, whereas featuring guest vocals from Mat Johnson of Second Life, Evan extracts sheer heaviness form his riffs in Nomad, a lecture in contemporary Doom Metal perfect for headbanging like a true metal bastard. Then a pensive, melancholic start gradually evolves into another Sludge Metal aria entitled Petroglyphs, where Brandon and Evan are in a Stygian sync armed with their stringed axes, not to mention how deep and evil the roars by Brandon sound and feel; and the rawness and obscurity of Evan’s riffs will keep haunting your soul in the instrumental Megafauna, while Robert dictates the song’s venomous pace with his hammering drums in another solid and thrilling explosion of Sludge and Doom Metal for the masses. The tribalistic beats by Robert ignite their second to last blast of obscurity titled Periglacial, with Brandon and Evan quickly joining him with their respective bass lines and riffage, while also presenting Ghost-like vocals by Brandon, and lastly the trio offers our putrid ears almost 11 minutes of sluggish beats, dirty rockin’ guitars and low-tuned bass jabs in Frostbite, very detailed and electrifying from the very first second, with the music being mesmerizing, rich and demonic until the very end, therefore putting a climatic conclusion to the album.

In case you’re eager to put your hands on such solid feast of doom, you can purchase Ice Cold Oblivion from the band’s own BandCamp page, from Apple Music or from Amazon, and don’t forget to also give the guys from Mammoth Caravan a shout on Facebook and on Instagram, and to stream their album in full on Spotify. In summary, Ice Cold Oblivion has everything you can ask for in a Sludge and Doom Metal album, taking you on a bitterly cold, grim journey that will leave you eager for more of the music by this talented American trio in the coming years.

Best moments of the album: Nomad and Frostbite.

Worst moments of the album: None.

Released in 2023 Independent

Track listing
1. Ice Cold Oblivion 7:26
2. Nomad 4:12
3. Petroglyphs 5:49
4. Megafauna 4:51
5. Periglacial 5:24
6. Frostbite 10:44

Band members
Brandon Ringo – vocals, bass
Evan Swift – guitars, backing vocals
Robert Warner – drums, synth

Guest musician
Mat Johnson – vocals on “Nomad”

Album Review – They Grieve / To Which I Bore Witness (2023)

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A two-piece Canadian band will take you on an introspective journey to the sound of their new album, a cold embrace of Post-Metal colliding with Ambient Drone meant to be dark and depressing.

A two-piece Sludge/Drone/Post-Metal band formed in 2015 by former members of Alaskan and Stay Here, those being Gary Thibert on vocals, guitars and bass, and Deniz Güvenç on vocals, drums, piano and synths, in Ottawa, Canada’s capital located in the east of southern Ontario, They Grieve hope that their music fills a niche not quite like other Post-Metal acts who are currently active, and their first full-length opus, titled To Which I Bore Witness, is a clear step up for them. Engineered and mixed by Topon Das at Apartment 2 Recording, mastered by Dave Williams at Eight Floors Above, with additional piano recorded by Alex Jakimczuk at Uppercut Studios, and displaying a stylish artwork and design by Pascale Arpin, the album takes the form of an introspective journey, meant to be depressing, while the listener is confronted with sad, loud music that’s not meant to cross into anger, a cold embrace of Post-Metal colliding with Ambient Drone recommended for fans of The Body, Cult of Luna and Bell Witch.

A slow build grows in intensity until all hell breaks loose in Wither, showcasing melancholic, grim lyrics (“Failure knows no bounds and makes its home here within me / Endless is the night of its becoming / Nothing returns / Cower, collapse, wither”) while the sluggish beats by Deniz make an interesting paradox with his own synths. Then investing in a sinister Sludge/Doom Metal sound, the duo will hammer our heads and pierce our minds with their dirty riffs and pounding drums in Under the Weight, also showcasing a phantasmagorical passage to the synths by Deniz, sounding heavy and atmospheric from start to finish; whereas If Light Should Appear is another seven-minute ode to darkness and doom where Gary is devilish with his raw riffs and low-tuned bass, resulting in the perfect depiction of what Atmospheric Sludge Metal is all about. The title-track To Which I Bore Witness will drag your damned soul to endless darkness while the duo roars in anger and pain, again showcasing their slow and steady guitar lines and drums, being therefore not recommended for the lighthearted. After such intense and Stygian tune, it’s time for a soothing instrumental interlude titled Guided, with its minimalist sounds setting the tone for Weakness, presenting deep, melancholic lyrics (“I am bound to only the quiet call of ruin / And weakness holds me / Weakness alone holds me”) while the music is as atmospheric, savage and obscure as possible until the very end.

In case you want to know more about Gary, Deiz and their They Grieve, and therefore show them all your admiration and support, you can start following the duo on Facebook and on Instagram for news, tour dates and so on, stream more of their music on Spotify, and above all that, purchase To Which I Bore Witness from the Silent Pendulum Records’ BandCamp page or webstore, or simply by clicking HERE. “This album, both lyrically and musically, tries to capture the uncomfortable juxtaposition between weakness and weight. We are constantly trying to express the ways in which the ugliness and decay we see in the world sets itself down and plants its roots inside of us – how the weight of the world transforms into our own weakness once it has done so. We try to capture this feeling of juxtaposition and tension within the music itself by oscillating between ambient, textural drones and heavy, doom-laden riffs,” commented the duo about their newborn spawn, an album that will certainly cement their name among the best bands of the current Post-Metal scene worldwide.

Best moments of the album: Under the Weight and To Which I Bore Witness.

Worst moments of the album: None.

Released in 2023 Silent Pendulum Records

Track listing
1. Wither 7:12
2. Under the Weight 7:23
3. If Light Should Appear 7:00
4. To Which I Bore Witness 6:43
5. Guided 3:18
6. Weakness 8:01

Band members
Gary Thibert – vocals, guitars, bass
Deniz Güvenç – vocals, drums, piano, synths

Album Review – Vale Of Amonition / Immortalizing the Lugubrious, or Those Of Evolving Despair (2023)

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Feast on the most ambitious, detailed and thrilling album by one of the driving forces of the extreme music scene in the Mother Continent.

Formed in 2009 in the city of Kampala, Uganda, molded and shaped in Kenya, and drawing from traditional and extreme doom sources such as Black Sabbath, My Dying Bride, Katatonia and Type O Negative, to name a few, the unrelenting Doom Metal entity Vale Of Amonition, whose name by the way refers to a place, a “sanctuary for warmakers” of sorts, with most of the lyricism being centered around happenings in that place, has just released their third full-length opus, entitled Immortalizing the Lugubrious, or Those Of Evolving Despair, the follow-up to their 2017 album Those of Tartarean Ancestry and their 2019 EP Ancient, Evil & African. Recorded and engineered by Nick Wathi at Andromeda Music, mixed and mastered by Luc Chiasson, and displaying a cryptic artwork by Ben Dickey, the new album rounds out the band’s ambitions thus far and provides us all with their most complete record yet, showcasing the undeniable talent and passion for heavy music by Victor Rosewrath on vocals and guitars, Solomon Dust also on the guitars, Mordecai O. Ogayo on bass, and Jude Bulinda on drums.

In the imposing opener Where They Gathered And Suffered, the band brings forward elements found in the crushing Doom Metal blasted by renowned acts the likes of Black Sabbath and Celtic Frost while Jude darkly smashes his drums accompanied by the Stygian riffs by Victor and Solomon; whereas their incendiary riffs keep penetrating deep inside our minds in Sons Of The Moribund, with Victor declaiming the song’s lyrics with tons of passion in this Progressive Doom Metal aria. My Firstborn Will Surely Be Blind is a beautiful song crafted by the quartet both musically and lyrically, with the sluggish, doomed beats by Jude and the rumbling bass by Mordecai adding an extra touch of obscurity to the overall result, and in Drink The Poetry Of The African Wretch we’re treated to the guest vocals by Nelecc (of Euphoric Decay, Nelecc, Krummholz and Void of Sorrow), bringing even more rage and anger to the music while Victor, Solomon and Mordecai offer our ears a thrilling stringed attack. Terminus is another dark and pensive tune by the band that reminds me of the Doom Metal played by My Dying Bride with Progressive Metal nuances, with Victor sounding utterly somber on vocals accompanied by the sinister, slow drums by Jude. Finally, closing the album we face eight minutes of first-class African metal titled At Evolution’s End, with the quartet blasting their visceral sound mercilessly spearheaded by another poetic vocal performance by Victor. Needless to say, there isn’t a single second left empty in this ode to darkness and doom.

The fantastic Immortalizing the Lugubrious, or Those Of Evolving Despair, which is by the way available in full on YouTube, is one of those must-have albums for anyone who’s a diehard fan of doom or African metal, or both, and if you consider yourself one of those fans you can purchase the album from the band’s own BandCamp page. Don’t forget to also follow Vale Of Amonition on Facebook for news, tour dates and other nice-to-know details about the band, and to subscribe to their YouTube channel for more of their music. Always forward-thinking and progressively inclined, Vale of Amonition have shifted into utterly bleak territory that is gloriously underscored with tribal menace since their inception, with their new album representing the coronation of this African quartet as one of the driving forces of the current metal scene in the Mother Continent.

Best moments of the album: My Firstborn Will Surely Be Blind and Drink The Poetry Of The African Wretch.

Worst moments of the album: None.

Released in 2023 Independent

Track listing
1. Where They Gathered And Suffered 9:16
2. Sons Of The Moribund 6:09
3. My Firstborn Will Surely Be Blind 7:35
4. Drink The Poetry Of The African Wretch 6:09
5. Terminus 6:58
6. At Evolution’s End 8:04

Band members
Victor Rosewrath – vocals, guitars
Solomon Dust – guitar
Mordecai O. Ogayo – bass
Jude Bulinda – drums

Guest musician
Nelecc – vocals on “Drink The Poetry Of The African Wretch”, guitar solo on “Sons Of The Moribund”

Album Review – Skulldozer / Non Stop Ruthless Crushing (2023)

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Behold the debut effort by this ruthless American beast, showcasing a unique heaviness that’s firmly rooted in the old school but stands out in the current stream of Death Metal.

Blasting a visceral and crushing form of Death Metal since their inception back in 2020 in Texas, but currently located in Long Beach, a city located in Harrison County, Mississippi, in the United States, Skulldozer will smash your cranial skull with their newborn spawn, entitled Non Stop Ruthless Crushing. Combining elements of traditional Death Metal and modern melodic Sludge Metal, the band comprised of Jason Ramsay on vocals and guitars, Keith Dobson on lead guitars, Mike Spurlock on bass, and Joel Stepp on drums has truly captured a unique heaviness that’s firmly rooted in the old school but stands out in the current stream of Death Metal, delivering a ten-song offering of powerful and catchy, classic Death Metal that worships at the altar of righteous headbanging.

The title-track Non Stop Ruthless Crushing will darken your soul and crush you like an insect from the very first second, with Jason’s deep guttural walking hand in hand with the venomous riffage by the same Jason and Keith; whereas Joel sounds like a stone crusher in the vile Thy Enemies Driven Before Me, again showcasing the band’s passion for all things Death Metal, sounding visceral and heavy until the end. Kingdom Ossuarium is a neck-breaking, mid-tempo black mass by the quartet spearheaded by the inhumane roars by Jason while Mike hammers his bass mercilessly, and blasting sheer heaviness and hatred it’s time for Hatesworn Shitstorm, one of the most crushing songs of the album with Joel stealing the spotlight with his demonic beats. After that, get ready for two and a half minutes of absolute chaos and insanity titled Scum Beneath the Skin, offering brutal and technical Death Metal for the masses with Jason and Keith kicking ass with their riffs and solos.

Adding hints of obscure Doom Metal to their already damned sonority, the band fires Wolves Amongst Sheeple, showcasing another round of their headbanging riffs and fulminating beats, and more of their old school Death Metal sounds comes in the form of Bastards of Zeus, where not a single second is left empty, overflowing obscurity, rage and heaviness led by the pounding drums by Joel. Then in Bow to None the band alternates between faster moments and pure heaviness with Jason growling deeply during the entire song, supported by Joel’s crushing beats and Mike’s rumbling bass, whereas Deathblessed keeps the album at a high level of animosity, albeit a bit generic if compared to the rest of the album, while once again bringing elements from classic doom. Finally, those American death metallers offer our avid ears the infernal Skullfucking Domination, where the entire band is on fire, in special Joel with his demolishing beats, and with Jason vociferating rabidly in the name of extreme music.

If you want to show your support to this newborn beast named Skulldozer, you can start following them on Facebook and on Instagram for news, more of their music and so on, subscribe to their YouTube channel, and above all that, grab your copy of Non Stop Ruthless Crushing from their own BandCamp page as well as from the Guts and Blood Records’ BandCamp page. Skulldozer are among us to stay based on the high quality of the music found in their extremely vile debut album, and if I were you I would start warming up your neck for some unstoppable headbanging as soon as those guys hit the road with their venomous and demonic Death Metal.

Best moments of the album: Hatesworn Shitstorm, Scum Beneath the Skin and Skullfucking Domination.

Worst moments of the album: Deathblessed.

Released in 2023 Guts and Blood Records/Rotten Records

Track listing
1. Non Stop Ruthless Crushing 4:35
2. Thy Enemies Driven Before Me 4:01
3. Kingdom Ossuarium 4:59
4. Hatesworn Shitstorm 3:58
5. Scum Beneath the Skin 2:30
6. Wolves Amongst Sheeple 4:42
7. Bastards of Zeus 3:47
8. Bow to None 5:05
9. Deathblessed 6:33
10. Skullfucking Domination 4:03

Band members
Jason Ramsay – vocals, guitars
Keith Dobson – lead guitars
Mike Spurlock – bass
Joel Stepp – drums

Album Review – Dread Witch / Tower of the Severed Serpent (2023)

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Embark on a journey through a dark wasteland infested with oozing swamps, sludge and filth by a sinister Doom Metal trio hailing from Denmark.

Formed in 2022 in Aarhus, Denmark by Andreas Cadaver of Stone Cadaver on guitars, bass and keys, Mikael Rise of Scamp on vocals, and Dennis Larsen, formerly of Olm, on drums, the newborn Doom Metal beast Dread Witch is ready to kill armed with their debut effort, entitled Tower of the Severed Serpent, offering sheer doom for the doomed as the end times are upon us all. Mixed and mastered by Tue Madsen (Meshuggah, Heaven Shall Burn), with drums recorded and engineered by Ole Madsen and additional drum engineering by Kasper Sørensen, and displaying a sinister artwork by Branca Studio, Tower of the Severed Serpent invites us all to embark on a journey through a dark wasteland infested with oozing swamps, sludge and filth, attacking us with a massive doom sound boasting thick layers of low-tuned guitars, distorted bass, meditative ambient textures and insane vocals recommended for fans of Conan, With the Dead, Triptykon and Devin Townsend, among others.

The sound of the howling winds warns us all a Doom Metal attack is about to begin in The Tower, with Andreas distilling his Black Sabbath-infused riffs while Mikael roars the song’s obscure words manically (“Cracks lining the inside / Just like / Hoary, porous bone / I wander on my own / Alone / On ice so very thin / As reason’s lowered in / Within / Lowered in to drown”) and Dennis smashes our heads with his pounding beats, whereas the already dirty riffage by Andreas gets even dirtier and more sinister in Serpent God, another infernal composition by the trio exhaling sheer heaviness and doom. Moreover, the vociferations by Mikael will demonically pierce your mind and darken your soul, while Dennis once again dictates the pace with his drums, walking hand in hand with Andreas’ stringed axe. And investing in a sonority clearly inspired by the one and only Triptykon, the trio fires the menacing, spine-chilling extravaganza Leech, where Mikael bursts his lungs screaming like a beast in a lecture in classic Doom Metal.

In Wormtongue, more of their psychological lyrics are declaimed by Mikael (“My life is a war / I’m battered and worn down / Look into my eyes / And you will see nothing / Bereft of life I’ll fall / Into a slumber so soothing”) while Andreas and Dennis generate a thunderous atmosphere with their low-tuned, cryptic bass lines and crushing beats; and Dennis never gets tired of hammering his drums, which adds tons of heaviness to Into the Crypt, their second to last explosion of Doom Metal also presenting elements of the most unfriendly form of Stoner Rock and Metal, all boosted by the song’s eerie background vocalizations and grim atmosphere. Lastly, the band shows absolutely no mercy for our souls in the instrumental closing tune Severed, beginning in a melancholic way before morphing into a neck-breaking, lugubrious musicality that will drag you into pitch black darkness until its epic ending.

The guys form Dread Witch are waiting for you inside their Stygian coven on Facebook and on Instagram with news, more of their music and so on, and if you want to show them your utmost support and join the dark side of doom you can purchase their debut album by clicking HERE. After all is said and done, your soul will certainly become darker as you feel the blood seeping from a sky blackened by the funeral pyre of mankind, thanks to the amazing job done by those Danish metallers in their infernal debut album. In other words, simply succumb to the other side, and pledge allegiance to the venomous Dread Witch!

Best moments of the album: Serpent God and Leech.

Worst moments of the album: None.

Released in 2023 Bottomless Pit/Gateway Music

Track listing
1. The Tower 8:30
2. Serpent God 7:52
3. Leech 6:17
4. Wormtongue 6:10
5. Into the Crypt 5:40
6. Severed 4:48

Band members
Mikael Rise – vocals
Andreas Cadaver – guitar, bass, keys
Dennis Larsen – drums
Leifur Nielsen – bass*
Pelle Santana – lead guitar*

*Leifur Nielsen and Pelle Santana joined the band after the recording of the album, and therefore did not perform in it.

Album Review – Nothingness / Supraliminal (2023)

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Raise your horns to the cauldronous mix of multiple extreme styles carefully crafted by this remorseless Death Metal entity from Minnesota.

Minneapolis, Minnesota-based Death Metal purveyors Nothingness are finally back with their sophomore album, entitled Supraliminal, following up on their critically acclaimed 2019 debut album The Hollow Gaze of Death. Tracked, mixed, and mastered by Adam Tucker at Signaturetone Recording, produced by Nothingness and Adam Tucker, and displaying a sick artwork by Mark Voortallen (aka Vulture), Supraliminal brings to our ears a cauldronous mix of multiple extreme styles carefully crafted by Barclay Olson on vocals, Alex Walstad on the guitars, bass, syntsh, 12 string and backing vocals, and Jason Hirt on drums, always respecting the history of metal and, therefore, being recommended for admirers of Gorguts, Gojira, Morbid Angel and Iniquity, among others extreme music giants.

Featuring DgS of Suffering Hour on guest vocals, the opening tune Curse of Creation brings forward sick lyrics barked by Barclay (“Formed gilded rotted repeated / Malformed deities adorn Gardens of / Spiritual decay / Death feeds / Mankind breeds / The Flame consumes / resplendently / Life is a curse”) amidst sheer groove, violence and intricacy, and Alex keeps hammering his guitar and bass supported by the massive beast by Jason in the old school Death Metal feast titled Horrendous Incantation, blasting a no shenanigans, in-your-face sonority that will please all fans of the genre. Catapulted Into Hyperspace, featuring guest guitars by YhA of Suffering Hour and guest vocals by XH, offers more of the band’s vicious metal attack, with Jason once again kicking some ass behind his drums, whereas Temple of Broken Swords brings to our ears over six minutes of a disturbing atmosphere generated by the band, resulting in an infernal display of Death Metal spearheaded by the visceral roars by Barclay.

And that heavy and somber ambience keeps darkening our minds in Festering Abstraction, presenting hints of Blackened Doom for our total delight; followed by Inviolate Viscera, featuring guest Jubjy on vibraslap and YhA once again on the guitars, the shortest of all songs but exhaling pure evil spiced up by its vile lyrics (“Wandering down writhing corridors / Twisting turning / Coming apart at the seams / Tunnels worming ever inward / Fluid leaking from in between”). Then blending Death and Doom Metal in a meticulous manner, the band fires seven Stygian minutes in Beacon of Loss, where Jason pounds his drums manically while Barclay vociferates deeply until the very last second, and get ready to have your skull crushed by the band in The Anvil, one of the heaviest songs of the album led by the venomous growling by Barclay, overflowing groove and sulfur. Lastly, DgS is back on vocals in Decimation Mechanism, starting in a very sinister way before morphing into one final onrush of obscure death, also showcasing an amazing job done on the guitars by Alex.

You can soon put your dirty, damned hands on Supraliminal by purchasing the album from the Everlasting Spew Records’ BandCamp page or webstore in CD or tape format, and don’t forget to also start following Nothingness on Facebook and on Instagram for all things surrounding the band, and to stream more of their wicked creations on Spotify. In a nutshell, those Minneapolis guys definitely know how to create crushing, visceral, heavy-as-hell Death Metal, with Supraliminal presenting a big step in their career and, consequently, pointing to a bright future ahead of them without a shadow of a doubt.

Best moments of the album: Horrendous Incantation, Temple of Broken Swords and The Anvil.

Worst moments of the album: None.

Released in 2023 Everlasting Spew Records

Track listing
1. Curse of Creation 4:31
2. Horrendous Incantation 4:19
3. Catapulted Into Hyperspace 4:37
4. Temple of Broken Swords 6:36
5. Festering Abstraction 5:10
6. Inviolate Viscera 2:37
7. Beacon of Loss 7:11
8. The Anvil 3:42
9. Decimation Mechanism 4:43

Band members
Barclay Olson – vocals
Alex Walstad – guitar, bass, synth, 12 string, backing vocals
Jason Hirt – drums

Guest musicians
DgS – additional vocals on “Curse of Creation” and “Decimation Mechanism”
YhA – additional guitars on “Catapulted Into Hyperspace” and “Inviolate Viscera”
XH – additional vocals on “Catapulted Into Hyperspace”
Jubjy – vibraslap on “Inviolate Viscera”

The Year In Review – Top 10 Hard Rock/Heavy Metal Albums of 2022

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“Life is funny. If you don’t laugh, you’re in trouble.” – Taylor Hawkins

And just like that, after 880 days of nothing, I was finally able to attend a metal concert this year, just like countless other metalheads who patiently waited for the Canadian government to lift all restrictions due to the pandemic to get back to our normal lives. And it was a busy year concert-wise as you can see HERE, with Judas Priest, Lamb of God, Megadeth, Iron Maiden, Cannibal Corpse, Trivium, Amon Amarth, Arch Enemy, Behemoth and several others putting a smile back on our faces and the horns back in our hands, because in the end the beauty of heavy music is when it’s played live, right? On the other hand, we unfortunately saw some important names of the global metal scene disbanding such as Nuclear Assault, Tristania and Every Time I Die, plus of course the brave warriors who left us and are now sitting beside the metal gods in Valhalla. Just to name a few, we all mourned the losses of Fredrik Johansson (former guitarist of Dark Tranquillity), Jon Zazula (co-founder of Megaforce Records), Bruce Greig (former guitarist of Misery Index and Dying Fetus), Taylor Hawkins (drummer of Foo Fighters), Ronnie Deo (former bassist of Incantation), Trevor Strnad (vocalist of The Black Dahlia Murder), Alec John Such (former bassist of Bon Jovi), Bob Heathcote (former bassist of Suicidal Tendencies), Steve Grimmett (vocalist of Grim Reaper), Stuart Anstis (former guitarist of Cradle of Filth), David Andersson (guitarist of Soilwork), and Dan McCafferty (former vocalist of Nazareth).

However, one of the biggest losses in the world of heavy music happened right here in Toronto, Canada, as we lost the biggest metalhead of the entire Torontonian scene, Walter Froebrich.  Our super fan Walter, who was a staple in the local scene for over 20 years (and I remember seeing him in every single concert I’ve attended in the past 10 years or more at least), sadly died alone at home last month following three visits to a local hospital due to severe abdominal pain. This is extremely tragic and cannot happen again, as we all have the right to decent healthcare it doesn’t matter who we are. There will be a memorial show for Walter on January 7, 2023 at The Rockpile (details can be found HERE and tickets HERE) with several local independent bands, and we at The Headbanging Moose also want to honor the life of Walter and his undisputed passion for heavy music by dedicating to him The Headbanging Moose’s Top 10 Hard Rock/Heavy Metal Albums of 2022, excluding EP’s, best of’s and live albums.

1. Kreator – Hate Über Alles (REVIEW)
Let the hate flow through you to the sound of the magnificent new opus by one of the trailblazers of the German Thrash Metal scene.
Best song of the album: Hate Über Alles

2. Lorna Shore – Pain Remains (REVIEW)
The most explosive name of the current Deathcore scene invites us all to dance like flames to the sound of their newborn masterpiece.
Best song of the album: The Pain Remains Trilogy

3. Megadeth – The Sick, the Dying… and the Dead! (REVIEW)
The unstoppable Mr. Dave Mustaine strikes again with the sick, the dying… and the Megadeth!
Best song of the album: Life in Hell

4. Rammstein – Zeit (REVIEW)
Germany’s own Neue Deutsche Härte institution wasted no time during the pandemic and is back in action with their fantastic eight opus.
Best song of the album: Angst

5. Behemoth – Opvs Contra Natvram (REVIEW)
A stunning work against religious oppression by Poland’s most important Extreme Metal institution of all time.
Best song of the album: Malaria Vvlgata

6. Arch Enemy – Deceivers (REVIEW)
One of the most important names in metal is back in action with their most solid and detailed album with Alissa White-Gluz on vocals.
Best song of the album: The Watcher

7. Lamb of God – Omens (REVIEW)
Ignore the omens and listen to the pulverizing new album by one of the best and most dynamic metal bands of the past two decades.
Best song of the album: Ditch

8. Amon Amarth – The Great Heathen Army (REVIEW)
Join the great heathen army spearheaded by one of the most respected bands of the current metal scene.
Best song of the album: Saxons and Vikings

9. Hiss From The Moat – The Way Out Of Hell (REVIEW)
There’s only one way out of hell, and that’s to the sound of the incendiary Blackened Death Metal by this Italian horde.
Best song of the album: Generation Of Cowardice

10. Diabolical Raw – Elegy of Fire Dusk (REVIEW)
Behold this grandiose album of Symphonic Black and Death Metal inspired by ancient Central Asian Turkish mythology.
Best song of the album: Face the Judgement

And here we have the runner-ups, completing the top 20 for the year:

11. Abaddon Incarnate – The Wretched Sermon (REVIEW)
12. Cage Fight – Cage Fight (REVIEW)
13. Dark Funeral – We Are The Apocalypse (REVIEW)
14. Stratovarius – Survive (REVIEW)
15. Konvent – Call Down the Sun (REVIEW)
16. Scorpions – Rock Believer (REVIEW)
17. Disturbed – Divisive (REVIEW)
18. Thundermother – Black and Gold (REVIEW)
19. Blind Guardian – The God Machine (REVIEW)
20. Ferum – Asunder / Erode (REVIEW)

In addition to all that, let’s bang our heads with our Top 10 EP’s of 2022 to prove once and for all that not all great albums of the year have to be so long. The EP’s from this list are simply awesome, showcasing the band’s talent and their ability to sound epic even if the music lasts for only a few minutes.

1. Eskhaton – Horracle (REVIEW)
2. Headfist – This New World…. (REVIEW)
3. Sullen Guest – Phase (REVIEW)
4. Pyrrhic Salvation – Manifestum I (REVIEW)
5. Klendathu – Avarist: The Beginning & The End at Once (REVIEW)
6. Through The Noise – Tragedies (REVIEW)
7. Rotten Casket – First Nail in the Casket (REVIEW)
8. Circa Arcana – Bridget Viginti (REVIEW)
9. All Else Fails – The Incident at Black Lake (REVIEW)
10. Haunted By Silhouettes – No Man Isle (REVIEW)

Do you agree with our list? What are your top 10 albums of 2022? Also, don’t forget to tune in every Tuesday at 10pm BRT on Rádio Coringão to enjoy the best of classic and underground metal with Jorge Diaz and his Timão Metal, and every Thursday at 8pm UTC+2 on Midnight Madness Metal e-Radio for the best of underground metal with The Headbanging Moose Show! And if you lost some or most of our special editions of The Headbanging Moose Show, including our Top 20 Underground Albums of 2022 – Parts I and II, go to our Mixcloud page and there you have hours and hours of the best of the independent scene, sounds good?

Metal Xmas and a Headbanging New Year! See you in 2023!

And before I go, I’ll leave you with what’s in my humble opinion not only the best song of 2022, but it also carries a very inspiring message to us all… ROW! ROW! ROW!

Album Review – Eternally Scarred / Echoes From Beneath (2022)

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A Melodic Death and Doom Metal one-man band from Armenia is ready to conquer all to the sound of his newborn beast, dealing with insanity, nightmares, powerlessness, corruption and loss.

Formed in 2016 in Yerevan, the capital and largest city of Armenia and one of the world’s oldest continuously inhabited cities, by vocalist, multi-instrumentalist and songwriter Artak Karapetyan, the thrilling Melodic Doom/Death Metal one-man act Eternally Scarred has been combining slower tempos with faster, melodic guitars and a raw, dirty production since their 2017 debut effort …of Wisdom, and that’s also the case with Artak’s newborn beast, titled Echoes From Beneath. Recorded, mixed and mastered by Artak himself, and displaying a sinister artwork by Vladimir Prokofiev from Paint-It-Black Design, Echoes From Beneath depicts an amalgamation of subjects such as insanity, nightmares, powerlessness, corruption, loss, coping with all aforementioned topics, or being overcome by them, all embraced by the multi-layered, bold music brought into being by this lone wolf from Armenia.

The opening tune Deviance begins in a very atmospheric and pensive manner, with the minimalist sounds by Artak growing in intensity until his riffs enfold us all in a Doom and Death Metal musicality, with his vociferations bringing even more obscurity to the song. Then leaning towards the music played by bands the likes of Insomnium, Artak slashes his guitar and pounds his drums in great fashion in Divinations, a lot heavier and more dynamic than its predecessor with the extra rage coming from its Death Metal nuances being fantastic; and Artak keeps blasting his drums in the name of doom in Brothers In Arms, bringing tons of groove and heaviness through his bass and piercing riffs. After that, Artak’s visceral guitar lines will decimate your senses in Parasomnia, with his deep, enraged guttural growls growing in intensity as the music progresses in a lecture in Melodic Death and Doom Metal.

Adding elements from Stoner and Sludge Metal to his already acid riffs, it’s time for Stone Cold Blood, where its experimental passages might not be bad but they end up taking part of the song’s punch; whereas back to a more doomed, gloomier sound our Armenian metaller offers us all The Absence, showcasing beautiful guitars, slow and steady drums, and his trademark devilish vocalizations. Then prepare your mind for an eight-minute journey through the realms of Atmospheric Doom Metal entitled If The Walls Could Talk, where Artak beautifully alternates between gentle, somber passages and sheer heaviness, followed by Voices Underneath, investing in a grandiose and melodic sound while bringing the same vibe as the music by several Scandinavian Melodic Death Metal icons such as Soilwork and In Flames, resulting in a multi-layered creation that will cut your skin deep majestically. Finally, ending such inspiring and deep album we have Eternally Scarred (Part II), where Artak once again blends melancholy and anger through his riffs, bass and drums, again vociferating rabidly until the very last second.

Such precious gem of the Armenian metal scene can be appreciated in full on YouTube and on Spotify, and obviously purchased from  the project’s own BandCamp page, from the Satanath Records’ BandCamp page, or from Discogs, if you want to show all your support and admiration for the music by Artak. You can also find him and his Eternally Scarred on Facebook, on Instagram and on VKontakte for news, tour dates and so on, letting him know that although he’s a one-man metal band, he’s definitely not alone. We’ll always carry the scars we get in our lives, even after our deaths, but that’s not a problem at all if that happens to the sound of the excellent Melodic Death and Doom Metal crafted by Eternally Scarred.

Best moments of the album: Divinations, If The Walls Could Talk and Voices Underneath.

Worst moments of the album: Stone Cold Blood.

Released in 2022 Satanath Records

Track listing
1. Deviance 6:40
2. Divinations 7:01
3. Brothers In Arms 4:30
4. Parasomnia 5:09
5. Stone Cold Blood 7:46
6. The Absence 8:00
7. If The Walls Could Talk 8:19
8. Voices Underneath 4:28
9. Eternally Scarred (Part II) 6:54

Band members
Artak Karapetyan – vocals, all instruments

Album Review – Deep Memories / Why Do We Suffer? (2022)

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Behold this beautiful album of doom made in Brazil, leading us to reflect on the fragility of human existence when facing the challenges of life on planet earth.

Having consolidated itself as one of the main names from the Brazilian Melodic Doom/Death Metal scene due to its heaviness, originality and melodic complexity, Americana, São Paulo-based one-man act Deep Memories has just unleashed the project’s sophomore full-length album Why Do We Suffer?, following up on their 2018 release Rebuilding the Future. The brainchild of vocalist, multi-instrumentalist and producer Douglas Martins, Deep Memories has been on a constant and healthy evolution since its inception in 2016, with Why Do We Suffer? perfectly depicting the professionalism and hard work by Douglas throughout its 41 intense minutes of music. Produced, recorded, mixed and mastered by Douglas himself at AJM Studio, and displaying a stylish artwork by Iranian graphic artist Agreen Paymazd (together with Douglas) illustrating the emotional charge generated by human suffering, the album deals with a high degree of introspection, leading us to reflect on the fragility of human existence when facing the challenges of life on planet earth.

The doomed guitar lines by Douglas kick off the opening track Enslaved by Reciprocity Obligation, with its atmosphere growing in intensity and darkening the skies as time passes by, being therefore tailored for admirers of the music by Paradise Lost and My Dying Bride. Moreover, Douglas’ deep guttural vocals add a devilish touch of melancholy to the overall result, whereas in Please, Do Not Close the Coffin! we face another round of his obscure fusion of Doom and Death Metal, showcasing sluggish beats and sharp riffs while also bringing to our ears an interesting paradox between his harsh roars and very melodic guitars. And Douglas’ piercing guitar lines keep screaming inside our minds in Get Away From Poison, offering us all over seven minutes of classic Doom Metal with a strong Insomnium vibe, sounding very cohesive from start to finish. Needless to say, it’s quite impressive that only one man was responsible for such dense and complex sonority.

Uncontrolled Cells Multiplication is one of the most introspective and melancholic of all songs, which is also reflected in both the anguished gnarls and clean vocals by Douglas, consequently living up to the legacy of old school doom; followed by the title-track Why Do We Suffer?, beginning in a very atmospheric way with minimalist, ethereal sounds permeating the air until Douglas attacks with his acoustic guitar and clean vocals. Prerogatives or Exceptions also starts in a pensive manner, with the hellish growls by Douglas invading our senses while he keeps the music as lugubrious as possible through his beats and fills, being perfect for lovers of the more contemporary creations by Paradise Lost, flowing into A Rocket to Homeland, a simple but effective outro guided by the piano notes by Douglas. I would love to see it evolving into a more complete song, but it’s nothing to worry about as it’s still very enjoyable in the end.

After all is said and done, you’ll quickly realize Douglas Martins is more than just an extremely talented musician. He clearly put all his heart and soul into the making of  Why Do We Suffer?, showcasing all his passion for the dark and doomed, and the final result will please anyone who’s also addicted to this gloomier side of music. Having said that, you can provide Douglas with all your support and admiration by purchasing his imposing new album from his own BandCamp page or webstore, by streaming the album in full on on YouTube and on Spotify, or simply by clicking HERE for all places where you can buy or stream it, and don’t forget to also follow Douglas and his Deep Memories on Facebook and on Instagram, staying up to date with all things Deep Memories. Why do we all suffer so much in our lives? Perhaps you’ll be able to find the answer to such difficult question while listening to the new album by Deep Memories, and even if you can’t answer that at least you’ll certainly have a very good time listening to the first-class doom blasted by this lone wolf from Brazil.

Best moments of the album: Please, Do Not Close the Coffin!, Get Away From Poison and Prerogatives or Exceptions.

Worst moments of the album: A Rocket to Homeland.

Released in 2022 Independent

Track listing
1. Enslaved by Reciprocity Obligation 5:37
2. Please, Do Not Close the Coffin! 6:15
3. Get Away From Poison 7:29
4. Uncontrolled Cells Multiplication 7:30
5. Why Do We Suffer? 3:04
6. Prerogatives or Exceptions 8:46
7. A Rocket to Homeland 2:27

Band members
Douglas Martins – vocals, all instruments

Concert Review – Trivium (Rebel, Toronto, ON, 10/25/2022)

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The awesome night where Trivium switched from being an Orlando band to a Toronto band. 

OPENING ACT: Khemmis, Whitechapel and Between The Buried And Me

My last concert of such intense month of October couldn’t have been any better, as the city of Toronto hosted a fantastic night of modern-day metal with the Deadmen And Dragons Tour at Rebel, with the bands KHEMMIS, WHITECHAPEL, BETWEEN THE BURIED AND ME and the al-freakin’-mighty TRIVIUM proving that heavy music is still alive and kicking as opposed to what several “experts” say about it. It was a very comfortable night temperature-wise and the venue is awesome for concerts like that, with the only problem being as always their parking lot, which made several fans wait for over one hour to be able to get out of it as soon as the concert was over. Well, it is what it is, so let’s focus on the music which is what really matters in the end.

The first band to hit the stage at around 6:55pm was Denver, Colorado-based Doom Metal act KHEMMIS, which also opened for Mastodon and Opeth a few months ago, still promoting their 2021 album Deceivers. Their setlist might have been short but it was very cohesive and electrifying, inspiring an already big crowd to slam into the pit to their doomed and heavy creations. It was my second time seeing Khemmis, this time from the very beginning, and not only I must say I was impressed with their energy throughout their entire set last night, but I also think everyone at the venue felt the same chemistry with the band. If that’s not an invitation for Khemmy to keep coming back to Toronto, I don’t know what would be.

Setlist
Avernal Gate
Three Gates
Sigil
Isolation
A Conversation with Death

Band members
Ben – vocals, guitars
Phil – vocals, guitars
David Small – bass
Zach – drums

After a quick bathroom/beer break, Knoxville, Tennessee’s own Deathcore outfit WHITECHAPEL began their sonic attack for the delight of several diehard fans of the band at Rebel, and it was indeed a ferocious performance by frontman Phil Bozeman and his horde. From the opening tune I Will Find You, from their 2021 album Kin, to the closing moments of Doom Woods, Whitechapel drove the fans insane into the pit, with the whole band sounding on absolute fire specially during newer songs the likes of Lost Boy and A Bloodsoaked Symphony. Excellent performance by a band that I’ve never been into that much, but that I will surely give a few more listens in more detail in the near future.

Setlist
I Will Find You
Anticure
Lost Boy
Orphan
This Is Exile
A Bloodsoaked Symphony
Doom Woods

Band members
Phil Bozeman – vocals
Ben Savage – lead guitars
Alex Wade – guitars
Zach Householder – guitars
Gabe Crisp – bass
Ernie Iniguez – drums

The most “meh” moment for me of the entire night was the performance by Raleigh, North Carolina-based Progressive Metal band BETWEEN THE BURIED AND ME, which despite being very technical and precise in what they do, their setlist sounded a bit confusing and tiresome. The songs Revolution in Limbo and Never Seen/Future Shock, from their latest album Colors II, were played to perfection, but at least for me they lack that spark or special element that would make them truly entertaining live. There were a lot of BTBAM fans at the venue enjoying the show, though, maybe due to a different type of connection they have with the band, but as I said several people at the venue didn’t enjoy the band as much as they had fun with Whitechapel.

Setlist
Sun of Nothing
Revolution in Limbo
Extremophile Elite
Never Seen/Future Shock
The Future Is Behind Us

Band members
Tommy Giles Rogers – lead vocals, keyboards
Paul Waggoner – lead guitar, backing vocals, additional lead vocals
Dustie Waring – rhythm guitar, additional lead guitar
Dan Briggs – bass, keyboards
Blake Richardson – drums, backing vocals, additional lead vocals

TRIVIUM

Finally, at around 9:50pm, the lights went out and the DJ played Iron Maiden’s hit Run to the Hills through the speakers, inspiring everyone at Rebel to sing its iconic lyrics as a cool warmup for Orlando, Florida’s own Heavy Metal institution TRIVIUM. It was a nice moment for me personally as I had just seen Iron Maiden live in Newark last Friday, so that “bridge” from one band to another sounded really awesome to my ears. Then after the intro IX, Matt Heafy, Corey Beaulieu, Paolo Gregoletto and Alex Bent began kicking some serious ass with the excellent What the Dead Men Say, winning the hearts of everyone at the venue instantly.

In case you might be asking yourself why the tour is called Deadmen And Dragons Tour, that’s because when What The Dead Men Say was released back in 2020 we were in the middle of the pandemic, so there wasn’t a proper tour to promote that album before they released in 2021 the brilliant In the Court of the Dragon. That being said, their setlist was a fusion of both albums with a few old school hits the likes of Like Light to the Flies and To the Rats, resulting in a much better and obviously longer setlist than the one they played in Toronto opening for Lamb of God and Megadeth back in May.

Matt was really, really excited with the amount of people that went to see them last night and of course with the warm reception they had, reminding us all about their early days when no one knew what Trivium were in Canada. He kept saying in between songs he’s amazed with what the band and their Torontonian fans have built together, saying the crowd was so rowdy and vibrant to the point Trivium could switch from being an Orlando band to a Toronto band. I have no idea how loud their fans were in Calgary and other Canadian cities, nor how loud they’ll be tonight in Montreal, but yesterday was indeed a very special night for the band based on all mosh pits, screams and horns raised while they played pulverizing songs such as Amongst the Shadows & the Stones, In the Court of the Dragon and A Gunshot to the Head of Trepidation, which by the way wasn’t played in most (or any) of their dates this tour.

By the way, Matt asked the band to stop playing In the Court of the Dragon right in the middle of it due to two stupid idiots that were about to start a fight in the circle pit. He asked them to split and stop with the fighting just like what he tells his four year-old twins, which was a funny moment that I’m sure no one at the venue will ever forget, in special those two idiots. Another thing that I find impressive is that their fans love their newest songs just as much as their old ones, with The Heart From Your Hate being one of the most special moments of the night alongside Shogun and In Waves. So now as promised, Matt, as Trivium “became” a Toronto band we want to see you guys playing ten or more concerts only in Ontario on the next tour, alright? We will be waiting for you with open arms, no doubt about that.

Setlist
Run to the Hills
IX
What the Dead Men Say
Into the Mouth of Hell We March
The Sin and the Sentence
Like Light to the Flies
Amongst the Shadows & the Stones
Chaos Reigns
The Shadow of the Abattoir
X
In the Court of the Dragon
To the Rats
The Heart From Your Hate
Shogun
A Gunshot to the Head of Trepidation
Capsizing The Sea
In Waves

Band members
Matt Heafy – lead vocals, guitar
Corey Beaulieu – guitar, backing vocals
Paolo Gregoletto – bass guitar, backing vocals
Alex Bent – drums, percussion